,,the ,,story ,,of ,,spanish ,,painting ,illustration3 ,s4 ,,jerome ,,el ,,greco ,,collection ,,of ,,the ,,marqu,s ,,de ,,castro ,,serna ,,the ,,story ,,of ,,spanish ,,painting ,,by ,,charles ,h4 ,,caffin ,,author ,,of 8,,how ,,to ,,study ,,pictures0 8,,the ,,story ,,of ,,dutch ,,painting0 ,,etc4 ,illustration ,,london1 ,w4 ,c4 ,t4 ,,fisher ,,unwin #a1 ,,adelphi ,,terrace #aiaj ,copyright1 #aiaj1 by ,,the ,,century ,,co4 ,published ,november1 #aiaj ,,printed ,,in ,,the ,,united ,,states ,,by ,,the ,,de ,,vinne ,,press ,,this ,,book ,,is ,,dedicated ,,with ,,the ,,author',s ,,gratitude ,,to ,c4 ,c4 ,,contents ,,chapter ,,page ,i ,,the ,,story ,,of ,,the ,,nation #c ,,ii ,,characteristics ,,of ,,spanish ,,painting #be ,,iii ,a ,,panoramic ,,view4 ,,part ,i4 ,,to ,,the ,,end ,,of ,,the ,,sixteenth ,,century #dj ,,iv ,a ,,panoramic ,,view4 ,,part ,,ii4 ,,seventeenth ,,century ,,to ,,the ,,present ,,day #ed ,v ,,domenico ,,theotocopuli 7,,el ,,greco7 #ff ,,vi ,,velasquez #ib ,,vii ,,mazo #aba ,,viii ,,carre,o #aca ,,ix ,,ribera 7,,lo ,,spagnoletto7 #acf ,x ,,murillo #adh ,,xi ,,cano ,,and ,,zurbar,n #afa ,,xii ,,goya #aga ,a ,,postscript #aia ,,list ,,of ,,illustrations ,s4 ,,jerome ,el ,greco ,frontispiece ,,facing ,,page ,,the ,,catholic ,,kings ,,at ,,prayer ,school of ,castile1 ,,xv ,century #ah ,from a photograph by ,j4 ,laurent ,co41 ,madrid4 ,s4 ,,ursula ,spanish ,school1 ,,xv ,century #ca ,,the ,,apparition ,,of ,,the ,,virgin ,,to ,,bernardine ,,monks 8 ,pedro ,berruguete #cg ,s4 ,,stephen ,,conducted ,,to ,,martyrdom ,juan de ,juanes #dd ,from a photograph by ,j4 ,laurent ,co41 ,madrid4 ,,descent ,,from ,,the ,,cross ,pedro ,campaa #ea ,from a photograph by ,anderson1 ,rome4 ,,presentation ,,of ,,jesus ,,in ,,the ,,temple ,luis ,morales #fb ,from a photograph by ,j4 ,laurent ,co41 ,madrid4 ,,the ,,crucifixion ,el ,greco #gj ,,san ,,mauricio ,,and ,,his ,,theban ,,legion ,el ,greco #ge ,,the ,,funeral ,,of ,,count ,,orgaz ,el ,greco #gf ,,baptism ,,of ,,christ ,el ,greco #ha ,,virgin ,,and ,,saints ,el ,greco #he ,,philip ,,iv1 ,,old ,velasquez #ib ,,equestrian ,,portrait ,,of ,,philip ,,iv ,velasquez #if ,,an ,,actor1 ,,called 8,,don ,,juan ,,de ,,austria0 ,velasquez #ajj ,,las ,,hilanderas 7,,the ,,weavers7 ,velasquez #aji ,,las ,,meni,,as 7,,the ,,maids ,,of ,,honor7 ,velasquez #aad ,,do,a ,,mariana ,,de ,,austria ,velasquez #aai ,juan ,bautista ,martnez ,,do,a ,,mariana ,,de ,,austria del ,mazo #abb ,juan ,bautista ,martnez ,,the ,,fountain ,,of ,,the ,,tritons del ,mazo #abg ,,charles ,,ii ,carreo #acb ,from a photograph by ,anderson1 ,rome4 ,,hermit ,,saint ,ribera #ada ,,miracle ,,of ,,the ,,loaves ,,and ,,fishes ,murillo #aej ,,moses ,,striking ,,the ,,rock ,murillo ,,ss4 ,,justa ,,and ,,rufina ,murillo #aee ,,apotheosis ,,of ,s4 ,,thomas ,,aquinas ,francisco de ,zurbarn #afc ,from a photograph by ,anderson1 ,rome4 ,,miracle ,,of ,s4 ,,hugo ,francisco de ,zurbarn #aff ,from a photograph by ,anderson1 ,rome4 ,,charles ,,iv ,,and ,,the ,,royal ,,family ,goya #aga ,,maia1 ,,nude ,goya #agd ,,queen ,,maria ,,luisa ,,on ,,horseback ,goya #ahc ,,the ,,fates ,goya #ahd ,,scene ,,of ,,may #c1 #ahjh ,goya #ahi ,,in ,,the ,,balcony ,goya #aij ,,the ,,story ,,of ,,spanish ,,painting ,,chapter ,i ,,the ,,story ,,of ,,the ,,nation ,in #adib the ,catholic ,sovereigns1 ,ferdinand and ,isabella1 entered ,granada in triumph4 ,the last stronghold of ,moorish dominion1 undermined by the dissensions of ,islam1 fell before the united ,christian kingdoms of ,lon1 ,castile and ,aragn4 ,spain became a united country and1 in virtue of her protracted struggle of nearly eight hundred years against the infidel1 stood forth as the acknowledged and self-conscious ,champion of ,catholicism4 ,in the same year ,columbus1 under the patronage of the ,catholic ,sovereigns discovered the ,new ,world4 ,this date1 therefore1 presents an epoch that completes the past and forms the starting point of a new era4 ,intimately associated with the subsequent national development and decline is the story of ,spanish painting1 but it owes most of its peculiar characteristics to the conditions that preceded the country's complete union4 ,it is always interesting and usually illuminating to picture the historical background out of which the arts of a country have been gradually evolved4 ,but in the case of ,spanish painting it is essential4 ,for the art of ,spain was1 bone and spirit1 a part of the ,spanish character1 shaped and inspired as the latter had been by the racial1 historical and geographical conditions out of which it was moulded4 ,without taking all this into account one cannot understand1 much less appreciate sympathetically1 the consistently individual character of this school of painting4 99 99 99 99 99 ,in the first place one must realise the meaning of the fact that ,spain is a mountainous country2 not only separated from the rest of ,europe1 but divided against itself by precipitous barriers4 ,they run in a general way from ,west to ,east3 abrupt colossal walls of volcanic origin1 with a grand sweep of bulk1 jagged in sky-line and frequently piled with the chaotic debris of glacial moraines4 ,these are the watersheds of rivers that refuse services to navigation2 foaming to flood in the rainy season1 shrinking in the drought to sluggish pools amid the rocky bed4 ,they intersect tracts of country that vary from narrow valleys1 where cultivation huddles in cherished pockets of soil1 to broadly stretching vegas1 tablelands and plains1 from which by unremitting toil generous harvests may be obtained4 ,here the vistas are of magnificent extent1 circling round one in far reaching sweeps of boldly undulating country1 rimmed by nobly designed stretches of smoothly beveled foothills that form advance-posts of the ultimate barrier of the sierras4 ,it is a little country1 only three times the size of ,england1 contracted within itself by natural restrictions1 yet planned by nature on a big scale2 one that affects the imagination1 prompting even more than mountainous countries usually have done to independence1 individualism and hardihood4 ,it is a country that seems made for fighting2 where a handful of resolute men could maintain themselves tenaciously against enormous odds4 ,in the past they did it in actual warfare2 to-day in the pacific fight which this hardy population perpetually keeps up against the extremes of climatic conditions4 ,though for the most part they still use the agricultural implements that ,tubal ,cain devised1 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 enlightened4 ,the necessary preoccupation with their immediate surroundings and the exclusion from outside influence1 early made of this people a nation of individualists1 realists and conservatives4 ,so inbred did these qualities become that when the ,spaniard mixed with the outer world1 as he did particularly in his conquest of the ,spanish ,main and in his wars with ,europe1 it was but to become more fixed in his conservatism at home4 ,when he borrowed from abroad1 as in his art1 it was but to shape and color the acquired impression to his own individualistic and realistic attitude toward life4 99 99 99 99 99 ,the earliest inhabitants of the ,peninsula are known as ,iberians2 with whom about #ejj ,b4,c41 a branch of the ,celtic family became amalgamated4 ,these ,celtiberians remained in undisputed possession of the country1 until they were drawn into the vortex that was stirred by the rivalry of ,rome and ,carthage4 ,the latter had planted colonies along the south coast1 and gradually extended her authority into the interior1 dealing as was her wont in a spirit of suspicion and brutality with the natives4 ,the ,romans1 hot on the trail of their traditional foe1 at first suffered decisive reverses4 ,then it was that ,scipio the ,younger offered himself to the ,senate and ,people of ,rome as general of the war4 ,his father and uncle had been slain in battle in ,spain2 he desired to avenge their deaths and to crush the enemies of ,rome4 ,though only twenty-four years of age he had the genius of a military leader and of a statesman4 ,while putting heart into the shattered ranks of the ,roman veterans and leading them victoriously against the ,carthaginians1 he adopted towards the ,spaniards a policy of confidence and conciliation which won them over to a loyal acceptance of the ,roman rule4 ,a similar policy was practised by ,suetonius in later years1 when ,spain had become the battle ground of the rival factions with which ,rome was torn4 ,it was continued by ,julius ,csar when he fought out his fight with ,pompey on ,spanish soil1 and later by ,augustus when1 having become ruler of the ,roman world1 he completed pacifically the conquest of ,spain4 ,henceforth ,spain was the most favored1 loyal and prosperous province of the ,empire4 ,at first the ,roman veterans1 retiring from military service1 married ,spanish women and settled down as farmers1 introducing gradually the order and scientific method for which the ,romans are so justly celebrated4 ,the settled conditions1 fertility of the soil1 and the beauty of the country in time attracted the wealth and culture of the ,capital4 ,spain became1 like 8,the ,province0 in the ,south of ,france1 a field for capitalistic enterprise as well as a resort for those who leaned toward a life of refined leisure4 ,she throve in the arts and sciences and became enriched with some of the finest evidences of the ,roman genius for engineering4 ,her wheatfields fed the proletariat of the ,capital and her sons reinforced the ranks of statesmen and men of letters4 ,she became1 in the finest sense of the word1 more ,roman than ,italy herself4 ,this period of splendid prosperity lasted for four hundred years1 until it was submerged1 like the rest of ,roman civilization1 by the flood of ,gothic invasion4 ,the branch of the ,german family which overran ,spain was that of the ,visigoths1 who maintained an ascendency and a line of kings for two hundred years4 ,but1 although the enervation caused by provincial luxury had rendered the ,celtiberian-,roman an easy victim to the vigorous onslaught of the northern race1 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 ,empire1 and reasserted his instinct for amalgamation4 ,the blend1 which ensued and became the ,spanish race as it is known to later history1 is characteristically represented in the language that was gradually evolved4 ,for this1 though overlaid with ,northern forms1 remains at root ,roman4 ,in this hybrid race the ,spanish element proved itself to be the most pronounced and enduring4 ,its conservatism1 a phase of the independence and exclusiveness that we have already noted1 was conspicuously revealed in the great ,arian ,controversy which threatened the integrity of the ,western ,church4 ,the ,visigoths alone of all the ,germanic family1 renounced the 8heresy40 ,reccared1 their king1 received in consequence the title of the first ,catholic ,sovereign of ,spain4 ,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 history4 ,it seriously affected the national life1 its attitude toward other nations and the development and character of ,spanish art4 ,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 ,empire4 ,it proved no exception to the tendency to disintegrate and thus presented an easy prey to the onslaughts of united ,islam4 ,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 ,india1 while ,westward it had overrun ,egypt and penetrated along the northern shore of ,africa to the ,pillars of ,hercules4 ,hence in #gaa ,a4,d4 it crossed into ,spain4 ,while the leaders1 under the generalship of ,musa1 viceroy of the ,omayyad ,caliphate of ,damascus1 were all ,arabs1 they had enlisted in their army the warlike tribes of ,mauritania1 the ancient kingdom now represented by ,morocco and ,algeria4 ,hence the name of ,moors 7,mauri7 which distinguishes the invaders of ,spain4 ,twenty years sufficed to make them masters of the ,peninsula1 the little northwestern country of ,asturias alone retaining its independence4 ,twenty years later disintegration crept also into the ranks of the conquerors4 ,abd-er-,rahman established an independent caliphate in ,cordova4 ,his ambition was to raise it to a position in the ,western world such as was held by ,bagdad1 ,damascus and ,delhi in the ,east2 furthermore to make ,cordova the ,mecca of the faithful in the ,west4 ,thus was begun by this ,caliph the ,mesquita or chief ,mosque1 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 enlightenment4 ,for nearly three hundred years ,cordova was the center of an ordered government1 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 districts1 but also a ,university of philosophy and science that made it the resort of scholars1 not only ,moslem but ,christian4 ,cordova1 in fact1 played a conspicuously brilliant part in that phase of the ,moslem ascendency which is apt to be overlooked2 its share in perpetuating and advancing the ,hellenic culture1 which otherwise might have been lost in the ,dark ,ages succeeding the fall of the ,roman ,empire4 ,meanwhile1 the spirit of ,christian ,spain1 though broken1 was not crushed4 ,its stronghold was at first the little kingdom of ,asturias4 ,alfonso ,i not only resisted conquest but wrested back from the ,moor the provinces of ,galicia and ,cantabria4 ,from the northwest fastnesses of the ,peninsula commenced the steady pressure southward1 which1 while it met with many reverses1 was never abandoned until the invader had been driven back to ,africa4 ,the story in brief is one of gradual consolidation of the ,christian power1 accompanied by a corresponding disintegration of the ,moslem4 ,lon becomes united with the other provinces and ,castile follows suit2 while on the other hand the ,caliphate of ,cordova becomes broken up into several dynasties4 ,then1 while a rival sect1 the ,almoravides1 arrive from ,africa and make war on their co-religionists1 ,alfonso ,,iv of ,castile assumes the title of ,emperor and captures ,toledo and ,valencia4 ,later1 the conquests of the ,almoravides are wrested from them by other arrivals from ,africa1 the fanatical sect of the ,almohades4 ,encouraged by this dissension1 the ,christian states for the first time send their representatives to a national assembly4 ,the first ,cortes meets at ,burgos4 ,six years later the ,christians suffer defeat1 but recover themselves and inflict a heavy blow upon the ,moors at the battle of ,las ,navas de ,tolosa4 ,it is followed by repeated hammering1 extending over nearly forty years1 until the ,moorish power is beaten back and by the year #abea is confined entirely to the kingdom of ,granada4 ,then1 for the space of two hundred and forty years1 there was a comparative lull4 ,under the enlightened rule of the ,nasride dynasty the province of ,granada enjoyed a prosperity that invited friendly relations even with the ,christians4 ,the wealth derived from its mines1 industries and agriculture exceeded that of the ancient ,caliphate of ,cordova4 ,the period represented1 in fact1 the ,golden ,age of ,moorish civilization in ,spain1 the flower and symbol of which remains to-day1 though shorn of much of its magnificence1 in the still exquisite palace of the ,alhambra4 ,so skilfully by treaty and otherwise did the rulers of ,granada conciliate the ,christians that their reign might have been continued indefinitely1 but for two causes3 internal dissensions and the fixed idea of ,ferdinand and ,isabella to fulfil their obligations as ,catholic ,kings4 ,they lived for the purpose of expelling the infidel1 and the rivalry between the two great ,moorish tribes1 the ,zegri and the ,abencerrages1 gave them the opportunity4 ,it had resulted in the throne being occupied by the youthful weakling1 ,boabdil4 ,he fell into the hands of ,ferdinand and ,isabella at the battle of ,lucena1 and consented to remain neutral while they attacked the coast cities of ,granada4 ,finally they appeared before ,granada itself and ,boabdil1 after a frantic but futile effort to oppose them1 was forced into a treaty of peace1 by which the city was surrendered4 ,ten years later the last of the ,moors had been expelled from ,spain or compelled to be baptised4 ,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 character4 ,in the first place it had fused the nation into one2 not by some sudden stroke of patriotic ardor but by a slow and painful process1 in which the patriotism had been tested in the forge of adversity1 stiffened and tempered on the anvil of endurance and proven by long experiences4 ,its qualities were trenchant1 uncompromising1 decisively complete4 ,the ,spaniard had become a hero to himself2 sufficient in and for himself2 realising his superiority and wrapping it about with a mantle of haughty exclusiveness4 ,he had learned to rely upon himself and had justified his confidence by victory1 hardly won and dearly bought2 he was a ,spaniard--verbum sat4 ,but he had been more than patriot2 he had been a ,paladin of the ,faith2 a ,knight of the ,cross2 a ,soldier of ,christendom1 ,champion of the ,holy ,catholic ,church4 ,the consciousness of this had sustained him in adversity2 quickened his strength in hours of vigil1 inflamed him to the attack and crowned both victories and defeats with divine glory4 ,an intense passion of spiritual ecstasy burned within him4 ,he was at once a man of action1 hard and practical1 and a pietistic dreamer1 a fanatic and visionary4 ,how this mingling of qualities affected ,spanish art1 causing it1 on the one hand1 to be distinctively national and1 on the other1 a product of naturalistic method and highly pietistic motive will appear in the course of our story4 99 99 99 99 99 ,it was1 perhaps1 ,spain's misfortune that her victories over the ,moors were not succeeded by a period of settled conditions4 ,for already she had entered upon a career of brilliant enterprise in the arts of peace4 ,under the patronage of ,queen ,isabella and of prelates1 such as ,cardinal ,ximenes de ,cisneros1 ,archbishop of ,toledo1 whose power rivaled that of the ,crown1 great architectural works were inaugurated and sculptors and painters were drawn from ,flanders and ,germany to decorate them4 ,learning was still further encouraged by the founding of a new ,university at ,alcal de ,henares to supplement the famous foundation of ,salamanca1 and men of letters and artists were welcomed and honored at ,court4 ,among them stand out the names of ,pulgar1 the first historian of ,castile2 ,cota1 the first ,spanish dramatist and ,rincon1 the earliest of the native painters4 ,the sixteenth century1 in fact1 opened with a brilliant dawn1 full of promise for the new nation1 if only it might have had leisure to consolidate and develop naturally its resources4 ,but it was drawn almost immediately into the whirl of foreign conquests4 ,on the one hand it became involved in the affairs of the kingdom of ,naples1 which was conquered by the ,spanish general1 ,gonsalvo de ,cordova2 on the other hand1 by the bull of the ,spanish ,borgia ,pope1 ,alexander ,,vi1 it was put in possession of all the conquests it might make in the ,new ,world4 ,in both cases the immediate results may possibly be considered a boon1 but they were followed by consequences disastrous to the nation and the ,spanish character4 ,the occupation of ,naples brought the country in touch with ,italian civilization1 then approaching its zenith1 but flung it into the vortex of ,european intrigue and warfare4 ,wealth began to flow in from the ,americas1 but at the expense of national demoralization4 ,the conquest of inferior nations1 inferiorly equipped with arms of offense and defense1 may easily result in cruelty and the general sapping of the truly soldier spirit1 while the lust of gold which soon began to inspire it converted these champions of the ,faith into brutal buccaneers and plunderers4 ,further1 it sapped the energies of the nation at home4 ,for1 why laboriously develop the resources of the country1 when a stream of wealth was flowing into it from abroad8 ,national progress1 therefore1 was checked and in time stifled2 while the incoming wealth soon began to go out in prodigal expenditure over useless ,european wars4 ,it became a mad gamble in which the spiritual qualities of the ,spanish character were overwhelmed with the intoxication of power1 while its exclusiveness and pride blinded the nation to the inevitable catastrophe4 ,a fact antecedent to all these causes of national deterioration was that even before the conquest of ,granada the ,catholic ,sovereigns had established the ,inquisition4 ,with this devilish engine1 operated in the name of ,god and the ,catholic ,faith1 the ,spaniard attempted to check the progress of ,europe and effectively crushed his own4 ,in time he expelled from the ,peninsula the ,jews1 who in ,spain had been among the foremost in learning and industrial energy2 the ,moors and finally the ,morescoes1 the progeny of the ,christianised ,moors and ,spaniards1 who had perpetuated the crafts in which the ,moors had been so skilled4 ,enterprise was thus banished and ,spain deliberately committed herself to the part of a reactionary against progress4 ,in time ,england and ,holland wrested from her her resources in the ,new ,world4 ,she shrank within the limits of her own ,peninsula1 which had been already drained of initiation and productivity4 ,in time1 all that became left to her of her proud possessions was the dogmatic form of the ,catholic religion4 ,it had ceased to be spiritual inspiration and passed into a phase of sentimentalism1 whence it dwindled to a mere formalism1 existing amid irreligion and moral degradation4 99 99 99 99 99 ,in the last sentence we have anticipated the national prostration of the eighteenth century1 following upon the exhaustion of the previous one4 ,it remains to summarise the events which intervened4 ,ferdinand and ,isabella were succeeded by their grandson1 ,charles ,i of ,spain1 better known as the ,emperor ,charles ,v of ,germany4 ,he was the son of their daughter1 ,joanna1 who had been married to the ,archduke ,philip of ,austria1 son of ,emperor ,maximilian of ,germany4 ,thus ,charles brought ,spain under the rule of the great ,hapsburg family1 which even to the present time has provided monarchs for ,germany and ,austria4 ,joanna died insane1 and the taint of her disease clung to her descendants4 ,born in ,ghent in #aejj and educated in ,flanders1 ,charles ,i at the death of his father in #aejf inherited the ,netherlands4 ,on the death of ,ferdinand in #aeaf he became ,king of ,spain1 and in #aeai was elected ,emperor of ,germany1 the defeated competitor being ,francis ,i of ,france4 ,the rivalry between these two led to a protracted war1 fought out chiefly in ,italy1 on the possession of which each had fastened his ambition4 ,francis was made captive at the battle of ,pavia in #aebg and forced into a treaty of peace2 but the war was renewed two years later and ,charles' troops under the renegade ,frenchman1 ,constable of ,bourbon1 entered ,rome and sacked it1 taking the ,pope prisoner4 ,this1 however1 was but an incident in the political game1 for ,charles1 as became a grandson of the ,catholic ,kings1 was a staunch ,defender of the ,faith1 and endeavored to impose it upon his ,protestant subjects in ,germany and the ,netherlands4 ,for the good of their souls he subjected them to the ravages of war and the horrors of the ,inquisition1 and for the filling of his military chest mulcted them by fines as well as taxation4 ,then at the age of fifty-five1 exhausted in mind and body by his heroic exertions on behalf of ,catholicism and his own ambitions1 and by his various forms of self-indulgence1 he handed over the ,imperial ,crown to his brother1 ,ferdinand1 and the ,kingdom of ,spain and his 8dear ,netherlands0 to his son1 ,philip4 ,he himself1 under the plea of caring for his soul's welfare1 retired to the monastery of ,san ,juste1 whence he continued to meddle with affairs of ,state1 meanwhile surfeiting his appetites and making a collection of clocks and watches4 ,his bedroom commanded a view of the ,high ,altar of the ,church and was decorated with ,titian's ,gloria1 in which picture the artist has represented the ex-,emperor in a white robe1 welcomed by the ,virgin at the throne of ,god2 while his hopeful son1 ,philip1 is among the mortals who gaze up devoutly at the imperial apotheosis4 ,alas6 for ,philip2 he had the doggedness but not the genius of his father4 ,meanwhile the times were changing1 and he did not know it4 ,despotism1 whether religious or political1 no longer was to go unquestioned4 ,what the ,netherlands had endured from ,charles they refused to submit to from his son4 ,the more so that1 while his father had chastised them with whips1 he1 in the person of the unspeakable ,alva1 chastised them with scorpions4 ,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 cause4 ,meanwhile the fleets of both countries were sweeping the ,spaniards from the high seas4 ,when ,philip died in #aeih1 he left to his son1 ,philip ,,iii1 the legacy of a fruitless foreign war1 a ruined commerce1 and an impoverished treasury4 ,as an enduring monument of himself he left the ,escoril4 ,the decline of ,spanish prestige and prosperity was accelerated by ,philip ,,iii1 an easy-going person1 who even refused to take any active part in the selection of his own wife4 ,he languidly continued the embellishment of the palaces which his father had built1 and posed mildly as a patron of the arts4 ,under his feeble rule the power of the crown declined1 while that of the nobility correspondingly increased2 and to them probably more than to the king himself must be attributed the crime and economical blunder of the final expulsion of the ,morescoes4 ,an adventitious lustre is added to the reign of this king and his father by the genius of ,cervantes1 ,lope de ,vega1 the dramatist1 and the great artist1 ,el ,greco4 ,succeeding to the crown at the age of seventeen1 ,philip ,,iv resigned the government to his favorite and prime-minister1 the ,count-,duke ,olivares1 whose idea of statesmanship was to keep his royal master as far as possible in ignorance of the impending ruin of the kingdom4 ,to this end he renewed the war in ,holland1 which had been interrupted by a twelve years' truce1 and1 with no decisive result except the squandering of revenue1 prolonged it until the final recognition of ,dutch ,independence in #afdh4 ,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 empire1 inaugurated by the ,catholic ,kings1 ,ferdinand and ,isabella1 had been drained of its vitality4 ,the colonial possessions began to fall one by one into the hands of foreigners and ,spain herself was enfeebled and demoralised4 ,meanwhile ,philip played the part of a ,maecenas in what proved to be the ,golden ,age of ,spanish literature and art4 ,among the names which gave a lustre to the ,court were the veteran ,lope de ,vega2 ,calderon1 author among other dramas of the 8,comedies of ,cape and ,sword02 ,velez de ,guevara1 playwright and novelist1 whose 8,el ,diablo ,cojuelo0 was the original of ,le ,sage's 8,le ,diable ,boiteux02 ,luis de ,gongora1 the poet2 ,quevedo1 the satirist2 ,bartolom ,argensola1 historian1 and ,antonio de ,solis1 poet1 dramatist and author of 8,the ,history of the ,conquest of ,mexico40 ,philip himself posed1 with considerable warrant1 as a poet and musician1 and even took part as an actor in the musical and dramatic entertainments which ,illustration3 ,,the ,,catholic ,,kings ,,school ,,of ,,castile ,,at ,,prayer ,,xv ,,century ,,the ,,prado enlivened the ennui of the ,court in the palace of ,buen ,retiro4 ,he was also1 as an amateur1 skilful in drawing and painting4 ,this doubtless helped him to appreciate the merits of ,velasquez1 who to the world outside of ,spain represents the subject of most significance in his life4 ,philip's companionship with the artist1 five years his elder1 which except for the brief intervals in which one or the other of them was traveling1 lasted for thirty-seven years1 indeed until ,velasquez' death1 is the one thing on which the student of history and of art cares to dwell4 ,it has secured for ,philip ,,iv a recognition which his political importance would have denied him4 ,the increasing impotence of the ,hapsburg family of ,spanish king's reached its climax in ,philip's son1 ,charles ,,ii4 ,one has but to glance at the latter's portrait1 painted by ,juan ,carreo1 to realise the physical and mental degeneracy that the family type has undergone4 ,the type1 as one sees it in ,titian's equestrian portrait of his great-great-grandfather1 ,charles ,i of ,spain and ,v of ,germany1 is already abnormal4 ,the grey eyes1 for all their sternness and penetrating character1 have a pathetic cast of melancholy2 the under jaw protrudes like that of an ape4 ,but the chin is massive1 as indicative of force as of ferocity4 ,in ,philip ,,ii1 as he appears in ,titian's portrait in the ,prado1 the face has lengthened2 the eyes have lost their piercing gaze1 and while no less melancholy1 have an expression of deliberate cruelty4 ,the coarseness of the lower part of the face is displayed in the exaggerated sensuality of the out-turned lower lip1 beneath which is a tapering chin1 that has a suggestion of blended weakness and petty doggedness4 ,in the equestrian portrait of ,philip ,,iii1 which is supposed to have been painted by ,bartolom ,gonzles and effectively retouched by ,velasquez1 the monarch's head is carried a little back1 a gesture which extenuates with probable intention the protrusion of the lower part4 ,but the chin is feebly pointed1 the under lip pendulous1 while the eye suggests an empty vacuity1 that is echoed in the mild fierceness of the upcurling moustache4 ,it is a face vain1 stupid and not a little commonplace4 ,the last quality1 at least1 is absent1 from the portraits of ,philip ,,iv4 ,the face1 especially when young1 reflects the ,king's intrinsic refinement2 but its length has become exaggerated1 the protruding under-lip and jaw are puffed and fleshy1 weakly sensual1 while the eyes are apathetic4 ,the expression of the whole is of a nature nearly worn out1 that can only be stirred to occasional alertness by the stimulant of trivial excitements4 ,finally1 in ,carreo's portrait of ,charles ,,ii1 7p4 #acb7 appears a total extinction of active faculties1 soft sensuousness rather than sensuality1 a settled look of apathy and the profound depression of a religious monomaniac4 ,charles was scarcely four years old when the death of his father in #affe made him king of a bankrupt country4 ,it was the policy of the ,queen ,mother1 whose regency was marked by political incompetence and personal amours1 to keep her son as childish as possible4 ,and1 when he reached his majority at the age of fifteen and supplanted his mother's influence by that of ,don ,juan of ,austria1 the latter also schemed to keep his master in a condition of mental darkness and dependence4 ,thus ,charles was the victim alike of racial degeneracy and of thwarted development4 ,complete incapacity to govern himself or others was the natural result4 ,he shunned the affairs of state1 mildly supported the arts as far as the beggared state of the treasury would permit1 and sank into a religious mania that found satisfaction in attending auto-da-fs and prostrating himself in acts of personal penance4 ,dying childless in #agjj1 he brought the ,hapsburg line to an inglorious conclusion2 and the succession passed to a branch of the ,bourbon family4 ,the ,crown was offered by the ,spanish people to ,philip1 grandson of ,louis ,,xiv4 ,he was the nephew of the late king1 being the son of ,philip ,,iv's daughter1 ,maria ,theresa1 and ,louis ,,xiv4 ,when1 however1 this marriage was made ,louis had expressly renounced all claims to the ,spanish throne1 both on his own behalf and that of his heirs2 and the renunciation had been confirmed by the ,cortes4 ,meanwhile1 another sister of ,charles ,,ii had been married to ,leopold1 ,emperor of ,germany4 ,she also had renounced her claim to the ,spanish ,crown1 but the understanding had not been ratified by the ,cortes4 ,this afforded a pretext for the ,elector of ,bavaria1 who had married her daughter1 to claim the succession in opposition to ,philip4 ,a third claimant had been the ,emperor ,leopold himself1 who however1 waived his rights in favor of his second son1 the ,archduke ,charles4 ,the dispute had been in progress during the late king's life1 and ,louis ,,xiv had made a treaty with ,england and ,holland1 recognising the claims of the ,elector of ,bavaria4 ,when1 however1 the crown was offered to ,philip and accepted on his behalf by ,louis ,,xiv1 ,england and ,holland made a coalition with ,austria and ,germany to compel the recognition of the ,archduke ,charles4 ,hence the thirteen years' war of the ,spanish succession1 in which ,marlborough gained a series of victories over the ,french and ,bavarians1 the ,archduke ravaged the ,peninsula1 and the ,english and ,dutch fleets preyed on ,spanish commerce and captured ,gibraltar4 ,finally1 by the ,treaty of ,utrecht in #agad the succession of ,philip ,v was ratified4 ,he had been brought up by ,louis ,,xiv to be undesirous and incapable of taking part in political affairs4 ,while the country continued to be involved in disastrous foreign wars this roi fainant amused himself with building a summer palace and laying out gardens1 both in the ,french style4 ,he also imported the ,french portrait-painter1 ,van ,loo4 ,it must be added1 however1 that the stock of ,spanish painters had been exhausted4 ,native art1 indeed1 for the time1 was all but dead4 ,it so remained through the thirteen years' reign of his son1 ,ferdinand ,,vi1 though he tried to galvanize it into official life by inaugurating the ,academy of ,san ,fernando4 ,this king was succeeded by his brother ,charles ,,iii1 who had already distinguished himself by his wise rule of the ,kingdom of the ,two ,sicilies4 ,his portrait by ,goya1 in the costume of a sportsman1 shows him to be a man of awkward build and of homely1 though kind and shrewd1 face4 ,he proved himself a generous patron of second-rate artists1 inviting the ,german painter1 ,raphael ,mengs and the ,venetian1 ,tiepolo1 to his ,court2 built the present gallery of the ,prado and issued an order forbidding the exportation of paintings by the great masters of ,spain4 ,he appears to have had some inkling of the genius of ,goya1 who1 however1 did not come into prominence until the succession of ,charles ,,iv4 ,charles ,,iv was an amiable imbecile and his ,queen1 ,maria ,luisa1 the shameless subject of notorious scandal4 ,one of her favorites1 ,manuel ,godoy1 advanced from the rank and file of a regiment of the ,guards to the title of ,duke of ,alcudia1 was entrusted with the duties of prime minister4 ,after embroiling the country in successive wars with ,france and ,england1 he finally attached himself to the cause of ,napoleon and favored the latter's design to place his brother ,joseph on the ,spanish throne4 ,the ,french entered ,spain in #ahjh and compelled ,charles to abdicate4 ,but in the same year the ,spaniards rose against the invaders1 and the ,english came to their assistance4 ,then followed the ,peninsular ,war1 during which ,wellington gradually expelled the ,french troops1 but not until they had pillaged the cathedrals and churches and carried off a large number of the finest works of art4 ,for ,marshal ,soult1 with the predatory instincts of an unscrupulous dealer1 sent his emissaries ahead of the army4 ,armed with the 8,dictionary of ,painters and ,paintings0 by ,cean ,bermudez1 they identified and attached the most famous canvases1 which the ,marshal compelled their owners to part with at his own terms4 ,on the conclusion of the war many of these were returned to ,spain under the terms of the treaty of peace1 but a number of masterpieces had already passed through ,soult's rapacious hands into the public and private galleries of ,europe4 ,this treaty of peace1 which restored the ,throne to ,charles' son1 ,ferdinand ,,vii1 is the end of the history of ,spain so far as it concerns the growth and development and decline of her national art4 ,she has had painters of repute since #ahad2 but not in sufficient numbers to constitute a school or even a noticeable artistic movement4 ,under weak and constantly changing governments1 controlled by the ,church and existing mainly for taxation1 her arts1 like her commerce and industries dwindled to an almost negligible condition1 from which only recently there are indications of recovery4 ,,chapter ,,ii ,,characteristics ,,of ,,spanish ,,painting ,spanish ,painting1 so far as it represents a school1 is singularly limited in scope and rigidly circumscribed4 ,this is due partly to the racial character1 self-centered and conservative1 out of which it grew3 partly also1 to the influences that immediately shaped its growth4 ,for it developed under the patronage of the ,crown and the ,church4 ,nor were these1 in theory or in practice1 antagonistic to each other4 ,the ,church was the embodiment1 the ,crown the defender1 of the ,faith3 the efforts of both being united to preserve the ,faith against the inroads alike of ,humanism and ,protestantism4 ,hence the art of ,spain1 while it might be incidently concerned with portraiture1 discovered its essential characteristics as the exponent of ,bible story and ,saintly lore and as an exhortation to faith and pious living4 ,its home was the sacred edifice1 where it embellished walls1 vaultings1 and ceilings1 or presided in the ceremonial altar-piece4 ,its language for the most part was that of the vernacular2 the sacred imagery being translated into the idiom of common knowledge1 its mysteries into expressions of common experience4 ,it was in consequence a naturalistic art4 ,had the artists of ,spain painted for the general public or followed their own bent in the pursuit of beauty1 they would doubtless have developed branches of genre and still life painting that might have emulated the work of the ,holland artists2 for they had a similar love of the intimate beauty of simple things around them4 ,but since they had to reach the masses of the people through the intervention mostly of the ,church1 which not only commissioned the subject but prescribed its treatment1 they achieved their self-expression through religious pictures which had the character of sacred genre4 ,yet this ,spanish brand of genre is inferior to the secular genre of ,holland or to the sacred genre of old ,flemish religious paintings4 ,it has a quality1 perceptible in neither of the latter1 of obviousness4 ,its motive is less surely an sthetic delight in things of beauty2 more evidently influenced by the practical intention of rounding out the story4 ,i doubt if the student of ,spanish painting1 particularly if he visits ,spain1 can escape the feeling that it exhibits a certain oppressive obviousness4 ,how is this to be accounted for8 ,in the first place1 surely1 by the influence of the ,church1 ever more intent on making art a handmaid of its own purposes than on developing its own inherent beauties4 ,and1 if this was true under the conditions in ,italy1 where the ,church itself was penetrated with ,humanism1 how much more is it to be expected under those which existed in ,spain6 ,but there is another reason1 incident to the ,spanish character4 ,the latter1 as has been suggested in the previous chapter1 was the product of a long and heroic struggle on behalf of nationality and the ,christian ,faith4 ,among its conspicuous traits1 in consequence1 were self-consciousness and inflated egoism2 traits that1 if you consider it1 are those of the actor2 the necessary groundwork on which he builds his better qualities as an artist4 ,the ,spaniards are a race of actors4 ,the arts in which they have most naturally expressed themselves are those of the drama and the novel of character and action4 ,and this trait similarly affects their painting4 ,it is dramatic1 concerned frequently with action1 always with characterisation4 ,meanwhile1 self-consciousness and egoism readily yield to the temptation of exaggeration4 ,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 values4 ,but in the painter's case the ,church intervened and being1 so to say1 interested in the box-office receipts1 compelled him to play to the gallery4 ,it favored sensationalism and encouraged melodrama4 ,the meekness of the martyr must be represented so that the dullest spectator would not miss the moral2 the executioner's hatred of virtue so portrayed that no one could fail to recognise him as a villain2 love and devotion must be sentimentalised1 and blood1 pain and disease so vividly exhibited that the crudest sensibilities would be wrung4 ,imagination must not be counted upon and suggestion1 the subtle road thereto1 must be abandoned for the direct and detailed statement4 ,aim at the crude instincts and make the message obvious6 ,this ,spanish tendency toward the related traits of exaggeration and obviousness is not confined to painting4 ,it appears also in the architecture and sculpture4 ,foreign architects1 for example1 were employed in the erection of cathedrals in the ,gothic style2 but the latter's noble logic of plan and elevation was disturbed by the innovations which ,spanish taste1 or lack of it1 dictated4 ,conspicuous among these was the erection of a ,coro in the center of the nave2 an inclosure walled around1 carried to a great height and profusely adorned with sculpturesque ornament4 ,this monstrous choir effectually blocks the view of the high-altar from any spot except the narrow space which separates the two1 and also interrupts what should be one of the sublime features of a ,gothic cathedral1 its endless variety of stately vistas4 ,in every direction the perspective of pillars1 arches and vaultings is barred by the tasteless magnificence of the ,coro4 ,for the latter1 like the ,capilla ,mayor with its high-altar1 is overloaded with excess of ornament4 ,in one case it may be in the 8plateresque0 style1 a network of intricate and minute embellishments that vies with the dainty exuberance of the workers in silver-plate4 ,elsewhere1 it is wantonly 8grotesque0 or pompously 8baroque0 or characterised by that orgy of material extravagance1 called 8,churrigueresque0 after the name of the sculptor who introduced it4 ,in this1 sculpture has been degraded to the most blatant naturalism2 ,madonnas clothed like dolls in brocaded gowns2 the tragedy of ,calvary or the glory of ,heaven1 presented with figures1 background and accessories1 painted1 posed and set like a theatrical tableau4 ,it is not for a moment suggested that there is no beauty and grandeur in ,spanish architecture and sculpture4 ,yet to one whose taste is attuned to the imaginative spaciousness1 sublimity and mystery of pure ,gothic or to the inventive refinement of choice ,renaissance design1 the net impression of a ,spanish cathedral is likely to be one of oppression and distaste4 ,and more so1 as one analyses the psychological cause of this extravagant display4 ,it seems to be the ,spanish instinct to close himself round with interest in what is nearest to him1 so that he abandons breadth or height of vision--imagination1 in fact--in favor of the immediately present1 which he invests with all the fervor of his pent up nature4 ,this leads inevitably to a materialistic point of view and to the baldly naturalistic method2 in a word1 to the obviousness which we have noted4 ,spain1 in fact1 with its large admixture of ,germanic blood1 exhibits in its art the trait that affects other races akin to the ,teutonic3 the ,german itself1 the ,english and ,american4 ,she1 no more than they1 has much sense of beauty in the abstract4 ,the idea that beauty for its own sake is desirable may penetrate the imagination of some artists in all these countries1 but is a principle of art in none of them1 and by the general public of all is not understood4 ,the usual idea is that painting is primarily the representation of some person1 place or thing1 and is to be judged by what it represents4 ,the idea that it should contribute to the beauty of life1 and that beauty is one of the qualities most needful and desirable in life2 that1 indeed1 properly considered1 it should be the ideal of life1 is even to-day only slowly dawning upon our comprehension4 ,we still make the ideal of our civilization material progress and the ideal of education the preparation to play a part in it4 ,in a word1 our ideal is materialistic2 a contradiction of terms1 confusing the high issues of life4 ,for1 if a man or a nation is to have an ideal it must be something above the necessary matter of life1 correlating the spiritual sense to what it conceives of spirit in the universe4 ,it was so that the ,greek1 learning of ,egypt and the ,orient1 drawing inspiration1 in fact1 from the deep wells of human consciousness1 established his ideal and interpreted it under the symbol of beauty4 ,for my own part1 this difference between the older idea of art and our own1 which was shared by ,spain1 is most illuminatively enforced by the contrast between two of the great architectural monuments of ,spain3 the ,escoril and the ,alhambra4 ,both are palaces1 memorials of the greatest epoch in the history of each race2 but one is a palace of the dead and of preparation for death1 the other a lordly pleasure house1 redolent of the joy of living2 the ,escoril is a monument of sternness2 the ,alhambra a miracle of beauty4 ,yet for the student of humanity and of art in relation thereto what a poignant interest attaches to the ,escoril6 ,true1 it is the self-expression of one man2 but the imagination may not be astray in discovering in it some expression also of the race and its time4 ,for ,philip ,,ii was so loyal a son of the ,church or1 if you will1 so morbid a victim of the ,church's influence1 and that influence was then so rooted in the conscience of the ,illustration3 ,s4 ,,ursula ,,spanish ,,school1 ,,xv ,,century ,,the ,,prado people1 that he was in a large measure representative of them4 ,philip was bound by the terms of his inheritance to create a mausoleum for the remains of his father1 ,charles ,v4 ,he set about making it a burying place of sufficient dignity for his father1 himself and succeeding ,catholic ,kings4 ,to the mausoleum must be attached a church1 and to the latter a monastery1 to make perpetual provision for the saying of masses4 ,his father had retired to a monastery after laying down the cares of government4 ,philip1 while still handling the affairs of his vast dominion1 would also lead the cloistered life4 ,meanwhile there were the mundane needs of a court to be considered and ,philip himself tempered his asceticism with gallantry1 so that a palace must be included4 ,hence ensued the idea of the ,escoril1 wherein life consorts with death and business and pleasure are pursued under the shadow of a judgment to come4 ,surely a monument to the strangest medley of motives that history can show6 ,morbid1 magnificent6 ,architects were employed1 but ,philip constantly supervised the design4 ,he planned his monument to last forever4 ,far from the possible vicissitudes of the capital1 remote from the petty changes of daily life1 he laid its foundations in the bed-rock of the mountains2 and built their strength into its walls4 ,with its back to the precipitous wall of the ,guadarrama ,sierra1 it stands a colossal squared mass1 facing the undulating vista of tableland4 ,its facades are severely simple1 bare of ornamental detail1 proclaiming their monastic purpose2 and similarly the interior1 as originally planned1 was characterised by the dignity of constructional simplicity4 ,the church also1 until ,luca ,giordano at a later period covered the vaultings with flaunting mural paintings1 was a unique example of stern austerity2 its plan of a ,greek cross being uninterrupted by a central coro and the only magnificence permitted being massed about the high-altar4 ,a strange contrast1 in fact1 the imagination of ,philip offered to the art instincts of his people4 ,while they eschewed vistas and rejoiced in extravagance of detail1 he was wedded to simplicity and sought a prospect of the widest vision4 ,yet in his personal life he shrank into narrowness4 ,a private door communicated with a corner seat at the back of the coro1 so that unobserved he could join the monks1 as one of them1 in their devotional routine4 ,while he provided himself with a palace for ceremonial purposes1 he actually lived in a tiny suite of meagre rooms1 sleeping in a cubicle4 ,its window opened into the church1 commanding a view of the high-altar1 where the celebrant as he said mass stood directly above the tombs of the dead kings4 ,this ,pantheon of the dead1 a low1 octagonal chamber with flattened vaultings1 lined with shelves on which repose sarcophagi1 was originally of extreme simplicity4 ,for the present bastard profusion of sombre ornamentation was added by ,philips ,,iii and ,,iv4 ,to-day as one wanders through this vast and silent edifice of the ,escoril it can well seem as if that sanctuary of death1 buried beneath the church1 is the dead heart1 connected by the arteries of its nearly one hundred miles of corridors with the huge organs and spreading limbs of a prodigious leviathan4 ,one has left behind the exhilaration of the air of the ,sierras the glorious spaciousness of the outside prospect1 and as the artificial vastness closes in about one1 the spirit becomes numbed and chill4 ,it is a stupendous ,golgotha1 a colossal ,place of ,skulls4 ,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 soul4 ,it may have been a mad soul2 certainly it was a proud one1 of high exaltation1 white to its core with the flame of an intense ideal4 ,none the less was it something of a craven soul1 evading the problems of this life1 and fearing the life to come2 closing its eyes to the light and wrapping itself in the darkness of superstition4 ,it is the soul of one man that was thus enshrined2 but in many respects it is revealed as the soul of the ,spanish people4 ,seen at noonday in summer1 the ,escoril stands1 shadowless in the sunshine1 at the foot of the bare ,sierra1 looking out over a vista of barren stubble1 parched grass and dried up water-courses2 an undulating sweep of pallid buff1 interrupted sparsely by grey olive bushes2 pitilessly inhospitable4 ,but1 in the slanting light of the afternoon1 the ,sierras near and far lose the bleakness of their pinkish buff beneath transparent tones of mauve and lavender1 while the harsh nudity of the endless vega becomes clothed in tender veils of variously modulated greys4 ,even the inexorableness of the granite pile is assuaged1 as the shadows creep about its base1 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 suggestion4 ,slowly1 as the light wanes the ,escoril and its vast setting become to the imagination spiritualised2 but the spirit that hovers over them and enters into yours is1 if ,i mistake not1 for all its beauty impregnated with sadness1 which1 as the darkness blots out distance and buries the monastery beneath the gloom of the ,sierras1 dies into a sense of awe4 ,and now let us revisit the ,alhambra1 which enshrines the soul of another race4 ,no colossal formality here1 or precision of foot-rule and compass from which the free spirit of the artist's imagination has been dogmatically barred6 ,on the contrary1 the palace of the ,moorish kings grew cell to cell by accretion1 expressive of an accumulating sense of the power and joy of life1 alive with the breath of artistic imagination4 ,it dominates its own hill1 looking across1 on the one hand1 to the protecting barrier of higher hills1 and on the other1 over a smiling hospitable vega1 a far reaching garden of luxuriant fertility4 ,the hill itself is a paradise of refreshment4 ,its slopes are richly clothed with shade trees and semi-tropical vegetation1 embowered in flowers1 fragrant with the scents of living growths1 musical with the song of birds1 the tinkle of tiny runnels1 and the plash of fountains and cascades4 ,set above this scene of ordered wildness1 where the license of nature is united to the task of man1 stands what is left of the palace of the ,arab ,sovereigns of ,granada4 ,there is no need to describe its plan of gardens1 fountains1 courts and corridors1 halls of ceremony and suites of living rooms4 ,it is the spirit of the whole that we may try to capture4 ,here1 as in the ,mosque of ,cordova1 the ,arab's love of vistas is revealed2 but while the former spreads over a large space1 the perspectives of the ,alhambra are actually restricted4 ,in their case even more than in the other is created an illusion of distance4 ,the triumph is one not of material emphasis but of artistic suggestion4 ,it was the human imagination1 finding its free expression in art1 that gave form and fabric to this ,oriental dream of beauty4 ,it is a visualised symphony1 whose theme is life2 the joy of life and beauty that irradiates the joy4 ,and the inspiration is drawn from nature4 ,to those who know the ,alhambra it will not sound like freakishness of speech to say1 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 gardens2 and1 because he felt the phenomena of nature in relation to the supreme whole1 has captured something of the infinity of the universal and enshrined it in his microcosm of beauty4 ,also more intimately he has fashioned his invention upon nature2 studying her forms and methods and adapting them to the conventions of art4 ,in the endless variety of decorative encrustration with which the wall-spaces1 the soffits of the arches and the vaultings of the chambers are embroidered1 the motives are drawn from the interlacing of boughs and vines1 the rhythm of the brooklet meandering through luxuriant undergrowth of vines and flowers1 from the facets of the crystal and the accumulated cells of bees4 ,but they are not interpreted in a naturalistic vein4 ,the ,oriental imagination1 at its best1 rises above naturalistic representation2 it accepts the fertilization of nature1 but conventionalises the product to conform to the artist's idea of abstract beauty4 ,it may be that in the ,alhambra he has carried this idealization too far and become too prodigal with its motives4 ,the dainty fabric has little structural dignity2 architectonic substance being sacrificed to vistas and surface decoration1 while the last may easily be judged too profuse4 ,yet the ,arab1 when he chose1 was a builder and engineer1 continuing the ,roman tradition of solid and scientific construction4 ,even at the ,alhambra this fact is attested by the foundations that are rooted in the rock and carried down its precipitous flank1 and by the aqueducts which convey water from the neighboring hills to supply the fountains and baths1 the sudorific chambers and the system of heating4 ,he faced the necessities and facts of life as they arose1 but in the pleasure-house of his soul surrendered himself to the abstract1 wrapping himself in contemplation of the beautiful4 ,so he encouraged his artists until their imagination reached its zenith of profuse invention in the so-called 8,room of the ,two ,sisters40 ,above a dado of iridescent glass mosaic the walls are overlaid with a rich lace work as of carved ivory1 the interstices of which are colored red and blue4 ,their surfaces are interrupted by niches1 framed with columns and arches of surpassing delicacy4 ,from the four corners1 at considerable height project pendentives1 converting the square of the room into an octagon from ,illustration3 ,,the ,,apparition ,,of ,,the ,,virgin8 ,,pedro ,,berruguete ,,to ,,bernardine ,,monks ,,the ,,prado which springs the domed ceiling4 ,the pendentives are groups of stalactite forms1 and the vaulting above is composed of innumerable concave cells4 ,each differing slightly from the others1 they cling together in pendent masses1 here projecting like a bunch of swarming bees1 there receding into the mystery of a fairy grotto2 all the while mounting up the curve of the ceiling1 which undulates like a vine yielding to the weight of its grapes2 climbing higher and higher in endless frolic of invention until they draw together at the ceiling's peak4 ,enough gold still adheres to the myriad facets to suggest to the imagination the mysterious lustre of the ceiling1 when it was lighted by a suspended lantern with its clusters of crystal lights4 ,this gem of the ,alhambra jewel1 the heart of the ,harem chambers1 opens1 as you remember1 on one side into an alcove4 ,through the windows of this appear the tops of cypress trees1 which rise from the boskage of pomegranates1 roses and oleanders in a little garden court4 ,on the other side1 the 8,court of the ,lions10 once shaded with orange trees1 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 arcades4 ,a spot1 indeed of exquisite sensations2 where everything conspires to alternate moods of reverie and poignant stimulation2 where the physical senses are rarified1 exalted1 till perception swims into a sea of subtleties that melts into a dreamy subconsciousness of infinity4 ,this you may say is a supreme achievement1 tainted with weakness4 ,here the yearning after beauty for its own sake has created such a subtlety and luxuriance of beauty as to suggest that the motive was ornament for the sake of ornament2 sense-gratification for indulgence sake2 exquisiteness at the cost of living energy4 ,for1 while the maze of decoration is ordered with most refined sensibility1 it is none the less expressive of inordinate and almost tortured sensuousness4 ,if you adopt this view it is to admit that the ,alhambra was a product of the decadence of the ,oriental idea2 and it is interesting to note how it bred a corresponding decadence in the artistic motives of the ,christian conquerors4 ,it was unquestionably from the ,arabs that the ,spaniard derived his taste for excess4 ,but his racial instinct and his ,catholic faith colored the result with a great difference4 ,his sensuous and religious ecstasy found their expression not in abstract symbols but in concrete actualities4 ,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 glory4 ,gradually1 in fact1 he degraded his conception to the most obvious kind of perception4 ,he expressed his spiritual ideas in terms of naturalism4 ,it may seem illogical to invite the reader to be interested in ,spanish art and then discourage him by laying bare its weakness4 ,but ,i believe that every one who visits ,spain1 where alone the inwardness of ,spanish art can be reached1 must feel at the outset more or less conscious of these limitations to his interest2 that1 in fact1 he suffers a preliminary discouragement4 ,if so1 is it not better to admit it2 to accustom oneself to the expectation of temporary disillusionment1 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 painting8 ,,chapter ,,iii ,a ,,panoramic ,,view ,part ,i3 ,to the ,end of the ,sixteenth ,century4 ,to the student who is in pursuit of sthetic enjoyment rather than critical research the art of ,spain resolves itself into the works of a comparatively small number of painters4 ,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 ,spain1 as well as in the cathedrals and churches2 at least in those cases1 not too frequent1 where there is sufficient light to see them4 ,the spell exercised by these artists each in his different way1 is so arresting that one may easily be indifferent to those of minor quality4 ,on the other hand1 our interest is increased if we glance over the whole field1 the level of which is interrupted by conspicuous individuals1 and thus view the latter in their respective times and places in the general story4 ,it must not be forgotten that the racial characteristics of ,spain and her art1 while they preserve a general national uniformity1 were modified by the circumstances of different environments4 ,even before their union by the marriage of ,ferdinand and ,isabella1 the kingdoms of ,castile and ,aragn presented a noted difference4 ,the former included besides the province of ,castile1 the other divisions of territory in the northwest of the ,peninsula2 while ,aragn embraced ,catalonia and ,valencia1 the provinces bordering on the ,mediterranean1 and had extended her authority to the ,balearic ,isles1 ,sardinia and ,sicily4 ,the geographical distribution tells its own tale3 ,castile1 with her bleak ,sierras and wind-swept1 sun-parched plains1 a region of strenuousness2 ,aragn1 dipping her hot feet in the ,mediterranean1 her asperities assuaged by influences from over-sea4 ,for1 while ,castile was early disposed to derive her foreign influences from the ,netherlands and ,germany1 ,aragn and especially ,valencia drew theirs from ,italy4 ,later1 when the union of the entire country was achieved by the conquest of ,andalusia and ,granada1 the climatic conditions of these two provinces and their proximity to the ,mediterranean naturally drew them into close relations both with ,valencia and ,italy4 ,it remains only to mention in the way of anticipation1 that the seat of ,government1 being always in ,castile and finally established in ,madrid1 became a nucleus to which the various influences from other parts of the country were attracted4 ,thus1 while the ,schools of ,valencia and ,andalusia preserved their local characteristics1 the ,school of ,castile1 which later is more specifically known as the ,school of ,madrid1 became under the patronage of the ,court more cosmopolitan4 ,the sources of painting in ,spain1 as in other countries1 are to be looked for1 first in illuminated manuscripts and secondly in the remains of mural decorations4 ,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 ,st4 ,catherine in ,san ,isidoro in ,lon4 ,these are attributed to the twelfth century4 ,later examples of the fourteenth century1 exist in ,seville1 in ,san ,lorenzo1 ,san ,ildefonso and the ,capella de la ,antigua in the ,cathedral4 ,the subject of each is the ,virgin4 ,in the cathedral1 for example1 she is represented against a gold diapered background1 her robe also being adorned with arabesques of gold4 ,in her right hand she holds a rose and with her left supports the ,child1 while two angels suspend a crown over her head4 ,the figure of the ,father ,almighty1 rather small in scale1 appears above4 ,the flesh is scarcely modeled1 and in the case of the ,virgin is very tenderly expressed2 the draperies1 on the other hand1 suggesting in their flatness and breadth of treatment a sense of bigness4 ,the influence is clearly ,italian and seems to present a union of the feeling of ,cimabue and ,fra ,angelico4 ,it is with the beginning of the fifteenth century that one reaches sure ground4 ,in #adbh1 during the reign of ,juan ,,ii of ,castile1 the great ,flemish painter1 ,jan ,van ,eyck1 while on a mission to ,portugal visited ,madrid4 ,his coming aroused in the ,spaniards an interest in ,flemish art1 which resulted in the importation of paintings by ,memlinc1 ,roger van der ,weyden1 ,dierick ,bouts1 ,mabuse and ,patinir4 ,the effect of their influence can be studied in the basement galleries of the ,prado1 where hang anonymous works by painters of the ,school of ,castile during the fifteenth century4 ,a very interesting series of scenes from the life of the ,virgin 7numbered #bagh-bahc7 exhibits in the angular folds of the draperies and in the architecture a notable ,gothic feeling1 and have much of the freedom of composition and intensity of sentiment of ,van der ,weyden4 ,on the other hand in ,no4 #bahd1 ,the ,catholic ,kings with their ,families at ,prayer ,before the ,virgin reproduced on page #ah1 the influence of ,memlinc and his period of ,flemish art appears4 ,one notes the charming glimpses of landscape1 seen through the windows2 the almost childlike sweetness of the faces and the truly ,flemish love of beautiful detail4 ,this is exhibited in the ,virgin's crimson robe and the rosy-purple gown of the ,king1 both of which are brocaded with designs in raised gold1 and in the various accessories1 particularly the church in the hand of ,s4 ,thomas ,aquinas1 the lily in that of ,s4 ,domingo de ,guzman1 and the richly decorated throne4 ,on the back of this are curious little impish figures1 that recall the weirdly whimsical inventions of ,hieronymus ,bosch1 whose pictures1 as later those of his imitator1 ,peeter ,brueghel1 were very popular in northern ,spain4 ,the figure1 kneeling behind the ,king1 is the ,inquisitor-,general1 ,tomas de ,torquemada2 the one behind the ,queen represents ,s4 ,peter ,martyr of ,verona4 ,ascribed to the end of the fifteenth century is the curiously interesting ,s4 ,ursula1 reproduced on page #ca4 ,the picture forms one of a series of three1 of which the first is ,the ,coronation of the ,virgin and the third ,the ,temptation of ,s4 ,anthony4 ,escorted by the ,pope and by bishops and cardinals1 ,s4 ,ursula is seen at the head of the procession of eleven thousand virgins who are following her to ,rome2 but1 if the legend is to be believed1 will be slaughtered by the ,huns near ,cologne4 ,with another example1 reproduced on page #cg1 we reach at least the suggestion of a ,spanish painter's name4 ,the ,apparition of the ,virgin to a ,community of ,bernardine ,monks ,during a ,ceremony of ,exorcism is ascribed1 though with a query1 to ,pedro ,berruguete4 ,carl ,justi considers that this picture and its companions1 illustrating ,dominican legends1 were by the ,burgundian painter1 ,juan de ,borgoa1 assisted by ,berruguete and another painter named ,santos ,cruz4 ,to the last is attributed the traces of ,peruginesque influence that occur in all the series2 in the present example1 in the angels surrounding the ,madonna4 ,but the chief interest lies in the varied and individual characterization which the artist has given to the heads of the monks and laity4 ,the latter seem of ,flemish type1 and1 if ,carl ,justi's attribution is correct1 may1 together with the architectural perspective have been executed by ,juan de ,borgoa4 ,on the other hand1 ,berruguete was probably responsible for the monks1 since they approximate to the ,spanish type1 as may be verified by comparing them with the character studies of this order of brotherhood by ,zurbarn 7see page #aff74 ,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 ,museum1 ,new ,york4 ,examples #a to #g show the ,netherlandish influence1 ,illustration3 ,s4 ,,stephen ,,conducted ,,to ,,martyrdom ,,juan ,,de ,,juanes ,,the ,,prado while numbers #h and #i represent the commencement of native feeling4 ,compare1 for instance1 the face of the woman who kneels on the left of the foreground in ,s4 ,gregory ,saying ,mass with those of the women in the high upright panel of the earlier series4 ,the latter have a ,flemish roundness of features and rather dull expression1 whereas the face in the ,gregory picture1 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 ,greco4 ,in fact1 although ,spain borrowed motives and methods from abroad1 the inspiration remained her own and imprinted a native character on the product4 99 99 99 99 99 ,this is still apparent in the art of the sixteenth century when there poured into ,spain a steady flow of ,italian influence4 ,its general tendency was to produce a number of so-called 8mannerists10 ,spanish painters who experimented with and imitated the style of the ,italian masters1 particularly of the ,florentines1 ,da ,vinci1 ,raphael and ,michelangelo4 ,it was a necessary stage through which ,spanish art had to graduate in order to acquire facility in drawing1 chiaroscuro and the principles of composition4 ,but it is not a period on which the student who is interested in art as a living expression will care to dwell4 ,he will look upon it as probationary and merely preparatory for the later liberty of national and individual expression4 ,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 manners4 ,an example of this is afforded by the work of ,juan de ,juanes1 one of the early names of prominence in the ,school of ,valencia4 ,the ,s4 ,stephen ,conducted to ,martyrdom1 reproduced on page #dd1 is an illustration of his style4 ,it forms one of a series1 connected with the life of ,s4 ,stephen1 which is now in the basement galleries of the ,prado4 ,it is not difficult to detect in these paintings the influence of ,raphael4 ,so noticeable is it1 that ,cean ,bermudez1 the chronicler of early ,spanish art1 assumes that ,juanes must have been a pupil of the ,florentine master4 ,subsequent research1 however1 has discovered that the ,valencian painter was not born until #aebc1 three years after ,raphael's death4 ,however he may have acquired a knowledge of the latter's style1 it is evident what it did for him and1 through him1 for the other painters of the ,valencian school and the closely affiliated school of ,andalusia4 ,comparing this picture with the earlier ones1 reproduced in these pages1 one observes in it a far more varied1 facile and accurate skill in drawing1 and that the composition1 while it has lost the charm of naturalness1 has gained in science4 ,it is organis1 as the ,french say1 a carefully assembled structure of inter-related parts1 locked together into an ensemble4 ,on the other hand1 to anticipate the sequence of our story1 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 art4 ,meanwhile we can see the naturalistic tendency already forming4 ,the fine head1 immediately behind the ,saint's1 is that of a ,spanish gentleman of the period4 ,all the heads1 in fact1 are of local types1 and the exaggeration of action in the figures and of emotion in the faces1 is characteristic of a nation so dramatically disposed as the ,spanish1 while the excess of humility in the demeanour of the ,saint is characteristic of the devotional attitude of this painter toward his art4 ,for he1 like many others among the ,spanish artists1 is said to have painted only sacred subjects and to have prepared his spirit for the task by partaking of the ,sacrament4 ,another picture which helps to throw a light upon this period of ,italian imitation is the ,descent from the ,cross by ,pedro ,campaa 7page #ea74 ,this painter was born in ,brussels in #aejc4 ,but1 though of ,flemish origin1 he gained his knowledge of art in ,rome1 whence he passed to ,spain1 living in ,seville for twenty-four years1 until his death in #aehj4 ,thus he was an important factor in the transitionary development of the ,school of ,andalusia4 ,murillo particularly admired this picture1 and at his own request was buried beneath it in the ,church of ,santa ,cruz4 ,when the latter was pulled down1 the picture was removed to the ,cathedral1 where it now hangs in the ,sacristy4 ,its indebtedness to ,raphael is apparent in the group of figures at the foot of the ,cross1 while a ,peruginesque influence is suggested in the draperies of the men upon the ladders and in the placing of their figures against the sky4 ,but also evident is the artificiality of the whole4 ,the gestures and expression of the women are affected2 quite inadequate is the support which is being given to the ,sacred ,body1 while the attitude of the latter is too obviously regulated with the double intention of securing certain lines in the composition and of introducing the suggestion of forgiveness of the ,magdalen4 ,in fact1 the chief virtue of the picture seems to be its extremely handsome composition1 which must be admitted to have great nobility as well as a fine organic simplicity4 ,the picture1 indeed1 is an achievement of science2 valuable for its enforcement of academic principles2 yet1 even so1 the work1 not of a master1 but a manneristic imitator4 99 99 99 99 99 ,it is with more interest than one turns to the work of another artist of this transition period1 ,luis de ,morales4 ,for although he experimented with various motives1 his adoption of them seems to have been prompted by his search for the expression of a personally sincere religious fervor4 ,almost nothing is recorded of his life1 beyond the few facts that he was a native of ,badajoz1 on the frontier of ,portugal1 and died there in #aehf2 that1 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 city1 and notwithstanding the estimation in which his pictures were held1 reached an old age of poverty4 ,for it is related that the king passing through ,badajoz1 sent for the artist4 ,the latter1 when as a young man he had been summoned to ,court1 appeared in so sumptuous an attire1 that the ,king remonstrated with him1 but was appeased by ,morales' explanation that he donned it in honor of his ,majesty4 ,now1 however1 he appeared in a condition of extreme destitution4 ,to ,philip's remark3 8,morales1 you are very old10 the artist replied1 8,yes1 your ,majesty1 and very poor40 ,the king on the spot awarded him a pension of two hundred ducats4 8,for your dinner10 he said1 to which ,morales replied1 8,and for supper1 ,sire80 ,the ,king1 so the story goes1 accepted the jest and added another hundred ducats a year to the pension4 ,this episode took place in #aeha and it is supposed that ,morales at the time of his death1 five years later1 had reached the age of seventy-seven years4 ,nothing is known as to the way in which ,morales learned his art1 but a comparative study of his various styles suggests that he may have had access to some work or copy of a work of ,michelangelo1 to some examples of the ,milanese ,school of ,leonardo da ,vinci and to pictures of the contemporary ,flemish and ,german ,schools4 ,the ,michelangelesque influence1 according to the official notice of this artist in the catalogue of the ,prado ,gallery1 is discernible chiefly in works that are to be found in ,badajoz and ,lisbon4 ,it would appear that they are distinguished by an exaggeration of manner4 ,a similar trait appears in a ,piet which hangs in the ,academy of ,san ,fernando in ,madrid4 ,the ,virgin is seated at the foot of the ,cross1 supporting the dead body of ,christ4 ,the latter is in an attitude of being seated1 the arms suspended and the head laid back on the shoulder1 immediately below the head of the ,virgin4 ,the nude form is as hard as if it were carved in wood1 and in contrast to its pallid whiteness are long streams of crimson blood1 as glossy and stiff as ribands4 ,in fact1 combined with the naturalistic correctness of the drawing the figure has an exaggerated ,gothic feeling1 while another excess1 this time of refinement1 appears in the microscopic precision with which the hair of the beard and head is represented4 ,this delicacy1 suggestive of the ,milanese influence1 reappears in the ,virgin ,caressing the ,infant ,jesus of the ,prado ,gallery and the variations of the same theme which may be seen in the ,hispanic ,museum1 ,new ,york4 ,here1 however1 the meticulous rendering of the little golden chestnut curls which cluster on the heads of the ,mother and ,child is in accord with the loving1 tender regard for refined sweetness of expression that characterises the whole treatment4 ,the ,prado also possesses an ,ecce ,homo2 the figure1 seen nearly to the waist1 nude but for a crimson mantle which covers the shoulders and is fastened on the chest4 ,one of the bound hands holds a reed and a crown of thorns surmounts the head1 drops of blood showing on the forehead4 ,the face1 with its straight brows and deep-set eyes1 long finely chiseled nose1 and sensitive mouth1 surrounded by a softly growing beard1 the whole modeled sensitively with a ,milanese subtlety of chiaroscuro1 expresses an interesting blend of intellectuality and ecstasy4 ,in this union one may easily discover an essentially ,spanish feeling4 ,however the methods may have been borrowed from elsewhere1 the sentiment is ,castilian of the sixteenth century1 a mingling of high-bred nature and spiritual introspection4 ,another picture of the ,prado1 selected for reproduction on page #fb1 is ,the ,presentation of the ,infant ,jesus in the ,temple4 ,it is an important example1 revealing a fuller capacity for ordered composition1 in which there is a grandiose dignity1 strangely ,illustration3 ,,descent ,,from ,,the ,,cross ,,pedro ,,campa,a ,,seville ,,cathedral interrupted by a littleness of feeling4 ,the latter is particularly noticeable in the highly finished rendering of the child's body1 disposed so affectedly amid the prim folds of the greyish white drapery4 ,one may be conscious also of a certain exaggerated gesture of humility in the ,virgin's figure2 but1 on the other hand1 how firm in its assertion of liberty of action is the supple figure of the maiden who holds the basket of doves6 ,how excellently imagined1 moreover1 are the spotting of the several heads1 the upright lines of the candles and the broad bold spaces of the white tablecloth6 ,the reputation of ,morales has been injured by the number of ,ecce ,homos and ,magdalens1 sentimentally mawkish1 which1 according to latest judgment1 have been ascribed to him falsely4 ,for1 in an age of artistic copying1 working for patrons who demanded an excessive display of pietistic ecstasy1 he was distinguished by a considerable measure of individual temperament as well as of sincere religious feeling4 99 99 99 99 99 ,the signal example of an individual personality1 is that of ,domenico ,theotocopuli1 popularly called ,el ,greco from the fact that he was born in ,crete4 ,since he will form the subject of another chapter1 it is sufficient here to recall the fact that he reached ,spain by way of ,venice and ,rome and settled in ,toledo4 ,his art bridges the last quarter of the sixteenth century and the first of the seventeenth1 and1 notwithstanding his foreign training1 was deeply imbued with the ,spanish spirit of his day4 ,meanwhile1 during the latter part of the sixteenth century a more direct infusion of ,italian influence reached ,spain through the artists whom ,philip imported from ,italy to decorate the ,escoril4 ,during the first twenty-five years of his reign he had continued the patronage of ,titian1 commenced by his father1 ,charles ,v4 ,the latter1 after he had sat to the great ,venetian1 loaded him with marks of favor1 including an order of nobility1 and vowed that no other artist was worthy to paint ,csar4 ,philip's pride equally demanded the services of the artist who was accounted the greatest of his day1 and ,titian was willing to give them4 8,is not my aim in life10 he wrote1 8to refuse the services of other princes and to cling to that of your majesty80 ,the king's commissions were for religious subjects1 but ,titian1 knowing the other side of his patron's nature1 supplemented them with nudes and the so-called 8poesies10 or subjects of more or less erotic significance4 ,hence the collection of over forty ,titian's which is one of the glories of the ,prado ,gallery4 ,among the painters summoned from ,italy by ,philip ,,ii the best known are ,frederico ,zucchero1 ,pelegrino ,tibaldi1 ,bartolomeo ,carducho and ,patricio ,caxs4 ,they were men of facile but inferior ability1 whose work is of little interest in itself and has no part1 except that of an interlude1 in the development of native art4 ,on the other hand a definite and distinguished rle was played by the ,flemish painter1 ,antony ,mor or ,moro4 ,he had been portrait painter to ,charles ,v in ,flanders1 and in #aeeb came to ,spain in the train of ,cardinal ,granvilla4 ,during a prolonged stay at the ,spanish ,court he enriched his ,flemish method by study of the portraits by ,titian which the emperor had accumulated4 ,moro's teaching and influence started the ,castile ,school of portrait painting4 ,his best pupil was ,alonso ,snchez ,coello1 78-#aeij7 whose portraits are vital records of personality1 although somewhat trivialized by the elaboration of meticulous detail4 ,,chapter ,,iv ,a ,,panoramic ,,view ,part ,,ii3 ,seventeenth ,century to the ,present ,day4 ,the seventeenth century was the golden age of ,spanish art1 as it was of the art of ,holland2 product in the one case of national decline1 in the other of national growth4 ,while ,spain was neglecting her national resources1 losing her morale and wasting money and men on a vain effort to enslave the ,dutch1 the latter1 in their fight for liberty1 built up their national character and developed the resources of their country4 ,yet1 under conditions so different1 the genius of each people was liberated1 threw off the shackles of foreign influence and discovered its own racial expression in painting4 ,each of the great schools had its protagonist3 ,valencia1 ,jos ,ribera 7#aehh-afef72 ,andalusia1 ,murillo 7#afah-afhb72 ,castile1 ,velasquez1 7#aeii-affj74 ,meanwhile1 as we have noted1 the early part of the century was occupied by the great artist1 ,el ,greco4 ,as these will be discussed in separate chapters1 it remains to note the most important of the lesser painters of the period under their respective schools4 ,in the ,school of ,castile the vogue of portraiture at ,court was perpetuated by ,coello's pupil1 ,juan ,pantoja de la ,cruz 7#aeea-afaj7 and by ,bartolom ,gonzles 7#aefd-afbg74 ,the former's portraits are hard and dry in treatment and shallow in expression1 while the latter's1 despite a tightness and triviality of detail1 have a certain grandiose dignity of design4 ,witness the equestrian portraits of ,philip ,,iii and his wife1 ,doa ,margarita of ,austria and that of ,philip ,,iv's first wife1 ,doa ,isabel de ,borbn4 ,in the ,prado catalogue these are still assigned to ,velasquez1 but latest criticism confines the latter's share in them to retouching of certain parts1 particularly the horses1 while giving the originals to ,gonzles4 ,it is further believed that the landscapes in the ,philip ,,iii and ,queen ,margarita were worked over by ,velasquez's pupil and son-in-law1 ,mazo4 ,the handling of the figures is so different from that of the rest of the compositions1 so evidently the reverse of ,velasquez's broad and pregnant style1 that it is strange the canvases should ever have been assigned in their entirety to him2 except for the reason that until recently it has been the custom1 both in ,madrid and elsewhere1 to attribute to this master anything1 however mediocre1 which approached the appearance of his method4 ,we recall among the ,italian painters invited to the ,court of ,philip ,,ii1 ,bartolomeo ,carducho and ,patricio ,caxs4 ,each had a son who became a painter2 ,vicente ,carducho 7#aehe-afch7 born in ,italy1 but educated and naturalised in ,spain1 and ,eugenio ,caxs 7#aegg-afdb71 whose birthplace was ,madrid4 ,they were employed in decorating the palaces of the ,prado and the ,escoril4 ,their work is mannered1 with much technical proficiency and little inspiration4 ,it is1 however1 handsome in design2 wherein lies its chief interest to the student of ,spanish painting1 since it helped to foster that skill in the filling of a space which was brought to such perfection by ,velasquez4 ,in this connection we may mention ,fray ,juan ,bautista ,mayno 7#aeid-afij71 a ,dominican monk1 who had been drawing master to ,philip ,,iv before his accession and was retained by him afterwards as an adviser in matters of art4 ,there is an 8allegory0 by him in the entrance hall of the ,prado1 representing ,the ,pacification of the ,states of ,flanders which in qualities of painting is quite uninteresting1 yet1 regarded as a decoration1 has considerable merit1 reminding one of ,puvis de ,chavannes' flat patterns of full and empty spaces4 ,indeed1 one may be disposed to feel that from the point of view of mural decoration it is even superior to ,velasquez's ,surrender of ,breda1 which by comparison is a historical picture4 ,it is interesting to note that ,mayno was a native of ,toledo and in consequence familiar with the work of ,el ,greco1 who1 we shall find1 was a master of decorative space-filling4 ,in #afjc1 during the reign of ,philip ,,iii1 ,rubens1 on a mission from the ,duke of ,mantua1 visited the ,spanish ,court4 ,one of the ,duke's intentions was that his emissary should copy some of the masterpieces of the ,royal collection4 ,rubens' copy of ,titian's ,temptation of ,adam and ,eve now hangs in the ,prado1 not far from the original1 and it is interesting to note how the young ,flemish artist has corrected and improved the composition of the old ,venetian4 ,the orders given to ,rubens included a provision that he should forward his work by employing the assistance of some of the ,spanish painters4 ,he writes1 saying that he will adhere to these instructions1 but1 he adds1 8,i do not approve of it1 considering the short time we have at our disposal1 and the incredible inadequacy and idleness of these painters and their manners1 7from which may ,god preserve me from any resemblance67 so absolutely different to mine40 ,such was ,rubens impression of art in ,madrid1 preceding the appearance of ,velasquez4 ,in #afbh at the zenith of his fame1 he paid another diplomatic visit4 ,philip ,,iv was now king and appointed his favorite1 ,velasquez1 escort to the ,flemish artist4 ,of the latter's impression of the younger man unfortunately no records exist4 99 99 99 99 99 ,velasquez maintained no regular studio for pupils1 yet he naturally exercised an influence on many of the younger painters of the day1 and actually gave instruction to some4 ,among the latter the best known are ,juan ,bautista ,martinez del ,mazo and ,juan ,carreo1 who will be considered later1 and ,juan de ,pareja4 ,the last mentioned was a mulatto1 born in ,seville about #afjh1 who came to ,madrid with ,velasquez in the capacity of a servant and remained with him all his life4 ,being constantly employed in the studio1 he was himself inspired to become an artist2 but as no slave might practise the free art of painting he worked in secret1 copying his master's works4 ,at last by a stratagem he revealed his talent4 ,having painted a picture with special care1 he placed it in his master's studio with its face to the wall4 ,the king1 on his next visit1 ordered the picture to be turned and enquired who had painted it4 ,whereupon ,pareja went down on his knees1 and implored the royal protection4 ,the king1 turning to ,velasquez1 said--8you will have no say in this matter and ,i warn you that he who possesses so much talent cannot remain a slave40 ,at least such is the story1 though it is considered more probable that ,velasquez1 whose generosity was marked1 actually connived at the slave's education and procured his enfranchisement4 ,but1 although a free man1 he continued to serve his beloved master1 and after the latter's death in #affj continued in the service of his son-in-law1 ,mazo1 until his own death in #afgj4 ,he is represented in the ,prado by the ,vocation of ,s4 ,matthew4 ,christ1 arrayed in the conventional draperies1 is standing beside a table at which is seated ,matthew1 in ,oriental clothes1 surrounded by others in ,spanish costume of the period4 ,it is an ambitious and rather tedious picture4 ,three painters of this period which call for brief notice are ,antonio ,pereda1 ,francisco ,collantes and ,jos ,leonardo4 ,pereda 7#aeii-affi7 was born in ,valladolid1 but moved to ,madrid to study art and remained there4 ,in the ,academy of ,san ,fernando is an 8allegory0 by him1 entitled ,the ,dream of ,life4 ,it represents a young man of heavy1 rather ,dutch aspect1 handsomely dressed1 seated asleep before a table4 ,the latter is strewn with a variety of objects--jewels1 flowers1 coins1 weapons1 music1 a mask1 a book--which contribute to the joy and fulness of life4 ,meanwhile1 on the book rests a skull1 while an angel in the background1 gazing at the youth1 holds a scroll inscribed--8terne pungit1 cito volat et occidet40 ,the picture is blackened and murky1 but the still-life is rendered with remarkable naturalness4 ,indeed1 naturalistic veracity and a taste for ascetic or moral suggestion characterises ,pereda's art4 ,note1 for example1 the ,s4 ,jerome of the ,prado where the aged saint1 stripped to the waist1 sits in a spiritual daze1 grasping a cross of rudely joined sticks1 which lies upon a book4 ,the latter contains an engraved illustration1 represented with extraordinary vraisemblance1 and the same quality is carried to a disgusting pitch in the rendering of the withered1 flabby flesh4 ,even more revolting and commonplace in its excessive naturalism is an adjoining ,ecce ,homo--blood that looks like blood1 a rope unmistakably a rope1 and a cross made out of a tree1 the bark of which is realised with ridiculously ineffectual exactness4 ,the two pictures have neither the vigor of handling nor the dignity of conception to be found in ,ribera's corresponding subjects4 ,they represent naturalism for the sake of naturalism2 and anticipate the general decadence which settled down on the ,school of ,castile toward the end of the seventeenth century4 ,collantes 7#aeii-afef71 a pupil of ,vincente ,carducho1 is represented in the ,prado by a ,vision of ,ezekiel4 ,in the foreground is confusion of opened tombs and risen bodies and skeletons2 in the background the ruins of a stately classic city1 and in the center1 raised on an eminence1 the prophet preaching to the awakened dead4 ,the scene both in composition and chiaroscuro is quite impressive4 ,collantes is also represented in the ,louvre by ,the ,burning ,bush4 ,jos ,leonardo 7#afaf-afef7 is of chief interest to the student because of his large canvas in the ,prado1 in which he has represented the same subject that was immortalised by ,velasquez--,the ,surrender of ,breda4 ,leonardo's composition is divided diagonally1 the left foreground being occupied by the principal group1 while the upper right triangle includes the background3 a plain in which troops are deploying1 and a distant view of the city4 ,it is noticeable that the younger man1 whose short life1 clouded by mental trouble1 scarcely permitted him to reach his own maturity1 has1 like ,velasquez1 made a decorative use of the lances4 ,his conception1 also1 of the scene is one that probably commended itself to ,spanish feeling1 for he has represented the conquered ,justin of ,nassau submissively kneeling1 as he presents the keys to his conqueror1 who is on horseback4 ,another example by ,leonardo in the ,prado is the ,taking of ,acqui4 ,it is1 with the group reversed1 similarly composed to the previous picture1 of which it is a companion piece1 both having been painted for the 8,hall of the ,kings0 in the ,palace of ,buen ,retiro4 ,notable1 again1 is the device of lances1 while the mounted figure of the ,duke de ,feria1 as he leads the attack1 bears an unmistakable general resemblance to the equestrian portrait of the ,count ,olivarez by ,velasquez4 ,among the ,italian painters summoned to ,madrid by ,philip ,,ii1 had been a native of ,bologna1 ,antonio ,rizi4 ,he had two sons1 ,juan and ,francisco4 ,fray ,juan ,rizi1 for he entered the ,benedictine order and spent the latter part of his life in a monastery at ,rome1 was the pupil of ,fray ,juan ,bautista ,mayno4 ,his portraits1 bearing some resemblance to those of ,velasquez1 have been at times attributed to ,mazo4 ,such was the case with the ,portrait of ,don ,tiburcio de ,redin in the ,prado1 which represents a man with curls falling to his shoulders1 dressed in a handsome cavalier costume1 standing beside a table4 ,he rests one hand on it and with the other holds a large felt hat4 ,it is a straightforward presentation of a virile personality1 but painted with little verve4 ,far more interesting is a ,saint ,benedict ,celebrating ,mass1 in the ,academy of ,san ,fernando4 ,with the sacred wafer in his hand1 the saint bends his strong head1 with its black hair and beard1 over the white altar-cloth4 ,over his alb is a gold embroidered white chasuble1 supported by a monk in black4 ,these figures are seen against a grey-drab wall1 meanwhile a third figure1 an acolyte1 is in white4 ,it is thus a very handsome tonality of grey1 white and black1 which gives an air of grandiose distinction to the very naturalistic way in which the whole is painted4 ,the brother1 ,francisco ,rizi1 was a pupil of ,carducho1 and enjoyed reputation as a painter in fresco1 decorating among other sacred edifices the ,cathedral of ,toledo4 ,he was also employed as a director of scenery and stage effects in the dramatic performances given in the ,palace of ,buen ,retiro4 ,apropos of these experiences1 he executed a curious picture1 now in the ,prado1 in which he has represented in an ensemble the successive stages of an auto-de-f4 ,it commemorates one that actually took place in the ,plaza ,mayor of ,madrid on ,june #cj1 #afhj1 lasting from eight in the morning until half-past nine at night4 ,the function had afforded a spasm of zest to the wretched religious maniac1 ,charles ,,ii1 who commanded the painting4 ,it contains some three thousand figures1 and1 considering that ,rizi was seventy-five years old when he executed it1 is an achievement as surprising as unnecessary4 ,one of ,francisco ,rizi's pupils was ,jos ,antolinez 7#afci-afgf71 a native of ,seville4 ,something of southern sweetness of sentiment pervades his pictures as may be seen in ,the ,assumption of the ,munich ,pinakothek1 ,the ,glorification of the ,virgin in the ,ryks ,museum1 ,amsterdam and the ,ecstasy of the ,magdalen1 of the ,prado4 ,the last named represents the penitent floating in a seated posture1 upborne by angels4 ,two others hold above her the jar of ointment1 while an older angel plays the lute4 ,the drapery is of ashy purple silk brocaded with mauve arabesques1 a fine passage of color suggestive of the influence of ,van ,dyke1 which at this period began to find its way into ,spain4 ,one may discover it again in the elegantly sentimental style of ,mateo ,cerezo1 who was originally a pupil of ,carreo4 ,examples that may be quoted are the ,penitent ,magdalen in the ,gallery of the ,hague1 and the ,s4 ,john the ,baptist of the ,cassel ,gallery1 both of them characterised by affectation4 ,a more important example1 because of its decorative composition1 is the ,assumption of the ,virgin in the ,prado4 ,down below1 the faithful are peering into a sarcophagus1 filled ,illustration3 ,,presentation ,,of ,,jesus ,,in ,,the ,,temple ,,luis ,,morales ,,the ,,prado with flowers1 while overhead the ,virgin and her supporting angels make an elegant mass of white and blue silk and fluttering wings4 ,but the picture is fatally pretty1 characteristic of the decline of devotional feeling and artistic taste4 ,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 7d4 #afic74 ,the work which brought him greatest fame in his own day is the altar-piece of ,la ,santa ,forma at the south end of the sacristry of the ,escoril4 ,it represents a perspective view of the room in which you are standing as you look at the picture4 ,thus the great school of ,spanish naturalism passes out in the meretricious glamour of a looking-glass picture4 ,,school ,,of ,,valencia1 ,,seventeenth ,,century ,in the ,school of ,valencia the connecting link between the period of mannerism1 represented by ,juan de ,juanes1 and the highest development of the naturalistic motive in the person of ,ribera is supplied by ,francisco ,ribalta4 ,he was born in ,castelln de la ,plana1 between the years #aeej and #aefj and died in #afbh4 ,after studying with an unknown painter in ,valencia1 he spent three years in ,italy1 where he was particularly attracted by the works of ,raphael1 ,sebastian del ,piombo and the ,caracci4 ,returning to ,valencia1 he executed a ,last ,supper for the high altar of the ,church of ,corpus ,christi4 ,the picture1 which is still in the place for which it was painted1 aroused so much enthusiasm that he was kept employed in providing works for the churches1 monasteries and hospitals in and around ,valencia4 ,some of these are distinguished by grandiose compositions and figures of noble character4 ,but in other works ,ribalta's coloring is attenuated and his handling thin2 while on other occasions he exhibits a mingling of ,italian 8idealism0 with ,spanish naturalism4 ,examples of his poor color and technique are ,nos4 #idf and #idi in the ,prado1 which1 moreover1 are disfigured by their sentimentality4 ,his particular talent1 however1 appears at its best in an adjacent canvas1 ,s4 ,francis d',assisi4 ,the monk1 clad in a brown habit1 is lying on a pallet covered with a blanket4 ,his parched yellow face and strong1 nervous hands are raised in ecstacy toward an angel1 playing a lute1 who floats above him in well-disposed draperies of dull green and rose4 ,contrasted with the grace of this figure is the severely naturalistic way in which the monk and the accessories1 such as an iron lamp and missal1 are represented4 ,it is a picture both of charm and force and is characteristic of the kind of influence that ,ribalta exerted over his pupil1 ,ribera4 ,,school ,,of ,,andalusia ,,of ,,the ,,seventeenth ,,century ,the transition period in the ,school of ,andalusia is filled by two men4 ,these were ,juan de las ,roelas1 who painted in a broad and yet seductive manner with soft1 warm chiaroscuro1 and the eccentric ,francisco ,herrera1 who adapted these qualities to a 8furioso0 style4 ,for this reason he has been credited with the chief influence in developing the naturalistic methods of the ,andalusian ,school4 ,but the credit is now assigned to ,ribera1 whose pictures1 introduced into ,seville1 helped materially to shape the studies of a group of young artists which included ,alonso ,cano1 ,zurbarn1 ,murillo and ,velasquez4 ,in the eighteenth century native painting declined to a condition that renders it negligible to the student4 ,the names which occur are those of foreigners such as ,luca ,giordano1 ,tiepolo1 and ,raphael ,mengs4 ,suddenly1 however1 toward the last quarter it sprang again to life in the genius of ,goya4 ,the latter died in #ahbf1 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 ,fortuny1 ,francisco ,pradilla1 ,joaquin ,sorolla y ,bastida and ,ignacio ,zuloaga4 ,these are to be considered later4 ,,chapter ,v ,,domenco ,,theotocopuli 7,,el ,,greco7 ,domenco ,theotocopuli was born in ,crete2 hence the nickname by which he was known3 ,el ,greco4 ,he arrived in ,spain by way of ,venice and ,rome2 therefore in the catalogue of the ,prado he is included among the ,italian artists4 ,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 artist4 ,nor has it the warrant of facts4 ,though ,el ,greco had been a pupil of ,titian and had drawn inspiration from ,tintoretto1 it is the fact of his art being so different from that of ,italy1 of his developing so unique a personality of his own1 that is the distinguishing feature of his genius4 ,moreover1 it was not until after his arrival in ,spain and a sojourn of some time in ,toledo that he discovered himself4 ,it was the conditions1 physical and spiritual1 of his adopted country that brought to maturity the real ,el ,greco4 ,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 ,spain4 ,he was the seer1 the diviner1 who not only mirrored the external character of his times but also realised its soul4 ,the ,church of his day seems to have prized his genius3 the king underrated it1 while contemporaries and posterity recognising him as bizarre1 inclined to the theory that he was mad4 ,it has been left to the judgment of the present day1 reaching back scarcely more than twenty years1 to appraise ,el ,greco at his real valuation4 ,the reasons for both the earlier and the most recent estimations are plain4 ,philip ,,ii1 patron of ,titian1 was enamoured of ,italian art and1 as we recall1 imported ,italian artists to decorate his palaces4 ,being a man of small and dogmatic mind he could not extend appreciation to work so different as ,el ,greco's1 and set the fashion among laymen to ignore it4 ,later the whole trend of ,spanish art in its emergence from ,italianate imitation was toward naturalism4 ,the seventeenth century was overshadowed by the genius of ,velasquez4 ,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 art1 until she became suddenly aware of a native genius3 ,goya1 the temperamental1 objective1 impressionist4 ,the nineteenth century was occupied with the rediscovery of ,velasquez4 ,its watchword became 8truth02 truth of actual appearances1 the seeing and rendering of objective facts as they really seem to be4 ,its artistic motive1 in fact1 notwithstanding that it included1 as it could not help doing1 the limitations and variations of the personal equation1 was in essence photographic4 ,it was concerned1 like the camera1 with what the eye can see4 ,not until the end of the century did this vogue of objective naturalism abate4 ,the inevitable reaction against this naturalistic view of art set in2 quickened by the gradual realisation that photography was crowding the painter from their common field of sight4 ,artists1 on the one hand1 began to realise that there are internal as well as external facts1 facts of the spirit as well as facts of matter2 and1 on the other1 that the chief value of a picture is not in its making something look like life1 but in extracting from the life represented its fullest amount of expression4 ,expression1 among progressive modern artists1 has taken precedence of mere representation4 ,it is therefore1 our own day that is giving special honor to ,el ,greco and ,goya2 to ,goya1 the master of material expression1 to ,el ,greco who joined this1 in so extraordinary a degree1 to spiritual expression4 ,having thus established the point of view from which ,el ,greco should be studied1 we will briefly consider the conditions under which his genius developed and then the qualities1 technical and spiritual1 which his works exhibit4 ,we shall find that he broke away from the ,venetian use of color1 employing a sober range of hues1 of extreme subtlety and a chiaroscuro all his own4 ,that he was also a great master of composition1 decorating every part of his large canvases with meaningful details1 so that there are no spaces perfunctorily filled or devoid of interest4 ,a great draughtsman also1 who1 although he altered for his own purpose the proportions of figures and at times dared to indulge in 8bad drawing10 realises the plastic qualities of form as few artists have done1 and extracts from form1 gesture and action a maximum of character and expression4 ,similarly1 in his portraits we shall discover not only a vivid rendering of external personality1 but also a penetrating insight into the soul of the subject4 ,finally1 in the presence of his work one should be conscious of a rare and elevated spirit1 the artist's own1 interpreting the spiritual genius of the ,spain of his day4 99 99 99 99 99 ,almost nothing is known of ,el ,greco's life4 ,no record of him exists until ,november #af1 #aegj1 the date of a letter written by the ,venetian miniature painter1 ,julio ,clovio to ,cardinal ,nepote ,farnese4 ,it says--8,there is in ,rome a young man from ,candia1 a disciple of ,titian1 who in my opinion is a painter of rare talent4 ,among other things he has painted a portrait of himself1 which causes wonderment to all the painters of ,rome4 ,i should like him to be under the patronage of your ,illustrious and ,reverend ,lordship1 without any other contribution toward his livelihood than a room in the ,farnese ,palace for some little time1 until he can find other accommodation40 ,this letter establishes ,el ,greco's birthplace1 corroborating the artist's signature1 as it appears on many canvases in ,greek characters with the addition of 8,cretan02 his experience under ,titian in ,venice2 his visit to ,rome and the fact that in the year #aegj he was a young man4 ,how long he stayed in ,rome is uncertain1 but the next date of certainty1 #aegg1 appears after his signature upon a picture of ,the ,assumption of the ,virgin for the ,church of ,san ,domingo el ,antigua in ,toledo4 ,the fact of ,el ,greco being engaged on this work is corroborated by documents relating to the church1 in which it is recorded that the artist was paid #ajjj ducats for eight pictures to adorn the high and side altars4 ,thus it appears that at some date between the years #aegj and #aegg ,el ,greco reached ,spain and settled in ,toledo4 ,here he seems to have lived continuously until his death1 the record of which is still preserved4 8,on #gth ,april1 #afad1 died ,domenico ,greco4 ,he left no will4 ,he received the sacraments1 was buried in ,santo ,domingo el ,antigua2 and gave candles40 ,the position of ,el ,greco's tomb in ,san ,domingo is not known4 ,the only other documents in existence relate to contracts for commissions and occasional disputes and lawsuits over the prices4 ,they have been summarised and used as data for establishing the order in which his pictures were executed by ,albert ,f4 ,calvert and ,e4 ,gasquoine ,hartley in their critical and richly illustrated book1 8,el ,greco1 ,an ,account of his ,life and ,works40 ,one document may be mentioned here1 since it indicates ,el ,greco's brief relations with the ,court4 ,it is a royal order1 dated #aehj1 which states that a commission had been entrusted to ,domenico ,theotocopuli1 ,greek painter1 residing in ,toledo1 but that 8the work was not being carried on for want of money and fine colors40 ,therefore it is commanded1 8,that the said painter be supplied with money1 also with the fine colors that he asks for1 and1 especially ultramarine1 that the work may be executed with brevity as is suitable in my service40 ,since ,el ,greco had finished his commission for ,santo ,domingo and had also painted an altar piece1 ,el ,expolio1 or ,christ ,despoiled of ,his ,raiment on ,calvary1 for the ,cathedral1 it would seem as if his plea of no ,illustration3 ,,the ,,crucifixion ,,el ,,greco ,,the ,,louvre money and colors had been a pretence for avoiding1 if possible1 the execution of the ,royal commission4 ,the outcome of the affair is described by a ,father ,siguenza1 writing in #afje4 8,there is here in the ,salas ,capitulares of the ,escoril1 a picture of ,san ,maurico and ,his ,soldiers by a ,domenico ,greco1 who has come to ,toledo and there made excellent things4 ,the picture was designed for the proper altar of the ,saint1 but it did not satisfy ,his ,majesty4 ,it is not much1 because it satisfies few2 though they say that it has great art1 and that its author has much knowledge and that excellent things can be seen from his hand40 ,el ,greco had one son1 ,george ,manuel1 who was appointed architect of the ,cathedral4 ,he also practised sculpture and painting1 in the latter medium imitating his father's style so closely that some of the son's pictures have been attributed to him4 ,the portrait of a beautiful girl1 late the property of ,sir ,john ,stirling-,maxwell and now in the ,national ,gallery1 ,london1 has been called the artist's daughter2 but later criticism assigns this painting either to ,tintoretto or to ,el ,greco's early ,italian period when he was still a young man4 ,the portrait of his son ,george1 is identified in the ,san ,martin of ,san ,jos1 and again as the youth who holds the map in the ,vista of ,toledo4 ,it is also supposed to exist in the younger figure of the boy on the left of the composition of ,the ,funeral of ,count ,orgaz4 ,in the latter it has also been suggested that the face with the pointed beard1 sixth from the right1 represents ,el ,greco himself2 while tradition also attributes the title of ,self ,portrait of the ,artist to the picture in the ,seville ,museum of a man of middle age1 holding a brush and palette4 ,these1 however1 are only surmises4 ,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 8,practical ,letters on the ,art of ,painting40 ,it is not the evidence of a contemporary1 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 life4 8,at that time there came from ,italy a painter called ,dominico ,greco2 it is said that he was a pupil of ,titian4 ,he settled in the famous and ancient city of ,toledo1 introducing such an extravagant style that to this day nothing has been seen to equal it2 attempting to discuss it would cause confusion in the soundest minds2 his works being so dissimilar that they do not seem to be by the same hand4 ,he came to this city with a high reputation1 so much so that he gave it to be understood that there was nothing superior to his works4 ,in truth he achieved some works which are worthy of estimation and which can be put among those of famous painters4 ,his nature was extravagant like his painting4 ,it is not known with certainty what he did with his works1 as he used to say no price was high enough for them1 and so he gave them in pledge to their owners who willingly advanced him what he asked for4 ,he earned many ducats1 but spent them in too great pomp and display in his house1 to the extent of keeping paid musicians to entertain him at meal times4 ,his works were many1 but the only wealth he left were two hundred unfinished paintings2 he reached an advanced age1 always enjoying great fame4 ,he was a famous architect and very eloquent in his speeches4 ,he had few disciples1 as none cared to follow his capricious and extravagant style1 which was only suitable for himself40 ,we get a glimpse here of a strangely individual personality1 reserved and proud1 conscious of his destiny1 working it out in a haughty exclusiveness2 wrapt up in high thoughts and cultivating in the retirement of private life a rare refinement4 ,in ,toledo1 then the citadel of the ,catholic ,faith1 so dominated by the dignitaries of the ,church that ,philip ,,ii1 who brooked no rivalry of power1 was forced to transfer his ,court thence to ,madrid1 ,el ,greco preserved the integrity of his artistic faith and1 by separating himself from outside influences1 maintained the independent sovereignty of his own ideals4 99 99 99 99 99 ,el ,greco left a ,view of ,toledo2 a portrait1 one would rather call it1 of a city's appearance and her soul2 a highly interpretative vision of the impression of ,toledo's soul upon the spiritual imagination of the artist4 ,the view is from the hill beneath which the present railroad station lies1 and looks across the broken ground to the ravine of the ,tagus4 ,in the middle distance toward the left it is spanned by the wide arch and its narrower sister of the ,alcntara bridge4 ,thence the line of the city walls1 interrupted by their ,moorish towers1 mount the citadel hill to the group of buildings that crown the summit4 ,the ,alczar and the north tower of the cathedral stand conspicuously against a sky1 tumultuous with emotion and lit with large aspiring clouds4 ,these1 like the architecture1 catch the sharpest light1 which elsewhere is distributed in masses of lower tone2 a union of quiet illumination and of flashing sword-like brands of light1 characteristic of so many of the artist's compositions1 so suggestive of passionate inspiration4 ,how different from ,venice of his youth1 this rock-rooted fortress city of the artist's adoption6 ,no less proudly aloof1 but sternly and strenuously exalted2 straitened within tortuous limits2 an apex once of ,moorish power and luxury1 now of ,catholic dominion and sumptuous ecclesiastical ceremony2 its dignitaries men of high and commanding personality1 its ,cathedral famous throughout ,spain as ,toledo the ,rich6 ,the chivalric fervor bred upon countless battlefields1 glowed here in an intense heat of religious mysticism4 ,her hidalgos1 8sons of somebody10 were among the proudest of their class1 self-contained1 austere1 yet fired with religious ecstasy4 ,toledo was at that time the soul of ,catholicism and of the high-bred ,chivalry of ,castile4 ,el ,greco1 with the penetration of the alien observer1 caught its spirit4 ,it inflamed his own romantic ardor and religious devoutness2 at the same time giving fibre and force to his imagination4 ,yet his whole art1 as it developed under these conditions1 was built up on observed facts4 ,the type of his figures1 both in portraiture and altar-pieces1 was drawn from the humanity about him1 the lean1 long-limbed bodies1 with high narrow heads2 a type that still survives4 ,you see it even in ,madrid1 still more readily in ,toledo4 ,here too in the passing throng you may detect one of those wistful1 ,illustration3 ,,san ,,mauricio ,,and ,,his ,,theban ,,legion ,,el ,,greco ,,the ,,escori,l flower-like faces1 pure as the chalice of a lily1 that ,el ,greco learned to give to his ,madonnas1 while among the children you will find the strangely sexless1 coldly passionate faces of his angels4 ,he exaggerated the type1 just as his contemporary1 ,cervantes did2 the latter to make it ridiculous1 ,el ,greco in sympathy with its high enthusiasm4 ,but each from his own standpoint captured the real soul of the ,spanish race more effectively than any other writer or artist of ,spain4 ,the humor of ,cervantes made him intensely popular1 the seriousness of ,el ,greco has had to wait until to-day for recognition4 ,his exaggeration1 sometimes even approaching distortion1 is for the purpose of decorative effect or for enforcing character or emotion1 or is more frequently employed with the two purposes combined4 ,a fine example of characterization is the portrait1 here called ,s4 ,jerome 7,frontispiece74 ,there are replicas of this picture in the ,national ,gallery and the ,prado1 where it is called ,s4 ,paul4 ,but the title is of small account4 ,the picture is clearly the portrait of some dignitary of the ,church or at least of the type of ecclesiastics of the day4 ,the stubby hair and the long beard are approaching white1 the face is greyed over1 and silvery lights relieve the rose colored mantle4 ,the head1 in proportion to the body is small but of extra length and narrowness1 and the hands are extremely elongated4 ,but by these exaggerations what expression of character is obtained6 ,the head is at once that of a soldier1 a scholar and an ascetic4 ,the eyes have a cold1 piercing directness2 the long nose is indicative of relentless purpose and the mouth of iron rigidity and cruelty4 ,one hand lies on the book with a gesture of refinement1 almost of tenderness1 while the thumb of the other is turned down with a decision that brooks no reasoning or opposition4 ,in fine1 the type is a strange mixture of intellectuality and bigotry2 of elevation and narrowness1 of gentleness and remorselessness4 ,it might be that of an inquisitor1 who condemns with no more hesitation than a surgeon1 compelled by his diagnosis to use the knife4 ,or for an example of distortion1 employed with emotional effect1 turn to ,the ,crucifixion of the ,louvre 7p4 #gj74 ,the body of the ,christ is beautiful in its languor of repose2 no pain or horror mars the serenity4 ,the tragedy of the event is depicted in the amazing impression of the sky2 a murky blackish green veil1 rent like the veil of the ,temple1 with scars of white4 ,the ,saviour rests from his labors4 ,it is the universal tragedy of sin which will crucify him afresh1 that is depicted4 ,for my own part1 ,i know of no other suggestion of the ,divine ,tragedy so spiritually moving as this one4 ,el ,greco painted this subject several times4 ,another fine example is ,the ,crucifixion of the ,prado1 where the figures of the donor and an ecclesiastic are replaced by the three ,maries and ,s4 ,john1 figures expressive of anguish and adoration1 while angels of spiritual loveliness receive in their hands with transports of adoring ecstasy the blood from the sacred wounds4 ,it is at once a pan and a dirge1 superb in its decorative elaboration4 ,but in the picture of the ,louvre1 the decorative scheme is sublimely elemental2 its very simplicity ,illustration3 ,,the ,,funeral ,,of ,,count ,,orgaz ,,el ,,greco ,,san ,,tom1 ,,toledo augments the poignancy of the appeal4 ,but our original consideration was the distortion introduced4 ,the natural appearance of the sky is distorted2 the color false1 there is no suggestion of actual light or atmosphere4 ,there was1 in fact1 no thought of representing the sky naturally2 it has been used as a symbol of expression4 ,and it was so that ,el ,greco chose at times to use form4 ,if the student peers through the spectacles of an academic pedagogue1 criticising this or that because it does not conform to his canons of proportion or notions of correct drawing1 he will never discover the real ,el ,greco4 ,if he is looking solely or chiefly for naturalistic representation1 such as will pass muster in the schools1 let him turn away at once4 ,otherwise he will be only seeking for trouble4 ,it is with the eye of the imagination1 seeking for spiritual impressions or for character of expression and expression of character1 that ,el ,greco must be studied4 ,on the other hand1 it must not be supposed that ,el ,greco was indifferent to the facts of form4 ,no artist better understood and valued form or rendered it with more reliance on its plastic qualities4 ,it was1 however1 not the plasticity merely of its shape that attracted him1 but its plasticity of expression4 ,he made expression visible in its external appearances4 ,he used form as an instrument of interpretation2 hence1 for the furtherance of expression he dared to exaggerate or even to distort it4 ,it is not amiss to compare ,el ,greco to some great composer whose medium is his orchestra4 ,the latter is made up of units1 but there is no established proportion of the relation which they bear to each other and to the whole4 ,it is a flexible instrument in which the composer makes his own adjustments4 ,if for the interpretation of his theme he exaggerates the wind instruments or chooses to introduce new devices for attaining an effect1 he is judged solely by the harmonious result4 ,for music being a completely abstract art1 the verdict depends upon the structure1 scope and quality of its expression4 ,the art of painting is less abstract1 being limited by the sense appreciation of the eye and the need of attaching the expression to some visible object2 but1 as far as possible with the liberty of the musical composer1 ,el ,greco composed his symphonies of form and color4 99 99 99 99 99 ,this liberty of composition was only gradually evolved4 ,his earlier work1 executed during his first years in ,toledo1 exhibit traces of his ,venetian training4 ,the ,assumption of the ,virgin1 which is now owned by the ,art ,institute of ,chicago1 is in its treatment of the forms and composition still ,titianesque2 but already the influence of the new environment upon ,el ,greco's individuality is apparent4 ,he has caught as yet little if any of the mystic fervor1 but the types1 particularly of the apostles1 are local2 the draperies are handled broadly and plastically1 and the color is no longer of ,venetian sumptuousness4 ,the process of dematerialization has begun1 which will be carried on until in the great works of the artist's maturity the ,venetian richness of pigment1 full of mundane splendor1 has entirely disappeared in cool1 austere harmonies of blue1 lemon and yellow1 black1 grey1 white1 olive green and silvery carnation4 ,touches of warm color occur but they are comparatively rare4 ,least of all in the great altarpiece does ,el ,greco use color for effects of pageantry or mere decoration4 ,his use is interpretative of spiritual significance4 ,in his portraits it is psychologically expressive4 ,the latter are mostly half-lengths or busts2 grand1 pale faces against a sombre background1 isolated by a white ruff from the black body on which the white nervous hands are displayed4 ,on the other hand1 the portraits of ecclesiastics or imaginary presentation of saints involve a variety of hues4 ,there is a series of such presentments of the apostles in the little ,provincial ,museum1 now established in ,el ,greco's house4 ,the ,s4 ,bartholomew is entirely in white1 but the others are bi-colored1 showing a robe and mantle1 respectively of yellow and blue1 yellow-green and red-wine color1 grey-blue and orange1 grey-blue and apple green1 and so on4 ,it is as though the artist had searched for the most unusual and recherch combinations and had compelled them into harmony by the nuances with which he has invested them4 ,moreover1 each is in psychological relation to the head and hands of the subject4 ,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 dark1 but actually modeled in color1 obtaining the chiaroscuro by means of values4 ,it is with a feeling of strangeness that one views a number of ,el ,greco's portraits such as is gathered in the ,prado4 ,almost invariably the eyes are fixed on us1 but with no look of recognition or sympathy4 ,though the face thrills with life1 it is impassive4 ,behind each living mask is an impenetrable mind1 wrapped completely in the seclusion of its own spirit4 ,equally removed from all outside sympathies are the faces of the apostles and saints4 ,they1 however1 are not impassive1 for on each is the trace of inward struggle1 of highly wrought meditation or spiritual ecstasy4 ,their personalities are so varied and distinct that one is assured they are portraits or at least studies of the types of ecclesiastics1 monks or laymen which ,toledo presented4 ,they have one quality in common1 that of transcendental elevation2 symptomatic of the spiritual unrest of the time4 ,for elsewhere the ,protestant ,reformation was making headway and ,spain was its most ardent opponent4 ,it was here that the ,counter-,reformation reached its most extravagant form4 ,the ,spaniard met the challenge of reason with a passionate belief1 which developed into mysticism and visionary exaltation4 ,of this ,toledo was the volcanic center and ,el ,greco its pictorial exponent4 ,the mainspring of his motive was his own intense religious belief1 which enabled him to give plastic reality to the visions of his passionately exalted imagination4 99 99 99 99 99 ,his pictures1 when he has adjusted his style to his motive1 are all visions4 ,even his portraits are visions of men's souls4 ,and the secret of his power to suggest the reality of the vision is that it is based on realism4 ,his creations are a union of realism and idealism2 or rather of realism in the true sense4 ,for to-day we have learnt to distinguish between realism and naturalism3 ,illustration3 ,,baptism ,,of ,,christ ,,el ,,greco ,,the ,,prado the latter a representation of natural phenomena2 realism a representation of the same with a suggestion of their relation to the horizon of the idea involved in them4 ,this becomes ,el ,greco's almost invariable habit4 ,turn1 for example1 to the ,san ,mauricio 7p4 #ge71 which was executed shortly after the ,assumption of the ,virgin4 ,according to legend ,mauritius was the general of a ,theban mercenary legion in the ,roman army4 ,he refused to pay homage to the gods and was condemned to be beheaded4 ,whereupon the whole legion declared their faith and shared martyrdom with their leader4 ,one may believe that ,el ,greco pictured the event in his imagination2 its several phases1 the general's refusal1 the executions and the glory in ,heaven of the martyr's crown4 ,in the glow of religious fervor a vision shaped itself before the eyes of his spirit and he set it upon the canvas4 ,the noble heads of the general and his lieutenants are clearly portraits of contemporaries1 of men who no doubt believed themselves capable of imitating the example of the saint1 if occasion required it4 ,at the outset1 therefore1 the picture is based1 not on a mere representation of certain persons1 but of the latter in their relation to the idea involved4 ,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 follow4 ,the saint himself1 in fact1 is represented as having his own vision of the situation in relation to its horizon of ideas4 ,the back of the officer who is delivering the ultimatum is modeled with intentional exaggeration1 to increase the refined suggestion of the saint and at the same time to emphasise the separateness of the main group both from the scene that is being enacted in the rear and from the ,heavenly vision4 ,the color impression of the whole picture is blue2 cold tones of blue relieved by the pale red-wine color of the flag1 the pale creamy yellow of some of the corselets and the extreme white of the flesh4 ,it is a scheme which gives an extraordinary suggestion of abstraction4 ,the lighting also reveals the beginning of ,el ,greco's gradually developed method of chiaroscuro4 ,the latter grew out of his study to give to every part of the decorative pattern of his composition the life of movement4 ,in the figures of the angels actual movement is expressed in the gestures and actions1 but in the stationary figures in the foreground it is suggested by the curling1 quivering light1 especially on the legs4 ,these light effects1 so characteristic of ,el ,greco's work from this point onward1 will embarrass the student who is looking for naturalistic exactitude4 ,it is not until he has become used to the artist's blending of the concrete and the abstract1 that he will realise its fitness in the whole scheme of the vision4 ,the next great work of ,el ,greco's career was ,the ,funeral of ,count ,orgaz1 7p4 #gf71 known in ,spain as ,el ,interrio4 ,this masterpiece still hangs in the church for which it was painted1 ,san ,tom1 in ,toledo4 ,it commemorates the legend connected with the founder of the church1 the pious ,count ,orgaz1 who died in #acbc4 ,at his funeral ,s4,s4 ,augustine and ,stephen appeared and lowered the body into the grave4 ,once more it is a vision both of the actualities of the incident and of the no less reality of the spiritual idea involved4 ,while the priests and faithful friends1 portrait-studies of ,el ,greco's contemporaries1 assist at the solemn function1 some turn their eyes to the vision above1 where amid the hosts of prophets1 apostles1 saints and angels1 with the ,blessed ,virgin interceding1 the naked soul of the ,count appears at the feet of his ,redeemer4 ,was ever nakedness expressed so literally and yet with such abstraction8 ,the whole vision is illuminated by a cold light which comes from within the scene itself4 ,the sumptuousness of gold embroidery distinguishes the vestments of the two saints in the foreground1 emblematic of the opulent ceremonial of the ,catholic ,church1 while the ,chivalry of ,spain is commemorated in the dead body4 ,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 picture4 ,above1 the ,virgin's mantle makes a positive note of blue among the paler and higher tones of the same color1 the pale yellow1 cream and occasional suggestion of mauve and faintest carmine4 ,the prominence given to the ,virgin and the nude form1 and the elongation of the latter help to isolate the ,christ and increase the sense of altitude1 up toward which are straining eagerly the faces of the ,heavenly hosts4 ,what a pageant of spiritual exaltation1 parted by open tableau-curtains of cloud from the drama below6 ,and the latter--was ever a greater intensity of gravity1 dignity and tenderness compressed into a group of heads8 ,tradition has it that the priest to the right in white vestment is ,don ,andrez ,nuez1 priest of ,san ,tom4 ,the grey-bearded profile to his left is known to be a portrait of the painter1 ,antonio ,corrubias1 whose brother1 ,diego1 appears in the white-bearded man on the left of the composition1 above the figure of ,s4 ,stephen4 ,the face with the ruff1 to the left of ,antonio ,corrubias1 is supposed to be the artist's4 ,everyone has praised the consummate characterisation and technical mastery of this lower part of the picture2 but many have criticised the upper and been unable to accept it as a reasonable part of the composition4 ,on the other hand1 if study of the picture include communion with the spirit and purpose which inspired it1 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 it4 ,the composition for a moment recalls ,raphael's vision of the ,disput1 which ,el ,greco must have seen in the ,stanza of the ,vatican4 ,there1 the space to be filled1 though proportionately broader than this one is similarly arched1 and a band of figures1 representing the ,church on ,earth1 spreads across the lower part1 while in the upper1 ,heaven is unfolded4 ,but beyond this all resemblance ceases4 ,even the earthly group in ,raphael's fresco is disposed in the manner of ,italian idealism2 in the ,count ,orgaz its naturalness is characteristically ,spanish4 ,in the upper part of his painting ,raphael continued the geometrical design of the composition by arranging the ,heavenly hosts in arcs4 ,el ,greco has invented a sort of irregular1 spontaneous geometry4 ,the design has a central group of three figures1 disposed to form a triangle1 outside of which the spaces of cloud are divided ,illustration3 ,,virgin ,,and ,,saints ,,el ,,greco ,,san ,,jos1 ,,toledo into compartments or pockets1 filled with figures4 ,it is a borrowed motive1 discoverable in the compositions of ,giotto and other primitive ,italians and in the mosaics that helped to inspire them4 ,it is1 in fact1 ,byzantine4 ,but the latter term is merely a named and dated milestone on the road which stretches back in endless perspective through ,persia to ,buddhistic art4 ,to-day1 with our opportunities of studying the latter1 we can detect a curious affinity between ,el ,greco's arrangement and well known features of ,chinese composition4 ,unconsciously1 in fact1 his genius leaped back of its conscious source to the remote spring of ,oriental inspiration4 99 99 99 99 99 ,following the ,count ,orgaz came a series of pictures in which passionate ecstasy reached its highest intensity4 ,three of them are in the ,prado3 ,the ,crucifixion1 already alluded to1 in which angels are catching the sacred ,blood1 a ,resurrection and ,the ,baptism of ,christ4 ,the last named 7p4 #ha7 is not merely a representation of one man pouring water on the head of another1 whose humble mien1 coupled with the introduction of a hovering dove and sometimes a venerable aged man above1 tells one that the picture is meant to represent the baptism of the ,second ,person of the ,holy ,trinity4 ,such is generally the jejune method of treating the subject4 ,but here we are again in the presence of a vision1 in which the real spiritual significance of the facts of the incident are made visible to the eye4 ,heaven joins with earth in a symphonic burst of devotional enthusiasm4 ,movement of life abounds1 the soul's life typified by human forms4 ,there is even the rhythm of movement in the comparatively static figures of the ,christ and ,s4 ,john2 in the angels that lift the crimson mantle and those who stand by adoring2 while over head the spiritual energy mounts in wave upon wave of jubilance till it circles about the serene figure of the ,most ,high ,god4 ,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 plane2 also that there is nowhere any space unfilled with meaning1 even the grey-green creamy clouds seeming to mount upward with their angelic burdens4 ,but beyond all possibility of description is the degree to which the picture kindles and lifts the imagination4 ,amazing also is ,the ,resurrection1 now in the ,prado4 ,the figure of the ,lord1 long and supple as a reed1 is poised above1 while down below the soldiers are in agitated consternation4 ,they have been roused out of sleep by the shock of the rending tomb and1 still dazed1 confront the miracle4 ,one has fallen backward in his fear1 some shield their eyes from the light1 while others carve the air with their swords in frantic efforts4 ,with the exception of one fine young figure that reaches up his hand1 as if in acknowledgment of the miracle1 they are all nude1 the bodies wrought to extreme tension of expression4 99 99 99 99 99 ,to this time also belongs ,the ,dream of ,philip ,,ii1 in the ,escoril4 ,it was followed by a period of serener pictures1 such as those which were painted for the ,chapel of ,san ,jos1 ,toledo4 ,the finest of these1 and the best known1 is a narrow upright panel1 the ,s4 ,martin1 dividing his cloak with a nude beggar4 ,the youthful figure of the saint--a portrait of the artist's son ,george1 in the beauty of his first manhood--clad in black armor1 is mounted on a white horse which has black accoutrements4 ,the animal has one foreleg lifted and arched2 the others parallel the legs of the beggar1 recalling somewhat the treatment of the legs in the ,san ,mauricio4 ,the two figures are seen against the sky1 which soars above a distant view of ,toledo4 ,in the statuesque plasticity of the forms and the chastity of the color scheme of white1 black1 green and pale greyish blue the picture is one of extraordinary nobility and tenderness and of extreme abstraction4 ,facing it is the exquisitely tender and reverential ,virgin and ,saints 7p4 #he7 in which perhaps1 more than in any other of his works ,el ,greco has yielded to the charm of facial loveliness4 ,above the high altar hangs the ,coronation of the ,virgin4 ,the center of the composition is a trefoil arrangement of the three figures of the ,father1 ,son and ,virgin1 beneath which are two adoring figures1 the rest of the pattern consisting of clouds in arc-like forms only less full of expressional value than the figures4 ,it is a motive that ,velasquez borrowed in his picture in the ,prado of the same subject4 ,to this period is attributed the ,crucifixion in the ,louvre 7p4 #gj7 to which allusion has been already made4 ,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 genius4 ,by this time1 also1 we are better able to judge the introduction of the two worshippers in the lower foreground4 ,they were probably included of necessity1 representing the donor and the priest of the ,church for which this picture was painted4 ,but they also introduce that touch of naturalism1 dear to the ,spanish imagination2 and the artist has made them contributary to his conception of the scene as a vision4 ,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 abstraction4 ,also to this period chiefly belong the many ,annunciations and ,holy ,families4 ,of the latter we have a fine example in the ,hispanic ,museum1 ,new ,york1 which recalls with certain modifications that of the ,prado4 ,in all these subjects the type of ,madonna is drawn from the people4 ,but it is not left in its stolid plainness as by ,velasquez in his ,adoration of the ,kings1 or sentimentalised as by ,murillo4 ,by ,el ,greco it has been rarified1 purged alike of grossness and earthly emotion2 in fact1 spiritualized4 ,we may also assign to this period the small ,santiago of the ,metropolitan ,museum1 ,new ,york2 exquisitely choice in its tonal scheme of blue1 slightly relieved by dull ochre yellow1 yet virile in handling and inspired by an exalted purity of imagination4 99 99 99 99 99 ,to the artist's latest period belongs another picture in the ,metropolitan ,museum1 ,the ,nativity4 ,it is the product of a newly awakened ardor1 such as characterises the most important work of ,el ,greco's closing life4 ,the participants in the event are lowly folk2 the ,mother a girl of the people2 the shepherds large-modeled1 shrewdly featured peasants4 ,but all are possessed with the exaltation of the moment2 their naivet and crudity are caught up in a frenzy of amazement4 ,in the darkness of the night the scene is all aflame with spiritual incandescence4 ,how marvellously the light and obscurity are interwoven6 ,what a strange diversity of plastic forms and subtlety of sober coloring are wrought into the composition6 ,strangeness is certainly the first impression one experiences2 then1 following it1 a realisation of intense inspiration and of masterful creativeness4 ,one is in the presence of the unusual1 of a great imaginative spirit4 ,similarly ecstatic is the vision of ,the ,coming of the ,holy ,ghost in the ,prado4 ,at the top1 the ,dove in ,glory2 under it1 a horizontal row of figures1 the ,virgin in the center1 the heads of all tipped with flame2 down below1 two figures1 leaning back and gazing up at the ,divine ,glory4 ,some recollection of the old ,titianesque crimsons and blues appears1 but nothing of their mundane qualities4 ,the whole conception is one of passionate receptivity toward the illumination from on high4 ,the final expression of tempestuous energy appears in the ,death of ,laocoon and ,his ,son in ,san ,telmo1 ,seville and in the ,apocalypse1 or as it has been wrongly called1 ,the ,sacred and ,profane ,love1 owned by the artist1 ,seor ,zuloaga4 ,el ,greco had pupils but left no followers4 ,some of his pupils1 ,luis ,tristan1 for example1 and his son1 ,george ,manuel1 learned to imitate his manner sufficiently closely to have caused confusion in the attribution of certain pictures4 ,but ,el ,greco's style was so directly the product of his own intellectuality1 sensitive and passionate sthetic imagination and highly wrought soul1 that it could not be absorbed in its integrity by others4 ,but his art influenced no less a master than the great ,velasquez4 ,we have noted that the latter borrowed from the ,toledan artist his composition for the ,coronation of the ,virgin and may add the debt which his portrait of ,innocent ,x appears to owe to ,el ,greco's ,don ,fernando ,nino de ,guevara4 ,it was however in the matter of color that the influence is most marked4 ,velasquez adopted1 as ,seor de ,beruete says1 8certain silver-grey tints in the coloring of the flesh1 the use of special carmines and a greater freedom of execution in the draperies1 fabrics and other accessories40 ,these same qualities1 and the intellectuality and abstraction of his conception and style have begun to affect some modern artists4 ,the most notable example was the late ,paul ,czanne1 whose work1 in turn1 is exerting a potent influence on others4 ,meanwhile ,el ,greco's pictures1 until recent years known only to a few connoisseurs1 are being sought for and treasured by collectors and museums4 ,meanwhile1 by the young painter of to-day ,el ,greco should be studied closely4 ,for the modern age in every development of life is beginning to demand intellectuality1 and in painting particularly a greater degree of subtlety and abstract suggestion4 ,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 judged4 ,el ,greco1 in all these respects is a master to be followed2 not in the way of imitation1 but for the sake of the principles involved in his conception of a subject and its technical rendering1 and also because he will help to an understanding of other great artists of expression1 such as ,michelangelo1 ,giotto1 the nameless artists of the ,byzantine period and the known and unknown masters of ,buddhistic art4 ,,chapter ,,vi ,,velasquez ,while ,el ,greco gave expression to the soul of ,spanish chivalry and religion1 ,velasquez embodied in its highest form the racial love of naturalism4 ,more than this1 he stands above all other naturalistic painters in truth of representation4 ,he is usually called a realist4 ,but modern thought is investing this term with a meaning that differentiates it from naturalism4 ,its use of the word is akin to the philosophic meaning of realism1 which recognises the reality not only of the species or individual but also of the genus1 and considers the individual as a phase of the universal process which causes it4 ,modern thought1 in fact1 applies the word realist to one who views the particular in relation to the horizon at the back of it1 to the universal process of which it is a temporary manifestation4 ,thus it calls ,ibsen a realist1 because1 for example1 in 8,a ,doll's ,house10 he treats ,nora and her husband as phases of the universal problem of marital relations4 ,on the contrary1 the playwright who presents merely a cross-section of life1 characters and incidents that are true to life but are not treated in relation to the large horizon of ideas1 governing our principles of living1 it calls a naturalist4 ,the distinction is a vital one and so clarifying to thought and understanding1 ,illustration3 ,,philip ,,iv1 ,,old ,,velasquez ,,the ,,national ,,gallery that to have once comprehended it should be to adopt it4 ,in the light of this distinction is ,velasquez a naturalist or a realist8 ,in his portraits1 which represent his supreme achievement1 is one conscious of anything but the absorbing realisation of an individual personality8 ,do we think of them as typical of their time and country1 as are the subjects of ,el ,greco's portraits8 ,most certainly there is a great exception in the marvelous ,portrait of ,pope ,innocent ,x4 ,behind his grim face extends a wide horizon of correlated ideas4 ,the psychological revelation and universal suggestion of this portrait seem to declare that ,velasquez was in mind a realist1 but compelled by the circumstances of his life to be a naturalist4 ,tethered to the ,court1 he was chiefly occupied with painting the royal personages and their immediate entourage4 ,his was a scene1 closed in1 like a stage-scene by the artificial routine of ceremony and punctiliousness1 in which the puppets1 from ,philip down to his dwarf play-things1 posed4 ,how could a realist portray them in relation to the horizon of ideas involved except by making them contemptible or ridiculous8 ,but his duty as a ,court painter compelled ,velasquez to close out the horizon1 and to represent these individuals with as much of dignity as possible4 ,it is a noteworthy fact that the ,innocent ,x was painted during the artist's second visit to ,italy2 while he was for a brief space quit of the cramped conditions of his life1 able to look out on men and things and study them in relation to large issues4 ,also1 the fact of it being his second visit and that he was in the full maturity of his powers1 implies much4 ,he was less preoccupied with individual impressions1 more capable and disposed to view even the ,pope himself in relation to the political and spiritual conditions of ,rome and of the ,world4 ,but though ,velasquez was compelled to be habitually a naturalist1 he not only avoided the commonplace which so frequently attaches to naturalism1 but proved himself the greatest naturalist in the whole story of painting4 ,he lifted naturalism to its highest pitch of expression4 ,his representations of life are characterised not only by living actuality1 but by consummate justness1 high distinction and extraordinary beauty4 ,there is in all a union of mental supremacy and of supreme technical artistry4 ,perhaps only ,rembrandt1 ,hals and ,raeburn give one so realising a sense of being in the presence of a living personality1 as we experience before nearly all the portraits of ,velasquez4 ,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 horizon2 for ,rembrandt is the great realist4 ,velasquez1 on the other hand1 shares with ,hals and the ,scottish artist their restricted vision2 but his is the finer1 suggesting his own finer quality of mind4 ,their minds were incapable of the high seriousness1 the noble aloofness of his4 ,hals1 seen at his best in the ,haarlem groups1 is one of the jolly fellows he is depicting2 ,raeburn1 an honest1 sturdy gentleman among the gentry who sit to him4 ,velasquez is always the aristocrat1 looking out upon his subject from the elevation of a superior mental dignity4 ,it was because of this that his portraits have the supreme cachet of all great art3 aloofness4 ,the separateness of his own mental personality from the ordinary thing around him is communicated to the personages which he creates4 ,they are alone with themselves2 whether monarch1 dwarf or beggar1 separated from the common touch by virtue of their author's art4 ,in their remoteness they are akin to ,jan ,van ,eyck's portrait of ,jean ,arnolfini and his ,wife and ,holbein's ,george ,gyze and ,erasmus2 but these have not the insistent suggestion of being actually alive4 ,we recognise in them an extraordinary illusion of life2 but in front of ,philip ,,iv in the ,national ,gallery1 of ,moenippus and ,las ,menias in the ,prado1 not to mention other examples1 the consciousness of illusion does not enter our thoughts4 ,we are face to face with truth2 8verdad1 no pintura10 as ,velasquez himself used to say was his ideal--8truth1 not painting40 ,on the other hand1 the truth is saved from being merely lifelike1 obvious1 by the rarifying quality of ,velasquez's own aloofness4 ,his portraits quiver on the razor-edge of truth and abstraction4 ,we have spoken of their consummate justness4 ,this represents another result of the high-bred nature of ,velasquez's mind2 revealed in a tact of selection1 exposition and arrangement4 ,he had an unerring feeling for essentials1 his most characteristic works being singularly sparing of detail2 a cultivated instinct for the salient gesture and expression1 and a rarely economical method of achieving them4 ,his ability to plant a figure on the floor1 so that it bears down with its own weight and grows up in its own strength2 to give it characteristic action1 at once unified and rhythmic2 to invest its contour lines with firmness and precision as well as subtlety2 to give to the smallest details1 such as the modeling of a glove1 an individual character and1 finally1 to adjust all these several qualities into an organized unity and place the ensemble in perfect relation to the open space it occupies--his ability to do all this is the measure of his justness4 ,to the high distinction of the result we have already alluded in speaking of its dignity and aloofness4 ,it is the product1 alike1 of elevated mentality and of supreme technical accomplishment4 ,the latter brings us in touch with the cause of its extraordinary beauty4 ,what does beauty mean to us8 ,if it is beauty of face and form--the easy way to artistic beauty and to lay appreciation thereof--we shall seldom find it in ,velasquez's pictures4 ,the people whom it was his lot to paint were mostly plain-featured1 to use no harsher terms2 their costumes outrageously extravagant and not in the direction of elegance2 the coloring was sombre1 only sparingly relieved with gaiety of color4 ,nor1 for the most part1 were they people of force of character or with suggestion of experience imprinted on their faces1 so that in the interest aroused thereby1 one could forget their homeliness4 ,to be frank1 they are mostly stupid persons1 or at least apathetic4 ,whence1 then1 the beauty8 ,its source is twofold3 in the artist's vision of his subject and in his technical rendering of what he found4 ,the secret of an artist's vision1 when it is truly artistic1 is that it is inspired by a feeling for beauty and is looking for beauty4 ,he is not searching for something to represent1 but for a means of expressing what ,illustration3 ,,equestrian ,,portrait ,,of ,,philip ,,iv ,,velasquez ,,the ,,prado he feels of beauty4 ,to such a one as ,velasquez it matters little what he is called upon to paint4 ,he is not aware of those limitations which the ordinary man calls ugliness4 ,to him the subject is a manifestation of life and life to him is beauty in every one of its aspects1 and to render that beauty is sufficient4 ,and you may say that he finds life and the beauty of life not only in the face and figure1 action and gesture1 of his subjects1 but in the clothes they wear and the accessories that surround them4 ,all are contributory to the sense of life with which the subject inspires him1 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 beauty4 ,but1 after all1 it is not so much a question of extracting beauty from the subject as of putting beauty into it4 ,the final achievement is one of technique4 ,there are hundreds of pictures which a layman can admire without thought of technique4 ,interest of subject predominates1 or at least is sufficient to establish interest2 charm of sentiment attracts1 or splendor of color or composition4 ,but ,velasquez's compositions for the most part are studiously reserved2 his color sober2 scarcely the quiver of sentiment disturbs the equanimity of his subjects1 and the latter1 in the ordinary sense of the term1 have no human interest4 ,such attractiveness1 therefore1 as they have1 is almost completely what has been put into them by his technique4 ,take1 for example1 the bust-portrait 7p4 #ib7 of ,philip ,,iv in the ,national ,gallery1 assuredly one of ,velasquez's most notable achievements4 ,how languid the pale hair2 the face1 how foolishly prolonged1 flabby and expressionless6 ,imagine it painted by a second-rate artist1 and you would pass it by4 ,but before this portrait you pause and linger long4 ,why8 neither you nor ,i can tell2 except simply that we are in the presence of the mystery of life1 so that even this sallow1 puffed face attracts and rivets our admiration4 ,even a painter cannot tell you how it was painted4 ,its technique eludes him4 ,yet it is the technique which holds him to the spot4 ,he feels that here the mystery of living structure and tissue has been compassed by the mystery of the artist's creativeness4 ,something of the same suggestion of spontaneously created plasticity is to be found in the beautiful child-portrait of ,don ,baltasar ,carlos in the ,metropolitan ,museum1 ,new ,york4 ,usually1 however1 the means by which the effect is obtained may be discovered4 ,you note the character expressed in some detail of the canvas2 and then approach until you see the brush strokes that produced it1 no less magical because patently apparent4 ,in fact1 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 illusion4 ,it is a hopeful theory that out of one's limitations may grow one's greatest strength4 ,and it is true of ,velasquez4 ,the very narrowness of his scope of actual vision encouraged a closer scrutiny4 ,he discovered beauty in things which had escaped the notice of artists to whom larger liberty of choice was allowed4 ,this is particularly revealed in his attitude toward color and light4 ,the range of color-hues involved in the costumes of his royal sitters was restricted2 blacks and greys prevailed1 with occasional notes of rose or blue4 ,debarred from a variety of hues1 ,velasquez learned to see the variety of nuances which any one hue presents under the action of light4 ,his blacks ceased to be merely the negation of color2 they took on silvery hues1 and sometimes brown ones4 ,even the bare drab wall of his studio became a field for the play of light4 ,he grew to be an intimate student of the identity of the effects of light and color2 noting how the 8local hue0 of an object varies in color-value according to the quantity1 direction and quality of the light upon the various planes of its surface4 ,some artists before his time had noted this principle1 but none until ,velasquez and ,hals--for it is a strange coincidence that the ,dutch artist also was following this track--had given a practical application to it4 ,others had treated the local color1 as if it were separate from chiaroscuro4 ,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 shaded1 half-shaded1 and light parts to be seen through it4 ,velasquez actually modeled in the local color1 by representing the differences of color-values that it assumed1 according as the rise or depression of its surface caught more or less of light4 ,this1 of course1 is what other artists had done1 notably ,leonardo da ,vinci in his ,monna ,lisa1 ,jan ,van ,eyck and ,holbein in their portraits2 but with a difference4 ,they imitated each color-value as exactly as they could1 modeling their surfaces with innumerable facets4 ,velasquez1 like ,hals1 discovered for himself the principle of ,impressionism2 so far1 at least1 as this term is applicable to technical processes4 ,for its meaning has become extended to include the artist's mental standpoint1 so that to-day1 when we speak of an impressionist1 we mean one who in literature1 or drama1 or painting or sculpture colors his impressions according to the moods of his temperament4 ,but in ,velasquez there is nothing of the temperamentalist4 ,he is the cool1 impartial observer of objective facts4 ,but1 instead of seeing them1 as ,holbein did1 in the multiplicity of their detailed variations1 he saw them in the large4 ,primarily1 that is to say1 he aimed1 not at perfection of parts1 but at a unity of ensemble4 ,to secure this he sacrificed the less important to the more important2 eliminated the unessential and emphasised the salient4 ,his mental process was one of keen analysis1 directed to the question of what was and what was not essential1 and also to the study of the relative degrees of importance which the essentials bore one to another and the whole4 ,the end in view was to make the ensemble1 not only organically simple1 but an organic unit4 ,no doubt ,velasquez was led to these results by his study of color and light4 ,he not only discovered but made technical use of the fact that light tends to unify the colors and forms of objects2 that it encompasses them and affects their contour lines1 causing some to be sharp and others more elusive1 and also1 as we have noted1 changes the values of their hues4 ,further1 he became aware that under the action of light colors act and react on one another2 that1 for instance1 the value of the flesh of a face will be affected by the color-light ,illustration3 ,,an ,,actor1 ,,called ,,velasquez 8,,don ,,juan ,,of ,,austria0 ,,the ,,prado of the costume or of other objects near it4 ,thus1 we ourselves may have observed how the white gown and face of a woman1 seated on the grass1 will assume values of reflected green4 ,or1 if we are acquainted with the ,lumire process of color-photography1 we are familiar with the surprises of unexpected reflections which the camera records4 ,all of these results of his study ,velasquez employed to render the truth of sight and to unify the impressions4 ,for it was the sum of the impressions he had received that he learned to render4 ,he1 in fact1 formed in his mind a net impression of the whole scene1 then translated each part into its proper share in the total of impression4 ,it is a process which in the case of so great an artist as ,velasquez is an act of high imagination1 giving birth to an act of real creativeness4 ,the result1 then1 is not an imitation of nature's truth but the new creation of an equivalent artistic truth2 yet1 with such an illusion of natural truth that it still meets his own ideal--8truth1 not painting40 ,hence the stimulus which the spectator feels in the presence of his finest works4 ,he is urged to be an active participator2 to retranslate the equivalent of truth into the natural truth2 to read from the shorthand of the brush strokes the full text of the longhand2 to adjust his own eyes and mind to the reception of the impression and that a unified one4 ,he becomes1 in fact1 a part-creator in the picture2 somewhat as an intelligent spectator of a good play finds himself a part-actor in the dramatic situations4 99 99 99 99 99 ,the story of ,velasquez's life is little else than an enumeration of incidents in his career as an artist4 ,he was born ,june #f1 #aeii1 in ,seville1 where his father1 ,juan ,rodriquez de ,silva1 a lawyer of an old ,portuguese family1 had settled4 ,the mother was ,geronima ,velasquez4 ,hence the son's full name1 ,don ,diego ,rodriquez de ,silva y ,velasquez1 was shortened according to ,andalusian custom into the family name of his mother4 ,his parents dedicated him to the study of letters and philosophy1 but yielded to his desire to become an artist4 ,after a short period in the studio of ,francisco ,herrera1 he was placed under the care of ,francisco ,pacheco1 an academic painter of no great merit1 but a man of considerable learning1 whose house was a resort of the most cultivated society of the city4 ,the young ,velasquez profited so well by these surroundings1 that ,pacheco accepted him as a son-in-law4 ,he was married to ,juana ,pacheco in #afah1 the result of the union being two daughters1 ,francisca and ,ignacia1 the former of whom subsequently married ,velasquez's own pupil1 ,juan ,bautista del ,mazo4 ,at this time1 the ,school of ,andalusia1 under the influence of ,ribera's pictures1 was abandoning ,italianate mannerisms in favor of the naturalistic motive4 ,when the young king1 ,philip ,,iv1 ascended the throne in #afba1 ,pacheco began to scheme that his most promising pupil should be brought to the royal notice4 ,a visit to ,madrid was planned in #afbb1 and on this occasion ,velasquez gained the notice of the ,count-,duke de ,olivares1 the king's prime minister and favorite1 who in the following year summoned him back to ,madrid4 ,under the ,count's direction and aided by his purse1 ,velasquez produced an equestrian portrait 7which has disappeared7 of the king1 who was so well pleased with it that he took the young artist into his service4 ,thus1 in #afbc began that mutual friendship of monarch and painter1 which resulted in a close companionship of nearly thirty-seven years4 ,it was interrupted only by the king's occasional journeys of state and by ,velasquez's two visits to ,italy4 ,in #afbh ,rubens arrived as an ambassador extraordinary from the ,king of ,england4 ,his visit was prolonged for nine months1 during which he painted several pictures for the ,king4 ,velasquez was deputed to act as his escort in the visits which he paid to the ,escoril and to the royal picture galleries4 ,he was thus brought into touch with the most renowned painter of the day at the period of his most splendid achievement4 ,the association must have broadened the young man1 but it did not cause him to falter in his own attitude toward nature and art4 ,rubens urged him to go to ,italy and study the great masters1 and the ,king endorsed the advice4 ,the first visit was made in #afbi under circumstances of importance4 ,for ,velasquez started in the train of the ,marquis ,spinola1 the most renowned ,captain-,general of the age1 whom he was to immortalize in the ,surrender of ,breda1 and on his arrival in ,italy presented letters from the ,count-,duke de ,olivares which procured him admission to the most famous galleries4 ,he copied some of the works of ,michelangelo1 ,raphael and ,tintoretto1 and brought back five original canvases3 ,the ,forge of ,vulcan1 ,joseph's ,coat1 two views of the ,villa ,medici and a ,portrait of ,doa ,maria4 ,the first1 notwithstanding its classic subject1 is naturalistic4 ,velasquez has taken advantage of the story of ,apollo announcing the infidelity of ,venus to her husband1 while he is at work with his assistants1 in order to make a study of the nude form1 as a vehicle for the expression of action and emotion4 ,but the composition has nothing of the method of ,italian idealism1 while it abounds with charming passages of still-life painting1 thoroughly ,spanish4 ,the ,villa ,medici studies are particularly interesting evidence of ,velasquez's preoccupation with nature1 even among the masters in ,rome1 and his serious regard for landscape1 which forms an important feature in many of his portraits4 ,his return to ,madrid in #afca marks the end of what is regarded as the first period of his career4 ,the remainder is similarly divided into two parts4 ,the chief works of the first period beside those already mentioned are the early ,adoration of the ,shepherds 7,national ,gallery71 ,the ,lady with the ,fan 7,wallace ,collection71 ,the ,adoration of the ,kings1 ,los ,borrachos or ,the ,topers1 and ,philip ,,iv4 ,young1 all of which are in the ,prado4 ,philip welcomed his artist back with new favors1 appointing him to the post of ,aposentador ,mayor1 whose duty it was to superintend the arrangements for the ,king's lodging during his excursions to the country4 ,it was a means of keeping his friend with him1 though it must have seriously interfered with the work of the artist4 ,an influence of the first ,italian visit may be traced in the large decorative canvases which characterise the middle period4 ,olivares had presented his palace of ,buen ,retiro to the ,king1 and the latter employed ,velasquez and other painters to embellish it4 ,hence followed the equestrian portraits of ,don ,baltasar ,carlos1 ,olivares and ,philip himself1 and the historical picture1 ,the ,surrender of ,breda4 ,in addition1 this period produced the ,christ at the ,pillar 7,national ,gallery7 and the ,prado portraits of ,philip ,,iv as a ,sportsman1 ,don ,baltasar ,carlos as a ,sportsman1 ,don ,fernando de ,austria as a ,sportsman1 ,the ,sculptor ,montaz1 and the portraits of dwarfs and actors1 among the latter the so-called ,don ,juan de ,austria 7p4 #ajj74 ,velasquez started on his second visit to ,italy in ,june #afdi1 and returned to ,madrid in the summer of #afea4 ,it was on this occasion that he painted the portrait of ,innocent ,x1 which is now in the ,doria ,gallery in ,rome4 ,on his return home the ,king made him ,marshal of the ,palace1 which entailed upon him the onerous duties of arranging court festivities4 ,these1 too1 had encreased in frequency and pomp owing to the ,king's second marriage2 this time with his niece1 ,mariana of ,austria1 a girl of fourteen4 ,notwithstanding such interruptions ,velasquez produced during these last nine years of his life some of his finest works and his masterpiece1 ,las ,menias 7,the ,maids of ,honor74 ,among the other canvases are ,s4 ,anthony ,visiting ,s4 ,paul2 ,las ,hilanderas 7,the ,weavers72 ,portrait of ,queen ,mariana 7p4 #aai72 ,portrait of ,doa ,maria ,teresa 7or ,margarita ,maria72 ,la ,infanta ,doa ,margarita ,maria1 of the ,louvre2 ,philip ,,iv ,old 7p4 #ib7 and the ,venus 7,national ,gallery72 sopus1 ,moenippus1 ,the ,god ,mars1 ,the ,dwarf called ,antonio ,el ,inglese1 and the actor ,cristobal de ,perna1 called ,barbarroja4 ,all the above1 except those otherwise specified1 are in the ,prado4 ,in ,june1 #affj1 the marriage1 which had been arranged by ,cardinal ,mazarin between the young ,louis ,,xiv and ,philip's daughter1 ,mara ,teresa1 was celebrated upon the ,isle of ,pheasants1 in the little river which separates ,spain and ,france on the ,west of the ,pyrenees4 ,the weight of the burden of preparation and supervision fell upon the ,marshal of the ,palace1 and proved more than ,velasquez could sustain4 ,he broke down at the end of the ceremony and1 returning to ,madrid1 died a few weeks later1 ,august #f1 #affj4 ,his wife survived him only seven days4 99 99 99 99 99 ,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 ,velasquez4 ,for information on this head the reader is referred to the latest critical work on the subject--8,velasquez0 by ,seor ,a4 de ,beruete y ,moret1 and to the continuation of the subject by his son in his recent book1 8,the ,school of ,madrid40 ,both are published in ,english4 ,the net result of their study is that many of the pictures ascribed to ,velasquez are either copies of ,velasquez's work1 made by his son-in-law and pupil1 ,mazo1 or original works of the latter1 who from constant companionship with ,velasquez had learned to imitate his style so closely4 ,here1 ,i will satisfy the curiosity of the reader only by saying that these critics pronounce the ,philip ,,iv in ,hunting ,costume1 of the ,louvre1 to be a copy1 and the ,admiral ,pulido-,pareja1 of the ,national ,gallery1 an original1 by ,mazo4 ,by reference to a few examples1 let us trace the evolution of ,velasquez's way of seeing and rendering his subject4 ,the earliest picture in the ,prado is ,the ,adoration of the ,magi4 ,this is assigned to about the year #afai1 the probable date also of ,the ,adoration of the ,shepherds 7,national ,gallery74 ,both1 therefore1 belong to the ,seville period4 ,perhaps in the ,magi we can detect something of the sophistication of the learned ,pacheco1 as well as the influence of the new naturalistic movement4 ,the figures are naturalistic2 while the grouping and lighting are artificial1 academical4 ,the light is arbitrarily centered on the ,mother and ,child2 the shadows which envelop the other figures are also arbitrary2 neither shade nor light is naturally distributed2 the whole is a studio convention4 ,velasquez finished ,los ,borrachos1 7,the ,topers7 in #afbi1 the year he sailed for ,italy4 ,it represents the climax of his development during the previous ten years1 and what progress it exhibits6 ,the distressing murkiness of the older picture has disappeared2 the chiaroscuro in this is luminous2 the flesh parts brilliantly lighted1 the shadows warm and transparent4 ,but it still presents the studio chiaroscuro1 designed for the sake of the pattern and unity of the composition2 the light and shade are not nature's4 ,wonderfully naturalistic1 however1 are the heads of these peasants1 brimming with character and life4 ,the men are engaged in a mock scene1 in which a youth1 playing the part of ,bacchus1 is crowning a comrade with vine-leaves4 ,as ,seor ,beruete says3 8,the ,spanish #8picaresca1' or rogue comedy1 which plays such a brilliant part in the literature of that day1 has never been better rendered than it is in this astonishing picture40 ,but we note1 in anticipation of the artist's further advance1 that the picture presents only a pictorial ensemble1 not yet a natural unity4 ,it is a mosaic of splendidly executed items--faces1 nude forms1 costumes and still-life--each of which merits and indeed demands individual study4 ,as a pattern the composition holds together as a unit1 but it does not present a unit of sight4 ,one cannot see it as a whole2 the eye travels from point to point1 resting on each and enjoying it separately4 ,the picture is a masterpiece of its kind2 but it is not of the kind that ,velasquez at length achieved in the single1 unified vision of ,las ,menias4 ,the ,forge of ,vulcan1 which ,velasquez executed in ,italy 7#afcj-afca71 is remarkable1 in the first place1 for its freedom from the trace of ,italian influence4 ,velasquez had come face to face with the giants1 but had preserved completely his independence4 ,michelangelo and ,tintoretto had shown him their capacity to express emotion and dramatic energy in the action of figures1 particularly nude ones4 ,velasquez observes2 but applies the principles to suit his own ideal of truth2 no heroics1 or pageantry of display2 simply the natural expression of emotion1 under natural circumstances4 ,the workshop1 the articles of still-life1 the action of the men1 have been studied from observed facts4 ,their work having been suddenly interrupted1 each man pauses for a ,illustration3 ,,las ,,hilanderas 7,,the ,,weavers7 ,,velasquez ,,the ,,prado momment4 ,how extraordinarily the arrest of action is suggested6 ,remark particularly the gesture of the three1 who have suddenly halted in the sequence of their several hammer strokes4 ,it is the figure of the god only that seems out of place and touch with the rest4 ,it is disagreeably prettified1 stiff and formal in gesture1 with affected disposition of the drapery4 ,it seems to be an academic solecism amid the naturalness of the scene4 ,the second point of interest is that in this picture ,velasquez shows the first marked feeling for tone4 ,there is no brilliance here or richness of hues1 such as make ,los ,borrachos glow like magnificent enamels4 ,the color-scheme is very reserved2 drab1 relieved with white flesh1 brownish black tools and armor and the golden-amber of ,apollo's drapery4 ,it shows the artist already feeling toward color as light2 multiplying values rather than hues2 studying the local hues in the variety of the light upon them1 instead of applying to them an arbitrary chiaroscuro2 even contriving to give to his whole scene a certain envelope of atmosphere4 ,the figure1 raised at the back1 scarcely takes its proper place in the aerial perspective2 otherwise the scene1 barring the artificial halo of the god1 represents an immense step in naturalistic expression4 ,we pass to the superb equestrian portraits of the little ,don ,carlos1 ,olivares1 and ,the ,king4 ,i wish it had been possible to reproduce all three in these pages2 for1 while they are all superbly decorative1 magnificently large in expression and thrilling with force1 they represent differences of psychological feeling4 ,that of the ,carlos1 the darling of the ,court1 is sprightly and lovable2 bravura distinguishes the ostentatious pleasure-loving courtier-favorite1 while a kingly gravity1 tinged with the artist's affection1 ennobles the ,philip 7p4 #if74 ,the boy bounds forward from the landscape2 ,olivares caracoles toward it1 pointing to imaginary exploits2 the ,king is placed athwart it1 his figure quietly dominating space4 ,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 piece4 ,the artist evidently felt the need of more space to secure for the figure the required ascendancy4 ,it was a frequent practice of his to add a piece to the top or sides of his canvas1 which1 as ,r4 ,a4 ,m4 ,stevenson1 himself an artist1 has remarked1 throws a light on ,velasquez's method of work4 ,he does not appear to have made careful original studies of his subjects1 a fact corroborated by the very few drawings that he left behind4 ,he rather seems to have attacked his subject immediately on canvas1 pushing it hotly forward to realise his mental picture1 and then1 if necessary1 adjusting the size of his canvas to secure a final unity of feeling4 ,for the same purpose also he sometimes changed the drawing1 as he proceeded1 painting over the original design which now frequently shows through4 ,in this equestrian ,philip ,,iv1 for instance1 even the photograph will show how he has altered the disposition of the horse's legs1 bringing them nearer together1 as if he had felt that the more scattered positions detached from the quietude and dignity of the ensemble4 ,the horse in this portrait as compared with that of the ,olivares is deficient in splendor of muscular action4 ,it is more monumental1 the brownish bay mass forming a magnificent support to the black armored figure1 with its pale rose sash4 ,philip was justly regarded the finest horseman of his day4 ,observe the seat of the figure1 how absolutely its action is adjusted to that of the horse4 ,note1 also1 that while the masses of the landscape support the horse's mass1 the king's figure shows free against the spaces of dove-grey sky2 his black beaver with its white and plum-colored plume lifting proudly against the white cloud4 ,compare this setting of the hat upon the head1 with the respectively different treatment of the same details in the other two portraits4 ,each is psychologically related to its subject4 ,compare also the scintillating liveliness of the child's embroidered costume and fluttering scarfs1 so birdlike in gaiety of plumage1 with the sumptuous bravado of ,olivares' gold-fringed1 wine-red damask-silk bow1 and his gold-striped armor--the whole effect intentionally a trifle outr4 ,what a contrast of grave dignity in the ,king's damascened breast-plate1 brown velvet1 gold-embroidered breeches1 greyish drab gloves1 pale buff boots and deep plum-red sash that floats over the horse's stern6 ,in the ensemble of concentrated1 controlled stateliness the only flashes of accented energy are the horse's white fetlock and his superbly animated nostril and eye4 ,in his first period ,velasquez painted an historical subject1 ,the ,expulsion of the ,moriscos from ,spain2 but the picture perished in the burning of the ,alczar in #agcd4 ,the ,surrender of ,breda is therefore the only example of his work in this genre4 ,it was executed after his first visit to ,italy1 where he had seen how ,titian and ,tintoretto utilised such subjects for palace decorations4 ,velasquez1 true to himself1 has tried to represent the scene as it actually might have happened1 yet with certain formalities of balanced masses1 to meet its decorative purpose4 ,the picture1 in fact1 presents a mixture and1 if one may dare to say it of a picture so famed1 a confusion1 of motive4 ,the result is neither frankly an historical picture1 such as ,velasquez would have imagined it and rendered it1 if his intention had been single2 nor is it satisfactory as a decoration4 ,the pattern of the composition is handsome4 ,so too its coloring1 which includes a lovely blue sky1 fleeced with white2 fainter blue and bluish-green and warm drab distance2 blue coated troops in the middle distance2 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 center1 and lastly in the costume of the man with a gun over his shoulder on the extreme left4 ,the coat of the adjoining figure is brownish buff2 the horse on the right1 dark reddish brown4 ,spinola is clad in black armor1 studded with gold2 ,justin of ,nassau in brown and gold4 ,all this is highly decorative1 but not of itself sufficient to produce a decoration4 ,for the secret of a decoration lies in the treatment of the planes1 so that a sense of flatness may be preserved4 ,there is nothing of that here2 the bulk and depth of the foreground masses contradict it4 ,the front figures of the man on the left and the horse opposite are alone sufficient to prevent a mural feeling4 ,on the other hand1 from the point of view of an historical picture1 the attempt to treat the groups as masses1 seen against the background1 has resulted in a certain confusion of their planes1 and in a general lack of interesting suggestion in their details4 ,only the treatment of the two principal figures is entirely satisfying4 ,nothing could exceed the beautiful expressiveness of the conqueror's noble condescension and the no less dignified humility of the conquered4 ,to this1 the heart and soul of the conception1 the rest comes near to being but an ornamental and rather distracting surplusage4 ,of the three sportsmen portraits1 that of the ,king is again the finest4 ,that of his youngest brother1 ,don ,ferdinand of ,austria1 is a somewhat earlier work1 painted1 possibly1 before the artist's visit to ,italy2 and the little ,don ,carlos1 charming as it is1 has lost a portion of its canvas 7it is suggested that it may have been cut from its frame to save it at the time of the fire71 so that the composition has not the consummate propriety and dignity of the ,king's portrait4 ,the latter is also distinguished by the masterly discretion of its tonality1 which is based on brown4 ,the tree trunk is brown2 the foliage brownish olive2 the cap and doublet lighter tones of the same and the trunks and gaiters darker2 the gun1 light brown and the glove drab brown2 the dog1 orange-tawny4 ,thus the figures and tree count as one handsome mass1 in which the predominant spot is the pale face1 set off by the soft1 blond chestnut hair4 ,the sleeve of the undercoat is black and silver1 forming a thread of minor emphasis to connect the head and the gloved hand1 the latter so full of character and technical distinction4 ,the background of landscape is composed of a stretch of tawny drab grass1 sloping up to bluish trees1 seen against a grey sky1 curdled with cream4 ,a fine example of the numerous portraits of dwarfs and actors1 is that of the buffoon1 nicknamed ,don ,juan de ,austria 7p4 #ajj74 ,the figure is shown in a drab grey interior1 from which a door opens on to a view of sea-shore and a burning ship4 ,the costume is of black velvet and a peculiarly subtle pale claret-colored silk4 ,the expression of the man is one of concentration1 to the suggestion of which every part of the figure so curiously and completely contributes its share1 uniting in a perfect ensemble of feeling4 ,in the atmospheric envelope and extreme choiceness of color this canvas is a worthy prelude to the masterpieces of the final period4 99 99 99 99 99 ,to one of the latter allusion has already been made3 the ,philip ,,iv of the ,national ,gallery4 ,how infallibly just is the placing of the black bust and head against the dark background6 ,with what finesse have been calculated the accents of the chain and ornaments and collar1 in order to secure and at the same time alleviate the emphasis of the empty1 solemn head with its puffed1 waxy features and soft1 pallid hair6 ,how absolutely a unit is the whole impression6 while the brush work is the ne plus ultra of impressionistic technique4 ,a miracle of painting also is presented in the portrait of a child1 identified variously as ,doa ,margarita or ,doa ,mara ,teresa1 and in that of the not much older ,doa ,mariana de ,austria1 ,philip's second wife ,illustration3 ,,las ,,meni,,as 7,,the ,,maids ,,of ,,honor7 ,,velasquez ,,the ,,prado 7p4 #aai74 ,the child's 8guarda-infante0 is of cloth of silver1 woven diagonally with pale rose silk1 all ashimmer with veiled lustre4 ,vermilion bows adorn her waist1 a jeweled rosette of the same color her corsage1 while a small rosette under the left ear and a plume on the right of the head1 both vermilion1 set off the soft straw-colored hair and the fresh tender hues of her face4 ,curtain and carpet are a rosy crimson1 thus completing a tonal scheme of exquisitely delicate vivacity4 ,in the second portrait the ,queen's robe is of black velvet1 shot with brown1 decorated with silver bullion4 ,notes of poppy scarlet appear at her wrists1 while a pale scarlet mingled with silver is the color of the plume and of the ribbon flowers in her hair4 ,the curtain1 in color pale rosy burgundy1 frames a dark olive background1 a concavity of atmosphere1 in the half-light of which appears a dainty gold clock upon a table4 ,these two canvases are marvels of technical achievement and surpassing loveliness4 ,a head and bust-portrait of this ,queen1 apparently in the same costume1 hangs in the ,metropolitan ,museum1 ,new ,york4 ,a broader method1 in which one strongly feels the exhilaration of the brushstrokes1 is represented in the sopus and ,moenippus4 ,the grizzled black hair and pallid features of the former show against a warm drab-olive background4 ,in the lower right corner is a spot of black and creamy fabric2 opposite to it a creamy colored bowl2 otherwise the figure is a study in browns of peculiarly fine quality4 ,the background of the ,moenippus is somewhat colder than the sopus2 in key with the black cloak4 ,the cap1 boots1 and the table and pitcher are of tones of brown2 the beard is grey and the flesh of the face ripely rubicund4 ,even in the photograph one can appreciate the masterful breadth of the draperies1 and feel through the modulation of the values the bulk of the figure beneath4 ,the ,venus of the ,national ,gallery1 if it is to be reckoned among the works of ,velasquez1 is his only example of a female nude4 ,while it attracts at first1 it subsequently proves disappointing4 ,in the emptiness of the back it is hard to recognise the hand of the master1 who in early days modeled so skilfully the man's back in the ,forge of ,vulcan and whose modeling generally is so masterly and full of interest4 ,nor can we easily reconcile with his unerring truth of observation the drawing of the reflection in the mirror1 which instead of being smaller than the real head is somewhat larger4 ,moreover the red of the curtain and general color scheme lack the choiceness and subtlety of the canvases of the latest period1 to which the ,venus is assigned4 ,we reach now the two celebrated masterpieces3 ,las ,hilanderas1 7,the ,weavers71 7p4 #aji7 and ,las ,menias1 7,maids of ,honor7 7p4 #aad74 ,they are very different4 ,both are triumphs alike of science and of inspired vision2 yet1 by comparison1 ,i should distinguish the ,maids of ,honor as a miracle of vision1 the other as a marvel of science4 ,for we may be conscious of the science in the one and lose thought of it entirely in the other4 ,in ,las ,menias the unity of the ensemble seems as artless as the scene depicted2 in ,las ,hilanderas it is perhaps less complete1 certainly less simple and seems to suggest the consummate knowledge needed to achieve it4 ,the interest of the former pervades the whole chamber and centers in the little princess4 ,that of ,las ,hilanderas1 seems1 at least at first1 to be distributed into three parts1 and the focus point for the eye--,where is it8 ,studying the two pictures1 as is possible in the ,prado1 since they hang upon the same wall1 near enough for the eye to travel backward and forward from one to the other1 one discovers1 ,i believe1 that the problem involved in each is the reverse of that of the other4 ,las ,menias shows a partially lighted interior1 with the chief light on the little figure in the foreground2 while the problem of the other picture is a dimly lighted1 or rather darkened foreground1 and a fully lighted background4 ,in ,las ,hilanderas1 in fact1 the artist's chief motive was the alcove1 pervaded by a clear light that illumines the blues1 greys and pale rose of the tapestry4 ,velasquez had seen it so and realised how the effect was heightened by the dimness of the spot in which he stood4 ,conscious of this1 one begins to understand that the focus point of this picture is the shaded dull-red figure in the center of the middle distance4 ,but it is a focus point of departure2 not1 as in ,las ,meninas1 designed to draw our attention to it1 but to direct it to the lighted space behind4 ,when once we have recognised this1 order begins to establish itself in what seemed to be the divided interest of the canvas4 ,the beautiful figure1 on the right1 of the girl in a white chemise no longer holds our attention too exclusively4 ,we see in her the artist's twofold purpose of explaining the front plane of his scene1 and pointing through the shaded figure to his main motive4 ,we have discovered the proper view of sight2 it is in front of this girl1 looking diagonally toward the alcove1 and the group on the left is introduced to balance the composition4 ,yet even now1 after one thinks one has captured the secret of the unity of the ensemble1 so cunningly achieved1 the beautiful figure of the girl on the right of the foreground may arrest our interest and distract it from the whole4 ,it is because of this1 that for my own part1 there seems to be more of science than of inspiration in this vision4 ,not so with ,las ,menias4 ,here one forgets to analyse--there is no need to do so--one simply accepts the scene and feels its consummate truth4 ,how consummate it is1 only familiarity with the original can reveal4 ,it is a truth that grows upon the consciousness1 stimulating it to demand more and yet more difficult tests of its truthfulness1 and satisfying every one4 ,and the unity which is the secret of the truth has not been obtained by monotony of hue4 ,the canvas is alive with color1 strong notes of most vivacious hue4 ,the ,princess's dress is creamy silver with a bunch of rose on her breast4 ,this rosy note is echoed in varying tones3 in the glass that is being presented to her2 on the artist's palette2 in the curtain reflected in the mirror at the back where the ,king and ,queen appear2 in the bright cuff ribbons on the silvery grey dress of the maid-in-waiting on the right1 and in the dull rose costume of the child on the extreme right4 ,the dwarf next to him wears a dress of slaty blue1 decorated with silver2 the kneeling maid1 a greenish grey upper dress over a skirt of deep greyish green1 and ,velasquez himself is in black4 ,but ,illustration3 ,,do,a ,,mariana ,,de ,,austria ,,velasquez ,,the ,,prado the mere enumeration of the colors gives no idea of their positive vivacity1 as they show out brilliantly in the light1 and none of the marvellous realisation of the textures4 ,nothing has been evaded2 nothing seems to have given the artist a moment's pause or difficulty4 ,yet1 when all is said1 the greatest marvel is the concavity of the drab-grey room1 filled with luminous atmosphere2 clear1 around the foreground figures1 but with infinite nuances of clearness1 melting into varieties of penetrable mystery in the receding perspective4 ,in the whole scene not a trace of evasion or confusion6 ,everything is readily comprehended1 because rendered with immediate precision1 as if in a moment of infallible improvisation4 ,las ,menias 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 space2 it was a new kind of picture4 ,it is composed1 built up of light4 ,according to older conventions of composition the large space above the figures would be considered empty4 ,but here it is not empty2 it is filled with tones of light1 with luminous aerial perspective that balances the group of lighted forms below4 ,possibly the photograph may not convey this impression to one who has not seen the original4 ,but in the presence of the latter there can be no doubt of it4 ,the upper part is as full of material as the lower2 we may even find it more beautiful1 because so infinitely subtle and stimulating to the imagination4 ,never before or since has the truth of natural appearances been so marvellously rendered1 or the beauty of every day truth been so heightened by the artist's inspired imagination4 ,las ,menias is an apocalypse1 the revelation of a supreme vision4 ,in the decline of ,spanish art and the general interest of ,europe in ,italianate and rococo motives1 ,velasquez during the eighteenth century was forgotten4 ,toward the end of that century1 however1 ,goya derived inspiration from his works1 and nearly a hundred years later ,manet1 ,whistler and others rediscovered him4 ,his example has been the chief influence in leading the world back to regard a painting as a work of art1 and in teaching the painter himself the technique that will entitle it to be so considered4 ,the duration of his influence has corresponded with the vogue of naturalism which has prevailed in ,literature and the ,fine ,arts1 a reflex action of the general scientific attitude of the time4 ,the vogue is passing1 and ,velasquez's immediate influence may grow less4 ,but his reputation will endure1 because it is founded upon the lasting foundation of 8truth1 not painting40 ,,chapter ,,vii ,,mazo ,a twofold interest attaches to ,juan ,bautista de ,mazo1 the pupil and son-in-law of ,velasquez4 ,in the first place1 he was employed by his master to copy many of the latter's pictures1 so that he is involved in the controversies which have arisen over their attribution4 ,secondly1 he was himself an original portrait painter1 and practically the only representative of landscape painting in the ,spanish ,school4 ,mazo was a native of ,madrid1 the date of his birth being placed approximately in #afab1 because he is reported to have lived a little over fifty years1 and his death took place in #affg4 ,it is not known when he entered the studio of ,velasquez1 but he married the latter's daughter1 ,francisca1 in #afcd4 ,the ,king signalised his approval of the marriage by relieving ,velasquez of his duties as ,usher of the ,chamber and transferring them to ,mazo4 ,the young people made their home with their parents-in-law1 and ,mazo worked in constant companionship with ,velasquez until the latter's death4 ,he seems to have had a remarkable faculty of imitation1 for ,palomino1 writing shortly after ,mazo's death1 says3 8,he was so skilled as a copyist1 especially with regard to the works of his master1 that it is hardly possible to distinguish the copies from the originals4 ,i have seen some copies of his1 after pictures by ,tintoretto1 ,veronese and ,titian1 which are now in the possession of his heirs4 ,if these copies were produced in ,italy1 where his talent is unknown1 they would be taken without any doubt for originals40 ,velasquez utilised this ability of his pupil1 as ,rubens and ,rembrandt made use respectively of theirs1 to assist him in part or in whole4 ,copies of his pictures were required by the ,king for presentation to members of the ,royal ,family of ,austria1 to ambassadors and others to whom he wished to show special favor4 ,in some cases ,velasquez himself made a replica1 more often1 because of the interruptions of his ,court duties and the stress of other work1 would employ ,mazo to make a copy1 leaving it intact or touching it up as the case might be4 ,an example of one of these copies1 according to ,seor ,beruete1 is the ,philip ,,iv as ,sportsman1 of the ,louvre4 ,he assigns it as a copy1 made by ,mazo1 of the original that is now in the ,prado4 ,there is a slight difference between the two4 ,in the ,louvre picture the ,king holds his cap with the left hand on his hip2 in the ,prado the cap appears upon the head4 ,this was an alteration1 subsequently made by ,velasquez1 for one can still trace in the original picture a dark mass over the hip1 where the under-painting shows through4 ,the copy1 therefore1 must have been made before the alteration4 ,an example of an original by ,mazo1 which has passed as a ,velasquez1 is1 according to ,seor ,beruete1 the celebrated portrait of ,admiral ,adrian ,pulido ,pareja in the ,national ,gallery4 ,it is signed with the name of ,illustration3 ,,do,a ,,mariana ,,de ,,austria ,,mazo ,,the ,,prado ,velasquez in ,latin4 ,but the ,spanish critic points out that1 while a signature itself is no proof of authenticity1 this one differs in matter and character from the only other three instances of the signature of ,velasquez on a picture4 ,these are on undoubted works of the master3 the full-length ,philip ,,iv in the ,national ,gallery1 the portrait of ,pope ,innocent ,x in the ,doria ,gallery1 and the fragment of a picture which is preserved in the ,royal ,palace in ,madrid4 ,studying the technical qualities of the ,admiral and comparing them with those of undoubted examples of the same period in ,velasquez's career1 ,seor ,beruete reaches1 in brief1 the following conclusions4 ,the figure does not stand firmly on its feet2 the latter and the legs are badly shaped2 the hat looks like a sack2 its curve is prolonged by that of the left arm and both are parallel to the curve of the body2 the hands are poorly modeled2 the baton is held without distinction1 the silhouette of the whole figure is neither sure nor beautiful1 and the masses lack just disposition and balance4 ,the whole is without the distinction1 sureness of touch and brio that characterise all the authentic portraits of ,velasquez4 ,it is a fine work by a painter of less power than ,velasquez1 but bears so strong a resemblance to his style1 that it can be by no other than his pupil1 ,mazo4 ,for other pictures1 hitherto supposed to be by ,velasquez but now claimed by ,seor ,beruete for his pupil1 the reader is referred to the ,spanish critic's book3 8,the ,school of ,madrid40 ,with the ,portrait of ,doa ,mariana of ,austria 7p4 #abb71 the second wife of ,philip ,,iv1 we reach an unquestioned original by ,mazo4 ,it is the same subject as in ,velasquez's portrait 7p4 #aai71 only the girl-bride has now become a girl-mother4 ,her child1 the ,infanta ,margarita1 about four years old1 appears in the rear with attendants and a dwarf4 ,it is a drab interior rather reminiscent of that in ,las ,menias4 ,the crimson curtain and chair and the ,queen's pose1 on the other hand1 recall ,velasquez's portrait1 just mentioned4 ,the suggestion1 in fact1 throughout is ,velasquez1 but not the handling and the style4 ,compare1 for example1 the hand on the chair in the one portrait and the other4 ,in the ,mazo there is an absence of modeling and character4 ,how characterless also the line of the right arm1 and wanting in decision and distinction the whole silhouette of the figure4 ,yet the picture has a very great charm of refinement and tender feeling4 ,another probable original by ,mazo in the ,prado 7,no4 #ajhc71 ,portrait of ,prince ,baltasar ,carlos1 is attributed to ,velasquez in the official catalogue4 ,it is one of a number of similar attributions that surprise the visitor to the ,prado4 ,the portrait in question shows the ,prince1 now in his fourteenth year1 standing with his left hand upon the back of a chair1 while his right hangs gracefully1 holding a plumed hat4 ,the figure is entirely in black against a drab background4 ,there is no picture by ,velasquez1 known to exist1 from which this could be a copy4 ,that it is not an original by the master is evident in the softness an indecision of the drawing1 and the actually bad drawing of the right leg which does not connect properly with the hip4 ,it is therefore assumed with probability to be an original by ,mazo1 and the fault of drawing is explained by the fact that he was only twenty-four years old when he painted it4 ,this picture has an undeniable elegance1 but falls very short of ,mazo's ,doa ,mariana in accomplishment4 ,however1 both the originality and the capacity of ,mazo are best displayed in his landscapes1 which have now been collected into one of the upper galleries of the ,prado4 ,as we have noted1 ,mazo is the single great landscape painter of the old ,spanish ,school4 ,while the contemporary ,school of ,holland1 in the persons of ,ruisdael1 ,van ,goyen1 ,hobbema1 ,cuyp and many others1 was developing landscape as an independent branch of art and carrying it to a high level of representation and expression1 the ,spanish ,school1 with the exception of ,mazo1 still used it in subordination to the figure4 ,considering that both schools were influenced by the naturalistic motive1 how is one to account for this difference8 ,probably in the fact that1 while the ,dutch artists were in a great measure painting to please themselves and choosing their own subjects1 the ,spanish artists worked directly under the patronage of ,royalty and the ,church4 ,portraiture and religious subjects were the only work demanded of them4 ,added to this may be the fact that the ,dutch ideal was democratic1 the ,spanish aristocratic4 ,the ,dutch people were interested in themselves and in the everyday concerns and environment of their lives1 and the ,dutch artists1 being of the same stuff as their public1 contributed to the popular taste4 ,on the other hand1 both the ,spanish monarchy and the ,church were strongholds of aristocracy and both had close affiliations with ,italy1 the art of which had been pre-eminently aristocratic4 ,it was based1 as has been pointed out in a companion volume to this one1 8,the ,story of ,dutch ,painting10 on the idea of the superiority of the individual person1 or1 translated into terms of art1 on the supremacy of the human figure as an art-motive4 ,we may well believe that ,mazo was encouraged in his feeling for landscape by ,velasquez himself4 ,for it is recalled that the latter during his leisure in ,rome painted two vistas in the gardens of the ,villa ,medici4 ,there is also in the ,prado a ,view of the ,arch of ,titus1 which the catalogue admits was probably painted in ,spain from a sketch made in ,rome4 ,later criticism1 however1 has concluded that it was ,mazo who painted this from ,velasquez's sketch1 and has also assigned to the younger man several other landscapes1 originally supposed to be by ,velasquez4 ,in this judgment the ,director of the ,prado acquiesces1 for the pictures have been placed in the gallery devoted to ,mazo's landscapes4 ,before considering them1 let us note the contribution made by ,velasquez1 indirectly through his portraits1 to the art of landscape painting4 ,he used landscape1 with the freedom and feeling of one who comprehended it and loved it1 in his equestrian and sportsman portraits1 in the ,surrender of ,breda and particularly in one of his latest works1 ,s4 ,antony ,visiting ,s4 ,paul1 where the figures are small and the picture is virtually a landscape subject4 ,the chief distinction of all these landscape scenes is that ,velasquez1 the student of light1 has brought natural light into the scenes1 in which respect they differ from the landscape of ,italian backgrounds1 even those ,illustration3 ,,the ,,fountain ,,of ,,the ,,tritons ,,mazo ,,the ,,prado noble ones of ,titian's1 which are pervaded with what is1 comparatively speaking1 a studio lighting4 ,velasquez is in a sense even more naturalistic than his contemporaries1 the ,holland masters of landscape1 for1 although they rendered nature more intimately1 they were disposed to translate the actual hues of nature into a tonality of their own4 ,velasquez1 on the contrary1 recorded what seemed to him to be the facts of sight4 ,he1 therefore1 reappears among the moderns of the nineteenth century1 in landscape as in portraiture1 one of themselves1 because their mutual study was the light of nature4 ,one of ,mazo's most important landscapes1 known to be his by documentary evidence1 is the ,view of ,zaragoza4 ,it hangs in the ,velasquez gallery of the ,prado1 because the master added the figures which are distributed in three planes throughout the foreground4 ,but the river beyond1 dotted with sailboats1 the bridge and distant view of the city are unquestionably by ,mazo4 ,the silvery deep olive-green of the water and the accurate definition of the buildings1 which nevertheless are felt as masses1 recall the finest manner of ,il ,canaletto1 while the suggestion of light in the sky is more naturalistic than the ,venetian ever attained4 ,it is a picture that interests one to compare with the single landscape of ,jan ,vermeer3 his ,view of ,delft in the ,hague ,gallery4 ,each gives one an extraordinary realisation of the actuality of the scene2 but1 while the ,holland artist's picture breathes an intimate domesticity1 the work of the ,spaniard is psychologically different1 suggesting a certain hauteur and exclusiveness2 partly1 no doubt1 through the introduction of the choice groups of figures by ,velasquez4 ,the three landscapes originally attributed to ,velasquez1 but now included by the ,director of the ,gallery among ,mazo's are3 ,the ,fountain of the ,tritons 7p4 #abb71 ,calle de la ,reina de ,aranjuez1 and ,the ,view of ,buen ,retiro4 ,in the first named the tree-stem on the left-foreground1 sprinkled with leaves1 is reminiscent of ,velasquez1 and the beautiful little figures1 so suggestively rendered1 may have been added by him4 ,but the handling of the grey-green foliage of the further trees1 softly blurred against a bluish grey sky1 is unlike the method of ,velasquez as seen in any of his landscape backgrounds4 ,on the other hand1 the soft faint masses of tone1 subsequently worked over with little curly strokes1 can be found to a greater or less extent in the foliage parts of all ,mazo's landscapes in this room4 ,the latter1 it should be observed1 vary in subject1 including views of buildings1 romantic scenes of rocks and waterfalls1 sea-shore in combination with cliffs and temple-ruins1 and views more simply naturalistic4 ,to each the artist has adopted a technique suitable to the occasion1 so that it is not at first sight easy to recognise them as the work of one man4 ,mazo1 in fact1 in his approach to landscape1 shows nothing of the timidity and indecision and tendency to follow closely his master1 such as characterise his portraits4 ,here he shows himself an original experimenter1 freely pursuing his own motive4 ,in the case of ,the ,fountain of the ,tritons it has brought him to a method that anticipates the impressionistic style of ,corot4 ,the peeps of sky through the soft screen of trees2 their very coloring1 the single tree-stem in the foreground and the envelope of cool grey atmosphere--,corot might have painted them4 ,the ,calle de la ,reina has again a strangely modern air1 somewhat that of a ,jules ,dupr1 when he is not stirred to emotional effects4 ,the avenue1 leading to the palace of ,aranjuez1 recedes in the shadow of tall trees1 which tower up in dark masses against a fine twilight sky4 ,its light is dimly reflected in the grey-blue water of a shadowed lake on the left of the foreground2 the rest of the latter being enlivened with figures which form the retinue of two arriving coaches4 ,all these sprinkled forms count as dark spots upon the pale-lighted sandy road4 ,in its truth of observation and simple nobility of feeling this landscape would do honor to any school of any period4 ,to assist his appreciation of ,mazo's romantic and mythological landscapes1 the visitor to the ,prado will do well to step into an adjoining gallery1 devoted to the works of ,claude ,lorrain and ,nicolas ,poussin4 ,it is true they are not represented here at their best2 yet perhaps sufficiently well to suggest the character of their work and certainly its spirit4 ,particularly in the case of ,claude ,lorrain it is slighter1 shallower than the spirit of ,mazo's corresponding scenes2 less reinforced by close observation of nature2 or1 it may be1 inspired by softer influences4 ,for the source of the difference is perhaps the contrast of character of the ,spanish as compared with the ,italian landscape4 ,mazo has noted to good purpose the stirring cloud effects that pile high above the gaunt sierras1 and their grandeur and bigness have inspired his feeling4 ,by comparison1 the mellow skies of the ,french-,italian landscapes1 seem trivial1 and communicate their slighter feeling to the formal1 classically composed foregrounds1 so that they seem mannered4 ,in ,mazo's on the other hand1 the grandeur of the sky's suggestion spreads to the mountains1 rocks and water1 investing the whole with a sense of structural power and therefore of sincerity4 ,in fact1 in these romantic1 mythological subjects ,mazo stands alongside ,turner rather than ,claude and ,poussin4 ,,chapter ,,viii ,,carre,o ,among the painters who were contemporaries of ,velasquez and after his death helped to stem for a little while the decline of the ,school of ,madrid1 special notice is due to ,juan ,carreo de ,miranda4 ,he came of a noble family of the province of ,asturias1 his father being ,alcade de los ,hijosdalgos or ,chief of the ,council of ,nobles1 in the town of ,aviles1 where ,juan was born in #afad4 ,when he was still a boy he accompanied his father to ,madrid1 and made up his mind to be an artist4 ,his father1 at last acquiescing1 placed him with ,pedro de las ,cuevas1 who had also been the teacher of ,jos ,leonardo and ,pereda4 ,carreo afterwards worked with a painter1 ,bartolom ,roman2 but by the time that he was twenty years old had so distinguished himself that he was entrusted with several important commissions4 ,velasquez recognised his talent and1 thinking he should be employed in the ,king's service1 commissioned him to paint some frescoes for the royal palace4 ,these were destroyed in the fire of #agcd4 ,in #affi ,carreo was appointed one of the ,court ,painters1 a post which he continued to hold after the succession of the young king1 ,charles ,,ii1 when the regency was in the hands of the ,queen-,mother1 ,mariana de ,austria4 ,in this capacity ,carreo executed portraits of the royal family which represent his best work4 ,meanwhile his popularity was based upon his decorations and altar-pieces4 ,his decorative ability1 which had been recognised1 as we have seen1 by ,velasquez1 included a familiarity with the technique of fresco painting1 a branch of the art which had few representatives among ,spanish painters4 ,the taste for it had been introduced by the ,italians summoned to decorate the ,escoril1 and perpetuated by other foreigners who were employed in decorating the principal churches and convents4 ,from them ,carreo acquired a knowledge of the process4 ,he seems 7for ,i am not acquainted with ,carreo's mural decorations7 to have been distinguished in his use of it by a combination of ,italian decorative composition with types and motives characteristically ,spanish1 and by very delicate and spiritual schemes of color4 ,perhaps the character and quality of the latter may be discovered in the altar-piece by this artist in the ,hispanic ,museum1 ,new ,york4 ,it is a ,conception2 the subject being presented in the usual way prescribed by the ,church4 ,but the composition is looser1 if one may say so1 than ,murillo's in similar pictures1 with lines more flowing and masses distributed more gaily4 ,it is the arrangement1 in fact1 of a painter accustomed to the liberty of decoration on a large surface4 ,it has a sweep and elegance that make it akin to the compositions of ,antolinez and particularly of ,cerezo1 whom we briefly discussed in the fourth chapter4 ,in its color-scheme also1 it favors theirs4 ,all these artists1 in fact1 represent ,illustration3 ,,charles ,,ii ,,carre,o ,,the ,,prado a reaction from the more sober and restricted color-schemes1 imposed upon ,velasquez and other ,court painters4 ,at the same time1 they are characteristic of the decline which had already begun4 ,the coloring of this ,conception of ,carreo's is distinguishably prettified2 pearly pinks and blues1 soft greys and greens1 perilously suggestive of the bonbonire style4 ,and the sentiment of the whole is correspondingly suave1 almost1 if not completely1 to insipidity4 ,similarly sentimental are this artist's ,magdalen in the ,desert in the ,academy of ,san ,fernando in ,madrid1 and his ,san ,sebastian of the ,prado4 ,the ,magdalen looks like a matured ,ariadne1 abandoned by her lover4 ,she is posed upon a rocky seat1 so that her beautiful arms may be seen to advantage and the long line of her graceful figure duly emphasised4 ,meanwhile she lifts her tearful gaze to the sky1 at a carefully calculated angle that will impress the beauty of her neck upon the sympathetic spectator4 ,as for the ,san ,sebastian1 it should make a gentle lady weep to behold how this tender body has been abused4 ,in fact1 the student who has discovered the true sources of greatness in the ,spanish ,school of painting will not take ,carreo very seriously when he is in these moods4 ,fortunately for his present reputation there is a graver and more dignified side to his art4 ,in his portraits1 especially those of the members of the royal family1 ,carreo shows himself to have absorbed no little of the influence of ,velasquez4 ,these portraits of ,charles ,,ii and his mother1 ,queen ,mariana1 vary in quality2 for he was called upon to repeat them1 and the replicas display a lack of interest and falling off in technical distinction4 ,perhaps the handsomest portrait of the ,king1 painted when he was still a lad of twelve1 is the one in the ,kaiser-,friedrich ,museum1 ,berlin4 ,the boy1 as usual in a black velvet suit1 with long blond cavalier locks descending over his shoulders1 stands resting his left hand on a marble-topped table1 which is supported on a lion and ball pedestal4 ,his face has not yet acquired the expression of settled melancholy and is gracious and lovable4 ,the coloring is rich and luminous1 and the concavity behind the figure1 full of atmospheric suggestion4 ,the replica of this in the ,prado is tighter and drier in treatment1 lacking in quality of tone and lighting4 ,another portrait of this period1 showing the figure at half length is owned by ,seor ,beruete4 ,judged by the photograph of it1 reproduced in his 8,school of ,madrid10 it is a very superior canvas1 distinguished by graciousness and dignity4 ,it is a terrible contrast to turn from the weak yet winning beauty of the boy to the portrait in which ,carreo has depicted the man 7p4 #acb74 ,in all the range of portrait-painting can we find a face so degenerate as this8 ,the face droops to an inordinate length1 as if the vacuous brain could no longer hold it in position2 the mental distortion is reflected in the grotesquely exaggerated features2 the expression of the pallid mask is one in which hope and joy of life are extinguished and reasonless fear is habitually present4 ,such was the last of the proud ,hapsburg line of ,spanish ,sovereigns4 ,carreo's most important work1 however1 is the ,portrait of ,queen ,mariana of ,austria1 in the ,munich ,old ,pinakothek1 of which there is an unsatisfactory replica in the ,prado4 ,but the ,munich portrait1 once seen1 impresses itself indelibly on the memory4 ,it is a cold1 implacable indictment4 ,the surly sadness of the girl-wife1 painted by ,velasquez 7p4 #aai71 who had our sympathy for the cruel grossness of her lot1 has hardened into callous obstinacy and weak self-indulgence4 ,her widowhood has brought authority without a sense of responsibility1 she has betrayed her maternal trust in order that through her child's feebleness she may hold on to power2 she has dallied between her lover and confessor1 and is now devote4 ,clothed in black and white weeds that resemble a nun's garb1 she sits squarely at a table1 a loveless1 forbidding woman4 ,yet strangely haunting because of ,carreo's analysis and fearless exposition4 ,,chapter ,,ix ,,ribera 7,,lo ,,spagnoletto7 ,though recognised as the leader of the ,school of ,valencia1 ,jos or1 as he is sometimes called1 ,jusepe de ,ribera spent most of his life in ,naples1 where his ,spanish pride1 combined with his somewhat diminutive stature1 procured him the sobriquet1 ,lo ,spagnoletto4 ,he was born in #aehh1 eleven years senior to ,velasquez1 in the province of ,valencia1 in the hill-town of ,jativa1 the cradle of the ,borgia family4 ,hence the proud title which he often appended to his signature1 8,spaniard of ,jativa40 ,his parents1 ,luis de ,ribera and ,margarita ,gil1 took him to ,valencia that he might study ,latin with a view to becoming a man of letters4 ,but ,jos1 even thus early showed his independence by declaring that he would be an artist1 and was accordingly placed under the care of ,francisco ,ribalta4 ,the latter1 we recall1 was the link of transition from ,italian mannerism to the native naturalistic schools of ,valencia and ,andalusia2 at one time producing thinly painted subjects of extravagant sentimentality1 at another showing himself quite masterful in naturalistic representation4 ,this blend of naturalism and sentiment1 the latter frequently carried too far1 distinguishes also the work of ,ribera and through his influence many artists of the ,andalusian ,school1 ,murillo in particular4 ,the naturalistic tendency is ,spanish1 common to ,north and ,south alike2 the sentiment is a bias given to it by the ,southern temperament4 ,while still a youth ,ribera made his way to ,rome1 where his handsome face and evident ability attracted the notice of a cardinal1 who took him into his house and would have cared for him that he might pursue his studies in comfort4 ,but ,jos1 nothing if not independent1 found the restraint irksome and went back to his rags and poverty1 declaring that he needed the stimulus of necessity4 ,he made copies of some of the ,raphaels and the ,caraccis in the ,farnese palace1 and even found means to visit ,parma and ,modena and study the works of ,correggio4 ,but the pictures which most attracted ,ribera were those of ,michelangelo ,caravaggio1 who worked in ,naples4 ,so to ,naples he went1 although he had to leave his coat behind in ,rome to pay his boardbill4 ,whether ,ribera actually studied under ,caravaggio is uncertain4 ,anyhow1 since the latter died in #afji1 the association could not have lasted more than a short time4 ,meanwhile1 even if ,ribera never saw ,caravaggio in the flesh1 he could not escape his spirit4 ,it was a part of the turbulent atmosphere of the ,naples of that day1 into which with a violence1 equal to ,caravaggio's1 the independent young ,spaniard was quick to fling himself4 ,fortune favored him1 for a rich art dealer gave him some commissions and1 discovering his ability1 determined to attach him to his own interests4 ,he offered him his daughter's hand in marriage1 and ,ribera1 having experienced the stimulus of poverty1 was now resolved to taste the encouragement of wealth and ease1 and accepted it4 ,soon after his marriage he produced a life-sized picture of the ,martyrdom of ,s4 ,bartholomew1 who was flayed alive4 ,the ghastly scene was represented with such horrible naturalism1 that when the picture was exhibited outside of the art-dealer's shop1 a crowd gathered about it4 ,this attracted1 as no doubt it was intended that it should1 the notice of the ,spanish viceroy1 the ,duke of ,ossuna1 whose palace window overlooked the spot4 ,having learned the cause of the excitement he sent for the picture and was so impressed with it that he bought it1 appointed ,ribera his painter in ordinary1 and gave him apartments in the palace4 ,thus1 almost at a bound1 ,ribera found himself upon the topmost rung of the ladder4 ,he was rich and now courted by the richest and most powerful1 who presumed that he had the ear of the viceroy4 ,in artistic circles the young artist had taken the place of ,caravaggio and invested it with still greater honor4 ,he was the recognised leader of the naturalists in their war of extinction with the ,eclectics4 ,it is necessary to note the rivalry between these two contemporary schools1 since it throws a light on an extraordinary episode in ,ribera's career4 ,with the death of ,tintoretto in #aeib the last of the giants of the ,renaissance had passed away4 ,they were succeeded by a race of pigmies1 who strutted in the mantles of ,raphael and ,michelangelo4 ,they are called 8,mannerists10 differing1 however1 from the ,mannerists of ,spain4 ,for while the ,spanish imitated the great masters in order to acquire the secrets of their greatness1 at the same time1 as we have seen1 infusing the result with something of the raciness of the ,spanish character1 the ,italian 8,mannerists0 aped the past in an attempt to galvanize it into continued living4 ,the 8,mannerists0 soon become obscured by the 8,eclectics10 whose headquarters were in ,bologna1 the home of the ,caracci4 ,for the school grew out of the influence of the five brothers ,caracci1 especially the three1 ,annibale1 ,ludovico and ,agostino1 who led the way in what was to be a 8revival0 of art4 ,its principle was a catholic eclecticism1 which should combine the drawing and power of ,michelangelo1 with the color of ,titian1 the grace and sentiment of ,raphael and the soft dreamy chiaroscuro of ,correggio4 ,the movement spread throughout ,italy1 being variously represented by the ,caracci1 already mentioned1 ,domenichino1 ,guido ,reni1 ,guercino1 ,sassoferrato1 ,carlo ,dolci and others of more or less merit4 ,whatever may be thought of these painters individually1 it is scarcely to be denied that the principle underlying their art had in it nothing of original growth4 ,it was dishing up the past1 instead of providing meat for the present4 ,meanwhile1 outside of the 8,eclectics10 the spirit of the present was asserting itself in a reaction from ,classicalism to ,naturalism--to use a hackneyed term1 in a return to nature4 ,that the stronghold of the ,naturalists became ,naples1 which was under ,spanish rule is a significant fact4 ,it was an instance1 by no means single1 of the ,spanish influence reacting upon ,italy4 ,the movement however was started by the ,italian ,caravaggio1 a man of impetuous temperament and possibly coarse tastes1 who by way of bringing the ,bible story into touch with every day life1 peopled his sacred scenes with personages drawn from the slums of ,naples4 ,how great a painter he could be upon occasions is shown in that handsome canvas in the ,dresden ,gallery1 ,the ,card ,players4 ,however1 the style usually associated with his work and that of his followers is one of violent types and exaggerated dramatic energy4 ,the 8,naturalists0 were also addicted to the use of dark shadows1 which gained for them the nickname of 8,darklings40 ,between them and the 8,eclectics0 there was perpetual rivalry1 waged with that intensity which only ,latin peoples can put into an artistic controversy4 ,on the part of the ,neapolitan naturalists it was war literally to the knife1 for they did not scruple to employ the bravo and his stiletto in their efforts to hold ,naples against the enemy4 ,it was to the leadership in a fight of this sort that the young ,ribera succeeded1 and he went into it with an unscrupulous ferocity that has left on his memory the blot of a very discreditable episode4 ,the ,chapel of ,st4 ,januarius in the ,cathedral of ,naples was to be decorated4 ,a cabal was formed between ,ribera1 a native ,neapolitan1 ,giambattista ,caracciolo1 and a painter of ,greek birth1 ,belisario ,correnzio4 ,the last named had already made so bitter an attack on ,annibale ,caracci that the latter had been driven out of ,naples4 ,the three now determined to secure for themselves the decorating of the chapel4 ,the commissioners at first assigned the work to one1 ,cavaliero d',arpino1 who had been ,correnzio's teacher4 ,he was assailed with persecution1 and forced to take refuge in the ,benedictine monastery of ,monte ,cassino4 ,then ,illustration3 ,,hermit ,,saint ,,ribera ,,the ,,prado ,guido was selected4 ,two hired bravos set upon his servant1 thrashed him1 and ordered him to tell his master that a similar fate was in store for himself should he begin the decoration of ,s4 ,januarius4 ,guido fled the city2 and his pupil1 ,gessi1 was chosen as a substitute4 ,he arrived in ,naples with two assistants1 who were inveigled on board a boat in the bay and never seen again4 ,the commissioners now yielded and gave the commission to the triumvirate4 ,but a little later they revoked the order and offered ,domenichino a handsome remuneration1 with a promise of protection1 if he would undertake the work4 ,he consented and became immediately the target of an insidious persecution4 ,threatening letters were sent to him2 his character was slandered and his ability as a painter impugned2 the plasterers were bribed to mix ashes with the mortar on which his frescoes were to be painted2 and finally ,ribera prevailed on the viceroy to order some pictures of ,domenichino4 ,these were carried from his studio before they were finished1 or retouched and ruined before reaching the viceroy4 ,at length1 in despair1 ,domenichino fled to ,rome2 but was induced to return and shortly afterwards died under suspicion of having been poisoned4 ,the cabal1 however1 failed of its purpose4 ,the ,neapolitan died the same year as ,domenichino2 the ,greek two years later and ,ribera painted only one altarpiece for the chapel1 ,the ,martyrdom of ,s4 ,januarius4 ,the decorations were executed by one1 ,lanfranco4 ,for his share in this disgraceful intrigue1 and because of his being a foreigner1 ,ribera incurred the hatred of a large number of ,neapolitans4 ,to this1 probably is to be attributed the story which passed into a tradition1 that ,don ,juan of ,austria1 while on a visit to ,naples1 induced ,ribera's daughter to elope with him2 and1 soon growing tired of his victim1 placed her in a convent4 ,in consequence of shame and grief1 ,ribera1 so the story goes1 sank into a profound melancholy1 until one day he left his home and was never again heard of4 ,this is now believed to be a mere fabrication of ,neapolitan hatred2 the true facts being that ,ribera settled down to a life of honor and prosperity and finally died in ,naples in #afef4 99 99 99 99 99 ,in the popular imagination ,ribera is associated with pictures of martyrs and ascetics1 with scenes of cruelty and suffering and the portrayal of old and wasted bodies4 ,the impression is justified1 for the taste of his time demanded these revolting subjects1 and ,ribera's own temperament made him more than acquiesce4 ,he represented them with a zest that proves he revelled in his opportunities4 ,but this is only one aspect of ,ribera1 and even in itself not complete1 for it is prone to take no account of the superb artistry with which he invested the unpleasantness of these themes4 ,thus1 in the example1 selected for reproduction here1 because it is characteristic of ,ribera's best known subjects1 the original has a beauty which in the reproduction may possibly escape observation4 ,the head of this ,hermit ,saint is of extreme nobility both of technique and expression4 ,in the suggestion of the powerful skull1 the boldly modeled flesh and the clustering masses of grizzled hair and beard1 there is an unusual feeling for and realisation of the dignity of human form4 ,it is not merely that the artist has selected a model with a fine head1 and rendered its benign and grave distinction1 but he has heightened the expression by the expressiveness of the technique4 ,the artist's sympathetic imagination and extraordinary reverence1 not for the saint-idea in his theme but for humanity in its relation to art1 have informed the technique with a noble sympathy1 grand imagination and a sovereign reverence4 ,for the point1 difficult to put into words1 is that technique such as this1 while it is magnificent as mere representation1 achieves the higher quality of expression1 and the measure of the latter is the quality of the artist's conception not only of his subject but even more of his art1 as one of the noble mediums of expression4 ,so1 in the presence of a work like this1 the spectator forgets his dislike of the subject and finds his imagination kindled and his capacity of abstract appreciation heightened4 ,even the ,saint's back though you may not believe it from the photograph1 which has reduced the transparent shadows to opacity and robbed the flesh of its glorious luminosity1 adds its quota to the stimulus of the intellectual-esthetic sense4 ,for1 in this capacity1 not only to delight the sense perception but to stimulate also the intellectual conception of beauty in the abstract1 ,ribera belongs in the company of ,velasquez4 ,he occupies a lower rank because his art1 like himself1 was less self-centered and controlled2 more dependent upon subject and at the mercy of his own impetuous temperament4 ,in the art of both naturalism was lifted mountain-high2 but1 while ,velasquez was the summit1 aloof1 unapproachable1 ,ribera is the torrent1 racing1 often madly1 to the valley4 ,yet in its career there are level pools of quiet pause1 and it is these that the general estimation of ,ribera has overlooked4 ,i am not thinking of his portrayals of the ,immaculate ,conception or his ,assumption of the ,magdalen in the ,academy of ,san ,fernando4 ,these are rather examples of the concessions that ,ribera was obliged and perhaps willing to make in the direction of obvious beauty4 ,they satisfied the ,spanish taste in female loveliness1 but have little abstraction of expression2 and are inclined to be sentimentally pretty4 ,it is rather when you visit the gallery in the ,prado devoted to ,ribera's works1 that you experience a new impression of this artist4 ,with the exception of a powerful but ghastly ,martyrdom of ,s4 ,bartholomew1 the general suggestion of the gallery is the reverse of the violent and sensational4 ,a sense of grave dignity prevails1 which one begins to discover is largely the result of a fine reserve and frequent subtlety in the color schemes4 ,for example1 there is a canvas of life-size figures1 representing the ,holy ,trinity4 ,on the ,father's knees lies the limp form of the ,christ4 ,it is grievously disfigured with grossly naturalistic blood stains2 but one gradually loses the insistence of this in admiration of the elevated beauty of the picture as a whole4 ,the ,father's head1 benign and tranquil1 is seen against a sky in which are faintly discernible the flocking heads of cherubs4 ,from his shoulders floats a silvery plum-colored drapery1 while a mantle of pale rose1 lined with violet1 lies over the shadowed lapis-lazuli of the under robe4 ,it is a color scheme of choice splendour1 full of subtle stimulus to the intellectual-esthetic imagination4 ,a very interesting canvas is the ,s4 ,john the ,baptist in the ,desert for the feeling of it is pagan1 a trait rarely met with in the art of ,spain1 which had so rigorously opposed the ,humanistic movement4 ,the figure1 nude nearly to the waist1 is that of a shepherd youth1 with large smiling mouth and eyes glancing to one side4 ,the face sets one to thinking of the so-called ,s4 ,john the ,baptist of the ,louvre1 attributed to ,da ,vinci4 ,the ,ribera has something of the faun-like suggestion2 only it is less subtle1 piqueing less to mystery2 the suggestion being rather of wild1 young animal life1 a creature of silent1 vacant places1 not afraid yet watchful4 ,the figure is at the foot of a big tree-trunk1 a red drapery covering the upper part of the legs and the stone on which it is seated4 ,the arms are extended2 one aloft1 holding a staff1 the other lowered to feed a lamb2 both forming pliant loops which increase the suppleness of the whole design4 ,in its blend of classical and naturalistic composition and feeling1 and the character of the thought which prompted it1 the canvas is probably unique in the ,spanish ,school as an example of the direct influence of ,humanism4 ,one turns to a ,penitent ,magdalen 7,prado1 #ihj71 not to endorse her very lady-like sentiment1 but to admire the way in which the beautiful brown hair is rendered and the exquisite color and texture of the old-rose drapery4 ,a similarly choice treatment of this delicate color1 shot with silver light and dove-grey shadows1 appears in ,isaac ,blessing ,jacob4 ,then for another fine example of color one may note a half length1 ,s4 ,simon4 ,here again is a head of magnificent character2 black hair and beard1 ruddy features1 massive brow1 a characterization1 generously masculine and vigorous4 ,a warm brown drapery hangs over the slightly yellow-tinted brown of the robe1 which shows below it the collar and cuff of a grey shirt2 all this placed against a dark olive background4 ,the tonality1 organised with extreme delicacy1 is in its ensemble superb4 ,another choice passage of color occurs in ,s4 ,bartholomew1 where the saint is shown1 life size1 seated beneath a cliff4 ,he holds across his body a white drapery2 or such is your first impression of the hue4 ,but study reveals a more subtle tissue of smoked ivory and grey1 woven into the pallor of the white4 ,however1 the finest example of ,ribera's subtle vein of color-expression in this gallery is in the ,jacob's ,ladder4 ,the sleeping figure reclines horizontally across the foreground1 a hand supporting the head1 while in the sky are faint suggestions of ascending and descending angels4 ,the foreground consists of slabs of rock out of which1 at the back of the figure1 rises a tree-trunk1 with a broken limb4 ,the figure is clothed in an olive-greyish-brown habit1 resembling a monk's2 the hair and beard are black in strong contrast to the pallor of the face1 which is slightly flushed with warmth and puffed with sleep4 ,the suggestion of sleep is1 indeed1 rendered with extraordinary truth2 it seems no idle fancy that one hears the breathing and watches the stir of the drapery over the rise and fall of the chest4 ,but the dignity of this canvas depends upon the color scheme1 cold1 severe1 constrained2 so opposite to the sensuous1 impassioned or splendid2 yet withal so stimulating to the imagination4 ,this picture is a grand example of the intellectual-esthetic quality in ,ribera's finest work2 placing this artist far above the estimate popularly formed of him4 ,it is not difficult to discover the influence of this large1 grave feeling in the earlier work of ,murillo and in almost all the work of ,zurburn4 ,,chapter ,x ,,murillo ,the most popular artist of the ,spanish ,school is unquestionably ,murillo4 ,he was the idol of his contemporaries in ,andalusia2 most admired by connoisseurs and public in the eighteenth century1 and1 although during the nineteenth century artists and connoisseurs have extolled ,velasquez and more recently ,goya and ,el ,greco at his expense1 to the popular taste ,murillo is still in the ascendant4 ,there must be a good reason both for the depreciation of ,murillo on the part of artists and for the continuing appreciation of the public2 therefore one must try to discover them impartially4 ,for1 while the popular estimation of any particular artist at a given period is apt to be wrong--perhaps more often wrong1 than right--it scarcely can hold its own through the chances and changes of over two hundred years without having in it some considerable element of right4 ,what then is the abiding something in ,murillo's art which makes this perennial appeal8 ,for my own part1 ,i believe that1 if you can sum it up in a word1 it is the spirit of ,youth4 ,one imagines ,murillo 7not without plenty of justification for the idea7 as a man who1 in a psychological sense1 never grew old2 retaining to the end the naivet and simple faith of a child4 ,he continues1 therefore1 to 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 instinct4 ,for1 just as it is possible for a man to have matured understanding and appreciation of a work of art1 and yet be like a child amid the intricacies of an electric power-house1 wondering1 admiring1 but without capacity to estimate the value of this plant as compared with another2 so a man may be full of knowledge1 even to the length of sophistication1 and still exhibit the naivet and unreasoning appreciation of a child in the presence of a work of art4 ,necessity or chance determined that he should cultivate his higher mental powers in another direction2 art is to him only an occasional distraction2 his feeling toward it is regulated solely by his instinct4 ,as he would say himself1 8,i know what ,i like40 ,to tell such a man that he is wrong would be not only cruel but false4 ,from his own standpoint he is not wrong2 he is very much in the right1 if the end of art is the heightening of a man's nature through contemplation of the beautiful4 ,this thing is beautiful to him1 and through the beauty he sees in it he finds his nature refreshed1 purified and enlarged4 ,what more could you advise for him at that particular stage of his artistic development8 ,it is true to the standpoint of his own instinct4 ,would you have him substitute your standpoint for his8 ,are you sure that your own leads to any better results for you than his for him8 ,anyhow1 unless he changes his standpoint through convictions that have grown into his mental consciousness and been endorsed by his experience1 his last state may be worse than the first4 ,he was honest and sincere before2 now he may be only a glib repeater of borrowed preferences4 99 99 99 99 99 ,bartolom ,estban ,murillo was born in ,seville in #afah1 probably on the first day of ,january4 ,the official catalogue of the ,prado begins its reference to the artist's career with the following significant words3 8,when this great artist came into the world1 his parents1 ,gaspar ,estban ,murillo and ,maria ,perez1 were living in a humble house in the ,calle de las ,tiendas4 ,it was but three months since the ,virgin ,mary1 in the mystery of her ,immaculate ,conception1 had been proclaimed the patroness of the ,dominions of ,philip ,,iv4 ,under such happy auspices was born the ,painter of the ,conceptions40 ,this dogma of the ,conception1 which for centuries had occupied the minds of theologians and scholars and captivated the imagination of the faithful1 was nowhere held in greater honor than in ,spain1 and the center of the cult was ,seville4 ,meanwhile1 the authority of the ,church1 as expressed in ,councils and ,bulls1 had maintained a neutral attitude toward the question4 ,when1 however1 at the end of #afag1 ,paul ,v1 yielding to the repeated urging of the ,crown and ,church of ,spain1 issued a ,bull which forbade teaching or preaching in opposition of the dogma1 the joy of the ,spanish people was profound4 ,seville herself celebrated the glad tidings in a frenzy of religious rejoicing4 ,a magnificent ceremony was performed in the ,cathedral and amid the strains of choir and organ1 salvoes of artillery and a ,illustration3 ,,miracle ,,of ,,the ,,loaves ,,and ,,fishes ,,murillo ,,hospital ,,de ,,la ,,caridad1 ,,seville ,illustration3 ,,moses ,,striking ,,the ,,rock ,,murillo ,,hospital ,,de ,,la ,,caridad1 ,,seville pan of the bells of the cathedral and churches1 ,archbishop de ,castro swore to maintain and defend this peculiar tenet of his see4 ,it was followed by a splendid entertainment in the bull-ring1 where in the presence of enormous throngs the nobles appeared1 accompanied by magnificent retinues1 and one in particular1 ,don ,melchior de ,alczar1 attended by his dwarf and four gigantic negroes1 performed prodigies of valor and dexterity4 ,it was recognised that a new era had commenced2 that the old dark days of inquisitorial rigor were passed and love and gentleness were to reign henceforth4 ,it was into this atmosphere of sweet religious ecstasy that ,murillo was born1 destined to become the artist who best succeeded in expressing it4 ,murillo's only teacher was his uncle1 ,juan de ,castillo1 who gave his pupil a thorough grounding in drawing1 though his own style could not do much to help his pupil's advance in painting4 ,after a time ,juan moved to ,cadiz and his nephew1 without father or mother1 was left to face life alone4 ,he gained a living by painting 8bodegones10 or still-life subjects1 and pictures of saints1 which he sold in the feria or weekly market4 ,his ambition was to study in ,rome and1 as a first step1 to visit ,madrid4 ,having saved a little money1 he made his way on foot to the capital and presented himself to his fellow townsman1 ,velasquez4 ,the latter received him kindly and obtained permission for the young man to paint in the royal galleries4 ,here ,murillo studied and copied the works of ,titian1 ,rubens1 ,van ,dyck1 ,ribera and ,velasquez himself1 to such purpose that the last-named advised him to go to ,rome4 ,but ,murillo1 who had now been three years away from ,seville1 determined to return thither4 ,the same independent spirit which had enabled him to shift for himself and to leave home and study in wider fields1 now assured him that he had gained what he needed without further travel4 ,from the various influences which he had experienced1 he discovered a style for himself4 ,he returned to ,seville without friends or influence1 but opportunity presented itself4 ,the monks of the convent of ,s4 ,francis wished their cloister decorated4 ,murillo applied to them for the commission4 ,they would have preferred a well known artist of the city1 but1 having little money to offer1 engaged the young1 unknown painter4 ,murillo spent three years on this work1 and1 when it was completed1 found himself the most famous painter in ,seville4 ,he had taken something from the several styles of the artists he had studied and imprinted upon it his own individuality4 ,this expressed itself particularly in an ability to give reality to his picturing of the story involved in the legends of ,s4 ,francis4 ,he had proved himself to be a great illustrator4 ,this term to-day perhaps involves a certain depreciatory significance4 ,men are often illustrators because they cannot find a market for their easel-pictures2 or1 having obtained a reputation as illustrators1 are ambitious to be painters4 ,the fact is1 that illustration to-day is confined to books and magazines1 and from the publisher's point of view is designed rather to attract attention to the text than to illuminate it4 ,but in ,murillo's day1 as in ,raphael's1 illustration was a noble and honored art1 the readiest and most efficient way of bringing the sacred truth home to the minds of the unlettered masses1 and permitted so grand a scope1 that it was also a decoration to monumental buildings4 ,thus the value of an illustration at that date1 while it incidentally might be decorative1 depended primarily on the appeal which it made to the hearts and understandings of the people4 ,murillo was a sincere ,catholic2 he could feel his subject in accordance with the ,church's teaching1 and moreover he had the gift of telling the story in the vernacular2 depicting it in familiar guise and investing it with those touches of everyday life that pique and hold the interest of the simplest mind4 ,to be indifferent to the genius and value of such a gift is to admit oneself a careless student of human nature4 ,it is either that we refuse to be interested in what interests the masses1 or that we underrate the virtue of the latter being thus interested4 ,to-day1 in our modern experience1 there are thousands of illustrators2 but if one looks back1 say1 twenty years1 how many are there who have been leaders1 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 vital8 ,this is the point4 ,for the thousands who can perpetuate a tradition1 imitate somebody else1 or carry on the accepted convention1 there will be found but one or two who can synthetise the time-spirit into a new expression4 ,and for the worth-while of doing this8 ,i repeat that1 to-day1 illustration is mainly a method of amusing vacant minds4 ,but it was not so in the seventeenth century1 any more than during the early and the great days of the ,renaissance4 ,it was something that influenced the lives of millions in their attitude to what1 then at least1 was of supreme moment1 religion4 ,therefore1 to estimate the genius and value of ,murillo's gift of illustration we must not judge it from the standpoint of to-day1 but in the light of the needs and desires of his contemporaries4 ,then we shall realise that what ,murillo did for the simple1 religious folk of ,seville is akin to ,raphael's contribution to the mingled ,humanistic and ,christian needs of ,rome4 ,both were great illustrators1 whose subject matter was religion1 and who told their story in the medium that appealed to the sympathy and understanding of the largest number of people of their day4 ,but the very freedom from ,humanistic influence which characterised ,murillo's art encreased its value to the people of ,seville4 ,it was essentially ,spanish in its naturalism and specifically ,andalusian in its sentiment4 99 99 99 99 99 ,murillo's method of painting has been described as exhibiting three styles--cold1 warm and vaporous4 ,according to this arrangement1 the first style 7estilo frio7 is distinguished by cold coloring and dark shadows2 the second 7estilo calido7 by warmth of coloring1 stronger contrasts of luminous light and shade1 and by increased plasticity of form2 the third1 7estilo vaporoso7 by the vaporous or misty effects of atmosphere1 enveloping the whole or part of the composition4 ,but while his works show this variety of method1 they cannot be distributed into periods1 definitely characterised by one or another style4 ,nor will it repay the student to try to docket the different pictures according to any such pigeon-hole ,illustration3 ,,ss4 ,,justa ,,and ,,rufina ,,murillo ,,provincial ,,museum1 ,,seville system of division4 ,he will rather become aware that1 as ,murillo attained to facility and confidence in his own way of rendering his intentions1 he perfected his pictorial representation both of the naturalistic motive and of the spiritualised conception1 which in whole or in part for the time being occupied his imagination4 ,in some pictures you find the naturalistic motive either predominating or in complete control2 in others it is combined with the spiritualised motive2 while again1 particularly in the ,conceptions1 the spiritualised intention is exclusively apparent4 ,whether it satisfies your own spiritual sense is another matter4 ,nor can these varieties of motive be assigned to special periods of ,murillo's career4 ,for example1 after he had established his reputation as a painter of ,conceptions1 he executed the series of works for the ,hospital de ,la ,caridad1 in ,seville4 ,two of these are produced on page #aej4 ,they were selected because they redounded to the reputation of ,murillo in his lifetime1 and yet exhibit a weakness which more or less is evident in all his works of illustration4 ,neither the ,miracle of the ,loaves and ,fishes1 nor ,moses ,striking the ,rock1 contains any spiritual suggestion2 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 distinction4 ,further1 even the significance of the events is not suggested4 ,if you take away the ,christ1 whose importance in the composition is already belittled by the group of women on the right1 is there anything in the action of the figures and the expression of their faces to indicate that they are witnesses of a miracle8 ,the scene becomes nothing more than a huge picnic1 conducted on an absurdly meagre commissariat4 ,so too1 in ,striking the ,rock--where is the hint of the agony of thirst or of high-wrought emotion at the miraculous deliverance8 ,but for the two central figures1 whose impressiveness1 such as it is1 is confined to themselves1 the incident might be simply that of a party of people gathered about a spring4 ,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 horse4 ,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 others4 ,another example of this series of ,hospital subjects is the very famous ,s4 ,elizabeth of ,hungary1 now in the ,prado4 ,the scene is being enacted in the shadowed arcade of an imposing classical building4 ,the saintly ,queen1 attended by two young ladies1 charmingly attired1 is washing the scalp of an urchin1 who leans over a silver basin4 ,a beggar sits on the ground removing a bandage from a festering sore1 and a boy1 with an expression on his face of exasperated distress1 scratches his head and chest4 ,meanwhile an old woman sits looking up in worshipful gratitude at the face of the queen1 who possibly returns her gaze4 ,for she is turning her head away from the business in which she is engaged1 as well as she may1 since the head she is bathing shows a disgusting sore4 ,perhaps you may say that such details are incidental to a clinic1 and may quote the example of ,rembrandt's ,clinic of ,dr4 ,tulp4 ,but the latter is frankly a naturalistic picture in which the cadaver forms the explanation and focus of the group of eager1 intellectual heads1 absorbed in the instruction of the master-surgeon4 ,but ,murillo's is an academically disposed composition1 involving splendid classical accessories4 ,it is1 in the manner of its form1 idealised according to the ,italian tradition1 while in its details grossly naturalistic4 ,yet ,thophile ,gautier1 moved to a characteristic burst of sentiment1 exclaims--8,in his picture of ,s4 ,elizabeth ,murillo takes us into the most thorough-going reality4 ,instead of angels we are here shown lepers4 ,but ,christian art1 like ,christian charity1 feels no disgust at such a spectacle4 ,everything which it touches becomes pure1 elevated and ennobled1 and from this revolting theme ,murillo has created a masterpiece40 ,this begs the question which still remains3--,is the reality in this case so rendered1 that it becomes 8pure1 elevated and ennobled08 ,the answer will depend upon the individual student's temperament and intellectual attitude4 ,this picture1 indeed1 and many others in the ,prado arouse a suspicion which becomes more pronounced1 when we visit the ,museum and the ,church of the ,hospital de ,la ,caridad in ,seville1 that1 after all1 ,murillo was not so great a naturalist as he is credited with being4 ,his ,street urchins1 such as appear in the ,national ,gallery1 ,dulwich ,gallery and the ,munich ,pinakothek are vigorous transcripts of nature1 racy with ,sevillian character2 but in the ,holy ,family1 called ,pajarito 7little bird7 of the ,prado1 one discovers already a weakening of the naturalistic grip4 ,the types are local1 and the scene1 as the mother stops in the winding of her thread to watch the child playing with a dog1 while the father holds him tenderly1 is such as might be enacted in any happy home of the people4 ,but why the voluminous yellow mantle spread in graceful folds over ,joseph's knees8 ,it is a recollection of ,raphael that has inspired this solecism in the everyday naturalness of the scene4 ,similarly1 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 ,italians4 ,frequently1 as in the ,vision of ,s4 ,antony of ,padua1 and corresponding subjects1 the miraculous nature of the incident gives a plausibility to these formal designs1 which ,i venture to believe is lacking in the ,s4 ,elizabeth1 ,loaves and ,fishes and ,striking the ,rock4 ,nor is much of the nobility of the ,italian method reproduced in ,murillo's use of it4 ,too frequently its stateliness is invaded by a homeliness which borders on the commonplace4 ,one finds little or nothing of the aristocrat in ,murillo's equipment4 ,he views his subject with the naivet of an untutored mind and represents it with a simple disregard of anything that might lift it above the commonplace4 ,and this is practically as true of his technique as of his mental approach4 ,there are beautiful passages of color scattered through his works2 fine rendering of textures1 and precious morceaux of still-life4 ,but his color-schemes are regulated by temperament rather than by knowledge and calculation2 his brush-work is rarely distinguished and his chiaroscuro frequently has grown blackened with time4 ,it would be impossible to view one of his acknowledged masterpieces beside even a work of secondary interest by ,velasquez1 without realising at once the hopelessly unbridgeable gulf both of mentality and execution that separates them4 ,in fact1 it is not until one comes to his ,conceptions1 that ,murillo acquires distinction4 ,in these he shows an originality of idea1 to which he has moulded for himself a suitable technique4 ,he has learned to preserve the plasticity of form and yet invest it with a suggestion of being impalpable1 and also buoyant1 so that it floats of its own lightness4 ,the arrangement of the subject1 even to the colors1 was prescribed by the ,church2 being founded upon the vision1 recorded in ,revelation ,,xii4 #a4 8,and there appeared a great wonder in ,heaven2 a woman clothed with the sun1 and the moon under her feet1 and upon her head a crown of twelve stars40 ,it is ,murillo's triumph that he dematerialized the concrete suggestion2 created about the figure the luminousness of unearthly light and1 while he took for his model a girl of the people1 invested herself and her angelic surroundings with the imagined reality of a vision4 ,this1 it is needless to add1 represents a triumph of technique4 ,in these subjects ,murillo proved himself a superior and original painter4 ,as to the quality of feeling expressed in them opinions may differ2 but it can scarcely be questioned that it is emotional rather than spiritual4 ,there is nothing in it of soul ecstasy1 as in ,el ,greco's visions2 it is the sweet1 rapturous sentiment of the warm-blooded1 emotional ,south4 ,the ,conceptions1 in fact1 are the most characteristic product of the ,andalusian ,school and the highest achievement of ,murillo4 ,in conclusion let me quote the observations of the ,french critic1 ,c4 ,e4 ,beul1 concerning that portrait of ,murillo's which he painted of himself when he was in the flush of youth with all his possibilities before him4 8,we find him brilliant1 ardent1 fresh-colored1 the warm blood flowing close under his skin2 his eyes black1 penetrating1 full of fire and fuller still of passion2 his forehead high1 and modeled with those slight bosses which show a quick but rather feminine intelligence2 the lower part of his face 7as is frequently the case with his countrymen7 less finely cut1 and marred by a coarse mouth and the heavy outline of the chin4 ,the total impression is that of a nature in which ardor serves instead of force1 a facile but superficial rather than profound intelligence1 and1 as a prime trait1 highly mundane and sensual4 ,are not these the very qualities we find written in his works80 ,murillo's end was brought about by a fall from a scaffold4 ,he lingered for a short time1 spending his days in contemplation of ,campaa's ,descent from the ,cross in the ,church of ,santa ,cruz4 ,he died on the third of ,april1 #afhb1 and was buried1 in accordance with his request1 beneath this picture4 ,,chapter ,,xi ,,cano ,,and ,,zurbar,n ,alonzo ,cano was born in ,granada in #afja4 ,he belongs1 however1 to the ,school of ,andalusia1 for he studied in ,seville and lived there until his thirty-sixth year4 ,his teachers in painting were ,juan de ,castillo1 the master a few years later of ,murillo1 and ,francisco ,pacheco1 in whose studio ,cano was a fellow-pupil of ,velasquez4 ,he also practised architecture and sculpture4 ,indeed1 it was in the latter art that he particularly excelled and gained his first distinction4 ,his teacher had been the celebrated ,martinez ,montas1 whose instruction was supplemented by the opportunities of studying the antique marbles collected by the ,dukes of ,alcal1 in their palace in ,seville1 the ,casa de ,pilatos4 ,the influence of this training is perceptible in his best paintings which are characterised by excessive refinement of drawing and expression4 ,yet ,cano's own nature was inclined to violence and lawlessness4 ,having fought a duel with the painter1 ,llano y ,valds1 and wounded him1 he found it convenient to leave ,seville and settle in ,madrid4 ,cano1 now in his thirty-sixth year1 was kindly received by ,velasquez and introduced by him to the ,count-,duke ,olivares1 who employed him in his palace of ,buen ,retiro4 ,philip ,,iv expressed a wish to see the new-comer's work and1 being favorably impressed with it1 gave ,cano the appointment of drawing-master to the young ,prince ,baltasar ,carlos1 and later made him one of his own painters in ordinary4 ,after some seven years of success ,cano's stay in ,madrid was terminated as abruptly as his sojourn in ,seville4 ,his wife was murdered4 ,according to the artist's own account1 he had returned home to find her dead in bed1 clutching a lock of hair and pierced with many wounds1 inflicted1 apparently1 with a pocket-knife4 ,her jewels were missing and the ,italian servant had disappeared4 ,suspicion was at first directed against this man2 but when it became known that the artist had lived on bad terms with his wife1 while carrying on an intrigue with another woman1 he himself was suspected of the crime4 ,whether guilty or not1 ,cano was alarmed for his safety and1 giving out that he had left for ,portugal1 fled ,east to ,valencia4 ,here he took refuge in a monastery1 executing works for many of the neighbouring communities4 ,at length1 trusting that the affair had blown over1 he returned to ,madrid and sought asylum in the house of his friend1 the ,regidor1 ,don ,rafael ,sanguineto4 ,he was1 however1 arrested and condemned to the ordeal4 ,pleading his profession as a painter1 he was permitted to submit his left hand to the torture and1 passing through it without a cry1 was adjudged innocent4 ,six years later ,cano1 desiring to settle in his native city1 ,granada1 obtained through the ,king's influence the post of minor-canon in the ,cathedral1 with the proviso that he should be excused from his choral duties if ,illustration3 ,,apotheosis ,,of ,s4 ,,thomas ,,aquinas ,,zurbar,n ,,provincial ,,museum1 ,,seville he took orders within a year4 ,he endeavored to conciliate the very natural objections of the ,chapter by executing some sculptural embellishments for the ,coro4 ,he also worked for the convents of the neighborhood and for private patrons1 with one of whom he came into collision respecting the price to be paid for a statue of ,s4 ,antony4 ,the man1 who held the office of auditor of ,granada1 had demurred at the sum asked for a work which had occupied the artist only twenty-five days2 whereupon ,cano1 anticipating ,whistler1 retorted1 8,you are a bad reckoner2 ,i have been fifty years learning to make such a statue in twenty-five days40 ,then he dashed the ,s4 ,antony to the ground and smashed him4 ,this was a sacrilegious offence that might have brought the artist under the jurisdiction of the ,holy ,office1 but the auditor1 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 orders4 ,cano appealed to the ,king who obtained for him from the ,bishop of ,salamanca a chaplaincy which entitled the holder to full orders1 while at the same time the ,nuncio consented to grant him dispensation from saying ,mass4 ,so ,cano returned in triumph to ,granada1 but never again would execute any work for the ,cathedral4 ,indeed1 it was in works of charity that the last years of his life were chiefly spent4 ,he was so impoverished by them that1 when he was stricken with his last sickness1 the ,chapter voted five hundred reals to 8,the ,canon ,cano1 being sick and very poor and without means to pay the doctor02 and a week later added another two hundred reals to buy him 8poultry and sweetmeats40 ,he died on the third of ,october1 #affg4 ,the ,capilla ,mayor in the ,cathedral of ,granada is enriched with sculptural works by ,cano's hand and with some paintings4 ,these represent the 8,seven ,joys of ,mary10 ,annunciation1 ,conception1 ,nativity1 ,presentation in the ,temple1 and ,assumption4 ,they are placed so high1 that from the floor it is very difficult to see them1 while1 even when you view them from the nearer approach of the triforium1 the colored glass of the windows interferes with their effect4 ,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 decorate4 ,that this conclusion is correct appears probable when you study ,cano's smaller altar-pieces4 ,some of them are painted so thinly1 with so little variety of values of hue and so little interest of surface1 that they seem to be empty4 ,on the other hand1 his best works1 such as the ,mother and ,child over the ,altar of ,bethlehem in ,seville ,cathedral1 and the ,s4 ,agnes of the ,berlin ,gallery1 are so exquisitely refined that they need to be seen at close range4 ,the former is regarded as ,cano's masterpiece4 ,the type of the ,virgin is of ,granada1 touched with ,moorish warmth1 a little more womanly and much more refined than ,murillo's4 ,but1 like the latter's and like ,raphael's ,roman ,madonnas1 it is beautiful only in a physical and emotional way2 it has nothing of the spirituality of ,el ,greco's creations1 so absorbed in the mystery of their sacred and miraculous estate4 ,yet among 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's4 ,a similar quality of exquisitely fragrant maidenhood appears in the ,s4 ,agnes4 ,both this and the other canvas represent sentiment1 raised to the highest pitch of elevated feeling2 yet remaining sentiment4 ,i make the point because ,cano1 no more than the other ,spanish artists1 for all the religiosity of their pictures1 touched the soul of religion4 ,the only artist of the ,spanish ,school to do this was the alien1 ,el ,greco4 99 99 99 99 99 ,francisco de ,zurbarn was born in #aeih in the little town of ,fuente de ,cantos in the province of ,estremadura4 ,his father1 a small farmer1 convinced of his son's talent for drawing1 took him to ,seville and placed him under the teaching of ,roelas4 ,but there is little or no trace of this painter's influence in ,zurbarn's style4 ,in a general way the latter came under the spell of ,ribera and ,caravaggio2 indeed1 at one period of his career ,zurbarn in consequence of his dark shadows was nicknamed 8the ,spanish ,caravaggio40 ,but you cannot become acquainted with ,zurbarn's various subjects without realising that he owed his style chiefly1 almost entirely1 to himself2 that he had shaped it to the needs of his own temperament4 ,he was an out and out naturalist2 in a sense the most conspicuously naturalistic painter of the ,spanish ,school4 ,for there is an austerity in his point of view1 which separates him from the sentiment of ,murillo1 the passionate virility of ,ribera and the aristocratic distinction of ,velasquez4 ,zurbarn consorted with ,monks2 took advantage of occasional opportunities of retiring from the world into the quiet of a monastic community2 and in the simplicity and frugality of his tastes was at heart a monk4 ,the bare walls of a cell or refectory1 the plain habits of the brethren1 and the orderly formality of their lives1 were more to him than subjects for his brush4 ,they were so in tune with his own instincts1 that he derived from them inspiration for his art2 affecting not only his habit of seeing but his technique4 ,both became characterised by largeness and simplicity and by more or less severity4 ,these qualities are represented in the great altarpiece1 ,the ,apotheosis of ,s4 ,thomas ,aquinas1 executed when ,zurbarn was only twenty-seven years old and generally considered his masterpiece4 ,it is to be seen to-day under very favorable conditions in the ,provincial ,museum of ,seville1 for it is hung high in a good light and can be viewed from various distances4 ,these advantages of placing no doubt count in the impression1 differing so widely from the usual circumstances under which the altar-pieces of ,spain are to be studied4 ,but the impression received of the ,s4 ,thomas is that1 with the exception of the ,funeral of ,count ,orgaz1 it is the noblest ceremonial picture that one has met in ,spain4 ,it is due to the magnificence of its organic simplicity and bigness1 which give the composition an emphasis and carrying force4 ,and what is true of the large masses1 viewed from a distance1 is equally true on a nearer view of the details4 ,the latter resolve themselves into finely treated surfaces of drapery and particularly into the punctuating emphasis of keenly ,illustration3 ,,miracle ,,of ,s4 ,,hugo ,,zurbar,n ,,provincial ,,museum1 ,,seville characterised heads4 ,the altar-piece was painted for the ,church of the ,college of ,s4 ,thomas2 whose founder1 ,archbishop ,diego de ,deza is represented below2 kneeling opposite to the ,emperor ,charles ,v1 who presumably had been a patron of the foundation4 ,one has but to look at the reproduction of this picture 7p4 #afc7 to feel sure that all the heads are portraits2 that of ,s4 ,thomas1 8,the ,angelic ,doctor10 being1 tradition says1 a portrait of the ,prebendary of ,seville in ,zurbarn's time4 ,while each head is individualized1 it is interesting to note how they are assembled into generic groups2 the monkish type represented in the archbishop and his attendants2 the man-of-the-world in the ,emperor's group2 the type of the thinker and spiritual leader in the four doctors of the ,church1 ,gregory1 ,ambrose1 ,augustine1 ,jerome4 ,nor is there any less distinction of character in the ,s4 ,paul and ,s4 ,dominic1 in the right upper corner4 ,it is less manifest1 however1 in the ,christ1 and scarcely to be found in the figure of the ,virgin4 ,two other points may be noted1 as helping to explain the magistral impression of this canvas4 ,in the first place1 the effect of wide-openness in the upper part of the composition1 where the clouds of glory are thronged with cherub heads1 is carried down into the lower part by the view of the street1 seen at a distance and dotted with intentionally minute figures1 so as not to interfere with the emphasis of the groups in the foreground4 ,the result of this continuance of lighted space is to create a unity in the composition1 binding into an ensemble the three tiers of figures4 ,again1 it is remarkable with what a comprehension of large1 structural principles1 ,zurbarn has distributed the masses1 respectively1 of the plain and of the embellished draperies4 ,the purpose of the whole pageant is to glorify ,s4 ,thomas and incidentally the ,dominican order4 ,the key and climax1 therefore1 of the whole is ,s4 ,thomas's black and white habit4 ,to secure its emphasis the cardinal's red and the rich copes with their sumptuously embroidered orphreys have been massed about it4 ,meanwhile a portion of this enrichment is repeated below in the archbishop's robes and the emperor's cloak1 and more faintly in the figures in the clouds4 ,here too ,s4 ,dominic supplies an echo of the black and white1 which in turn are massed in the lower foreground4 ,it is this fine ground-work1 distribution and climax of black and white1 which more than anything give this composition so noble a distinction3 a certain chaste1 choice1 austere dignity4 ,near this picture in the ,provincial ,museum of ,seville hangs another fine example of ,zurbarn's originality of composition2 ,the ,virgin ,blessing ,various ,monks4 ,the white-frocked brothers are kneeling in two groups1 left and right of the central figure of the ,virgin4 ,she stands robed in delicate rose1 with her arms extended1 each hand on the head of a monk4 ,meanwhile her blue mantle1 fastened at the throat with a magnificent jewel1 is held suspended by two cherubs1 so that its volume forms a canopy of protection over the kneeling groups1 and the upper part1 curving like a bowl1 is filled high with angel heads floating in divine glory4 ,here again is architectonic simplicity1 allied with grandeur1 in the distribution of the masses of white1 rose1 deep blue and golden yellow1 and again an extraordinary interest of characterization4 ,the quality of intense1 austere sincerity is represented also in ,miracle of ,s4 ,hugo 7p4 #aff7 which is in the same ,museum4 ,indeed1 it is in ,seville that you realise the nobility of ,zurbarn's art4 ,the examples in the ,prado are by comparison commonplace2 except the ,portrait of a ,lady in one of the upper galleries4 ,this introduces us to the character of the artist's work after he settled in ,madrid1 whither he was sent for by the king4 ,portraits of women of fashion now occupied him4 ,there is a good example in the ,metropolitan ,museum which1 in pose and style of costume and low toned harmony1 resembles the one in the ,prado4 ,in the latter1 however1 the silk fall of the drapery is drawn forward over the skirt by the lady's hand1 so that its folds are more voluminous1 and the whole figure1 in consequence1 is freer in design than the one in ,new ,york4 ,as for the other picture in the ,metropolitan ,museum1 ,s4 ,michael the ,archangel1 it is very hard to credit its attribution to ,zurbarn4 ,where else among the artist's works can you find so palpable an attempt to imitate ,raphael8 ,it has nothing of the originality1 breadth and determined naturalism that distinguish ,zurbarn4 ,if the latter really painted it1 he must have done so in his student days with ,roelas4 ,zurbarn died in ,madrid1 probably in #affb4 ,he is held in high estimation by the ,spanish1 but scarcely appreciated at his true worth by foreigners4 ,to see him at his best1 alongside of ,murillo's work1 as you can in ,seville1 is to be disposed to question the latter's claim to be considered the greatest artist of the ,sevillian ,school4 ,certainly1 as compared with ,murillo1 ,zurbarn was more unequivocally the naturalist2 he was at least as good a painter2 a better1 one may even think2 and the qualities of his mind were superior4 ,he had not the popular trait of sentiment and passion2 but the higher gift of intellectuality and the rarer one of cold1 dispassionate vision4 ,illustration3 ,,charles ,,iv ,,and ,,the ,,royal ,,family ,,goya ,,the ,,prado ,,chapter ,,xii ,,goya ,from the death of ,velasquez1 in #affa1 more than a hundred years had elapsed when ,goya made his dbut in ,madrid4 ,he is the unexpected phenomenon of the ,spanish ,school2 coming as a surprise and even more surprising in the character of his art1 since it anticipated by a hundred years an art-motive of our own times4 ,goya was the prophet of modern impressionism1 and arrived upon the stage when the drama of ,spanish painting seemed to have been played out4 ,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 foreigners4 ,the decline of painting had kept pace with national decline4 ,spain under the ,bourbon dynasty reaped the whirlwind that had been sown by the ,hapsburg4 ,trade and commerce had been reduced to nothing2 and while a few noble families had grown rich the country was poor1 even the ,court being impoverished4 ,the ,church had sunk from its high estate1 and1 devoted to worldly ambitions1 had lost the respect of the community4 ,the national character was demoralised4 ,the lower classes had become brutalised1 while society was callous and the ,court openly profligate4 ,when ,goya entered on his prime1 the impotence of the ,king1 ,charles ,,iv1 had permitted the government to slip into the hands of the ,queen's favorite1 the ex-guardsman1 ,manuel ,godoy4 ,he had been raised to the rank of ,duke of ,alcudia and made prime minister of the realm4 ,for bringing to conclusion a war with ,france in which he had needlessly engaged1 he ostentatiously assumed the title of the 8,prince of ,peace40 ,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 ,spain1 thereby subjecting ,spain to the horrors of a ,french invasion under ,murat and to the prolonged distress of the ,peninsular war4 ,symptomatic of the moral atmosphere of the ,court is an anecdote mentioned in ,doblado's ,letters4 ,the ,king1 surrounded by members of his household1 was gazing from a window of the palace1 when ,mallo1 who happened to be then first favorite with the ,queen1 drove by1 handling a fine team of horses4 8,i wonder10 said the ,king1 8how the fellow can afford to keep better horses than ,i can80 8,the scandal goes1 ,sir10 replied ,godoy1 8that he is himself kept by an ugly old woman whose name ,i have forgotten40 99 99 99 99 99 ,on to the stage of this shabby comedy of court life1 set with the scenery of a nation's humiliation1 ,goya entered and made an immediate hit4 ,a man of violent passions1 without conscience or scruples1 he played his part as if all the characteristics of his contemporaries were represented in himself4 ,he has left a self-portrait1 painted some seven years after his appearance on the scene4 ,it now hangs in the ,prado and might be mistaken for the portrait of a bull-fighter4 ,indeed1 it reminds us that at one period of his young days ,goya became efficient in the bull-ring4 ,the neck is short and thick2 the mouth fleshy and sensual2 the nose broad2 the cheeks large and heavily modeled2 the cushioned brows indicate a hot1 quick sensibility2 there is a general suggestion of abounding animal force4 ,only the eyes1 deep set and brilliant1 proclaim the man's mentality4 ,it is the face of a peasant1 which in his origin ,goya had been4 ,his father was a small farmer in the village of ,fuentedetodos in ,aragn1 where ,goya was born in #agdf4 ,bred hardily and possessed of great physical strength1 the boy asserted his independence early and1 determining to be an artist1 sought instruction from a painter in ,zaragoza4 ,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 dagger4 ,finally he was wounded in some broil and hidden away by his friends to escape the clutches of the ,inquisition1 whose attention had been called to the affair4 ,accordingly1 after his recovery ,goya found it convenient to leave ,zaragoza4 ,he made his way to ,rome1 where he stayed for several years1 indulging his appetite for adventure and intrigue on a larger scale4 ,he again fell foul of the ,inquisition1 through an attempt to remove a young lady from a convent and would have fared ill1 but for the intervention of the ,spanish ambassador1 who promised to see that the offending artist returned to ,spain4 ,so in #agfi ,goya arrived in ,madrid4 ,shortly after his appearance in the capital ,goya married the daughter of the painter1 ,francisco ,bayeu4 ,she must have been a lady of exceptional forbearance1 since she remained true to him notwithstanding his frequent amours and presented him with twenty children4 ,bayeu introduced his son-in-law to ,raphael ,mengs1 who was in the height of favor at ,court4 ,this ,german painter1 who had been invited to ,spain by ,charles ,,iii1 owed his ,european reputation to his servile imitation of his namesake1 ,raphael4 ,he was a facile1 academic mannerist2 drawing inspiration for his subjects from the ,classics and rendering them with a purity of style that was absolutely bloodless4 ,he was1 however1 sufficiently large-minded to discover value in the young ,goya4 ,the ,king had requested his ,court painter to make an effort to revive the ,royal ,tapestry ,works of ,santa ,barbara1 and ,mengs was engaging painters to execute designs4 ,he gave a series to ,goya1 who prepared the cartoons which are now in the ,prado4 ,some of them were executed in the weave and can be seen in a room of the ,escoril1 adjoining another1 decorated with tapestries after designs by ,teniers4 ,the latter's example may have influenced ,goya in his choice of subjects1 for he took the theme of popular pastimes and treated them naturalistically4 ,the significance of this lies in its contrast to the conditions then existing4 ,for the tapestries which were la mode at that time both in ,france and ,spain were the ,boucher designs1 in which little court gentlemen and ladies play at being shepherds and milkmaids1 and indulge in pretty travesties of country life1 under conditions of an impossible and ridiculous age of innocence4 ,as we come to know ,goya we are not ,illustration3 ,,maia1 ,,nude ,,goya ,,the ,,prado surprised that this view of art had no interest for him4 ,we find him to have been from boyhood an eager liver1 interested to the full in life2 so we do not now share the surprise that his contemporaries must have felt when they saw these cartoons4 ,to a society accustomed to an art of academic imitation and rococo lackadaisicalness1 they may well have been a shock4 ,they seem also to have come as a welcome relief1 for they made ,goya popular2 moreover they established for him a character of being independent1 of which he subsequently took full advantage4 ,the color schemes of these designs are noteworthy4 ,while the ,teniers tapestries are based on a very naive use of the primary colors1 red1 blue and yellow1 and the ,boucher on a subtle use of the same1 in which the sharpness of the hues is silvered down to demi-tints1 the ,goya introduce the secondary colors4 ,they involve the red1 yellow and blue1 but merely as flashes of brilliance in a groundwork of plum-color1 purple1 dull brown-red1 deep orange and blue1 and rich greens1 enlivened with white and velvety black4 ,the schemes are intricate1 varied1 and above all1 positive2 the work of an artist with an original1 if still unmatured1 sense of color4 ,goya1 indeed1 proclaimed in this early work the fact that he was a colorist2 although1 as yet1 there is little suggestion of the kind of colorist he was going to prove himself4 ,following these cartoons came several commissions to provide decorative paintings for churches4 ,goya executed them in the spirit of popular genre that inspired the cartoons4 ,not only had he no religious feeling2 he was bitterly and openly opposed to the ,church1 and in these pictures of saintly legends was at no pains to simulate a reverence that he did not feel4 ,to this period also belongs the ,portrait of ,charles ,,iii of the ,prado1 which shows him in the costume of a huntsman1 an angular figure with a genial but homely face4 ,it is painted with uncompromising naturalness2 the contours as hard and bold as the coloring2 a picture separated from the ,goya that we later know by a wide gap4 ,the fact seems to be that in this portrait ,goya was painting simply what he saw2 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 picture4 ,it was necessary for ,goya to discover some refinement in his own point of view1 before he could develop his best artistic possibilities4 ,the gradual steps by which he reached this goal ,i do not profess to know2 but a few years later1 when he had been established as ,court painter to the new king1 ,charles ,,iv1 the true ,goya is discovered4 ,his new style1 the result of a new way of viewing his subject1 is fully developed in the group portrait of ,charles ,,iv and the ,royal ,family4 ,we will postpone consideration of ,goya's mental attitude toward these royal puppets4 ,that is part of his general outlook upon life1 as a satirist and castigator of follies4 ,it is his attitude toward his art which concerns us for the moment4 ,the reproduction of this picture 7p4 #aga7 gives little but a limited idea of its artistic beauty1 but it brings out the lack of human interest in1 at least1 the principal personages and the necessary stiffness of this arrangement of the figures4 ,it will be noticed1 however1 that ,goya has drawn the straggling items into some degree of unity by enveloping the lower part of the end groups in half-shadow4 ,the eye is thus led to concentrate on the center of the composition4 ,here for an instant our attention may be occupied by the ungainly attitude of the ,queen1 and the forbidding expression of her face1 turned1 as in her other portraits by ,goya1 in one direction1 while her eyes seek another4 ,but it is only for an instant4 ,then we are attracted by the jewels in her dark hair and on her bosom1 and by the exquisiteness of the costume--a fall of ,chinese silk1 mandarin blue1 embroidered in white and gold1 over a white lace skirt4 ,next our gaze may wander to the similar dresses worn by the princesses on her right1 which however represent subtle variations of effect through the more or less of shadow in which they are veiled2 and then to the king's rose-embroidered vest1 the pale blue and white watered silk ribbon1 and the stars and jewels which cluster on the plum-colored velvet coat4 ,so gradually one becomes conscious of the loveliness of color that permeates the whole group1 a bouquet of mingled quietude and brilliance1 of low tones and sparkling keys1 which one can enjoy with as complete a detachment from any thought of the figures1 as if they were a parterre of flowers4 ,in fact1 there is revealed here a colorist of extraordinary refinement and subtlety2 and of an imagination that is rare among painters4 ,goya's original fondness for varied and positive colors has matured into a mastery over a few hues1 treated with exquisite nuances4 ,and the secret of this marvelous color-expression is the artist's new way of looking at his subject4 ,he has become an impressionist in the modern sense4 ,he stands forth1 indeed1 as the first of modern impressionists1 the forerunner by nearly a hundred years of the principal art-motive of the nineteenth century4 99 99 99 99 99 ,goya used to say that his only teachers had been ,velasquez1 ,rembrandt and ,nature4 ,it was from the first named that he learned to paint1 not the subject in front of him but the impression he had formed of it2 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 light4 ,yet it is difficult to understand how ,goya could have had many opportunities of studying ,rembrandt1 since there is only a single example in the ,prado1 and the ,dutch masters were not favored in ,spain4 ,accordingly one is disposed to give ,goya fuller credit for discovering his own way of rendering his impressions4 ,as it is exhibited in this portrait group1 it reveals an imagination that heightens the suggestion of beauty in the thing recorded1 and an extraordinary gift of improvisation in handling passages of intricate detail and rendering the effect of an ensemble4 ,there is no such maze of luxuriant loveliness as this in any picture by ,velasquez2 the nearest approach to it being1 perhaps1 the breast of the little ,don ,carlos on horseback4 ,the ,goya represents a more feminine sensitiveness2 it is impregnated with temperament4 ,this is the quality of ,goya's impressionism which makes it modern4 ,velasquez's is impersonally objective2 modern impressionism1 like ,goya's1 is naturalism viewed through temperament2 it shapes and colors the record to the artist's mood4 ,this is at once its weakness and its strength2 a source of power when the mood is high and spontaneous1 of weakness when the mood is slack or directly unsympathetic4 ,under the latter conditions ,goya not infrequently turned out pictures in which spontaneity and imagination are absent1 and the result is wooden1 ineffective4 ,still oftener his faces are lacking in expression and in subtlety of modeling2 while his hands1 though one has heard them praised1 are seldom expressive in modeling or in gesture4 ,it was the tout-ensemble that interested him and in this the costumes play a very important part and are usually handled with incomparable mastery4 ,two beautiful examples of his ability to encompass the spirit of a subject are the pair of canvases1 representing a ,maia1 or girl of the people1 in the one case nude1 in the other clothed4 ,in both the sofa is upholstered in green velvet1 spread with silvery white draperies and cushions4 ,but1 in the case of the nude1 the green is cool and bluish2 in the other1 a warmer apple-green to harmonise with the costume4 ,the latter consists of a bolero jacket of mustard color with black and white lace trimmings1 a white gown1 shaded with tones of dove-grey and lavender1 a sash of silvery hue1 suffused with claret1 and yellow ,turkish slippers4 ,the black network is laid on crisply and roughly1 thus helping to set off the smoothness of the technique in the face1 which has warm red cheeks and brown eyes4 ,on the other hand1 in the ,maia ,nude1 the coloring throughout is cooler2 a more delicate rose in the face1 a faintly oxidised silver shadow under the chin and over the bosom2 and similar shadows of inexpressible subtlety over other portions of the body4 ,the flesh is cream with the faintest suggestion of rose2 and yet not cream1 for it seems to be veritable flesh4 ,but1 although this nude is painted with a naturalism that could scarcely be exceeded1 the web of evanescent shadow in which it is clothed invests the nudity with a veil of idealism4 ,these shadows1 absolutely indescribable in their delicacy1 are the result of a most perfect sense of values and of a technique as sure as it is facile4 ,they are the despair of painters who try to copy the picture4 ,goya1 in fact1 in these two canvases1 particularly in the nude1 has caught the volatile essence of young femininity2 has succeeded1 as it were1 in painting the fragrance of the flower4 ,another kind of femininity1 more matured1 he has represented in the ,andalusian beauty1 ,doa ,isabel ,corbo de ,porcel1 of the ,national ,gallery4 ,here the technique1 as befits the impression1 is more brusque and vivacious4 ,but in another example in the same ,gallery1 ,portrait of ,dr4 ,pral1 ,goya has adapted to the refinement of his subject a color-scheme and technique of unsurpassable delicacy4 ,the features1 pale pink1 shaded with grey1 are set in a frame of long whitish yellow hair2 the coat is greyish drab1 the vest pearly grey with green sprigs1 the figure being placed against a dark olive-black background4 ,the expression of the whole is of a man of rare cultivation and fine mental poise4 ,the scheme of color recalls the ,portrait of ,francisco ,bayeu1 in the ,prado1 except that1 in the latter1 silvery blue is substituted for the green2 this note of color appearing in the sash4 ,by the time that ,goya reached his maturity the range of his palette was reduced to very restricted limits3 blue1 white1 black1 vermilion1 some of the ochres and burnt sienna4 ,and his tools were correspondingly meagre4 ,brushes of the rudest make served his purpose2 or he would use a sponge or stick1 securing some of his subtlest effects with the ball of his thumb4 ,from several unfinished bust-portraits in the ,prado it appears that he worked over an under-surface of orange-red2 which no doubt accounts for the warmth and fulness of his greys4 ,on the other hand1 the subtlety which he succeeded in giving to all his local colors1 laid on as they were in simple flat tones1 is the result of a profoundly sensitive feeling for values4 ,goya's rendering of the varying qualities of light1 as they affect the hue of a surface1 is different from ,velasquez's4 ,with the latter1 if one may state it briefly1 it is rather the product of observation2 with ,goya1 of feeling4 ,therefore1 it is largely influenced by temperament1 which makes it akin to the modern handling of values4 ,in this1 as in the character of his impression1 ,goya is a modern of the moderns4 ,it is interesting to compare ,goya's equestrian portraits with those of ,velasquez4 ,goya's best1 in the ,prado1 are those of the ,king and ,queen4 ,perhaps the most noticeable difference appears in the treatment of the horses4 ,velasquez1 as we have seen1 gave to each of his animals an individual character and action1 suitable also to the character and psychology of the rider4 ,a spirited small creature bears the little ,don ,carlos2 a showy1 powerful brute the swaggering ,olivares2 a beast1 trained in stately menage1 the proud and reserved king4 ,with ,goya1 however1 there is little apparent study of the structure or character of the animal2 it is felt for its value as a handsome mass4 ,and the rider's figure seems to have been felt in the same way2 as if by emphasising its mass the artist could evade the inevitable commonplace of the face4 ,accordingly1 in the case of the ,queen1 the impression we receive is of a black beaver hat with scarlet cockade1 scarlet revers and silver braid on a black habit2 black trousers against the deep green and gold of the pummel and saddle-cloth1 and of a red-bay horse with darker tail2 the whole forming a striking silhouette against a dull drab sky that deepens to slaty grey on the right1 and a tawny1 pale green landscape fading toward the horizon to silver buffs and olive4 ,similarly1 the ,king's portrait suggests the effect of a handsome silhouette1 which culminates in a blaze of splendor amid the decorations that cover the rider's breast4 ,this is artfully balanced by the brilliantly white chest of the horse and by a paler white light in one part of the sky4 ,both these portraits1 in fact1 are primarily color-impressions4 ,it is as if ,goya had taken refuge in this point of view1 in order to get over the difficulty of adjusting two such undignified personages to the monumental feeling of a large equestrian portrait4 ,it was a case in which he tried to keep in control his feelings as a satirist4 99 99 99 99 99 ,illustration3 ,,queen ,,maria ,,luisa ,,on ,,horseback ,,goya ,,the ,,prado ,for ,goya's role at ,court was that of an audacious satirist1 censor and chastiser of the follies and iniquities of his day4 ,he was allowed a free hand1 for his gallantry endeared him to the ladies and his prowess as a fighter made him feared by the men1 while all1 except the immediate victim1 could enjoy the adroitness and daring of his humor4 ,his particular bte noir was ,godoy1 whom he mercilessly satirised4 ,he would amuse the idle moments of the ,court by sprinkling the contents of a sandbox on the writing table1 and drawing with his finger caricatures of the minister4 ,on one occasion he appeared at some function during a period of ,court mourning and was refused admission by the ushers1 because he was wearing white stockings4 ,he retired to an ante-room and with pen and ink relieved their whiteness with funereal caricatures of ,godoy4 ,among the amours in which he indulged was one with the young ,duchess of ,alba1 who returned his passion4 ,their liaison aroused the jealousy of the ,queen1 who banished the ,duchess to her country home4 ,when ,goya learned of it he pursued his inamorata in hot haste and caught her up on the road1 for an axle of her carriage had broken4 ,there being no smithy near1 he himself lit a fire and repaired the damage4 ,the exertion was succeeded by a chill1 which induced the first symptoms of the deafness that in later life became complete4 ,meanwhile1 the ,court could not do without its ,goya1 and as he would not return without his ,duchess1 she too was recalled4 ,but ,goya was far from being a mere buffoon and galliard4 ,although his passionate nature with its streak of coarseness made him at home in the petty intrigues of the court1 he was a part of the wide-spread revolutionary spirit of his day4 ,while ,europe1 and particularly ,france1 was seething with the yeast of unrest1 this solitary figure1 far off in ,spain1 was already in revolt4 ,in his denunciation of the hypocrisy and vice of his age1 as exhibited alike in the ,church1 ,society and the middle and lower classes1 he was a ,voltaire and ,robespierre in one1 brandishing the torch that subsequently kindled the ,french revolution4 ,in this1 as in his technique1 he was ahead of his age4 ,meanwhile1 the mental attitude which inspired him was characteristically ,spanish3 by turns grim and gay1 humorous and deadly serious1 coarse1 sensual and cruel4 ,in two series of etchings1 ,caprichos 7,whims7 and ,proverbios 7,proverbs71 the scourge of his satire bit into the plates with a virulence of scorn and nakedness of exposure that have never been surpassed and1 before his day1 had never been attempted by an artist4 ,in one of his etchings1 a dead man has returned to life and is writing with his finger on the wall nada--nothing4 ,goya was a nihilist1 bitter therefore against quacks and empirics1 whether priests1 doctors or lawyers4 ,also he laid bare the emptiness and horror of passion1 a hashish that beguiles forgetfulness and leads to impotence and nothingness4 ,this idea of the nothingness of life in general1 and of passion in particular is expressed with ,goya's characteristic ferocity and lust of the horrible in ,the ,fates 7p4 #ahb74 ,midway between earth and sky three female figures are floating1 their lower limbs entwined so as to form a cradle1 on which1 with hands bound behind his ,illustration3 ,,the ,,fates ,,goya ,,the ,,prado back and his legs screwed up to maintain a precarious balance1 sits ,man4 ,meanwhile1 the crone on the left1 a harridan of the slums1 clenches in her fist a pigmy figure1 whose hands are stretched in vain supplication to a darkened sky4 ,such is the beginning of ,man's destiny2 to discover the development of which another crone is peering through a spy-glass4 ,the third ,fate1 nude1 younger and of opulent form1 turns her face to a lurid glare in the sky4 ,watching till the light fades1 she holds the scissors which will cut the thread and precipitate ,man1 sated with passion1 into the waters below4 ,this colossal travesty of life1 as nothing but inchoate1 chaotic1 brute nature1 swayed by elemental lust1 is painted with such amazing brutality1 that the pigments seem as if they might have been laid on with a trowel4 ,the crudity is intentional1 producing a texture that fits the monstrous irony of the conception4 ,moreover1 before this picture one loses sense of color1 as consisting of specific hues4 ,it is1 in fact1 an apt illustration of ,goya's own paradox1 that color does not exist1 that everything is light and shade of varying values4 ,while one may discover the application of this principle in the meagre range of color1 manipulated with nuances of value1 which distinguishes all the canvases of ,goya's maturity1 it is particularly evident in his subjects of grotesque and violent imagination such as ,the ,fates4 ,another example1 selected for reproduction here 7p4 #ahi71 is ,the ,scene of ,may #c1 #ahjh4 ,the citizens captured by ,murat's troops1 in the riot of the previous night1 are being shot down in batches2 the incident taking place in the grounds of the palace of the 8,prince of ,peace06 ,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 scared1 hopeless victims4 ,but the dead monotony is rent with a shriek1 shrilling out in the clear1 cold notes of the white shirt of the poor wretch whose arms are raised1 in the yellow breeches and the crimson pool of blood4 ,it is a remarkable example of color used solely for the purpose of expression2 a use most characteristic of ,goya1 to which we will return later4 99 99 99 99 99 ,in the troubles which overtook ,spain1 ,goya proved himself neither patriot nor hero4 ,he swore allegiance to ,joseph ,bonaparte and utilised the sufferings of his country for a series of etchings1 ,the ,disasters of ,war1 in which the horrors of the military invasion are depicted with unexampled force and naturalism4 ,after ,wellington had expelled the ,french1 ,goya again played the part of opportunist and pledged his fealty to ,ferdinand ,,vii4 ,the ,king1 remarking that ,goya's conduct deserved hanging but that he was a great artist and should be forgiven1 restored him to his position of ,court ,painter4 ,goya1 however1 was beginning to decline4 ,his deafness had grown upon him and with it a moroseness and irritability of temper1 which made him shun society and bury himself in his country house4 ,his deafness even denied him the solace of his favorite amusement1 playing on the piano4 ,his wife was dead1 and the sole object of the old man's affection was his little grandson1 ,mariano1 whose face he has commemorated in the portrait1 now owned in ,madrid by the ,marqus de ,alcaices4 ,goya at length obtained the ,king's permission to visit ,france4 ,he spent some time in ,paris1 where he was welcomed by ,delacroix and the younger spirits of the ,french romantic movement4 ,he then settled in ,bordeaux1 tended and cared for by an old friend1 ,madame ,weiss4 ,during this period he executed a few portraits and the lithographs1 ,les ,taureaux de ,bordeaux1 in which his old time vigor is displayed4 ,when the term of his leave of absence had expired1 he revisited ,madrid and was received by the ,king and people with marks of the highest respect and consideration4 ,goya was now in his eighty-second year1 and returned to ,bordeaux1 where he lingered a few months and died in the ,spring of #ahbh4 ,seventy-one years later his remains were removed from the cemetery of ,bordeaux and interred with honors in ,madrid4 ,for by this time ,goya's reputation had become world-wide1 and his influence upon modern art thoroughly recognised4 99 99 99 99 99 ,goya's gift to the modern world is twofold3 impressionism and1 if one may coin a word1 expressionism4 ,to the former we have already alluded in comparing his kind of impressionism with that of ,velasquez4 ,while the earlier artist with his objective vision realised an impression of observation3 ,goya1 influenced by temperament1 recorded an impression of feeling4 ,this attitude toward art naturally made him welcome to the ,french ,romanticists1 and through them brings him in touch with the general modern tendency toward self-expression4 ,for the modern artist learned from ,velasquez the principles of impressionistic painting1 as a foundation of technique1 but later derived from ,goya the secret of impressionism for the purpose of expressing the emotion with which the subject inspired him4 ,to the temperamental impressionist1 therefore1 ,goya seems to represent the last word in technical distinction4 ,but to-day the impressionist himself is on trial4 ,the world is beginning to question the worth-whileness of his art1 except as a necessary transition-stage to something more fundamentally vital that is in process of evolution4 ,what this will prove to be is at present in suspense2 but we are vaguely discerning that it will be something at once more organically basic than impressionism and more spiritualised in motive4 ,it may have been inevitable for the artist to depend on temperament in an age1 such as the late century has been1 of religious1 mental and moral upheaval1 during which the old academic1 dogmatic forms of religion and art were toppling down1 the hard old conventions that shackled social and mental betterment were being gradually disintegrated1 and old values were being reduced to a flux in the melting pot of scientific analysis4 ,but1 as order has begun to emerge from this confusion1 the need of a new constructive faith is taking hold of men's minds2 the need of a new consciousness of some spiritual relation with the universe of matter4 ,if the art of the future is to keep pace with progress outside itself1 it must shape new motives to this need2 and already there are signs that it is doing so4 ,it is here that ,goya's second gift to posterity appears4 ,illustration3 ,,scene ,,of ,,may #c1 #ahjh ,,goya ,,the ,,prado ,his influence has been working in the direction of expression1 as the painter's goal1 rather than representation4 ,for a while1 in the middle of the nineteenth century1 ,velasquez's inimitable faculty of recording a visual impression fascinated artists4 ,consciously or otherwise1 these men were a part of the material and scientific tendency of the time1 and material representation seemed to them the ,ultima ,thule of artistic achievement4 ,hence the thousands of canvases by men of all countries which in their point of view are neither more nor less than photographic4 ,their authors remained content to vie with the camera2 and then1 because they had superior opportunities in color1 were proud and scornful when they beat the camera at its own game4 ,meanwhile1 there were painters who began to wish to play a game of their own2 to rid painting of the obsession in the matter of representation1 and to make their pictures more expressive of their own abstract sense of beauty4 ,to these men ,goya came as a revelation4 ,through his impressionism of feeling they learned principles of expression1 not discoverable in ,velasquez4 ,it is true that the influence of ,goya has tended for some time toward solely temperamental and emotional expression4 ,that was because the tendency of the age ran in this direction4 ,to-day1 however1 it is pointed in a new direction1 facing the actual realities of existence4 ,impressionism is melting away before a new dawn of ,realism4 ,thinking people are beginning to re-establish themselves upon the facts of life2 not the old conventions that passed as facts1 but the facts1 as they are presenting themselves to a newly awakened realisation of an encompassing environment of spiritual facts4 ,they are ,realists1 who would study the facts of life in their spiritual relation to the universe4 ,behind this still uncertain momentum of modern thought art is groping4 ,if one ventures to hazard a conjecture of the outcome1 it may be that the painter will get back to a more disciplined and scientific use of form and color1 using them organically1 but not1 however1 to the sole or even the main end of representation4 ,he will appeal as directly and exclusively as possible to man's purely esthetic perceptions1 and correlate these to his conception of universal beauty4 ,painting thus may become once more1 but in a new religious sense1 a spiritualized expression4 ,following this train of thought one comes upon a curious analogy between ,goya and ,el ,greco4 ,it was no accident of changing whim that has made the progressive artist of to-day turn from ,velasquez to ,goya1 and has drawn so many besides artists to admiration of ,el ,greco4 ,it is because both tender to the needs of to-day4 ,both are artists of expression4 ,they share with ,rembrandt the distinction of being the greatest artists of expression that any school can show4 ,though ,goya's genius is confined to a lower level of expression1 it points in principle to the spiritual altitude of ,el ,greco's4 ,both are models of suggestion for the artist of to-day1 if he is alive to the esthetic and spiritual needs of his age and is striving to express them4 ,that1 after its own period of greatness1 it should be thus refertilizing modern art1 is the proud distinction of the ,spanish ,school4 ,illustration3 ,,in ,,the ,,balcony ,,goya ,,collection ,,of ,,the ,,duke ,,of ,,marchena1 ,,paris ,a ,,postscript ,very 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 ,school4 ,academic encouragement has been given to the production of historical pictures1 which cover large quantities of canvas but excite little interest4 ,on the other hand1 those painters who have acquired a ,european and ,american reputation have all based their art on naturalism4 ,the first of these in order of time was ,mariano ,fortuny1 whose ,la ,vicaria1 better known in ,america as ,the ,spanish ,marriage1 when it made its first appearance in ,paris in #ahgj1 created a sensation4 ,the scene1 it will be remembered1 is a sacristy1 profusely embellished with rococo decorations4 ,the costumes of the figures are those of ,goya's day2 the actions and gestures piquantly natural and the characterization of each happily individualized4 ,but the chief charm of the picture lies in the marvelous treatment of the light4 ,fortuny1 after pursuing the academic routine and capturing the ,prix de ,rome1 obtained an engagement to accompany the ,spanish troops in a little war with ,morocco4 ,the splendor of ,southern coloring opened his eyes to the magic of light4 ,henceforth his pictures became miracles of luminosity4 ,the most powerful were ,la ,vicaria1 ,choosing the ,model and ,the ,rehearsal2 all rococo subjects in which the light is splintered into a myriad tiny reflections4 ,but the finer work1 in an artistic sense1 is to be found in his water-colors4 ,these are executed with extraordinary fluency and expression1 marvels of naturalistic characterization1 flooded broadly with glowing luminosity4 ,fortuny lived only five years after his remarkable dbut1 dying in #ahgd at the age of thirty-six4 ,among those who were influenced by him1 the most notable in imitating his virtuosity were ,edoardo ,zamacois1 ,antonio ,casanova y ,estorach and ,fortuny's brother-in-law1 ,raimundo de ,madrazo4 ,on the other hand1 the artist who has been most happy in uniting virtuosity with a gift of naturalism is ,francisco ,pradilla4 ,he has painted decorations full of joie de vivre and the spirit of romance3 popular merry-makings1 camp-life and scenes along the sea-shore2 spontaneous in execution1 abounding with zest and aglow with color4 ,joaquin ,sorolla y ,bastida has followed in his footsteps1 with a longer stride and heavier tread4 ,his works have the zest of ,pradilla's1 but neither the refinement of virtuosity nor the versatility and subtlety of color4 ,his naturalism is of the obvious type4 ,in contrast to him is ,ignacio ,zuloaga1 an artist in whom has been re-incarnated much of the diablerie and subtlety of ,goya4 ,since the latter no other has dipped so deeply into the grotesqueries of ,spanish life1 while in a thoroughly modern vein he explores the psychology of his subjects4 ,these include a diversity of types of femininity1 subtly analysed and interpreted by means1 particularly1 of expressive color-schemes4 ,zuloaga1 to-day1 is not only the most characteristically ,spanish of the artists of ,spain1 but the most advanced of them in his feeling for expression and in his faculty of rendering it4 ,,index ,abd-er-,rahman1 #i ,abencerrages1 tribe of1 #aa ,adoration of the ,kings1 ,the ,velasquez1 #hh1 #ajd1 #ajg ,adoration of the ,shepherds1 ,the ,velasquez1 #ajd1 #ajg sopus ,velasquez1 #aae ,agnes1 ,s4 ,cano1 #afd1 #afe ,alba1 ,duchess of1 #ahc ,alcade de los ,hijosdalgos1 #aca ,alcal1 ,duke of1 #afa ,alcal de ,henares1 ,university of1 #ac ,alcaices1 ,marquis of1 #ahg ,alcntara1 bridge of1 #gc ,alczar1 #gc1 #aaa ,alczar1 ,don ,melchior de1 #aea ,alcudia1 ,duke of4 ,see ,godoy ,alexander ,,vi1 ,pope1 #ac ,alfonso ,i1 #aj ,alfonso ,,iv1 #aj ,alhambra1 #aa1 #cj1 #cd2 impressions of1 #ce-cg2 motive of decoration1 #ch ,almohades1 sect of1 #aj4 ,almoravides1 tribe of1 #aj ,alva1 ,duke of1 #ag ,andalusia1 #da2 school of1 study of ,raphael1 #df2 influence of ,pedro ,campaa1 #dg2 school of ,murillo1 #ed2 in the seventeenth century1 #fd1 #fe2 return to naturalism1 #ajb2 ,ribera1 #acf2 ,murillo1 #adh1 #aed1 #aeg ,annunciation1 ,the ,cano1 #afd ,annunciation1 ,the ,el ,greco1 #hh ,antigua1 ,capella de la1 #db ,antolinez1 ,jos1 #fb1 #acb2 ,the ,assumption1 #fb2 ,glorification of the ,virgin1 #fb2 ,ecstasy of the ,magdalen1 #fb ,antony ,visiting ,s4 ,paul1 ,s4 ,velasquez1 #aje1 #abf ,apocalypse1 ,the ,el ,greco1 #hi ,apotheosis of ,s4 ,thomas ,aquinas ,zurbarn1 #aff ,apparition of the ,virgin to a ,community of ,bernardine ,monks ,during a ,ceremony of ,exorcism ,pedro ,berruguete81 #dd ,aragn1 kingdom and province of1 #c1 #dj1 #da1 #agc ,argensola1 ,bartolom1 #ah ,arian controversy1 #h ,arpino1 ,cavaliero d'1 #adj ,assumption1 ,the ,antolinez1 #fb ,assumption1 ,the ,cano1 #afd ,assumption of the ,magdalen ,ribera1 #add ,assumption of the ,virgin ,cerezo1 #fb ,assumption of the ,virgin ,el ,greco1 #fi ,asturias1 kingdom of1 #i1 #aj1 #aca ,auto-da-f1 depicted by ,francisco ,rizi1 #fb ,b ,badajoz1 #dh ,balearic ,isles1 #bc ,baltasar ,carlos1 ,prince1 #afb ,baltasar ,carlos1 ,equestrian ,portrait ,velasquez1 #aje1 #ajh ,baltasar ,carlos1 ,portrait of ,mazo1 #abd ,baltasar ,carlos1 ,portrait of ,velasquez1 #ih1 #agh1 #ahb1 #ahf ,baltasar ,carlos1 ,sportsman ,portrait ,velasquez1 #aje ,baptism of ,christ1 ,the ,el ,greco1 #he ,barbara1 ,santa4 ,see ,tapestry works ,bartholomew1 ,s4 ,el ,greco1 #gi ,bavaria1 ,elector of1 #ba ,bayeu1 ,francisco1 #agd ,bayeu1 ,portrait of ,goya1 #ahj ,benedict ,celebrating ,mass1 ,s4 ,rizi1 #fa ,berlin1 ,kaiser ,friedrich ,museum1 #acd1 #afd ,bermudez1 ,cean1 8,dictionary of ,painters10 #bc ,berruguete1 ,pedro1 #dd2 ,apparition of the ,virgin to a ,community of ,bernardine ,monks ,during a ,ceremony of ,exorcism1 #dd ,beruete y ,moret1 critic1 #ajf1 #ajh1 #abb1 #abc1 #acd ,beul1 ,c4 ,e41 ,french critic1 #afj ,boabdil1 ,caliph1 #aa ,bonaparte1 ,joseph1 #bc1 #agb1 #ahf ,bonaparte1 ,napoleon4 ,see ,napoleon ,borbn1 ,portrait of ,doa ,isabel de ,juan ,pantoja de la ,cruz1 #ee ,bordeaux1 ,goya retires to1 #ahg ,borgia family1 #acf ,borgoa1 ,juan de1 #dd ,borrachos1 ,los ,velasquez1 #ajd1 #ajg ,bosch1 ,hieronymus1 #dc ,boucher tapestries1 #agd ,bourbon1 ,constable of1 #af ,bourbon family1 #ba1 #aga ,bouts1 ,dierick1 #db ,brueghel1 ,pieter1 #dc ,buddhistic art1 #he1 #ia ,buen ,retiro1 #ai2 presented to the king by ,count ,olivares1 #aje2 paintings in1 #fj1 #fa1 #aje1 #afa ,burgos1 city of1 #aj ,burning ,bush ,collantes1 #fj ,byzantine art1 #he1 #ia ,c ,cadiz1 #aea ,calderon1 dramatist1 #ah ,calle de la ,reina de ,aranjuez ,mazo1 #abh1 #abi ,calvert1 ,albert ,f41 #gj ,campaa1 ,pedro1 #dg2 ,descent from the ,cross1 #dg1 #afj ,canaletto1 #abg ,cano1 ,alonzo1 #fe2 chapter on1 #afa2 early 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