,,the ,,spanish ,,series ,,sculpture ,,in ,,spain ,,the ,,spanish ,,series ,,edited ,,by ,,albert ,f4 ,,calvert ,,toledo ,,madrid ,,seville ,,murillo ,,cordova ,,el ,,greco ,,velazquez ,,the ,,prado ,,the ,,escorial ,,sculpture ,,in ,,spain ,,valencia ,,and ,,murcia ,,royal ,,palaces ,,of ,,spain ,,spanish ,,arms ,,and ,,armour ,,leon1 ,,burgos ,,and ,,salamanca ,,catalonia ,,and ,,balearic ,,islands ,,valladolid1 ,,oviedo1 ,,segovia1 ,,zamora1 ,,avila ,,and ,,zaragoza ,,sculpture ,,in ,,spain 33 ,,by ,,albert ,f4 ,,calvert 33 33 ,,with #afb ,,illustrations 33 ,,london3 ,,john ,,lane1 ,,the ,,bodley ,,head ,,new ,,york3 ,,john ,,lane ,,company4 ,,mcmxii ,printed by ,,ballantyne1 ,,hanson ,,co4 ,at the ,ballantyne ,press1 ,edinburgh ,,contents ,,page ,,introduction #a ,,early ,,sculpture ,,belonging ,,to ,,the ,,native ,,iberian1 ,,latin1 ,,byzantine1 ,,and ,,visigothic ,,periods #ad ,,the ,,churches ,,of ,,the ,,romanesque ,,and ,,early ,,gothic ,,periods #be ,,the ,,sculptured ,,pieces ,,and ,,tombs ,,of ,,the ,,romanesque ,,and ,,early ,,gothic ,,periods #cg ,,the ,,altar-,,screens ,,or ,,retablos ,,of ,,the ,,romanesque ,,and ,,gothic ,,periods #ej ,,the ,,renaissance1 ,,and ,,the ,,influence ,,of ,,michael ,,angelo ,,on ,,the ,,spanish ,,sculptors #gj ,,the ,,renaissance1 ,,and ,,the ,,influence ,,of ,,michael ,,angelo 7continued7--,,the ,,schools ,,of ,,valladolid ,,and ,,madrid #ig ,,the ,,school ,,of ,,andalusia--,,juan ,,martinez ,,monta,s--,,seville ,,and ,,its ,,sculptors #aag ,,the ,,disciples ,,of ,,monta,s ,,in ,,seville #adb ,,the ,,school ,,of ,,granada ,,and ,,alonso ,,cano--,,the ,,decline ,,of ,,sculpture--,,francisco ,,zarcello #aea ,,list ,,of ,,illustrations ,,title ,,plate ,visigoth ,crowns found near ,toledo #a ,byzantine ,crucifix and the ,virgin in the ,gothic ,style4 ,provincial ,museum of ,san ,marcos1 ,leon #b ,wooden ,crucifix with which the ,troops of the ,cid were harangued4 ,the smaller ,crucifix the ,cid carried beneath his ,armour4 ,salamanca ,cathedral #c ,byzantine ,chest4 ,toledo ,cathedral #d ,roman ,statue found in the ,ruins of ,salonica4 ,provincial ,museum1 ,burgos #e ,el ,santo ,cristo1 ,burgos ,cathedral #f ,faade of the ,cathedral1 ,santiago de ,compostella #g ,portico of ,la ,gloria1 ,santiago de ,compostella ,cathedral #h ,detail of ,carvings of the ,portico of ,la ,gloria1 ,santiago de ,compostella #i ,colegiata de ,san ,isidoro1 ,leon #aj ,spandril of ,gate of ,pardon in the ,college of ,san ,isidoro1 ,leon #aa ,two ,statues in the ,archological ,museum1 ,leon #ab ,san ,vicente1 ,avila #ac ,basilica of ,san ,vicente1 ,avila1 ,principal ,west ,entrance #ad ,zamora ,cathedral #ae ,cloisters of ,san ,pablo del ,campo1 ,barcelona #af ,cloisters of the ,monastery of ,las ,huelgas1 ,burgos #ag ,tarragona ,cathedral #ah ,portal1 ,tarragona ,cathedral #ai ,burgos ,cathedral #bj ,toledo ,cathedral #ba ,leon ,cathedral #bb ,detail of the ,choir ,stalls1 ,leon ,cathedral #bc ,detail of the ,choir ,stalls1 ,leon ,cathedral #bd ,st4 ,mary ,magdalene and ,santo ,domingo 7,choir ,stalls71 ,leon ,cathedral #be ,san ,celedonio and ,san ,esteban 7,choir ,stalls71 ,leon ,cathedral #bf ,noah1 and ,adam and ,eve 7,choir ,stalls71 ,leon ,cathedral #bg ,samson 7,choir ,stalls71 ,leon ,cathedral #bh ,esau 7,choir ,stalls71 ,leon ,cathedral #bi ,detail of ,portico1 ,santiago de ,compostella #cj ,san ,francisco4 ,san ,marcos ,museum1 ,leon #ca ,various ,statues from the ,cross ,aisle1 ,leon ,cathedral #cb ,our ,lady del ,foro and the ,offerings of the ,kings1 ,cloisters1 ,leon ,cathedral #cc ,a ,sepulchre in the ,convent of ,las ,huelgas1 ,burgos #cd ,sepulchres in the ,old ,cathedral1 ,salamanca #ce ,statues of the ,portico1 ,tarragona ,cathedral #cf ,puerta ,alta de la ,coroneria1 ,burgos ,cathedral #cg ,the ,cloister ,gate1 ,burgos ,cathedral #ch ,the ,cloisters1 ,burgos ,cathedral #ci ,detail of the ,cloisters1 ,burgos ,cathedral #dj ,detail of the ,cloisters1 ,burgos ,cathedral #da ,a ,sepulchre1 ,las ,huelgas1 ,burgos #db ,sepulchre of ,archbishop ,maurice1 the ,founder of the ,cathedral1 ,burgos #dc ,sepulchre of ,archbishop ,maurice1 the ,founder of the ,cathedral1 ,burgos #dd ,sepulchre of the ,infanta ,doa ,berenguela1 ,daughter of ,san ,fernando1 ,monastery of ,las ,huelgas1 ,burgos #de ,tomb of ,jaime de ,aragon1 ,tarragona ,cathedral #df ,sepulchre of ,martin1 ,first ,bishop of ,leon1 ,leon ,cathedral #dg ,sepulchre of ,don ,ordoo ,,ii41 ,leon ,cathedral #dh ,sepulchre of the ,martyrs1 ,basilica de ,san ,vicente1 ,avila #di ,sepulchre of ,archbishop ,lopez de ,luna1 in the ,church of ,la ,seo1 ,zaragoza #ej ,our ,lady la ,mayor1 ,statue of ,silver1 ,burgos ,cathedral #ea ,statue of ,our ,lady de la ,vega1 ,salamanca #eb ,statue of ,our ,lady de la ,blanca1 in the ,principal ,porch1 ,leon ,cathedral #ec ,st4 ,michael ,slaying the ,devil4 ,silver ,statue by ,juan de ,arf4 ,provincial ,museum1 ,salamanca #ed ,diptych in the ,camarin of ,santa ,teresa1 ,escorial #ee ,detail of the ,altar-screen of the ,capilla de ,santiago1 ,toledo ,cathedral #ef ,altar-screen in the ,capilla de ,santiago1 ,toledo ,cathedral #eg ,chapel of ,santiago1 containing the ,sepulchres of ,don ,alvaro de ,luna and that of his ,wife1 ,doa ,juana1 ,toledo ,cathedral #eh ,detail of the ,altar-piece in the ,capilla de la ,trinidad1 ,toledo #ei ,altar-piece ,carved in ,wood1 end of ,fifteenth ,century4 ,valladolid ,museum #fj ,centre of a ,wooden ,altar-piece1 end of ,fifteenth ,century4 ,valladolid ,museum #fa ,chapel of ,st4 ,anne1 ,burgos ,cathedral #fb ,details of the ,altar-,piece in the ,chapel of ,st4 ,anne1 ,burgos ,cathedral #fc ,sepulchre of ,don ,juan ,,ii4 and ,doa ,isabel1 ,la ,cartuja1 ,burgos #fd ,sepulchre of ,don ,juan ,,ii4 and ,doa ,isabel1 ,la ,cartuja1 ,burgos #fe ,detail of the ,sepulchre of ,don ,juan ,,ii4 and ,doa ,isabel1 ,la ,cartuja1 ,burgos #ff ,sepulchre of ,infante ,don ,alonso1 son of ,isabella ,i41 ,la ,cartuja1 ,burgos #fg ,sepulchre of ,don ,juan de ,padella4 ,provincial ,museum1 ,burgos #fh ,high ,altar1 ,la ,cartuja1 ,burgos #fi ,detail of the ,high ,altar1 ,la ,cartuja1 ,burgos #gj ,detail of the ,high ,altar1 ,la ,cartuja1 ,burgos #ga ,choir ,stalls1 ,la ,cartuja1 ,burgos #gb ,high ,altar1 ,santa ,gadea del ,cid1 ,burgos #gc ,high ,altar of the ,church of ,our ,lady del ,pilar1 ,zaragoza #gd ,bas-relief in the ,altar-piece1 ,chapel ,royal1 ,granada #ge ,detail of the ,sepulchre of the ,catholic ,sovereigns1 ,royal ,chapel1 ,granada #gf ,sepulchre of the ,infante ,juan1 only ,son of ,ferdinand and ,isabella1 ,church of ,santo ,toms1 ,avila #gg ,carvings of the ,principal ,chapel1 by ,borgoa1 ,burgos ,cathedral #gh ,back ,part of the ,high ,altar1 ,burgos ,cathedral #gi ,tras-,sagrario1 by ,felipe de ,borgoa1 ,burgos ,cathedral #hj ,tras-,sagrario1 by ,felipe de ,borgoa1 ,burgos ,cathedral #ha ,upper ,part of the ,choir ,stalls1 ,carved by ,berruguete and ,borgoa1 ,toledo ,cathedral #hb ,upper ,part of the ,choir ,stalls1 ,carved by ,berruguete and ,borgoa1 ,toledo ,cathedral #hc ,upper ,part of the ,choir ,stalls1 ,carved by ,berruguete and ,borgoa1 ,toledo ,cathedral #hd ,upper ,part of the ,choir ,stalls1 ,carved by ,berruguete and ,borgoa1 ,toledo ,cathedral #he ,upper ,part of the ,choir ,stalls1 ,carved by ,berruguete and ,borgoa1 ,toledo ,cathedral #hf ,upper ,part of the ,choir ,stalls1 ,carved by ,berruguete and ,borgoa1 ,toledo ,cathedral #hg ,upper ,part of the ,choir ,stalls1 ,carved by ,berruguete and ,borgoa1 ,toledo ,cathedral #hh ,details of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #hi ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #ij ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #ia ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #ib ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #ic ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #id ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #ie ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #if ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #ig ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral #ih ,detail of the ,high ,altar1 ,chapel of the 8,condestable10 ,burgos ,cathedral #ii ,altar-piece1 by ,f4 de ,borgoa1 in the ,royal ,chapel1 ,granada #ajj ,detail of ,altar-screen1 ,granada3 ,king ,ferdinand the ,catholic #aja ,detail of ,altar-screen1 ,granada3 ,queen ,isabel the ,catholic #ajb ,boabdil giving up the ,keys of ,granada to the ,catholic ,sovereigns4 ,fragment of the ,altar-piece in the ,royal ,chapel1 ,granada #ajc ,choir ,stalls of ,san ,benito1 ,valladolid #ajd ,back of a ,choir ,stall4 ,valladolid ,museum #aje ,fragments of ,choir ,stalls4 ,valladolid ,museum #ajf ,several ,fragments of ,choir ,stalls4 ,valladolid ,museum #ajg ,fragments of ,choir ,stalls1 by ,andrs de ,najera4 ,valladolid ,museum #ajh ,stalls of ,san ,benito1 by ,andrs de ,najera1 ,valladolid #aji ,stalls of ,san ,benito1 by ,andrs de ,najera1 ,valladolid #aaj ,stalls of ,san ,benito1 by ,andrs de ,najera1 ,valladolid #aaa ,wooden ,panels1 ,murcia ,cathedral #aab ,abraham's ,sacrifice and ,st4 ,sebastian1 by ,berruguete4 ,valladolid ,museum #aac ,sepulchre of ,archbishop ,tavera1 by ,alonso ,berruguete1 ,hospital de ,afuera1 ,toledo #aad ,sepulchre1 by ,berruguete1 ,san ,jeronimo1 ,granada #aae ,statue of ,st4 ,secundus1 by ,berruguete1 ,church of ,san ,secundo1 ,avila #aaf ,san ,benito4 ,valladolid ,museum #aag ,the ,transept1 ,cathedral of ,la ,seo1 ,zaragoza #aah ,sepulchre of the ,marques de ,villena and ,retablo in the ,monastery del ,parral1 ,segovia #aai ,custodia1 by ,juan ,arf1 ,avila ,cathedral #abj ,statue of ,don ,cristobal de ,rojas y ,sandoval1 ,church of ,san ,pedro de ,lerma1 ,burgos #aba ,detail of the ,statue #abb ,st4 ,jerome1 by ,caspar de ,becerra1 ,burgos ,cathedral #abc ,altar-screen1 by ,juan de ,juni1 ,segovia ,cathedral #abd ,christ in the ,tomb1 by ,juan de ,juni4 ,valladolid ,museum #abe ,piet1 by ,hernandez4 ,valladolid ,museum #abf ,the ,baptism of ,our ,lord1 by ,hernandez4 ,valladolid ,museum #abg ,st4 ,francis1 by ,hernandez4 ,valladolid ,museum #abh ,the ,crucifixion1 by ,gregorio ,hernandez1 ,chapel of the ex-monastic ,church of 8,conjo10 ,santiago #abi ,our ,lady of ,sorrows1 ,church of 8,conjo10 ,santiago #acj ,la ,dolorosa1 by ,salvador ,carmona1 ,salamanca ,cathedral #aca ,flagellation of ,christ1 by ,salvador ,carmona1 ,salamanca ,cathedral #acb ,head of ,st4 ,paul4 ,valladolid ,museum #acc ,high ,altar1 ,seville ,cathedral #acd ,oratory and ,screen of ,isabella la ,catolica1 ,seville #ace ,puerta del ,perdon1 ,seville ,cathedral #acf ,virgin and ,child1 by ,p4 ,torrigiano4 ,seville ,museum #acg ,st4 ,jerome1 by ,torrigiano4 ,seville ,museum #ach ,statue of ,faith1 ,top of ,giralda ,tower1 ,seville #aci ,st4 ,ignatius ,loyola1 by ,montas4 ,university ,chapel1 ,seville #adj ,st4 ,francis ,xavier1 by ,montas4 ,university ,chapel1 ,seville #ada ,our ,lord ,crucified1 by ,montas4 ,the ,sacristy1 ,seville ,cathedral #adb ,the ,immaculate ,conception1 by ,montas4 ,university ,chapel1 ,seville #adc ,the ,immaculate ,conception1 by ,montas1 ,seville ,cathedral #add ,st4 ,bruno1 by ,j4 ,montas4 ,seville ,museum #ade ,our ,lady de las ,cuevas and ,child1 by ,montas4 ,seville ,museum #adf ,st4 ,bruno1 by ,montas1 ,cadiz ,cathedral #adg ,justice1 by ,solis4 ,seville ,museum #adh ,the ,conception of the ,virgin1 by ,martinez1 ,seville ,cathedral #adi ,the ,crucifixion1 at ,triana1 ,seville #aej ,our ,lord1 ,sculpture in ,wood1 ,hospital de la ,caridad1 ,seville #aea ,high ,altar in the ,chapel1 ,hospital de la ,caridad1 ,seville #aeb ,our ,lady of ,sorrows1 by ,luisa ,roldan1 ,cadiz ,cathedral #aec ,head of ,john the ,baptist1 ,granada #aed ,head of ,john the ,baptist1 ,granada #aee ,head of ,john the ,baptist #aef ,statue of ,st4 ,bruno1 in the ,chartreuse de ,miraflores1 ,burgos #aeg ,st4 ,bruno1 by ,alonso ,cano1 in the ,cartuja1 ,granada #aeh ,statue of the ,magdalene1 formerly in the ,cartuja1 ,granada #aei ,st4 ,francis1 by ,pedro de ,mena1 ,toledo ,cathedral #afj ,the ,last ,supper1 by ,zarcello1 ,ermita de ,jesus1 ,murcia #afa ,st4 ,veronica1 by ,salcillo1 ,ermita de ,jesus1 ,murcia #afb ,,sculpture ,,in ,,spain ,,chapter ,i ,,introduction ,the ,spanish character has expressed itself in sculpture more forcibly than in painting4 ,in no other country1 perhaps1 do we find a people whose native taste for carving in wood and stone is so deep-rooted1 so essentially an outgrowth of the strong life of the race4 ,to understand the art of ,spain you must know her sculpture4 ,as far back as the prehistoric ,iberian period we find traces of a vigorous school of sculpture in ,spain1 which1 though based on ,greek and ,asiatic sources1 yet attained a striking individuality of its own4 ,professor ,pierre ,paris of ,bordeaux says of these prehistoric carvings that 8the figures are simple and virile1 while the women are distinguished by dignity of attitude and nobility of face1 expressive of deep religious gravity40 ,the finest example--a supreme type of primitive ,iberian sculpture1 very fascinating in its curious originality--is the ,lady of ,elche1 the bust in the ,louvre1 which ,pierre ,paris1 in agreement with ,reinach1 dates about #ddj ,b4,c4 ,of this wonderful work ,pierre ,paris writes3 8,in her enigmatic face1 ideal and yet real1 in her living eyes1 on her voluptuous lips1 on her passive and severe forehead1 are summed up all the nobility and austerity1 the promises and the reticences1 the charm and the mystery of woman4444 ,she is above all ,spanish1 not only by the mitre and the great wheels that frame her delicate face1 but by the disturbing strangeness of her beauty4 ,she is indeed more than ,spanish3 she is ,spain itself1 ,iberia arising still radiant with youth from the tomb in which she has been buried for more than twenty centuries40,a ,this is true4 ,sculpture has always been the most genuinely ,spanish of the arts4 ,the ,visigoths were attracted to sculpture2 and though many of the credited examples they were supposed to have left cannot be accepted1 there are a few ,visigothic carvings1 which bear witness to this predominant expression of character4 ,belonging to a later date we find a surprising wealth of carving in wood and stone scattered throughout ,spain in the cathedrals1 churches1 cloisters1 and palaces4 ,there is no town in ,spain which does not possess some sculptured works4 ,spain has given to the world few great sculptors2 none of her carvers stand on quite the high level of her most famous painters4 ,yet1 if we except the great names of ,el ,greco1 ,ribera1 ,velazquez1 and ,goya1 her sculptors are at least equal in merit with her painters4 ,damian ,forment1 ,berruguete1 ,gregorio ,hernandez1 ,juan de ,juni1 ,pedro ,millan1 ,montas1 ,alonso ,cano1 ,roldan1 ,mena1 as well as others1 are worthy to take a high place in the temple of ,spanish art4 ,and a fact of even greater importance3 they have impressed upon their work the national character in a far stronger degree than any of the contemporary painters4 ,it is interesting to note that many of these sculptors were also painters2 and1 in all cases1 their carvings are more distinctly ,spanish than their paintings4 ,almost entirely sculpture escaped from the slough of neo-,italian imitation1 which did so much to ruin painting in the late fifteenth and sixteenth centuries4 ,spanish sculpture is finely realistic and imaginative4 ,sometimes fantastic to extravagance in its naturalness1 it is always vigorous1 romantic1 and religious in the highest degree4 ,how is it1 then1 that sculpture is the branch of the national art least known beyond the bounds of the country8 ,rare indeed are the writers who have made a study of ,spanish sculpture4 ,a few good articles on the subject have appeared in ,france and in ,germany2 in ,england none4 ,even in ,spain a quite inadequate attention has been given to this most important branch of the national art4 ,there are1 it is true1 several excellent monographs1 such as the works of ,d4 ,jos ,gestoso y ,perez on ,pedro ,millan1 and that of ,d4 ,manuel ,serrano y ,ortega on ,montas4 ,then there is the very interesting study by ,d4 ,jos ,marti y ,monso on the artists of ,valladolid4 ,but these writings were limited to one artist1 or to the works of one province4 ,until recently there was no work treating of ,spanish sculpture as a whole1 except the ,diccionario of ,cean ,bermudez1 a book very excellent1 but not free from error1 and for the most part unimportant in its critical estimates4 ,like most ,spanish writers1 ,bermudez praises work because it belongs to his own country1 rather than because of its true artistic worth4 ,it is well that this indifference is at an end4 ,a critical study of ,spanish carvings1 entitled ,la ,statuaire ,polychrome en ,espagne1 finely illustrated with beautiful examples of the best carvings in the ,peninsula1 has now been written by ,m4 ,marcel ,dieulafoy4 ,the book was published in ,paris in #aijh4 ,we would take this opportunity of gratefully acknowledging the help we have gained from this excellent work4 ,but the question remains unanswered why the carvings of ,spain have been treated with such a want of interest4 ,to find the answer it will be necessary to consider briefly the circumstances which determined the special character of ,spanish sculpture4 ,almost without exception statuary was executed for the religious uses of the ,catholic ,church4 ,images were needed to increase the pious fervour of the populace2 they were used as altar decorations in the churches2 often they were carried in the religious processions2 and many of them were credited with miracle-working powers4 ,the one thing necessary for a ,spanish statue was that it should be an exact imitation of life2 the more realistic the illusion the greater was the power of the statue to fulfil the requirements of the ,church4 ,it will readily be seen that marble--the substance most fitting for the artistic rendering of form--would not comply with these demands4 ,thus in ,spain the classic marble was discarded1 while wood and plaster were employed in its place4 ,these substances could be readily coloured1 or even covered with canvas resembling stone1 and then painted to counterfeit life4 ,thus out of the religious requirements--which in ,spain1 so much more than in any other country1 decided the expression of art--was developed a natural employment of multi-colouring1 whose principle was the diversity of the various materials and the use of the two arts of painting and sculpture in the same work4 ,this almost universal use of colour--a relic of very ancient art--has really decided the fate of ,spanish sculpture4 ,for some centuries public taste was firmly decided in condemning statue colourisation as 8an offence against good taste40 ,it is held that the true purpose of sculpture is to depict form1 and that painting an image in relief is barbarous and shows a want of culture1 because the sculptor1 attentive alone to the beauties of form1 should observe the limits set by the material in which he has to work1 and should resist the seductions of colour which belong to the painter4 ,coloured statues have even been compared with the wax figures displayed in shows4 ,there is much to be said on both sides of the question4 ,we shall not here try to answer it1 for to do so would be to anticipate all that we hope to establish of the beauty of the polychrome statuary of ,spain4 ,rather we would ask the reader to look now at the illustrations at the end of this volume4 ,great works are the only answer that can silence criticism4 ,those who have condemned polychrome sculpture have1 almost without exception1 instanced its worst examples4 ,this is absurd2 it is like giving a judgment of painting by the pictures exhibited each year in the ,royal ,academy of ,london4 ,it must be remembered that polychrome statuary is a very ancient art2 moreover1 it is a perfectly natural and spontaneous development1 growing out of the need for intensified expression4 ,it was not an arbitrary practice adopted as 8a trick of the trade40 ,this is important4 ,those who deny the use of colour to the sculptor have tried to prove that among the ,greeks sculpture was anterior to painting1 and that in the case of certain statues which we find coloured the painting was an injury added at a later date4 ,this is entirely erroneous1 as ,m4 ,marcel ,dieulafoy proves by referring to the recent excavations made in ,greece and ,italy4 ,the most ancient of the statues carved by the ,greeks were those on which pigments were used4 ,carved out of wood1 which lent itself readily to encrustations of bronze1 ivory1 and precious stones1 as well as of colour1 the figures were enriched in this way to give them a closer relation to life4 ,such was the bas-relief at ,olympia in the ,treasury of the ,megarians1 which represents a combat between ,herakles and ,acheloss1 where the figures are carved out of cedar-wood richly embellished with gold2 or the group of the ,dioscuri1 attributed by ,pausanias to ,dpoinos and ,skyllis1 where again the figures were enriched with films of ebony and of ivory placed upon the wood4 ,when wood gave way to marble and bronze1 sculptors still continued the use of encrustation2 especially a paste of glass was used to form the eyes of the figures4 ,often we find a gilded or silver necklace added4 ,bronzers tinted their statues1 and in this way bronze had the aspect of colour4 ,silver was largely used4 ,a very interesting example is furnished by ,silamin of ,athens1 who1 wishing to represent ,jocasta in her last hour1 silvered the face so skilfully as to give it the pallor of death4 ,of even greater interest is a small bas-relief in the ,st4 ,angelo ,collection in the ,museum of ,naples4 ,it represents a maiden dressed in a double robe1 the under one pale green1 the outer one rose-coloured4 ,she wears besides an upper garment of a darker colour and a white fichu bordered with red4 ,we find this custom of multi-colouring in the work of the greatest masters4 ,we know that ,phidias made use of gems and gold to heighten the beauty of his statues4 ,strabo wrote of his incomparable work in the ,temple of ,zeus at ,olympia3 8,what adds greatly to its success is that his cousin the painter ,panus lent his talent in covering certain parts of the statue with brilliant colours1 notably the draperies40 ,how significant is this statement to those who condemn the colouring of statuary6 ,it is purely arbitrary to maintain that relief and colour may not be united in art4 ,rather we may agree with ,m4 ,homobles when he declares that 8the ,greeks harmonised colour and form so perfectly that for them in the sixth century painting was a flattened bas-relief1 and bas-relief a painting with the paste laid on very thick40 ,it is the opinion of ,m4 ,marcel ,dieulafoy1 founded1 as he tells us1 on researches pursued during more than half a century1 that 8no matter what the material--wood1 stone1 bronze1 marble1 terra-cotta--nor the epoch of production1 the ,hellenes accentuated with coatings and sometimes with coloured enamels the figures in bas-reliefs and alto-reliefs1 unless in the case of juxtaposition with other materials of different colour40 ,thus we are brought to the conclusion that those who condemn as barbarous the use of colour in statuary must condemn also the statuary of ,greece4 ,nor was multi-colourisation confined to the ,greek sculptors4 ,it was a natural development in the art of carving in every country1 arising1 as we have seen1 out of the desire of the artist to bring his work into a closer relation with life4 ,the ,egyptians and the ,chaldeans never limited themselves to the use of form in their statues and in their architecture1 but sought for ways of rendering colour4 ,the great ,asiatic races used enamel as the basis of their decoration4 ,here we find the origin of the multi-coloured sculpture of ,babylon1 ,assyria1 and ,susa1 and1 at a later date1 that of ,medea and ,persia4 ,this art reached ,byzantium--a country which gained the highest skill in glass mosaic--and also ,rome4 ,persian artists1 following in the train of the conquering ,arabs1 brought the secrets and methods of their art to many ,european countries1 and among them to ,spain and ,portugal4 ,the influence spread also from ,byzantium1 and1 in a lesser degree1 from ,rome1 and soon multi-colourisation was universally adopted1 and all statues1 whether of wood1 stone1 or copper1 were covered with colour4 ,centuries passed before a reaction set in4 ,it became a creed of artistic faith that the use of colour to accentuate works in relief was barbarous4 ,the reason of the change is very simple4 ,many of the ancient coloured statues had lost their colour by lapse of time1 and those who saw them were deceived1 believing that as they were then1 so they had been created4 ,then pictures came to be painted more frequently1 and colour was allowed to them1 while form alone was accorded to statuary4 ,but the tradition of polychrome statuary yet persisted1 and at the opening of the ,renaissance still fought for life4 ,italy possessed some great statue colourists in the fifteenth century4 ,we know of coloured statues and bas-reliefs by ,donatello1 by ,mino of ,fiesole1 by ,pisno of ,luca1 by della ,robbia1 and others4 ,even much later we find examples of the continued use of colour4 ,such1 for instance1 are the equestrian statues of the ducal family of ,sabbroneta and the groups in the chapels of the ,sacromonte at ,varullo4 ,it is important to remember that the great masters deplored the abandonment of statue colouring1 and1 among others1 ,michael ,angelo wrote an instructive and precious letter upon the subject4 ,coloured statuary was more persistent in the south than in the north4 ,flanders1 ,germany1 and afterwards ,france were converted from the custom4 ,yet ,jan van ,eyck collaborated with the sculptor1 as did also ,andr ,beaunevau4 ,the life-size statues which decorate the ,chteau of ,madrid built for ,francis ,i41 and those in the ,toulouse ,museum1 taken from the ,basilica of ,st4 ,sermin1 prove that coloured statuary still persisted in the sixteenth century4 ,these last figures are of special interest from their analogy with ,spanish polychrome statuary4 ,it was in ,spain that the art of polychrome lived and developed4 ,the finest of her coloured statues were wrought in the sixteenth1 seventeenth1 and also in the beginning of the eighteenth centuries1 a period when the practice was dead in almost all other countries4 ,for this reason1 even if for no other1 ,spanish carvings claim the attention of the student of art4 ,they are the crown of what has been achieved by earlier civilisations4 ,what was it that kept ,spain alone faithful to the old method of using colour as well as form to give life to her statues8 ,first1 a respect for tradition which has marked all things in this strong and stubborn race4 ,then the ,spanish carvers were in very close connection with ,mudjar architecture1 which was closely allied with the art of ,persia1 in which colour ruled with such supreme insistence1 and whose whole strength lay in ornamentation4 ,but deeper even than these outer reasons was the ,spanish character1 which expressed itself in their altar carvings and in their statues4 ,the one thing the ,spanish artist sought for first was the reality of life2 and this life was religious life1 for in ,spain the divine life was not separate--a thing detached--but a real living part of the human daily life of the people4 ,the painted statues were at once more life-like and spoke a more real language to the people1 than figures chiselled in white stone4 ,the statuary of ,spain was not wrought1 in the first place1 to fulfil claims of art1 but to satisfy the needs of the people4 ,it is still in the convents and churches of ,spain--not in the museums1 if we except the museums of ,valladolid and ,seville--that the masterpieces of polychrome statuary remain4 ,it is there that we must seek them4,b ,,chapter ,,ii ,,early ,,sculpture ,,belonging ,,to ,,the ,,native ,,iberian1 ,,latin1 ,,byzantine1 ,,and ,,visigothic ,,periods ,the beginnings of sculpture in ,spain take us back to the middle years of the fifth century ,b4,c4 ,it is to this date1 about #ddj ,b4,c41 that the beautiful sculptured bust of the ,lady of ,elche belongs4 ,the figure was discovered in ,august #ahig at ,elche1 one of the most ancient and interesting of the old towns of ,spain4 ,situated in the beautiful ravine of the ,vinalap1 twelve miles distant from ,alicante1 ,elche still retains almost unaltered its ,arab character4 ,it was the ,roman ,ilice1 and probably the ,iberian ,helike1 where ,hamilcar was defeated4 ,the town is especially fortunate in having possessed this treasure1 which speaks so splendidly of the power and strength of ,spain's ancient art4 ,this is the earliest and by far the most important of the antique statues of ,spain--the one supreme example of primitive ,iberian work4 ,but alas6 the ,lady of ,elche has been taken out of ,spain and is now in the ,louvre at ,paris4 ,it is a stone bust of a woman of life size4 ,the lips and part of the hair still retain traces of red colour4 ,the expressive face1 delicate and yet strong1 has suffered little4 ,she wears enormous ear pendants of ,oriental style1 and two great wheels frame her head4 ,around her neck hangs a ,greco-,phnician necklace1 such as women wore from the time of the ,peloponnesian ,war4 ,it is this that fixes the date of the statue4 ,it would seem to be the work of a native artist who was under the combined influences of ,greece and ,phnicia4 ,only a ,spanish artist could have thus immortalised the character of ,spanish womanhood4 ,indeed it is this special ,spanish quality which is the most interesting feature of this remarkable work4 ,mr4 ,havelock ,ellis has pointed out the resemblance which the ,lady of ,elche bears to ,velazquez' 8,woman with the ,fan40 ,and this is no fanciful idea4 ,there is a strange likeness in all ,spanish art--a likeness which is at once its strength and also its weakness1 and which may be traced to the strong and persistent character of this race that has altered so little in the passing of the centuries4 ,it is this marked individuality that speaks even more strongly in ,spanish sculpture than in ,spanish painting4 ,the ,lady of ,elche stands for all that is ,spain4 ,apart from the ,lady of ,elche no important single example of ,iberian art remains to us4 ,statues have been found1 such as the ,cirro de los ,santos and the ,llano de la ,consolacion1 which certainly were painted4 ,m4 ,marcel ,dieulafoy believes that this was also the case with the statue of a bull facing a bearded man1 in the ,museum of ,valencia2 that of the griffin and the anthropoid sarcophagus at ,cadiz2 and the interesting heads of bulls in bronze1 found at ,costig1 ,majorca1 which bear some resemblance to the ,susian bulls and ,grecian bronzes1 and1 like them1 have some parts gilded4 ,then it will not do to neglect the strange stone figures of bulls scattered in different places in ,spain and ,portugal1 one fine example being in the square of ,avila4 ,little is known as to the origin and purpose of these remarkable examples of ,iberian art1 but some still bear traces of vermilion colouring4 ,the existence of these works1 as well as many other notable fragments in different churches in ,spain1 prove at least that the native ,iberian carver had attained a skill certainly remarkable at this early date4 ,but then followed1 as is so often the case1 a long night1 of which nothing of special interest is known4 ,the ,roman sculptures1 which follow chronologically those of the ,iberian epoch1 are not remarkable in any way4 ,they do not reveal any special character4 ,there are few sculptures left which can with any certainty be referred to the ,visigothic period4 ,the fragments discovered at ,san ,romano de ,hornija1 at ,toledo1 and at ,seville1 though they bear vestiges of ,visigothic workmanship1 belong in reality to the ,christian period4 ,it would seem that the ,visigoths for the most part limited their work to restoring the ,roman buildings and adapting them for ,christian uses4 ,the ornamentation which they often added is usually of ,byzantine origin1 an influence reaching ,spain through ,france4 ,yet the sumptuous character of their art is shown in the only important works of this period which remain3 the splendid votive crowns of ,kings ,recceswinth and ,swenthila1 found in #aheh at ,guarraza1 near ,toledo 7,plate #a71 and now in the ,royal ,armoury1 ,madrid1 and in the ,muse de ,cluny in ,paris4 ,but these crowns are not ,spanish works4 ,indeed many centuries separate the genuinely ,spanish carvings of the ,iberian artists from any work that again manifests the characters which belong to the native art4 ,it has been said by ,professor ,carl ,justi1 in a short but excellent account of ,spanish sculpture which is given in ,baedeker's 8,guide to ,spain10 that 8the existence of works in stone can hardly be proved before the eleventh century40 ,this is a mistake4 ,the early ,christian carvings are in stone2 they must be sought in ,asturias1 the provinces which first shook off the ,moorish rule4 ,in #gia ,alfonso ,,ii41 known as the ,chaste1 made ,oviedo the capital of the then struggling kingdom of ,asturias4 ,he was a ruler of ability and culture1 and spent all his time when he was not fighting in building both churches and palaces4 ,on his return from his campaigns he consecrated the spoils taken from the enemy to embellish his growing city4 ,the most important of the buildings of ,alfonso is the ,cmara ,santa of the cathedral1 once the ,capilla ,san ,miguel1 which was part of the original church of ,alfonso1 and was built in the eighth century by his architect ,favila4 ,the room itself is small1 without ornament1 roofed with low barrel vaulting1 and lighted with one small window4 ,but here are guarded the relics in the ,byzantine-,latin style1 which are among the most interesting examples that remain to us of the work of the period4 ,the ,cruz de los ,angeles1 a work of the eighth century and the gift of ,alfonso ,,ii41 and the ,cruz de la ,victoria1 supposed to have belonged to ,pelayo1 both resemble very closely the crowns of ,guarraza2 like them1 they are not typically ,spanish work4 ,that of the ,angeles is of filigree work of exquisite delicacy1 and enriched in the centre with rare encrusted rubies and other precious stones2 while that of the ,victory is made of wood1 but ,alfonso ,,iii4 had it overlaid with gold and ornamented with jewels4 ,a third relic1 the cash-box of ,st4 ,eulalia1 has its chief interest in the inscription in ,arabic and ,cufic characters which surrounds the cover4 ,a special historical interest belongs to the relic known as the ,arca de los ,santos4 ,the cover1 on which is engraved the figures of the ,apostles1 and the ,latin inscriptions belong1 by the character of the vestments1 which are those described by ,st4 ,isidore1 and by the letters used1 to the sixth or seventh centuries2 while the ,saviour and angels on the box itself1 the inscriptions in ,cufic lettering1 as well as the general style of reliquary1 have the characters which belong to the ,spanish works of the eleventh and early years of the twelfth centuries4 ,the explanation1 of course1 is that the casket was restored and its character altered at a later date1 and probably in the reign of ,alfonso ,,vi4 ,this mingling of different styles and periods in one work of art meets us continually in ,spain4 ,it is due in large measure to the custom by which the ,spaniards used and borrowed the arts of the ,moors1 even for long after they had conquered them4 ,there are a few works in the ,madrid ,archological ,museum which are in the ,latin-,byzantine style1 and should be compared with the treasure of the ,cmara ,santa1 and to the same period belong other relics now in different churches in the ,peninsula4 ,in the reign of ,alfonso the ,chaste were built the churches of ,san ,tirso and ,san ,tulliano or ,julian1 which1 though unfortunately much restored1 may still be visited in ,oviedo4 ,belonging to an even earlier date was the ,church of ,santa ,cruz de ,canjas1 which was built by the royal architect ,favila1 in ,alfonso's reign1 and which was the original church on the ,monte ,santo1 the site where the cathedral of ,oviedo now stands4 ,this church was rebuilt by ,alfonso ,,ii4 in #hcj1 and surrounded by protecting walls4 ,the ancient ,spanish chroniclers expatiate on the magnificence of these buildings of ,alfonso1 speaking of their columns of marble1 and wealth of decorations of gold and silver4 ,doubtless they exaggerate2 to-day there is very little of interest to be seen remaining in the edifices4 ,much more important are the buildings erected by ,alfonso's successor1 ,ramiro ,i4 7#hdc-hej71 a king of unusual culture1 who1 in spite of continual wars with the ,moors1 found time to carry further the improvement of the royal city of ,oviedo4 ,during this reign1 writes ,m4 ,marcel ,dieulafoy1 8there was a veritable renaissance of the plastic arts40 ,two of these buildings that we owe to ,ramiro ,i4 are still in existence1 and though sadly neglected and disfigured by alterations1 they should be visited by all who take an interest in early ,spanish work4 ,they stand together on the summit of the low mountain ,naranco1 which is situated one and a quarter miles from ,oviedo4 ,the first1 the ,church of ,san ,miguel1 is a basilica with nave and aisles4 ,we recognise in the heavy pillars with splayed capitals and massive polygonal bases1 as also in the frequently used cord and twisted fringe1 so characteristic of the period1 a marked ,byzantine character4 ,many sculptured subjects occur among the foliage which decorates both the bases and capitals of the columns4 ,these heads must be attributed either to the ,roman traditions or1 as is more likely1 to the early ,french schools4 ,the other church is even more interesting4 ,santa ,maria de ,naranco probably formed part of ,ramiro's palace1 but the building was converted into a church about the year #ije4 ,it consists of a cellar-like nave1 with waggon vaulting1 opening by three arches into a choir at one end and a presbytery at the other4 ,below is a crypt4 ,here the work shows strong ,roman influence1 and most precious details of ornament occur4 ,another church of great interest belonging to this early period is that of ,san ,pedro in the ancient city of ,zamora4 ,true bas-reliefs are here introduced among the leafy decorations of the capitals3 one1 still in excellent preservation1 represents the sacrifice of ,isaac by ,abraham4 ,this is very remarkable--one of those surprises that meet the student so often in ,spanish art--for the ,byzantine sculptors did not customarily use the human figure in such circumstances4 ,this bas-relief brings us to the very few ,spanish statues of this period1 when all the skill of the artists seems to have been spent in buildings4 ,there is the small ivory crucifix1 formerly painted and encrusted with gems1 in the ,museum of ,leon 7,plate #b71 and the crucifix of the ,cid1 now at ,salamanca 7,plate #c74 ,both are ,byzantine in character4 ,the little-known statue of the ,virgin and ,child1 preserved in the sanctuary of ,uju1 is a work of greater interest4 ,the figure is ninety-one centimetres in height1 and dates1 ,m4 ,marcel ,dieulafoy thinks1 from the eleventh1 or even the end of the tenth century4 ,the colouring1 and also the primitive character of the work1 has been spoiled to some extent by added ornaments1 and by the silver throne on which the figure now sits4 ,but there is real strength in the face of the ,virgin1 and more individuality than is common in the ,byzantine figures2 again we have a hint of ,spanish work4 ,figures in stone1 dating back to the eleventh century1 and earlier1 may be found on the portals1 fonts1 and tombs of many ,spanish churches1 especially in the ,n4,w4 and in the district of the ,pyrenees4 ,most of them are of barbaric workmanship1 but many are interesting4 ,a painted sculpture of the ,saviour seated in the act of blessing1 in the ,byzantine manner1 was discovered in #ahie at ,santander4 ,m4 ,marcel ,dieulafoy1 who mentions this work1 places it in the tenth or the eleventh century4 ,these few statues1 then1 are all that we have of ,latin-,byzantine art in ,spain4 ,rude as the figures undoubtedly are1 falling far below the works of the native ,iberian art which preceded them1 it will not do to neglect them4 ,christian ,spain was convulsed with ceaseless warfares1 which gave little time for the development of the arts4 ,native talent slept4 ,christian monarchs employed ,moorish sculptors1 architects1 decorators1 and goldsmiths4 ,so it happened that there was developed in ,spain a sort of pseudo-,mozarabic style in which1 for a time1 the characteristic ,spanish work seemed lost4 ,,chapter ,,iii ,,the ,,churches ,,of ,,the ,,romanesque ,,and ,,early ,,gothic ,,periods ,at the close of the eleventh century a new and more vigorous life sprang up in the art of ,spain4 ,the fresh impulse came from ,france2 it expended itself chiefly in building4 ,it is necessary to remember that the geographical barrier of the ,pyrenees forms no real ethnological separation between that country and ,spain2 one and the same ,iberian race dwells in ,gascony1 ,navarre1 and the ,basque provinces4 ,hence it is easy to understand that natural relations1 intimate and frequent1 grew up between the two countries4 ,marriage alliances united the two royal families1 and the princes of ,france crossed the frontier to fight against the ,moors in ,spain4 ,with them came priests and monks1 more learned than their neighbours1 many of whom settled in the ,peninsula4 ,in this way the influence of the great orders of ,cluny and ,citeaux spread and grew powerful4 ,then followed architects and sculptors from ,aquitaine1 ,languedoc1 ,toulouse1 ,burgundy1 and ,normandy1 to find work1 and impress their separate influences on the numerous churches that at this time were being built4 ,the ,romanesque cathedrals are indeed the direct outcome of ,french medivalism2 and the figure-statues of the numerous tombs and altars are full of reminiscences1 so that it is difficult to distinguish the native art4 ,yet in the midst of these imported styles we shall find1 do we seek them1 those distinct traits which belong to ,spain4 ,it is in the province of ,asturias that we find the greatest number of ,romanesque churches4 ,these churches were of moderate size4 ,their style was that of the basilica1 with nave and aisles1 a well-marked transept1 a trans-apsidal termination1 and a lantern or dome over the crossing4 ,the roof was at first flat1 but afterwards the nave was covered with barrel vaulting1 and the aisles with quadrant or semi-barrel vaulting4 ,the most important of the early ,romanesque churches is ,santiago de ,compostella 7,plate #g71 which was commenced and finished building during the twelfth century4 ,it is a somewhat simplified copy of ,st4 ,sernin at ,toulouse1 and shows in its structure1 as well as in its ornaments and sculptures1 very clearly marked1 the influences of ,cluny4 ,this explains the great excellence of the carvings 7,plates #h and #i72 works that are surprising at this period when so many figures are still barbaric4 ,the admirable ,puerta de las ,gloria1 which was completed by the carver ,maestre ,mateo in #aahh1 after twenty years' work1 is held by ,mr4 ,street to be 8one of the greatest glories of ,christian art40 ,it is a vestibule or porch1 divided into three sections1 which extend across the entire width of the nave4 ,the quadri-partite vaulting of the roof is adorned with elaborate carvings4 ,still more sumptuous are the carvings of the doorways2 one1 the double doorway which opens on the nave1 has exquisitely delicate carvings4 ,on the shaft dividing the doorway into two is a seated figure of ,st4 ,james1 holding the burdon or pilgrim's staff2 while the shaft itself has carvings of the ,tree of ,jesse4 ,the shafts in the jambs have figures of the ,apostles and ,major-,prophets4 ,the main capital above represents the ,temptation in the ,garden and ,angels ministering to ,christ4 ,at the back of the middle pillar is a kneeling figure1 supposed to be the portrait of ,maestre ,mateo4 ,then in the tympanum is a seated figure of ,our ,lord1 with upraised hands2 and round ,him are the ,evangelists and eight angels with the symbols of the ,passion1 while above are a company of the worshipping elect4 ,the archivolt shows figures of the twenty-four elders of the ,apocalypse4 ,the general idea of the subject of the whole doorway is the ,appearance of ,christ at the ,last ,judgment1 but each of the series of small pictures is in itself an independent work of art4 ,the side doorways which lead into the aisles are equally ornate4 ,the shafts are adorned with figures of the ,apostles2 above are representations of ,purgatory and ,hell4 ,all the figures are clearly painted4 ,m4 ,marcel ,dieulafoy does not think1 however1 that the tones which now show are the original colours1 but that during the restoration in the seventeenth century some innovations occurred4 ,the ,colegiata de ,san ,isidoro at ,leon 7,plate #aj71 an early ,romanesque edifice1 resembles in many respects ,santiago de ,compostella4 ,the actual date of the building is difficult to establish4 ,it was founded by ,ferdinand ,i4 of ,castile in #ajfe as a royal mausoleum2 and the building is said to contain the tombs of eleven kings and twelve queens4 ,it was altered and rebuilt by ,maestro ,pedro ,vitambeu1 and was not consecrated until #aadi1 while even then much of its decoration was probably incomplete4 ,some subjects of sculpture and ornamentation are very analogous to ,st4 ,sernin1 ,toulouse4 ,the main faade is decorated with quaint old reliefs in stone2 above the right portal are the ,descent from the ,cross 7,plate #aa7 and the ,deposition in the ,tomb1 with ,st4 ,paul on the right hand and ,st4 ,peter on the left4 ,then in the tympanum of the left portal is a very interesting ,sacrifice of ,abraham1 placed under a zodiacal frieze4 ,but perhaps the most interesting parts of the building are the chapel and cloisters of the eastern aisle1 where the groined vaults are covered with fresco paintings of admirable effect and preservation4 ,the paintings show strongly the influence of ,france1 curiously interpreted by the native art4 ,c4 ,gasquoine ,hartley writes1 in 8,a ,record of ,spanish ,painting03 8,in colour and certain peculiarities of outline they are strongly ,french1 but they are executed with a rugged and original force which is entirely ,spanish4444 ,the ,bible narratives are executed with a direct and almost brutal baldness that at once marks the frescoes as the work of a ,spaniard40 ,we are1 however1 chiefly interested with their colourisation1 which is very important where so much of the colourisation of statuary has disappeared4 ,as ,m4 ,marcel ,dieulafoy points out1 these frescoes give the range of tones usual to this epoch in ,france and in ,spain4 ,we find red-brown1 indigo1 yellow-ochre1 and white2 the black seems to have been obtained by a mixture of three of these colours4 ,it is interesting to note that these are the colours1 and of about the same shade1 that we find used by the ,persian artists in their decorations4 ,san ,vicente of ,avila 7,plate #ac7 is another admirable example of the ,romanesque churches4 ,the nave1 with its triforium and clerestory1 is in a pure ,romanesque style2 while the transept1 choir1 and three semicircular apses are in the ,transition style4 ,though the building was begun in the twelfth century it was not finished until three hundred years later1 and for this reason it shows a more advanced art4 ,m4 ,marcel ,dieulafoy holds it to be 8the most beautiful specimen and the purest example of ,burgundian architecture in ,spain40 ,the west portal 7,plate #ad7 is decorated with admirable statuettes in terra-cotta1 unfortunately much mutilated1 whose style recalls that of ,st4 ,landre of ,avallon4 ,very curious are the heads of bulls1 decorating the base of the pilaster by which the tympanum is sustained4 ,here the analogy with the bicephalous capitals of the ,achemenide is very marked4 ,romanesque churches are found in other provinces of ,spain4 ,one of the most ancient is ,san ,pedro of ,huesca1 which was begun in the eleventh century and consecrated in #abda4 ,the church is roofed with barrel vaulting1 and terminates in three semicircular apses4 ,it contains many sculptures characteristic of this period4 ,the cloisters of the ,cathedral of ,gerona1 and those of the ,monastery of ,santo ,domingo at ,silos1 and of ,san ,pedro1 and the churches of ,santa ,maria and ,santiago at ,corunna1 are additional examples of the same style4 ,the ,cathedral of ,zamora 7,plate #ae7 is a more important edifice4 ,this ancient city had in succession two ,french archbishops--,bernard and ,jerome de ,perigneaux4 ,it is probable that the church was erected during the episcopate of ,jerome1 who died in #aabf4 ,it was consecrated in #aagd1 as is now known from that date discovered in an old epitaph during the restoration in the eighteenth century4 ,this makes impossible the old belief that the church was built by ,bernard de ,perigneaux4 ,m4 ,marcel ,dieulafoy believes that it is the work of an ,aquitaine architect4 ,both the exterior of the building1 with its square tower1 graceful cupolas1 richly decorated1 and the interior are interesting1 with a character very rare in ,spain4 ,of the carvings of this church ,m4 ,marcel ,dieulafoy writes3 8,from the sculptural point of view ,i would signalise in the portal1 the corinthian columns and niches1 which both seem to come down from a monument of the decadence of the ,roman age4 ,one will notably remark the busts1 bezel set in a sort of window1 which has been seen in the monuments of ,roman ,gaul1 on the northern slope of the ,pyrenees1 and which became a most common feature in the architecture of the ,spanish renaissance2 also the laurelled flying-arch1 and the bas-relief of the spandril which crowns the busts40 ,two ,romanesque churches1 one belonging to the same period1 the other to a later date1 with a more advanced art1 are the church and fine cloisters of ,san ,pablo del ,campo of ,barcelona 7,plate #af7 and the ,cathedral of ,sigenza4 ,this last church1 which was begun in #aajb and consecrated in #aabc1 was not completed until the thirteenth century4 ,it is the most important example of the late-,romanesque ,transition style4 ,san ,pablo was originally a ,benedict convent1 erected in #iad by ,count ,guitardo1 but the building was restored in #aaag by ,guiberto ,guitardo1 and is an excellent specimen of early ,catalan architecture4 ,like ,san ,pedro of ,huesca1 it has three parallel apses4 ,the nave and transept are covered with barrel vaulting1 and above the crossing rises an octagonal cupola4 ,on the chief portal are carved figures of ,st4 ,john and ,st4 ,matthew2 and especially interesting are the carved capitals of the columns1 both those in the church itself and even more those in the cloisters1 where we find cusped arches in the ,saracenic style1 coupled shafts1 and richly decorated capitals4 ,in all the ,romanesque churches the greatest wealth of the carver's art is lavished on the capitals of the columns4 ,here we see ,bible scenes and purely decorative designs1 alternating1 often very strangely1 with fantastic monsters1 fables1 and scenes from daily life4 ,almost all of these carvings are truly ,spanish in their sentiment1 though the foreign influences are always visible4 ,the ,romanesque period lasted longer in ,spain than in ,france2 we do not find the ,pointed or ,gothic style before the twelfth century1 when the ,cistercian order introduced the severe and noble ,burgundian type of church4 ,but many old churches1 though begun in the ,romanesque period1 assumed a ,gothic character before their completion2 we find this at ,tarragona1 in the old ,cathedral of ,salamanca1 and in those of ,londa and ,tudela1 as well as in many other churches4 ,in the ,monastery of ,las ,huelgas1 ,burgos1 celebrated as the church where ,edward ,i4 of ,england was knighted by ,alonso the ,learned1 the church1 dating from #abgi1 is in severe ,gothic style2 the cloisters1 too1 are ,gothic1 but in the earlier ,claustreo 7,plate #ag7 there are fine ,romanesque capitals and arches4 ,again1 the older and less-known ,cistercian ,abbey at ,verula is a ,transition building1 while the beautiful cloisters of the fourteenth century are ,gothic4 ,this mingling of styles1 owing to the difference in time between the building of different parts of the same church1 has a real advantage to the student of ,spanish architecture and sculpture4 ,the ,cathedral of ,tarragona 7,plate #ah7 especially furnishes an almost complete series of examples of all the ,spanish art-styles4 ,for the church1 built on the site of a mosque1 was begun about the year #aaah1 and dates mainly from the end of the twelfth and first half of the thirteenth centuries1 but additions were made from the fourteenth century onwards as late as the eighteenth century4 ,thus we have examples of early ,christian art in a sarcophagus of the faade1 and that in the ancient window of the ,capilla ,mayor with the three ,byzantine columns4 ,the main building is a brilliant example of the developed ,romanesque ,transition style2 the beautiful cloisters1 among the most perfect in ,spain1 and the earliest of the side chapels are ,gothic2 the other chapels1 added later1 date from the sixteenth to the eighteenth century1 and are in the ,renaissance and baroque styles4 ,even ,moorish art is represented in the azulejo roofing of the ,n4,w4 lateral chapels1 and in the small ,moorish window1 said to be a prayer niche or mihrab1 with its ,cufic inscription dating from the year of the ,hegira #cdg--that is1 #ieh ,a4,d4--in the ancient ,capilla de ,santa ,maria ,magdalena4 ,the splendid doorway1 with elaborate carvings1 which gives entrance to the cloisters is the most notable pre-,gothic work in marble in ,spain 7,plate #ai74 ,but of this work we shall speak in the next chapter4 ,following these early ,gothic buildings we have the developed ,french cathedral style of the thirteenth century introduced into ,spain4 ,it is first seen in the great cathedrals of ,burgos and ,toledo 7,plates #bj and #ba71 and a little later in that of ,leon 7,plate #bb71 the most perfect of the ,gothic cathedrals in ,spain4 ,very little of the national ,spanish art is visible in these buildings2 built for the most part by ,french architects1 they recall in turn the cathedrals of ,rheims1 ,beauvais1 ,bayonne1 and ,amiens2 some see in ,leon a copy of the great cathedral at ,chartres4 ,the truth is that the style of these buildings is eclectic2 they are all distinguished by the romantic magnificence of their ornamentation4 ,the elaborately carved choir-stalls of ,leon ,cathedral 7,plates #bc-bi7 furnish a splendid example of the power of carving4 ,they are the masterpiece of ,john of ,malines and the ,dutch artist ,copin4 ,it was from carvings such as these that the native artists drew their inspiration4 ,,chapter ,,iv ,,the ,,sculptured ,,pieces ,,and ,,tombs ,,of ,,the ,,romanesque ,,and ,,early ,,gothic ,,periods ,during the ,romanesque and1 even more1 in the early ,gothic periods the creative forces of art in ,spain found its expression1 after building1 in carving in stone and wood4 ,a wealth of ornament meets us in every building1 for it must be remembered that the churches are the real museums of ,spain4 ,we have in the last chapter spoken incidentally of some of these carvings in connection with the churches for which they were executed4 ,it is now necessary to examine in detail the most representative of these works4 ,among them we shall find many beautiful examples of polychrome statuary4 ,all the statues of this time were coloured1 for ,spain1 always tenacious in her habits1 never wavered from the custom of colouring her carvings to resemble life4 ,however1 few pieces retain manifest traces of such colourisation1 the tints having been lost through the action of the atmosphere1 as well as through frequent washings4 ,the statues in the ,gloria of ,santiago de ,compostella 7,plate #cj7 are among the earliest works that are clearly painted1 and even in these1 as we have seen1 it is very doubtful if the present tints represent the original colours used4 ,for this reason a very special interest attaches to the fine font in enamelled bronze1 now in the ,museum of ,burgos1 which came from the monastery of ,santo ,domingo at ,silos4 ,this remarkable and fine work is coloured and richly encrusted with gold and jewels1 but of these unfortunately many have disappeared4 ,seated on a throne1 the figure of ,god the ,father occupies the centre1 and ranged on either side are the twelve ,apostles4 ,the figures are set in a kind of frame formed by columns placed on a base of metal crossed by horizontal bars4 ,two winged monsters are in the triangles on either side1 and a dove is placed above the figure of ,god4 ,small rectangular enamelled medallions are encrusted in the frame4 ,colour is used for the robes of the figures1 for the winged monsters1 the dove1 and the medallions1 the predominant tints being dark blue or vivid green4 ,the heads1 the hands1 and the feet1 as well as the architectural motives1 are all in gold4 ,polished stones in bezel settings alternate in the decoration of the frame with the coloured medallions1 and though many of the stones have disappeared this rich setting helps the effect of the whole bas-relief1 which is one of great splendour4 ,besides the altar font the old monastery of ,silos possessed a rich collection of religious furniture4 ,among those which have been saved are a chalice1 used under the ,mozarabic ritual for celebrating the communion1 a very beautiful specimen of the mudjar goldsmith's work2 an altar-screen of engraved copper with figures of the ,apostles2 and several small cofferets or caskets4 ,one of these1 composed of an elephant's tusk1 belonged to ,rahman ,,iii41 ,khalif of ,cordova1 at the beginning of the tenth century2 another1 made at ,cuenca in #ajbf1 is of ivory1 and represents a ,mussulman3 it was mounted in enamel at a later date 7about #aaej74 ,the ancient ,convent of ,san ,marcos at ,leon is another church which has retained its ancient treasures2 among them are several polychromes4 ,these do not seem to have been repainted4 ,unfortunately half of the precious collection has been stolen3 those that remain are now in the ,museum at ,leon4 ,the figures are carved in wood1 and the head1 hands1 and nude parts are coloured4 ,the vestments1 made of cloth1 hardened by means of a glaze1 are also coloured1 the tints used being very harmonious4 ,there is also a carved triptych in wood of the same date1 but the carving of the figures is not so good and the colours used are cruder4 ,the statue of ,san ,francisco 7,plate #ca7 belongs to a later date4 ,it is a most interesting polychrome1 with splendid character in the rendering of the head4 ,in the ,cathedral of ,leon are various statues which belong to the same period1 while in the cloisters is an interesting bas-relief1 ,our ,lady del ,foro and the ,offering of the ,kings 7,plate #cc74 ,some fine carvings1 in the ,french style1 come from the ,portenda de ,san ,miguel1 ,estella4 ,this style of carving spread over the whole of ,spain1 and additional examples may be seen in the ,cathedral of ,sangesa1 in two interesting and little-known churches at ,olete1 in the ,cathedral of ,basque ,vittoria1 and in the old churches of ,leon and ,valencia4 ,statues on tombs are very numerous1 and we find them in almost every church4 ,at first the figures are rudely carved1 the skill of the artist being expended on the frames1 and the cast of the features being largely a convention4 ,indeed these early monumental figures cannot be regarded as portraits4 ,among the first examples are the figures on the royal monument at ,najera1 erected by ,sancho ,,iii4 #aaeg4 ,here the figures are mere puppets4 ,another early tomb is that in the ,convent of ,las ,huelgas1 ,burgos 7,plate #cd74 ,even the sarcophagus of ,st4 ,eulalia1 at ,barcelona1 of as late a date as #acbg1 with its ,pisan reminiscences1 shows how easily art was sometimes satisfied at this period4 ,but there are some really fine tombs belonging to the ,romanesque period4 ,the ,church of the ,magdalena--formerly of the ,templars--at ,zamora contains two knights' tombs1 one of which ,m4 ,marcel ,dieulafoy considers the finest ,romanesque tomb in ,spain4 ,the figure1 just expired and resting on the death-bed1 is placed beneath a portico of twin balustrades which crown the structure4 ,fantastic animals are carved on the spandrils1 and the columns and capitals are richly decorated4 ,the couch stands against a wall1 on which are sculptured seraphs1 while two angels bear away to ,paradise the materialised soul of the dead man wrapped in a winding-sheet4 ,this device is common in ,spain1 where there are many tombs of the same character1 but1 writes ,m4 ,marcel ,dieulafoy1 8,i do not know of one where the decorative sculpture is rendered more boldly or with greater talent40 ,the statues1 once funeral monuments1 but now set into the wall of the old ,cathedral of ,salamanca1 are important as being among the most complete examples of the twelfth-century polychrome 7,plate #ce74 ,the sarcophagus1 the reclining figures1 and the niches containing them are all painted--red1 blue-black1 and white being the predominating tints4 ,there are some traces of yellow1 probably due1 as ,m4 ,marcel ,dieulafoy suggests1 to the sizing used in fixing the gilding2 there are also some green tints in the foliage which decorates the arch in one of the tombs4 ,fortunately these statues have suffered very little from the hand of the restorer4 ,the statue of ,diego de ,anaya on the tomb in the ,capilla de ,san ,bartolom1 to the south of the cloisters1 is another work of importance in the same cathedral4 ,it is quite ideal in its treatment4 ,the ,cathedral of ,tarragona represents the same diversity in its statuary as we have noted in its architectural styles4 ,thus the statuary of the west faade may be divided into three distinct groups4 ,the first1 date about #abgh1 consists of the beautiful sculptured figures of nine ,apostles1 placed on the main portal1 which were carved by the ,catalan artist ,maestro ,bartolom 7,plate #cf74 ,the ,apostles and ,prophets on the buttresses were executed a century later by ,jaime ,castayls1 another native ,catalan carver4 ,they are clumsy and of ordinary character compared with the delicate work of ,maestro ,bartolom4 ,the group of the ,virgin and ,child which is placed above the pillars of the great door is not native work1 but comes certainly from ,france4 ,the author is unknown4 ,the cloisters and portals of the ,cathedral of ,burgos offer another example of an admirable museum of sculpture4 ,the earlier carvings--such1 for instance1 as the figures on the ,apostles' door 7,plate #cg71 belonging to the opening years of the thirteenth century--are somewhat stiff and constrained in style and contrast with the graceful ease of the later works of the fourteenth and fifteenth centuries 7,plate #ch74 ,the special interest of the cloisters is that its carvings are coloured1 and fortunately up to the present they have not suffered from restoration 7,plates #ci-da74 ,the colours are faded1 but we can see that the vivid reds and blues1 so much loved by the ,moorish artists employed by the ,christians of this period1 were used1 as well as a preponderance of gilding4 ,here1 as at ,salamanca1 the general tone of the colourisation is in the mudjar style4 ,the cloisters of ,pampeluna are in the same style and little inferior to those of ,burgos4 ,the statues and bas-reliefs are in stone2 the most beautiful1 and one of the finest examples left to us from the fourteenth century1 is that which represents the ,death of the ,virgin4 ,unfortunately the colouring of this piece and of all the statues at ,pampeluna has been ruined by restoration4 ,the ,cathedral of ,burgos is rich in ,gothic tombs4 ,the statues of ,st4 ,ferdinand and ,beatrice of ,swabia1 on the north wall of the cloisters1 are among the finest specimens of portrait sculpture4 ,in the same place is the late ,gothic tomb of ,don ,gonzalo de ,burgos4 ,the monument of ,archbishop ,maurice 7died #abch71 which is in the centre of the choir1 is also a work of special importance1 showing1 as it does1 the skill of the ,spanish artists in enamelled copper 7,plate #dc74 ,of the same style is the tomb of ,jaime of ,aragon 7,plate #df71 who died in #accd1 in ,tarragona ,cathedral1 and two monuments in the ,cathedral of ,leon1 that of ,martin1 the first bishop of the city 7,plate #dg71 the other of ,don ,ordoo ,,ii41 who died #ibc 7,plate #dh74 ,all three monuments are of excellent workmanship1 and important as fine specimens of portrait sculpture4 ,we may mention also the sarcophagus of ,st4 ,vincent and his sisters1 ,,ss4 ,sabina and ,criseta1 in the ,church of ,san ,vicente at ,avila 7,plate #di71 with notable reliefs of the thirteenth century1 and surmounted by a ,gothic canopy of a later date--about #adfe--resting upon coupled columns4 ,but indeed it is difficult to make a selection among the numerous monuments that claim attention4 ,one work stands out as a masterpiece4 ,the magnificent tomb of ,archbishop ,lopez de ,luna1 in the ,seo of ,zaragoza1 is the most splendid example of the ,french-,gothic style in ,spain 7,plate #ej74 ,even so calm a critic as ,professor ,carl ,justi pronounces this work 8a masterpiece40 ,mitre on his head1 a cross in his hand1 and dressed in rich pontifical robes1 the figure reclines on the sarcophagus4 ,the face1 set in the calm of death1 is modelled by a master hand4 ,behind1 placed in a niche which is cut in the thickness of the wall1 stand a company of monks and nuns1 who weep for their benefactor4 ,other figures are grouped along the inner face of the tomb2 each is marked with character1 and is carved with fine skill4 ,but it is not possible to convey in words the effect of this splendid and simple work4 ,in its style it may be compared with the mausoleum of ,philippe the ,bold1 the masterpiece of ,burgundian art4 ,it is of the same date1 and ,m4 ,marcel ,dieulafoy believes that the ,spanish monument must have been executed in ,spain by ,aragonese artists who had learnt the art of carving in ,france4 ,this opinion of ,french influence directing the native artists is supported by the fact that the ,tarragona monument is not a solitary example4 ,this ,french style of carving spread over the ,peninsula2 the cathedrals of ,burgos1 ,leon1 and ,toledo--to name a few out of many churches--are rich in similar monuments4 ,it is necessary to remember this close connection between the arts of ,france and ,spain4 ,the great ecclesiastical orders of ,france1 and especially that of ,cluny1 gave inspiration to the ,romanesque and ,gothic periods4 ,it was not until the last third of the fifteenth century1 when a new art method came from the ,netherlands1 that the ,french influence weakened4 ,spanish art was almost invariably stimulated from without4 ,but it was these imported art-styles1 naturally awakening imitation1 which called into existence the native schools of carving1 and showed anew those distinct traits which can be called ,spanish4 ,there were at this time1 in ,castile and ,aragon1 a number of really capable native artists2 without doubt they learnt their art from the ,french sculptors who had settled in ,spain4 ,the most skilful native worker was ,juan de la ,huarte1 of whose exquisite ,virgin we shall speak directly4 ,but besides ,juan de la ,huarte1 we know of ,pedro de ,vallfongona1 called ,father ,johan1 who has left many fine carvings2 and ,jordi ,johan1 doubtless his brother1 commonly known as ,maestro ,jordi1 maker of images1 the author1 among other works1 of the ,sepulchre of ,juana1 ,countess of ,asturias 7#achf71 and of the ,archangel ,raphael1 which crowns the beautiful doorway of ,barcelona ,town ,hall4 ,then there was ,pedro ,oller1 who carved1 in #adej1 the screen of the grand altar of ,vich1 and1 in #addb1 the tomb of ,ferdinand ,i4 of ,aragon4 ,there were also skilled goldsmiths such as ,marcos ,canzes and ,francisco ,vilardell2 nor must we forget the unknown author of the incomparable ,custodia of ,vich ,cathedral1 a splendid example of the silver-work of the period4 ,before closing this chapter it is left to notice a few isolated works that are treasured in the different cities of the ,peninsula4 ,and first must come the perfect statues and statuettes of the ,virgin1 which1 as we might expect in religious ,spain1 are to be found in almost all the great churches4 ,that known as the ,virgin of ,huarte1 which was carved by ,juan de la ,huarte1 was brought to ,pampeluna in #acdi4 ,the statue is of white marble1 and the face and vestments still bear traces of colour4 ,of a noble simplicity1 it is one of the most exquisite productions of art in the fourteenth century4 ,of less ideal beauty1 but more ,spanish in its sentiment1 being without the ,french influence1 is ,st4 ,ferdinand's small ivory statuette of the ,virgen de las ,batallas in the ,capilla ,real of ,seville ,cathedral4 ,this is one of the earliest works of the kind in ,spain4 ,the ,cathedral of ,plasencia has several images of the ,virgin4 ,good examples--one in silver and richly jewelled--are found at ,burgos and ,salamanca 7,plates #ea and #eb71 besides figures carved in wood and coloured1 and also at ,toledo1 ,sigenza1 ,ganda1 ,segunto1 and the churches in many other cities4 ,the ,santo ,cristo of ,burgos ,cathedral may also be mentioned4 ,madonnas are to be seen over the altars of chapels1 in gateways1 or in the great retablos1 as for instance at ,leon 7,plate #ec71 or again at ,tortosa and ,palma1 where1 in the last church1 a really beautiful statue is hidden by a modern altar4 ,among these ,madonnas are works full of dignity and sweetness1 of genuine beauty1 and carved without stiffness or looseness4 ,they give a convincing defiance to those who decry ancient polychrome4 ,very different in character1 but of equal merit1 is the small statue1 silver painted1 of ,st4 ,george in the ,audiencia ,chapel at ,barcelona4 ,m4 ,marcel ,dieulafoy believes that we owe this fine work to a native artist4 ,the figure1 standing fully armed1 is carved with youthful energy2 the face1 seen under the gilt visor1 has lost none of its freshness1 and the original tints of colouring remain4 ,the armour is of oxidised silver1 while the hinges1 nails1 belt1 dragon1 and pedestal are of burnished gilt4 ,of this statue ,m4 ,marcel ,dieulafoy writes3 8,had ,meissonier painted the figure he could not have done it otherwise40 ,again we have a triumph of polychrome4 ,other statues worthy of special mention are the busts1 executed in enamelled silver1 of ,s4 ,valerius1 ,s4 ,vincent1 and ,s4 ,laurent1 in the ,treasury of ,zaragoza ,cathedral2 the figures of ,don ,gutierre de ,cardenas1 ,duke of ,magueda1 and of his wife1 ,doa ,teresa ,enriquez1 each offering respectively their son and daughter to the ,virgin1 and the finer praying figure of ,juan ,,ii4 of ,castile1 who ruled from #adjf to #aded1 and was the father of ,isabella the ,catholic4 ,these statues are in ,burgos ,cathedral4 ,gems among smaller works of art are the plates in silver1 showing scenes in the life of the ,virgin1 which cover the high altar in the ,cathedral of ,gerona4 ,their date is #acdh4 ,,chapter ,v ,,the ,,altar-,,screens ,,or ,,retablos ,,of ,,the ,,romanesque ,,and ,,gothic ,,periods ,the altar-screens1 of great size1 and known in ,spain as retablos1 which meet us in every church may be considered as the most entirely characteristic expression of the country's art4 ,nowhere has the development of the altar-screen assumed such importance4 ,the huge retablos of ,spain stand alone both in their dimensions and in their magnificence4 ,in these works were joined the common efforts of the architect1 the sculptor1 and the painter4 ,of a size and with a wealth of decoration so great that often an examination of their detail is fatiguing1 they represent the most exhaustive examples of the creative thought and power of representation of the native artists4 ,their evolution is interesting and curious4 ,at first we find them as screens of pagan and ,roman origin1 and dating back to the middle of the twelfth century4 ,but the pagan screens were adapted by ,christians1 who gave to them the name diptycha of the ,apostles1 of the ,martyrs1 and of the ,saints1 and used them as portable altars1 and also largely as votive gifts1 their richness being in proportion to the wealth of the giver and the importance of the subject depicted4 ,we have several examples in the ,camara ,santa of ,oviedo ,cathedral and in the ,camarin of ,santa ,teresa1 ,escorial 7,plate #ee74 ,the ,tablas ,alfonsinas in the ,sacristia ,mayor of the ,cathedral of ,seville is another and more important example4 ,this treasure is specially interesting1 as it shows the actual use made of these folding tablets4 ,it was the altar of ,alfonso the ,learned1 and was presented by him to the cathedral in #abgd after he had used it in battle2 for in ,spain these altar-screens were carried by ,christian generals travelling in the campaigns against the ,moors4 ,as the ,reconquest progressed their importance increased1 and we have triptycha and pentaptycha as well as diptycha2 their number multiplied as they became richer and grander in ornament4 ,they were connected with the deepest religious feelings of ,christian ,spain1 being used by the ,paladins to pray to before plunging into battle4 ,later1 from portable altars they became fixed altars in churches4 ,from this time their size and magnificence increased1 the religious sentiment associated with them explaining1 as we believe1 both their frequency and their importance in the art of the period4 ,a selection of the most admirable altar-screens alone would make a long list4 ,almost every church and all the great cathedrals furnish examples2 they are especially numerous in the churches of ,catalonia and ,navarre4 ,the altar-screen in the ,romanesque church of ,san ,feli1 though less known than those of ,zaragoza1 ,barcelona1 ,tarragona1 ,pampeluna1 and ,burgos1 is important as a very beautiful and early example of these retablos4 ,it is in two distinct sections1 which stand upon a widely spreading base4 ,the first or central part is in three storeys1 which are supported by ,gothic pillars1 and in the nine niches stand statues of the saints4 ,these1 as well as the bas-reliefs and carvings on the pillars1 are of great vigour1 and the effect is strengthened by the admirable painting and gilding4 ,the second part of the screen is composed of two wings1 on which are carved the figures of the prophets1 surrounded by rich foliage4 ,these too are painted and gilded4 ,the creative power displayed in these retablos is often surprising4 ,but it must be admitted that their general effect is less satisfactory than an examination of the parts in detail would lead us to expect4 ,the artists would often seem to have been hampered by the huge size they had to ornament4 ,continuing the accustomed forms1 evolved for use in screens of more modest dimensions1 they have gained the desired amplitude of ornament by a multiplication of the same forms that is often wearying4 ,but granting this1 it is among these works that many important and beautiful statues will be found4 ,for this reason they cannot be overlooked by the student of ,spanish polychromes4 ,no altar-screen in ,spain is more beautiful or more worthy of study than the one in the ,capilla ,mayor of ,tarragona ,cathedral4 ,it illustrates the life of ,st4 ,tecla1 the disciple of ,st4 ,paul1 and the tutelary saint of ,tarragona1 who was martyred1 according to legend1 on this spot4 ,we read the story in the delightful ,lgende ,dore of ,jaques de ,voragine3-- 8,st4 ,paul was seized and conveyed to prison1 whither his disciple ,tecla followed him4 ,the apostle and the maiden were judged together1 and together condemned3 he to be beaten with rods and driven from the city1 she to be burned alive4 ,she threw herself joyously on to the pyre1 but immediately a heavy shower of rain fell from the sky and extinguished the flames2 also a great earthquake occurred1 in which perished a great number of pagans4 ,by this means ,tecla was enabled to escape4 ,she took refuge in the house where ,st4 ,paul was living1 and was overjoyed to meet the inspirer of her conversion4 ,she wished to cut her hair and travel with him1 disguised as a man4 ,but this the apostle would not permit1 for she had great beauty40 ,in the ,tarragona screen charming pinnacles crown a bas-relief representing the ,virgin and her ,child1 to the right and left of which stand ,st4 ,paul and ,st4 ,tecla1 figures of heroic size1 who regard the group with pious emotion4 ,beside them are bas-reliefs1 most minutely executed1 representing scenes in the saint's life4 ,in one we see her as described by ,voragine1 with serene face1 her body nude1 and praying in the midst of the flames which envelop without burning her4 ,angels encourage and sustain her1 while below are seen the grinning heads of the damned4 ,in another scene the saint is surrounded by reptiles and wild beasts in the cave into which she was thrown2 and in yet another she stands beside a bull1 destined to drag and crush her body among the stones of the road4 ,between the bas-reliefs are statues of prophets1 apostles1 and saints2 and on brackets1 in the midst of foliage1 repose female saints with smiling faces4 ,all the figures are carved with great skill1 and besides there is a wealth of detail--flowers1 foliage1 animals1 and insects--all of which are treated with surprising ability4 ,the colourisation of the screen1 like most marble and alabaster monuments1 has suffered from repeated and careless washings4 ,but the carvings preserve everywhere vestiges of paint and gilt1 so that it is possible to reconstruct the scheme of colour4 ,this is curious--generally blue and gold1 with only a few touches of red and brown1 which ,m4 ,marcel ,dieulafoy suggests may be due to the artist's desire to surround ,st4 ,tecla by the virginal and holy atmosphere which would be suggested by this manifold and unusual use of blue tones4 ,this realisation of the spiritual expression of a legend is very characteristic of ,spain1 whose artists possessed as their greatest gift the power of rendering a story just as they felt it had happened4 ,we owe the ,tarragona altar-screen to a native ,catalan artist4 ,it was begun in #adbf by ,pedro ,juan de ,vallfongona1 who executed the bas-reliefs and statues of the first two stages1 while at the same time the artist ,guillermo de la ,monta worked on the architecture and ornaments4 ,but in #adcf ,pedro ,juan1 gaining favour from the beauty of his work1 was called to execute an altar for ,zaragoza ,cathedral1 after which he only retained a sort of inspectorship over the work at ,tarragona1 which was finished by ,guillermo de la ,monta4 ,pedro ,juan worked on the ,zaragoza altar-screen until his death in #addg1 aided by ,pedro ,garces1 ,guillermo ,monta1 and ,pedro ,navarro4 ,for some reason the work was suspended for twenty-six years1 when1 on account of the great age of the original collaborators1 it was entrusted to ,gil ,morlau1 with ,gabriel ,gombao to aid him in the inferior parts4 ,finally the screen was completed and gilded and painted in #adhj4 ,the altar-screen of ,zaragoza has some fine bas-reliefs2 the most important is that of the centre1 which shows the ,adoration of the ,magi4 ,the ,virgin1 seated1 presents her ,babe to the ,kings1 figures of vigorous life and great dignity1 who bend in worship as they offer their gifts2 behind1 a group of figures represent a crowd of onlookers4 ,on either side of this central composition are bas-reliefs representing scenes in the ,transfiguration1 lives of the ,virgin1 and ,ascension of ,christ3 these are the work of ,pedro ,juan4 ,another important retablo1 which follows in date the work of ,pedro ,juan1 is that in the ,capilla de ,santiago 7,plate #ef7 in the ,cathedral of ,toledo4 ,it is made of larch wood1 and carved1 gilded1 and painted in the richest ,gothic style4 ,the bas-reliefs represent scenes in the ,new ,testament2 all the figures are life size4 ,we owe this work to the artists ,sancho de ,zamora1 ,juan de ,segovia1 and ,pedro ,gumiel1 and it was begun at the end of the fifteenth century4 ,in the same chapel at ,toledo are the six magnificent ,gothic tombs of ,don lvaro de ,luna1 the work of ,pablo ,ortiz1 one of the most famous carvers in the fifteenth century 7,plate #eh74 ,another interesting altar-screen is that in the ,capilla de la ,trinidad 7,plate #ei74 ,in the carvings of these later altar-screens and tombs a new influence will be traced2 for1 in the last third of the fifteenth century1 what may truly be termed a revolution in style took place in ,spanish sculpture4 ,a stronger realistic tendency1 with a more marked individuality in the portraits1 will be seen4 ,the characteristic features are more emphasised1 the gestures more free and more individual4 ,waved lines give place to broken ones1 rounded surfaces to sharp-edged ones4 ,this heightened vitality was due not only to a greater mastery of the technical part of sculpture by the native artists1 but to a newly imported art inspiration1 which now began to mingle with1 and even to replace1 the influences of ,france and ,burgundy4 ,up till about #adjj ,spain was loyal to ,france1 and kept her artists as her teachers and advisers4 ,afterwards ,burgundy displaced ,france1 and we have the far-reaching influence of the great ecclesiastical orders4 ,now followed the rule of the ,netherlands and of ,germany4 ,in the fifteenth century ,spain was brought into close connection with the ,low ,countries4 ,the intermarrying of the royal houses of ,burgundy and ,hapsburg united the ,northern countries first with ,portugal1 and afterwards with ,spain4 ,the result of this union was a great advancement in ,spain's art4 ,the first of the ,northerners to come to ,spain were painters1 and we have the visit of ,jan van ,eyck1 in #adbh1 with its far-reaching consequences to ,spanish painting2 then followed architects and sculptors4 ,a ,flemish painter was adopted by the ,count of ,aragon about #addj2 and the ,cartuja of ,miraflores has a small altar-screen of which the wings were painted by him4 ,the archives of ,toledo mention a great number of ,flemish artists of renown1 who settled and worked in the city1 among whom were ,juan and ,bernardino of ,brussels1 whose names are often mentioned by ,cean ,bermudez1 and the four brothers ,egas from ,eycken1 one of whom1 ,anequin1 was appointed architect of the cathedral by the chapter1 and directed the work of the sculptures of the ,gate of the ,lions1 being assisted by ,fernandez de ,liena and ,juan ,givas1 also an architect of the cathedral4 ,then we know that at ,burgos worked the ,colonia family1 ,juan1 ,simeon1 and ,francisco1 who carved the woodwork of the cathedral and that of the ,cartuja of ,miraflores4 ,there were also ,northern artists in ,seville4 ,mateo and ,nicolas were skilful goldsmiths1 and ,cristobal--all of whom probably came from ,germany--was a painter on glass4 ,juan ,aleman1 in #aeab1 finished the choir-stalls of the cathedral1 ,george ,fernandez ,aleman carved the retablo1 while another artist of the same name1 ,rodrigo ,aleman1 sculptured the wainscoting of ,palencia ,cathedral1 whose invention and humour1 ,professor ,carl ,justi says1 recall the ,south ,german masters4 ,these ,northern artists1 widely distributed over ,spain1 brought about the transformation of art of which we have spoken4 ,the native artists readily absorbed their influence4 ,we now meet a marked change in the direction of realism4 ,the ,christs are long1 lean1 and emaciated1 the ,virgins are older2 we have sharply defined outlines1 and the religious scenes and legends are depicted with a stronger and more passionate understanding4 ,the altar-screens were still the most important works that were executed4 ,an interesting example1 which shows very clearly this new expression of realism1 is an altar-screen in the ,museum of ,valladolid1 which came from the ,convent of ,san ,francisco 7,plates #fj and #fa74 ,it is carved in walnut wood1 and there are traces of painting4 ,the figure of ,christ is strangely emaciated1 the ,virgin is older1 while all the figures are strongly characterised2 there is a very considerable amount of creative thought and power in the presentment of the scene4 ,the author of the work is unknown4 ,among many other important examples of this over-accentuated realistic type may be mentioned an anonymous ,piet from ,salamanca1 in which we see the new tendencies expressed at their strongest point of accentuation4 ,an altar-screen in one of the chapels of ,palencia ,cathedral1 the bas-reliefs which ornament the spandril of the ,puerta de la ,piedad1 the south entrance of ,barcelona ,cathedral1 and also the figures which crown the door of the ,hospice of ,huesca1 are further1 though less striking1 examples4 ,the altar of ,santa ,ana in ,burgos ,cathedral belongs to the same period2 but in this very charming example we have a work of a different character4 ,the figures1 carved in wood and coloured1 especially the youthful and beautiful ,virgin1 have a grace and freedom of movement absent from the more realistic works which were the outcome of the ,northern influences4 ,the greatest artist of this period was ,gil de ,siloe1 whose works rank among the most important sculptures in ,spain4 ,he was a native of ,burgos1 and was born at the end of the fifteenth century4 ,his masterpiece is the monument of ,don ,juan ,,ii4 and ,doa ,isabel1 known as the ,sepulcros de los ,reyes1 in the ,cartuja of ,miraflores1 ,burgos 7,plate #fd74 ,it was erected by ,isabella the ,catholic1 daughter of ,juan ,,ii41 and was begun in the year #adhi1 when ,gil de ,siloe received #acdj maravedis for the design4 ,it was finished four years later1 and a further sum of #ddb1ffg maravedis for the sculpture and #aeh1beb for the alabaster were paid4 ,it is perhaps the finest monument of its kind in ,spain1 perfect both in design and execution4 ,the monument1 which stands in the centre of the church1 is of a curious shape1 being octagonal1 or rather sixteen-sided1 a form very uncommon1 and ,oriental in its origin4 ,the recumbent figures of the ,king and ,queen lie side by side on a sumptuous bed1 and between them is a low marble railing4 ,the ,king has a ring on the right hand and holds a sceptre1 in the ,queen's hand is a prayer-book and rosary4 ,the sides are ornamented with statues1 placed under delicate canopies1 of which some represent the ,cardinal ,virtues1 and each is a masterpiece of carving4 ,there are besides sixteen lions bearing escutcheons1 and bas-reliefs of scenes from the ,new ,testament4 ,then around the top is a double cornice of foliage--branches of vines and laurels--with birds and animals splendidly carved 7,plates #fe and #ff74 ,above the tomb1 inlaid upon the wall1 is the monument of their son1 ,alfonso 7,plate #fg71 whose death in #adgj1 at the age of sixteen1 brought ,isabella the ,catholic to the throne4 ,this work is elaborately adorned with carvings4 ,placed in a small elliptic arch1 the ,prince kneels before a prie-dieu4 ,he wears a mantle similar to the ,king4 ,above him are the ,virgin and the ,angel ,gabriel1 bearing a vase in which blooms a lily as the emblem of ,purity1 while ,st4 ,michael with the ,dragon1 the emblem of ,victory1 is placed on the spandril between the flying-arch and the accolade4 ,below on the sub-basement a charming group of angels hold the battle-shield of the young ,prince4 ,the tomb1 now in the ,museum of ,burgos1 of ,juan de ,padella 7,plate #fh7 is so similar to the monument of ,prince ,alfonso1 not only in the general design and style1 but in the actual carrying out of the details1 that it seems right to attribute it to ,gil de ,siloe4 ,juan de ,padella was a royal page1 killed in the siege of ,granada2 he is known to have been a great favourite of ,queen ,isabella1 who called him mi loco 7my fool71 and it is therefore quite probable that de ,siloe1 the royal artist1 would be employed to design and execute his tomb4 ,the retablo of the high altar at ,miraflores 7,plates #fi-ga7 is also by ,gil de ,siloe1 but in this work he was aided by ,diego de la ,cruz4 ,it was begun in the year #adij2 the date at which it was completed is not known4 ,it has numerous statues4 ,in the centre is a ,crucifixion1 with a realistic ,christ4 ,the ,virgin and ,st4 ,john1 figures of great merit1 wait beside the ,cross1 and a band of angels press forward to receive the drops of the ,divine ,blood4 ,above flies the symbolical pelican1 feeding its young with its own blood2 below are the kneeling figures of ,juan ,,ii4 and ,isabella his wife1 he being guarded by ,santiago1 ,spain's patron hero1 while she is protected by a saint4 ,at either side of this central composition are bas-reliefs representing scenes from the life of ,christ1 and figures of the ,apostles and ,evangelists4 ,perhaps the best of the carvings is the one of a female saint with a figure asleep at her feet4 ,the saint's figure is exquisitely coloured--a perfect example of polychrome4 ,there are also interesting carvings in the choir-stalls 7,plate #gb74 ,with the ,miraflores altar-screen we may compare the retablo of the ,church of ,santa ,gadea del ,cid1 also at ,burgos 7,plate #gc74 ,the author of this important carving is unknown4 ,among numerous works which deserve to take rank with the polychromes of ,gil de ,siloe a few must be mentioned4 ,one of the best is the funeral monument of ,doa ,beatrice de ,pacheco1 ,comtesse of ,medellin1 in the monastery church of the ,hyeronymites del ,parral1 near ,segovia1 which ,m4 ,marcel ,dieulafoy suggests is the work of ,juan ,eqas or his brother4 ,unfortunately the barbarous treatment this monument has suffered prevents its enjoying the reputation it deserves4 ,then there are the bas-reliefs of ,christ entering ,jerusalem and ,christ in ,hades on the door which leads from the nave to the cloisters of ,burgos ,cathedral1 fine specimens of ,gothic carving2 and other examples may be seen in the cathedrals of ,vittoria1 ,pampeluna1 ,avila1 ,valencia1 ,leon1 and ,toledo4 ,we have now examined the most important polychromes that were executed up to the close of the fifteenth century4 ,they present us with works of great vigour1 especially those later pieces1 which show the influences from the ,north4 ,they were wrought at a time when the vitality of ,spain was at its highest and its growth in the art of carving was in full development4 ,it may be well at this point1 and before turning to new influences which were again to alter the tendencies of the native work1 to consider briefly the technique of polychrome statuary4 ,the altar-screens1 as we have seen1 were the special activity of the period4 ,m4 ,marcel ,dieulafoy gives an excellent and concise account of the manner in which these important works were carried out by different sets of workmen1 for it was rarely that all the processes necessary to the completion of a polychrome were undertaken by one artist4 ,first and most important there was the tracer1 afterwards called the assembler1 the chief artist1 who furnished the design both for the whole work and its ornaments of statuary and bas-reliefs1 and also superintended its execution4 ,to him the sculptors1 ornamenters1 master-masons1 and master-carpenters were subordinate1 but the painters1 damaskers1 and gilders were free from his control4 ,thus writes ,m4 ,marcel ,dieulafoy3 8,the intervention of four successive brotherhoods of artists was required--#a4 ,tracers1 who later became known as ,architectural ,assemblers2 #b4 ,imagers1 who were the sculptors and carvers2 #c4 the ,eucaruadores1 the body-painters who coloured the flesh of the figures2 #d4 the ,estofadores and ,doradores1 who were respectively the stuff-painters and the gilders40 ,just as the tracer had ascendency over and directed the work of the imagers--the sculptors and carvers--so the ,eucaruadore1 or flesh-artist1 was the head of the polychrome workers1 and directed the colourers of the stuff-painters and the gilders4 ,his position was one of supreme importance1 which is proved by the fact that it was not unusual for him to receive for his work as much as half of the entire sum paid4 ,this is an interesting proof of the high esteem in which the art of polychrome was held4 ,the ,estofadores had not the same importance2 their work was to paint the stuffs of the garments1 generally on a background of gold1 and also foliage and arabesques4 ,the ,doradores or gilders were their collaborators1 and their special work1 besides the gilding of the background1 was to paint in 8full-gilt0 armour1 c41 and to enrich with jewels2 to their share also fell the art of damasking4 ,almost all the great painters of ,spain were polychromists1 and we find them collaborating with the sculptors4 ,this custom continued far beyond the period we have been considering4 ,zurbaran1 ,murillo1 ,valds ,leal1 and ,pacheco coloured the statues of ,gaspar ,delgado and ,montas4 ,pacheco1 the great historian1 who was also a painter1 especially extols the art of polychrome in several illuminating passages in his ,arte de la ,pintura4 ,in one place he writes3-- 8,may it please ,god in ,his mercy to exile from the world the vulgar enamellers1 and in the supreme cause of truth1 harmony1 and enlightenment to establish for flesh-painting the use of the #8mat' colouring0 7this #8mat' or dull colouring superseded the burnished or polished colouring71 8which approaches nearer to ,nature1 lends itself to numerous retouches1 and so permits the production of that delicacy which to-day we so much admire4 ,it is true that the moderns--by whom ,i mean those between the ancient painters and ourselves--began to employ this style1 as we may gather from their treatises on sculpture and from what we see on the old altar-screens1 but the merit of having revived the art in ,spain1 and of giving1 thanks to it1 a better light and more of life to good sculpture1 ,i dare to say belongs in truth to me4 ,at the least ,i am the only one in ,seville who since the year #afjj preached and practised it4 ,it is well to know that on the #agth of ,january in that year ,i painted in #8mat' the ,christ1 executed by the goldsmith ,juan ,bautista ,franconio1 after the model of the #8four nails' ,crucifixion of ,michael ,angelo1 which he brought from ,rome4 ,since then all artists have imitated me4 ,it would take too long to enumerate the remarkable works of ,gaspar ,nuez ,delgado and ,martinez ,montas which this city possesses1 and in which ,i have collaborated2 but it would be unpardonable if ,i did not specify some of them1 as they are among the best of the number which have proved the superiority of this invention40 ,he then gives a list of polychromes which he has coloured1 works which we shall notice in a later chapter4 ,afterwards he continues3-- 8,whence have they acquired the audacity1 those who claim that painting on flat surfaces dominates the arts1 and that if they had to paint the flesh of a statue they could do it better with their feet than the specialists with their hands8 ,they are very much mistaken in that1 for if they tried they would bring no grace1 nor lightness1 nor freshness to the work4 ,in the same way that when one imitates ,nature in a well-designed head1 one renders the colour1 the delicacy of the eyes1 of the mouth1 the brilliancy and effect of the hair1 so even on good sculpture can admiration be exacted1 as has been proved by the enthusiasm of those who have seen the works which ,i have painted in #8mat4' ,the fact is so public that ,i need not insist on it40 ,pacheco1 in another passage of equal illumination1 also speaks of the beauty of the art of damasking1 giving a careful and full account of the process3-- 8,marvellous was the invention made by the old painters for the ornamentation of figures in relief and the architecture of altar-screens by gilding in burnished gold and damasking them4 ,the colours must be the same1 and chosen with the same care as those designed for illumination4 ,they must be ground and prepared in water with the same limpidity1 but in lieu of gum paste one should use the yolks of fresh eggs diluted in equal volume of water1 fresh and clear1 beaten to a froth4 ,this paste must be mixed with the colours for damasking the burnished gold1 taking care to size with white lead all the parts to be painted1 be it either of grotesque figures or of vestments1 of which the gold should serve as a background for divers colours4 ,it is always well to know that blue does not require so strong a paste as carmine1 vermilion1 ochre1 and other colours of little body1 and that if the paste be more than a day old it is necessary to add with the egg a few drops of vinegar to prevent spoiling40 ,these significant passages may well end this chapter4 ,it must be accepted that polychrome was an art highly esteemed1 that colouring of statuary1 and especially of the great altar-screens1 was carried out with extreme care1 and was regarded as work not beneath the dignity of the greatest artists4 ,in ,spain the sculptor and the painter were as one4 ,,chapter ,,vi ,,the ,,renaissance1 ,,and ,,the ,,influence ,,of ,,michael ,,angelo ,,on ,,the ,,spanish ,,sculptors ,the ,northern influences of ,flanders and ,germany1 though far-reaching in their effects on ,spanish sculpture1 were not long-lived1 and in the last decade of the fifteenth century they gave way to a new influence from ,italy4 ,always responsive to newly imported art methods1 her architecture1 sculpture1 and painting were invaded by the forms of the ,italian ,renaissance1 and thanks to the flourishing condition of architecture and sculpture1 and to a taste refined by the busy practice of these arts1 the new influence found not only a willing1 but an intelligent following4 ,the ,renaissance influences were not harmful to architecture and sculpture as they were to the sister art of painting4 ,for one reason1 both architecture and sculpture were much more advanced at this period than was painting4 ,then the new elements of taste made their way slowly1 and the old influences remained active side by side with the new4 ,but it must be remembered that in ,spain the ,renaissance was never a movement from within2 rather its causes were external and political4 ,in #aejd ,naples had been conquered by ,spain1 and at the same time the ,sicilies had become an appanage of the ,house of ,aragon4 ,many ,spaniards of position were attracted to ,italy to take part in the wars1 and with them travelled native artists4 ,at the same time ,italian artists came to ,spain4 ,another influence was the close relation which at this time existed between ,spain and ,rome4 ,then a thriving trade communication arose between the cities of the two countries1 and especially was this so between the prosperous harbours of ,barcelona and ,genoa4 ,the impulse of art is curiously interbound with economic causes2 interchange of trade inevitably results in interchange of culture4 ,the charm of the new style arose from its novelty2 it inspired imitation and suggested new theories of art4 ,it found an expression chiefly in the direction of decoration1 where the old sumptuousness was united with elegance and delicacy of execution4 ,thus the ,renaissance entered ,spain by numerous channels4 ,we find many ,spanish nobles employing ,italian workmen to decorate their palaces2 for instance1 ,rodrigo de ,mendoza entrusted the ornamentation of the castle of ,calahorra to ,genoese workmen in #aeaj4 ,italian marble-cutters were occupied in the production of sumptuous monumental tombs1 of which some were carved at ,genoa1 while a still greater number were executed in ,spain by ,lombard and ,florentine artists summoned thither for the purpose4 ,the mural monument of ,archbishop ,mendoza in ,seville ,cathedral was executed by ,miguel of ,florence about #aeji1 and by him too is the terra-cotta relief over the ,puerta del ,perdon1 representing the ,expulsion of the ,money-changers from the ,temple and the ,annunciation1 between the large figures of ,st4 ,peter and ,st4 ,paul4 ,the monument of ,p4 ,gonzlez de ,mendoza in the ,capilla ,mayor of ,toledo ,cathedral1 with the ,madonna in the lunette1 is absolutely ,florentine1 and is perhaps the work of ,andrea ,sansovino4 ,the ,marquis de ,tarifa1 while on a journey to ,palestine in #aebj1 ordered at ,genoa the tomb-monuments of his parents1 ,enriquez and ,catalina de ,ribera1 the richest examples of ,renaissance sculpture1 which are in the ,university ,church of ,seville4 ,the altar of the ,capilla de ,exalas1 in the cathedral of the same city1 which was erected by del ,ro in #aeci1 is also of ,genoese workmanship4 ,the new style was adopted in decorative sculptures applied to doorways1 faades1 windows1 c42 there are numerous examples1 and especially is this so in the ,cathedral of ,toledo1 which furnishes a museum of ,renaissance work4 ,the ,italian teaching was further assisted by the settlement in ,spain of a family of ,italian artists1 ,leone ,leoni1 ,pompeo his son1 and ,michael the grandson1 who for three generations were employed by ,charles ,v4 and ,philip ,,ii4 ,they carved for the ,escorial statues of the ,emperor1 of ,philip ,,ii41 and members of the royal family1 as well as the bas-reliefs of the retablo of the high altar1 which ,herrera had designed1 and two groups in gilt-bronze placed under the tribunes to the right and left of the altar4 ,in addition these artists executed many statues in bronze and in marble for the churches and royal palace4 ,these works1 by reason of their purity of line and beauty1 exercised a beneficial and widespread influence on the native sculptors4 ,cean ,bermudez1 in ,spain1 unites with ,vasari1 in ,italy1 in praising the ,leoni family4 ,one of the first ,spanish artists to frequent the schools of ,italy1 where he is wrongly stated to have been a pupil of ,donatello1 was ,damian ,forment1 a native of ,valencia1 who lived and worked in the fifteenth and first third of the sixteenth centuries4 ,donatello died in #adff1 and as ,forment returned to ,spain in #aeji1 when still young1 he could not have been the pupil of the great ,italian4 ,but whoever was his master1 he was a great artist1 the most famous of the ,aragonese sculptors1 and his works are the purest examples of the new ,italian taste4 ,that he esteemed himself we know1 for he calls himself 8the rival of ,phidias and ,praxiteles02 while the fact that he was allowed the unusual privilege of inserting life-size medallions of himself and his wife at the base of his great altar-screens at ,zaragoza and ,huesca shows how high a place he held in the popular estimation4 ,there are four altar-screens which are known certainly to be the work of ,damian ,forment1 but of these only two are important4 ,the first in date is the retablo of the ,virgen del ,pilar at ,zaragoza 7,plate #gd71 which was begun in #aeji1 the year in which ,forment returned from ,italy1 and was finished eleven years later1 in #aebj4 ,it has three large bas-reliefs1 surrounded by a framing1 and placed under a series of pinnacles and divided by pilasters1 while above is a predilla containing seven small groups4 ,in the centre of the three large groups is an exquisitely fine ,annunciation of the ,virgin1 and on either side are the ,birth and the ,purification4 ,injudicious washings have ruined the polychrome1 and no traces of colour remain except on two figures placed on the right and left of the altar4 ,from these we can judge how fine the polychrome must once have been4 ,it is interesting to note that while the bas-reliefs and statues1 with their beautiful forms and great delicacy1 so different from the realistic emaciated types of the late ,gothic artists1 show very clearly the influence ,forment had experienced from his study of the ,italian masters2 in the architectural decorations he remained faithful to ,gothic traditions4 ,this mingling of styles is what we must expect in ,spain2 it is at once the interest and the weakness of her art4 ,nor was ,forment alone in thus clinging to the old forms1 while at the same time using the new4 ,we find the same crossing of influences in the work of all the native artists1 and in this way the ,spanish ,renaissance retained in sculpture a certain native style of its own4 ,damian ,forment's second important retablo1 which was executed for the celebrated ,abbey of ,mount ,aragon1 and is now in the parish church of ,huesca1 is entirely ,italian in sentiment and in execution4 ,it has a sensuous charm1 such as is seen in scarcely any other work of ,spanish art4 ,forment began the screen in #aebj1 worked at it for thirteen years1 and died1 so tradition tells us1 almost at once after its completion4 ,like the ,zaragoza altar-screen1 it is of alabaster4 ,it is in three registers1 and is adorned with bas-reliefs of the ,bearing of the ,cross1 the ,crucifixion1 and the ,descent from the ,cross4 ,between these bas-reliefs and on the pilasters1 crowned with elegant pinnacles1 are figures of women of incomparable beauty and grace4 ,some of the figures show traces of colour1 but here also the polychrome has been destroyed by washings4 ,the medallions of ,forment and his wife are on the base of the altar4 ,the two remaining altar-screens of ,forment are less important4 ,san ,pablo at ,zaragoza has a retablo carved in wood1 which1 though designed by ,forment1 was probably carried out by his pupils4 ,it was executed about the years #aeaf-aebj4 ,the second altar-screen is in the parish church of ,velula de ,ebro4 ,besides these works1 the retablo in the ,cathedral of ,santo ,domingo de la ,calzada1 a small town twelve miles west of ,najara1 has been attributed to ,forment4 ,but this is a mistake4 ,not only the style of the carvings but the records of the date of the work prove that it cannot be by ,damian ,forment4 ,the confusion has arisen from its author having the name of ,forment2 he seems to have been an important imagerio1 or image-maker4 ,we owe the clearing up of this error to ,m4 ,marcel ,dieulafoy1 to whose admirable work we once more gratefully acknowledge our debt4 ,the same learned authority thinks that the admirable tomb of the ,marquis ,vasquez de ,arco1 which is in an annexe of the ,sigenza ,cathedral1 may1 in spite of certain difficulties about dates1 be the work of ,damian ,forment4 ,for there seems no other artist working at this time who could have executed it4 ,forment left a considerable fortune1 which would point to there having been many anonymous works of his2 his four altar-screens not being sufficient to account for the amassing of this wealth4 ,the ,sigenza tomb is one of the earliest monuments to show the decisive influences of the ,renaissance4 ,the figure is represented reclining1 the attitude is new and free1 the expression of the face is charming1 and all the details are carried out with great perfection4 ,the only colour that to-day remains is the crimson cross of ,santiago4 ,behind the tomb an inscription on a slab of marble inlaid into the wall gives the history of the young hero1 who was killed during one of the many sieges which preceded the conquest of ,granada4 ,there are some very curious and very interesting bas-reliefs in the lower section of the retablo of the ,royal ,chapel of ,granada 7,plate #ge7 belonging to this period1 which show markedly the ,italian ,renaissance forms4 ,they depict the ,surrender of the ,city and the ,baptism of the ,moors4 ,unfortunately the author of these works is unknown4 ,in #aebj1 the same year in which ,forment began the altar-screen of ,huesca1 a ,catalan artist1 ,bartolom ,ordez1 went to ,geneva to chisel from ,carrara marble the tomb of ,cardinal ,ximnez1 which is now in the ,cathedral of ,alcal de ,henares1 but was formerly in the ,university ,chapel of the city4 ,the tomb had been already designed by the ,florentine ,domenico ,alexandro1 but on his death in #aebj ,ordez was chosen to complete it4 ,with him worked two ,genoese artists1 ,thomas ,forne and ,adam ,wibaldo1 and ,ordez assimilated so completely the ,italian style that on his return to ,spain he became one of the chief channels for introducing the new forms4 ,this explains how it is that the ,spaniard's chief works have been ascribed to his ,florentine master1 ,domenico ,alexandro4 ,these are the funeral monuments of ,ferdinand and ,isabella1 the ,catholic sovereigns1 in the ,royal ,chapel of ,granada 7,plate #gf71 and that of ,don ,juan1 their only son1 which is in the ,church of ,st4 ,thomas at ,avila 7,plate #gg74 ,this last monument is of great purity and beauty of style4 ,domenico ,alexandro died in #aebj1 two years before the ,granada tombs were executed4 ,a recent discovery noted by ,m4 ,marcel ,dieulafoy of three names of those who presided at the mounting of the monuments1 all of whom belonged to the studio of ,ordez1 gives further proof that we owe these splendid funeral monuments to him4 ,there is confusion about all the works of this great sculptor4 ,it is probable that he was the author of the tombs of ,philip the ,handsome and ,juana la ,loca1 which are also in ,granada's ,royal ,chapel2 while many anonymous sculptures of this date1 as well as others that have been assigned to the early ,renaissance artists1 may well be his work4 ,but the question of attributions1 always difficult1 is especially so in the case of an artist who1 like ,bartolom ,ordez1 assumes a style typical of his period4 ,the most famous of the early ,renaissance artists was ,philip ,vigarni1 better known by his surname ,borgoa4 ,he was of ,burgundian origin1 but a native of ,burgos1 and he spent his life in the country of his birth4 ,we hear of him first in the year #aejj1 gaining a competition to execute the great retablo of the ,tras-,sagrario in the ,cathedral of ,burgos4 ,the ,tras-,sagrario altar-screen is the largest retablo in ,spain1 probably in the world 7,plates #gh-hj74 ,it is made entirely of larch wood1 and is in five storeys1 each having four compartments1 which are decorated with elaborately carved bas-reliefs of the ,passion and scenes from the life of the ,virgin4 ,above is a colossal crucifix4 ,the numerous niches and pinnacles contain a veritable crowd of prophets and saints4 ,the style is flamboyant ,gothic1 for1 like ,forment1 ,philip ,borgoa did not use ,renaissance forms until later in his career4 ,he had as his collaborators ,alfonso ,sanchez1 and his fellow-competitors ,sebastian ,almonacid1 ,peti ,juan1 ,diego ,copin of ,holland1 and seventeen other sculptors of renown4 ,enrique ,egas1 master architect of the cathedral1 and ,pietro ,gumiel1 architect of the archbishopric1 directed and looked after the construction4 ,the polychrome was entrusted to ,juan de ,borgoa1 the ,toledan painter1 and brother of ,philip1 and he was assisted by ,francesco di ,amberos1 ,fernando del ,rincon1 and others4 ,with the aid of these numerous collaborators the altar-screen was completed in four years1 and was inaugurated in #aeje4 ,in spite of the merit of its carvings1 its great architectural merits1 and the profusion and beauty of its colour and gilding1 the general effect of the retablo is disappointing4 ,it is too large4 ,standing near to it1 the eye cannot embrace its multitude of detail1 while at a distance the parts become confused and lost4 ,it is a splendid and surprising monument1 and it is very ,spanish1 but it is unsatisfying as a work of art4 ,the real talent of ,philip de ,borgoa is seen best in the admirable bas-reliefs in the ,tras-,sagrario at the back of the ,grand ,altar4 ,in the first1 ,jesus goes out of ,jerusalem to ,calvary1 accompanied by ,st4 ,veronica1 who dries his face1 wet with drops of blood and sweat1 and by ,st4 ,simon1 who helps to carry the ,cross2 the second depicts the ,crucifixion2 the third is in two compartments1 which show the ,descent from the ,cross and the ,resurrection 7,plate #ha74 ,two bas-reliefs on either side are of a later date1 belonging to the seventeenth century2 they are the work of ,alonso de ,rios4 ,it was after the execution of these works at ,burgos that ,philip de ,borgoa underwent his artistic evolution and embraced ,italian forms4 ,whence the influence came we do not know2 perhaps it was from ,alonso ,berruguete1 for ,philip de ,borgoa would seem never to have left ,spain4 ,the great work of his late years was carving the thirty-five stalls on the ,epistle side of the choir of ,toledo ,cathedral1 the stalls on the ,gospel side being by ,alonso ,berruguete 7,plates #hb-ih74 ,the carvings of ,borgoa are more delicate and more finished1 while those of ,berruguete show more creative talent and are more ,spanish in their sentiment4 ,of these truly marvellous choir-stalls ,thophile ,gautier says3 8,l'art ,gothique1 sur les confins de la ,renaissance1 n'a rien produit de plus parfait ni de mieux dessin40 ,in his ,toledo ,pintoresca1 ,amardor thus begins his description of the stalls3 8,portent of ,spanish art1 in which two great geniuses of our golden century competed1 the victory to our own times remains undecided1 and astounded the judges who have endeavoured to give their opinion on this matter40 ,the bas-reliefs represent scenes from the ,old and ,new ,testament1 and the single statues are of prophets1 apostles1 and saints4 ,they are carved of walnut wood1 separated by jasper and alabaster pillars4 ,m4 ,marcel ,dieulafoy has pointed out the singular resemblance between the figures in these choir-stalls and those in the altar-screen in the ,capilla del ,condestable of ,burgos ,cathedral4 ,it seems probable that we owe this fine work to ,philip de ,borgoa1 or at least that it was produced in his studio4 ,it is adorned with numerous reliefs and statues4 ,the scene of the central panel1 with life-size figures1 depicts the ,presentation in the ,temple1 and is charming by reason of its nave realism and the beauty of the heads4 ,this altar-screen gains a further importance from the richness of its polychromes4 ,philip de ,borgoa's last work was the large retablo of the ,capilla ,real at ,granada1 with the statuettes of ,ferdinand and ,isabella kneeling4 ,the reliefs1 carved in wood in two sections1 are of great historical interest 7,plate #ajc74 ,to the left is ,boabdil surrendering the keys of the ,alhambra1 while that to the right represents the ,baptism of the ,moors by ,spanish monks4 ,philip de ,borgoa died in #aedc4 ,the ,italian ,renaissance became more universal and more strongly marked in the works of the sculptors that followed4 ,this was due to the influence of ,michael ,angelo1 which in the sixteenth century1 in ,spain1 attained a power elsewhere unknown outside of ,italy4 ,there was a special reason for this4 ,the great ,italian's work appealed to the ,spanish seriousness1 to their strong dramatic instinct1 and to the deeply emotional character which has always marked their art4 ,alonso ,berruguete1 sculptor1 painter1 and architect1 stands as the representative of this ,michael-,angelesque influence1 and his work is typical of the manner of his period1 especially of the grotesque style which grew out of the ,italian1 and must be associated with his name4 ,berruguete was born at ,paredes de ,nava about the year #adhj4 ,he was the son of ,pedro ,berruguete1 the king's painter1 from whom he received his first lessons in art4 ,on his father's death he went to ,italy1 where he at once became the pupil of ,michael ,angelo4 ,proof of his ability is given by the fact that the ,italian master confided to him the copying of the celebrated ,pisan cartoon which he had designed for the city4 ,later ,berruguete accompanied ,michael ,angelo to ,rome4 ,he made such progress that ,bramanti1 following the advice of ,raphael1 chose him out of many competitors to make a copy of the ,laocon to be cast in bronze4 ,he also completed a ,st4 ,jerome by ,filippino ,lippi4 ,this is all we know of ,berruguete's sojourn in ,rome4 ,in #aebj he returned to ,spain1 when ,charles ,v4 appointed him royal sculptor and painter4 ,this position gave him great power4 ,he worked for the emperor at ,valladolid and ,madrid1 and all the great towns of ,spain--,toledo1 ,zaragoza1 ,salamanca1 ,granada--competed for his services4 ,in this way his influence was widespread1 and all that he had learnt in ,italy became known to the native artists4 ,from ,michael ,angelo ,berruguete acquired the power and vigour that distinguishes all his best work1 but at the same time he retained his own personality and was faithful to national traditions4 ,it was his ,spanish temperament1 with its tendency to over-emphasis1 and not his imitation of ,michael ,angelo1 which caused the violent attitudes and exaggerated gestures which characterise many of his works4 ,among the numerous altar-screens which ,berruguete carved1 either entirely or in part1 the most important was that of ,san ,benito el ,real at ,valladolid1 some fragments of which remain in the museum of the city4 ,the choir-stalls of the monastery1 also in the museum1 which are often mistakenly attributed to ,berruguete1 were carved by ,andres de ,najera in #aebj1 a contemporary sculptor1 too little known1 if we may judge by the power and beauty of these choir-stalls 7,plates #ajd-aaa74 ,carved in wood1 they do not appear ever to have been painted4 ,najera has also left excellent carvings in the ,cathedrals of ,calahorra and of ,santo ,domingo de la ,calzada4 ,the contracts for the altar-screen of ,san ,benito1 signed in #aebf1 show that ,berruguete undertook 8to carve and finish with his own hands the heads and feet of the statues40 ,this gives special importance to these works1 for the execution of many of ,berruguete's carvings was left to his pupils4 ,the most beautiful of the figures is that of ,st4 ,sebastian 7,plate #aac74 ,it is one of the finest possible examples of polychrome4 ,the flesh-tints are subdued1 the face somewhat warmer in colour than the body1 with skilful touches of carmine on the lips1 nostrils1 ears1 and eyelids4 ,the eyebrows are light1 the hair red-brown4 ,some drops of blood show upon the wounds4 ,the general effect is powerful and true to life4 ,there are some fine bas-reliefs2 among them we may mention the ,sacrifice of ,abraham and the ,adoration of the ,magi 7,plate #aac72 the heads of the ,virgin and the ,child ,christ in the second panel are splendid examples of ,berruguete's art4 ,two more panels show the ,birth of ,christ and the ,flight into ,egypt1 and in these again ,berruguete's special personality makes strong appeal2 and hardly less powerful are the panels1 with gold backgrounds1 of the two ,evangelists1 ,st4 ,mark and ,st4 ,matthew4 ,all these bas-reliefs are coloured4 ,berruguete has left many noteworthy tombs4 ,the monument of ,archbishop ,tavera1 in the ,afuera ,hospital at ,toledo1 is generally accounted his masterpiece 7,plate #aad74 ,but this tomb1 carved in his old age--it was ,berruguete's last work--is not really finer than many of his other monuments4 ,the bas-reliefs on the sarcophagus are mannered1 and suggest an over-excited imagination4 ,it seems probable that the ,toledo tomb owes its fame rather to its being better known than to the superiority of its execution4 ,a finer example of ,berruguete's works in marble1 according to ,m4 ,marcel ,dieulafoy1 are the tombs of ,don ,juan de ,rojas and his wife the ,marquesa de ,poza1 in the ,church of ,san ,pablo at ,palencia4 ,the kneeling figures of the ,marquis and his wife1 with the fine heads of strongly marked character1 prove ,berruguete an accomplished carver of portraits in marble4 ,the bas-reliefs1 and the numerous figures of saints1 evangelists1 and angels1 are vigorously carved2 especially fine is the form of ,god the ,father1 which dominates the whole4 ,the monumental tomb of ,san ,jeronimo at ,granada1 which has been attributed to the ,italian ,pedro ,torrigiano1 and also to ,berruguete's successor1 ,gaspar ,becerra1 is almost certainly the work of ,berruguete 7,plate #aae74 ,this is the opinion of ,m4 ,marcel ,dieulafoy4 ,it furnishes a different expression of ,berruguete's powers1 and is one of the most characteristically ,spanish of his works4 ,of a similar character to the ,palencia tombs1 and worthy of notice1 are the excellent portrait-bust of the engineer ,juanelo ,turriano1 in the ,convent of ,san ,juan de los ,reyes at ,toledo1 the statue-tomb of ,st4 ,secundus1 ,bishop of ,avila1 in the ,church of ,san ,secundo in that city 7,plate #aaf71 and the busts of the archbishops which adorn the retablo of the ,colegio del ,arzobispo at ,salamanca4 ,the student of ,berruguete should visit his native town ,paredes de ,nava1 where numerous carvings are preserved in the ,church of ,santa ,eulalia1 for in these early works we see how carefully he studied the antique4 ,in the wooden panels in the sacristy of ,mercia ,cathedral we notice again the over-excited imagination which was the defect of ,berruguete's work4 ,much finer is the retablo of ,santa ,barbara in the sacristy of the ,cathedral of ,avila4 ,it is carved in alabaster and coloured2 the finest of the reliefs represents the ,scourging of ,christ1 a subject specially suitable to ,berruguete's power4 ,the influence of ,berruguete was decisive and widespread1 and a number of native carvers and sculptors arose who were either his pupils or imitated his style4 ,gaspar de ,tordesillas1 born at the end of the fifteenth century1 is reputed to have been a pupil of ,berruguete1 and the vigour of his style1 shown chiefly in the attitudes and movements of his figures1 and in the folds of his draperies1 supports this pupilship4 ,he was first an entallador1 or carver in wood1 and afterwards escultor--sculptor--an artist of higher rank4 ,he carved in wood a small retablo for the parish church of ,simancas1 a small town near to ,valladolid1 which ,antonio ,vasquez1 another native artist1 coloured in oils4 ,as an escultor ,tordesillas executed many important works1 among them the fine statue of ,san ,benito 7,plate #aag71 now in the ,museum of ,valladolid1 and also two altar-screens for the old monastery of ,san ,benito4 ,many of the works of ,tordesillas have been attributed to his better-known contemporary ,juan de ,juni1 the extravagant follower of ,berruguete's style4 ,the altar-screens in the ,church of ,santiago and the ,church of ,san ,francisco at ,valladolid--the first representing the ,adoration of the ,magi and the other the ,entombment of ,christ--are all the work of ,tordesillas4 ,m4 ,marcel ,dieulafoy's verdict of this little known carver is that he was 8a great artist40 ,francisco ,giralte1 a sculptor of ,palencia1 who1 like so many of the ,spanish artists of this period1 studied in ,italy1 was the principal collaborator with ,berruguete in carving the celebrated choir-stalls of ,toledo ,cathedral4 ,the last of the works which he executed alone is the altar-screen1 formerly in the chapel of the ,obispo1 ,palencia ,cathedral1 but now at ,madrid4 ,this screen is described and highly praised by ,ponz in his ,viage de ,espaa4 ,the polychrome was carried out by ,juan de ,villodo1 under the direction of ,francisco de ,vilalpando1 an able architect of ,palencia4 ,giralte carved many other retablos1 and was assisted by ,juan ,manzano and other carvers4 ,the most important of his works are the altar-screen of ,cardinal ,ximnez1 that of the ,monastery of ,valbuena1 the great altar at ,espinar1 another for the parish church of ,pozeido1 and finally the retablo of the ,corral's chapel in the ,church of the ,magdalena1 ,valladolid1 remarkable for its bas-reliefs1 but unsatisfying in its whole effect on account of the poverty of composition4 ,giralte died in #aegf4 ,esteban ,jordan was the contemporary of ,giralte4 ,he was born at the beginning of the sixteenth century and died in #aeih or #aeii4 ,we read that ,berruguete was the godfather of his son1 which seems to suggest an intimate relationship1 if not pupilship1 between the two artists4 ,but ,jordan has very little of the vigorous style of ,berruguete4 ,like ,giralte1 he was a carver of second-rate merit1 who attained fame in his lifetime1 but was afterwards forgotten4 ,his best works are the retablo of ,santa ,maria ,magdalena at ,valladolid and the tomb of ,archbishop ,don ,pedro ,gasco in the same church4 ,another ,spaniard who learnt his art in ,italy was ,tudelilla1 a native of ,tarragona4 ,he was born at the end of the fifteenth century1 and after studying in ,italy1 in #aebg returned to ,spain1 in which year we find him charged with the construction and decoration of the choir enclosure of ,zaragoza ,cathedral 7,plate #aah74 ,the style in which it is carried out is known in ,spain as ,plateresque1 a name derived from plateros1 or silver-work1 and applied to this form of carving from its elegance and delicacy of execution4 ,the choir is composed of twelve highly ornamented columns1 which have a frieze and pediments of delicate workmanship4 ,in the centre is placed a ,crucifixion1 while between the columns and on either side are statues of saints and four bas-reliefs representing scenes in the lives of ,st4 ,vincent and ,st4 ,valere1 the patrons of the church4 ,in ,spain it is held in great estimation1 but it must be admitted that the decoration is mannered and of a professional stamp4 ,tudelilla was largely employed by the nobility of ,zaragoza in the decoration of their palaces4 ,we read in contemporary writers of the splendour of these buildings1 but almost without exception they have been destroyed4 ,it was the common custom at this period of artistic wealth to lavish large sums on the decoration with statues and sculpture of both the outside and the interior of private dwellings4 ,wherever these palaces remain they should be studied1 as they contain many fine examples of ,spanish carving4 ,among other carvers who were the contemporaries of ,berruguete we may mention ,diego ,morlanes1 who completed the portal of the convent church of ,santa ,engracia at ,zaragoza1 which was begun by his father ,juan in #aeje1 while a further example of his sumptuous style is the chapel of ,st4 ,bernard in the cathedral1 with the monument of ,archbishop ,fernando of ,aragon and his mother4 ,juan de ,talavere and ,etienne ,veray executed the sumptuous portal of the ,church of the ,virgin at ,calatayud2 ,diego de ,riao and ,martin ,gainoza worked at ,seville1 and their carvings in the ,sacristia ,mayor and in the ,capilla ,real of the cathedral illustrate the elaborate and fantastic forms in which the native workers now took increasing delight4 ,of greater importance are ,juan ,rodriguez and ,gernimo ,pellicier1 who executed the retablo of the ,monastery del ,parral at ,segovia 7,plate #aai74 ,all these sculptors and carvers were in greater or less degree imitators of ,berruguete4 ,we have in addition numerous anonymous works1 some of splendid merit4 ,the enumeration of these carvings would fill a separate volume4 ,burgos1 ,seville1 and many churches are veritable museums of polychrome sculpture2 while many churches1 such1 for instance1 as the ,convent of ,poblet1 now robbed and left bare1 were formerly treasure-houses of sculptures4 ,the limit of space makes it impossible to do justice to this multitude of work4 ,the epoch was marked by a wealth of production which shows the enthusiasm that then prevailed for the plastic arts4 ,the history of ,spanish sculpture would be incomplete did we omit to mention the ,custodias which almost no large church in ,spain is without4 ,these idealistic tower-like structures1 always wrought in silver and finely carved1 are the great architectural achievements of the metal-workers4 ,the first examples belong to the ,gothic period4 ,the ,custodia of the ,cathedral of ,gerona1 richly adorned with enamels and precious stones1 is one of the most beautiful1 while another of almost equal merit is that of ,barcelona4 ,the sixteenth century was the great period for the production of these silver works1 and this was due mainly to the talented ,arfes1 a ,spanish family of ,german origin1 who produced ,custodias for most of the important cathedrals4 ,to ,enrique de ,arfe 7#adgj-aeej71 the first of the family1 we owe the ,custodias of ,cordova and ,toledo2 these works are in the late ,gothic style4 ,but the most celebrated member of the family was ,juan ,arfes1 the grandson of ,enrique1 who was born about the middle and died at the close of the sixteenth century4 ,he was the creator of the celebrated ,custodia of ,avila 7,plate #abj74 ,he also executed two ,custodias for the city of ,valladolid--one for the ,convent of ,carmel and the other for the cathedral4 ,this work bears an inscription1 8,juan de ,arfe y ,villafae1 f4 ,,mdxc410 and the price paid for it was #a1eah1jib maravedis4 ,at about the same time he made another ,custodia for the ,cathedral of ,burgos1 and yet another for that of ,seville4 ,besides excelling as a silversmith1 ,juan was an excellent carver of statues1 though he always used the title escultor de plata y oro 7sculptor of gold and silver74 ,his skill as a sculptor is proved by the group of ,adam and ,eve1 which was executed to occupy the centre of the first stage of the ,valladolid ,custodia1 but is now on the pedestal4 ,his greatest sculptured piece was the kneeling statue of ,cristobal de ,royas y ,sandoval1 ,archbishop of ,seville1 in the ,church of ,san ,pedro de ,lerma at ,burgos 7,plates #aba and #abb74 ,juan died before the completion of the work1 which was finished by ,fernandez del ,moral1 under the direction of ,pompeo ,leoni2 and for this reason this splendid monument for long has been wrongly attributed to ,leoni4 ,with the silversmiths we may class the orfrays1 or embroiderers1 who at this time attained a position of great importance4 ,cean ,bermudez praises especially ,marcos ,covarrubias1 the master embroiderer of ,toledo ,cathedral1 who in #aead carried out the beautiful decorations of ,cardinal ,cisneros' monument4 ,other celebrated 8embroiderers0 were ,gabriel ,carvajal of ,seville ,cathedral1 and a ,french ,hieronimite monk named ,monserrate1 who settled in ,spain in the sixteenth century and worked for the monastery of the ,escorial4 ,he was a master of the delicate art of 8needlework in stone40 ,nor must we forget the ,spanish metal-workers1 who wrought the exquisite railings in the cathedrals of ,burgos1 ,seville1 ,salamanca1 ,toledo1 ,pampeluna1 and elsewhere1 which are masterpieces of art4 ,these works1 besides flowers1 foliage1 and decorations1 contain medallions of men's and women's heads1 sometimes oxidised1 but often gilded and polychromed4 ,for this reason1 if for nothing else1 these church railings must be studied by those who wish to know the ,spanish polychromes4 ,these small medallions are carried out with exquisite delicacy and beauty4 ,,chapter ,,vii ,,the ,,renaissance1 ,,and ,,the ,,influence ,,of ,,michael ,,angelo 7continued7--,,the ,,schools ,,of ,,valladolid ,,and ,,madrid ,after the middle of the sixteenth century a change came1 or rather1 a further step was taken in the use of ,italian forms1 and a style was evolved which may be said with sufficient accuracy to correspond to the developed ,renaissance of ,italy4 ,gaspar ,becerra was now the most prominent sculptor in ,spain4 ,like ,berruguete1 whose rival and true successor he was1 he received his artistic training in ,italy2 like him1 too1 he was a painter and architect as well as sculptor4 ,it is said that ,becerra worked in the studio of ,michael ,angelo1 but ,vasari1 whose pupil he was1 does not count him among the disciples of the great ,florentine4 ,he was born at ,baeza1 a small town in the kingdom of ,jaen1 in #aebj4 ,he was still quite young when he went to ,italy4 ,in ,rome he gained a position of importance working under the leadership of his master1 ,vasari1 and under ,daniele da ,volterra in the ,trinita de ,monti1 decorating in the ,cancelleria4 ,his skill in drawing1 especially the human figure1 was great1 and he furnished the plates for ,valverde's 8,anatomy10 printed in ,rome in #aeed4 ,we know also that he was married in ,rome in #aeef4 ,five years later he returned to ,spain1 and like his predecessor he became painter and sculptor to ,philip ,,ii4 ,becerra worked at the decoration of the ,pardo palace1 and painted frescoes in the ,alcazar of ,madrid1 which were destroyed in the fire of #agcd2 in addition he designed1 sculptured1 and painted the altar-screen of the ,convent of ,dscalzas ,reales in the same city1 working for the ,infanta ,doa ,maria1 while for the ,queen1 ,doa ,isabel de la ,paz1 he sculptured the statue of ,nuestra ,seora de la ,solitude1 which is worshipped in the chapel of the ,minime fathers4 ,this position as ,court artist caused ,becerra's services to be eagerly sought1 and carvings and paintings of his will be found at ,zamora1 ,valladolid1 ,zaragoza1 ,burgos1 ,salamanca1 and elsewhere4 ,his masterpiece1 and his last work1 is the retablo in the ,church of ,astorga1 on which he worked from #aeej to #aefi4 ,he died at ,madrid in #aega1 when still young and in the height of his activity and power4 ,the merit of ,becerra's work is a feeling for ideal beauty1 unusual in ,spain1 united with dignity and1 to some degree1 with strength4 ,all his sculptures are in the style of ,michael ,angelo2 and this has led to a confusion between his carvings and those of ,berruguete4 ,but this is a mistake4 ,berruguete1 though a follower of ,michael ,angelo1 was ,spanish with a strong national accent1 while ,becerra was an ,italian1 completely renouncing the national traditions in favour of ,renaissance forms4 ,for this reason his work is far less important than that of his predecessor2 it also opened the road for the degeneration of native sculpture4 ,becerra made the study of ,michael ,angelo and the antique the substitute for a study of nature1 and possessing a happy knack of pleasing the eye1 he was content to be an imitator1 and therefore added nothing to ,spanish sculpture4 ,a good example of ,becerra's art1 and his best single carving1 is the small polychrome bas-relief of ,st ,jerome in the ,desert 7,plate #abc7 in the side altar of the ,capilla del ,condestable at ,burgos4 ,there are several copies of this statue1 for1 like many imitators1 ,becerra repeated his works2 one1 in white marble1 is in the ,church of ,san ,pedro at ,huesca4 ,on account of its likeness to the ,st4 ,jerome1 ,m4 ,marcel ,dieulafoy attributes to ,becerra the statue of the prophet ,elias in ,santo ,toms at ,toledo1 the church that contains the masterpiece of ,el ,greco4 ,the retablo at ,astorga1 ,becerra's most important work1 is an imposing erection1 much praised in ,spain4 ,the effect is pleasing1 but a closer examination leaves the spectator unsatisfied2 the statues and carvings are all modelled on ,renaissance types1 and are without individuality4 ,still this retablo must not be neglected2 it is a good example of estofado sculpture4 ,contemporary with ,berruguete worked ,juan de ,juni1 who carried the ,michael ,angelo following to its furthest and most exaggerated development4 ,little is known about this artist2 even his nationality is uncertain1 some accounting him a ,spaniard1 others an ,italian1 or even a ,fleming4 ,bermudez thinks he was an ,italian4 ,but though a pupil and close imitator of ,michael ,angelo1 ,juni1 if not born in ,spain1 became a ,spaniard by temperament and adoption1 as the style of his work proves4 ,in his carvings we find that search for expression at any cost1 leading to exaggerated gestures and an over-accentuation of detail1 as for example in depicting the sorrows of the ,christ by gaping wounds and the presence of blood--by which the ,spanish artists sought to give dramatic reality to their religious representation4 ,it is this that has caused ,juni to be so highly estimated in ,spain4 ,the details of ,juni's life are fragmentary and contradictory4 ,for long he was said to have been born during the second half of the sixteenth century1 and to have died at the beginning of the seventeenth century4 ,in reality he lived earlier1 and was born in #aejg1 while he died at ,valladolid in ,april #aegg4 ,we hear of him first about the middle of the sixteenth century1 when the ,archbishop of ,portugal summoned him from ,rome to superintend the building and decoration of the ,episcopal palace at ,oporto4 ,this he did1 as well as constructing other buildings in the city4 ,afterwards he went to ,osuna1 then to ,santoyo1 and finally to ,valladolid1 where he settled1 and remained until his death4 ,juni has left a great amount of work1 and his statues and bas-reliefs1 always easily recognised1 will be found in the churches and convents of ,osuna1 ,segovia1 ,valladolid1 ,santoyo1 ,aranda de ,douro1 and ,salamanca4 ,his best-known altar-screen is the ,descent from the ,cross in ,segovia ,cathedral 7,plate #abd74 ,in this surprising work we have well displayed both the qualities and defects of ,juni's talents4 ,instead of the decoration being carried out in compartments1 the carvings are in isolated groups1 a change in construction which was the greatest service that ,juni rendered to ,spanish sculpture4 ,the figures are all life-size2 the finest is that of the ,christ1 which has real dignity1 and is without exaggeration4 ,the agitation and grief of the ,virgin and the holy women is too much emphasised1 while the attitudes of the fantastically attired soldiers placed on either side are so accentuated that one is left with a consciousness of insincerity4 ,the dramatic power becomes theatrical and unreal4 ,contrast this ,descent from the ,cross with ,berruguete's rendering of the same scene in ,san ,geronimo at ,granada1 and this becomes abundantly evident4 ,the restraint in the latter work is strength1 while ,juni's scene1 with its over-acclamation1 ends in weakness4 ,but in ,spain the ,segovia screen is highly treasured4 ,it is brilliantly coloured4 ,we have no proof that ,juni himself polychromed his statues1 but we know that he was a painter of great talent1 and the harmony which exists between his models and the colouring seems to prove that he must have superintended the polychrome4 ,documentary evidence shows that in some cases1 at any rate1 the colourisation was done in his studio1 under his direction1 and that he himself painted the faces1 the hands1 and the feet of his figures4 ,the same model of the ,segovia ,christ can be recognised in another work of ,juni's1 the ,burial of ,christ1 executed for the ,convent of ,san ,francesco at ,valladolid1 and now in the city museum 7,plate #abe74 ,here we have an even stronger example of ,juni's art1 in which the conception of woe is depicted with greater extravagance1 and with what appears to us as futile exaggeration of the details of sorrow4 ,death is shown with startling reality in the body of the ,christ1 which is rigid with the muscles already contracted1 and the reality is carried further by the colouring2 the limbs and the face are mottled with livid stains4 ,blood flows from the wounds1 which are laid open4 ,the body is horrible with the sense of human corruption4 ,the figures of the ,virgin1 ,st4 ,john1 and the ,magdalen all express passionate and over-emphatic sorrow4 ,but the work is perfectly sincere2 to doubt this is to misunderstand the nature of ,spanish art4 ,it is the quality that meets us so often2 a too dramatic1 too emphatic effort to realise a scene exactly as it happened4 ,another carving in the same style1 with the same faults and the same qualities1 is the ,virgin of the ,swords in the monastery ,capilla de ,nuestra ,seora de las ,agustinas1 also at ,valladolid4 ,it must be remembered that these works can be appreciated only by the student who understands ,spanish art4 ,certainly ,juni is more ,spanish than ,italian4 ,juan de ,juni opened the way for his successor ,gregorio ,hernandez1 the sculptor who may be said to have inherited1 and afterwards personally expressed1 all that his predecessors had accomplished4 ,for the great difference between ,juni1 ,becerra1 and even ,berruguete and the great master of ,galicia is that they1 in greater or less degree1 were content with imitation1 while he1 warned possibly by their extravagances1 studied nature with patient care1 and said what he had to say for himself1 and in this way he purged the plastic art of scholastic mannerisms4 ,this is why ,gregorio ,hernandez occupies the most important position in the history of ,northern ,spanish sculpture4 ,gregorio ,hernandez did not study in ,italy1 indeed it has been said that he never went from ,valladolid4 ,but this is a mistake4 ,he studied and worked in that city1 but we know that he was married in ,madrid1 and that in #afjd he was in ,vittoria1 executing the altar-screen for the ,church of ,san ,miguel4 ,no actual mention is made of ,hernandez' residence in ,valladolid before the year #afje1 when in certain contracts we find that he acted as assistant sculptor to the ,italian artist ,millan ,vilmercati4 ,m4 ,marcel ,dieulafoy places the date of his first coming to ,valladolid about #afja1 the year in which a number of famous artists were summoned to the royal city by ,philip ,,ii4 and the ,duke of ,lerma4 ,of the life of ,hernandez we know few details4 ,he was born in ,galicia in #aegj1 a date furnished by the inscription on his portrait1 now in the ,museum of ,valladolid4 ,he died in #afcf at the age of sixty-six1 as is shown by the register in the archives of the ,church of ,san ,ildefonso4 ,it would seem that he never left ,spain4 ,his first known work undertaken as a sculptor was the altar-screen of ,san ,miguel at ,vittoria1 but he must have executed earlier carvings1 as is proved by the payments made for this work--#dbjh reals for the sculpture1 and over #fjd reals for the statues in relief--and also by the importance of the position he occupied4 ,hernandez directed the whole work1 choosing as his assistants the master-carpenter ,cristobal ,velazquez1 and the painters ,francesco ,martinez and ,pedro de ,salazar4 ,the activity of ,hernandez was very great4 ,from the date of this altar-screen we have a vast number of carvings executed1 or supposed to have been executed by him4 ,his studio became the centre of the artistic activities of his day1 for the amount of his work necessitated the employment of assistants4 ,this has led to confusion1 and there are many carvings attributed to ,hernandez which cannot be accepted as the work of his own hand4 ,it is fortunate that the distinctive qualities of his work make it possible to recognise at once those carvings and statues that have been fathered on his name4 ,hernandez placed special importance on the colourisation of his statues4 ,in an interesting contract made with his habitual polychromist1 ,diego ,valentin ,diaz1 we find the most minute details laid down1 enforcing the care with which the work is to be carried out4 ,the colours chosen 8are to be those which are permanent02 8the flesh must be mate10 as1 it will be remembered1 was enforced by ,pacheco1 and 8in each case the colouring must be suitable to the model painted10 as1 for example1 8,jesus the tint of an infant1 the ,virgin that of a young woman1 ,st4 ,joseph that of a man10 while 8the hair and eyes must also be in harmony40 ,also1 8gilded stuffs and damasked are to be avoided10 and 8gold is to be used sparingly on laces and fringes only40 ,the effect to be aimed at is harmony and truth to nature4 ,it is by this restriction to a sombre and quiet scheme of colour1 so different from the startling and tumultuous effects1 glittering with gold1 of ,juni1 for instance1 that the polychromes of ,hernandez may be recognised4 ,his colours1 always quiet1 give an effect of having been worked on silver or ivory4 ,the polychromes that do not manifest these tones are not by ,hernandez2 when they bear his name they must have been executed by his pupils apart from his direction4 ,examples of such spurious works are the immense and highly coloured ,sta4 ,teresa in the ,valladolid ,museum1 and also the ,pasos1 or groups from the ,passion1 highly praised by the ,spanish writers and used in the religious processions of ,valladolid1 which have been attributed1 certainly erroneously1 to ,hernandez4 ,authentic works of ,hernandez may be seen1 first in the churches1 convents1 and museum of ,valladolid1 and also at ,madrid1 ,palencia1 ,vittoria1 ,salamanca1 ,zamora1 ,pontevedra1 ,medina del ,campo1 and other towns4 ,but in no case must the attribution to ,hernandez be accepted without an examination of the works themselves4 ,those which do not display his qualities1 especially in their colourisation1 must be accounted as the work of his pupils4 ,hernandez continued the practice of ,juni in carving his statues as separate figures or in isolated groups4 ,almost without exception he used wood as his material4 ,the ,museum of ,valladolid contains at least three authentic statues by ,hernandez4 ,the most important is the ,piet1 executed for one of the dispersed convents of the city1 a beautiful example of polychrome 7,plate #abf74 ,the ,virgin1 whose sorrow is genuinely expressed1 with dignity and without exaggeration1 supports the dead ,christ1 a pallid figure finely suggesting death4 ,she wears a red-brown robe partly covered by a blue mantle4 ,the winding-sheet and her veil are white1 and also the band attached to the ,cross1 and are coloured so skilfully that the texture of the stuffs is clearly discernible4 ,m4 ,marcel ,dieulafoy justly says3 8,the grace and freedom of the modelling is only equalled by the variety and discreet harmony of the painting40 ,the bas-relief of the ,baptism of ,christ 7,plate #abg71 though very different1 is a work of equal merit1 but it has suffered greatly from the damage of time1 which has especially injured the beauty of the polychrome4 ,the ,st4 ,john is a splendid figure of energy and savage strength1 and in strong contrast with the ,christ1 and the contrast is emphasised by the skilful colouring1 the complexion of the prophet being browned by exposure to the sun1 while that of the ,christ is of delicate harmony4 ,the third statue represents ,st4 ,francis 7,plate #abh71 a fine and harmonious work4 ,it is coloured in sombre shades1 almost monochrome1 which speaks for ,hernandez' authorship4 ,to ,hernandez also is attributed the reliquary bust of ,st4 ,elizabeth in the museum4 ,it is a work of supreme merit1 but the polychrome is too brilliant to make it easy to accept it as the work of ,hernandez4 ,the vivid orange-brown of the cape with the blue lining1 the violet-purple of the turban1 the gleaming white of the veil1 and the gold tracery of the breast ornament are not the accustomed tones of the ,galician master4 ,but though the statue is probably not by ,hernandez--and this is the opinion of ,m4 ,marcel ,dieulafoy--it is a splendid example of polychrome4 ,the most famed work of ,hernandez is the ,mater ,dolorosa1 preserved and most carefully guarded in the ,capilla de la ,cruz at ,valladolid4 ,the representation is very ,spanish in its frank and detailed statement of sorrow4 ,probably no one who is not ,spanish can wholly appreciate the statue4 ,the tears1 made of glass set in wood1 the reflected stains of blood on the yellow robe and on the sleeves1 the pallid face and colourless lips1 the deep-set eyes made tragic with bistre rings1 the emphasised attitude especially of the hands1 do not appeal to those to whom the divine tragedy represented is not a living reality--a part of human life1 not an incident of belief4 ,it is necessary to take notice of these things in judging the most ,spanish of ,spanish sculptures4 ,in this ,virgin ,hernandez is nearer to ,juan de ,juni1 but his representation of the ,mother of ,sorrows is much simpler1 much nearer to nature--,spanish nature1 not our nature1 let it be remembered--and therefore his work leaves a deeper and more lasting impression4 ,the ,christ at the ,column in the ,convent of the ,carmelites at ,avila is another statue of a similar character which is attributed to ,hernandez4 ,the influence of ,gregorio ,hernandez was far-reaching1 and the native sculptors of the seventeenth century1 not only in ,valladolid but also in the newly-founded school of ,madrid1 followed in his traditions4 ,certainly it was his work1 with its strong national accent1 its sincerity and close following of nature1 which in the ,northern schools saved ,spanish sculpture in large measure from the degradation which1 at the close of the seventeenth century1 fell upon the sister art of painting4 ,gregorio ,hernandez had many pupils4 ,we have mentioned ,cristobal ,velazquez1 the master-carpenter who worked with him on the altar-screen of ,vittoria4 ,it is probable that he became the pupil of the ,galician master4 ,to ,cristobal ,velazquez must be attributed the beautiful altar-screen of the ,church of ,las ,agustinas at ,valladolid1 which has been falsely ascribed to ,berruguete and to ,pompeo ,leoni4 ,the references made to ,cristobal ,velazquez in the contracts for the work1 and the fact that he was charged with the 8looking over and passing0 of the screen after it had been set up1 prove his authorship4 ,no mention either of ,berruguete or ,pompeo ,leoni is given1 an omission unaccountable if these great artists had participated in the work1 when the painters and sculptors are all carefully named4 ,this altar-piece proves that ,cristobal ,velazquez was a great artist4 ,in the central bas-relief of the ,annunciation the ,virgin kneels1 while the ,angel ,gabriel1 a figure of supreme beauty and nobility1 stands upon her right side4 ,above is a fine ,piet1 and to the right and left are the figures of ,st4 ,augustin and ,st4 ,laurent2 while beneath are statuettes of the ,evangelists1 with two small panels on either side1 one of ,st4 ,joseph and the ,child ,jesus1 the other of ,st4 ,ursula4 ,the architecture1 the ornaments1 and figures are all finely executed1 and the work is one of great beauty and harmony4 ,unfortunately the colouring1 which was carried out by the painter ,prado1 an artist of great local celebrity who had already decorated the ,chapel of ,las ,huelgas1 ,burgos1 has become so blackened with age that it is difficult to judge its primitive merit4 ,two sculptors intimately associated with ,gregorio ,hernandez were ,luis de ,llamosa1 who completed many of his master's unfinished works1 and ,juan ,francisco de ,hibarne1 his favourite pupil1 to whom he gave his daughter ,damiana in marriage4 ,carvings by these artists will be found in several of the churches of ,valladolid4 ,but of greater fame was the ,portuguese sculptor ,manuel ,pereyra1 who1 though reported to have studied in ,italy1 must certainly have been the pupil of ,hernandez1 if we may judge from the testimony of his works4 ,they show no trace of ,italian influence1 and are inspired by the earnestness of ,spanish devotion4 ,we first hear of ,pereyra in ,may #afdf1 when he carved in stone the statue of ,san ,felipe for the convent of the saint at ,valladolid4 ,his reputation grew rapidly1 and his statue of ,st4 ,bruno1 executed for the ,hostel of the ,chartreuse del ,paula1 set the seal to his fame4 ,the statue was so greatly admired that it is said that ,king ,philip ,,iv4 ordered his coachman1 on passing the door1 to slacken the pace so that he might admire it at leisure4 ,there is a fine replica of the ,st4 ,bruno in the ,chartreuse of ,miraflores4 ,like ,hernandez1 ,pereyra used quiet colours1 without gilding or damask effects4 ,in his last years ,pereyra became blind1 but this calamity does not seem to have interfered with his carving4 ,he died in #affg4 ,it would seem to be by the aid of ,manuel ,pereyra that the influence of ,gregorio ,hernandez was carried to ,madrid4 ,but in this work he was supported by ,alonso de los ,rios1 a carver of intelligence1 taste1 and skill1 who was born in ,valladolid about #afej1 and who early went to ,madrid4 ,in his studio worked ,juan de ,villanueva and his two sons ,juan and ,alfonso ,rios1 who directed the art of carving in the capital during the first years of the eighteenth century4 ,afterwards in the studio of ,rios worked ,luis ,salvador ,carmona1 whose talent was so marked that on the death of his master he became its director4 ,under his guidance the ,madrid school became so famous that ,ferdinand ,,vi4 in #ageb transformed it into the ,royal ,academy of ,san ,fernando4 ,the greater number of ,carmona's carvings are at ,madrid4 ,they are single statues and bas-reliefs4 ,he does not appear to have carved an altar-screen4 ,for altar-screens1 that had been required by the churches1 had now fallen in the popular esteem1 due to a weakening of the strong religious impulses that for so long had directed the expression of art4 ,carmona also executed forty-two small statues for the parish of ,seguro in ,biscay4 ,but his finest works are his two statues at ,salamanca4 ,both are in the cathedral--one1 a ,piet1 known as ,la ,dolorosa1 in the ,capilla de ,san ,jos 7,plate #aca72 the other1 a ,flagellation of the ,christ 7,plate #acb71 is in the sacristy4 ,these realistic and emotional groups are the works by which ,carmona must be judged4 ,they witness that he had through his masters inherited the traditions of ,gregorio ,hernandez1 though his work is less sincere and without the ,galician master's fine truth to nature4 ,in ,spain ,carmona is accounted a master1 but this praise is too high4 ,this much may be granted to him3 his works have great1 even surprising1 merit when we take into consideration the period at which they were executed4 ,if the influence of ,gregorio ,hernandez speaks in the artists we have just considered1 it is to the influence of the impassioned and dramatic ,juan de ,juni we must turn to account for those tragic representations of severed heads of martyrs1 depicted with such strange delight in all the details of horror and putrefaction1 of which we find many examples belonging to the late seventeenth century4 ,such heads1 representing most frequently ,st4 ,john the ,baptist1 ,st4 ,paul1 or ,st4 ,anastasius1 may be seen in many places--,nuestra ,seora del ,pilar at ,zaragoza1 the cathedral and hospital church at ,granada1 and the ,monastery of ,santa ,clara at ,seville are a few examples4 ,the ,museum of ,valladolid possesses two heads of ,st4 ,paul4 ,the finer one1 taken from the ,convent of ,st4 ,paul1 is the work of ,alonso ,villabrille1 a sculptor of ,madrid who lived at the end of the seventeenth and beginning of the eighteenth centuries4 ,it is perhaps the best example of these astonishing heads 7,plate #acc74 ,the polychrome is carried out with great care1 and the horror of the dissevered head is lessened by the beard which shields the severed neck4 ,the influence of ,gregorio ,hernandez did much to stay the deterioration which now1 at the end of the seventeenth century1 threatened the plastic arts of ,northern ,spain4 ,the baroque style was introduced with disastrous results1 and we find the ugly1 overloaded1 exaggerated decoration known as ,churriguera4 ,perhaps the greatest evil was the destruction of many of the old ,gothic and classic altar-screens1 with their beautiful polychrome statues4 ,images were carved with apparatus for moving the head and eyes1 and the mouth4 ,these figures were really wooden dolls1 with real hair and real dresses1 in which only the head and hands were carved3 they mark the lowest level of the plastic arts4 ,a notorious example is the ,transparente in the ,cathedral of ,toledo1 executed by ,narciso ,tom in #ageb4 ,it is remarkable that side by side with these degraded works we find a number of bas-reliefs and statues in which the earnestness of the ,spanish religious spirit has inspired the baroque form4 ,we may mention as especially worthy of study1 a ,conception in ,palencia ,cathedral1 and a superb monument let into the wall on the right of the great altar2 a beautiful ,virgin in the ,chapel of ,ayuntamiento1 ,pampeluna2 the ,madonna over the high altar of ,cuenca2 the kneeling figure of an archbishop in ,san ,andrs at ,avila2 and the magnificent tomb of ,cardinal ,valds in the ,church of the ,sala1 ,oviedo4 ,this last work is a masterpiece4 ,,chapter ,,viii ,,the ,,school ,,of ,,andalusia--,,juan ,,martinez ,,monta,s--,,seville ,,and ,,its ,,sculptors ,the ,andalusian school of sculpture was an offshoot from the school of ,castile and ,aragon1 though in some respects its history was different4 ,the reason of its late development is not difficult to find4 ,in ,southern ,spain the ,moorish influence was stronger and more enduring than in the ,north2 and for all their secular buildings the ,spaniards adopted ,moorish designs and ,moorish methods of decoration4 ,the ,alczar of ,seville1 in its original state before alterations1 and the ,casa de ,pilatos1 are very pure mudjar monuments4 ,there was no abrupt transition between the ,persian architecture and the classic style of the ,renaissance4 ,it was in the churches alone that opportunity arose for the development of ,christian architecture4 ,we find ,roman or ,gothic structures according to the epochs of their building4 ,but even the churches retained the minaret in the form of clock-towers1 and other ,moorish features1 as1 for instance1 the ,puerta del ,perdon of the ,cathedral of ,seville4 ,it was the erection of these ,christian edifices that brought the opportunity for the opening of studios of sculpture4 ,native carvers arose1 who at first drew their inspiration from the more advanced art of the ,north4 ,then the fifteenth century opened with the building of the great ,cathedral of ,seville1 an event which drew foreign artists to the ,southern capital from ,flanders and also from ,italy4 ,these foreigners trained worthy native pupils1 and from this time we may date the rise and importance of the ,sevillian school4 ,one of the first foreigners to arrive was ,lorenzo de ,mercadante1 a ,breton1 whose power speaks in the monument of ,cardinal ,cervantes1 in the cathedral1 the earliest perfect portrait-statue in ,southern ,spain4 ,in the cathedral1 which is a veritable museum of polychrome art1 we find graceful and charming statues1 which show the influence of ,mercadante4 ,we may mention the beautiful ,virgen de ,madroe 7,virgin of the arbutus flower7 and the ,virgen del ,reposo2 both statues are polychromed1 but the latter work has been to a large extent ruined by injudicious restoration4 ,these ,virgins are fine examples of the ideal treatment1 expressing genuine beauty with dignity and sweetness1 which the native artists achieved in representing the ,mother of ,god4 ,spain is the land of the ,blessed ,virgin4 ,to the teaching of ,lorenzo ,mercadante we owe the native artists ,nufro ,snchez and ,maestro ,dancart1 the earliest of the ,sevillian carvers1 who were appointed master sculptors to the cathedral at an annual salary of #aj1jjj maravedis4 ,their first work was the choir-stalls1 which were begun in #adge by ,snchez1 and finished by ,dancart in #adgi4 ,of this work ,professor ,carl ,justi says 8its vein of invention and humour recalls the ,south ,german masters40 ,four years later ,dancart was entrusted with the important work of erecting the grand altar of the cathedral 7,plate #acd74 ,he executed the design1 but the work was carried out by his pupils ,marco and ,bernardo de ,ortega4 ,the latter artist worked at the screen until his death in #aeje1 when the completion of the work was left to his son ,francesco and to his grandson ,bernardino4 ,gomez ,oroco1 ,george and ,alexis ,fernando ,aleman1 and ,andres de ,covarrubias also worked at different parts of the screen4 ,in #aeai1 when the work was completed1 the canons1 for some reason not known1 employed a pupil of ,fernando ,aleman named ,moya to modify the design4 ,he was three years over the work1 which he finished in the autumn of #aefd4 ,some years later two wings were added1 and the screen was finally completed in #aefd4 ,this mixed authorship was a mistake1 and has resulted in a want of continuity in the design which has marred to some extent the beauty and harmony of the work4 ,of more importance are the carvings of ,pedro ,millan1 a pupil of ,nufro ,snchez1 who takes rank as the first really important master of the ,sevillian school4 ,the date of his birth is unknown4 ,we hear of him first in the year #aeje1 when he executed the statues for the cimborium of the cathedral1 which unfortunately were destroyed when the copula fell on ,december #bh1 #aeab4 ,pedro worked in the style of the ,burgundian masters1 and his carvings show a genuinely creative talent1 united with a true study of nature4 ,to him we owe the statues in terra-cotta known as the ,baptismo and the ,nacimiento1 which are outside two of the cathedral doors4 ,the heads and hands are most beautifully modelled and the draperies are skilfully handled to display the figures4 ,the bas-relief inserted in the pointed spandrel between the first ribs of the flying-arch1 which represents the ,adoration of the ,magi1 is also the work of ,pedro ,millan4 ,but his best-known statue is the noble ,virgen del ,pilar1 in the ,capilla de ,nuestra ,seora del ,pilar4 ,m4 ,marcel ,dieulafoy believes that this is an earlier work than the terra-cotta bas-reliefs4 ,its importance is great on account of the polychrome1 the original colours having been most carefully preserved4 ,the flesh-tints are beautiful1 delicate rose-shades on the cheeks1 lips1 and ends of the fingers4 ,the robe shows reflections of pale gold1 and the mantle1 of the same tint1 has arabesques of brown1 while the veil is in full gilt4 ,besides these works in the cathedral1 there are two statues of ,pedro's in private collections in ,seville1 and one is a masterpiece4 ,this is the small polychromed statuette of ,st4 ,michael in the possession of ,don ,jose ,gestoso y ,perez4 ,like most of this artist's works1 it is executed in terra-cotta4 ,it bears the signature of ,pedro ,millan in ,gothic characters4 ,the other statue group is a ,piet1 in which the ,virgin1 ,mary ,magdalen1 and ,st4 ,john mourn over the body of ,christ4 ,it is in the gallery of ,don ,lopz ,cepero1 y #g1 ,plaza de ,alfaro4 ,unfortunately it has been painted a horrible stone colour and quite disfigured4 ,pedro ,millan also furnished the models for the small terra-cotta figures on the beautiful portal of ,santa ,paula1 which were executed by ,niculoso of ,pisa1 the author of the curious altar in terra-cotta in the ,alczar4 ,it was about this period that the ,italian influences of the ,renaissance began to be felt in ,andalusia4 ,artists were attracted to ,seville by the growing opulence of the city4 ,besides this1 ,italian works of art were brought to decorate the palaces of the nobles4 ,vasari1 for instance1 tells us ,luca del ,robbia sent several of his works to the ,spanish king for his ,southern capital1 and he speaks also of a large bronze bas-relief1 representing a fight between nude men1 the work of ,antonio ,pallando1 which had the same destination4 ,but the old ,flemish traditions were very deeply rooted1 and remained longer active here than in the ,northern schools of ,castile and ,aragon4 ,thus a style arose that united the two sources of inspiration4 ,the oratory and screen of ,isabella la ,catolica in the ,alczar are interesting examples of the expression of this double influence 7,plate #ace74 ,they are the work of ,francisco ,niculoso ,pisano1 an ,italian artist who settled in ,seville1 and whose work was of importance in directing the art of the sixteenth century2 the altar bears his inscription1 8,francisco ,niculoso me fecit10 with the date #aejc4 ,the principal parts of the altar and also the screen are in very pure ,italian style1 but the panel above the altar1 as well as some details of the decoration1 show clearly the old ,spanish traditions founded on the ,flemish methods4 ,this may be explained as ,m4 ,marcel ,dieulafoy suggests1 if we accept the theory that the ,italian master employed his colleague ,pedro ,millan to assist him in the execution of the work4 ,another foreigner who helped in the introduction of ,italian art to the native workers of ,seville was ,miguel1 known as 8the ,florentine10 who worked with the wood-carvers in the cathedral4 ,afterwards1 in the last years of the fifteenth century1 ,miguel executed the tomb of ,mendoza1 ,archbishop of ,seville4 ,after the completion of this work1 which gained much admiration1 ,miguel was constantly employed by the chapter1 and he remained working in ,seville until his death in the middle years of the century1 when his position was taken by his son ,micer ,antonio ,florentine1 an artist of even greater talent than his father4 ,among ,miguel's works are the statues of ,st4 ,paul and ,st4 ,john at either side of the ,puerta del ,perdon1 and the bas-relief above representing ,christ turning the ,money-changers out of the ,temple 7,plate #acf71 and also the life-size terra-cotta statues on the enclosure of the ,capilla ,mayor4 ,but the most famous of the ,italian sculptors of ,seville is ,pietro ,torrigiano1 the disciple and rival of ,michael ,angelo4 ,torrigiano was born at ,florence in the year #adgj1 and his work early proclaimed him a master4 ,it is recorded that in a fit of rage he broke his rival's nose with his fist1 and as a result of this act of jealousy he had to flee from ,italy4 ,for a time he adopted the calling of a soldier1 but1 angered at not gaining promotion1 he again took up his chisel4 ,we hear of him next in ,england1 where he gained fame and wealth by his chapel of ,henry ,,vii4 in ,westminster ,abbey4 ,but ,torrigiano's roving disposition again sent him wandering1 and he went to ,spain1 first to ,granada1 where he competed for the order to execute the tombs of ,ferdinand and ,isabella1 but1 being unsuccessful1 he came to ,seville1 in which city he finally settled4 ,he died in #aebb in a dungeon of the ,inquisition1 which ,vasari says was due to his smashing in a fit of rage a statue of the ,virgin1 ordered by the ,duke of ,arcos1 because he considered the payment insufficient4 ,but ,cean ,bermudez1 though he does not deny the story1 states that ,torrigiano was charged with heresy4 ,the influence exercised in ,seville by this great ,italian was far-reaching1 and his statues1 though few in number1 were the models from which the native workers drew their inspiration4 ,in style ,torrigiano closely resembled ,michael ,angelo4 ,we owe to him the statue of the ,madonna 7,plate #acg7 and that of ,st4 ,jerome 7,plate #ach71 which were executed for the ,convent of ,san ,jernimo1 but are now in the museum4 ,the figures are in terra-cotta1 and are splendidly modelled1 and both are polychromed4 ,the tints used are simple1 and harmonious to the model4 ,the face and hands of ,st4 ,jerome are a brownish tone1 as we should expect in one exposed to the action of the sun2 the draperies are of a light red brown4 ,the flesh tints of the ,madonna and her child are charming2 she wears a rose-coloured robe with a mantle of light blue1 grey lined1 and with a gold border4 ,to ,torrigiano we owe also the fine medallion in marble on the front of the ,church of ,la ,caridad1 and another on that of the ,jesuits4 ,m4 ,marcel ,dieulafoy ascribes to ,torrigiano the statue of ,st4 ,jerome1 now at ,granada1 in the ,church of ,santa ,ana4 ,it is a fine piece of sculpture1 but the polychrome has been destroyed through want of care4 ,after the death of ,pedro ,millan and ,torrigiano we find in ,seville a band of capable artists1 though none are equal in merit to ,gregorio ,hernandez1 who at the same time was working in ,valladolid4 ,at their head stands ,micer ,antonio ,florentine1 who1 on the death of his father ,miguel1 took charge of his studio1 and continued to direct the activities of the ,sevillian sculptors4 ,the best known of his own works was the ,good ,friday monument for the cathedral which he designed1 modelling its statues with his own hands4 ,his contemporary1 ,bartolomo ,morel1 was the author of the statue of ,faith ,triumphant which crowns the ,giralda ,tower 7,plate #aci71 and also of the celebrated ,tenebrario of the cathedral of which ,cean ,bermudez says 8that it is of its kind the finest piece of sculpture in ,spain40 ,in this work collaborated ,pedro ,delgado1 a capable artist1 and the favourite pupil of ,antonio ,florentine4 ,pedro ,delgado himself had many pupils4 ,among them were ,juan ,bautista ,vasquez1 one of the many artists who worked on the altar-screen of ,toledo ,cathedral1 and ,juan ,giralte1 a ,flemish carver1 who seems to have executed much work1 but whose history is unknown4 ,jernimo ,hernandez was an artist of higher merit4 ,though he was a pupil of ,pedro ,delgado1 he drew his inspiration from ,torrigiano4 ,this explains the attribution of the ,st4 ,jerome of the cathedral to the ,italian master4 ,but this fine sculpture is undoubtedly the work of ,jernimo ,hernandez4 ,he was also the author of the beautiful ,jesus1 and a ,resurrection in the possession of the ,dulce ,nombre ,brotherhood2 of a lost work1 a group of the ,virgen del ,rosario with the ,infant ,jesus in her arms and ,st4 ,domenico and ,st4 ,catherine kneeling at her feet2 and of the altar-screen of the ,convent of ,san ,leandro4 ,these statues prove that ,jernimo ,hernandez was a carver of distinguished merit4 ,in the altar-screen of ,san ,leandro he was assisted by ,juan de ,sancedo and ,vasco de ,pereyra1 a celebrated ,portuguese painter1 who carried out the painting and gilding of the statues4 ,a pupil of ,jernimo ,hernandez was ,gaspar ,nicolas ,delgado1 who also studied with his uncle ,pedro ,delgado4 ,he gained a higher reputation than his masters1 and in ,seville is accounted as one of the greatest sculptors4 ,this estimate is misleading4 ,his chief work1 the ,st4 ,john the ,baptist in the ,desert1 which is in the chapel of the ,nuns of ,st4 ,clemente though a bas-relief of real merit1 the landscape especially being well represented1 does not justify his position as a master4 ,the merit of the work has gained from the fine polychrome1 which was carried out by the artist ,pacheco4 ,a third artist who worked at this period1 and a carver of more personal talent1 was ,capitan ,cepeda1 a native of ,cordova1 who1 like ,torrigiano was in turn a soldier and artist4 ,he served in ,italy and afterwards came to ,seville1 being summoned there by the goldsmiths of the city for the special work of arousing a devotion for the ,crucified ,christ4 ,with this object ,cepeda modelled the ,cristo de la ,expiracion which now stands on the altar of the small chapel of the museum4 ,it is a work of ,spanish realism1 finely executed1 with every detail of sorrow expressed and accentuated by the violent attitude and gesture4 ,again we would emphasise the fact that such a work can only be estimated truly by remembering the ,spanish religious spirit4 ,cepeda represents in ,seville the style which ,juan ,juni made popular in the ,northern schools4 ,like that artist1 his interest rests in the individuality of his work1 which is national and wholly ,spanish1 while his contemporaries1 ,jernimo ,hernandez and ,gaspar ,nicolas ,delgado1 followed the newer influences from ,italy4 ,the ,sevillian school had not yet produced a master4 ,but the time was now ripe4 ,in the closing years of the century there came to ,seville the man who raised polychrome sculpture to its highest rank1 and who was the greatest carver of ,spain4 ,his name was ,juan ,martinez ,montas4 ,of the early life of this great artist we know almost nothing beyond the fact that he was the pupil of ,pablo ,rojas1 a sculptor of ,cordova4 ,we first have definite information about him in the year #aehb1 when he with his wife came to the ,monastery of ,dulce ,nombre de ,jesus at ,seville1 where we learn they were granted free residence for life in recognition of an ,image of the ,virgin executed for the brotherhood4 ,two years later1 in #aeij1 ,montas was at work for the ,carmelite nuns4 ,nothing further of the artist's life is known until the year #afjg1 when he completed a ,jesus for the ,santsimo ,brotherhood of the cathedral4 ,the record of this work proves that ,montas was then living in the ,arquillo de ,roelas with ,catalina ,salcedo y ,sandobal4 ,thus he must have lost his first wife and again been married4 ,he was at this time fifty years old4 ,such is the scant record of the first half of this great artist's life4 ,in truth he came late to the fruition of his genius1 for it was after these fifty years of living1 when the work of most men is already accomplished1 that ,montas created the greatest of those works which are the glory of ,spain4 ,it is fitting to say a few words about his art4 ,montas occupies the same position in the ,southern school that ,gregorio ,hernandez held in the ,north4 ,like that master1 he drew his inspiration directly from ,nature4 ,he had the same respect for truth1 the same simplicity1 and1 stronger even than these qualities1 the same ,spanish religious sentiment and noble idealism4 ,it is true that he used and made his own the methods of the ,italian ,renaissance1 which were dominating the ,sevillian artists1 and which he would seem to have imbibed from a study of the classical models in the ,casa de ,pilatos of the ,duke of ,alcala2 but with this outside influence he retained a powerful personality4 ,thus his work is entirely removed from the ,italian style1 as it expressed itself in the ,peninsula with its fantastic mingling of ,christianity and paganism4 ,in nobility of form and religious sentiment the statues of ,montas surpass all other works of their class4 ,once again1 and more emphatically than the carvings of any other artist1 unless indeed we except ,gregorio ,hernandez1 they give an answer to those who would discredit the beauty of polychrome statuary4 ,from the year #afjg onwards1 up to his death in #afdi1 ,montas carried out numerous orders for the churches1 convents1 and religious brotherhoods of ,seville2 the greater number of these works still remain in the city4 ,but of some it must be said that1 though doubtless executed in the master's studio and bearing his name1 they were the work of his pupils4 ,fortunately it is not difficult to distinguish these spurious pieces which have been fathered upon ,montas4 ,we have in the archives of the churches an exact record1 usually with dates1 of most of his works4 ,thus we are able to follow chronologically the evolution of his talent4 ,the earliest undertakings of ,montas after the execution of the infant ,jesus for the ,santsimo ,brotherhood were two portrait-statues of ,st4 ,ignatius ,loyola and ,st4 ,francis ,xavier 7,plates #adj and #ada7 which were commissioned in the year #afaj on the occasion of the beatification of the former saint1 and which are now in the ,university ,chapel4 ,of these idealised portraits ,professor ,justi writes that they are 8marked by noble severity of character and pathos of expression40 ,the period between #afaj and #afab was occupied with an important work1 the designing and carving of the altar-screen and statues for the old monastery of ,san ,isidoro at ,santiponce1 in the suburb of ,seville4 ,montas is noteworthy as a carver of altar-screens1 and in this he returned to the methods of earlier artists4 ,seville owes to him three great retablos2 those of ,santa ,clara and ,san ,lorenzo in the city itself1 and the one at ,santiponce1 which of the three is perhaps the most beautiful4 ,it is in two registers with an attic4 ,in the centre of the first portion stands the magnificent statue of ,st4 ,jerome1 one of the finest figures of ,montas2 placed on the right and left are ,st4 ,john the ,baptist and ,st4 ,john the ,evangelist1 and two bas-reliefs of the ,adoration of the ,magi and of the ,shepherds4 ,the last group is especially beautiful4 ,san ,isidoro1 ,archbishop of ,seville and patron of the church1 occupies the centre of the second register1 while the bas-reliefs on either side represent the ,resurrection and ,ascension of ,christ4 ,in the attic are figures of the ,cardinal ,virtues and an ,assumption of the ,virgin1 which surmount a ,crucifix and two kneeling angels4 ,in this great work it seems certain that ,montas must have been aided by his pupils4 ,the ,st4 ,jerome1 however1 was carved entirely by himself4 ,it was coloured by ,pacheco1 who was for many years the collaborator of the ,sevillian master4 ,the work is perfectly executed1 indeed it is impossible to say more of this magnificent polychrome than that it merits the praise which has been lavished upon it4 ,there are also in the ,church of ,santiponce the tombs of ,don ,alonso ,perez de ,guzmn el ,bueno and his wife ,doa ,maria ,coronel1 who founded the monastery4 ,they are carved in marble and polychromed4 ,cean ,bermudez attributes to ,montas the figure of the hero of ,tarifa4 ,this is an error2 both monuments are clearly by the same hand1 and the style is not that of ,montas4 ,but they are fine works1 harmonious and simple1 and the polychrome is very good indeed4 ,it is unfortunate that their author is unknown4 ,the masterpiece of ,montas1 and the work by which he is most widely known1 belongs to the year #afad3 it is the ,crucifix now in the sacristy of the cathedral 7,plate #adb71 but originally executed for the ,carthusians of ,santa ,maria de las ,cuevas1 and given to the monastery with the stipulation that the figure was never to be removed4 ,this statue1 once seen1 can never be forgotten4 ,what impresses us is the dignity of the nude figures1 wonderfully carved1 without any violent attitudes1 and the colouring1 perfectly harmonious2 it is the incomparable refinement1 the sobriety with which the divine drama is represented1 that moves us so profoundly4 ,montas expresses perfectly the deep religious feeling which animated ,spain in the seventeenth century4 ,a passage in the ,arte de la ,pintura tells us that the polychrome was done by ,pacheco in the 8mat tone0 which he used with such splendid effect4 ,five years later1 in #afai1 ,montas executed the first of his ,christs of the ,passion for the ,cofradia de ,cristo del ,grand ,poder ,santsimo y ,madre de ,dios ,trespaso1 an order founded in ,seville by the ,dukes of ,medina ,sidonia in the middle of the fifteenth century4 ,the statue bears the name ,el ,seor del ,gran ,poder 7,the ,being of ,great ,power74 ,a good replica of this work belongs to the parish church of ,san ,ildefonso4 ,the original statue is now in the ,church of ,san ,lorenzo4 ,it is placed in a dark side-chapel1 where it is difficult to see it in the unequal light of the candles4 ,the ,christ bears the ,cross in an unusual attitude1 the upper part resting upon ,his shoulders4 ,the face has splendid dignity4 ,but the statue has been disfigured by the barbarous custom of dressing the figure in elaborate robes entirely out of harmony with the subject4 ,nobody sees the figure as it originally was1 vigorously carved1 and wearing nothing but a loin-cloth4 ,these representations of ,christ with the ,cross appealed strongly to the ,spaniards1 and were greatly venerated4 ,montas cared much for them1 and we read that a replica of ,el ,seor del ,gran ,poder1 known as ,el ,seor de la ,pasion1 which he carved for the ,convent of ,la ,merced ,calzada1 was more esteemed by him than any of his works4 ,it is even reported that when in ,holy ,week the ,christ was carried in procession1 he would wait to watch it pass1 overcome with joy and surprise at what his hand had been able to create4 ,this ,christ is now in the parochial church of ,san ,salvador1 where is also a group of ,st4 ,anne and the ,virgin attributed to ,montas4 ,as well as interpreting the story of ,christ's ,passion1 ,montas created statues of the ,virgin1 whose dignity1 beauty1 and feeling won for him the popular admiration of his contemporaries4 ,the worship of the ,mother of ,god had always made deep appeal to the religious heart of ,spain2 then1 in the year #afag1 a papal edict was issued1 at the earnest instigation of ,philip ,,iv41 declaring the immaculate nature of ,mary4 ,no dogma had ever been accepted so readily1 or believed in so fervently1 in ,spain4 ,the worship of the people in ,montas' life was1 in point of fact1 practically centred in adoration of the ,virgin ,mary2 the many different religious orders1 while venerating their respective founders and saints1 were all united in their devotion to the ,virgin4 ,art1 still the servant of religion1 was summoned to give expression to this passionate worship4 ,every artist was engaged in depicting the ,virgin ,mother4 ,in the ,north1 the artists1 working under the inspiration of the ,flemish masters1 had delighted in representing those ,virgins of ,anguish where the ,mother mourns at the foot of the ,cross for her ,son4 ,but now ,mary took a new form2 she symbolises grace and beauty instead of the severity and asceticism of the older ideal4 ,this was especially the case in ,seville1 the joyous city of the ,south4 ,here in exquisite images and paintings we see her young and happy1 the sinless ,virgin-,mother of the ,lord4 ,montas in sculpture and ,murillo in painting were the great masters of this new ideal4 ,they interpreted the favoured subject with that combination of naturalism and mysticism which found its way direct to the heart of the ,andalusian religionists4 ,they share together the claim of being the creators of the ,spanish ,virgins4 ,seville contains several ,conceptions by ,montas4 ,there is one in the cathedral1 another of equal merit is in the ,segrario ,chapel of ,san ,julian4 ,the ,conceptions of ,santa ,clara and ,san ,clemente are also fine examples2 they have greater merit than the better-known and much-praised ,virgin of the ,university 7,plate #adc74 ,it will suffice if we describe one of these ,conceptions4 ,montas was already old when in #afcj he executed the statue1 which was the earliest of his ,immaculate ,conceptions1 now in the cathedral 7,plate #add74 ,her type is ,andalusian1 and she is shown in the full bloom of her beauty4 ,she appears to be meditating on the ,immaculate ,birth1 and what we note especially is the dignity and grace of her attitude and the serene expression4 ,the folds of the robe and mantle follow1 but do not accentuate1 the beautiful figure4 ,angels hover around her feet1 which are hidden by her robe1 as is commanded by the ,church4 ,the polychrome of the statue has been renewed1 owing to damage having been done to the original painting by the removal of the vestments1 with which1 up to the year #aggi1 the figure was barbarously clothed4 ,but the work has been carefully done1 with due regard to the design of the primitive polychromists4 ,the flesh tints are warm and glowing1 and the hair is black with brown reflections4 ,the robe is white over a red dress1 of which only the sleeves appear1 and is covered with a pattern of gold inset around with a brown fillet4 ,this black mantle is also enriched with a design of golden palm-leaves4 ,we do not know who was the original painter of this work4 ,it was not ,pacheco1 for before #afcj1 the date of the ,conception1 the father-in-law of ,velazquez had1 after the lawsuit in #afbb1 severed his connection with ,montas1 who wished to exercise a closer superintendence in the carrying out of the polychrome of his statues than ,pacheco would submit to4 ,montas does not seem to have undertaken the polychrome himself2 his works were too numerous to permit this4 ,an interesting contract dated #afda1 and relating to the colouring of the altar-screen of ,san ,miguel at ,xeres1 names ,jacinto ,soto as the polychromist1 and besides furnishes strict injunctions that he must accept and follow in the work the directions of ,montas4 ,from this document we may assume that ,jacinto ,soto succeeded ,pacheco4 ,the consideration of these ,christs of the ,passion and the ,conceptions has carried us away from the chronological order of ,montas' work4 ,the years #afae to #afbb were occupied with the execution of the screen of the high altar and four altars in the nave of the ,church of ,santa ,clara1 of which the statues and the sculptures are the work of ,montas4 ,the carvings are of great merit1 but unfortunately the screen of the high altar was redecorated after the death of the master and almost ruined4 ,it has fine statues of ,santa ,clara1 of the ,christ and ,god the ,father1 as well as a ,conception1 which formerly was on one of the side altars1 four bas-reliefs and a number of statuettes1 among which special attention should be given to the very beautiful group of angels1 who carry the lamps of the ,holy ,sacrament4 ,on the side altars are the figures of ,st4 ,francis1 ,st4 ,john the ,baptist1 and ,st4 ,john the ,evangelist4 ,the third important altar of ,montas is that of the ,church of ,san ,lorenzo4 ,it belongs to a later period of his art1 having been undertaken about the year #afci4 ,the statue of ,st4 ,lawrence and the four bas-reliefs1 though probably not entirely the work of the master1 are carvings of excellent taste and distinction4 ,the carvings attributed to ,montas are very numerous1 and1 as we have stated already1 it is necessary to make a distinction between his own work and that of his pupils4 ,the statues of ,st4 ,bruno1 the ,virgin1 and ,st4 ,john the ,baptist 7,plates #ade and #adf71 which were executed for the ,carthusians of ,santa ,maria during the period between #afag and #afbj1 and which are now in the ,museum of ,seville1 are examples of carvings which1 though executed in the studio of ,montas1 must not be accounted his personal work4 ,probably their author was his favourite pupil ,solis1 who for many years was the devoted collaborator of the master4 ,this is also the opinion of ,m4 ,marcel ,dieulafoy4 ,the ,virgin is a very beautiful polychrome1 which speaks of the high skill of the carver4 ,the original colouring has been well cared for1 and there is great delicacy in the rose-coloured robe and blue mantle1 which is covered with flowers and a network design in gold4 ,the child ,jesus wears a robe of pale blue relieved with delicate gold damasking4 ,in the museum is also the celebrated statue of ,santo ,domingo1 which was brought from the high altar of the ,church of ,santo ,domingo de ,portacelci4 ,it belongs to the year #afbg4 ,it is a fine work1 but though much prized in ,seville1 its merit is not so great as the ,st4 ,jerome of ,santiponce1 the statue with which it should be compared4 ,in the year #afce1 when ,montas was at least seventy-five years old1 an age when the activity of most men is over1 he was called to ,madrid by the ,grand ,duke of ,tuscany1 to execute an equestrian statue of ,philip ,,iv4 ,he modelled a masterpiece1 but the mould being sent to ,italy to be cast1 was by some mischance lost4 ,however1 the master's design served as a model for the sculptor ,pietro ,tacca1 whose work now stands in the ,plaza del ,oriente1 at ,madrid4 ,it was during this two years' sojourn in ,madrid that ,montas renewed his friendship with ,velazquez1 and sat for that incomparable portrait which is one of the masterpieces of the great painter4 ,the last work of ,montas was an altar-screen for the ,church of ,san ,miguel at ,cadiz4 ,the commission for the work had been given as early as #afji1 but ,montas had been occupied with the altar-screens of ,santiponce and other commissions in ,seville1 and the work had been postponed4 ,there was a second commission signed in #afac1 but the work was not undertaken until much later1 and was not finally achieved until #afdj1 after the visit to ,madrid4 ,the statue of ,st4 ,bruno which dominates the altar is very fine2 the figure is seated1 an unusual position for ,montas4 ,the polychrome was executed by ,jacinto ,soto4 ,montas died in #afdi4 ,he left a number of able pupils1 and though none inherited his genius1 they carried on his work with merit1 and sustained the high renown of the school of ,seville4 ,it will be well to consider their works in a separate chapter4 ,,chapter ,,ix ,,the ,,disciples ,,of ,,monta,s ,,in ,,seville ,it is the fate of the followers of a great master that their talent is almost always expressed in imitation1 rather than in original work4 ,occupied with the glory that has been achieved1 they forget that personality is the only living quality in art2 that1 however capably they may follow1 they cannot reach the height that has already been gained4 ,thus the result of imitation must always be decay4 ,but the renown of the ,sevillian school was for a time maintained by a band of really capable sculptors1 who1 had they lived earlier1 before ,montas instead of after1 might have been masters and not merely followers4 ,we must now consider their work4 ,the sculptors most immediately connected with ,montas were ,solis1 of whom we have spoken already2 the ,abbot ,juan ,gomez1 one of his earliest pupils2 ,alonso ,martinez1 an architect and master carpenter of ,seville ,cathedral2 ,luis ,ortiz1 a sculptor of ,malaga2 and ,alonso de ,mena1 who came from ,granada4 ,these five men all worked as pupils in the studio of ,montas1 and to a greater or less extent adapted their talent to copying the qualities of their master4 ,indeed ,solis and the ,abbot ,juan ,gomez appropriated so well his style that considerable confusion as to the authorship of their works has arisen4 ,born in ,jaen1 ,solis came to ,seville in the year #afag1 and assisted ,montas in the execution of the statues of ,st4 ,bruno1 the ,virgin1 and ,st4 ,john the ,baptist for the ,carthusians of ,santa ,maria de las ,cuevas1 which are now in the ,museum of ,seville4 ,it is probable1 as we stated in the last chapter1 that the statues were carved by ,solis from the wax models of ,montas4 ,la ,justicia 7,plate #adh7 and the ,four ,cardinal ,virtues1 executed for the same monastery1 and now also in the museum1 were the personal work of ,solis3 in this work he shows that1 apart from his power of imitation1 he possessed talent of his own which entitles him to recognition4 ,it is a polychrome of real merit1 well conceived and well executed4 ,even greater confusion has arisen with regard to the authorship of the works of the ,abbot ,juan ,gomez1 of which ,seville has numerous examples4 ,even ,cean ,bermudez places among the original works of ,montas a ,jesus of ,nazareth of the ,convent of ,san ,agustine1 which to-day is in the ,priory ,church1 although the archives prove the ,abbot ,gomez to be its author4 ,this work is proof of the capability of the pupil4 ,he does even greater credit to his master in his life-size ,crucifixion1 executed in #afaf for the town of ,la ,campaa4 ,m4 ,marcel ,dieulafoy says of this work3 8,it is a faithful copy of those of ,montas1 and like them extremely beautiful40 ,unfortunately the carving has suffered greatly from bad restoration4 ,alonso ,martinez carved1 with ,francisco de ,ribas1 the altar-screen of the ,chapel of ,san ,pablo in the cathedral1 and it is to his hand we owe a very beautiful polychromed figure of the ,virgin 7,plate #adi74 ,alonso de ,mena1 a sculptor whose fame has been overshadowed by his son ,pedro1 the disciple of ,alonso ,cano1 carved many works for the churches of ,alpujaras2 in addition he executed for the ,chapel of the ,kings two large buffets of which the folding doors are ornamented with eight excellent medallions of the ,queens and ,kings of ,spain4 ,to ,luis ,ortiz we owe the earliest of the cathedral stalls at ,malaga1 which were carved by him in #afcj in collaboration with ,josef ,micael4 ,he was also the author of the altar-screen of the royal chapel of ,nuestra ,seora de los ,reyes4 ,the two brothers ,francisco ,ruiz and ,juan ,antonio ,gixon were taught their art by ,alfonso ,martinez4 ,antonio ,gixon was professor1 and later director1 of the ,academy of ,seville1 founded by ,murillo4 ,francisco ,ruiz remodelled1 after ,montas1 the dying ,christ 7,plate #aej7 which is in the church at ,triana1 a suburb of ,seville4 ,it is a very beautiful carving1 which bears comparison with the master's ,crucifixion in the cathedral4 ,the polychrome also is harmonious1 equal to the finest work of the masters of that art4 ,indeed the merit of this unknown statue is surprising when the late period at which it was undertaken is remembered4 ,but the art of sculpture still had strong life in ,seville1 and the school was to produce another master to continue the traditions of ,montas4 ,pedro ,roldan was born in ,seville in #afbd1 and he learnt his art in the studio of ,montas1 working afterwards in the ,academy of ,seville4 ,he is the pupil who did the master the greatest credit3 he may even be said to have surpassed him in the art of composition4 ,no one else among the ,southern sculptors had his power of grouping a number of figures4 ,his two masterpieces--one in the parish church of the cathedral1 the other in the ,hospital de la ,caridad--are veritable pictures in relief4 ,they are the finest altar-screens in ,seville1 and must be compared with the works of ,gregorio ,hernandez and ,juni1 the masters of the ,northern schools4 ,the cathedral altar-screen is a bas-relief representing the ,descent from the ,cross4 ,the ,virgin supports the body of the ,christ1 and around them are grouped ,st4 ,john and several disciples1 the ,magdalen1 and the holy women4 ,the figures are larger than life-size4 ,in the background are the two thieves outlined against the ,temple1 which is seen in the distance4 ,around this central composition are beautiful angel figures carrying the instruments of the ,passion4 ,then on the base of the altar is outlined the triumphal entry of ,jesus into ,jerusalem4 ,in the execution of this work ,roldan was aided by ,francisco de ,ribas1 a master carpenter1 who was the son of ,gaspar de ,ribas1 the first collaborator with ,alonso ,cano4 ,francisco ,ribas began the altar in #affi1 when he contracted for the price of #hh1jjj reals1 with the condition that all the figures were to be carved by the hand of ,roldan4 ,we do not know how much ,roldan received for his work4 ,he was always indifferent as to the payments made to him4 ,the altar-screen of the chapel of ,la ,caridad is even finer than that of the cathedral4 ,the subject 7,plate #aeb7 is the ,burial of ,christ4 ,the figures placed around the ,divine ,body1 which is being lowered into the tomb1 are splendidly grouped1 and there is great unity in the composition of the scene4 ,the polychrome was carried out by ,juan de ,valds ,leal1 while ,murillo aided that painter with his counsel and possibly with his brush4 ,the architect ,bernardo de ,puieda contracted for the work1 receiving for it #ab1ejj ducats4 ,of this sum #aa1jjj ducats went to ,valds ,leal1 but we have no knowledge as to the amount appointed to ,roldan1 though a contemporary writer remarks that 8it was very little40 ,this is what we should expect1 for we read of ,roldan as being entirely engrossed in his art4 ,he lived in a country house outside ,seville1 where he enjoyed the beauties of nature1 only going to the city when compelled4 ,then he rode on a small donkey1 and occupied his time while journeying in making small models in clay or wax1 which he always carried with him4 ,besides his large altar-screens ,roldan executed many small bas-reliefs1 which give further proof of his talent4 ,the best examples are in the ,cathedral of ,jaen4 ,these bas-reliefs are carved in marble1 and1 like his larger works1 are remarkable for the beauty of their composition4 ,the subjects are the ,flight into ,egypt1 the ,marriage at ,cana1 and ,christ's ,argument with the ,doctors1 which are in the interior of the church set over the principal doorway4 ,then on the exterior of the building are statues of ,st4 ,ferdinand1 the ,doctors1 and the ,evangelists4 ,some of ,roldan's sculptured statues in ,seville have been attributed to ,montas4 ,this has been the case with the striking ,ecce ,homo of the ,hospital de la ,caridad4 ,to complete ,roldan's work we must mention his groups of the 8,pasos10 which he carved for the ,holy ,week procession4 ,in these he appealed most forcibly to the people of ,seville4 ,christ's ,agony in the ,garden is the best known2 it is as fine as any of the 8,pasos0 of ,montas4 ,roldan left a daughter1 ,doa ,luisa1 known as ,roldana1 who has the honour of being the one renowned woman sculptor of ,spain4 ,she was born in the year #aeef1 and was trained by her father1 assisting him in his work4 ,she inherited his talent1 with less strength but more grace4 ,legend states that a statue of ,st4 ,ferdinand carved by ,roldan was refused acceptance4 ,the daughter retouched the work1 and gave it more life1 when it was received by the purchaser without knowing it was the same statue4 ,probably the story is untrue1 but it proves the estimation in which ,roldana was held by her contemporaries4 ,roldana married a king's chamberlain1 and went to reside in ,madrid1 where her works and also her person gained admiration4 ,in #afie she was appointed sculptor to the ,chamber4 ,but she died in #agjd1 when still young1 only four years after her father4 ,roldana's best work is the ,virgin1 known as ,nuestra ,seora de las ,augustias1 which is at ,cadiz 7,plate #aec71 where it is greatly esteemed4 ,this praise is deserved4 ,the group is cleverly composed1 and is remarkable for the originality displayed in the placing of the figures2 the body of the dead ,christ rests between the knees of the ,virgin instead of across them4 ,the ,christ is excellent1 the ,virgin is less good2 but the angels who hold up the arms of the ,divine ,sufferer are very beautiful4 ,the way in which they are grouped is masterly4 ,the ,escorial has one work by ,roldana1 a statue of ,st4 ,michael1 who is shown dancing1 and is dressed in the armour and ,roman costume of the century of ,louis ,,xiv4 ,this statue is less noteworthy4 ,roldan had1 besides his daughter1 one pupil who deserves mention1 ,pedro ,duque ,cornejo4 ,he was the last sculptor of the ,sevillian school4 ,among his contemporaries he gained great success1 and for twenty-five years he was sculptor to the ,queen's ,chamber--a success which his works certainly do not merit4 ,all his carvings suffer from exaggeration and an overloading of ornament and gilding--the faults of the decadent period in which he lived4 ,he executed many commissions for the ,cartuja del ,paula at ,seville4 ,he carved in mahogany the stalls of ,cordova ,cathedral1 and also the fine ,silleria1 which was brought from the ,cartuja of ,seville to the ,coro of ,cadiz ,cathedral4 ,cornejo died in #ageg1 and was buried with princely state in ,cordova ,cathedral4 ,,chapter ,x ,,the ,,school ,,of ,,granada ,,and ,,alonso ,,cano--,,the ,,decline ,,of ,,sculpture--,,francisco ,,zarcello ,the school of ,granada was an offshoot from the school of ,seville1 and it owes its glory chiefly to one man1 who must be considered as the pupil of ,montas4 ,alonso ,cano was born at ,granada1 on the #agth of ,march #afja1 and was baptized in the parish church of ,san ,ildefonso1 where the register of his baptism may still be seen4 ,his father1 ,miguel ,cano1 was a carver of retablos1 and it was with him that the young ,cano learnt the rudiments of his art4 ,before long his talent gained the notice of the painter ,juan del ,castillo1 who recommended the removal of the ,cano family to ,seville for the sake of better instruction4 ,cano entered for eight months the studio of ,francisco ,pacho1 where he learnt painting1 having for his fellow-student ,velazquez4 ,afterwards he became the assistant of ,juan del ,castillo4 ,in sculpture he was the pupil of ,montas1 and for several years he worked under his guidance4 ,there seems to have been a great friendship between the master and pupil4 ,cano's debt to ,montas was very great1 and his early works in ,seville1 executed under the direction of the master1 are proof of how completely he assimilated his style4 ,cano's earliest sculptured works were three retablos1 designed1 carved1 and painted1 one for the ,college of ,san ,alberto1 and two for the ,conventual ,church of ,santa ,paula4 ,zurbaran and ,pacheco were employed with ,cano in executing the altar-screen of ,san ,alberto1 and ,cean ,bermudez tells us that his work surpassed theirs in merit4 ,in the execution of the two altar-screens for ,santa ,paula he was helped by ,gaspar de ,ribas1 who worked with him under the direction of ,montas4 ,these screens remain in the ,church of ,santa ,paula--one over the altar of ,st4 ,john the ,baptist1 the other over that of ,st4 ,john the ,evangelist4 ,they are pieces of harmonious work1 altogether praiseworthy1 which show ,cano's combined power as architect1 sculptor1 painter1 and damask worker4 ,the finer is the altar of ,st4 ,john the ,baptist4 ,the statue of the prophet and a bas-relief representing the ,baptism of ,christ are at either side1 and between a beautiful representation of figures carrying the head of ,st4 ,john on a charger2 then to right and left1 between the columns1 are placed statues of the ,saints1 and these surmount figures of the ,virtues and ,cherubim4 ,the hand of a master is seen everywhere4 ,besides the altar-screens of ,santa ,paula1 there are a few good carvings that belong to this period of ,cano's youth4 ,there is a ,conception in the nunnery of ,santa ,paula1 placed over the doorway1 and a second1 and perhaps finer1 ,conception is in the parish church of ,san ,andrs1 and there is also in the same church a very beautiful ,child ,jesus1 unfortunately dressed in a satin robe which quite hides the body4 ,these statues are all good1 and indeed might be ascribed to ,montas except for a weakness in the modelling of the nude portions1 a fault which ,cano afterwards overcame4 ,the few other carvings in ,seville that are ascribed to ,cano are less certainly by him1 and are works of little interest4 ,an important undertaking belongs to the year #afbh4 ,miguel ,cano had been employed to erect a new high altar for the church at ,lebrija1 a small town situated forty-five miles from ,seville on the way to ,jerz4 ,the altar was already designed1 but the actual carving was not started1 when ,miguel ,cano died4 ,it fell to his son to complete the work4 ,four pieces of sculpture were executed2 a ,crucifixion to be placed above the altar1 colossal statues of ,st4 ,paul and ,st4 ,peter for its second storey1 and a small and exquisite image of the ,virgin enshrined within a curtained niche above the slab of the altar4 ,this last is perhaps the most pleasing sculpture of this early period2 it is one of those really beautiful pieces which cause us to forgive much of ,cano's commonplace work4 ,it was soon after this that ,cano left ,seville4 ,he could not bear any superior in his art except his master to be near him1 and he challenged a fellow-painter1 ,sebastian de ,llano y ,valds1 whose success had enraged him4 ,he stabbed and wounded him1 and1 to escape the action of the ecclesiastical authorities1 he fled to ,madrid4 ,here he renewed his friendship with ,velazquez1 and through his influence gained an appointment to work in the royal palaces1 besides having the honour of being professor to ,prince ,baltasar ,carlos4 ,during this period1 and in the years that followed1 ,cano did more painting than modelling1 and we have many pictures from his hand1 some of which may be seen in the ,prado ,museum4 ,in #afdc we find ,cano at ,toledo soliciting work in the cathedral4 ,he did not obtain it1 and returned to ,madrid1 where1 soon afterwards1 he was accused of murdering his wife4 ,this was the beginning of a period of turmoil and wandering4 ,cano fled to the city of ,valencia and afterwards took refuge in the ,cartuja of ,portacali4 ,but later on1 returning to ,madrid1 he fell under the tribunal of the ,inquisition4 ,after suffering the torture1 he was adjudged innocent of the crime with which he was charged1 and appointed ,majordomo of the ,brotherhood of ,nuestra ,seora de los ,dolores4 ,this was a source of fresh trouble1 and ,cano was fined a sum of a hundred ducats for refusing to assist in the procession in ,holy ,week beside the alguazils of the court--a characteristic incident1 for ,cano was a man who never crossed his own wishes4 ,cano again left ,madrid1 and we find him in ,toledo1 employed by the chapter to inspect the works in the octagon chapel4 ,afterwards he must have gone to ,valencia and ,malaga1 then he appears again at ,madrid4 ,but he seems to have sought an opportunity to leave the royal city1 and a canonry being vacant in the ,cathedral of ,granada1 he petitioned the post from ,philip ,,iv41 which was granted by a royal decree1 dated ,september #aa1 #afea1 under conditions that he should take orders within a year4 ,but the year passed and ,cano was not ordained1 and his prebendaryship was declared vacant4 ,whereupon ,cano1 who was still governed by self-will1 took his grievance to the courts4 ,a chaplaincy was conferred on him by the ,bishop of ,salamanca1 and the artist was ordained a sub-deacon4 ,then the king ordered1 by a decree dated ,april #ad1 #afeh1 that the ,granada prebendaryship should be restored to him1 with the condition that he adopted ecclesiastical dress1 which hitherto he had refused to wear4 ,at last1 in #afei1 ,cano returned to ,granada1 and took possession of his prebendaryship1 which he occupied in peace for the remaining eight years of his life4 ,this was the period of ,cano's greatest activity4 ,the only sculptured works achieved during these turbulent years were the design for the ,holy ,week monument of the ,church of ,st4 ,gines1 ,madrid1 and also the design and the superintending of the building of the triumphal arch erected at the ,guadalajara gate for the entry of ,queen ,mariana on her marriage with ,philip ,,iv4 ,but now the restless artist had found a fixed home in the city of his birth1 with unhindered opportunity for the exercise of his facile gifts4 ,granada1 and especially the cathedral--in the bell tower of which building his studio was--owe much to these years of ,cano's residence4 ,his activity seems to have been unwearying4 ,but1 indeed1 it must be granted that the city possesses more works than ,cano could possibly have accomplished in a period of eight years4 ,it has been usual to attribute to him every good piece of polychrome statuary in ,granada4 ,this is not surprising1 for it is often impossible to distinguish with certainty between his work and that of his pupils ,josef de ,mora and ,pedro de ,mena1 who imitated his style and made copies of many of his works4 ,and the confusion is increased by the habit which ,cano had of himself working on the carvings of his assistants2 were they in difficulty1 he would finish their work with his own hand4 ,thus it is impossible to pronounce with certainty as to the authorship of many of the reputed ,canos in ,granada4 ,among the statues in the cathedral that are ascribed to ,cano1 and are certainly his work1 we may place first the ,purissima1 which is kept in the sacristy4 ,it is a small and very beautiful statuette which has the qualities that belong to ,cano's paintings4 ,even more interesting is the group of the ,virgin and ,child1 with ,santa ,ana1 also in the cathedral1 where it is hidden in the gloom of a dark side-chapel4 ,quite unknown1 this beautiful statue is almost certainly ,cano's work2 it has all the qualities that belong to his art4 ,the ,virgin1 who is seated on the knee of ,santa ,ana1 holds the ,child ,jesus4 ,the figures are half life-size2 the three faces and the hands are of exquisite delicacy4 ,the ,virgin resembles the ,purissima in her sweetness4 ,what a dainty fairness is here2 with what exquisite taste the veil and the robe are arranged6 ,the polychrome1 too1 is very beautiful1 and fortunately it has not been restored4 ,the ,virgin wears a white tulle turban1 which is black striped and gold fringed2 her robe is light red1 damasked in gold1 and partly covered by a drapery of indigo blue1 which is fastened with gold clasps at the shoulders and waist4 ,santa ,ana's robe is black1 gold embroidered1 while her cloak is a deeper shade of the same red-brown as the ,virgin's tunic4 ,in these two statues we see ,cano's power in expressing tender human emotions4 ,it is the quality that marks his works--both his painting and his carvings--among the ,spanish masters4 ,his art never touches the passionate ,conceptions of ,ribera or ,zurbaran in painting1 or of ,hernandez in sculpture3 it is on a lower level than the ecstatic emotion of ,murillo or the beautiful carvings of ,montas4 ,cano is mild and touching2 he neither excites nor thrills us4 ,his ,virgin is the happy earthly ,mother who takes sweet pleasure in her ,child1 not the ,mater ,dolorosa1 suffering for the sorrows of her ,divine ,son4 ,she has the fairness which he gives to all women4 ,it was this understanding1 so uncommon in ,spanish art1 whose object was 8to persuade men to piety and to incline them to ,god10 of the joy of life with its human relationships1 that was ,cano's special gift4 ,he changed the dramatically serious religious compositions common to his country into scenes that speak charmingly of tender joyousness born of earthly love4 ,to him alone1 it would seem1 it was given to find joy1 and not sorrow1 in the divine drama from which the ,spanish artists drew their inspiration4 ,other carvings in the cathedral that are ascribed to ,cano1 though his authorship in some of the pieces is disputed1 are the colossal busts of ,adam and ,eve placed very high to the right and left of the entrance to the ,capilla ,mayor1 and the heads of ,st4 ,paul and ,st4 ,john the ,baptist1 which are hidden in the darkness of the ,chapel of ,nuestra ,seora del ,carmel4 ,these carvings1 and especially the bleeding heads of the saints1 are subjects that do not properly belong to ,cano's art1 but were undertaken by him to meet the popular taste of his day1 and for this reason they are of less interest4 ,yet their importance is great on account of the excellence of the polychrome4 ,the ,adam and ,eve1 larger than life-size1 are carved in oak1 and harmoniously coloured with excellent care4 ,unfortunately the height at which they are placed makes it very difficult to see them4 ,the head of ,st4 ,paul and that of the ,baptist--if this is ,cano's work1 and the skill of the craftsmanship points to its being so--must be classed with the similar head of ,st4 ,john the ,baptist in the ,church of ,santa ,paula1 which is also ascribed to ,cano4 ,this last piece seems to have been copied from the head of the ,prophet sculptured by ,montas for the ,church of ,santa ,clara4 ,there is also a most excellent ,head of ,st4 ,john the ,baptist in the ,camarin of the ,chapel of ,san ,juan de ,dios1 which must certainly be ,cano's work 7,plates #aed-aef74 ,none but a master could have carved this head2 it is the finest example in ,spain of a polychrome of this subject4 ,the livid face1 which shows the death-marks1 is surrounded with tumbled locks of black hair and a beard of the same colour4 ,both it and the bleeding neck are faithfully and splendidly rendered3 there is beauty in the horror4 ,the charger on which the head is placed is of gold1 and forms a sort of aureole around it4 ,at the top an eagle has seized it in its beak to carry the relic to heaven2 the bird is painted a deep warm black with beautiful reflections4 ,the cathedral has other works which it owes to the years of ,cano's residence4 ,the beautiful frescoes of the ,capilla ,mayor1 illustrating scenes from the life of the ,virgin1 were his work4 ,the lower stage of the west faade we owe largely to him4 ,he designed and superintended the execution of two silver lamps for the principal chapel2 he carved the elaborate lectern of the choir1 formed of fine woods1 bronze1 and precious stones2 and executed new portals for the sacristy4 ,two medallions on copper of great delicacy were wrought for the ,chapel of the ,trinity4 ,here the figures recall the ,virgin in the group of ,santa ,ana and ,virgin and ,child4 ,in addition several important pictures were painted for the dome of the ,capilla ,mayor1 and others as altar-pieces for the chapels4 ,some of these canvases disappeared when ,granada was stripped of so many of its treasures by the ,french4 ,but a few fine pictures remain4 ,the ,trinity in the chapel of that name1 the ,way of the ,cross in ,nazareno ,chapel1 and the ,virgen de la ,soledad1 which hangs over the altar of ,san ,miguel1 are the most important4 ,this last-named painting is especially interesting to us1 for there are two pieces of sculpture certainly copied from it1 one in the parish church of ,santa ,ana1 the other in the ,church of ,santa ,paula4 ,both are excellent4 ,the ,virgin has the delicacy and beauty that we expect from ,cano4 ,the polychrome is subdued2 the flesh of the face and the beautiful folded hands are a dull pallor1 befitting grief2 the eyes and the tears are formed by crystals1 after the custom used by ,gregorio ,hernandez and ,juan de ,juni4 ,the dress1 which is white1 and the mantle1 of bluish black1 are perfectly harmonious4 ,these colours are a repetition of the cathedral picture4 ,and the question arises1 are the sculptures also by ,cano8 ,that of ,santa ,paula has always been ascribed to ,josef de ,mora4 ,if we accept this1 we must account the ,soledad of ,santa ,ana as the work of ,cano1 and the ,santa ,paula as a splendid copy4 ,but both statues are so equally good1 especially in the colouring1 that the pupil's work must have been touched by the hand of the master4 ,it is impossible to believe that ,josef de ,mora could have achieved this masterpiece unaided4 ,the same difficulty of authorship between the master and the pupil confronts us in the two statues of ,st4 ,bruno1 both in the ,cartuja 7,plate #aeh74 ,one1 life-size1 is in the sacristy1 and this work is reported to have been ordered from ,josef de ,mora2 the other1 a statuette1 which is placed over the high altar1 may with little question be ascribed to ,cano4 ,at least1 if it is not his work1 then it is a copy of a lost original4 ,josef de ,mora could not by himself have designed so exquisite a work4 ,the statuette exceeds the statue in beauty4 ,both the carving and colouring are equally fine2 the latter is a triumph of polychrome4 ,the monk's pale face and hands1 his white robe1 and his scapular of the same colour1 are perfectly transcribed1 a richness being given to the white of the dress1 in contrast to the pale flesh1 by the device of the old damask workers of painting over a gold ground4 ,this small work is another masterpiece which ,cano achieved4 ,it takes rank with the ,st4 ,anthony in ,san ,nicolas of ,murcia1 a better known work1 which belongs to an earlier period of ,cano's art4 ,the ,cartuja formerly contained a fine statue of the ,magdalen1 which is ascribed to ,cano 7,plate #aei74 ,it was taken away1 with many works of art1 during the invasion of the ,french4 ,there is almost hopeless uncertainty with regard to the remaining commissions carried out by ,cano for the religious orders of ,granada4 ,cean ,bermudez catalogues many paintings and sculptures that have disappeared4 ,for the ,convent of the ,angel we read that ,cano carved in marble a figure of the ,guardian ,angel to be placed over the portal1 and designed an elaborate altar-screen1 which was carved by ,pedro de ,mena1 though ,cano chiselled several of the statues with his own hand4 ,he also painted a picture of our ,lord parting from the ,virgin in the ,via ,dolorosa4 ,other pictures were painted for the ,convent of ,san ,diego1 and a series of half-length figures of the ,apostles were designed and executed for the ,dominican ,monastery of ,sta4 ,catalina4 ,then ,cano worked for private patrons4 ,palomino tells of a statue of ,st4 ,anthony of ,padua1 carved for the ,auditor of the ,chancery1 which ,cano1 becoming enraged with his client about the payment of the work1 dashed to pieces3 a characteristic incident1 which recalls the action of ,torrigiano4 ,unfortunately the disappearance of many of these churches and monasteries with all their contents1 and the change of the names of others1 makes it impossible to estimate these works or to hazard an opinion as to their present whereabouts4 ,cano closed his activity with a series of works for ,malaga ,cathedral4 ,he designed the ,capilla ,mayor1 and undertook to carve new stalls for the choir1 but a dispute arising about the payment1 he threw up the work with his usual impetuosity and returned to ,granada4 ,a group of important pictures were also painted in these last years4 ,cano died in his house in the ,albaicin quarter on the #eth ,october #affg2 he was then sixty-six years old4 ,his body rests in the ,pantheon of the ,canons beneath the choir of the cathedral4 ,it is worth noting that ,cano died in poverty4 ,his disposition was generous1 and the old ,spanish writers tell us that his gains1 as soon as he won them1 were divided among his friends and among the poor4 ,we find numerous anecdotes of his life1 and one story of his death is too good not to be recorded2 moreover it helps to complete our knowledge of the man4 ,the priest summoned to offer extreme unction to the dying ,cano was accustomed to labour among penitent ,jews1 towards whom the artist had always displayed a curiously passionate antipathy4 ,the sick man recognised the priest4 8,go1 ,seor ,licenciado10 he cried1 8go with ,god and do not trouble to call again3 the priest who administers the ,sacraments to ,jews shall not administer them to me40 ,a fresh priest was summoned4 ,the new-comer placed an old-fashioned crucifix in the hands that had carved so many beautiful pieces4 ,impatiently ,cano pushed it aside4 8,my son10 gently remonstrated the priest1 8what dost thou mean8 ,this is the ,lord who redeemed thee and must save thee60 8,i know that all very well10 was ,cano's answer1 8but do you want to provoke me with this wretched ill-wrought thing in order to give me over to the devil80 ,cano was a gallant soul storming through life1 who in spite of his violence and restlessness was loving and charitable1 displaying boundless graciousness towards his friends and his pupils4 ,no master ever took greater interest in his pupils2 he gave freely to them of his knowledge and his work4 ,these contradictions in ,cano's temperament explain his art4 ,among ,cano's pupils special mention must be made of ,josef de ,mora and ,pedro de ,mena2 both imitated their master so closely that1 as we have seen1 their works have been confused with his4 ,this is perhaps the best praise that can be accorded to the pupils4 ,joseph de ,mora was born at ,majorca in #afch1 where he passed his youth learning his art from his father4 ,the fame of ,cano brought him to ,granada1 and he at once became a pupil in the studio of the master4 ,he acquired considerable skill as a carver1 and a few years later he went to ,madrid1 where he was appointed sculptor to the king4 ,but the climate of the capital being unsuited to his health1 he returned to ,granada4 ,from this time ,mora became wholly the imitator of ,cano4 ,he had a curious habit that is worth recording2 no one ever saw him at work1 for when in his studio with his model the door was always kept bolted4 ,this explains perhaps why he was able to copy so successfully the carvings of ,cano4 ,we have pointed out the various statues in which confusion has arisen between the authorship of the master and that of the pupil4 ,the ,st4 ,bruno of the ,cartuja and the ,virgen de la ,soledad of ,santa ,ana cannot be given to ,mora as wholly his own work2 a ,conception in the ,cartuja1 if it is by his hand1 must also be considered as a copy of ,cano4 ,fortunately for ,mora's personal reputation there is in the ,church of ,santa ,ana a statue by him of ,st4 ,pantaleon1 which reveals some individual characteristics4 ,the figure of the young martyred saint was modelled from a woman1 and the spiritual effect gained by this means is increased by the unusual device of placing the statue in a glass case4 ,the figure is very graceful and delicate1 which contrasts with the severity of the face4 ,but there is a weakness in the modelling of the legs and feet1 and also in the folds of the vestments1 which the artist has striven to hide by the polychrome4 ,this is good1 in the style commended by ,pacheco1 made in subdued tones and with no gilding4 ,the personal qualities of this statue make us regret the practice of imitation of his master in which ,mora lost his own talent1 which must have been considerable4 ,this is even more true of ,pedro de ,mena1 ,cano's second pupil1 who had much greater originality and talent4 ,a native of ,alpujaras1 where1 in collaboration with his father ,alonso de ,mena1 he had established a considerable local reputation1 like ,mora he came to ,granada1 attracted by the renown of ,cano4 ,it is reported that when he saw the master's works in the cathedral his enthusiasm was so great that he determined to do no more carving until he had become a pupil of ,cano4 ,he brought his family to ,granada and at once entered the studio of the master4 ,cano recognised his talent1 and passed over to him all the work which he did not wish personally to execute4 ,under these conditions ,mena gained the commission1 refused by ,cano1 to carve forty statues of the saints for the choir of ,malaga ,cathedral4 ,the work occupied four years1 #afeh-affb1 and for it ,mena received payment of #dj1jjj reals4 ,these statues prove the great talent of ,mena4 ,the figures are carved in cedar-wood and are not coloured4 ,what is remarkable is the individuality which ,mena has succeeded in giving to the different saints2 each is a living character4 ,professor ,c4 ,justi says of these statuettes3 8,they are among the most singular and startling products of ,spanish art1 if not of all modern sculpture40 ,mena had the ,spanish gift of impressive rendering of character1 and it is for this quality he claims recognition4 ,in #affg ,mena was appointed sculptor to the ,chapter of ,toledo4 ,probably it was at this time that he carved the statuette of ,st4 ,francis 7,plate #afj71 now in the ,cathedral ,treasury1 which has erroneously been ascribed to ,cano4 ,this ascetic figure1 so ,spanish in its conception1 could never have been carved by ,cano4 ,the popularity of ,mena increased1 and on the death of ,cano he took his place1 fulfilling many commissions for the different religious orders4 ,the city still contains several of his works4 ,the equestrian statue of ,st4 ,james and the praying statues of the ,catholic ,kings in the cathedral are the best known4 ,but these works are of much less merit than the saints in the choir of ,malaga4 ,certainly they have some individuality1 but ,mena here relies too much on what he had learnt from ,cano2 or perhaps popularity had made him careless4 ,but ,mena's fame spread1 and he was called by ,prince ,john of ,austria to ,madrid to execute a ,virgen del ,pilar with ,st4 ,james at her feet4 ,the success of this work gained a second commission1 and ,prince ,doria ordered a ,crucifixion which was sent to ,italy1 where it gained much praise--a rare honour for a ,spanish sculptor4 ,mena did not remain in ,madrid1 and after a period of residence in ,cordova1 ,malaga1 and ,salamanca1 where he carved a statuette of ,st4 ,francis which is still in the city1 he returned to ,granada1 where he died in #afic4 99 99 99 99 99 ,the last years of the seventeenth century saw the death of the great sculptors of ,spain1 and with the opening of the eighteenth century we may say that the art of sculpture itself was dead4 ,a corruption in taste had become general2 it was evident in painting and in architecture as well as in sculpture4 ,churriguera was the great offender1 but his contemporaries1 following his lead1 had sought by bad taste1 displayed in excessive decoration and vivid colour1 8to correct0 the simplicity of art4 ,the decline of sculpture in the ,south was more rapid and perhaps greater than in the ,northern schools4 ,many of the old altar-screens were replaced by modern works of the new false art4 ,a popular desire arose for works of the coarsest materialisation4 ,the custom grew of dressing the statues in real garments4 ,then eyes of glass and real hair were in many instances added1 and apparatus was invented for moving the head1 mouth1 eyes1 and limbs of the statues4 ,many pieces of fine sculpture were actually destroyed to meet this degraded demand4 ,the ,virgins1 and notably the las ,doloras1 were subjected to this treatment4 ,one example of these 8dressed images0 is a ,virgin in ,seville ,cathedral4 ,the limbs of this carved doll move at the joints1 while a contrivance in the body enables the head to turn to the right or the left4 ,the body is covered with rose-coloured taffeta which is glued to the wood1 the hair is of silk plaited with gold threads1 and shoes of white kid encase the feet4 ,sometimes the figure sits1 and sometimes stands1 and the ,child ,jesus is placed in the arms or upon the knees according to the position of the mother4 ,there is little more to add4 ,a dying tradition of art with no master to reanimate its life--that is the record of the eighteenth century4 ,one artist alone claims remembrance4 ,francisco ,zarcello was the son of an unimportant ,neapolitan artist1 who had settled in ,murcia at the close of the seventeenth century4 ,it was from his father that ,francisco ,zarcello gained what training in art he had4 ,it is said that he purposed going to ,italy to study1 but the project was not carried out4 ,probably ,zarcello gained from thus pursuing his art alone1 as he was saved from the error of imitation1 especially baneful in this period of decadence4 ,and though the renown he gained must be admitted to be in excess of the merit that his works claim1 he did possess a considerable talent1 with real feeling and something of the old ,spanish religious sincerity4 ,had he lived in a different epoch1 with conditions more favourable to art1 he might have been a great artist4 ,zarcello executed numerous works3 indeed a greater number of statues and statuettes--no less than eighteen hundred--than several men's lives could have sufficed to have produced are catalogued to his name4 ,many of these present really admirable qualities4 ,he was especially successful in the grouping of his figures1 many of which1 though showing exaggerated attitudes1 are true works of art4 ,his retablos in the churches of ,murcia1 and the realistic groups of the 8,pasos10 guarded in the ,ermita de ,jesus 7,plate #afa71 are remarkable examples of his power4 ,we are able to forget the materialistic devices used--such1 for instance1 as the embroidered velvet robes which the ,christ wears--by reason of the truth and religious passion which has inspired the artist4 ,but all ,zarcello's figures display his faults1 excited gestures1 confused drapery1 and a want of care in the modelling of the extremities4 ,among his single statues we may mention the ,st4 ,jerome in the ,cathedral of ,murcia1 of which there is a replica in the convent of the saint1 three miles from the city4 ,this statue is said by ,antonio ,alix1 the latest historian of ,zarcello1 to be equal to ,torrigiani's ,st4 ,jerome1 an estimate of praise which is surely excessive4 ,then there are the two busts of ,st4 ,john the ,baptist in the ,church of ,san ,juan1 a ,st4 ,anthony--copied from ,cano's statue--a ,st4 ,francis1 a ,conception1 and a ,purissima1 as well as numerous representations of the saints4 ,every church in ,murcia contains some work of ,zarcello4 ,the statue of ,st4 ,veronica 7,plate #afb7 in ,ermita de ,jesus is the best single figure that he achieved4 ,zarcello stood alone4 ,he was assisted in his studio work by the members of his family1 but no one of them inherited his talent4 ,he seems to have had no outside pupils4 ,with his death1 which occurred in the year #agdh1 the history of ancient ,spanish sculpture closes4 ,illustration3 ,,plate #a ,visigoth ,crowns found near ,toledo ,illustration3 ,,plate #b ,byzantine ,crucifix and the ,virgin in the ,gothic ,style4 ,provincial ,museum of ,san ,marcos1 ,leon ,illustration3 ,,plate #c ,wooden ,crucifix with which the ,troops of the ,cid were harangued4 ,the smaller ,crucifix the ,cid carried beneath his ,armour4 ,salamanca ,cathedral ,illustration3 ,,plate #d ,byzantine ,chest1 ,toledo ,cathedral ,illustration3 ,,plate #e ,roman ,statue found in the ,ruins of ,salonica4 ,provincial ,museum1 ,burgos ,illustration3 ,,plate #f ,el ,santo ,cristo1 ,burgos ,cathedral ,illustration3 ,,plate #g ,faade of the ,cathedral1 ,santiago de ,compostella ,illustration3 ,,plate #h ,portico of ,la ,gloria1 ,santiago de ,compostella ,cathedral ,illustration3 ,,plate #i ,detail of ,carvings of the ,portico of ,la ,gloria1 ,santiago de ,compostella ,illustration3 ,,plate #aj ,colegiata de ,san ,isidoro1 ,leon ,illustration3 ,,plate #aa ,spandril of ,gate of ,pardon in the ,college of ,san ,isidoro1 ,leon ,illustration3 ,,plate #ab ,two ,statues in the ,archlogical ,museum1 ,leon ,illustration3 ,,plate #ac ,san ,vicente1 ,avila ,illustration3 ,,plate #ad ,basilica of ,san ,vicente1 ,avila1 ,principal ,west ,entrance ,illustration3 ,,plate #ae ,zamora ,cathedral ,illustration3 ,,plate #af ,cloisters of ,san ,pablo del ,campo1 ,barcelona ,illustration3 ,,plate #ag ,cloisters of the ,monastery of ,las ,huelgas1 ,burgos ,illustration3 ,,plate #ah ,tarragona ,cathedral ,illustration3 ,,plate #ai ,portal1 ,tarragona ,cathedral ,illustration3 ,,plate #bj ,burgos ,cathedral ,illustration3 ,,plate #ba ,toledo ,cathedral ,illustration3 ,,plate #bb ,leon ,cathedral ,illustration3 ,,plate #bc ,detail of the ,choir ,stalls1 ,leon ,cathedral ,illustration3 ,,plate #bd ,detail of the ,choir ,stalls1 ,leon ,cathedral ,illustration3 ,,plate #be ,st4 ,mary ,magdalene and ,santo ,domingo 7,choir ,stalls71 ,leon ,cathedral ,illustration3 ,,plate #bf ,san ,celedonio and ,san ,esteban 7,choir ,stalls71 ,leon ,cathedral ,illustration3 ,,plate #bg ,noah1 and ,adam and ,eve 7,choir ,stalls71 ,leon ,cathedral ,illustration3 ,,plate #bh ,samson 7,choir ,stalls71 ,leon ,cathedral ,illustration3 ,,plate #bi ,esau 7,choir ,stalls71 ,leon ,cathedral ,illustration3 ,,plate #cj ,detail of ,portico1 ,santiago de ,compostella ,illustration3 ,,plate #ca ,san ,francisco4 ,san ,marcos ,museum1 ,leon ,illustration3 ,,plate #cb ,various ,statues from the ,cross ,aisle1 ,leon ,cathedral ,illustration3 ,,plate #cc ,our ,lady del ,foro and the ,offerings of the ,kings1 ,cloisters1 ,leon ,cathedral ,illustration3 ,,plate #cd ,a ,sepulchre in the ,convent of ,las ,huelgas1 ,burgos ,illustration3 ,,plate #ce ,sepulchres in the ,old ,cathedral1 ,salamanca ,illustration3 ,,plate #cf ,statues of the ,portico1 ,tarragona ,cathedral ,illustration3 ,,plate #cg ,puerta ,alta de la ,coroneria1 ,burgos ,cathedral ,illustration3 ,,plate #ch ,the ,cloister ,gate1 ,burgos ,cathedral ,illustration3 ,,plate #ci ,the ,cloisters1 ,burgos ,cathedral ,illustration3 ,,plate #dj ,detail of the ,cloisters1 ,burgos ,cathedral ,illustration3 ,,plate #da ,detail of the ,cloisters1 ,burgos ,cathedral ,illustration3 ,,plate #db ,a ,sepulchre1 ,las ,huelgas1 ,burgos ,illustration3 ,,plate #dc ,sepulchre of ,archbishop ,maurice1 the ,founder of the ,cathedral1 ,burgos ,illustration3 ,,plate #dd ,sepulchre of ,archbishop ,maurice1 ,founder of the ,cathedral1 ,burgos ,illustration3 ,,plate #de ,sepulchre of the ,infanta ,doa ,berenguela1 daughter of ,san ,fernando1 ,monastery of ,las ,huelgas1 ,burgos ,illustration3 ,,plate #df ,tomb of ,jaime de ,aragon1 ,tarragona ,cathedral ,illustration3 ,,plate #dg ,sepulchre of ,martin1 ,first ,bishop of ,leon1 ,leon ,cathedral ,illustration3 ,,plate #dh ,sepulchre of ,don ,ordoo ,,ii41 ,leon ,cathedral ,illustration3 ,,plate #di ,sepulchre of the ,martyrs1 ,basilica de ,san ,vicente1 ,avila ,illustration3 ,,plate #ej ,sepulchre of ,archbishop ,lopez de ,luna in the ,church of ,la ,seo1 ,zaragoza ,illustration3 ,,plate #ea ,our ,lady la ,mayor1 ,statue of ,silver1 ,burgos ,cathedral ,illustration3 ,,plate #eb ,statue of ,our ,lady de la ,vega1 ,salamanca ,illustration3 ,,plate #ec ,statue of ,our ,lady de la ,blanca1 in the ,principal ,porch1 ,leon ,cathedral ,illustration3 ,,plate #ed ,st4 ,michael slaying the ,devil1 ,silver ,statue by ,juan de ,arf4 ,provincial ,museum1 ,salamanca ,illustration3 ,,plate #ee ,diptych in the ,camarin of ,santa ,teresa1 ,escorial ,illustration3 ,,plate #ef ,detail of the ,altar-screen of the ,capilla de ,santiago1 ,toledo ,cathedral ,illustration3 ,,plate #eg ,altar-screen in the ,capilla de ,santiago1 ,toledo ,cathedral ,illustration3 ,,plate #eh ,chapel of ,santiago1 containing the ,sepulchres of ,don ,alvaro de ,luna and that of his wife ,doa ,juana1 ,toledo ,cathedral ,illustration3 ,,plate #ei ,detail of the ,altar-piece in the ,capilla de la ,trinidad1 ,toledo ,illustration3 ,,plate #fj ,altar-piece carved in ,wood1 end of ,x,vth ,century4 ,valladolid ,museum ,illustration3 ,,plate #fa ,centre of a ,wooden ,altar-piece1 end of ,x,vth ,century4 ,valladolid ,museum ,illustration3 ,,plate #fb ,chapel of ,st4 ,anne1 ,burgos ,cathedral ,illustration3 ,,plate #fc ,details of the ,altar-piece in the ,chapel of ,st4 ,anne1 ,burgos ,cathedral ,illustration3 ,,plate #fd ,sepulchre of ,don ,juan ,,ii4 and ,doa ,isabel1 ,la ,cartuja1 ,burgos ,illustration3 ,,plate #fe ,sepulchre of ,don ,juan ,,ii4 and ,doa ,isabel1 ,la ,cartuja1 ,burgos ,illustration3 ,,plate #ff ,detail of the ,sepulchre of ,don ,juan ,,ii4 and ,doa ,isabel1 ,la ,cartuja1 ,burgos ,illustration3 ,,plate #fg ,sepulchre of ,infante ,don ,alonso1 son of ,isabella ,i41 ,la ,cartuja1 ,burgos ,illustration3 ,,plate #fh ,sepulchre of ,don ,juan de ,padella4 ,provincial ,museum1 ,burgos ,illustration3 ,,plate #fi ,high ,altar1 ,la ,cartuja1 ,burgos ,illustration3 ,,plate #gj ,detail of the ,high ,altar1 ,la ,cartuja1 ,burgos ,illustration3 ,,plate #ga ,detail of the ,high ,altar1 ,la ,cartuja1 ,burgos ,illustration3 ,,plate #gb ,choir ,stalls1 ,la ,cartuja1 ,burgos ,illustration3 ,,plate #gc ,high ,altar1 ,santa ,gadea del ,cid1 ,burgos ,illustration3 ,,plate #gd ,high ,altar of the ,church of ,our ,lady del ,pilar1 ,zaragoza ,illustration3 ,,plate #ge ,bas-relief in the ,altar-piece1 ,chapel ,royal1 ,granada ,illustration3 ,,plate #gf ,detail of the ,sepulchre of the ,catholic ,sovereigns1 ,royal ,chapel1 ,granada ,illustration3 ,,plate #gg ,sepulchre of the ,infante ,juan1 only son of ,ferdinand and ,isabella1 ,church of ,santo ,toms1 ,avila ,illustration3 ,,plate #gh ,carvings of the ,principal ,chapel1 by ,borgoa1 ,burgos ,cathedral ,illustration3 ,,plate #gi ,back ,part of the ,high ,altar1 ,burgos ,cathedral ,illustration3 ,,plate #hj ,tras-,sagrario1 by ,felipe de ,borgoa1 ,burgos ,cathedral ,illustration3 ,,plate #ha ,tras-,sagrario1 by ,felipe de ,borgoa1 ,burgos ,cathedral ,illustration3 ,,plate #hb ,upper ,part of the ,choir ,stalls1 carved by ,berriguete and ,borgoa1 ,toledo ,cathedral ,illustration3 ,,plate #hc ,upper ,part of the ,choir ,stalls1 carved by ,berruguete and ,borgoa1 ,toledo ,cathedral ,illustration3 ,,plate #hd ,upper ,part of the ,choir ,stalls1 carved by ,berruguete and ,borgoa1 ,toledo ,cathedral ,illustration3 ,,plate #he ,upper ,part of the ,choir ,stalls1 carved by ,berruguete and ,borgoa1 ,toledo ,cathedral ,illustration3 ,,plate #hf ,upper ,part of the ,choir ,stalls1 carved by ,berruguete and ,borgoa1 ,toledo ,cathedral ,illustration3 ,,plate #hg ,upper ,part of the ,choir ,stalls1 carved by ,berruguete and ,borgoa1 ,toledo ,cathedral ,illustration3 ,,plate #hh ,upper ,part of the ,choir ,stalls1 carved by ,berruguete and ,borgoa ,toledo ,cathedral ,illustration3 ,,plate #hi ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #ij ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #ia ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #ib ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #ic ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #id ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #ie ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #if ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #ig ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #ih ,detail of the ,choir ,stalls3 ,reconquest of ,granada by ,ferdinand and ,isabella1 ,toledo ,cathedral ,illustration3 ,,plate #ii ,detail of the ,high ,altar1 ,chapel of the 8,condestable10 ,burgos ,cathedral ,illustration3 ,,plate #ajj ,altar-piece1 by ,f4 de ,borgoa1 in the ,royal ,chapel1 ,granada ,illustration3 ,,plate #aja ,detail of ,altar-screen1 ,granada3 ,king ,ferdinand the ,catholic ,illustration3 ,,plate #ajb ,detail of ,altar-screen1 ,granada3 ,queen ,isabel the ,catholic ,illustration3 ,,plate #ajc ,boabdil giving up the ,keys of ,granada to the ,catholic ,sovereigns4 ,fragment of the ,altar-piece in the ,royal ,chapel1 ,granada ,illustration3 ,,plate #ajd ,choir ,stalls at ,san ,benito1 ,valladolid4 ,illustration3 ,,plate #aje ,back of a ,choir ,stall4 ,valladolid ,museum ,illustration3 ,,plate #ajf ,fragments of ,choir ,stalls4 ,valladolid ,museum ,illustration3 ,,plate #ajg ,several ,fragments of ,choir ,stalls4 ,valladolid ,museum ,illustration3 ,,plate #ajh ,fragments of ,choir ,stalls1 by ,andrs de ,najera4 ,valladolid ,museum ,illustration3 ,,plate #aji ,stalls of ,san ,benito1 by ,andrs de ,najera1 ,valladolid ,illustration3 ,,plate #aaj ,stalls of ,san ,benito1 by ,andrs de ,najera1 ,valladolid ,illustration3 ,,plate #aaa ,stalls of ,san ,benito1 by ,andrs de ,najera1 ,valladolid ,illustration3 ,,plate #aab ,wooden ,panels1 ,murcia ,cathedral ,illustration3 ,,plate #aac ,abraham's ,sacrifice and ,st4 ,sebastian1 by ,berruguete4 ,valladolid ,museum ,illustration3 ,,plate #aad ,sepulchre of ,archbishop ,tavera1 by ,alonso ,berruguete1 ,hospital de ,afuera1 ,toledo ,illustration3 ,,plate #aae ,sepulchre1 by ,berruguete1 in ,san ,jeronimo1 ,granada ,illustration3 ,,plate #aaf ,statue of ,st4 ,secundus1 by ,berruguete1 ,church of ,san ,secundo1 ,avila ,illustration3 ,,plate #aag ,san ,benito4 ,valladolid ,museum ,illustration3 ,,plate #aah ,the ,transept1 ,cathedral of ,la ,seo1 ,zaragoza ,illustration3 ,,plate #aai ,sepulchre of the ,marques de ,villena and ,retablo in the ,monastery del ,parral1 ,segovia ,illustration3 ,,plate #abj ,custodia by ,juan ,arf1 ,avila ,cathedral ,illustration3 ,,plate #aba ,statue of ,don ,cristobal de ,rojas y ,sandoval1 ,church of ,san ,pedro de ,lerma1 ,burgos ,illustration3 ,,plate #abb ,detail of the ,statue ,illustration3 ,,plate #abc ,st4 ,jerome1 by ,gaspar de ,becerra1 ,burgos ,cathedral ,illustration3 ,,plate #abd ,altar-screen1 by ,juan de ,juni1 ,segovia ,cathedral ,illustration3 ,,plate #abe ,christ in the ,tomb1 by ,juan de ,juni4 ,valladolid ,museum ,illustration3 ,,plate #abf ,pieta1 by ,hernandez4 ,valladolid ,museum ,illustration3 ,,plate #abg ,the ,baptism of ,our ,lord1 by ,hernandez4 ,valladolid ,museum ,illustration3 ,,plate #abh ,st4 ,francis1 by ,hernandez4 ,valladolid ,museum ,illustration3 ,,plate #abi ,the ,crucifixion1 by ,gregorio ,hernandez1 ,chapel of the ex-monastic ,church of 8,conjo10 ,santiago ,illustration3 ,,plate #acj ,our ,lady of ,sorrows1 ,church of 8,conjo10 ,santiago ,illustration3 ,,plate #aca ,la ,dolorosa1 by ,salvador ,carmona1 ,salamanca ,cathedral ,illustration3 ,,plate #acb ,flagellation of ,christ1 by ,salvador ,carmona1 ,salamanca ,cathedral ,illustration3 ,,plate #acc ,head of ,st4 ,paul4 ,valladolid ,museum ,illustration3 ,,plate #acd ,high ,altar1 ,seville ,cathedral ,illustration3 ,,plate #ace ,oratory and ,screen of ,isabella la ,catolica1 ,seville ,illustration3 ,,plate #acf ,puerta del ,perdon1 ,seville ,cathedral ,illustration3 ,,plate #acg ,virgin and ,child1 by ,p4 ,torrigiano4 ,seville ,museum ,illustration3 ,,plate #ach ,st4 ,jerome1 by ,torrigiano4 ,seville ,museum ,illustration3 ,,plate #aci ,statue of ,faith1 ,top of ,giralda ,tower1 ,seville ,illustration3 ,,plate #adj ,st4 ,ignatius ,loyola1 by ,montaes4 ,university ,chapel1 ,seville ,illustration3 ,,plate #ada ,st4 ,frances ,xavier1 by ,montaes4 ,university ,chapel1 ,seville ,illustration3 ,,plate #adb ,our ,lord ,crucified1 by ,montaes1 ,the ,sacristy1 ,seville ,cathedral ,illustration3 ,,plate #adc ,the ,immaculate ,conception1 by ,montaes4 ,university ,chapel1 ,seville ,illustration3 ,,plate #add ,the ,immaculate ,conception1 by ,montaes1 ,seville ,cathedral ,illustration3 ,,plate #ade ,st4 ,bruno1 by ,montaes4 ,seville ,museum ,illustration3 ,,plate #adf ,our ,lady de las ,cuevas and ,child1 by ,montaes4 ,seville ,museum ,illustration3 ,,plate #adg ,st4 ,bruno1 by ,montaes1 ,cadiz ,cathedral ,illustration3 ,,plate #adh ,justice1 by ,solis4 ,seville ,museum ,illustration3 ,,plate #adi ,the ,conception of the ,virgin1 by ,martinez1 ,seville ,cathedral ,illustration3 ,,plate #aej ,the ,crucifixion1 at ,triana1 ,seville ,illustration3 ,,plate #aea ,our ,lord1 ,sculpture in ,wood1 ,hospital de la ,caridad1 ,seville ,illustration3 ,,plate #aeb ,high ,altar in the ,chapel1 ,hospital de la ,caridad1 ,seville ,illustration3 ,,plate #aec ,our ,lady of ,sorrows1 by ,luisa ,roldan1 ,cadiz ,cathedral ,illustration3 ,,plate #aed ,head of ,john the ,baptist1 ,granada ,illustration3 ,,plate #aee ,head of ,john the ,baptist1 ,granada ,illustration3 ,,plate #aef ,head of ,john the ,baptist1 ,granada ,illustration3 ,,plate #aeg ,statue of ,st4 ,bruno1 in the ,chartreuse de ,miraflores1 ,burgos ,illustration3 ,,plate #aeh ,st4 ,bruno1 by ,alonso ,cano1 in the ,cartuja1 ,granada ,illustration3 ,,plate #aei ,statue of the ,magdalene1 formerly in the ,cartuja1 ,granada ,illustration3 ,,plate #afj ,st4 ,francis1 by ,pedro de ,mena1 ,toledo ,cathedral ,illustration3 ,,plate #afa ,the ,last ,supper1 by ,zarcello1 ,ermita de ,jesus1 ,murcia ,illustration3 ,,plate #afb ,st4 ,veronica1 by ,salcillo1 ,ermita de ,jesus1 ,murcia ,,footnotes3 ,a ,pierre ,paris1 ,essai sur l',art et l'industrie de l',espagne ,primitive1 #ahcj-d1 vol4 ii4 p4 #cjh4 ,mr4 ,havelock ,ellis has chosen the ,lady of ,elche1 on account of this symbolic character1 as the frontispiece of his illuminating book1 8,the ,soul of ,spain40 ,b ,for a fuller account of the history of polychrome sculpture we refer the reader to ,m4 ,marcel ,dieulafoy's ,la ,statuaire ,polychrome en ,espagne1 from which many of the facts in this chapter have been taken4