A Descriptive and Historical Catalogue of the works of Velazquez and Murillo, 1883 by Bibliothèque / beaux-arts / graphisme / typo /

VELAZQUEZ AND MURILLO A DESCRIPTIVE AND HISTORICAL CATALOGUE OF THE WORKS OF DON DIEGO DE SILVA VELAZQUEZ AND BAR TO LOME ESTEBAN MURILLO, COMPRISING A CLASSIFIED LIST OF THEIR PAINTINGS, WITH DESCRIPTIONS; THEIR HISTORY FROM THE EARLIEST KNOWN DATES, NAMES OF THE PRESENT AND FORMER OWNERS, SALES IN WHICH

THEY HAVE APPEARED, AND ENGRAVINGS AFTER THEM. ALSO, LISTS OF LOST OR UNIDENTIFIED PICTURES, A BRIEF ACCOUNT OF THE LIVES AND WORKS OF THE DISCIPLES OF THESE ARTISTS, A BIBLIOGRAPHY, AND A COMPLETE INDEX. WITH ORIGINAL ETCHINGS. BY CHARLES B. CURTIS, M. A.

BOUTON, 706 BROADWAY. LONDON, SAMPSON LOW, MARSTON, SEARLE, AND RIVING TON. MDCCCLXXXIII.

NEW- YORK,

This Large Paper Edition, with plates in three consists

of One

Hundred

copies

only,

of which Fifty are

designed for sale in Europe.

The present copy

states,

No.

PREFACE. like

volume,

THIS in

its

many

better

origin wholly accidental.

years ago, in search of a

new

and some worse ones, was It happened that many

sensation,

turned

steps

towards Spain. I found myself carried back in a day to the middle of the seventeenth century. I discovered a country that had preserved almost unchanged the habits, customs

and traditions of a long-buried age. Wandering beside the dusty Manzanares it seemed as if I might at any moment encounter Philip the Fourth, surrounded by his courtiers, ambling with his accustomed gravity to the chase in the or I might even meet the Knight of La Mancha, Pardo ;

attended

his

setting forth in search of The injuries to be avenged.

trusty squire,

be righted and true, were gone, but they had left behind them filled with romantic legends, that tinged every peak and valley with colors as brilliant and as harmonious as those

wrongs Moors, a land that

it is

made

the

Hall of the Abencerrages a wonder and a

delight.

That winter

Spain was very short, but

was long

enough to inspire a love for Spanish scenery, for Spanish and above all for Spanish art. The galleries, churches,

life,

and

private houses of that bric-a-brac, unprogressive land, so redolent of the past, so proudly standing aloof from the spirit of the present age, made an impression that time and repetition

have but served to deepen.

Among other pastimes I then began the study of the works the of Spanish painters, and as auxiliary thereto, the search for engravings and photographs of the pictures that most This pursuit was taken up without any serious purpose, and the engravings were sought, partly to assist my studies, but more, I fear, to gratify an idle taste for collecting. interested me.

interested in the subject, I followed it with conand it has been a motive for subsequent jourto not Spain alone, but to other countries where Spanish neys, paintings are to be observed, as far away as St. Petersburg in

Becoming

siderable zeal,

the East and Naples in the South. The collection of engravings then begun, has been increased as opportunities have offered, and it now includes

photographs and drawings, many of them specially made, where they did not already exist. As a working collection it is

doubtless the best ever formed.

In cataloguing the contents of my portfolios it became interesting to ascertain the ownership of the pictures, to trace their history, and to note their correspondence with, or

variance from, other works similar in subject or composition. These comparisons were greatly aided by the photographs,

drawings,

etc.,

which made

possible to detect differences or

resemblances, too slight to be carried in the memory.

After a time, greatly to

made

the eye or stored

surprise,

had some of at least I had the was needed was to I

found that

tolerably complete catalogues of the works of

more important Spanish masters, materials for such catalogues. All that arrange these materials, and to write out the notes in proper form for publication. This I have done, with the hope of the

adding something to the existing knowledge on the subject, and the further hope of encouraging some more capable person to do well what I have done but imperfectly.

To remove

cause for disappointment, it will be well to say at the outset, what the reader may have discovered from the title-page, that this is a historical and not a all

descriptive,

VI 1

In fact,

critical catalogue.

would have been better

Materials for a Catalogue, since complete and finished work.

to entitle

does not claim to be a

readers will be disappointed in rinding only dry with no effort to enliven them by the use of the imagi-

Many facts,

The first idea was to give critical notes, and to pass nation. judgment on the pictures described, but the difficulties in the way of this course soon became evident, and that feature had unnecesto be abandoned as unnecessary or impracticable, sary as to pictures of recognized merit in public collections, It is needless to say that freeimpracticable as to the rest.

dom

of criticism

to private

impossible, respecting paintings belonging and which have never been exhibited.

individuals,

One must

It is impossible to avoid praise them- or be silent. or bias in a certain delicacy speaking of what one has feeling seen in houses where he has been hospitably received and

but even if it were otherwise, it is difficult to entertained decide as to the merit of pictures seen in private collections The position, or light, is often under ordinary conditions. ;

such that no accurate opinion can be formed. The very competent and judicious author of the Catalogue Raisonne, of the works of the Dutch, Flemish, and French .

criticising freely, giving often his estimate of the paintings he described. In the last value money four volumes of the work his plan was changed, and criticisms

Painters,

began by

of the

Notwithstanding the high character and of that author, his volumes have often been great experience assailed for the judgments pronounced. The same fate has

were rarely given.

overtaken Passavant, Waagen, and Stirling, and profiting by their experience, I decided to abjure criticism in most cases ;

giving, instead, occasional references- to other writers whose remarks may be of service to the reader, without wishing,

however, to be held responsible for their opinions.

The plan

of this book

so far as

aware, original. I have long had a theory as to what a catalogue ought to contain, and have endeavored to develop the idea in this volume. -

is,

Vlll

task falls far short of the design, Although the execution of the I think such a work should be. it may at least suggest what of each artist have been classified as closely The pictures

possible,

to a chronological having a certain reference This for the religious-historical works.

system, especially

however, occasionally interrupted in order that or personage may be all that relates to a particular matter Of the pictures in which the Virgin is brought together. has been given to the Immaculate represented, the precedence of the date of that mystery, but not because Conception, because of the extent, and importance, pictorially speaking, It will also be found that the works in which of the subject. the Virgin is presented alone, as a single figure, are exhausted before proceeding to those in which she is seen accompanied before is by other figures. Therefore the Mater Dolorosa given

arrangement

is,

the Virgin and Child. When a legend is depicted, wherein the Virgin, or the infant Saviour, appears in a vision, the Saint is considered the leading figure, and the picture is classed among the Saints, who are alphabetically placed. An arrangement according to the dates when the paintings

were executed, such as Passavant has undertaken to give in his list of the works of Raphael, would doubtless be very desirable if it were practicable but the data are lacking. Spain! at the time with which we have to do, did not abound in biog;

and conraphers, or chroniclers, except of religious annals almost the artists are records wholly concerning temporaneous ;

During the life-time of Murillo, his name was menwanting. tioned in but two printed books, by Ortiz de Zuniga, and by F. de la Torre Farfan. Velazquez fared even worse, for he was mentioned by only one author,

his father-in-law, Pacheco.

Nor

are there probably more than half a score of contemporaneous documents in existence in which Velazquez and

Murillo

are

named

artists.

documents containing the

name

There are of the

about ten and about former, in all

fifty

with the

name

of the

latter

;

but they

are,

with few

papers, useful to the biograexceptions, religious or pher, but casting no light on the dates of their pictures. With such materials, the effort to fix the time of the exeofficial

artists' works would result in a series of conwhen it comes to guessing the reader and jectures, may as well Most readers will find the present do that for himself. convenient for reference, and it is a by subjects arrangement book of reference, not a history, that I have attempted to

cution of these

Whoever has undertaken, for example, to consult produce. Passavant's Raphael knows how inconvenient a chronological is. The Data hereafter given (pages 109 and 305), supply the means of fixing the time of execution of nearly

system will all

the paintings whose period we are able to determine. When the ownership of a picture has recently changed,

sale,

or otherwise, efforts have been

of the present possessor, It likely to be informed.

by is

made

to learn the

by name

application to the persons most to be regretted that this pursuit

has not always been fruitful of results, although the owners of pictures have almost invariably given courteous attention to

inquiries.

Great care has been taken

have been made uniform

the descriptions.

They

method, so plain and accurate as to exclude errors and confusion, and concise, I regret to say, in

And yet there are instances in which even to dryness. been found necessary to be minute rather than concise. compositions of these

has

The

artists are occasionally so closely allied

that it is difficult to distinguish them from each other. Often the value of a description will appear only when it is read in the presence of a somewhat similar picture, when the reasons for

such precision

will

be manifest.

There

in this catalogue, thirty-three pictures of the

ception,

are, for

example, Immaculate Con-

Murillo, besides the unauthenticated ones.

It is

evident, therefore, that only by close and careful descriptions, even to the positions of the fingers, will the reader be able to

discriminate between them.

already printed,

regret

now

look back on what

cases, the descrip-

many

that, in

tions are too brief.

The notes thing that

to each picture are intended to

definitely

In general,

history.

known

may

as to

its

origin

be said that nothing

Every book mentioned

second hand.

comprise everyand subsequent

in this

given at volume, with is

two or three exceptions, has been carefully examined and the references compared. The principal sources

of the knowledge we possess and painters are Palomino, Ponz, respecting Spanish and Cean Bermudez. These mines have been patiently explored and the ore extracted. The search has been minute and laborious, for it has been necessary to go through the art

volumes page by page.

Spaniard ever yet learned to

make

an index.

The

been in every whether author, Spanish or been has mentioned, to give, if picture of the author's words, and to refer to intention has

of the

work

cited.

examine the

foreign,

by whom a

case

earliest

necessary, a quotation the volume and page

a pleasure to

It is

know

that this labor

has sometimes resulted in tracing far the time of their known history, or in pictures beyond and certain what was before only a shadowy fixing making

has not been

fruitless, for

tradition.

Much

labor might have been avoided by simply referring where the leading facts have been care-

to Stirling's Annals, fully digested,

and

artistically

been thought best to correcting his errors

when

brought together; but

invariably

discovered,

the as

has

oldest writer,

has

sometimes

happened. This plan has been more strictly pursued, and the quotations and references have been more minute and extended, in respect to works whose location or ownership has changed, especially where they have passed into the possession of private individuals, for pictures in private

XI collections

have more need of a pedigree than those

in public

galleries.

The

list of engravings following the account of each pictincludes such prints as exist in my own collection, or have come under my personal notice, a rule to which there

ure,

are but few exceptions. The measurements are usually given, except where the prints were originally published in books that

are

known and

well

readily

accessible.

has not been

thought necessary to notice every engraving that has been made, since many of them, especially of the more popular

by Murillo, are lithographs, made for devoand of indifferent merit. Doubtless many engravings have been mentioned that might better have been omitted, but this is a fault the collector will readily overreligious pictures

tional use,

look.*

The

art of

photography has of

late

made such advances

could not be ignored in a book like this. Therefore, have been included to some but they extent, photographs have been omitted where the engravings are numerous or that

easily found.

The reader

will not

need to be reminded that

excellent photographs exist of nearly all the best pictures in the public and some of the private galleries. The most important of the photographers of the works

of Velazquez and Murillo is J. Laurent, whose catalogue enumerates more than a hundred and fifty paintings of these artists, including all the best specimens in the Museo del Prado, and the Academy of S. Fernando, at Madrid the Museum, the Cathedral, the Hospital of La Caridad, and the palace of the Duke of Montpensier, at Seville the Museum ;

;

and the Capuchin Church,

at Cadiz.t

Spain offers but few attractions for the collector of prints. The Calcografia Nacional is the only establishment where they are to be found in any quantity, and its stock consists only of those engravings of which it controls the plates. See the note to No. 230, Velazquez Catalogue. t

M. Laurent has a house each.

in Paris,

where

his publications are sold at 3 francs

Xll

& Cie. publish photographs of pictthe ures Vatican, the Museum of La Haye, and some private collections. They have recently added to their list a series of reproductions of paintings in the Museo Messrs. in

Ad. Braun

the Louvre,

del Prado, in Madrid.*

The

Berlin

Company

Photographic

(Photographische

museum Gesellschaft) publishes some of the pictures in the at Berlin, and in that at Dresden. The Dresden gallery is also photographed by Franz Hanfstaengl and that at Munich ;

Piloty and

Lohle.

H. O. Miethke reproduces the pict-

ures in the Belvedere, at Vienna

and some private collections

;

Alinari, those in the galleries

Italy

;

and Karl

Rottger

(H. Schmitzdorf) those in the Hermitage at St. Petersburg. Caldesi & Co. have an excellent series of reproductions of of the best paintings exhibited at Manchester in 1857. They have also photographed for the publishers (Virtue & Co.) an extensive series of about three hundred and sixty of

many

pictures in the National Gallery, at London, but these photographs are not sold separately. The labor of preparing this catalogue would have been

the

greatly abridged if the genuine works

had been the

an account of

confined to

masters.

This

plan,

however,

would have been unsatisfactory to many readers, and would have fulfilled but imperfectly the task I set out to perform. There have been added, therefore, in smaller type, in double columns and with subordinate numbers, several hundred notes, which will fall mainly under one or more of the following heads :

There are many pictures by these painters, well known whose genuineness cannot be disproved, but concerning which doubts are permissible such for example as the Death of St. Joseph in the Hermitage (Velazquez Catalogue No. iga), and the Virgin and Child of the Leuch(i.)

in the history of art,

;

The catalogue of Messrs. Braun & Cie., No. 43 Avenue de I'Ope'ra, Paris, includes about one hundred and forty subjects after Velazquez and Murillo, which are sold, with few exceptions, at fifteen francs each.

Xlll

tenberg gallery (Murillo Catalogue No. ii2a). The omission of such pictures from a work like this would be unpardonable.

The

collector of engravings, at least,

would be disappointed

not to find them mentioned. Pictures that have formed part of some famous collection dispersed, such as that of the Countess of Verrue, Calonne,

(2.)

now

etc., have disappeared, and it is very desirable should be recovered. Others have been in the they Aguado, or the Louis Philippe galleries. These last are of in-

Henry Hope,

that

terest, if for

no other reason, because they have been included the catalogues given in the third volume of the

Stirling in

Annals of the Artists of Spain. pear

sales, reference

ownership, and Stirling

Whenever these made to

sure to be

made

pictures aptheir former

a sponsor for them.

there-

seems proper that all the pictures mentioned by Stirling or that have existed in important collections should be noticed, their prices given if sold, and their history traced as far as Besides the sales above named, many others of practicable. more or less importance have included paintings that are undoubtedly genuine, or that have been at some time considered so. A selection of these notes has been given which may occasionally serve a useful purpose. The number might have been trebled, but I. have given all I thought worth fore

preserving. (3.) Waagen, Burger, Tubino, and other writers of repute have mentioned and described paintings, some further account of which, or at least a record of them, will naturally be looked

for here.

number of compositions

that have become known have The names of the enthrough engravings disappeared. such as Valentine Green, Woollett, Alegre, gravers alone, (4.)

Bracquemond, in this

etc.,

are sufficient to justify their claim to a place

book.

Far more important than either, or all, the above, are paintings that have been mentioned by Palomino, Ponz, Cean (5.)

Bermudez, or other

writers, as

having formerly existed

the

XIV churches, convents, royal palaces, or private houses of the Peninsula, many of which works disappeared in the stormy The writings of that ushered in the present century.

days

these authors and

many

others have been diligently examined,

believed that every picture named by them has been noted in its proper place, with references to the volume and

and

it is

which it has been mentioned. The value of this labor, the student cannot fail to appreciate, for it may save him a weary search, and it is not unlikely that these notes may result in bringing to light some paintings that have disap-

page

would be manifestly improper to omit such them with pictures, and it would be equally improper to class The plan of giving such the authentic and identified works. matter in small type, and double columns, it is hoped will prove Those who wish to learn only as to the satisfactory to all. known works of the masters, will see at a glance and genuine It

peared.

what

to omit.

has often been found

difficult to

decide in which of the

classes a certain painting should be placed, and each list contains works that ought, perhaps, to be transferred to the New discoveries or more intelligent criticism modify other.

two

opinions, and this

book

have observed some things even now, when completely printed, that might be

not yet

changed with advantage.

And

therefore

it is

well to say, that

the large type does not necessarily imply that the work described is absolutely genuine, nor does small type assert the contrary.

The

latter in

many

cases

means no more than that the picture I have no means of forming

has for the time disappeared, and

an opinion respecting it. There will be found, later on

in this

volume, a Bibliography

of the books consulted, not always with profit. are antiquated, and many of them worthless.

Some

of these

Others find a

place in the list solely because they contain engravings by Velazquez or Murillo. There are other works on Spanish art,

but

have enumerated those most necessary

in the

study

XV of these two masters. Besides the books named, I have examined a vast number of gallery and sale catalogues, thousands, perhaps, of all dates from the middle of the eighteenth century to the present time. From some of these I have obtained important assistance, but it is to be regretted that these catalogues have often been prepared in so slovenly a manner that they furnish but

little

useful information.

It is a matter of the greatest surprise that the owners of valuable pictures should consent to send them to an auction-

room, imperfectly catalogued, for sale simply on their merits. Purchasers are usually men of wealth and taste, but they are not necessarily experts in the knowledge of paintings. " what pleases They know, to use a common expression, them," but are not sure that their taste would be approved

by competent judges. They often rely more on the judgment of others than on their own, and look to the name of the collection, or to the names of former owners, as a guaranty of value.

There is another class of buyers who regard a picture as they would an autograph of a famous man, not so much for the beauty of the thing the person to whom it

by Raphael

picture

to a

because

itself as

work of

a true

attributed.

They prefer good one by Giulio Romano. is

demand an undisputed specimen he reveals himself to them

poor

They

of the master, because there-

one of

his moods, if not in his even a They prize single hair of Titian's brush above an entire canvas of Schiavone. The slightest doubt in

best mood.

destroys all value in their eyes. the true cross is but a bit of wood.

Without

faith

a piece of

catalogues, however, such as they are, form an important part of the materials required in making such

Sale

a work as the present. It may, therefore, be interesting to know where these materials may be found. Undoubtedly the best library of such books

Manson and Woods, C

London.

that of Messrs.

Christie,

This great house, which

XVI

was founded

1767,

still

from the earliest date. passed under

its

hammer,

files of all its catalogues, a million paintings have Probably some of them several times.

preserves

The South Kensington Museum, at London, has the as well as other books on largest number of sale catalogues, in be found to Europe. The library of the late anywhere art, now L. Sir Charles Eastlake, belonging to the National has a fair collection, and some few are to Gallery, in London, be seen in the British Museum, by one who knows how The Bibliotheque Nationale, at Paris, to look for them. in the Departement des Estampes a number of preserves volumes chiefly of the

sales

of the

latter

part of the last

century. largest collection of engravings from the works of own, is that formed by the Velazquez and Murillo, after

The

William Stirling-Maxwell, and

late Sir

heirs.

importance,

and that

nale, at Paris,

still

belonging to his

that in the Bibliotheque Natio-

the British

Museum.

The former

the greatest in extent, but the latter excels it in collection The museum at Munich, and the library at Vienna, quality. is

have a good number, but both are surpassed by the AlberVienna.

tina, at

Biblioteca Nacional, at Madrid, a few yeafs ago,

came

into possession of a valuable cabinet of prints, acquired

from

The the

late

Don

Valentin Carderera, whose

recent death

There are but Spanish art and literature. few works of modern engravers, but many important specimens of the old masters of the art. The classification, by serious

loss

names of the engravers, instead of by painters, is inconvenient, most of the names of Spanish engravers are but little

since

known

in Spain,

There

are,

and almost unheard

of,

out of that country.

however, several engravings to be found in that library, which do not exist in any other cabinet in Europe. Perhaps nothing in this book will be of more practical use, or

more generally appreciated, than the index.

fully

XVI 1

agree with that wit who said the index of a book should be the author himself, any one can do the rest. Especial care has been taken to make this feature as full and accurate

made by

I have had frequent occasion to lament the want of such an appendage to the works I have consulted. There is much wisdom in the proposition of Lord Campbell, that no book without an index should be entitled to a copy-

as possible, for

right.

The index in the present volume refers not only to every name and matter contained in the body of the work, but it supplies a

topography, so to speak, of the pictures, for under every city, town, county, or country, is given a reference to all the * paintings to be found therein.

Most persons

will be surprised to learn that there are of these pictures in London as in all Spain, and that almost one-half of the entire number of authentic

nearly as

many

works enumerated

in this

catalogue

may

be found

Great

Britain. *

The

geographical distribution

as follows

There are

VELAZQUEZ. 66

London Elsewhere

England

Scotland Ireland

MURILLO. 105

Madrid

Seville

Elsewhere

Spain

Paris

Elsewhere in France Russia

Austria-Hungary

24 6

Italy

United States Bavaria

Saxony Holland Sweden Present location

3 2

unknown

274

481

XV111

be observed that the name of Velazquez, as it apon the title-page of this volume, differs slightly from pears that usually given to the artist. Diego Velazquez de Silva, as and him by Cean Bermudez, is after he is called by Palomino, objected to by Stirling as incorrect, and therefore that writer It will

new name, Diego Rodriguez name which was never used by the

constructs for the artist an entirely

de Silva

Velazquez, a

man

himself, or

far as

his friends,

by any Spanish

now remembered. The theory

writer, so

of Mr. Stirling

that, as

the artist was the son of Juan Rodriguez de Silva, he must be called Rodriguez de Silva in spite of himself. One need not

go out of England to learn that it is no uncommon thing for man to assume a name for himself, of which that of his father

need not necessarily form any part. Great laxity prevailed in the seventeenth century in Spain in such matters, and even now prevails. The first document relating to the artist is his baptismal certificate, in which he is named " Diego hijo de Juan Rodriguez de Silva y de Dona

Geronima Velazquez." We might, therefore, expect him to be Rodriguez but Spanish custom permitted the use of the mother's instead of the father's name, and the artist availed himself of this privilege, since we find he dropped Rodrigziez altogether, and that at an early age, for in the registry of called

the

;

baptism of his

first

child

styled

simply Diego

Velazquez. One of the most important pieces of evidence on this point is the pamphlet which his pupil and friend, Juan de On the title-page Alfaro, caused to be printed in 1658.* of this memorial the

name

given as Diego de Sylva Velaz-

quez.

Not *

Don

less

important and conclusive

Memoria de

las Pintvras,

que

the testimony pro-

Magestad Catholica

de,l

Rey

nuestro Senor

Philipe IV., embia al Monasterio del San Laurencio del Escurial, este ano de MDC. L VI. Descriptas, y colocadas, par Diego de Sylva La ofrece, Velazqvez. dedica y consagra a la Posteridad, D. Ivan de Alfaro.

XIX

Don Manuel Zarco del Valle,* who has published of upwards forty papers, mostly from the originals in the In these the artist is usually called simply royal archives.

duced by

Diego Velazquez, but is

in the

more formal documents the name

Diego de Silva Velasquez.

invariably given as

This form

occurs fifteen times, of which four are signatures, one of them being in fac-simile. This fac-simile is reproduced on the proof the present volume. Senor Zarco del Valle adds in a note that, " He so signed himself, and so he was called by his

title

father in law Pacheco, and

The name of always

uniform

Murillo, his

his

comrades."

that

lifetime.

of Velazquez, was not

His

baptismal

certificate

him as Bartolomc, hijo de Caspar Esteban, but this the only document in which that name appears. Cean

describes is

Bermudez, however, has chosen to place his biography in the Diccionario de las Bellas Artes, under the name Esteban, instead of under that of Murillo.

The

artist appears to have early assumed the name Murillo, or by that of Morillo, he was invariably known and which, by his contemporaries, the latter form being the most styled by

common.

named

Morillo in the register of the parish in the legal document by which he

Cruz, and surrendered the lease of the houses

of Santa

in the parish of Santa Maria Magdalena (see Chronological Data, p. 308). By this name he is also repeatedly spoken of by Ortiz de Zuniga in

the Annales de Sevilla. In the

papers

documents appended

the

Academy

to his Will,

of Seville, and in the

he was called Bartolome

Murillo.

subject are his own for admission to the Brother-

But the highest authorities on signature

his application

this

hood of La Caridad, and his Will. In the former paper the name appears Bar"" este" Murillo. At the commence*

Documgntos

Madrid, 1870.

ine'ditos

para

la kistoria de las Bellas

Artes en Espana, 8vo,

XX ment ban

formally described as Bartolome EsteMurillo, and further on, his sons are named in full as Esteban Murillo, and Gabriel Murillo, in the latter of his Will he

Gaspar

case the

name Esteban being dropped

to poraneous documents are sufficient

entirely.

show

These contem-

that the artist him-

recognized as his full name Bartolome Esteban Murillo, as although on most occasions the middle name was dropped, The fac-simile of this artist's in our own days. often self

happens

name on Peintres. it

the pro-title of this volume is after that given in Blanc, It is not stated where that signature is found, but

probably on the picture

the Louvre, No. 156 of this

Catalogue.

That there may be doubts

as to the authenticity of a

num-

ber of the pictures classed as originals in this catalogue may as There are some that I would not on my well be confessed.

own judgment purchase approved by competent

or recommend, but they have been critics

and connoisseurs, who have

examined them under more favorable circumstances than have done, and I dare not set up my opinion in opposition.

number of the pictures I refer to are of well-known compositions. Velazquez being Court repetitions and Painter, especially occupied in making portraits of the considerable

royal family, is quite likely to have executed many repetitions These the of those of Philip IV., his wives and his children.

King would and

require as presents for his relatives or favorites, it irksome to sit to the artist for each,

he would find

we may reasonably suppose that repetitions would often be made to serve his purpose. And Velazquez, rather than another, would be called

to execute them, since he was under the terms of the royal order, work, which expressly declares that the pensions and allowances therein named were to be in payment for portraits made and

upon

already paid for the

be made.

The number

of these is not so great but that have executed them all. It is likewise Velazquez might easily to be observed that there are hardly any repetitions of his to

XXI pictures to be found, except the portraits of the royal family, Olivares and Innocent X., subjects that might naturally be called for many times, by courtiers, or others desirous of

gaining the favor of the personages represented.

There is, no the of identical therefore, presumption against genuineness

by Velazquez. The case as to Murillo, however, is not quite the same. The subjects he chose were agreeable and popular. His

portraits

paintings were mostly religious, for which class of works the demand was constant and unlimited, not only as works of art,

but to adorn churches and convents, or to inflame devotion in As Murillo was constantly occupied, it is

private oratories.

probable that, to meet the popular want, he often entrusted the copying of his works to such of his pupils or assistants as he considered competent. Doubtless some of these copies

were executed

in his

own

their finishing touches

studio,

from

his

and they may have received

own

hand.

on good authority that Murillo did sometimes retouch the works of his scholars, as in the paintings by Marquez and Gutierrez, formerly in the Trinitarios are, in fact, told

Descalzos at

Seville.

therefore,

(See post,

sometimes be

page

141,

difficult

No.

5411.)

decide

which

might, should be considered the original and which the copy, or All must stand on their merits. repetition.

The chances in favor of the genuineness of a picture attributed to Velazquez or Murillo are not greatly strengthened by the presence of a signature. The custom of signing There are not more pictures was not common in that age. five or six paintings by either of the artists whose works are described in this volume, the signatures to which can be considered as absolutely authentic consequently it is not

than

;

safe to rely It is

on such an appendage.

much

the fashion now-a-days with a certain class, to

exalt Velazquez little

sympathy.

and decry Murillo. With such critics I have I find no difficulty in admiring both these

XX11

Each has

artists.

enough but

his merits

The

a diverse way.

;

perhaps

to admit that each has his defects. difference

ought to be frank Both were great,

between them

largely

temperaments and surroundings. Velazquez was Velazquez labored for artists and worldly Murillo, religious. Murillo for mankind. critics Velazquez painted kings, and of Murillo painted virgins, and and dwarfs, earth; things knights, of heaven. The one consorted with and saints, angels, things courtiers the other with monks. The one belonged to an order

due

to their ;

;

the other to a brotherhood whose that might honor princes The one office it was to visit the sick and to bury the dead. ;

had pensions and honors and

lived

the king's house

other painted for mendicants, and dying

than would

left

;

the

scarcely more

suffice for his burial.

Not only was there

a contrast between the artists them-

is a difference in those who observe and judge Velazquez appeals to the critical and intellectual Murillo to the sympathetic and spiritual. One fires the brain

selves,

but there

their works.

;

the other touches the heart. it

with surpassing

skill.

Each has his work and performs There is room in the world for

both. It will not do to depreciate Murillo, for if we admit that the province of art is to please, he will, measured by that standard, stand before Velazquez. More men can understand and

admire him, and rest

a public gallery

more eyes

will

seek and

his pictures.

upon For upwards of two

centuries, Murillo has

ranked as the

few admired Velazquez, but all loved painter of Spain. Murillo. It was even so during the lifetime of the artists.

first

From the day when Murillo finished his great pictures for the small cloister of the convent of San Francisco, he was famous, and the rank he then achieved he has continued to hold. It

a curious fact that Joachim Sandrat in the Academia

Nobilissima Artis

Pictorice,

published at

Nuremberg

1683,

xxm the year after the death of Murillo, and twenty-three years after the death of Velazquez, gives an account of the life of the former artist, praising him highly. Velazquez is not

named in that work, nor any other Spanish artist, unless Ribera be so classed, who did not see Spain after he left it as a boy. What makes the silence of Sandrat the more surthat he and Velazquez were personally acquainted in Rome, and that Sandrat was one of the

prising

with each other

twelve painters employed by Velazquez to execute pictures for Philip IV., the subject chosen by him being the Death of Seneca.

When

comes

to the

hard test of gold, whose works

will

bring the highest price ? Taking the world as it exists, and the market as the standard, the best pictures of Murillo have

more than those of any artist except Raphael. Until about thirty years ago, no work by Velazquez had ever sold for more than four hundred guineas. It is sold,

and

will sell,

for

nearly half a century since the Marquis of Stafford and Colonel Tomline purchased paintings by Murillo from Marshal Soult at 150,000 to 200,000 francs each.* *

The

show

the highest recorded sales of pictures

by Velaz-

For convenience of comparison, the prices are given

in francs.

following

quez and Murillo.

list will

VELAZQUEZ. FRANCS. 1

Lot

Moses 34 Venus and Cupid 2

8 Adoration of S 135 Baltasar Carlos

163

Haro

109 Philip

26 Dead Warrior

Buchanan R. Morritt 1813 Warrenden. 1837. .Duke of Abercorn

13,125

'3> I2 5

1843. .Sir R. Wallace 1846.

London Nat. Gal.

Louis Philippe... Standish

55,000

17,050 .

1853. .London Nat. Gal... " .Sir R. Wallace .

Rogers Lord Northwick

Hermitage.

1856..

Mundler Pourtales

1865

London Nat. Gal.

77,630

51.250

42,000 3',75O

1859. .Baron J. Rothschild. 1862. .Louvre

10,050 12,750

1848. .Sir R. Wallace

.Redleaf

12,500

Aguado Lord Cowley

Lady 37 Boar Hunt

133

Sir G.

136 Baltasar Carlos 155 Philip IV. ) 172 Ohvares. J

138 Baltasar Carlos 265

'799- .Lord Northwick. " .Earl of Carlisle

Orleans sale " "

24,150 23,000

37,000

XXIV Doubtless, this a shout of derision

style of

will

argument

be received with

who

scorn the thought that in coin, or that there measured be can artist an the merits of between the intrinsic and the relation should be the slightest commercial value of a work of art. Admitting that the pub-

by some

critics

lic is not always wise, I may nevertheless say, that the many are right as often as the few, and, as the result of my observation and experience, I am prepared to maintain that, in the

long run, a

man

what he

passes for

worth, that there

FRANCS.

119 Philip

268

Lady

153 Borgia 156 A Cardinal

117 Philip

1867. .Earl of Dudley ".. L. Stephens " "..

Salamanca

16 St. Clara

Duke

71,000 51,000

..Frankfort

London

of Hamilton. .1882..

Total for 21 pictures (37,345

38,000

27,100

19,300 Nat. Gal... 157,500

784,280

each)

MURILLO. FRANCS.

130 Repose

Gaignat

54 Assumption 122 Adoration of S

Houghton

426 Flower-Girl 10 Jacob and Laban.

Abraham

193 Prodigal Son

Soult "

1829. .M. of Ailesbury 1835. .Stafford House " " " .

Sir S. Clarke

1840.

St.

" .

1843

London Nat. Gal.

123 Adoration of S

Saltmarshe Redleaf

1848.

.W. Hope "

152 Holy Family

462 Murillo 29 Conception 55 Birth of Virgin

126 Flight 272

St.

Diego

1849. " ..

" .

20,475 200,000

76,125

52,500 1

7,900

160,000 75>4 2 5

74,800 I 5. 22 5

" "

2 o,475

1852. .Louvre " "

75,000 12,600

200,000 .

Soult

1850. .Earl Spencer

Ashburnham "

Wallace

399 St. Thomas of V 88 Virgin and Child.

Baron Rothschild Sir R.

Lansdowne

1846. .G. Tomline " .Sir R. Wallace

Soult

182 Paralytic

16,800

1823

John 16 Virgin and Child .... Aguado

323 1

Good Shepherd

Duhvich 795 1808. .Grosvenor House.

7,5

15,000

Taylor .Hibbert

Calonne .Buchanan

'7,535

179 Marriage in Cana.

167

470 Neve I

1768. .Hermitage " 1 779

20,725

615,300 150,000

Due de

Galliera

.D. de Pozzo di Borgo

51,500

20,000

XXV test of merit so safe

and decisive as success, none from which

so hopeless to appeal. may be certain that in the time of those now living, the verdict of the world, as to is

Murillo, will not be set aside. I say these things, not to depreciate Velazquez, whose fame needs no vindication, but simply to show that Murillo always has possessed, as without doubt he always will possess,

the public esteem. FRANCS.

378

St.

Peter

Soult

Madrazo

285 St. Francis

247 St. Antony andC. 20 Conception " 50 101 Virgin and Child. 177 Baptism of J. 260 St. Augustine 382 Magdalen

1852. .Hermitage " D. Sebastian "

Laneuville

465 Murillo

....

.W. Cave

King

of Holland

Holy Family 269 St. Diego

T. B.

Owen

40 Conception

1859. 1861

...

.. .

St.

Clara

Salamanca

St.

Rose

Dudley.

H. de Greffuhle

323 Infant Jesus

Hamilton

Dudley

Wynn

" Billings

Total for 53 pictures (62,491

each)

5,475

28,500

...

32,000

...

73,000

...

35,000

...

30,500

...

85,000 120,000

95,o 20,000

1876. .Graves

Ellis

90,000

20,000

100,000

37.000

1875. .Earl of

268

Hardy

1874.

387

40,000 .

Sir J.

Guizot

41 Conception 102 Virgin and Child

10,500

39,375

25,500

Louvre Wallace

and Boy. 169 Good Shepherd

R. L. Lloyd

John

21,000 .

Sir R.

1867. .H. Mason " Earl of

.Salamanca

183 Prodigal Son " " 185

16,500

44,100

.1857. .Aspinwall " .London Nat. Gal.

1858 "

H. Baillie Northwick

9 Jacob

37.500 17,000

.Baron Seilliere

Soult

92 Virgin and Child

20,500 .

1854. .Sir R. Wallace

34 Conception 155

26,250

" .

13 Joseph and Breth'n

St.

" .

Woman

30.000

J. T. Mills W. Wells Lord Northbrook.

107 Virgin and Child.

22.500

Hermitage

324 449

1853. .S. Sandars " Louis Philippe .... " " " ... .D. of Montpensier. " " " " "

189

Woodburn

457 Andradae

187

151,000

10,750

W. H. Smith

32,800

1882. .M. H. Arnot

60,375

3,312,010

XXVI

Both Velazquez and Murillo had their pupils and followhave founded schools. That ers, and they may be said to duration its was transient, and it exerof Velazquez small, influence on the taste of or cised no important permanent was The manner of this artist the age. peculiar to himself, and

was not more easy to impart

soul as

than to transmit his

paint the air as in the Meninas, or the in his portraits, and to do this with a few bold,

wonderful genius.

masterly strokes of the brush, is a thing that artist, not transplanted into him.

born

observed as a general rule that the great porhave not been noted as founders of schools. Titian, Van Dyck, and Reynolds were strong in this department, and It

may be

traitists

the

first

torical

who

two were

also distinguished in other ways.

or religious

painting they had

has successfully imitated them

In his-

their followers,

in delineating the

but

human

face?

The skill that was born Mazo and Carreno carried on

with Velazquez died with him. for a time the art with tolerable

and putting in practice the traditions they had received from the hand and lips of their great teacher; but their light was only a pale reflection of that which had shone upon them, and when these men in turn were gone, it may safely be said no imitators of Velazquez remained. With Murillo the case was different. He founded a and left followers whose was school, power deeply felt success, preserving

His imitators might be numduring the succeeding ages. bered almost by hundreds, and they were to be found in Seville even during the present century. Murillo's style was

much more

His easily imitated than that of Velazquez. merit was in representing familiar objects, or religious subHis Virgins and Saints were of jects, in a traditional manner. a recognized type, and with Pacheco as a guide, there was no What could be done, however, great scope for invention. Murillo did. For the rigidity, and severe asceticism of the

XXV11

previous age, he substituted

freedom

drawing, ease and unexampled richness and harmony of coloring, and a religious elevation that no artist has surpassed. His coloring was not so difficult to imitate, and in this his in

grace in composition,

disciples achieved their success, such as

The

was.

color-

ing of the School of Seville is what arrests the eye of the observer at once. It fixes itself in the mind, and charms the

But the composition, and especially the drawimagination. are And here ing, things for careful observation and study. is

the stumbling-block of

though many

tolerable success, yet

we may

test

This work those artists

the followers of Murillo.

all

have succeeded all

have

imitating

failed

Al-

colors with

his

drawing

;

by which

often detect the true from the false pictures. would not be complete without some notice of

who have

extended, as pupils,

achieved a reputation, more or less disciples, or copyists of the masters

whose works are here described.

has therefore been thought

best to give a brief account of them, not aiming to supply an exhaustive history, for I may have more to say on this subject

some

future day, but only to notice them so far as may be useful in connection with the general subject with which this

volume is concerned. It may sometimes be useful to know where to look for the works of these imitators, in order to compare their manner with that of their masters, and thus perdoubtful or spurious pictures. would gratefully acknowledge my indebtedness for assis-

haps aid I

in detecting

tance in preparing this catalogue, to the owners of the pictures named in it, some of whom have courteously supplied me with private memoranda containing information not otherwise attainable.

Thanks are

also

due to

C. Robinson, Esq.,

Her

Majesty's Surveyor of Pictures to Dr. J. P. Richter; to Messrs. to M. Paul Lefort, Christy, Manson and Woods, of London ;

;

of Paris; to Dr. Oskar Berggruen, of Vienna; to rico de Madrazo, Director of the Museo del Prado cisco

M. Tubino, Madrid; and

of Seville.

Don

;

Don FedeDon Fran-

Jose Maria Asencio,

XXV111

must ask indulgence for the efforts, have crept into this volume. some, and the critics will find more. I

errors that, despite I

all

have already discovered They are usually due to

carelessness in transcribing, or to inattention in proof-reading. the character of the matter is considered, the numerous

When

proper names, mostly foreign, the different languages from which the materials are drawn, and the nature of the matter itself,

hope the reader will be tolerant toward such imperhe may observe.

fections as

No. 9 EAST FIFTY-FOURTH STREET, NEW- YORK.

The dimensions of paintings

are given usually in the meas-

ures of the country, preferably in centimetres, that scale being the most definite and generally known.

Measurements of engravings are given in inches and tenths of an inch, exclusive of margins and inscriptions. The height of a picture or engraving always precedes the breadth. Right and left refer to the spectator and not to the picture, unless otherwise expressed. There may, however, be exceptions to this rule, since some of the descriptions have, for convenience, been written out from engravings, instead of from the picture.

Front signifies facing the spectator. full length unless otherwise expressed.

Pictures are usually

THE WORKS OF VELAZQUEZ.

OLD TESTAMENT. i.

LOT AND His DAUGHTERS.

Park, Worcestershire.

Lot

;

the other daughter

asleep on the ground with his head in

lies

the lap of one of his daughters, left

Lord Northwick, Northwick

who

points to

Three

turned ; on the right is a large rock. inches high, 70 inches wide.

From

Sodom

in flames

on the

seated at her father's feet with her back figures, full length.

^525. H. Hope No. 1686, ^147, to the present Lord Northwick. Mentioned in Buchanan, Memoirs of Painting, i. In the Lebrun sale, April n, 1791, was a repetition, 9X12.5 inches. 146. sale,

June

the

Orleans

27, 1816.

Gallery.

Sold in 1799 to Mr.

Lord Northwick

Engraved by PH. TRIERE,

line,

sale,

July 26,

Hope

etc.,

4.6x5.8 inches,

for

1859,

Couch<5,

Galerie

Palais Royal, Paris, 1786-1808, 3 volumes, folio. [The two galleries, one at Thirlestane House, Cheltenham, the other at North-

wick Park, were formed by the second Lord Northwick. On his death, in 1859, the property descended to his nephew, by whom the collections were dispersed. The sale was conducted by Mr. Phillips, at Thirlestane House, and lasted 21 days. Besides furniture, gems,

etc.,

the catalogue -included about 1,506 paintings, which and the Soult sales, the largest of

realized nearly ^100,000, being, with the Fesch

the century. Many of the pictures are praised rather than described in Hours in Lord North-wick's Picture Gallery, Cheltenham, 8vo (1843). Incomplete lists are

given in Waagen, iii. 195 ; Art Union, 1846; and in W. Hazlitt, Criticisms on Art. Some copies of the sale catalogue contain printed lists of prices and purchasers'

names. ]

VELAZQUEZ.

Earl of Carlisle, Castle Howard, holds up before the daughter of maiden Yorkshire. A kneeling Pharaoh the infant Moses, who lies naked on a basket; other

THE FINDING

or MOSES.

maidens stand around.

Ten

figures, full

96X120

length, life-size.

inches. Selected by the Earl of Carlisle in the partition of the

Orleans

Gallery, at

500 guineas. Buchanan, Memoirs, i. 146. The authenticity of this and the precedDr. Waagen attributes the present work to Gerard ing picture is doubtful. Honthorst.

Treasures of Art,

DE LAUNAY

iii.

jeune, line,

319.

x8.2, in Couche', Gal. du Palais Royal.

Escorial, Sala Vicarial 341. La Tunica de blue robe and brown mantle, sits on the right, in

JOSEPH'S COAT.

Jacob, in

Josef.

the

shadow of

his

house

;

before him, on a pavement of black

white marble, stand five of his sons, two of

whom

robe of their brother, the white lining of which another son on the feet stands

first

tearing his hair

left is

a white dog barking.

;

stained with blood

on the rug

Six figures,

and

hold the brown ;

at Jacob's

life-size.

This picture and the Forge of Vulcan were executed by Velazquez during his journey to Rome, in 1629-31, and both were evidently painted from the same

the artist to Spain and presented to the king, highly and placed them in the palace of Buen Retiro, but this one was afterwards sent to the Escorial. See Palomino, Museo Pictorico, iii. 330. It appears from an entry in the accounts of D. Francisco de Rioja, Prothonotary of

models.

They were brought by

who esteemed them

Aragon, that in 1634 Velazquez was paid 1,000 ducats (11,000 reals, about 2,750 francs) for eighteen pictures, fifteen of which were by himself. Among them were the Tunica de Josef, the Forge of Vulcan, a portrait of D. Baltasar Carlos (probably one of those belonging to Sir Richard Wallace, No. 135 or No. 136), five also a Danae by Titian, flower-pieces, four small landscapes, and two bodegones Susannah by Luca Cambiaso, and a work by Bassano. Zarco del Valle, Doc. ;

Inedit., p. 621.

This work has always been greatly esteemed, but has never been engraved. los Santos (Description del Real Monasterio de S. Lorenzo del Es-

El Padre F. de

Madrid, 1681, folio) devotes more than two pages to an account of it. An English translation of Padre de los Santos' book, by George Thompson, was published at London in 1 760, with plates copied from those in the original volume.

corial,

33.

LAURENT, photograph, No.

The Cartuxa de Xeres.

1510, Madrid.

In the

Sacristy of this convent was formerly a picture of Job on the dunghill, convers-

ing with his friends. Diccionario, v. 180; Viage, xvii., 279.

Cean Bermudez, doubted by Ponz,

NEW TESTAMENT. IMMACULATE

The

CONCEPTION.

Bartle Frere, Esq., London.

and blue mantle, with joined hands and on her shoulders, stands on a transparent globe,

Virgin, in violet robe

long hair

falling

around and through which are seen a temple, ship, trees, fountain, The face is etc.; twelve stars surround her head ; she looks down. plain,

and has the

air

Earliest manner.

of a portrait.

54x40

in.

John (No. 19) are from the Convent of Carmelitas Calzados, at Seville. They were purchased in 1809 by Mr. Frere, H. B. M. Minister to Spain, from Dean Lopez Cepero. Mentioned by Cean Bermudez, Die. v. 179; Stirling, iii. 1450 Jameson, Madonna, 49. [Don Manuel Lopez Cepero, Dean of Seville and President of the Academy of Fine Arts, was a munificent and discriminating lover of art, to whose labors and enthusiasm is chiefly due the formation of the Museo Provincial of Seville, the second in importance in Spain. His house, No. 7, in the street now known, after several changes in the French fashion, as Plaza de Alfaro, was long the home of This and

St.

;

the distinguished Alfaro family, but it is interesting to the lover of art as being the one which it is commonly believed Murillo occupied during the later years of Here Dean Cepero brought together a vast his life and at the time of his death.

works of art, many of which still belong to his heirs. After his death a catalogue was issued, in 1860, comprising 878 numbers, and the pictures were offered for sale at fixed prices. Fifty of them were sent to Paris, where a sale collection of

was held Feb.

14, 1868,

but most of the works were bought in.]

CORONATION OF THE VIRGIN. Museo del Prado, 1,056, The Father bearing a globe, and the Son bearing a Madrid. 5.

sceptre,

both hold with their right hands a crown over the head of all are seated on clouds above is the Dove beneath are ;

the Virgin

;

four winged heads,

Latest manner.

;

and two cherubs holding up the Virgin's robe.

1.76x1.34.

Painted for the oratory of the

335) an(i Cean Bermudez (Die.

Queen

in the palace at

Palomino

Madrid.

(iii.

168) think it was painted before, but D. Pedro Prado) believes it was executed after the artist's v.

de Madrazo (Catalogo Mus. second journey to Italy. It is perhaps the best of his religious pictures but Mrs. " Jameson objects to the bald head of the Padre Eterno as a gross fault in taste and ;

propriety ; because, though the loose beard and flowing white hair may serve to ' Ancient of Days,' baldness expresses not merely age, but the infirmity typify the of age." Madonna 23.

MASSARD, line, 16x12, at the Calcografia Nacional, Madrid. NARGEOT, line, 5.5X4, one of the cherubs omitted. A. JAMESON, etch., in the early editions of the

Madonna,

VALLEJO,

etch., in

al Agiia Fuerte.

facing p.

El Arte

26.

F. FACHO,

en Espana, Vol.

etch.,

1862.

Alabern,

GALVAN,

Galleria.

etch., in

Outline in ReVeil, Mus/e de Peinture, xiv. 955.

Grabador

P. L. FEILLET,

VELAZQUEZ.

4 litho.,

LLANTA,

Coleccion Litografica.

CHEVALIER,

10.6x7.5.

litho.,

9.8x7.6.

litho., 20.6x15.9. LLANTA, litho., E. C. Cos, litho., in Gal. Esp. del

Bella Arte.

THE

Sir Philip Miles, Bart., Leigh Court, Glou-

VIRGIN.

She kneels, three-quarters

cestershire.

receiving the Annunciation.

left,

Full length,

with outspread arms, as

accessories.

56.5x66

inches. Exhibited at the British Institution, 1875. Etched in the Miles Gallery. 6a.

The Cataneo

Child.

Palace, Genoa,

a picture of the Virgin and

contains

Mentioned in

Stirling,

of the Artists of Spain, J.

Annals

1393,

and by

p. 16.

THE ANGELS APPEARING TO THE SHEPHERDS.

iii.

Dafforne in the Art Journal, 1849,

1.80x1.25.

No. 219 (No. 153 of the catalogue of the Standish Gallery in W. Davenport Bromley sale, June 12, the Louvre), May 27, 1853, ,399. The Davenport Bromley catalogue says this is an early work, and 1863, ^225 i$s. that it was purchased by Baron Taylor for King Louis Philippe from the Count

Standish

de Aguila 8.

don.

who

(?).

sale,

Stirling,

iii.

1393; Waagen,

iii.

National Gallery,

ADORATION OF SHEPHERDS.

The

Virgin kneels on our

on a

380.

left,

supporting the

232, Lon-

infant Jesus,

Joseph stands beyond, holding a staff; three shepherds kneel before the Child the one on the right, with his left hand on the handle of a basket, holds up a fowl with his right hand lies

crib

;

St.

;

behind the shepherd is an old woman, bending forward a girl enters a door on the right, with a basket on her head ; in the foreground lie ;

two sheep.

Nine

figures, full length.

Purchased about 1832 in

whose house

for

in Seville

Louis Philippe

sale,

May

91x66

inches.

^4,800 by Baron Taylor from the Conde del Aguila, had remained since the time it was painted. King 1853, ^2,050, to the National Gallery.

There have been some doubts as to the genuineness of this painting. Sir E. Head (Penny Cyclopedia, art. Velazquez") thinks it may be a copy after Ribera ;

M. Viardot says it and, in fact, it is a close imitation of the style of that artist. should be restored to Zurbaran, Mustes d 'Angleterre, ed. 1860, p. 50. There is, however, no reason to doubt that it is an early work by Velazquez. Mentioned in Quilliet, Die. des Peintres Esp.,

369; Standish, Seville, 1 86. E. LINGEE, outline, 11.6x9. On wood in Illustrated London News, Dec. 23, 1854; L' Univers Illustre, Dec. 19, 1861.

[King Louis Philippe possessed a collection of paintings by the old Spanish masters which was perhaps the largest ever brought together, as well as one of the

NEW TESTAMENT.

most important. Besides the specimens of other schools, it included six hundred and fifty-six Spanish paintings, being one hundred and forty more of that school than are to be found in the famous

Museo

del

Prado

Madrid.

The

collection

consisted of two parts. That known as the Galerie Espagnole was begun about The time was favorable for the work, political disturbances and the suppres1835. sion of the religious orders having thrown vast numbers of paintings on the marThe principal agents and advisers of the king were Baron Taylor and M. ket.

made many

Dauzats, the painter, and although they

mistakes, their task

was on the

whole well executed.

The Standish Gallery was formed by Frank Hall Standish, of Duxbury Hall, Lincolnshire, an enthusiastic lover of Spanish art, who resided a long time in Spain, and wrote an agreeable and useful book, entitled Seville and its Vicinity (London, His collection of drawings, which included that formerly owned by the 1840, 8vo). Conde del Aguila, was probably the most extensive and valuable ever brought to-

we may except that which was once in the possession of Cean BerMr. Standish, dying in 1841, bequeathed to King Louis Philippe all his " books, pictures, etc., as a testimony of my esteem for a generous and polite nation, which is always ready to welcome travellers, and which I have always visited with pleasure and quitted with regret." There was a story that Mr. Standish had once offered to give his books to the British Museum and his pictures to the London gether, unless

mudez.

National Gallery, accompanying the offer with a hint that the revival of a baronetcy which had once been in his family would be acceptable, and it was said that he left the property to the king of the French through pique at the manner in which Lord

Melbourne, the then minister, received the suggestion. Rooms were assigned for the exhibition of these two collections

in the

Louvre,

the Galerie Espagnole being opened to the public in 1838, and the Standish Gallery in 1842. After the Revolution of 1848, the ex-king claimed the collections as his private property, and at the end of five years his claim was allowed. The pictures were and carelessly packed, their surfaces pasted over with newspapers, and they

hastily

were consigned to Messrs. Christie, Manson & Woods, of London. They arrived an injured state ; some were damaged by sea- water, many were without frames or with only narrow strips of gilt wood. They were badly catalogued, the circumstances and the times were unfavorable, and at the sale few of the objects realized their full in

The

was sold May 6, 7, 13, 14, 20, and 21, 1853, when i6s. bd. At the Standish sale, May 27 and 28, The drawings comprised 368 num1853, the 244 pictures brought ^9,859 \<)s. bers, and were sold with the books of the ex-king at Paris, Dec. 6, etc., 1852. There was another sale at Paris, April 28, etc., 1851, comprising modern pictures belonging to King Louis Philippe, from the Palais Royal and Neuilly.] value.

Galerie Espagnole

501 pictures produced ^27,812

8a.

Emile and Isaac Pereire. Ad-

oration of Shepherds. in the first manner.

A large From

painting

the Urquaiz

ADORATION OF KINGS.

was purchased entire at Burger, Velazquez, 290. This picture was not in the Pereire sale, 1872. Gallery, which

Madrid.

Museo

del Prado, 1,054.

The

Virgin, wearing a red robe, blue mantle, and white scarf covering her head and neck, sits on a raised platform on our right, holding with

VELAZQUEZ. both hands the Child seated on her lap, heavily draped ; before them on the left are two kings kneeling, and one, an Ethiopian, standing, all

with golden vases ; on the right is St. Joseph, on the left a servant. " date " 1619 is inscribed on the stone beneath the Virgin's feet.

The

Seven

figures, full length.

This

one of the

It is

known

history.

its

First

manner.

works of the

artist,

2.04x1.25. when he was but twenty

painted

not mentioned in any of the royal inventories, and nothing is Can it be the picture formerly in the possession of D. Fran-

years of age. as to

earliest

cisco de Bruna, and described as the "Adoration of the Three Kings, who are painted as large as life, together with St. Joseph, la Virgen, el Nino, and a servant ; the Child in swaddling-clothes ; the background is obscure, and the shadows very

R. Twiss, Travels in Portugal

strong; one of Velazquez's best pieces "(?)

and

Spain, London, 1775, 4to, p. 308.

CAYETANO PALMAROLI, ga. tion

Don Aniceto Bravo. of

figures.

than

Adora-

Kings; and Nativity, eight Companions, somewhat less

life-size.

Sevilla Pintoresca, 416.

a tradesman David Wilkie calls him a He combined with a love linen-draper. of trade a passion for art, and was so fortunate as to live at an unusually favorSir

able period for the exercise of his tastes. The invasion of the French and the sup-

pression of convents in Spain threw into the market great numbers of authentic and valuable pictures, and Don Antonio

was always ready

destroyed by a in

book,

to increase his stores.

collected with such diligence and success that when he died he had in his

ily.

litho., in

fire in

Ponz,

1832.

gc.

[Don Antonio Bravo was

of Seville.

E. C. Cos,

litho., in Col. Lite.

vii.

on the

beth, kneeling

left,

supports

St.

Joseph stands behind. Landscape background. Five figures. 60X48 inches. It was not in the Dottbtful.

John

St.

;

Denon

sale, 1826.

MAUZAISSE,

litho., in

ments des Arts,

Denon, Monu-

326. VILLAIN, litho., reversed, in Chabert, Gal. des Peintres. iii.

Chapel of the Barefooted FriLima. The Holy Family, life-size. One of his finest religious pictures. gd.

ars,

owned

ge.

D. Julian Williams formerly a Holy Family from the collec-

English and other amateurs.

tion of Torrado.

lery passed to his

Russia.

His galnephew, Don Aniceto

House Hand-

Child, seated in her lap, with a bouquet in his left hand, looks front ; St. Eliza-

also during his

Ford,

485.

Nagler, Ktinst. Lex.

many

the Chapter

no;

Baron V. Denon. Holy FamThe Virgin is on the right; the

house, No. 40 Calle de los Catalanes, more than 840 specimens, of which 377 were of the school of Seville. He had lifetime sold

Gal. Esp,

It afterwards

passed to

Standish, Seville, 186.

Bravo, whose widow dispersed it after her husband's death, about 1853.]

The painter, D. Antonio Torrado, is mentioned by Cean Bermudez as having a

gb. Giovanni Lozano, Archbishop of Palermo, purchased from Prince Philibert, at Palermo, a Nativity, which he

Andalusia and other schools.

presented to the Cathedral of Plasencia when he became bishop there. It was

collection of pictures

gf.

by the best

artists

Dic.\. xxii.

Hospital de los Desemparados, St. Joseph and the infant Jesus.

Lima.

Admirable.

Nagler, Kunst. Lex.

NEW TESTAMENT. 10.

ley,

CHRIST AFTER FLAGELLATION.

H. B. M. Minister

Sir

The

at Brussels.

John Savile Lum-

Saviour

seated on the

ground with his wrists attached by a long cord to a column on our left ; a ray of light proceeds from his head to the heart of a child, who kneels behind him, attended by an angel ; instruments of the passion lie

Three

on the ground.

figures, full length, life-size.

Purchased by Sir John, then Mr. Lumley, in Madrid, and brought to England about 1860, in which year it was exhibited at the British Institution. Praised in Jameson, Our Lord, and in Burger, Velazquez, 277. E. J. P. [oynter], etch., in Jameson,

11.

The

CHRIST AT EMMAUS. Saviour

figures, full

12.

length,

Praised by Ford in

billet

;

his

CROSS.

head

trilingual inscription.

manner.

sale,

Museo

del Prado, 1,055.

fastened with four nails to the cross

wood

Three

1.20x1.58. No. 251, purchased from a canon at Seville, The Athenaum, May, 1853, p. 653, and by Stirling, Doubted by Burger, ibi. p. 276.

CHRIST ON THE is

Perthshire.

life-size.

Velazquez, p. 192, Paris ed.

Saviour

Earl of Breadalbane,

seated with the two Disciples at a table.

King Louis Philippe ^235.

Our Lord.

falls

;

his feet rest

his right shoulder.

Dark background, no

Above

accessories.

on a is

the

Second

2.48x1.69.

" At this time (1638) he painted a celebrated picture of Christ on the Cross, lifesize, which is in the cloister of the convent of San Placido, in this city." Palomino, iii. 331. By some means this work came into the possession of the Countess of

Chinchon, and adorned her oratory in the palace of Boadilla. It was sent by her to Paris, and was with other pictures advertised for sale in August, 1826. Through

Duque de

Spanish ambassador, and the Madrid, it was finally purchased in 1828 for 30,000 reals, it having been appraised in Paris at 20,000 francs. The Countess, however, died before the transaction was concluded, and her heirs refused the exertions of the

Duque de

Villahermosa, the

Hijar, director of the

to ratify the sale

;

Museum

whereupon the Duque de San Fernando, brother-in-law

of the

Countess, and one of her heirs, ended the controversy that had arisen by choosing the picture as part of his inheritance, and then ceding it to the king. While it was it was lengthened, in order to adapt it to the place it occupied in the oratory, and a skull and serpent were added at the bottom, which have

in the palace of Boadilla

Quilliet (Dictionnaire, 374) says that Le Brun, whom he accompanied on his journey to Spain, authorized him to offer the monks of San Placido 20,000 francs for this work. M. Burger thinks the idea of this composition

since been removed.

VELAZQUEZ.

See Blanc, taken from a picture by Luis Tristan in the Salamanca gallery. An old copy is in the Capuchin Church, Madrid, and a Peintres, Life of Tristan. modern one by Pairon in the Ecole des Beaux Arts, Paris. is

MURGUIA, line, 10.1X6.5, with skull and serpent beneath, and INRI above. Nacional. S. CARMONA, line, 11.2x7.4, with skull, etc., at Calcografia J. M. S. CARMONA, line, 5X3.3. J. BALLESTER, line, 12.4X7.6, I77&, with serpent, ALLEGRE Y GORRIZ, line, 60X40 cm., at Calco. Nac. B. MAURA, etch., in etc. R. C. E. J. P [oynter], etch., in Jameson, Our Lord. Grabador al Agua Fuerte. F. TAYLOR, litho., in Col. Lito. BELL, etch., half-length, in Stirling, Annals. A.

E. C. Cos, litho., in Gal. Esp.

and brother of [The infant Don Luis Antonio de Borbon, son of Philip V., He became Archbishop of Toledo and Primate Charles III., was born in 1727. In 1735 he was created a Cardinal, but resigned all his ecclesiastical of Spain. He was married in 1776 to Doiia Theresa Vallebriga, a lady of in 1746.

dignities

born 1777, who became by whom he had three children. I. Luis Maria, II. Maria Theresa, Archbishop of Seville and of Toledo, and Cardinal in 1800. III. Louisa, born 1782, married, in 1797, to Manuel Godoy, Prince of the Peace. married to the Duque de San Fernando. The infant Don Luis obtained by purchase the Chinchon estates and titles which descended to his daughter, the wife of It was this lady who the Prince of the Peace, who became Condesa de Chinchon. to Lord Wellington the rich collar of the Golden Fleece which in 1812 quality,

presented

had been worn by her i2a. J. P.

father. ]

Weyer, of Cologne.

on the Cross. 51.5x40 inches.

Christ Collec-

tion sold 1862.

izb.

ANTHONY

1802,

No.

The

Resurrection.

Christ ascends

amidst cherubs bearing a banner; beneath is

Desenfans Catalogue,

13. ST.

44.

the closed tomb.

sketch for an

altar piece.

THE ABBOT, AND

ST.

PAUL THE HERMIT.

Museo

del Prado, 1,057. St. Paul in brown and St. Anthony in white robe, seated before a grotto, raise their eyes and hands in On the thankfulness for the food which a raven is bringing them. seen another incident in their history; two lions are making a his comgrave, while St. Anthony is praying over the dead body of a broken landscape panion ; a high rock fills the right- of the picture ;

left is

and a

river in the

One

was painted valued

background.

of the latest and

in 1659 for

300 doubloons

in the inventory

year 1700. F. BLANCHAR, litho., in Col. Lito.

graphs by

Latest manner.

2.57

x 1.88.

most important of the religious works of the master. It the Hermitage of San Antonio at Buen Retiro, and was

LAURENT and by

made

at the death of Carlos III. in the

E. C. Cos,

A. BRAUN.

litho., in Gal.

Esp.

Photo-

SAINTS. ANTHONY THE ABBOT, AND

14. ST.

original sketch of the above.

King Louis Philippe Mentioned 143.

in Stirling,

.68x-54. No. 408, from a private gallery

sale,

Annals,

ii.

PAUL THE HERMIT.

ST.

Madrid,

25.

678.

General John Meade sale, at June 26, 1847. Grand land-

received

title of Marquis de las acknowledgment of his serdraining the marshes that

the

Christie's,

Marismas

scape, with St. Peter (?) and St. Paul, the some rocks in the fore-

vices

hermits, beneath

bordered the Guadalquivir.

. ground. 3 lor. [General Meade was for

possessions was the chateau Margaux, and at his villa of Gros-CEuvre Rossini

many

years

H. B. M. consul-general at Madrid, where he died in 1849. His cabinet contained some genuine and valuable

composed the Barbiere. This

Among his

He died in

1842.

art

with

gentlemen patronized

specimens of the Spanish masters but owing to the jealousy with which he had

more liberality than taste or discretion, and was greatly imposed upon by dealers, who sold him, with many good things, a

always guarded them, they were but

far greater quantity

;

known, and sold

Lebrun

I4b. of No.

little

for insignificant prices.]

A repetition

sale, 1810.

but without the secondary scene of the burial of St. Paul. 24.5X20.5 in.

13,

Called 6lie et Elisee.

Kngraved

of trash.

which he was deceived as

The

extent

to the value

of his purchases may be judged from the fact that when, in 1839, he wished to insure the property contained in his Paris hotel, he made an inventory, in which he estimated the value of his works

192 francs.

Lebrun, Recueil, 129.

Thomas

Kibble, Esq., Lon-

don, had a landscape with St. Peter and From St. Paul, the hermits, 3X2 feet.

of art at 3,330,950 francs. Four years later they sold, with those purchased in the meantime, for 501,644 francs. The

Baron d'Este collection, Paris. I4d. National Gallery, Dublin.

Raphael,

140.

Anthony of Padua, robed

St.

monk,

holds in one hand a plate of shell-fish, and in the other a fish, which he is about to place in a tub of water fishes are

young

swimming; opposite stands a

prince, with his

Purchased

hands raised

Full length.

astonishment.

Anthony, a picture-dealer Institution,

chester, 1857.

146.

No.

1852,

London.

Man-

1862.

sale,

March

25,000 francs

Two Young

sold for 852 francs. Do. ; Persons, valued at 30,000

sold for 805 francs. Do., St. Michael, 100,000 francs ; sold for 3,500 francs. Correggio, Massacre of the In-

francs;

nocents, 50,000 francs francs.

;

sold for

,000

Do., Deposition, 25,000 francs

sold for 470 francs.

;

Leonardo da Vinci,

Two Children, 50,000 francs; sold for Titian, Queen of Sheba, 4,000 francs. 40,000 francs ; sold for 750 francs. Dome.nichino,

sold

Holy Family, 60,000

francs;

for

fig-

fortune

sold for 460 francs. Do., Woman and Negro, 30,000 francs ; sold for 1,200

martyrdom. Nine 500 francs.

28^ X. 2 1 cm.

[M. Aguado, having realized a by his enterprise in commercial

Do., Galatea, 1,250 francs. 25,000 francs ; sold for 580 francs. Velazquez, Death of Seneca, 40,000 francs ;

20,

1843, St. Apollonia attached to a

stake, awaiting ures.

in in.

Burger, Velazquez, 279.

Aguado

152.

61X48

from James Whatin 1851 from Mr.

in 1869

man, who obtained British

where other

following are specimens of his mistakes : St. John and St. Louis, valued

affairs,

francs.

A. Cano, Christ and

St. Peter,

VELAZQUEZ.

10 50,000 francs 7,400 francs. 24,000 francs

Rembrandt,

Two

Chateau de Petit Bourg.

brought 84,261

Beggars,

The

36 were published.

Cabinet de

r Amateur,

Bulletin des Arts, vol.

were subsequently sold, and plates probably fell into the hands of Virtue & Several of them were Co. of London. used in

The

pictures

marbles, 35,000

March 20-28, at his hotel, No. 6 Rue Grange Bateliere. 395 pictures and 50 marbles sold for 501,644 f. A list of the numbers and prices is given

of engravings of some of his treasures. The work was intended to comprise 240 prints, but only

f. ;

1843,

;

of the Galerie Aguado, a series

title

Pictures, etc., from the

1841, April 22.

100,000

sold for 1,300 francs. Marquis gave to the world, under

The the

sold for 525 francs. Rufrancs; sold for

;

Diana,

bens,

1843,

and

Second part of the collecproduced 58,014 f. Succession of Mar1845, Dec. 19-20. quis de Las Marismas. 1843, April tion.

B. Scott, Murillo, London,

The

sale

1865, April 10. Succession of

1873,410.

There were six sales of the Aguado pictures, of which the following is a list

M. Aguado;

nine pictures brought 84,325 1873,

May

27.

Vicomte Aguado sale.]

CARLO BORROMEO. Stafford House, Duke of SuthThe saint appears to be presiding over a religious erland, London. ST.

15.

assemblage in an arched apartment.

sketch, with eight figures.

22.5x28.5 inches. British Institution, 1838. 1 6.

ST.

CLARA.

Earl of Dudley, London.

years of age, stands three-quarters right, with a

The

palm

saint,

about

in her right

six

hand

and a cup and saucer in her left; a blue drapery covers her dark is adorned with a crown of jewels; gray background.

robe; her hair Half-length,

"from

life-size.

30x25

in.

Salamanca sale, June 3, 1867, 76x62 cm., 38,000 francs. It is daughter of Velazquez, who was born in

probably the picture sold, No. 35, the gallery of Don Sebastian Martinez,"

This

thought to be a portrait of Francisca, 1619, and who afterwards married J. B. Mazo. of

Mazo;

P. Lefort, in Gaz. B. Arts,

[DON SEBASTIAN MARTINEZ,

See Burger,

November,

in Blanc, Peintres, Life

1879.

of Cadiz, Treasurer-General of Spain, possessed

He was a great others in the extent and choiceness of his

in the last century the finest private gallery in the Peninsula.

friend of Ponz,

who

says he surpassed

all

which comprised more than 300 pictures, including works of Titian, Leonardo da Vinci, Velazquez, Murillo, Cano, and others. Besides these, he had

collection,

drawings, rare engravings, books of the fine arts, statues,

etc., all of which he threw open to the amateur and student. It would seem that his collection included part or all of that which had belonged to D. Antonio Murcia, who was the

many

liberally

first to bring together in Cadiz originals by Murillo, Cano, Luis de Vargas, Ribera, These works appear to have passed to the Marques Tristan, Orrente, and others.

Canada, of Puerto de Santa Maria, and after his death to another person,

SAINTS.

whom they came into the possession of Senor Martinez, whose heirs disposed of them to D. Manuel de Leyra. They afterwards came to England, where doubtSee Ponz, Viage, less they still remain, though few of them can be identified. from

Cean Bermudez, Die. i. xxi. note; Conca, Descrizione delta Spagna, Twiss, Travels in Spain ; Davies, Murillo, Ixxxiv. note, etc. THE MARQUES DE SALAMANCA, having acquired a great fortune by railway and

xviii. 20, etc.; iii.

320

;

other speculations, turned his attention to the fine arts, which he patronized liberally and with taste. In the magnificent palace which he built on the Prado in Madrid, and in his country house of Vista Alegre, he brought together a large and valuable His most important acquisition collection of works, chiefly of the Spanish school. was the gallery of D. Jos6 de Madrazo, the catalogue of which (Madrid, 1856, 8vo) enumerates 696 specimens. The Marques fell into difficulties. His stately mansion is now occupied by a bank, and his pictures are dispersed. The first sale

took place at Paris, June 3 to 6, 1867, when 233 pictures realized 1,632,000 francs. The second sale, Jan. 23, 1875, included, among others, many works which had

been unsuccessfully offered

17. ST.

at the first sale.]

FRANCIS BORGIA.

Stafford House.

In a handsome

white dress, with his plumed hat in his hand, he presents himself reverently before St. Ignatius Loyola, who, in black dress, advances to receive him; behind

head of

priests in a left.

St.

on the

Francis,

left,

behind

his black horse are seen;

two attendants and the Ignatius stand three

St.

doorway, which discloses a landscape; architecture on the

Eight

figures, life-size.

About 70x50

in.

This picture was captured in Spain by Soult, who sold it in 1835, with Abrathe Angels and the Prodigal Son, both by Murillo, to the Duke of Suther-

ham and

(See Murillo, No. I.) Stirling praises it highly, and suggests that it may have been executed by order of the Cardinal Archbishop Borgia, or at the request of Pacheco for his friends, the Jesuits of Seville. Annals, ii. The scene represents the arrival of St. Francis Borgia at the Jesuits' Col678. land for 500,000 francs.

lege in is

Rome.

Laynez.

Mrs. Jameson suggests that one of the companions of

A copy

in the

chapel of

St.

Francis

Francis Borgia, in the collegiate church

of Logrono. 173. St. Francis de Paul crossing the Formerly in the Carmelitas Des-

170.

Louis Philippe

sea.

490 (288).

Considered by some to calzos, Madrid. be an early Velazquez. Ponz, v. 251. ijb. St. Francis de Paul with a crook, holding with both hands a paper, inDoubtscribed, "Caritas." Bust, oval. ful. J. G. DE NAVIA, line, 5.6X4.2, at

From

Calco. Nacional.

a private

.87X-73i"j&.

St.

^15

Don

sale, 1853,

No.

the

laborer,

collection in

Madrid,

Isidore,

IQJ-.

A. Bravo.

St.

Jerome,

half-length, in prayer, contemplating a skull which he holds in his hands, and

turning his head to listen to a trumpet. Sevilla Pinto. 416.

VELAZQUEZ.

12 170.

Walsh Porter

sale,

March

I7g.

22,

March

viz.,

May 6, 1826 all at Christie's.] iji. Due d'Aumont had a St. Jerome. Very

beautiful.

18. ST.

by Mrs. Jameson, History of Our Lord,

Chabert, Gal. des Feint.

JOHN SEATED

Standish

sale,

1853,

No.

301.

THE DESERT. 93,

1,092.

of St. John Baptist in a charger, 22 is. (Lord Lindsay). Attributed to

Zurbaran by Waagen, Treasures of Art, iii. 204, and to an excellent Spanish painter

April 14, 1810;

22, 1803;

Lord Northwick sale, No.

Head

1803, St. Jerome, ^31 los. (Jennings). [There were three Walsh Porter sales,

1.40x1.06.

attributed to

the " School of Murillo,"

(Anthony). Purchased from Julian Williams. Standish, Seville, 186. Praised by Head in Foreign Quarterly, xxvi. 257, and by Stirling, Velazquez, Paris Both these authors consider this to be a genuine early work by Velazed., 192. " It is The Velazquez's well-known rustic model converted into St. John. quez. los.

The landscape in picture was considered, when in Seville, older than the Nativity. which the saint is seated is admirable. Its originality cannot be doubted." Richard Ford, in the Athemciim, May, 1853. A St. John, " from the Standish collection," was exhibited at Manchester, 1857, No. 795, by R. P. Nichols. i8a.

John,

Louis Philippe

19. ST.

collection

Seville,

Bartle Frere, Esq.

;

the Virgin

dimly seen

;

a small glory above.

in.

Companion

to the

Death of

Immaculate Conception, No.

St.

Joseph, HerThe saint lies

mitage, St. Petersburg. on a couch, strongly foreshortened, his feet front; he turns his head toward the Saviour,

a private

^35 (Hickman).

robe and violet drapery, writing the Apocalypse

eagle on his right

iga.

From

St.

-97X.68.

JOHN THE EVANGELIST.

seated, in white

54x40

sale, 407,

life-size,

half-length,

who stands by

his side; the Vir-

gin is on the other side, resting her head on the pillow four winged heads above. Three figures, half-length. 39X58 in. ;

From Houghton

Gallery.

Apprais-

ed by West and Cipriani at 200. It is not by Velazquez, and has been withdrawn from the gallery and placed in the Chancellerie of the Hermitage. In the Louvre (Dessins No. 685) is a draw-

20. ST.

PETER DELIVERED.

Hill, Surrey.

which

see.

ing for this picture, attributed to Velazquez, drawn with a pen, and washed with bistre; round top, .12 X.2o. It was

bought, with two other drawings, for 60 Mariette sale, 1775.

livres, at

ALEX. BANNERMANN, line, 9X14, in Houghlon Gallery. MICHEL, line, 4x6, in some copies of the Houghlon Gallery. PODOLINSKI, outline, in Camille de Geneve, Galerie de I' Hermitage. HIP.

ROBILLARD, Ermitage.

litho.,

MADAME

Journal des

Artistes,

Gal. Imp. de

SOYER,

No.

outline, in vi.,

Paris,

1841.

Francis Cook, Esq., Richmond

the right the saint, in yellow drapery,

being raised

COMPOSITIONS.

from the ground by an angel, who enters the prison clad in white robe and red mantle on the left three guards lie asleep a staircase leads to a door in the background. 55x74 in. ;

;

early work, in the

Louis Philippe

2oa. Peter.

manner of Alonzo Cano.

sale, 202.

aof. J. S.

St.

From

a private collection

Oates,

Peter's Repentance. size, .95

X .84. From

Madrid.

11.

Half-length, lifea private collection

(Drax.)

Peter Denying Christ.

and

2oe.

Marquis

St. Sebastian.

21.

THE

with a palm.

Santa

Wynn

Ellis

the finest

Maria,

D. Wilkie.

Sir

Life

HONOR.

Las

Meninas.

artist,

easel, painting the united portraits of Philip

in a mirror;

his work, while

by Cunningham,

ii.257.

In the studio of the

which are seen reflected

exhibited

pictures in the collection ; the tone and execution most superb.

Museo

del

a chamber in the Old

Palace or Alcazar at Madrid, Velazquez stands on the

and suspends

Burger, Ve-

2ok. Prince of the Peace, Rome. One of martyr, in a red dress.

Nagler, Kiinst. Lex.

MAIDS OF

Prado, 1062.

saint,

Saint," at British Institution, 1859. " St. Faustina " sold at his sale, June

hand

near him

seen the head of a dog. -42X.34. fine sketch, but not by Velazquez.

Lima.

to Charles O'Neil,

766. St.

seated, with a staff in one

his hat in the other;

female

2oh.

British Institu-

Stockholm Museum,

2od.

Mr. Drax purchased it. 20g. Salamanca Gallery, Madrid.

St.

tion, 1837.

Roch

sold

lazquez, 265.

Viscount Powerscourt.

2oc.

who

Erle-Drax, Esq. Presented by the her secretary, Mr.

whom

from

St.

sale, 406.

Queen of Naples

Madrid,

j^ior. aob. Louis Philippe

Stephen Stoned.

St.

Half-length, life-size, -95X.84.

left

before an

IV. and his wife Mariana,

he holds a palette and brushes,

he turns

his face to the spectator

;

the

infanta Margarita Maria, a child four or five years of age, afterwards wife of the

Emperor Leopold,

listening to

Dona

Isabel de Velasco,

daughter of D. Bernardino Lopez de Ayala y Velasco, Conde de Fuensalida, and is receiving a glass of water which is handed to her on a

by Dona Maria Agustina, daughter of Don Diego Sarmiento two dwarfs, Nicolasito Pertusano and Maria Barbola on the right, are

salver

playing with a dog;

;

Dona Marcela de

Ulloa, habited as a nun,

conversing with a guarda damas ; Jos6 Nieto, Aposentador de la

VELAZQUEZ.

Reyna, is entering the chamber by a flight of steps seen through an open door in the rear. Among the pictures which adorn the wall of Nine figures, less than the chamber is Apollo and Pan, by Rubens. life-size.

Latest manner.

3.18X2.76.

This work, one of the most perfect fac-similes of nature that art has ever produced, and which Giordano called la teologia ds la pintura, is among the latest producIt was painted in 1656, and is described at length by Palomino tions of the artist. It 342), to whom we are indebted for the names of the persons represented. unglazed, and is executed in a broad, bold style, so that we can follow almost The lighting of the scene by four windows on the every sweep of the brush. (iii.

over which the painter right, and a door in the rear, presented unusual difficulties There is a pretty tale that the red cross of has triumphed with remarkable genius. Santiago on the breast of the artist was painted by the King himself. The story is mentioned by Palomino, who, however, asserts that the cross was placed there by

command

of the King after the death of Velazquez. It was not until 1659, three years after the picture was painted and the year before his death, that Velazquez was made a Knight of Santiago. The portrait here given is the most authentic we have of the artist, and it has been etched by M. Saint Raymond for this catalogue.

In the inventory made at 10,000 doubloons. in

734,

at the death of It

was

Carlos

slightly injured

was valued which destroyed the Alcazar D. Jos6 Nieto, whose portrait

II., in

by the

and was restored by Juan de Miranda.

1700, this canvas

fire

appears in this picture, was a competitor with Velazquez for the post of Aposentador de Palacio, as appears from a document dated February 16, 1652, published in Zarco del Valle, Doc. Ine'dil., 402. F. GOYA, etch., 14.4X12.3.

Only

five

impressions are known:

In the

Royal Collection at Berlin, said to be from Cean Bermudez ; a double impresII. In the Biblioteca Nacional, Madsion, red on one side and black on the other. rid,

from D. V. Carderera.

British

III.

Belonged

Lord Cowley.

IV. Sir

Stirling-

10. Charles Morse sale, July 4, 1873, for V. In the 21. According to Senor purchased from Colnaghi in 1860 for

Maxwell; purchased

Museum,

Carderera, Goya destroyed the copper, it having been injured by leaving too long He adds that he in the acid in the endeavor to strengthen the tones by rebiting. saw in the possession of General Meade the only impression made after rebiting. Goya's drawing in red crayon, made for this etching, belonged to Cean Bermudez. '

9.4X7.9, in Grabador al Ag. Fuerte.

P. AUDOUIN, NANTEUIL, lith., in Joyas Pint. E. C. Cos, litho., in Gal. Esp. JUAN MARTINEZ, litho., about 12x10. Outline in Reveil, M^lsee de Peint. xiv. 971. On wood in La Illustration Esp. y Amer. March 30,

Die.

v. 172.

line,

i8.2X 15.4,

MAURA,

etch.,

799, at Calco. Nacional.

1877.

THE MAIDS OF HONOR. Walter Ralph Bankes, Esq. Kingston Lacy, Dorset. An original sketch of the above, with varia22.

tions.

the

The head

King

of the artist himself

seen in the doorway.

56X48

reflected in the mirror,

inches.

and

COMPOSITIONS.

Purchased by J. W. Bankes about the beginning of this century, from the heirs Mentioned by Cean Bermudez, Die. i. xxiv. and v. 172. British

of Jovellanos.

Institution, 1823, 1864;

Artista

(i.

Royal Academy, 1870.

14) asserts that the heirs of Jovellanos

sketch mentioned by Cean Bermudez.

THE

23.

Las

SPINNERS.

The scene

1061.

still

had

in 1835 the

(?)

Museo

Hilanderas.

del

Prado,

passes in the Royal Tapestry Manufactory of Santa

In the foreground an old woman at her spinningIsabel, at Madrid. wheel turns her head to speak to a girl behind her, who is drawing back a red curtain ; a girl in the centre, carding wool, suspends her

work

to observe a cat sleeping at her side

;

another, on the right,

winds yarn from a reel behind her is one entering the chamber with a basket in an alcove in the background are three ladies examining a Latest manner. piece of tapestry. Eight figures. 2.20x2.89. ;

;

This masterpiece of Velazquez was painted about 1656 and was formerly in the Buen Retire. " Parece no tuvo parte la mano en la execucion, sino que se

palace of

pinto con sola la voluntad," Raphael Mengs, Carta al Aulor, in Ponz, Viagt A copy by Collier is in the Ecole des Beaux Arts, Paris.

vi.

225.

MILIUS, etch., 9X12. 1880.

January,

MAURA,

etch.,

233.

IJ.

Two

and

iff

L'Art, 1874,

etch.,

12X16, 1870,

Outline in ReVeil, Afuse'e

repetition

GALVAN,

at Calco.

Feint.

Nacional.

changes,

of the heads are seen front instead

of in profile the arms and hands have not the same movement ; there are more fig;

ures in the background

24.

a vase

intro-

etch., in Gaz. B. Arts, Grabador al Ag. Fuerte. B.

GAUJEAN,

E. C. Cos,

litho., in

Gal. Esp.

Blanc, Peintres, and in Scott, Murillo.

duced

in place of the cat.

From Urquaiz

gallery, Madrid.

Burger, Velazquez, 290. According to M. P. Lefort, this is a modern fabrication by Eugenio Lucas, Gazette des

Beaux

Arts, Nov. 1881, p.

406.

THE FAMILY OF VELAZQUEZ.

Vienna.

Belvedere S. VII., No. 14. In a well-lighted chamber are seen twelve figures which are

commonly is

;

iv.

1875, in

On wood in

Pereire, Paris, had a

of the above with

8.2XH,

said to represent the family of Velazquez.

Juana, his wife,

seated in the foreground with two children standing at her knee

the

left

her daughter Francisca with three other children

;

Juan Bautista Martinez del Mazo, the husband of Francisca, stands on the

extreme

left

with a young

man who

called a

;

younger brother of

Juana; a green curtain behind them bears a coat of arms consisting of an arm holding a mallet Velazquez, in an alcove in the rear, with ;

VELAZQUEZ.

16 his

back to the spectator,

approaches him with a J.

KOVATSCH,

Gemdlde Gal. in

line, in

painting a portrait of a lady

child.

Figures two-thirds

Haas, Gal. de Vienne.

life-size.

W. UNGER,

a servant

;

1.50x1.71-

8.3X10

etch.,

Wim.

Stirling (Annals, ii. 671) considers this the most important work of the master out of Spain, and upon it he founds the conjecture that Velazquez had at the time it was painted four sons and two daughters. The writer, however, is unable to concur in this opinion, and he confesses that he cannot recognize in the picture

hand or the family of Velazquez. Juana, the wife of our artist, is represented as about thirty years of age, and the mother of six children, of whom the eldest is not less than twenty years old. The either the

down to us concerning the kindred of Velazquez are scanty, but the following facts are well authenticated. His marriage took place the 23d day of April, 1618, and the fruits of this union were two children Francisca, who was records that have come

and Ignatia who was baptized January 29, 1621, in extremis. That the latter died young is certain, since Francisca, at the time of her marriage There is neither with Mazo, in 1634, was styled the only daughter of Velazquez. record nor tradition of any other children than these. Pacheco is not known to have born

May

18, 1619,

child than Juana, who married Velazquez. See Asencio, Pacheco, 27. Zarco del Valle, Doc. Inedit, 401, 410. Mazo had several children, muchos hijos, but Cean Bermudez mentions the names of only two, Caspar and Baltasar. His wife Francisca died in 1658 or earlier.

had any other

The

artist

whom we

see at his easel shows us only his back, and it is difficult who, judging from his portrait in the Meninas,

to recognize the figure of Velazquez, was not so tall or thin as the person

shown in the above picture. The face of the young man called Mazo does not in the least correspond with the portrait of him by Esteban March in the Museo del Prado, No. 779, which is engraved in part in Blanc, Peintrcs, art. Mazo, and which shows him to have been a thin, spare man. Nor does the portrait of Juana resemble that in the Museo del Prado, which commonly passes for the wife of Velazquez. See post No. 261. After careful consideration, the writer is inclined to believe that the coat of arms displayed in the above painting is the punning signature of the painter, Mazo, whose name signifies a mace or mallet that the artist standing before the easel is Mazo himself, and that the scene depicts the family, not of Velazquez, but of his son-in-law with his muchos hijos, or and this opinion is possibly the family of some friend or patron of Mazo; ;

strengthened by the fact that the style of the the great master.

25.

MEETING OF ARTISTS.

work

Louvre,

recalls the pupil rather than

554, Paris.

Thirteen persons

in picturesque costume, divided into three groups, stand in varied atti-

tudes, engaged in animated conversation

the portraits of Velazquez and Murillo

;

among them,

may be

it is

recognized.

thought,

.47x-77-

This picture, known as the Conversation of Velazquez, was presented to the Duchess of Alba, by Don Gabriel, son of King Carlos III., whose mark is on the canvas. After the death of the Duchess in 1801, her pictures were sold, and this

CLASSICAL SUBJECTS. one

whom

hands of a refugee, from

into the

fell

Marquis de Forbin-Janson,

whose

sale,

May

was purchased in 1827 by the 2, 1842, it was withdrawn at

f. It was purchased from M. Laneuville in 1851, for 6,500 f. ED. MANET, etch., g.6x 15, reversed. G. W. THORNLEY, litho., iox 16, 1879. On wood, in Blanc, Peintres ; Art Journal, 1852, p. 364; Scott, Murillo ; Gaz. B.

5,800

Arts, Sept. 1879; J. F. Robinson, Great Painters.

26.

A DEAD

WARRIOR.

Gallery, 741, London.

The

Muerto.

Orlando

Called

National

paladin Roland, invulnerable to the

sword, was squeezed to death at the battle of Roncesvalles, by Bernardo del Carpio. His body lies extended across the canvas, the

a brass lamp hangs rock above ; a skull and from the suspended from a branch growing bones near his feet. 41X65 inches. right

hand on

Purchased

his breast, the left at his side;

Pourtalis sale, March 27, 1865, for 37,000 f. The catalogue was formerly in one of the royal palaces of Spain, but it is not

at the

of that sale says

mentioned by any of the old authors, nor in any of the royal inventories. However striking and admirable the picture may be, its authenticity must be considered doubtful. In the collection of M. Cremer, at Brussels, is an old copy which was F. Reiset, in Gazette Beaux Arts, June, a at sale in Paris as an original. bought 1877.

Stirling,

FLAMENG, 26a.

Annals, 680. etch., in Gaz.

Lord Northwick

B. Arts, 1865. sale,

1859,

and

In the copy, Velazquez his brother. substituted for Rubens' brother. From

Four Philosophers, a copy of the picture by Rubens in the Pitti GalThe original contains lery, No. 85.

the portraits of Lypsius.Grotius, Rubens,

^37

No. 258.

27.

BACCHUS.

Prado,

1,058.

the Urquijo Gallery, Madrid ; brought to England by the Duke of San Carlos, 6s.

(Capt. Ridgway).

Los Borrachos, or Los Bebedores. Museo del half-naked Bacchus, crowned with vine-leaves,

The

enthroned on a cask, and smiles as he places a leafy crown on the head of a young soldier who kneels before him ; on the left is a sits

peasant seated, and another, naked and crowned, reclining on a bank with a cup in his hand ; on the right, five jovial peasants, one of them laughing, observe with

background.

First

interest the comical

manner.

ceremony.

Landscape

1.65X2.25.

Stirling assigns this work to the year 1624, founding his opinion on the signature to the sketch owned by Lord Heytesbury. But the authenticity of that signature may be questioned, since it was not customary for Velazquez to sign even his

VELAZQUEZ.

18 much

Moreover, it is certain that the payment of above painting was not made until five years later than that date, as appears from a document still preserved in the Royal Archives of " Diego Velazquez pintor. Cargo de quatrocientos Spain, dated July 22, 1629. ducados en plata, Los trescientos a cuenta de sus obras, y los ciento por la de una " Gaz. B. Arts, Nov. 1879, p. 421. pintura de Baco que hizo para servicio de S. M. finished works,

less his sketches.

100 ducats

("275 francs) for the

According

naire, 369.

Quilliet, the picture

old copy

was taken

Museum

in the

by the French. Diction-

to Paris

Naples. some resemblance to the celebrated

The subject, style, and coloring offer The scene is picture of Silenus in the Naples Gallery, painted by Ribera in 1626. irresistibly comical, and the success of the artist in seizing a laugh and fixing it on the canvas, without converting

VELAZQUEZ

into a grimace, is an unparalleled

triumph of skill.

11X14. Signed Diego Velazquez, ft. 7 figs. only. F. GOYA, etch., Mentioned in Nagler, Kilnst. Lex., and in Andressen, Handbuch. 11.5x15.4,1778; rare; the copper is lost. H. ADLARD, etch., after Goya in StirALABERN Y FATJO, etch., 5.1X7. PINEDA, etch., in Grab, al Ag. ling, Amials. M. S. CARMONA, line, Fuerte. A. MASSON, etch, in Gaz. B. Arts, Sept. 1879. A. BLANCO, litho., in Col. Lite. C. NAUTEUIL, 14. 1X20.3, at Calco. Nacional. D. VALDIVIESO, litho., 10.8x14.5. E. C. Cos, litho., in litho. in Joyas Pint. Outline in Reveil, Muse'e de Feint. Gal. Esp. 'JUAN MARTINEZ, litho., 10x14. On wood in Blanc, Peintres; Scott, Murillo ; Art Journal, Dec. 1852; Viardot etch.,

(?),

Hist, of Painting ; Wurzbach, Klassiker der Malerei.

28.

Lord Heytesbury, Wilts. A

BACCHUS.

sketch of the above

there are but six figures ; among them a negro ; " the kneeling figure is fully draped. Signed Diego Velazquez, 1624."

somewhat varied

32x39

;

inches.

Purchased from Simone, a

picture dealer

Naples.

Waagen,

iv.

387.

Stirling, 597.

29.

Two

peasant holding a the

left

Robert

PEASANTS.

bowl

shoulder of the

of Bacchus, No. 27.

30. ESOP.

Oval,

Museo

Sketch of two figures in the picture

first.

Purchased from L. Viardot.

del

Holford, Esq., London. A and another peasant looking over

in his hands,

inches.

27x33

Mentioned

Prado,

Annuaire

des Artistes, l86l,p. 135.

1,100.

old

man

with a

coarse gray garment fastened about his middle, stands front, with a

parchment

folio in

his right

of his dress ; on the ground i.79X. 94

;

his left

a tub.

thrust into the

Full length.

bosom

Latest manner.

This picture and

command

hand is

its

companion, Menippus, No. 32, were probably painted by

of Philip IV. for the royal palace.

Though

greatly celebrated, especially

CLASSICAL SUBJECTS.

Mr. Ford says Esop looks Handbook ii. 689. A copy by

through engravings, they are not of the highest quality.

like a shirtless cobbler than a philosopher.

Provost F.

before

in the Ecole des

GOYA,

Beaux Arts,

letter.

sold at His de la Salle sale, 1856, for 45

copy

f.,

and

now

Inscribed Esopo el fabulator,

II.

Stirling-Maxwell. artists.

Paris.

11.8x8.5, 1778, at Calco. Nacional. There exist, I. Proofs impression with the etching of D. Baltasar Carlos on the back,

etch.,

in the collection

Biblioteca Nacional, Madrid.

the

The modern impressions

of Sir

with the names of the

etc.,

Prints

III.

inscribed

Goya's etchings after Velazquez may be distinguished by their being on very white vellum paper. Sir W. Stirling-MaxSacada,

etc.

all

well bought Goya's drawing for this etching at Charles Morse sale, July 4, 1873, for ^2.5. C. ALABERN, etch., in Alabern, Galleria. LAGUILLERMIE, etch.

GALVAN, etch., in Arte en Espana, vol. ii., and in Grab, al Ag. FRANCH, etch., unpublished. M. ESQUIVEL, directed by F. Muntaner, SOULANGE TESSIER, litho., in Joyas de la Pint. line, 19X9.5 at Calco. Nacional. E. C. Cos, litho., in Gat. Esp. On wood in L'Art, Dec. 1878, and in Illustration (11.3x6.3). Fuerte.

Esp., Sept. 16, 1873.

31.

MARS.

Museo

del Prado, 1,102.

naked

figure seated

and red drapery at his side ; a with blue drapery helmet on his head, and pieces of armor at his feet ; his chin rests on his right hand light brown background. Latest manner, i.ygx.gscovering his middle,

;

Probably painted after the second journey of Velazquez to Italy. It is first mentioned in the royal inventory in 1772. A drawing in red chalk, formerly in the Jovellanos collection, is in the Royal Institution at Gijon. PINEDA, J. VALLEJO, etch., 8.2x4.5, reversed, in El Arte en Espana, vol. i. G. R. LE VILLAIN, line, 17x9.1, 1797, at Calco. Nac. etch., in Grab. Ag. Fuerte. Madrid. V. LOUTREL, litho., in Joyas Pint. E. C. Cos, litho., in Gal. Esp.

MENIPPUS.

32.

Museo

del Prado, 1,101.

old

man

stands

turned to the right, looking front, wearing tattered garments, and a cloak which he holds to his breast with his

and

roll

open

left

hand

of parchment are on the ground before him

folio.

Companion

No. 30.

Latest manner.

;

jar, book, behind him an ;

i.79x-94.

Fortuny made a large copy of the bust of this picture, which hung in his studio for many years. A copy by Prevost is in the Ecole des Beaux Arts, Paris. F. GOYA, etch., 11.9x8.6, 1778, at Calco. Nacional. There exist, I. Proofs before letter. An impression was io Paul Lefort sale, January 28, 1869. II. Inscribed Menippo

LAGUILLERMIE,

xii.

lished.

filosofo, etc.,

etch.

with

(11.4x6.3).

MAURA,

names.

III.

LHUILLIER,

etch.,

artists'

Inscribed Sacada, etc.

12.2x6.3, in

VArt,

etch., in Grab, al

Ag. Fuerte. FRANCH, etch., unpubM. ESQUIVEL, directed by F. Muntaner, line, 19x9.5, at Calco. Nacional.

1878.

SOULANGE TESSIER, litho., wood in Gaz. B. Arts, Aug.

in Joyas Pint.

1880.

E. C. Cos,

litho., in

Gal. Esp.

VELAZQUEZ.

MERCURY AND ARGOS.

Museo

del Prado, 1,063.

Argos Mercury, bearing a sword, approaches stealthily on his knees, and is about to dispatch the Latest manner. slumberer; lo lies behind them in the form of a cow. 33.

reclines against a rock

right, asleep

;

height was formerly only .83 cm.

The

1.27x2.48.

on the

This picture, and a companion representing Apollo flaying Marsyas, now lost, are mentioned in the inventories of the old palace at Madrid. Jos VALLEJO, etch., 3.6x10, in El Arte en Espana, 1862. GALVAN, etch., in E. C. Cos,

Grab, at Ag. Fuerle.

litho., in Gal.

Esp.

VENUS AND CUPID. Robert Morrit, Esq., Rokeby Park, The Goddess, entirely naked, reclines at full length on a

34.

Yorkshire.

purple couch raised,

her back

;

and we see her

turned to the spectator; her head

kneels on the couch near her feet ;

crimson drapery.

slightly

by Cupid, who behind her hangs a green and

face reflected in a mirror held

Full length,

Latest manner.

life-size.

one of the very few representations of the undraped form produced in Spain, where the Inquisition, as Palomino informs us, decreed a penalty of 1,500 ducats besides excommunication and a year's exile against the painter of an immodest The style indicates that it was executed in the last years of the life of picture. Velazquez. We know that he painted two pictures of this character, Venus and l Adonis, and Psyche and Cupid, both of which, IX l /i varas in size, were inventoried in the Alcazar at Madrid, Salon de los Espejos, in 1666, 1686, and 1700. This

when The Venus and Adonis must The Psyche after that time.

After that date they disappeared, and doubtless both were in the Palace it

was destroyed by

have perished

fire

on Christmas night, 1734.

in the flames, for

and Cupid was probably

hear nothing of it In support of the supposition that it was the be observed that the canvas is black near the head

saved.

picture above described, it may of Cupid, an effect that may be attributed to the action of great heat. After the fire, as Charles III. had but little love for art, especially for the school of Velazquez, it is

not

difficult to

believe that he parted with this painting to the Duke of Alva, in " it was first noticed Entre algunos quadros de by Ponz in 1776.

whose possession

Velazquez es muy celebrada la Venus eschada de espaldas, cuya cara se ve en un It is also espejo, que se finge acia donde mira la figura." Ponz, Viage v. 302. mentioned by Conca, Descrizione della Spagna, Parma, 1 797, 4 vols. 8vo, vol. ii. This picture and a companion, 236, and in Cean Bermudez, Diccionario, i. xxiii.

Sleeping in 1813,

Nymph, by Titian, were bought by Mr. and were

Wallis from the Prince of the Peace

Buchanan's hands for

sale.

Mr. Morrit purchased the

Venus and Cupid on

the recommendation of Sir Joshua Reynolds for The 500. Titian is said to have been returned to Spain. See Buchanan, Memoirs, ii. 243 ; also a long and interesting account by D. Pedro de Madrazo in La Illustration

Esp.

y Amtr., Nov. 8, 1874. Exhibited at Manchester, 1857. Engraved on wood in La Illust. Esp. y Amer., Nov. 8, 1874.

HISTORICAL SUBJECTS. 35.

THE FORGE OF VULCAN.

Apollo, whose nakedness

Museo

del

Prado,

1,059.

only partly covered by a yellow mantle, enters the smithy of Vulcan and narrates to him the infidelity of

Venus

the injured husband suspends his

;

the astounding news listen

four Cyclops

;

to the scandal.

manner.

GLAIRON,

line,

Gal. Esp.

353. Arthur air

H. Smith-Barry, Esq., Cupid

in the

with small, dead birds;

near

cabbages and a melon.

Waagen, iv. 410. Smith-Barry, Esq., exhibited at ManChester in 1857, Cupid seated on a wall surrounded

evidently after the

attributed

by game;

Comte Maison,

Paris.

Cupid

overturning a statue and an altar dedicated to Pan ; the flowers which adorned are scattered

on the ground.

Peintres, Life of Velazquez, p. 15. aire des Artistes, 1861, p. 132.

3jc. In

the Choiseul,

Blanc,

Annu-

Prince de

35d. Calonne sale, March 22, 1795. Satyrs, with a tigress and her young, Sold as a Murillo for Resold l$J Io^April 27, 1795- Sold as a Velazquez at

At sale, May 17, 1798. ,168. Edward Coxe sale, April 23, 1807, it

Bryan

chanan, Memoirs,

^99

15^.

Bu-

240, 285.

350. Aguado sale, 1843. The Death of Seneca. physician and a slave place the philosopher in the bath into which

another slave pours water; secretaries occupy themselves in writing his last words.

Seven

Conti, and

figures,

Menageot sales were a francs. Valued DanaezxAz. Mars and Venus. See Blanc, No. 146 note.

36.

Tresor. They were probably not Velazquez, and have disappeared,

sold as a Velazquez for

Preti.

1,060.

same models

ENRIQUEZ, line, 16x21, at Calco. National. E. C. Cos, 5x6.6. J. JOLLIVET, litho., in Col. Ltto. D. VALDIVIESO, litho., 11.5x14.6. Outline in ReVeil Mus/e.

Second

etch.,

are two ducks; in the foreground,

35b.

six figures.

15.2X20.8, 1798.

Hall, Cheshire.

Marbury

him

right cease their labors to

2.23x2.90.

ALABERN Y FATJO,

open

at the anvil to receive

Greyish background;

Painted in Italy in 1629-31. It Tunica de Josef, No. 3, which see.

litho., in

on the

work

1.48x2.32, 460 See

at 40,000 francs.

SURRENDER OF BREDA. Las Lanzas. Museo del Prado, The Marque's de Spinola accompanied by his officers, in the

presence of the Flemish and Spanish armies, advances to receive the

keys of the City of

Breda from the Governor-General, Justin of

Nassau (June 5, 1625). The Conqueror holds his hat in his left hand, and places his right on the shoulder of his vanquished foe, who, bending forward, offers the keys ; in the foreground, on the right, is a horse, beyond which are soldiers bearing

lances,

which give the

VELAZQUEZ.

22 its

picture habit, a

the

wide

artist

the extreme right

name; on

falling collar,

a soldier wearing a grey

and a hat with white

himself; in the background a

Second manner.

seen.

feathers, said to

camp and

fortifications are

3.07x3.67.

The Painted about 1647 for the Palace of Buen Retire, Palomino iii. 335. artist took unusual pains with this work out of respect to the memory of Spinola, It is one his friend and traveling companion on his first journey to Italy. of the finest historical pictures in the world. There is an appearance of immensity ; there are no more than twenty figures in sight, and yet we have the idea of an army.

who was

In the background

see miles and miles of low,

dotted with fortifications, and then the sea.

flat

country, here and there be the original

picture, purporting to

sketch for this composition, with some variations, was offered for sale at Paris, Dec. 27, 1859, at an upset price of 25,000 francs. It was returned unsold to Spain, and

Senor Resales, in Granada. See Notice sur la etc. de Paris, 1859, 8vo, 16 pp.; also Burger, in Velazquez, magnifique esquisse M. Thore (Revue de Paris, 1835) mentions a partial Gaz. B. Arts, xvi., 207. A copy, begun by sketch which belonged to Soult, but it was not in his sale.

may be now

in the possession of

Henri Regnault, but finished by another hand, is in the Ecole des Beaux Arts, Paris. In the Louvre (Dessins, 459) is a drawing in crayon of a horse seen from behind, with many figures standing in the background ; among them a personage placing From the collection of his hand on the shoulder of another ; .239 mil. X. 190 mil. P. J. Mariette.

LAGUILLERMIE, etch., 13.4x16. B. MAURA, etch., 12.9x16,1871,31 Calco. F. DE CRAENE, litho., in Col. Lito. E. C. Cos, litho., in Gal. Esp. BACHILLIER, outline, 1850. Outline in Re'veil, Musee.

Nacional.

363. Altamira sale, June 21, 1827. Valencia del Po attacked by the French

and defended by the Spaniards, ^39 \f>s. Resold May 24, 1828. This is perhaps the picture formerly in Buen Retire, painted by Juan de la Corte, a pupil of The Velazquez, who died in 1660.

head of D. Carlos Coloma quez

himself.

Ponz, Viage,

by Velazvi.

129.

Cean Bermudez, Die. i. 364. Conca.i. 68. [The present Conde de Altamira is also Marques de Leganes and Duque de San Lucar, which titles, with the San Lucar estates, were derived by descent in the female line from Olivares.

See No. 166. ]

36b. Expulsion of the Moors from Painted in 1627, in competition

Spain.

with V. Carducho, Caxes, and Nardi. full

description

given in Palomino

A iii.

It was proband Stirling, ii. 599. ably burned in the fire which destroyed the old palace or Alcazar at Madrid in

327,

1734.

As a reward

contest, Velazquez

of his success in this

was appointed Ugier

de Camera. 360. Aguado sale, No. 141, Marche Some horsemen in armor de Cavaliers.

moving towards the declivity of a hill, on which they are seen. Nine figures, are

.65

X -83.

650

francs.

HUNTING SCENES. THE BOAR HUNT.

37.

Philip

IV. and numerous

National

Gallery,

197,

London.

courtiers are hunting wild boars in the Pardo,

a royal hunting seat on the Manzanares, two leagues from Madrid. Within an arena inclosed by canvas walls two boars are pursued by the royal party,

among whom

thought possible to recognize the the Cardinal Infant, ;

King, with Olivares near him on a bay horse

Don

and Juan Mateos, the on a white horse with long mane outthe arena are many spectators mounted and on foot, besides Fernando, behind him on a white horse

;

royal huntsman, an old man, side

ladies in carriages.

ground, wooded

Queen

hills.

;

Isabel

in the

feet 2 inches

second carriage.

Back-

10 feet 3 inches.

" In the Royal Palace at Madrid, in the sala grande, or pieza de comer, was Una diversion de casa en el Pardo, en que hay figuras chicas de mucha naturalidad y

Cean Bermudez, Die. v. 179. It was presented by Ponz, Viage, vi. 54. Ferdinand VII. about 1820 to Sir Henry Wellesley, afterwards Lord Cowley, Mingusto."

ister to Spain, 1810-13,

who

1846 sold

to the National Gallery for

All the hunting scenes were executed before the

Photograph

in Virtue,

National Gallery, 4

first visit

2,200.

of Velazquez to Italy.

vols., 4to.

[The purchase of this painting was the occasion of much unfavorable comment and the charge having been made that the canvas had suffered greatly at the time by repainting, the matter was inquired into by a Parliamentary Committee. Considerable testimony was taken, and the opinions elicited as to the value of the work were, as might have been expected, conflicting. Among the witnesses examined was Mr. George Lance, who testified in substance that, about 1833, Lord Cowley having commissioned Mr. Thane to clean and reline the picture, the person employed for that purpose had carelessly blistered it with hot irons. Mr. Thane was greatly distressed, and engaged Mr. Lance to repair the mischief. According to the statement of this witness, portions of the work were entirely gone, leaving only the bare canvas whole groups of figures and a portion of the foreground had disappeared; of the group on the right the outlines were utterly effaced; the whole of the centre was destroyed, with slight indications here and there of men a portion of the landscape as large as a sheet of foolscap was laid bare he repainted ;

;

nearly

all

the foreground without any other guide than his own imagination ; he six weeks on the work, and his brush went over more than one-

was engaged

half the canvas.

The

witness acknowledged, however, that he had recently seen

the picture, and that most of his Select Committee

work had disappeared.

on the National Gallery,

p. 346, etc.

See Report from the

Parliamentary Papers, 1853.

The A thenceum, April 7, r William StirIn the same journal, September 20, 1856, p. 1,165, He states that he has procured a tracing from the copy in the Madrid ling replies. Gallery, made by Goya about 1820, and inasmuch as the restored picture and the Mr. Lance

reiterates his statements in a letter published in

1855, p. 407.

tracing agree, with only inconsiderable variations, it is very evident that the work of Mr. Lance was not so extensive or important as he claimed. The controversy

VELAZQUEZ.

much attention at the time, that this account of it may not be without The writer would add that although the picture does in its present state

attracted so interest.

in one spot traces of heat, yet there are no signs of such repairs as were alleged to have been made. ]

show

38.

Sir Richard Wallace, Bart., London.

THE BOAR HUNT.

sketch of the above, but most of the figures in the foreground are

About 24x42

wanting.

inches.

1,036, ,325 los. to the Marquis of Hertford, who bequeathed his inestimable collection of works of art to Sir Richard Wallace. It is probably the picture which was brought to England in 1826, by Sir Lionel Hervey,

Lord Northwick

sale,

No.

formerly Minister to Spain, and exhibited by him at the British Institution, 1835.

39.

A GROUP

OF FIGURES.

The men

Countess Cowper.

red and grey, the priest between them, and some of the other figures that are seen in the Boar Hunt, No. 37, with an arch and buildings in the

background.

30)^x37

inches.

England by Lord Grantham, who was H. B. M. Minister to Brought It passed by descent to Earl De Grey, and to the present owner. Spain, 1771-83. British Institution, 1852. Noticed by Head, Handbook, 159 note, and by W. Stirling, letter in The Athenaum, September 20, 1856, p. 1,165, wno sta tes that Lady De to

Dustanville has a copy by Gainsborough.

40.

and

Lord Ashburton, London.

THE STAG HUNT.

his courtiers are

an amphitheatre

end raised

seats filled with

inclosed with canvas walls, having at the spectators.

Among

Philip IV.

hunting stags in the Pardo, in

the personages represented

may be

distinguished

Queen Isabel, Olivares, Velazquez standing uncovered in the foreground, and Alonso de Espinar, Aide to Don Baltasar Carlos the same who is mentioned at No. I42C and 164. 72x96 inches. the King,

;

Purchased by Mr. Baring from the ex- King, Joseph Bonaparte, who took it from the Royal Palace at Madrid. It was painted before 1629, and is described in the royal inventories as " Caceria de Felipe IV., en que estaba la Reyna ocupando con sus damas un tabladillo." In 1714 it was in the Alcazar, Torre de la Parada; in 1

772

p. 591,

41.

was in the new palace, antecamera de la Princesa. Catalogo Mas. Prado, and No. 1,105. British Institution, 1840. Royal Academy, 1871.

HUNTING SCENE.

mined by the by

setting sun

;

The

Escorial

broken landscape.

seen in the distance

Louis Philippe sale, No. 491. ^410 (to Pearce). Annals of the Artists of Spain, ii. 683.

Stirling,

illu-

2.45x2.15. Mentioned and praised

LANDSCAPES. D. Jose' de Madrazo. CataNo. 437. Landscape. In the fore-

413. logo,

ground are several dogs looking at a deer which has been killed by the hunter who accompanies them.

From

sketch.

.44X.93.

Iriarte Gallery.

[D. Bernardo Iriarte, Vice-Protector of the Real Academia de San Fernando, was at the end of the last century a noted amateur and collector. He is favorably

by Cean Bermudez, Carta, 105

noticed

and Die.

xxiv. ]

A Martinez. 4ib. Jorge Diez hunter apparently just leaving his house ; probably a sketch for a large picture. Sevilla Pinto. 488.

4ic.

different

Boar Hunt

in the

dimensions from

Museo

LANDSCAPE.

42.

Villa Medici at

Pardo, of

that

Rome.

the

National Gallery, Cat.

Mus. Prado,

mentioned

Royal inventories

the

1637, 1686, 1772.

p. 591.

In the inven-

tory of Charles II. was a hunting scene in which Philip IV. and his brothers, D.

Carlos and D. Fernando, pursue a boar on horseback. It was perhaps destroyed

fire

with the Royal Palace in 1734.

P. Lefort, in Gaz. B. Arts, September,

1879, p. 236. 4id. An old Shepherd, with a dead fox at his feet, was enumerated among the

Prince of the Peace, which were sequestrated in 1813. The picture was returned to the Countess of Chinchon as her private property, and sent to Paris effects of the

for sale in

Prado,

1826.

Catalogo

Museo del

p. 683.

del Prado, 1,106.

Garden of the

Stretching across the canvas

a wall or

surmounted by a balustrade, and pierced with an arched openwhich is closed with planks; in the ing foreground are three men A conversing, and beyond the terrace a thick grove of cypress. terrace

sketch.

.44X-40.

This and No. 43 were painted in 1630, when the artist, during his first visit to Rome, occupied for two months the Villa Medici. The villa is now the home of the French C.

Academy. AURAJO, litho., 8.9x7.5,

El Arte

en Espana,

torn.

1862.

On wood

Gaz. B. Arts, February, 1880.

43.

which

Museo

LANDSCAPE.

Villa Medici. trees

44.

LANDSCAPE.

Prado,

and buildings are seen;

Companion to the above. Wood engraving in Gaz. B.

Rome.

del

A vine-covered portico

1,107.

Garden of the

having three openings, through

two men

in the

foreground.

.44X-38. Arts, February, 1880.

Museo

del Prado, 1,108.

Arch of

Titus, at

an archway through which buildings are seen, and beneath which stand two men conversing ; a wall extends from 4

the right

VELAZQUEZ.

the arch to a lofty structure

45.

litho.

left,

Museo

woman

.48 x

Museo

LANDSCAPE.

overgrown by

seated in the

Rome.

Mercury

;

A Roman

flying through the

temple

and

air,

i 1 1

del

Prado,

1,114.

are foliage, through which clouds

walking,

1.46x1.11.

del Prado, 1,113.

a river on the right

several figures beneath,

46.

a shepherd

in Col. Lite.

LANDSCAPE.

on the

left;

Madrid from a sketch made

Probably painted

ASSELINAU,

on the

flock. right piping to his

foreground on the

lar S e

seen; a

ruui

man and

48x1-1 1-

Museo del Prado, 1,112. A garden scene. 47. LANDSCAPE. In the foreground are statues ; in the background on the right is a castle behind a group of trees. Perhaps this is a view of the garden Madrid. Palace at of the old Alcazar or 1.48x1-1148.

Museo

LANDSCAPE.

del

Prado,

1,109.

Fountain of the

imposing fountain adorned with Caryatides Tritons, Aranjuez. surrounded and Tritons, in a basin by ivy-covered trees ; in the fore-

ground are eight

figures

;

among them

a lady seated at the foot of a

tree.

a gentleman offering a rose to

2.48x2.23.

This and the following picture were probably painted, or at least sketched, in The 1642, when Velazquez accompanied the king in his journey to Zaragoza. fountain is said to have been constructed by Berruguete. P.

DE LEOPOL, litho.,

49. LANDSCAPE.

Queen, Aranjuez. on the left a ;

trees

Second manner.

50.

in Stirling,

Annals,

ii.

DE LEOPOL,

river with high

banks ;

in the foreground various

2.45x2.02.

In front

man and woman

palace.

litho., in Col. Lito.

Museo

LANDSCAPE.

Retiro.

626.

Museo del Prado, 1,110. Avenue of the On the right is a spacious avenue flanked by lofty

of people watching a procession issuing from the

groups

On wood

in Col, Lito.

del Prado,

a terrace

;

on the

z,m.

Gardens of Buen

right a statue ; on the

walking; the palace in the background.

left

1.47x1-14-

LANDSCAPES. Museo

LANDSCAPE.

51.

27 View of Zaragoza The numerous figures in

del Prado, 788.

from the opposite side of the river Ebro.

the foreground are by Velazquez; the landscape by Mazo.

1.81 X3-3I.

Painted in 1647.

Vie de Mazo.

woman

Stafford House, London. In the centre are and two children on a brown horse, and a man on a white

horse, pointing

in Blanc, Peintres,

LANDSCAPE.

52.

On wood

in Col. Lito.

Lithograph

man

and asking the way of a lame beggar; on the left is all before a great rock and a clump of

in red dress seated

About 20x30

trees.

;

inches.

This and the three following landscapes are said to have been formerly in the

Royal Palace, Madrid. They were brought to England about 1814 by Mr. Bourke, Danish Minister to Spain. Two of them were exhibited by Mr. Stirling, iii. 1408. Bourke at the British Institution, 1816. They do not appear in the royal inventories.

Marquis of Lansdowne, Bowood,

LANDSCAPE.

53.

Two

Wilts.

meeting on the road, seem to inquire their way of a is in the standing ; two persons are seated behind

cavaliers,

who

peasant distance,

;

on the

right, is

a grove, and beyond a high cape stretching

into the sea. See No. 52. 54.

British Institution, 1835.

cavaliers,

two

another group near some trees hills.

Companion

See No. 52. 55.

iii.

164.

Marquis of Lansdowne.

LANDSCAPE.

group of three

Waagen,

and two dwarfs

ladies, ;

in the

background

front ;

sunlit

beyond is water and

to the above.

British Institution, 1835.

LANDSCAPE, with

figures.

Waagen,

iii.

164.

Lord Ashburton.

The Grange,

Hants. Brought 56.

England about 1814 by Mr. Bourke.

LANDSCAPE.

See No. 52.

Earl of Strafford, Wrotham

Park, Herts.

chateau in a garden, with various figures, among them a in a litter drawn by two horses, with a horseman and a gentlepriest stately

man on and a

foot

;

vessel,

in the

and

garden are two bronze statues ; on the behind it. 31x30 inches.

hills

Mentioned by Waagen, Treasures of Art in Great Britain,

iv.

321.

left,

water

VELAZQUEZ.

in the

;

back; the landscape

Brett

sketchily treated.

^28

April 18, 1864.

sale,

inches.

35x49

Royal Academy, 1880.

^s.

Earl of Clarendon, London. View in the Philip IV., wearing a white hat and hunting costume,

LANDSCAPE.

58.

Park of Pardo. is

duel in

In the foreground are five figures standing beside a bay middle distance are nine figures, one of them on horse-

the Pardo.

horse

William Gregory, London.

Sir

LANDSCAPE.

57.

shooting at a stag; three or four more stags in the background. inches.

74X60

This and the following picture are supposed to have been purchased by the late Lord Clarendon, when Minister to Spain, 1833-39. Stirling, Annals, ii. 683.

Earl

LANDSCAPE.

59.

Clarendon.

The

old Alameda, or

public walk in Seville, with the columns of Hercules, and many persons walking ; in the distance the Palace of the Inquisition ; in the

foreground a representation of the Spanish duello. Mentioned by Stirling, Annals of the Artists of Spain, 60.

LANDSCAPE.

in the figures.

47x34 ii.

inches.

682.

above, with some variations

repetition of the

1.05x1.60.

King Louis Philippe sale, 492(290), purchased from a canon in Seville. 66. G. A. Hoskins sale, June ii, 1864, ^65 2s. (Kibble). Stirling, Annals,\\. 682. 61.

near

it is

hills

62.

64.

festival

near a

in the background a valley surrounded above are cherubs holding a coat of arms. ;

Duke

of Wellington.

market with

for-

groups of personages, horses, and sheep before the walls

Companion Sir

LANDSCAPE.

Perthshire.

making

Wellington.

inches.

LANDSCAPE.

tellers,

;

moving toward the gateway of the town;

a group of dancers

and mountains

of a town. 63.

procession

by About 18X24

tune

Duke

LANDSCAPE.

fortress.

love.

to the above.

William

Stirling- Maxwell, Bart., Keir,

Landscape with a man and

woman

seated, apparently

Also,

Companion

to the above.

another woman, whose back

The same

turned.

persons are seen, with

About 6 inches

high.

LANDSCAPES. Manchester Exhibition, 1857, Nos. 624, 625. From the collection of Gen. Meade. Burger, Tresors d'Art, 124. Apparently these pictures were not in the Gen. John Meade sale, June 26, 1847, which included only the following landscapes by Velazquez :

(A) Rocky landscape, with a waterfall

and two figures

in the foreground.

(B) Birdseye view of an extensive country, with a palace and figures in the

LANDSCAPE.

65.

elevated point

;

IQJ-.

landscape, with

St.

^4 i6s.

Christ.

angel appearing to

St.

Jerome

in a

rocky landscape. ^31 (G) Gardens of a monastery, with

monks.

$ $s.

View from an 258 (211). game beneath three tall trees ;

Hague Museum,

a group of hunters, with

at a little distance a child

and the

the right a city

Romantic

(F.)

some

the hermits, beneath

John baptizing (F)

landscape, with a group of five figures in the foreground. 8 5.?. (D) Grand landscape, with St. Peter

Open

(c)

St. Paul,

rocks in the foreground.

6s.

foreground.

and

and a woman carrying

sea.

fish in

a pannier

;

i.o4X.82.

Purchased at Paris about 1817, by King William I. It was formerly attributed to " Unknmvn," but now to Velazquez, on the authority of Burger, Afuse'es de la Hollande, 308. 653. A. Bravo. A view of Seville from Triana. Seville. Pinto. 416.

6sb. A. robbers.

Bravo.

landscape with

16., 415.

650. A. Bravo. La Cruz del Campo, near Seville, visited by the faithful on

Good

Comte

6501.

formerly Spain.

Ib., 415.

Friday.

Russian

Gessler, Paris, Consul-General in

A landscape.

Burger, Velazquez, collection of M. Gessler was

The 292. sold at Paris,

March

9, 1866.

A mounted 656. E. Higginson. muleteer driving two loaded mules, and

6sg. Real Casa de Boadilla, residence of the Infant Don Luis de Bourbon.

Ruins with small

Ponz, v. 165. figures. " Una mancha de perspectiva del 6sh. Salon Dorado de Palacio, por acabar, de \%. varas de alto y 2^ de ancho, maltrada y sin marco." Royal inventory, 1694. Zarco del Valle, Doc. Incdit, 439. 651.

" Retablo y templo del Escorial

una perspectiva." 6sk.

pais con

Territorial, Seville.

the background. 75x88 inches. was not in the Saltmarshe sale.

ures in aboat.

Xyyi inches.

Stirling,

A nnals, Hi.

G. de Leon,

Ssm. Lord Northwick sale, No.

68.

412.

grand landscape, with a group of

^60

i8/.

fig-

(Madame Garcia.

Afterwards belonged to William Heath-

Bartle Frere, Esq. A garden scene, with a sculptured marble fountain, and some dogs and peacocks in the forebehind are trim parterres, ground; 65f.

bounded by high, clipped hedges.

un pelicano y uno

criadoy unos livianos." Inventory of Buen Cat. Prado, p. 592. Retiro, in 1700. 65!. "Una Cabana." In the Audiencia

conversing with a shepherd at his side ; on the right is a shepherd with his flock, and a man near a hut; mountains in

This

;

Cat. Prado, p. 683.

2&y2 1450.

cote,

Hyde Park Gate.) Lord Northwick

6sn. 1,856.

numerous figures. 6sp. 1862.

sale,

No.

A landscape, with river scenery and 276*. (T.

Smart.)

W. W. Burdon sale, June 28, A landscape, with a carriage and

VELAZQUEZ.

and dated 1647. 6sq. Mr. 651.

H. A. View

1867.

Wilkin

A landscape. J.

Temple

by cavaliers. Signed

four horses attended

5^-

sale,

April 30, 1813.

sale,

May

651.

18,

with a group of of a woman selling

in a town,

beggars at the stall bread and aguadiente.

^157

Ellis

sale,

June

June grand

From Lady Stepney's collection. 53 us. (Dr. Beggi.)

17, 1876.

EL BOBO DE CORIA.

cuffs

sale,

mountainous view, with women bearing grapes, men treading them and washing

los.

Museo

with scolloped edges,

del Prado, 1,099.

and

about forty years of age, with bare head, green dress,

and

( Foster. )

casks.

Wynn

66.

Admiral Manners The Vintage.

1870.

27,

(Bourne.) 653.

^30 y.

grand landscape, with castle, ruins, and figures. $ los. (Walters.) See Waagen, ii. 294.

Js.

Munro

of the Winds.

Also, a

(Flack.)

seated on the floor of a

clown

linen collar

chamber

with his mouth half open, and a smiling, foolish expreslooking sion of countenance; his left foot is behind the right, and partly front,

beneath his body ; his hands gourds and an earthen cup.

rest

his right

knee

;

beside

him

are

two

i.o6X.83.

the pictures of this class are in the second manner of the artist, and were painted, as Palomino informs us (iii. 335), in the period between the first

Most of

and second journeys of Velazquez to Italy. and are mentioned in the royal inventories.

CROUTELLE, line, 11.7x8.9, X8.7, in The Portfolio, 1873.

etch., II.

67.

EL NINO DE VALLECAS.

Nearly

all

were executed

1797, at Calco. Nacional.

V. LOUTREL,

Museo

litho., in

del

for the king,

LAOUILLERMIE,

Joyas Pint.

Prado,

1,098.

clown about eighteen years of age, with bare head, wearing a green garment with gray sleeves, and green stockings, is seated front beside a rock, holding in his hands a piece of bread

on the

right.

GOYA, etch., in

(?)

;

landscape and sky

I.O7X.83.

etch., 1778, rare.

LAGUILLERMIE,

etch.

MAURA,

etch.

PINEDA,

B. VASQUEZ, line, 11.5X9, 1792, at Calco. Nacional. On wood, in Stirling, Annals, iii. 1391. litho., in Joyas Pint.

Grab. Ag. Fuerte.

A. LEMOINE,

SEBASTIAN DE MORRA, or The Bearded Dwarf. Museo del Prado, 1,096. A man with coarse features and sinister expression, 68.

with bare head, heavy black hair and beard, wearing a cloak and

fall-

DWARFS AND BUFFOONS. ing linen collar,

his fists

sits

on the ground

front, his legs strongly foreshortened,

i.o6x.8i.

his thighs.

in the inventory made at the death of Charles II. at 40 doubloons. In the collection of I. Proofs before letter. F. GOYA, etch., 8.1X5.8, 1798. Sir William Stirling-Maxwell is an impression with the lettering, written by Cean

Appraised

Bermudez.

was

II.

names.

artists'

III.

Inscribed Pintura D. D. Diego Velaz-

Goya's drawing for this etching X LAGUILLERMIE, etch., Calco. Nacional. H. GUERARD, etch., 5.4X4,

y grabada,

etc.

in P. Lefort sale, Paris, Jan. 28, 1869.

MAURA,

With

IV. Inscribed Sacada

qitez, etc.

7.6x5.6, 1869,

etch.,

F. RIBERA, line, 11.6x8.9, 1798, at Calco. Nacional.

Paris, 1880.

Blanc, Peintres ; Scott, Alurillo ;

wood,

Art Journal, 1852; Gaz. B. Arts, August, 1880.

Photo, in Reid, Velazquez.

Salamanca

68a.

picture.

69.

sale,

1875,

No.

37.

Repetition of the above I.O3X.82. From the gallery of

Dwarf.

EL PRIMO,

the infant francs.

Don

Luis de Borbon.

2,750

Mentioned by Burger, Velaz-

quez, Paris edition, p. 265.

Escribano.

Museo

del

Prado,

1,095.

A dwarf, in black dress and wide-brimmed hat, seated on a stone, turned to our right, looking front, turns the leaves of a

his lap

book which he holds

other books and an inkstand are on the ground in front

;

landscape background,

.07

;

x .82.

This is supposed to be the picture mentioned in several documents as having been painted in 1644, at Fraga, when Velazquez accompanied the king on his expedition to Lerida. It was appraised in the inventory made at the death of Charles II. A copy by Guignet is in the Ecole des Beaux Arts, Paris. at 40 doubloons.

An impression before letF. GOYA, etch., 8.5x6-2, 1778, at Calco. Nacional. sold in His de la Salle sale, 1856, probably the one now in Sir W. Stirling-Maxwell's collection. Goya's drawing was in P. Lefort sale, 1869. LAGUILLERMIE, ter,

etch.,

in Examples of Modern Etching, 7.5X5.9, 1870,3! Calco. Nacional. PINEDA,

8.4X6.6, 1869, in The Portfolio, 1873, and

London, 1876. etch.

MAURA,

etch.,

PIRIE, etch., in Grab, al Ag. Fuerte.

H. GUERARD,

etch.,

5X4,

Paris, 1880.

MUNTANER, line, 11.8x9, 1778,31 Calco. Nacional. A. LEMOINE, litho.,in-/<y<z.r On wood, in La Illustration Esp. y Amer., January, 1 88 1. Photo, in Reid, Pint, F.

Velazquez.

70.

Museo

BARBAROSA, or Pernia.

del Prado, 1,093.

A man

forty years old wearing Venetian costume, consisting of a red coat

with long

skirts,

to his right left.

;

white cloak, and cap trimmed with

in his right

Unfinished.

hand

fur,

stands looking

a naked sword, the scabbard

Latest manner.

1.98x1.21.

in his

VELAZQUEZ.

This picture, commonly known as the portrait of Barbarosa, is now identified as the portrait of Pernia, an actor of the time of Philip IV., mentioned in the It was transinventory of Buen Retiro in 1700, and valued at 25 doubloons. ferred in 1816 from the Palace to the Academy of San Fernando, and in 1827 to the is

not

Museum. The Marque's de Legane's had known if it was painted by Velazquez.

GOYA,

etch.,

10.2x5.5

at Calco.

in 1655

Nacional.

a portrait of Pernia, but

Proofs before aqua

tint,

and

In the Biblioteca Nacional, Madrid, are two copies ; one with the II. With aqua tint, but before inscription. etching of No. 72 on the back. L. CROUTELLE, line, 18x11, III. With letters. C. ALABERN, etch., 6.5x3.9. before

all letters.

Photo, in Reid, Velazquez.

1799, at Calco. Nacional.

71.

PABLILLOS

Prado,

VALLADOLID, or The

A buffoon

1,092.

stands with his legs spread apart, his right extended, as

Actor.

Museo

about thirty-five years old, dressed

declaiming.

left

hand holding

del

in black,

his cloak, the

2.09x1.23.

This picture, which has until recently passed for a portrait of a celebrated actor, is now supposed to be the one described in the inventories of Buen Retiro as the portrait of a buffoon called " Pablillos, el de Valladolid," and valued in 1 700 at 25 The Marques de Leganes had in 1665 another portrait of Pablillos by

doubloons.

Velazquez. B.

MAURA,

7.8x4.6,

etch.,

at Calco.

Nacional.

GURARD,

etch., in Gaz.

B. Arts, August, 1880.

72.

DON JUAN DE

Prado,

1,094.

AUSTRIA, or The

buffoon about

Museo

low-crowned black hat

feather; a black jacket, a cloak, short

breeches, long red stockings, and low shoes

del

years old stands turned

fifty-five

to our right, looking front; he wears a

mounted with a red

Artillerist.

;

an iron key

sur-

baggy

thrust in

strewn with weapons and armor; through a ground is seen the sea and a burning ship. on the Latest right doorway

his girdle; the

style.

2.10x1.23.

among the pictures at Buen Retiro, in 1700, as Don Juan de Austria, and valued at 25 doubloons.

Inventoried

buffoon called of Charles III. usually F.

was

called a Portrait of an Artillerist,

the portrait of a In the inventory

by which name

has been

known.

GOYA, etch., 10x5.8, very rare. Two copies are in the Biblioteca Nacional, B. MAURA, etch., 9.7X5.7, 1874, in Madrid, and one in the British Museum. Grab, al Ag. Fuerte. RAjoN,etch.,in Gaz. B. Arts, February, 1880. FOSSEYEUX,

line,

17.9X10.8, 1798.

E. C. Cos, litho., in Gal. Esp.

Engraved as a portrait of Fernand Cortes by E. LINGE, outline, 17.7x11.2. ALLAIS, line, 2.8x 1.7, bust. LANGLUME, litho., 4.6x3.8, bust.

DWARFS AND BUFFOONS. 73.

Museo del Prado, 1,097. A brown costume, and wide lace collar stands black and white mastiff, on whose collar he places his

DON ANTONIO

dwarf with long beside a large

hand

left

etch.,

Grab,

litho., in Gal.

74.

8x5.9, 1869, Fuerte.

al Ag.

Nacional.

at Calco.

LAGUILLERMIE,

Lord Ashburton.

DWARF.

Formerly Bonaparte.

MAURA,

etch.,

8x6.1,

E. C. Cos,

The Grange, Hants. About 48x36 inches.

in the

Purchased from the ex-King, Joseph

Royal Palace, Madrid. Annals, iii. 1404.

Stirling,

Maurice

CLOWN.

about twelve years of age,

and

Latest

Esp.

male dwarf, with a parrot and a lap-dog.

75.

hat.

plumed

1.42x1.07.

MAURA,

1877, in

EL INGLES.

hair, rich

his right falling at his side holds his

;

manner.

falling collar, holds in his right

Paris.

Cottier,

in black velvet

laughing youth

costume, with wide breeches

hand a miniature of a

lady,

and

paper windmill at the end of a stick behind him is a leathercovered chair architecture in the background. Full-length, life-size.

his left a

;

Due de Persigny

sale, April 4, 1872, 1,600 francs. Exposition Retrospective, This seems to agree with the " Retrato de otro bufon llamado Calabacillas, con un retrato en una mano y un billete en la otra," mentioned in the inventory of Buen Retire, in 1700. Cat. Afus. Prado, p. 591. Also " El bufon divertido con un

1860.

molinillo de papel, del gusto de Velazquez." Ponz,

Mu-

753. FRANCISCO DE seo del Prado, 692.

Court of Charles

black dress and

II., in

buffoon of the

humbly presenting a

falling linen collar,

memorial;

BAZAN.

full-length,

2XI.OI.

Called

Formerly attributed

Pretendiente.

Velazquez, but now to Carreno, to whom was ascribed in the royal inventory of

1686.

probably the picture which

It is

Cean Bermudez (Die. (vi.

34)

call

178) and Ponz

portrait of the

Alcalde

GOYA,

etch.,

10.9x4.51 very scarce,

impression is in Nacional, at Madrid.

the

Biblioteca

133.

Baron Taylor by Esquivel, the Court

The

Painter.

Van

750.

Kessel. portrait of

Madrid. 19.

Widdrington, Spain in 1843, ii. ii. This is doubtless 623.

the picture by Carreno, belonging to the Don Sebastian at Pau.

heirs of the infant

shown

and grapes

clothed,

cord.

the age of 16,

Sold

a gross, fat

woman

standing naked, with a glass in one hand

691.

190.

Maria de Barbola,

Stirling,

75b. Louis Philippe sale, 319. Porof two dwarfs of Philip IV., aged eighteen and twenty, leading a dog by a 1.38x2.18.

now belongs to who attributes

Berlin,

represented naked as Silenus, is mentioned as being in a private collection in

woman,

trait

picture

Count Raczynski,

She

Ronquillo by Velazquez.

vi.

Carreno, in the

The

the other. is

The same

seen in the picture by

Museo del Prado, No. name was Eugenia

girl's

Mentinez Vallejo, and she weighed at when her portrait was

VELAZQUEZ.

denas

She is mentioned by Palomino, iii. 419; and by Zarco del Valle, Documentos //-

el Torreador, with his hat in his hand, in the first manner of Velazquez, is mentioned in the inventory of Buen

ditos, p. 440.

Retire, in

painted, 5 arrobas, 21

Hbras=i48 pounds,

1 700. Also, portrait of Ochoa, portero de

75d. portrait of Juan de Cardenas y Calabazas belonged in 1655 to the Mar-

corte,

qu&deLeganes. Cat,Mus.Prado,^.(>2'j.

in Catalogo del

756.

A portrait of a buffoon called Car-

76.

PEASANT BOY.

75f.

con unos memoriales.

Mentioned

Museo del Prado,

p. 591,

edition 1872.

Belvedere,

No.

40, Vienna.

A boy

with bare head and short hair, clad in a ragged jacket which partly displays his breast, his his breast, holds

spectator with his

body

three-quarters

up a flower

mouth

his

left,

right

his left

hand

flat

hand, and looks to the

half open, laughing.

Half-length.

32x24

inches. "

Pacheco, the master and father-in-law of Velazquez, informs us that his pupil kept a peasant boy as an apprentice, who served him as a model in various actions

and postures, weeping, laughing, stopping at no difficulty. He made after this model many studies in charcoal and chalk on blue paper, and many others completely colored, by which means he acquired facility in portraiture." Arte de la Pintura, 101. There is reason to believe that this is one of the studies to which Pacheco refers.

UNGER, May,

etch.,

3.7X3, in Gemdlde Gal. in Wien.

MIETHKE, Photo.

1879.

On wood,

in Gaz.

B. Arts,

47.

M. Paul Lefort, Paris. A boy with falland long hair, pointing to the spectator. A sketch Bust. apparently from the same model as No. 76. .55X.4Q. From D. Pedro Jimenes de Haro. 77.

PEASANT BOY.

ing linen collar

The

D. Pedro Jimenes de Haro, containing pictures by Velazquez mentioned among the important collections of Madrid. P. Madoz, Diccionario Geografico Estadistico Historico de Espana. 16 vols. Madrid, 1847-50, art. Madrid. gallery of

and Murillo,

78.

PEASANT BOY.

lies at full

which

rest

Edward

A. Leatham, Esq., London. his head is on his hands,

length on his belly, asleep

on a white pillow

;

on the right

and red drapery. Life-size. 21x39 From the collection of M. Dumergue. Leeds Exhibition, 1868.

;

a black and white dog,

inches-

Bought from Mr. Rutley

1866.

PEASANTS, BODEGONES, ETC. 79.

bright

PEASANT BOY, with brown skin, thick, eyes and short nose, eating hot soup from a

curling black hair, dish.

V. Pelequer, Spanish engraver, sale, Paris, 1867, 2,930 francs. Presented by Queen Maria Louisa to Goya. Calalogo Mils. Prado, p. 592. Gaz. B. Arts, May, Arte en Espafia, 1868.

1879, 426.

80.

A YOUNG

cassock, and

PEASANT.

Hermitage,

turned to the

Purchased from Mr. Coesvelt

81.

AN OLD

his right hand, holding

on which bodega.

Half-length,

the frame

life-size.

Purchased about brought 8ia. Leipsic.

an earthen

1818, by an English

shirt sleeves, with curling hair falling

and a sheepskin wallet slung back his body left, face front, ;

carrying a spade over his right shoulder, and pointing down. Landscape back-

ground. Half-length, 1826.

peasants

GRUNER, Some

life-size.

Doubtful.

8.7x7.2, Mailand, early impressions have

line,

Dankbarkent instead of Dankbarkeit

officer,

8id. 1856,

KNOLLE,

Milano, 1834. 8ib. Salamanca

Don

3.6x3,

January 23,

men

playing the violin and .88x1-18. From the gallery of

Blind

Celestino.

8ic.

sale,

line,

Standish

1,600 francs. sale, 221 (155).

sale,

April 28,

The Hidalgo, or country

(L. Dawson Darner.) 8ie. ragged boy, wearing a cap, counts money on a table ; behind him a

dog watches some fish on the left are two tables with fish, bread, and earthen dishes. Mentioned by PaloSigned. ;

8if.

Dresden Academy, with a pecuniary reward, to enable him to continue his

Samuel Rogers

squire in a yellow dress, smoking a pipe. From the Orleans Gallery (?). ^32 us.

mino,

1875.

from Gen. Caulaincourt, who

No. 690.

guitar.

crystal globe,

dancing before a

inches.

This engraving prothe inscription. cured for the artist the notice of the

studies.

;

from the Peninsula.

his shoulders,

on a large

inscribed Viva el vino, leche de los viejos.

About 56X48

A SHEPHERD. Dr. Brockhaus, A man fifty years of age in his

behind his

flask, rests

Hill,

on a crutch

front, leaning

painted a landscape with

.2jx.22.

laughing.

wears a gray

in 1814.

ragged dress stands

Bust.

Francis Cook, Esq., Richmond

PEASANT.

A man

Surrey.

left,

423.

Hi.,

322.

ragged boy wearing a coif, with his hand, guards a table on which

a jar in are kitchen utensils, vegetables, etc. ; a basket hangs on the wall. /<5.,iii. 323.

8ig. Hon. H. Clive. A drummer. Exhibited at British Institution, 1819. "

Perhaps this is the Drummer beating his drum, formerly in the possession of Viola," mentioned in Davies, Murillo, Ixxxiv. , note.

boy eating a pie. 83X63. .31 lor. (Laurent.) Doubted by Stirling.ii. 582.

8ih. Earl Bust.

From

Stirling, 1405.

Spencer.

Sunderland

Bagpiper. collection.

Aedes Althorpianae,

19.

VELAZQUEZ. Due d'Aumont,

8ii.

Mentioned

lin player.

Paris.

des Feint.

Sik. E.

Higginson.

African

slave seated, in a red jacket,

before him fish

smoking; bread, cheese, and dried

the

;

galley.

inches.

35x71

A Spanish

British Institution, 1850.

8im. Miss

Clara

with a black cloak thrown over his

Half-length,

Royal Acad-

88 1.

Armenian

are enveloped in white drapery, over which is a brown cap ; her right hand is

British

Institution,

1860, p. 207. Berlin.

from King Francisco de Asis.

Aguado

8is.

sale, 151.

Aguado

sale, 142.

Bust.

Ceritari in

14^X11

Gallery,

inches.

Florence.

1838.

8iu.

Aguado

sale,

Bust.

840

.48X-46.

woman

pours water from a pitcher on a wineglass to cleanse it; on a table, at her left, is another glass, and on the ground a large brass pan.

8ip.

37^X27^

Full-length.

in.

Reginald Cholmondely, Esq.,

This was valued

inventory of M. Aguado at 15,000 f. 8iv. Aguado sale, 148. Bohemian

girl

Six.

with

Two

82.

woman,

Royal Academy, 1879.

PEASANTS.

Rccovira.

13, 1848.

(Sir E. B.)

sale,

from Peru

sale,

making

lace,

lady

many accessories. Signed on the curFrom the Mar-

que's

de Santa Maria. ^464;. (Lindsay.)

8iy.

H. A.

Munro

sale,

A girl cooking chestnuts.

1867.

Cadiz.

1876.

;

her

tain over the lady's head.

woman

Wrexham,

from

M. Brackenbury

A Nobleman

February

in front

Half-length. .75X.67. 590

8iw. Sir J.

(Hulse.)

looking out of a window near a fireplace. 89x63 inches. Exhibited at

gypsy

flowers.

in the

London. Living and dead birds, fishes, and a hare, in a kitchen on the right a ;

145.

leaning on a basket

1848.

of Bedford, London. A in red dress and blue petticoat

Duke

lit-

pretty

girl

shoulders.

810.

rest-

with blonde and frizzled hair, holding a black and white rabbit in her arms. .59X-48. 350 f. Half-length. tle

fold of her dress.

Purchased

boy

ing on an anchor an allegorical subject. .i8X-i6. 82 francs.

raised to her shoulder, the left holds a

the

A A present

Count Raczynski, blind woman. 17x12 inches.

wearing a chemise open coarse wool drapery falls

From

A Span-

Yarborough.

girl.

Art Journal,

1850. Sir.

girl

Lord Overstone, London. An The head and shoulders girl.

8in.

peasant

8it.

Montalba.

shoulder, playing a flute. life-size. 27x20^ inches.

emy,

ish

;

Earlof Yarborough.

8il.

shepherd.

man

background

8iq. Earl of

vio-

in Chabert, Gal.

8iz.

May

18,

ioios.

D. Manuel Saenz y Tejada,

Two heads, very beautiful; Racapparently studies from nature. zynski, Arts en Portugal, 518.

Valladolid

Museum.

half-length, conversing in a tavern;

before

A man them on a

and a table

a confused mass of melons, onions, and other vegetables, meat, game, dishes, J.

83.

don. flat

and

utensils.

1.60x2.25.

LAURENT, Photo.

PEASANT AND A CHILD.

They

George Salting, Esq., Lon-

are seated behind a table

metal dish.

Half-length.

29x23

on which are chestnuts on a inches.

PEASANTS, BODEGONES, ETC. A bought son,

Purchased from J. C. Robinson, Esq., who study from life; unfinished. it at Earl of Clare sale, January 17, 1864, for ^34 13.?. See J. C. Robin-

Memoranda on fifty pictures, 80 pp., 8vo.

Masters.

Two

84.

sits

of Works of the Ancient

an old

Cook, Esq., Richmond

Francis

PEASANTS.

the right

selected from a collection

n. d., privately printed.

woman

Hill.

seen in profile, her head and shoulders

covered by a white kerchief, with an egg in her left hand and a spoon in her right, engaged in preparing an omelet in an earthen pan ; on the left a boy with a melon under his right arm offers her a bottle of wine; in front are a

mortar and

jar,

brass pan; a basket hangs on the wall.

pestle, knife,

Two

85.

BOYS.

Duke

;

Hon. and Rev. Charles A woman seated on a parapet, hawk and a basket of grapes on

Digby.

left

;

a boy with a

flute.

Three-

quarters length. Engraved by SIMMONS, in O'Neil Die. of Sp. Painters. The Digby collection was probably sold in

June, 1846.

8sb. Aguado sale, 139. girl standing near a table, playing with a dog, and a boy seated on a cushion, playing with a bird.

1.43X1.11.

Aguado

520 francs.

sale,

138.

;

their heads.

Valued

1.81x1.24.

in the inventory of

at 30,000 francs.

1,200 francs,

M. Aguado

jar.

inches.

8sd. Standish sale, 220 (154). A male and a female servant, with kitchen

and

utensils

^64

is.

vegetables.

Doubtful,

1.80X2.25.

Stirling,

ii.

Atkenaum, May, 1853. 856. Brussels Museum, 339.

580.

Two

stand on a staircase holding each other by the hand. 1.52x1.33. girls

85!.

Two

peasants eating at a table on

which are various earthen bread, etc.

855.

jars, oranges, All executed with wonderful

Palomino,

fidelity.

young woman in a park near a handsome monument, washes the face of a negro behind them a slave holds a parasol over 850.

;

About 30x50

Three-quarters length.

her

inches.

1876 a picture

a table laden with dishes, and an orange on the top of a

left is

with a

of Wellington. The boy on the right bowl the other observes him on the

in buff jacket drinks from a

853.

39x46

Half-length.

Royal Academy, 1873. G. De Buzareingues, Paris, had similar to this, about the same size.

and

iii.,

332.

Royal Palace, Madrid.

In-

bodegone with two boys, half-length, seated at a table on which are a pitcher and dishes, eating and drinking. From the Ensenada Gallery. Ponz, vi. 38. Cean Bermudez, ventory in 1772.

Die. v.

78.

86. THE WATER CARRIER. El Aguador de Sevilla. Duke of Wellington. A man in tattered brown doublet turned to our left, with his left hand on a large earthen jar, hands a glass of water to a

VELAZQUEZ.

boy who

stands beside a table on which

drinks from a pot.

Three

a smaller jar

figures, three-quarters

another boy

;

length, standing.

inches.

40X30

is the earliest picture by Velazquez of which we have any authentic record. was painted about 1620, at Seville, before the artist went to Madrid. "Among his most esteemed works we should not omit to mention the picture called the Aguador, in which is seen a poorly dressed old man clad in a coarse and ragged It is still preserved in jacket which displays his breast, giving drink to an urchin. " the Palace of Buen Retire. Palomino, iii. 322. In the inventory of Buen Retiro D' Argenville tells a doubtful in 1 700, it is called El Corzo, Aquador de Sevilla.

This

when finished, made so much sensation that the king sent for and ordered it to be placed in the Palace of Buen Retiro. Abrege, ii. 241. In 1780 it was in the Alcazar, Quarto del Rey. Ponz, Viage, vi. 34. King Joseph Bonaparte took it with him in his flight from Madrid, but it was captured in his carriage with a quantity of plate and jewels at the rout of Vittoria, and was afterwards presented by Ferdinand VII. to the Duke of Wellington. British Institution, tale, that this picture,

1828, 1847.

BLAS AMETTLER,

directed

by M.

Carmona, line, 13.1X10.7, at Calco. wood, in Blanc, Pelntres ; Scott, Murillo ; Art Journal, November, 1852; Robinson, Great Painters; Viardot, Jllust. Hist, of Painters ; Wurzbach, Die Klassiker der Malerei ; Gaz. Beaux Arts, National.

September, 1879.

Spanish Oil Merchant.

Sold

peigne, Esq., of Gosford.

may

March n,

1865. Wine-seller.

May

Sold,

;i6 S.T. From

London,

(Tooth.) the collection

of the Marquis de la Ensenada ; brought

1815,^210.

13,

Photo, in Reid, Velazquez.

86a. Perhaps the three following have been copies of No. 86.

E. LING^E, outline, 10.2x8.

40 X For one hundred and twenty the family of the late D. Com-

50 inches.

England two years ago. Mr. Wilkin sale, by Phillips, London, April 30,

years in

1813.

Street Wine-seller of Cadiz.

87.

^43

2s.

INTERIOR OF A POSADA, with two men and a woman seated

at a table covered with a white cloth.

The woman

faces the spectator,

holding a spoon in her right hand, and a dish in her left on her right is a bearded man with bare head on her left an old man wearing a ;

;

hat,

and holding a pot with both hands two pieces of bread, a knife, are on the table; joints of meat and sausages hang on the ;

and vases wall.

Half-length.

1.23x1.47.

January 25, 1875. "From the gallery of Don Serafin Martinez, Cadiz. Noticed by Ponz, xviii. ch. 42, p. 20." 4,950 francs. [Three bodegones are mentioned by Ponz among the three hundred pictures

Salamanca

sale,

composing the gallery of his

friend,

D. Sebastian Martinez,

as follows

PEASANTS, BODEGONES, ETC.

In one are three figures seated at a table covered with food, consisting of other fish, such as eels, cod, etc., hang on the wall.

of different kinds

fish

;

In another are four figures, also seated, eating

two of them have the same

;

features as are seen in the picture of Bacchus. The table is spread with meats, and there are seen suspended, as in the first, birds, game, etc. The third shows three figures seated, with food suspended, consisting of onions,

sausages of different kinds, ribs, etc. These pictures are oblong, one and a half varas high by two varas long (50x66 inches). Ponz, Viage xviii. 21. Conca, iii. 320.]

A sleeping pointing to the distance, and a youth with his back turned. Mentioned Lord Northwick.

873.

man, a

girl

by Waagen, Treasures of Art, iii. 204. This picture was not in the Lord Northwick

sale,

July 26, 1859.

Earl of Listowell, London. A on the woman, seated ground, holds on her knees a child who plays with a bunch of grapes; near her, with his hands on the ground, is 88.

an old

GROUP OF PEASANTS.

man

with

brown beard, laughing

reaches toward the grapes.

First

;

on the

manner.

right another peasant

About 50x80

Life-size.

inches. Exhibited at Manchester, 1857.

89.

GROUP OF PEASANTS.

Forfarshire,

N. B.

Burger, Trcsors d'Art; Waagen,

ii.

Earl of Southesk, Kinnaird

Seven peasants with

festive

311.

Castle,

garments leading

an ox. Earl of of

Dunmore

sale,

May

13,

early in the present century.

^52 IQJ-. Purchased by the Earl Manchester Exhibition, 1857. Waagen,

1870.

iv.,455-

8ga. Lopez Cepero sale, Paris, February 14, 1868. Four personages stand under an arcade, conversing; a gentleman

with rose-colored mantle and falling lace

broad-brimmed hat and soft boots, seen in profile, and behind him his horse in shadow the same person is seen in the Boar Hunt in the National Gallery; the second person is a churchman in black ; the third wears a hat with white plumes, and a gray mantle, and has his back to the spectator; the fourth is in shadow ; through the opening a landcollar,

;

scape

seen.

.64X.82.

820 francs.

Five 8gb. Aguado sale, No. 153. beggars eating and reposing near a hut. 1,210 francs,

.94X1.14.

Half-length.

8gc. Charles

O'Neil

sale,

woman

spinning, and

1834.

old

May

24,

watching four boys quarreling for grapes, a female drawing water from a foun-

and

tain.

82X49

inches.

^73

los.

8gd. Six small pictures representing the various Spanish dances. Brought from Spain by Mr. Wallis. Valued at 1,000 guineas, lections in subjects.

and sold

in different col-

England ; principally domestic Half life-size. Buchanan,

VELAZQUEZ. Memoirs,

ii.,

These pictures

234, 243.

the

inventories.

Heads.

8ge. Fourteen heads in eight small

Sir

go. STILL LIFE.

Mentioned

pictures.

are said to have been formerly in the Royal Palace at Madrid, but they are not mentioned in any of the royal

Mus. Prado,

in the inventory of

Madrid,

Alcazar,

Lord Holland.

8gf.

Cat.

1700.

p. 591.

Study of

Exhibited at the British Insti-

tution in 1829.

Stirling- Maxwell, Bart.

Fish hanging by a string, grapes and citrons on branches, and a basket of apples. inches.

25x33

Mentioned by

Stirling,

91. STILL LIFE.

Annals of the

Artists of Spain,

Museum

Metropolitan

on a rock; a lizard in front. An etching of this picture was

San Donato

gia.

long

flowers,

branches of vine with grapes attached, a basket of strawberries, bouquets of blossoms, and

orange

M. Mundlerin 1841; about

Aguado

on a table;

4,350 francs.

No.

sale,

from

Red

147.

a study.

tridges suspended

dants, each

QIC. 6. and I. Pereire, Paris. Fish. From Urquaiz Gallery, Madrid. Burger,

Velazquez, 290.

gif.

Paris.

A pan-

gig. A.

gie.

A pannier with pigeons and a hare

tied to the handle.

Companions.

the canvas covering the panniers

Burger,

des Artistes,

Blanc, Peintrcs, Life of

Bloudoff.

iii.

Bravo.

pans,

pie,

Kitchen inches.

Stirling,

Sevilla Pinto, 416.

1410.

Thomas

gih. Sir

gii.

Utensils,

melons, vegetables, and

About 36x60

fish.

Baring.

British Institution, 1845.

Juan Govantes, Seville. ACardo

cut ready for the table.

Stirling ii. 580. gik. Sir W.Stirling-Maxwell. Chal-

ful.

nier bound, with a cock tied to the handle.

Also,

;

Comte

copper

ices

Comte Maison,

132

Nazzi.

Annuaire

bread, sausage, bottle of wine, and cup on a table. Exhibited at Brussels, 1873. Praised in Gaz. B. Arts, t. vii. 544.

This was not in Pereire

sale, 1872.

gid.

1861, p.

group of

235 francs.

heaped

Velazquez, 15.

on a wall; two pen-

x .81.

Don Mariano

Velazquez, 291.

.3OX.35-

200 francs. Also, No. 149. Pieces of meat suspended on A turkey and para wall, and No. 250.

figs

museum;

address of

a rose on the

Purchased

.43X.56.

ground.

New-

Art,

second volume of the series of a work which the artist

in the

promised

March

sale, Paris,

and

Fruits

1870.

fish

inches.

25x29

etchings by Jacquemart, after the paintings in this did not live to complete.

gib.

1410.

Melons, grapes, oranges, apples, pomegranates, and

York.

iii.

and other vessels with

25x33

gil.

fruit.

Doubt-

inches.

Fitzwilliam

Museum.

Cam-

An emblem of mortality. On bridge. a gray marble slab lies a cross inscribed

the

a sponge.

the cross

From Moseman

a skull and collection.

ROYAL PORTRAITS. 92.

Two DOGS QUARRELING.

Yorkshire.

One

threatened by the other.

Earl of Carlisle,

93.

Earl of Elgin,

DOG.

Howard,

Life-size.

Purchased by Mr. Wallis in Spain, and imported in 1809. 235; Athenteum, September 30, 1876.

ii.

Castle

of the dogs, mounted on the flayed skull of an ox,

Fifeshire.

Buchanan, Memoirs

white poodle smelling

a bone. Mentioned by

94.

Head

Stirling,

Annals of the

Edmund M.

DOG.

iii.

1410.

Blood, Esq., Rickmansworth, Herts.

of a dog. Praised in Art Journal, 1868, p. 138.

Leeds Exhibition, 1868. 95-

Artists of Spain,

Count Raczynski,

Berlin.

from King Francisco de Asis

in 1804.

DOG.

A present

A sale, 953. Salamanca 1867. black and white dog lies on a carpet, its

feeding

.38x.5O.

whelp.

3,900

A 95b. Louis Philippe sale, 225. dog sleeping. Attributed to Zurbaran.

15x20

from a basket, Velazquez, 291

inches.

Mentioned by Burger, ;

Blanc, Peintres, Velaz-

quez, 15; Horsin Deon, in dcs Artistes, 1861, p. 132.

Annuairc

95g. In the Real Casa de Villaviciosa,

Mr. Ford (Athenaitm,

a villa appertaining to the Counts of Chin-

May, 1853) thinks it is by Velazquez. was sold again at Philip Hinds sale, Cean Bermudez $oJune II, 1870.

chon, and belonging to Don Luis de Bourbon, was a picture in which was an

mentions a picture by Velazquez,

attributed to Velazquez.

46X.62.

^35.

for-

" merly in Buen Retiro, un perro sobre una almohada." Diccionario,\. 179.

950. 43.

makes

Desenfans Catalogue,

in a dish placed just

beyond

Lord Gwydir

95d.

No.

Lopez Cepero

956.

Three rabbits .48x.3S-

monkey

The

1829.

14 i$s. sale, Paris, 1868.

and three guinea-pigs.

Maison,

scattering

portraits

fruits

Alcazar at Madrid, Cat.

Mus. Prado,

591:

Two

paintings with two horses, a bay to

two

with

two

companions

others by Ribera. Two unfinished

sketches,

horses and two horsemen, companions to others

by Ribera.

The head

346 francs.

Comte

Ponz, vi. 170. 95h. The following pictures are mentioned in the old inventories of the Real

and a chestnut,

his reach.

sale,

study of mules' heads.

95f.

1802,

mastiff chained in a court-yard vain efforts to seize some meat

owl and several pieces of dead game,

Paris.

and flowers

by Velazquez of the

of a stag that was killed by Philip IV. in 1626; with an inscription.

Another

different

stag's

head

members of

;

injured.

the Royal Family are

so numerous and important, and the confusion as to their identity is so great, that it has been thought the following genealogical table might interest the reader. The

VELAZQUEZ.

of the royal family who was living in Spain of Velazquez to Madrid in 1622, and that of his death in 1660, except, perhaps, the illegitimate children, who were numerous, but who for obvious reasons cannot always be accurately named. There are many porbelieved to include every

list is

between the date of the

member

first visit

ladies who have passed for princes distinguishing those that can justly claim these titles. The principal authorities consulted are Flores (Fr. Henrique), Memorias Ortiz y Sans de las Reynas Catholicas, etc., Madrid, 1770, 2 vols., 8vo, 2d ed.

traits

and

by Velazquez of unknown gentlemen and

infantas.

This

list will assist in

(D. Joseph), Compendia cronologico de la historia de Espana, Madrid, 1795-1800, Berni y Catala (Joseph), Creation, 8 vols. 8vo, including I vol. of portraits. antigitedad,

y privitigios de

los titulos

de Castilla.

Valencia, 1769,

fol.

PHILIP

III., son of Philip II. and Ana, daughter of Maximilian II., Emperor of Germany, born 1578, succeeded his father 1598, died 1621. Married in 1599, to MARGARITA, daughter of Archduke Charles, born at Gratz, 1584; died 1611.

Issue: 1.

Ana

She

d. 1666.

b. 1602; d.

aged two months.

Maria,

Philip 1V.,\>. 1605. Maria, b. 1606, betrothed (desposose) 1623, to Charles, Prince of Wales; m. 1631 to Fernando III., King of Hungary; d. 1646.

5. 6.

Carlos, b. 1607, d. 1632.

Fernando, b. 1609, created cardinal by Paul V. 1619 nando had a natural daughter.

Mariana of Austria, who entered at

PHILIP I.

who

of Austria, b. 1601, m. 1615 to Louis XIII. of France,

1643.

;

1641.

Fer-

the convent of Descalzos Reales,

Madrid.

IV., b. AprilS, 1605, succeeded his father 1621; d. 1665.

married,

ISABEL OF BOURBON, daughter of Henry IV. of France and Marie de Issue Medicis, b. 1603, m. 1615, d. 1644. :

14, 1621, lived

Margarita Maria, b. August Margarita Maria Catalina,

November

twenty-nine hours.

December

25, 1623, d.

22,

1623. 3. 4. 5.

Maria Eugenia, b. November 21, Isabel Maria Theresa, b. October Baltasar Carlos, b. October Maria, d. October 9, 1646.

Maria Antonia Dominica

17,

1625, d. July 21, 1627. 30, 1627, lived twenty-four hours.

1629, betrothed

the Archduchess

Jacinla, b. January 17, 1635, d.

December

1636. 7.

Maria

Teresa, b.

September

20, 1638,

m. June

9, 1660, to

Louis XIV.

of France, d. 1683. II.

MARIA DE AUSTRIA,

his niece,

daughter of Ferdinand III. and Maria,

She was betrothed to the infant Baltasar IV., b. 1635. Carlos, but after the death of that Prince she married his father, in 1649 ; sister of Philip

d. 1696. I.

Issue

Margarita Maria,

Emperor Leopold

July

I., d.

12,

1651,

March

m. December

13, 1673.

12, 1666, to the

ROYAL PORTRAITS.

Maria Ambrosia, b. December 7, 1655, lived fifteen days. Philip Prosper, b. November 20, 1657, d. November I, 1661. Fernando Thomas, b. December 21, 1658, d. October 23, 1659.

Carlos II., b.

2. 3.

November

Natural sons of Philip IV. 1. Francisco Fernando,

6, 1661.

b. 1626, d. 1634.

Ana

Margarita, b. 1638. In 1650 she entered the Augustin convent of La Encarnacion, of which she became Superior: d. 1664.

Juan Joseph de Austria, b. April 7, 1629, son of Maria Calderona, an actress. He was acknowledged by his father, who recommended him to his successor was Governor of Sicily, Catalonia, ;

Flanders, Aragon, General of the Armada, etc., d. at the Palace He never married, but had in Madrid, September 17, 1679. several natural children, viz.

Margarita de Austria, b. 1650, entered the Convent of Des-

Ana Maria

Catalina, b. 1661.

calzas Reales, 1656, professed 1666.

4. 5. 6. 7.

Jacinta Ambrosia Vicentela, b. 1663.

Alfonso, became Bishop of Malaga. Carlos.

Fernando, called Valdes, Governor of Novara, d. 1702. Alfonso Antonia de S. Martin, successively Bishop of Oviedo and

Cuenca, son of Thomassa Aldana, Dama de la Reyna. Juan, took orders as F. Juan del Sacramento, and wrote a S. Vincent de Paul.

life

Philip IV. was reputed to be the father of about thirty-two illegitimate children. (D'Aulnoy, Memoirs, 101 note.) The above list,

from Flores, probably includes

all

whom

the king cared to

acknowledge.

96. PHILIP

mounted on a

III.

Museo

del

Prado,

1,064.

The king

spirited horse, which gallops, three-quarters right,

the sea-shore; he wears steel armor, a low-crowned black hat with

plumes, a shoulder front.

;

ruff,

and a crimson

he holds

in his left

Second manner.

scarf

which

floats

behind from his

hand the baton of command, and looks

3.00x3.14.

This, and the companion portrait of Queen Margarita, No. 230, were apparAs the king and queen were both dead before Velazently executed about 1644.

quez visited Madrid, the

some contemporary

;

was indebted

for the features of these personages to probably for the king's to the picture by Bartolome'

Museo Nacional, Madrid ; for the queen's to the half-length porby Gonzalez, in the Museo del Prado, No. 729, or the one by Juan Pantoja de Cruz, in the same museum, No. 926.

Gonzalez, in the trait

artist

portraits

VELAZQUEZ.

14.2X12, at Calco. Nacional. In the collection of Sir W. an impression with the lettering written by Goya. FATCHO, E. C. Cos, litto. in etch., in Alabern, Galleria. J. JOLLIVET, litho. in Col. Lito. F.

GOYA,

etch.,

Stirling-Maxwell

Gal. Esp.

97.

Museo

PHILIP IV. on horseback.

king about forty years of age, white legs, gallops to our right gold, a golilla, or

;

The

del Prado, 1,066.

mounted on a bay horse with

four

he wears armor of

with

steel inlaid

narrow linen collar which projects horizontally, a

plumed chapeau with pointed brim, and a crimson scarf which crosses his body and floats behind from his waist ; he carries a baton, and both rider

and horse are seen

Background, a broken landscape. No. 231. 3.00x3.14.

in profile.

Second manner. Companion

This portrait can be traced in the royal inventories since the death of Charles II.

old copy, formerly in the

In the Albertina

Vienna

Lamberg

Gallery,

in the

Vienna Academy.

a drawing attributed to Velazquez, which has been

photographed by A. Braun. F. GOYA, etch., 14.7x12.2, at Calco. Nacional. In the collection of Sir W. Stirling-Maxwell is an impression with the lettering written by Goya. ALABERN Y FATJO, etch., in Alabern, Galleria. J. JOLLIVET, litho. in Col Lito. E. C. Cos, litho. in Gal. Esp. Outline in Liibke, Denkmaler der Kunst. Velazquez is known to have painted the following equestrian portraits ot Philip IV. I.

He was commanded

to paint the portrait of the infant

Don

Fernando, but

more convenient to make that of His Majesty first, which, however, on account of his numerous engagements, he was unable to complete before the 3Oth of August, 1623. The king was represented life-size, armed, and mounted on a beautiful horse, in a landscape. All who saw it said he had never been painted before. The picture was exhibited for the admiration of the public in the Calle he found

Mayor, before the Convent of San Felipe. Pacheco, 102. This account is repeated by Palomino, iii. 325-6. The king rewarded the artist for this work by the appointment of court painter, with a monthly salary of 20 ducats. The order to this effect is dated the 6th of October, 1623 (not April, as stated by Cean Bermudez and Stirling). This portrait, executed when Philip was eighteen years of age, has disappeared. It is probably the one mentioned in the inventory of 1686, as being in the Casa del Tesoro " un Retrato del Rey Felipe IV. moso a caballo ; " the dimensions are Doubtless it perished in the fire that swept the royal palace in 1734, as it is not mentioned after that date. Cean Bermudez and Stirling are mistaken in supposing the picture in the Museo del Prado to be given as equivalent to 4.15x2.91.

away

the one painted in 1623, as the age of the king clearly testifies. II. In 1638, to assist Tacca in modeling the statue of the king, Velazquez painted an equestrian portrait, as well as another at half-length. Ponz, vi. log;

Cean Bermudez, Die. Uffizi

v. 166.

Gallery at Florence.

The

first

of these

probably the one

now

in the

PHILIP III.

iv.

appears by the accounts of the Furriera of the journey to Aragon in

1644, that Velazquez executed a portrait of the king at Fraga, in three sittings, in Archives of the Palace, quoted in Cat. Mus. Prado, the month of July of that year. It does not appear that the work so hastily executed was an equestrian although D. Pedro de Madrazo thinks it may be the one now in the Prado. Whether or not this is the same picture described by Palomino is uncertain. That

p. 608.

portrait,

author mentions a portrait which Velazquez painted during the journey to Aragon in 1645 to send to Madrid, in which the king was represented as he entered Lerida

He was at full-length, in crimson dress, holding This description does not correspond with the portrait in the Prado, concerning which, Palomino, being a court painter, ought not to be mistaken, careless as he often was. on the 7th of August

a baton.

IV. it

Museo

provoked.

in that year.

Pict.

iii.

painted a portrait which he destroyed in consequence of the criticisms

Palomino,

23x17

Rogers

iii.

333.

Earl of Northbrook, London.

98. PHILIP IV.

No. 97.

352.

A repetition

inches.

sale,

April 28, 1856, No. 693,

^215

$s, to

Thomas

Baring, Esq.,

who

bequeathed his choice collection of pictures to his nephew, Lord Northbrook. The Rogers Catalogue says this is the finished sketch of the great picture under which it used to hang in the palace of Buen Retire.

99. PHILIP IV.

Sir Philip Miles,

the above picture No. 97. Royal Academy, 1870.

100. PHILIP IV. tition

18x16

Etched

Due

Bart

small repetition of

inches.

in the

Miles Gallery, 56.

de Montpensier,

Seville.

small repe-

of No. 97.

.46x.39Companion to No. 167. These two pictures were presented to the duchess by her sister, Queen Isabella II., who purchased them from the Marquis de Salamanca. J.

LAURENT,

photo., No. 1010.

101. PHILIP IV.

No.

97.

Pitti Gallery, 243, Florence.

repetition of

i.26x.9i.

it is

This picture was formerly attributed to Rubens, and the catalogue asserts that the one which was painted for the use of Tacca. " Perhaps it is the portrait referred to by Baldinucci, who says Philip sent una

mezzo in circa, nella quale per mano dello stesso Rubens era figCavallo colla persona del Re ritratta al naturale." Notizie de' professori del Disegno, &c. Firenze, 1762-73, sm. 410, vol. xii. p. 172.

Tela

di braccio e

urato

L. ERRANI, line in Bardi, Gal. Pitti.

VELAZQUEZ.

Sir Richard 'Wallace, Bart.

102. PHILIP IV.

About 24x24

probably of No. 97.

The king

Uffizi Gallery, 210, Florence.

103. PHILIP IV.

repetition

inches. in

head turned

armor, and wearing a sword, is seen three-quarters left, front; mounted on a prancing horse; a baton in his right hand his

held over his horse's head

;

behind him are two boy angels, and a the air above are two female figures, one

in negro bearing a helmet with a cross and olive wreath, the other with a thunderbolt ; a land;

scape and building compose the background.

3.39x2.67.

There is little doubt that this is the portrait which Velazquez painted in 1638, and which was sent to Florence to assist Tacca in modeling the statue of the king. Perhaps it is the one in which Philip was so much interested that he sat to the one time three hours continuously. Pacheco, 105. The allegorical figures by another hand. [November 21, 1638, the Duke of Modena wrote to Fulvio Testa, his ambas" If the sador at Madrid equestrian portrait [of the king] is a success, we wish

artist at

are supposed to be

have a copy made by the artist." The letter is preserved in the archives of Modena, and has been communicated by Signor Venturi, the obliging inspector of

the Royal Gallery of Modena, to the author of this catalogue. The statue of Philip IV., by Pedro Tacca, pupil of Giovanni da Bologna,

one

Ponz (vi. 108, etc.) fills eight pages with an account of it, and of the negotiations and studies that preceded its construcHe states that it weighed 18,000 pounds, was valued at 40,000 ducats, and tion. that Galileo suggested the means by which the horse maintains his equilibrium, It was finished in 1640, and erected in the gardens of supported on his hind legs. Buen Retiro, where it remained until 1844, when it was removed to the Plaza del of the noblest that

modern

has produced.

art

Oriente, before the royal palace. ]

COSIMUS MOGALLI,

line,

23x14.2, reversed.

A photograph

of this engraving

Smith, Catalogue Raisonne, ii. 133, under the title of Rubens, Reid, Velazquez. gives a description of this print, which is ascribed to an anonymous engraver.

is in

Stockholm Museum,

104. PHILIP IV.

762.

The

king,

young

and beardless, with bare head, wearing a black dress and yellow boots, His white horse, holds his hat in his right hand against his side. whose long mane

walks to the

the saddle

gold.

left

;

tied with knots of red ribbon, is in profile, is

Background only a wall and a column.

1.95x1.67.

Presented to Queen Christina by the Spanish Minister, Pimentel. in the

Gripsholm Palace.

and

of purple velvet, embroidered with

Stirling praises this portrait highly,

Formerly and thinks it

PHILIP

IV.

may be

a small repetition of the one painted in 1623 (Stirling, Velazquez, p. ix. Paris Ed.), but according to Palomino that portrait represented the king armed and in a landscape. See No. 97 note.

1043. Balbi Palace, Genoa.

Philip

IV., called in the

catalogue Philip II., wearing a projecting linen collar, and holding out in his right hand a felt hat, is

mounted on a white horse which walks

three-quarters

right

landscape

;

back-

ground; life-size. The head is said to have been painted by Velazquez over that of a member of the Balbi family by Vandyck, in order to save the picture from destruction after Balbi's banishment,

Dubois

I04b. 7,

1842.

sale, Paris,

December

1040. Sale

London,

The

1833.

king of Spain on horseback. ^152 I04d. T. Hamlet. Philip IV. horseback.

loj.

Exhibited at the British In-

stitution, 1840.

1046. John Bulteel. Philip IV. on horseback. At British Institution, 1864.

Lord Cowley. Equestrian porof Philip IV. A small study. Mentioned by Bryan, Dictionary of Painters, iO4f.

trait

on horseback.

IV.

Philip

The descrip2.04X1.58. 215 francs. tion resembles that of No. 97.

Velazquez.

Museo del Prado, 1,070 (258). The king, about full-length, eighteen years old, standing his body three-quarters bare head, and wide, projecting collar; his silk face with front, right, 105. PHILIP IV.

;

habit, his cloak, stockings, falling naturally,

and shoes,

holds a folded paper ; his

with crimson tapestry, on which This

went

all

the earliest

known

portrait

his hat.

are black left

hand,

on a table covered

First

his right

;

manner.

2.01

by Velazquez, and was painted soon

x 1.02. after

Madrid, about 1623.

On wood

LAURENT, photo.

Eugene

Poitou,

Voyage en Espagne, Tours,

1869, 8vo.

65.

106. PHILIP IV.

Duque de Villahermosa,

Madrid.

represented at full-length, about eighteen years of age, standing threequarters right, wearing a black dress jecting linen collar,

and cloak, a

golilla,

held in his right hand, his left is on his sword paper a chest of drawers, covered with red velvet. Life-size. is

the

Companion to a portrait Duque de Narros. 107. PHILIP IV.

or wide, pro-

and the order of the Golden Fleece

of Olivares, No. 173.

Robert

;

a small

his hat lies

Both are from the

Holford, Esq.

;

collection of

seen at

full

length, about twenty-five years of age, standing turned to our right, his face three-quarters right, with bare head, wearing a short buff

VELAZQUEZ.

doublet over a coat of chain armor, leather gauntlets, long hose, and over his right shoulder and breast is a crimson scarf with spurs;

embroidered ends left is

falling

behind

his right

;

on his sword; a plumed hat

lies

hand holds a baton, the

on a table before him.

82x48

inches. It is perhaps the picture which Mr. Purchased from Mr. Nieuwenhuys. Nieuwenhuys bought for ^129 3.?. at Alton Towers sale, 1857, No. 152. Praised by Passavant, Tour of a German Artist, ii. 180.

Museo

108. PHILIP IV.

del

Prado,

1,074.

The

king, full

hunting costume, about thirty years of age, wearing a buft in his right hand a jacket, cap, and gloves, stands near a tree, holding his side a dog hand is on his left gun which is pointed downward ; length, in

;

sits

Landscape background. Second manner. Don Fernando, No. 145. 1.91x1.26.

behind him.

panion

Com-

Palomino says (iii. 332) under date of 1644, that Velazquez painted the portraits of Philip IV. and his brother, Don Fernando, full length, life-size, in hunting dress, with guns in their hands, and dogs held in leash, resting. They were in the Torre la Parada. Judging from the age of the persons represented, and the style of execution, these portraits must have been executed earlier than that date, which is three years after the death of Don Fernando.

Several repaints are observable, especially the legs, which were originally placed further forward. Burger, Velazquez, 257. In the Berlin Museum, No. 413 B,

a copy, perhaps by Mazo, from the Suermondt Gallery. I. B. MAURA, etch., 9.5x5.7, 1870, at Calco. Nacional. ROSELL, etch., in Madrid. J. BURNET, etch., in Burnet, Portrait Painting. J. A. LOPEZ, litho.

Col. Lito.

Photo, in Reid, Velazquez.

109. PHILIP IV.

Louvre,

that in this picture the cap left

hand.

552.

A repetition

of No. 108, except

transferred from the king's

head

to his

2.00x1.20.

Purchased in 1862 from M. Mundler

by Mazo. W. HAUSOUILLIER,

etch., in Gaz.

and Spanish

ED. MANET,

Painters.

no. PHILIP IV.

for 23,000 francs.

It is

probably a copy

B. Arts, July, 1863, and in Stothert, French 12.6x7.8, reversed.

etch.,

A repetition

of No. 108. 1.93x1.06. "This and the companion portrait of Don Fernando [No. 146] were formerly panels in the armory at Madrid." l$2 5 J Not sold. The same in Schneider sale, Paris, April 16, 1876. 6,000 francs. Man-

Baillie

sale,

May

chester Exhibition, 1857.

15, 1858.

PHILIP noa. Lapeyriere

Paris,

sale,

iv.

which

April

49 introduced a large dog, was

repetition of

purchased in Paris about two years ago

7,500 francs.

capital picture, as large as nature, of Philip IV. going to the chase,

[1822?] as companion to a fine picture by Murillo of a Moorish prince." Buchanan, Memoirs, i. 146. Can either of the above notes refer to the picture No. 109, now in the gallery

with a splendid background landscape, in

of the Louvre

19,

No.

1825. 108.

Philip IV. 74X45 inches.

Again, A. Delahante

London, July

sale,

Phillips,

9, 1828.

nob.

in. PHILIP IV. Museo del Prado,

Full length; about

1,081.

forty-five years of age, in black dress, turned partly to our right; kneeling

behind a desk covered with rich orange and pearl-colored tapestry, on which his hands rest ; his left hand holds his hat above is a curtain ;

Latest manner.

similar to the covering of the desk.

now

2.09x1.47.

Two small pictures, 235. Companion lost, perhaps sketches for these, are mentioned in the Catalogo de los cuadros Queen Marianna, No.

to a portrait of

del Escorial, por D. Vicente Polero, p. 189.

Photographed by

LAURENT and by

Museo

112. PHILIP IV. full-length,

around left

about

his waist

hand

curtain.

Prado,

The king

1,077.

gloved right hand holds a baton, his mailed his casque and a gauntlet are on a table at ;

his

sword

his

the left; behind

del

years of age, standing in armor, with a scarf

fifty

;

A. BRAUN.

him

lies

a lion seen in profile; above

Latest manner.

a crimson

2.31x1.31.

Neither of these porCompanion to a portrait of Queen Mariana, No. 237. traits was in the old catalogue of the Museum. GALVAN, etch., 9.2x5.2, in Grab. Ag. Fnerte. J. LAURENT, photo. 49.

113. PHILIP IV.

Hampton

above, with some variations.

which lie

Court.

carved the mask of a lion

on the pedestal.

82x40

portrait resembling the

Instead of the table ;

a pedestal, on

a crown and a plumed helmet

inches.

Companion to Isabel of Bourbon, No. 233. There is a tradition that both these pictures were left unfinished, and that they were completed by another hand under the direction of Rubens. They had been largely repainted, but have been recently restored. Royal Academy, 1875. These are probably the pictures described as "

" length," and

The now Queen

October 29, 1651, in

for

^40, to Mr. Jackson.

Buckingham Palace a 7

The now King of Spain at Commonwealth, Harleian MS., No. 4,798. There is

of Spain at length," sold by the

portrait of

Don

Baltasar Carlos (see

No. 140) which

VELAZQUEZ.

have been presented by Philip IV. to King Charles I. It is sold at the sale in 1651 of pictures belonging to the perhaps the picture which was " A Prince of It is not improbable that as Spain," for 10 shillings. Commonwealth,

traditionally said to

these three portraits came to England at the same time, and naturally the date would be in the lifetime of the personages represented. They must therefore have

Indeed, the age would indi-

been sent prior to the death of Queen Isabel in 1644.

cate that the portrait of the prince was executed at least five years earlier than that If these conjectures are well founded, these are among the first works of date.

of Spain. In any event they appear Velazquez that are known to have passed out to be the first that were ever sold, and the catalogue above quoted is the earliest notice of the artist yet discovered in England, or for that matter, except in Spain or Italy.

Mrs.

114. PHILIP IV.

Henry Huth.

on the Continent,

Wykehurst,

Surrey.

The

king, about fifty years of age, stands three-quarters right, wearing a black dress and the order of the Golden Fleece; his cloak is

thrown back from

his shoulders; his left

sword, holds his hat; in his right hand

both hands are gloved the background is

;

behind him

red drapery

seen an inner chamber

Full length.

Companion

;

at the

hand, which rests on his a paper inscribed Senor ;

a table covered with red cloth ;

on the

through an open door,

right,

end of which

a pyx on a table.

Isabel of Bourbon, No. 232.

8i^x

48}^ inches. to

Louis Philippe sale, No. Farrar, who exhibited

Henry

78 (292), from a private collection in Madrid, ^250, it at Manchester in 1857, and sold it in 1863 to Mr.

Huth. It is identical with and may be the original of the portrait in the Museo del Prado, 1,117 (old No. 142), formerly ascribed to Velazquez, but in the catalogue M. Burger (Blanc, Peintres, Vie de of 1872 attributed to the School of Velazquez. Pareja) considers the Madrid picture to be by Juan de Pareja, though it seems It is engraved on wood in Blanc, Peintres, rather to resemble the style of Mazo.

Vie de Pareja, and 1143.

Salamanca

photographed by sale,

January 23,

Philip IV., full length, in black costume, with the order of the Golden 1875.

Fleece

;

a paper in his right hand, his left; a reddish curtain in the

hat in his

115. PHILIP

IV.

LAURENT, No.

66.

thought for the Madrid. .2OX.I4From the gallery of D. Serafin de la Huerta. 4,400 francs. This is probably

background.

First

grand

portrait

a repetition of No. 114.

Hermitage,

419.

The

king,

full

length,

stands in a chamber opening on a balcony, wearing a black dress, and the order of the Golden Fleece suspended by a black ribbon from his

neck; his right hand holds a

letter, his left is

his

sword; near him

PHILIP is

a chair

and a

in red velvet,

table

on the left. 2.10x1.20. King of Holland sale, August

IV.

on which

his hat

;

a red curtain

sold with the companion portrait of A. Delahante sale, London, May 30, 1817, No. 199. Lapeyriere sale, April 19, 1825, No. 62, 7,920 francs. According to Nagler (Kiinst. Lex.) these two portraits were in the Erard cabinet, and were sold with two pictures by Vandyck for 60,000 francs. Olivares, No.

72, for 38,81 5 florins.

1850

was

;

Walter R. Bankes,

116. PHILIP IV.

Dorset.

12,

Esq., Kingston Lacy, In the lower corner

repetition, probably, of No. 114.

are the letters R.

Altamira

sale.

Full length,

London, June

1827,

life-size.

^29

i8s.

92x58

inches.

Painted for the

first

Marques

de Leganes, ancestor of the Counts of Altamira, from whose palace in Madrid the picture was taken by the French, and restored by decree of Louis XVIII. Stirling, iii. 1397. Waagen, iv. 382. Bryan Dictionary. The Marques de Leganes was of

Guzman, and a cousin of Olivares.

the family of

Duke

117. PHILIP IV.

The king

ark, N. B. silver,

quez.

of Hamilton, Hamilton

stands at

full

length in black dress

holding in his hand a paper inscribed with the

Castle,

Lan-

trimmed with

name

of Velaz-

Life-size.

Taken from the Royal Palace at Madrid, by General Desolle, whose daughter it to Mr. Woodburn. Stirling, iii. 1397. Waagen, iii. 297. Probably sold in the Duke of Hamilton sale, June 17, etc., 1882. sold

118. PHILIP

London. Stirling,

A iii.

Earl

IV.

of Ellesmere, Bridgewater House,

small, full-length portrait. 1397.

Jameson, Private

Galleries.

Mrs. Lyne Stephens,

119. PHILIP IV., three-quarters length.

Lynford Hall, Norfolk. seen three-quarters sists

left,

about twenty-one years of age and is his face turned front. His rich costume conis

of a buff waistcoat, over which

a scarlet doublet embroidered

and having loose-hanging sleeves; a broad linen collar the tops of his boots are with scolloped edge falls on his shoulders with

silver,

;

trimmed with lace ; he wears a sword attached

to a

broad embroid-

an ivory baton is in his right ; hand, his hat in his left. i.36x-99 cm. Salamanca sale, 1867, 71,000 francs. " From the gallery of Don Sebastian ered baldric which crosses his breast

Martinez, Cadiz."

At Alsace Lorraine Exhibition, 1874.

VELAZQUEZ.

him in modeling the equestrian statue, vn quadra Philip sent to Tacca to assist de mano de D. Diego Velazquez con el Rey d caballa, y d mas de esta, otro retrato de media cuerpo, que el mismo Velazquez hizo del Rey. Ponz, Viage vi. 109. As no half-length portrait of the king by this artist is known, perhaps one of the threequarter lengths

may be

GURARD,

etch.,

120. PHILIP IV.

the picture referred to

16.7x11.9.

Dulwich Gallery,

above, except that this

50^x37^

by Ponz.

A. BRAUN, photo.

309.

repetition of the

about three inches shorter at the bottom.

inches.

This picture is minutely and accurately described in a manuscript catalogue in the possession of the writer, dated 1765, of the cabinet of M. Francois Tronchin, Conseiller d'Etat de Geneve, and it is said to have come from the cabinet of M.

The collection of Bouchardon, sculpteur du roi, was dispersed by Basan in November, 1 762, when this picture appears to have been sold for j 75 livres. There were two Tronchin sales, one by Paillet in 1780; the other, 2 Germinal, an ix. ( 1 80 1), at which time this portrait was doubtless purchased by M. Desenfans. The canvas has been injured by cleaning. Bouchardon.

121. PHILIP IV.

Belvedere,

No.

Vienna.

about thirty years of age, wearing a black silk dress, wristbands, stands three-quarters right, with his

and a paper

in his right.

left

The

king,

and

linen

golilla,

hand on

his sword,

inches.

48x32

MlETHKE, photo. [The golilla was a It

was

first

idea, that

wide, stiff, linen collar, projecting horizontally from the neck. introduced by Philip IV., who was so much pleased with the happy

he celebrated the invention by a

feast,

when

the king and court

God

procession to the Chapel of the Guardian Angel to render thanks to blessing.

Mme. D'Aulnoy, Voyage

I2ia. Cean

mentions

Bermudez (Die.,

iPEspagnf, Ed. 1874, p. 196, note. 179)

half-length portraits of Philip IV. and of his wife Dona Mari-

the

122. PHILIP

IV., BUST.

ana, formerly in the Real

San Fernando, Madrid. location is unknown.

Museo

del

Prado,

went in for the

]

Academia de Their present

1,071.

about twenty years of age, turned partly to our right, face front; with short hair and beardless he wears a golilla and a red scarf over his ;

steel-plate armor.

The head

ently in the second manner.

in the

first,

but the costume appar-

.57X-44.

In the inventory of Buen Retire, on the death of Charles II. in 1700, is mentioned a portrait of Philip IV., varas young, in the first manner of Velazquez, high [2.08 cm.]. D. Pedro de Madrazo thinks the above picture may be the one

PHILIP

IV.

in the inventory, cut down, and that it equestrian portrait of the king. PINEDA, etch., 6.6x4.9, > n Grab. Ag. Fuerte,

mentioned

53 may be

the study for the

Photos, by

first

LAURENT and

A. BRAUN.

123. PHILIP IV.

About

National Gallery, London,

745.

years of age, wearing a close-fitting black

fifty

Bust.

silk habit,

golilla or wide projecting linen collar, and the chain of the order of

the Golden Fleece; his long, waving hair of his long moustache are turned up.

falls

his collar;

Latest manner.

the ends

25x20^

in.

Painted about 1655.

This picture formerly belonged to Prince Demidoff. It was purchased in 1865, at Paris, from M. Sano, with a landscape by Ruysdael for

^1200. A copy by Carreno, from San Fernando at Madrid.

this or a similar portrait, is in the

Academy

RAJON, etch., 6.8x5.6, in The Portfolio, June, 1874, and in Etchings from the National Gallery, with notes, by R. N. Wornum, London, 1876, fol. The above picture is a type or model of all the bust portraits of Philip IV. by

From a similar picture the following line EMANL RODRIGS, 9.5x7, oval, in a square

Velazquez.

made PEDRO PERETE, PETRUS DE VILLAFRANCA,

engravings were

border.

7x5.1, Madrid, 1633, somewhat like the last. Sculptor Regis, 10.2x6.8, Madrid, 1657; above are two cherubs supporting a shield on which is a crown inscribed, Fine Coronal, etc., in F. de los Santos Description del Real Monasterio del Escorial. Madrid, 1681, fol. Also in Luis de Santa

PETRUS DE Madrid, 1657, fol. an oval frame which rests on a pedestal inscribed de Calalrava. Philippvs IV. Magnvs Hispaniarvm, etc., in Diffiniciones de la orden Madrid, 1661, fol. PETRUS DE VILLAFRANCA, 11.1x7.4, in a frame supported by Maria, Centenario del S. Lorenzo del Escorial.

VILLAFRANCA, 10.5x6.9,

two monks, in Difiniciones de la ordcn de Alcantara. Madrid, 1662, fol. PETRUS DE VILLAPRANCA, 11.3X7.1, Madrid, 1661 in armor, inscribed Perpetvitas,Ac.; PETRUS A VILLAFRANCA, 7.2x4.9, with scrolls inscribed Aeternae Foedera Pads, etc. in L. de Castillo Viage de Filipe IV., Madrid, 1667. PETRUS A VILLAFRANCA, .

;

12x8.3,

armor, in P. de Rodriguez de Monforte, Descripcion de las Honras de

Philippe IV., Madrid, 1666,410. UNKNOWN, perhaps by H. Panneels, 7.4x5.2, in armor, with two figures supporting a crown. Inscribed beneath, Ex archetype Velazquez, Matriti, 1638, in Tapia y Robles, Renombre de Grande, Madrid, 1638, sm. fol.

124. PHILIP IV.

A repetition

Robert

of No. 123.

Holford, Esq., London.

31X24

Bust.

inches.

Purchased many years ago through Mr. Buchanan.

125. PHILIP IV. 123.

Hermitage,

420.

.67X.S3.

in 1814 from Mr. Coesvelt. Photograph by R6TTGER, St. Petersburg.

Purchased

Bust.

Repetition of No.

VELAZQUEZ.

Belvedere, S.

126. PHILIP IV.

No. 123, but a

repetition of

of No. 123.

del

Prado,

of No. 123, but without the chain.

photograph of this print

LAURENT, photo.

1,080.

Bust.

repe-

.6^x.^6.

al Ag. Fuerte.

F. GARZOLI, lith. 11.6x9.6. Reid, Velazquez, called a Spanish Gentleman.

etch., 1875, in Grab,

MAURA,

Bust.

Collection, 38.

.42X.3S-

Museo

128. PHILIP IV.

Bust.

inches.

17x13

La Gaze

Louvre,

127. PHILIP IV.

tition

shorter.

18, Vienna.

photo. No. 200.

MlETHKE,

A repetition

trifle

No.

190.

Turin Gallery,

129. PHILIP IV.

No. 122, except that

this

shorter,

240.

and

Bust.

Similar

clad in plate armor.

.4IX-36. Presented to the gallery in 1834, by King Carlo Alberto. CESARE FERRERI, line, 6.2x5, in D'Azeglio, Gal. de Torino, without the engraver's name.

Earl of Ashburton.

130. PHILIP IV. dress.

23x18

Stirling,

Annals,

iii.

child, Paris.

longed to M.

Roths-

Philip IV. Formerly beReiset. Burger, Velaz-

Cabinet des Amateurs, 1861. I3ob. Lionel Hervey. Philip IV. Exhibited at the British Institution, 1823

quez, 291

;

and 1835.

Hervey 1300.

Perhaps

also

by Fulton

in 1846.

Lord Fitzgerald and Vesey

Small, July 17, 1843. Philip IV. Ellis sale, June 17, I3od.

sale,

Wynn

1876. Philip IV.

1306. Sir

May

1840.

i2i2s. (Partington.)

Simon H. Clarke

sale,

Philip IV. in black dress, Fleece.

with the order of the Golden

^82.

life-size, in

black

1398.

Baron James

1303.

Bust,

inches.

(Nieuwenhuys.)

I3of. Collot sale, 1855. 1,750 francs.

Philip IV.

I30g. F. J. Gsell sale, Vienna, March 14, 1872. Philip IV. Repetition of No.

122.

.65X-55.

Count

Feztetits.

Bought about 1850 from 3,550 florins. Litho. by

F. GETASCH, in sale catalogue.

isoh. Lapeyriere sale, April 14, Bust, in black dress, Philip IV.

1817.

with the order of the Golden Fleece,

2lXl8in. 2,450 francs, to Delahante. 130!. A. Delahante sale, July 9, 1828. Philip IV. rand.

I3ok.

Bust.

From

Prince Talley-

Marquis de Forbin-Janson

2, 1842. Bust, Philip IV. in black silk dress, with the chain of the

sale,

May

Golden Fleece.

^60.

.38X.3O.

May,

sale, 1853,

Head of Philip IV.

248(293). 13001.

5,700 francs,

.68X-52.

(Nieuwenhuys. ) 130!. Louis Philippe

(Lord

St.

Casimir Perier

1848.

No.

study.

Leonards.)

sale,

London,

Philip IV. in armor.

DON BALTASAR CARLOS. Charles Birch

13011.

Feb. 15, 1828.

sale, by Christie,

From

Philip IV.

the

Convent of Gongora.at Madrid. ^54 Philip IV.

1829.

Emmerson

Thomas

i3Op.

From

12s. sale,

the Royal Col-

Madrid.

^35. I3oq. Lord Northwicksale, i85g,No.

lection,

1,125.

Philip IV.

131.

Colnaghi.

let is

embroidered with

the order of the

boy about

six

scarf,

left

which crosses

;

his

eldest son

From 7,200

1867,

No.

of Philip

grace-

mounted on a chestnut

horse,

del Prado, 1,068.

he wears a plumed hat, armor, and a breast and floats behind a baton is ;

held in his right hand over his horse's neck.

Second manner.

over which

5,300 francs.

38.

years of age,

galloping, three-quarters

silver,

Golden Fleece.

Lebrun sale, 1809. .59X-5I. The same in Salamanca sale,

Museo

Isabel de Bourbon.

ful, fearless

crimson

1301. Pourtales sale, 1865, No. 206. Philip IV. seen three-quarters face, wearing a small ruff, and a black velvet doub-

THE INFANT DON BALTASAR CARLOS,

IV. and

15*. to

^15

Landscape background.

2.09x1.73.

Painted about 1635.

Palomino

(iii.

332), after describing the equestrian por-

Queen Isabel, painted in 1644, and which hung in the Salon Dorado in the Palace of Buen Retire, says that above it was the portrait of Baltasar Carlos on

trait

horseback, galloping, with a marshal's baton in his hand.

Hastily reading Palo-

mino, Stirling (Annals, 633) and Cean Bermudez (Die. v. 167) assign this portrait to the year 1644, at which time the prince was sixteen instead of six years of age, as here represented.

An old copy is in the Dulwich Gallery, No. 194. Another Can this last be the copy by Sanchez Coello which tage, No. 426. saw in the possession of M. de Gessler, Russian Consul at Cadiz

in the

Hermi-

Comte Raczynski ?

Arts en Portu-

gal,^. F. GOYA, etch., 8.9x6.4, 1778,31 Calco. Nacional. Sir W. Stirling-Maxwell has an impression with Goya's etching of Esop on the back, probably the one sold at His de la Salle sale, 1856. Minus, etch., 5.8x6.9. J. BURNET, etch., in R. EARLOM, Mezzo, 15.1x12.9, 1775. Burnet, Portrait Painting. J. JOLLIVET,

E. C. Cos, litho., in Gal. Esp. On wood, in Blanc, Peintres ; Murillo ; Art Journal, 1852, p. 563; Becker, Kunst und Kiinstler ; La IlusPhoto, in Reid, Velazquez. tracion Esp., January 8, 1876.

litho., in Col. Lito.

Scott,

132.

DON BALTASAR

somewhat

CARLOS.

A repetition

of the above picture,

smaller.

1.27x97. Salamanca sale, 1867. From the francs. The writer is informed by M. P.

gallery of

Don

Luis de Bourbon.

Lefort that this picture

now belongs

14,700 to the

Duque de Fernan Nunes, Madrid. I3ia.

H. Artaria

London, April, 1850.

by Phillips, D. Baltasar Car-

sale,

los.

repetition of No. 131. ,105. in Burnet, Portrait Painting.

Mentioned

VELAZQUEZ.

DON BALTASAR

133.

CARLOS.

Sir Richard 'Wallace, Bart.,

A child

about four years of age, in black and white dress, with a crimson scarf, his hand on his hip, is mounted on a black horse, attended

by a

and other persons, among

cavalier

whom

a dwarf.

The back-

ground, consisting of a blank wall with the end of a pigeon-house, is unfinished, without, however, impairing the harmony of the picture. inches.

51x40

Purchased in Spain about 1827 by Mr. Woodburn, on the recommendation of Sold at Samuel Rogers sale, May 2, 1856, Sir David Wilkie, for Mr. Rogers. for ^1270 IDS. Head, Handbook, 159. British Institution, Stirling, ii. 630 note. Manchester Exhibition, 1857. This is probably the picture which Sir 1838, 1855. D. Wilkie saw in the possession of D. Jose de Madrazo. Cunningham, Life of 1

Wilkie,

469.

ii.

DON BALTASAR

134.

Grosvenor House, London.

CARLOS.

boy about twelve years of age, wearing a costume enriched with silver and gold, a crimson scarf and a plumed black hat, is mounted on a prancing pony, cers,

among whom

in a court of the palace,

attended by several

offi-

Olivares receiving a lance from an attendant

;

King and Queen Isabel are seen at a balcony of the building, probably the royal mews, which serves for a background. 57x83 the

inches.

From "

the

Welbore

Ellis

Agar

Collection.

painted another picture with the portrait of D. Baltasar, who is being The instructed in horsemanship by Don Caspar de Gusman, master of the horse.

now

Marques de Liche [Heliche], nephew of Palomino, iii. 332. There can be no doubt that the picture in Grosvenor House is the one to which Palomino refers ; and judging from the age of the prince it was painted about 1641, only two years before is

picture

the

fall

135.

in J.

greatly esteemed.

British Institution, 1819.

quarters is

Royal Academy, 1870.

Stirling, ii. 630.

Young, Grosvenor Gallery.

DON BALTASAR

London.

hand

of Olivares.

Etched

which

in the possession of the "

where

Olivares,

The

CARLOS.

Sir Richard Wallace, Bart.,

child full-length, about three years of age, stands three-

wearing a gray silk frock ; his left hand is on his sword, attached to a violet scarf crossing his breast in his right

left,

;

a general's baton, which he uses as a walking-stick; his plumed hat lies on a cushion a dark curtain is in the background. is

;

46x37^

inches.

DON BALTASAR CARLOS.

Standish sale, 1853, No. 222(156). 1,680. One of the most important pictures in the Standish collection. Manchester Exhibition, 1857. Royal Academy, 1872.

may be one of the eighteen pictures mentioned in the accounts of Francisco de Rioja, Prothonotary of Aragon, for which Velazquez was paid looo ducats in 1634.

This

See ante, No.

Praised by Mr. Ford in The

Engraved on wood

Athenaum, June, 1853, p. 710. Art Journal, December, 1852. CALDESI, photo,

The Hertford Gallery.

136.

DON BALTASAR The young

London.

CARLOS. prince

full

Sir Richard 'Wallace, Bart., length, standing, in rich dress of

black velvet adorned with laces, and slashed

;

behind him

a chest

covered with crimson velvet adorned with gold. William Wells, of Redleaf, sale, May 12, 1848, by

Christie,

Marquis of Hertford.

Manchester, 1857.

Academy, 137.

1872.

British Institution, 1828, 1837.

Stirling,

ii.

inches.

682

ioj., to the

Royal

633.

DON BALTASAR

jaunty looking boy,

36^x27

CARLOS.

Museo

del Prado, 1,076.

length, in hunting dress, stands beside a tree

full

holding with his right hand a gun, the breech of which rests_pjL the ground ; on each side is a dog ; landscape and mountains in the back-

ground ; inscribed beneath, on the manner. 1.91x1.10.

left,

Anno

tetatis stice, vi.

Second

Painted, as appears by the inscription, in 1635. E. LEMUS, etch., in Grab. Ag. Fuerte. C.

ALABERN, etch., 9.3X5.9. A. BLANCO, litho., in Col. Lito. E. C. Cos, litho., in Gal. Esp. Outline in Liibke, Denkmaler der Kunst. On wood in Gaz, B. Arts, February, 1 88 1. Photo, in Reid, Velazquez.

138.

DON BALTASAR

A boy, full

CARLOS.

Duke

of Abercorn, London.

length, about seven years old, wearing a black

plumed

hat,

black dress embroidered with gold, a falling lace collar, long black hose, shoes, and gauntlets, standing in a piazza, three-quarters left,

holding with his right hand the muzzle of a gun, the breech of which rests on the pavement a large dog lies on the left, and two grey;

hounds

sit

on the

right

an embroidered baldric

hand is on his sword, which hangs by a crimson curtain above ; landscape and sky

his left

;

in the

background. 62*^X42^ inches. Sir George Warrender sale, 1837,^410. Exhibited by

Sir

George Warren-

der at the British Institution, 1818, and by the present owner at the National Gallery, Edinburgh, and at the Royal Academy, 1873. Query: Is this No. I43d?

VELAZQUEZ.

DON BALTASAR

139.

Hague Museum,

CARLOS.

357.

seen at length, about ten years of age, standing three-quarters left, with a baton in his right hand, his left on his sword; his head is full

bare

he wears armor enriched with gold, a

;

a red velvet chair, at his is

falling lace collar,

red embroidered breeches, and gauntlets of mail

scarf,

left

a red

at his right is

a table covered with red velvet on which

casque; a curtain behind.

his

;

1.48x1.11.

Purchased with the Rainer Collection in 1821. Painted about 1639. Outline in Les Principaux Tableaux du Musc'e a la Haye, La Haye, 1826, 8vo. A. GERKENS, litho., in Kunst Kronijk, 1847. A. BRAUN, photo.

140.

DON BALTASAR

A repetition

CARLOS.

of the above.

Buckingham

39x223^ room

Palace, London.

inches.

Buckingham Palace, and not often seen by visitors. It is said to have been presented by Philip IV. to King Charles I., and has only recently been brought from a store-room at Windsor, where it had been This portrait

in a private

See Philip IV., No. 113. forgotten. At the sale in 1651 of pictures belonging to the

Spain

141.

Commonwealth,

Prince of

Vienna.

sold for los.

DON BALTASAR

The young

CARLOS.

Belvedere,

No.

length, about ten years of age, stands with bare prince, head, three-quarters left, wearing a black velvet dress richly embroidered, a golilla or stiff horizontal collar, and a scarf across his breast ; his left

hand

full

his sword, the right

behind him on the right Painted about 1639.

a window.

MIETHKE, photo. No. 96. MONCORNET, line, 5.5x4.2.

line,

after the

DON BALTASAR

seen at

full

inches.

Half-length in an oval.

above picture, but the lower part 6.2X4.4, similar to Moncornet. to

142. is

48X38

Resembles No. 139 somewhat.

seem

on a chair ; the hands ungloved ;

CARLOS.

Museo

The head and bust P. DE JODE,

changed.

del Prado, 1,083.

length, about sixteen years of age, standing, in black

wearing a sword, and the order of the Golden Fleece suspended by a gold chain from his neck ; his left hand is on the back of a chair, which is partly hidden by a red dress, short cloak,

and

silk stockings,

curtain; his gloved right

hand holds

his hat.

2.09x1.44.

DON BALTASAR CARLOS.

This is the last portrait which Velazquez made of the was transferred in 1816 from the Royal Palace to the Academy of San Fernando, and thence to the Museum in 1827. A. BRAUN, photo. Painted about 1645.

Prince.

143.

DON BALTASAR

portrait

No. 141.

H. Baillie Bale sale, May

CARLOS.

sale,

May

13, 1881,

15,

^871.

1868, It

^194

1433. Museo del Prado, 1,118. Don Baltasar Carlos, full length, eight years of age, standing three-quarters left, in a

balcony on a tessellated pavement, wearing a dark green velvet costume enriched with gold; his left hand on his sword, the right on the muzzle of a carbine

on the

floor

;

his

plumed hat

on a cushion before him a curtain above ; landscape seen through an opening on the left. 1.58x1.13. This portrait was ascribed in the old lies

;

catalogue to Velazquez, but since 1872 to the "School of Velazquez." repetition or copy is in Buckingham Palace,

^27

Grali.

MAURA,

Ag. Fuerte.

9.2x6.6, 1874, in J. A. LOPEZ, litho.,

in Col. Lito.

Charles Sackville

at Christies,

June

9, 1827,

See No. I43h.

Ss. to Baillie."

THASAR CAROLVS, and the prince when nine

setting forth that

years old shot a boar in the Pardo, and afterwards shot a bull in the bull ring. He is handing his gun to his valet, D. Alonso Martinez de

Espinar, the same person whose features

thought may be recognized in Lord Ashburton's picture of the Stag Hunt,

it is

No. 40. Lying in front are the bull and the boar which the boy has slain ; on the two dogs in leash, and an holding up the royal arms emblazoned on a lion's skin. The porare

right

attendant

traits

C. etch.,

the bust of the

SACRUM. SEREXISIMVS PRINCEPS BAL-

London. B.

(to Bale).

$s.

was probably sold

" Portrait of the Infant Baltasar, head only,

that rests

repetition of

Life-size.

are thought to be after Velazquez.

GALLE,

line,

18x12.8, Bruxellae,

1642.

Rose Campbell sale, July 9, D. Baltasar Carlos in hunting dress with a gun and dogs; mountains I43d.

1814.

I43b. D. Baltasar Carlos

(?).

A boy,

length, ten years of age, about to insert the ramrod into his gun ; landfull

53X40 inches. Lebrun sale, 1810, No. 131, francs. The same in Lapeyriere scape background.

722 sale,

1825, 1,000 francs.

Outline reversed in Lebrun, Recueil,

Judging from the engraving, this is by the same artist who painted No. 1433, as there is a strong resemblance in features, costume, and position.

the background. Brought by Mr. Campbell from Spain. ^315, to Sir F. G. Beaumont.

1436. Amsterdam Baltasar Carlos.

Don

Museum,

341.

copy perhaps

of No. 143, .31 X. 24. On panel. Bought at auction in Amsterdam in 1828 for 31

Don

Baltasar

131.

florins.

portrait

which was bought September, 1821, by William I. in the Rainer Collection, was withdrawn from the Museum of La Haye, and sold at Amsterdam in 1828.

1430. Don Baltasar Carlos, full length, nine years of age, stands beside a monumental slab which bears a long inscription in Latin, beginning

POSTERITATI

I43f.

Baltasar

portrait

Mr. Cox.

Portrait

Carlos.

Exhibited

British Institution, 1821.

of at

Don the

VELAZQUEZ.

i43g. A portrait of Don Baltasar Carcuadro de sobreventano, is mentioned in the inventory of Buen Retiro in 1700.

I43h. Altamira

was

different

Don

1827.

los,

1431.

from any now known,

sale

Christie,

June

Head

28, 1862.

& I$s.

Philip III.

Museo

of Philip IV., born 1607, died 1632.

W. W.

INFANT DON CARLOS, second son of

144.

London, June

jTn us. Burdon, of Newcastle,

of D. Baltasar.

CatalogoMus. Prado,f. 591. SeeNo. 148.

sale,

Baltasar.

and brother

del Prado, 1,073.

about twenty years of age, full length, standing, nearly front, in black dress embroidered with silk, black cloak, stockings, and shoes, is

and a

golilla

;

a heavy chain of gold hangs from his neck his left hand his right holds a glove by the end. ;

holds his hat against his side First

manner.

;

2.09x1.25.

Painted about 1627.

cannot be identified

among

the pictures enumerated in

the royal inventories.

MARTINEZ DE ESPINOSA,

J. J.

etch., in Grab.

Ag. Fuerte.

GUERARD,

etch.,

6.5x3.7, Paris, 1880.

145.

INFANT

DON FERNANDO, third

of Philip IV., born 1609, died 1641.

son of Philip III. and brother Museo del Prado, 1,075.

Full length, about nineteen years of age, standing, in hunting costume,

holding with both hands a gun pointed upward before him; landscape background.

;

Second manner.

a dog

seated

1.91x1.07.

Palomino (iii. 332) seems to say that this portrait and its companion, Philip IV., No. 108, were painted about 1644. Cean Bermudez repeats the statement, which is manifestly erroneous, as the prince had then been dead three years. Judgingfrom the age of the person represented, and from the style and execution of the picture, it would appear to have been begun in 1628 and finished about 1635. I.

F. GOYA, etch., 10.1x5.6, inscribed " Un Infante de Espafia," etc. There are Proofs before the aqua tint and inscription. II. With aqua tint, but before the III.

inscription.

National.

With

inscription.

MAURA,

etch.,

9.6x5.4, 1870, at Calco.

MARTINEZ, etch., in Grab, al Ag. Fuerte. C. ALABERN, etch., in Alabern Galleria. GUERARD, etch., 13.3x6.3, 1880. J. BURNET, etch., in Burnet, J. J.

Portrait Painting, reversed, wrongly called Philip IV. J. A. LOPEZ, litho., in Col. E. C. Cos, litho., in Gal. Esp. On wood in Art Journal, Lito., i. 45. 1852, p. 335, wrongly called Don Carlos Baltasar; Blanc, Peintres ; Scott, Murillo. Photo, in Reid, Velazquez.

146.

panion

INFANT to

DON FERNANDO.

No. no, which

Colonel

Hugh

sale, 1858, 477 15^. Not Manchester Exhibition, 1857.

Baillie

Paris, 1876, 6,000 francs.

A repetition

of the above.

Com-

see. sold.

Schneider

sale,

DON PHILIP PROSPER.

CALDESI, photo, in Manchester Art Treasures, wrongly called the Cardinal

Don John

of Austria.

1463. Sir Robert Price. A Brother of Philip IV. Exhibited at the British

Institution, 1838.

francs.

DON

INFANT

147.

146!).

sale, Paris,

Dec. 7,1840.

Sold for 5,150

PHILIP

PROSPER, eldest son of Philip IV. second wife, born November 28, 1657, died

and Maria of Austria

his

November

Belvedere,

Dubois

Brother of Philip IV.

1661.

No.

13, Vienna.

The

child

about two years old, standing, three-quarters left, wearing a dark frock and white apron which extends from his neck to the floor ; his is

hand

right

dog

on the back of an arm-chair, on which

lies

a small white

three baubles are suspended from his waist, one of which

;

in his left

the right

hand is

Full length. This

;

a heavy curtain

falls

held

over the back of the chair ; on

seen an open window, and the child's cap lying on a table. Called in the catalogue Margarita Theresa. 1.28x1.00.

one of the

latest,

most

interesting,

and most authentic of the portraits by

Velazquez, but owing to an error of Palomino, its identity, though suspected, has never been positively asserted. Palomino (iii. 349) says: "In the year 1659 Velazquez executed two portraits which his Majesty wished to send to Germany to the

Emperor. One was the Prince of Asturias, Don Phelipe Prospero, who was born on Wednesday the 28th day of November, 1651 [sic], at half-past eleven o'clock in the morning one of the best of his works when we consider its difficulty on account of the vivacity of the child. He is at full length in a dress appropriate to his years; his cap with a white feather is on a silk tabaret ; on the other side is a crimson chair on which his right hand rests ; above is a curtain, in the background an

open

with extreme grace and art in the grand manner of the artist. On the chair was a dog which seemed alive, painted after one which Velazquez greatly admired, etc., etc." The other portrait was that of the Infanta Dona Margarita Maria of Austria (No. 253). From this account we would naturally look for a Paloportrait of a child eight years old. Accordingly, Cean Bermudez,

door ;

all

following

mino's error, says (Dic.v. 173) that "in 1659 Velazquez painted the portrait of D. Felipe Prosper, eight years of age." The fact is, however, that the child was born in 1657, and was only two years old when painted. See the Genealogy,

page 42.

W. UNGER, erie in

Wien.

face

10x6,

called

Kinderpprtrat

Die K. K. Gemalde-Gal-

photo. 50.

DON

PHILIP PROSPER(?). Marquis of Lansdowne, London. infant lying in a cradle, covered with rich drapery ; only his little

148.

etch.,

MIETHKE,

seen.

Life-size.

40X76^

inches.

VELAZQUEZ.

A picture called An Infant Sleeping was sold at a sale, Stirling iii. 1339. London, 1802, ,68 5^-. and again in the Marquis of Lansdowne sale, March 20, 1806, 44 2s., to the second Marquis. British Institution, 1837. See No. I43g. 1483. Sir

David Wilkie

sale,

scribed

Sold for

by Palomino.

1480.

April

D. Baltasar Prospero, in a 25, 1842. rich dress; said to be the last picture minutely depainted by Velazquez;

^44

2s.

to Norton.

DON JOHN OF

No.

Lord Northwick sale, 1859, Don J uan f Austria, full

1,499.

length, in armor, wearing a hat with a red plume ; the right hand is extended

pointing to the lines of the enemy, against whom the army under the orders of Don

seen in the middle distance carry-

AUSTRIA, natand Maria Cal-

Juan

derona, an actress, born 1629, died 1679. J. Bankes Stanhope, Esq. Exhibited

hand

at Leeds, 1868.

Erle-Drax, Esq.

i48b.

ural son of Philip IV.

149.

Castle

ing on offensive rests

the sword.

,136

PRINCE OF PARMA AND HIS DWARF.

Howard.

child with fair hair

one hand and a

away with a white feather

silver lies

150.

loj., to J.

velvet cushion.

SPANISH PRINCE.

Stirling,

his breast, a

Full length, 1402.

Count Harrach,

;

72x55 II.

AND

HIS

WIFE

holds a baton which rests on a table

the other; three-quarters length. 50 inches.

56 X

Purchased from Mr. Angerstein in In features, dress, and pose this 1824. lady bears a strong resemblance to Vit-

Rovere

flowers floor,

iii.

332.

Vienna.

on the table

;

Atfie-

boy

a cardinal, is

his right

a cap in his

and a landscape seen through

Sustermans in the portrait in the Turin Gallery, and the execution recalls that artist

represented by

rather than Velazquez.

STARLING,

;

she has a fan in one hand and a rose in

della

sword

inches.

VITTORIA DELIA ROVERE, formerly in the National Gallery, London. He

toria

life-size.

Waagen,

standing beside a table covered with tapestry, on which

FERDINAND

eyes, in black velvet

old, full length, dressed in the robes of

hand holding a book a vase of left hand a fat pug dog on the

ijoa.

left

hilt

chasing a dwarf who runs bauble and an apple ; a black velvet hat with a

on a red

an open window.

the

staff in the other, is

Formerly ascribed to Correggio. nccum, September 30, 1876.

about four years

;

Earl of Carlisle,

and dark

petticoats embroidered with gold, a scarf crossing in

operations

upon the hip near the

etch., 3.

7x3.2.

W. HOLL,

Jones, National Gallery. SCHULER, line, 4.2x3.1- H. F. ROSE, etch.,

line, in

Angerstein Catalogue, 1823, called "Philip IV. and Mariana."

iSob. FRANCIS I., Duke of Modena, born 1610, died 1658. "Among the most noted portraits which Velazquez

PRINCE OF WALES. painted at this time is that of Don Francisco Tercero (?) de este nombre, Duke of Modena, who, being in Madrid in 1638 to assist as sponsor at the baptism of the Infanta Maria Teresa, caused Velaz-

quez to paint his portrait, for which he rewarded the artist liberally, giving him, other things, a rich chain of gold, which Velazquez wore on state occasions

among

at the palace."

Palomino,

iii.

This

330.

the Duke's secretary, viewing his object with disfavor, avoided showing the galVelazlery, saying the key was mislaid.

quez returned to Spain, taking with him Michele Colonna and Agostino Mitelli to paint frescos.

The portrait by Velazquez is mentioned in 1685 in the Raccolta di Cataloghi ed inventari inediti per

Marchese Giuseppe

Campori, which gives

the

size

about

portrait has disappeared, for that which is now shown in the Ducal Palace is a

2^X2

different work. The following interesting notes from the Archives of Modena have been furnished by Signor Adolfo

Diica del Velaschi, with Count Ugolotto

Testa,

celebrated

Ambassador

then

poet of

Spain,

Madrid, March 12, 1639: Velazquez is making an admirable porhe has, however, trait of your Majesty the defects of other great men he never writes from "

;

The

portrait of Francis now in the

I., life-size,

iSoc.

THE PRINCE OF WALES, afterI. John Snare, Esq.,

wards Charles

by the Marchese Virginio (Malvezi)

arm

dear, but paints

New-York.

knee-piece, in

with the order of

St.

armor, George; his right

on a globe, his left holds a a yellow drapery with red stripes behind the figure and partly covers rests

baton

;

well, and, in fact, I consider his portraits

not inferior to those of the most renowned

the globe ; in the background besieged fortress. 56X44 inches.

among

ancients or moderns."

This

Modena,

portrait was certainly sent to for when Velazquez visited

1649, "he was favorably by the Duke, who showed him the palace and the many curious and valuable things it contained, among them the of the portrait which Velazquez painted that city in

received

Purchased by Mr. Snare,

Duke, dated December tions

Poggi 12,

the fact that Velazquez

second

visit to

chase pictures

Modena, ;

this

1650,

the

men-

made a

time to pur-

but Poggi,

who was

the time a bookseller of Reading, October 28, 1845, at the sale at Radley Hall,

near Oxford, then kept as an

by Mr. Kent, for 8. That Velazquez made a Charles

undoubted.

Academy

portrait of

Pacheco, the whose account

Duke in Madrid." Palomino, iii. 336. father-in-law of our artist, The portrait is mentioned by Gherardi was printed eleven years in a MS. description of the pictures of quez died, informs us that the gallery in 1 744. letter of Geronimo

was

lost portrait.

and never tells the truth. I have given him one hundred and fifty pieces of 8 buen conto, and the price has been fixed 10 doubloons.

palace,

bought in 1843 from Count Lorenzotti as a Vandyck, but it is now considered It is hoped the to be by Velazquez. above notes may assist in tracing the

finishes

May,

ritratto del

Vigarani, as security for a loan, since which time all trace of it has been lost.

.67X-5lcm.,

Fulvio

Modena,

the i8th of

Duke pledged ua

1686, the

Venturi, Ispettore della R. Galleria de

Modena.

braccio.

before Velazffizo tambien

de camino ttn bosquexo del Principe de Gales quele diocienescudos. Pacheco, Artc de la Pintura, 102.

The words de camino

by the roadside, but they also mean among other occupations, or at the same

mean

time, in

which sense they seem

have

VELAZQUEZ.

that the prince rewarded the painter with

the end Mr. Snare was awarded ^1,000 as damages for the detention, and the

100 crowns, and bestowed on him many As the price was marks of esteem.

judgment was confirmed on appeal. The afterwards exhibited in picture was

much

America, but in view of the annoyance to which he had been subjected, the owner

been used

in this case, since

added

greater than Philip IV. paid the famous picture of Bacchus,

artist for the it is

reasonable to suppose that the porwas something more than

trait referred to

Mr. Snare's theory a wayside sketch. is that after the unfortunate issue of his courtship, the subject not being an agreeable one, Charles doubtless did not care to preserve this

and

memento

of his failure,

may be supposed he gave

the pict-

ure to Buckingham, who, being chagrined at his share in the enterprise, did not prize the canvas

master.

more highly than

portrait of Prince Charles

his

Velazquez is mentioned by Pennant as belonging to the Earl of Fife at White-

has withdrawn

it from the public view. do not place as high an estimate on this work as the owner. Ford considers it a daub, and doubts if it is by a Spanish master. Stirling and

The

Head

critics

think

the

too

subject

old

for

Charles at that date, and that the picture is finished instead of being a bosquexo or

See Proofs of the authenticity of of Charles I. by Velazquez,

sketch.

the portrait

by John Snare, 1848, 8vo. History and pedigree of the portrait of Prince Charles, etc., Reading, 1847, 8vo. Report of the Trial by jury, Snare

vs. trustees

of the

and the catalogue of the gallery of Earl of Fife, Edinburgh, 1849, 8vo. that nobleman, privately printed, says Pacheco, Arte de la Pintitra, 102. that it was from the Duke of BuckingFord, Handbook, ii. 689. Stirling, Anham's collection. The Earl of Fife died nals of the Artists of Spain, and Velazin 1 809, and in 1817 his pictures were Head, quez, Paris ed., p. 75, note. hall,

sent to John Marshall for storage. How the portrait of Charles passed from the Fife Collection does not appear, but there seems to be no reason to doubt that it

did by

some means turn up

ley Hall sale. ity

Satisfied of the authentic-

and value of the

exhibited

where.

portrait,

publicly in

While

Rad-

in the

Mr. Snare

London and

else-

was on exhibition

Handbook,

young prince

19,

1846,

when

was

March

17,

No.

36.

prince

the

first

Paul Perier

ijof.

Marshal There

sale,

December

37.

young

dress.

tion testified as to

gium. Exhibited at Leeds, 1868.

restored.

its

value, their esti-

mates varying from ^10,000 to

19,

From prince. Maison, 1,960 francs. were three Perier sales, viz.

No.

Mr. Snare brought an action for trespass, and on trial it was shown that his picture had belonged to the Earl of Fife, and there was no evidence that the Earl had ever sold it. Experts and amateurs of the highest considerait

of the

From Austria, 6,800 francs. sale of M. Dubois (December 7,

House of

1846,

until

76x46 inches. Paul Perier sale, December

1506.

the picture created, and the lofty claims of its owner, seized it by process it

No. 168.

the other.

1840.)

of law, and detained

sale, 1814,

in black dress, standing,

with a letter in one hand and his hat in

Edinburgh, January 31, 1849, the trustees of the Earl of Fife, aroused by the sensation

142, note.

Lebrun

I5od.

Casimir Perier, April 1 8, 1838. Paul Perier, March 16, 1843. Paul Perier, December 19, 1846. Ellis sale, June 17, I5og. A young Spanish prince in red 1876.

Wynn

Full length.

(to Graystone.)

Purchased in Bel^32 lu.

MALE PORTRAITS

CARDINALS.

FIELD-MARSHAL ALESSANDRO DEL BORRO.

151.

A corpulent man wearing

seum, 4I3A.

65 Berlin

Mu-

a mantle, doublet, long hose,

completely black, stands on a stone portico, his body three-quarters right, his face front; his bare head is covered with bushy hair beneath his feet is a flag striped with red and white, and

and shoes,

all

;

spotted with gold bees, the

hand holds

emblem of

his mantle, his left

a line with his

Full length.

feet.

the Barberini family

his rapier

;

his right

the point of sight

2.03x1.21.

Formerly in the Villa Passerini, near Arezzo, where Borro was born. chased in Florence

Pur-

in 1873.

Photographed by the BERLIN PHOTO. Co. 1513. Berlin

Museum,

ascribed to Velazquez and to Murillo, but in the catalogue of 1878 it is assigned to

Ferdinand Vouet, discovered that

and included

it is

having been recently ascribed to that artist,

in a series of portraits of the

Cardinals engraved by Rossi.

ALONSO CANO

152.

A. H. PAYNE,

Car-

413.

dinal Dezio Azzolini, full length, seated in an arm-chair. This portrait has been

line, in

Payne, Dresden

Gallery.

ijib. Portraits of a Captain and his Wife, members of the Baldeschi family, are mentioned as existing in the Baldeschi Palace at Perugia. Mariano Guardabassi, Indice

Guida di Monumenti,

nella Prmiincia del? Umbria.

etc.,

Perugia,

1872, 8vo.

Museo

(?).

del

Prado,

1,091.

A man

about 60 years old, standing, turned to our right, with his left hand on a bust which he is modeling his right hand holds a modeling stick ; he wears a cloak and a dark habit bound with a thong. Half length. ;

Latest manner. There is much doubt as to the person represented in this portrait. The features do not resemble those of Alonso Cano as seen in the portrait in the Seville Museum, painted after his death, nor those of the portrait formerly in the Louis Philippe Gallery, engraved in Stirling's Annals. The bust on which the hand rests is said to be

copied from that of

Adam, by Cano, formerly

in the Cathedral at Granada. Passa-

vant, Christ. Kunst, 49.

MAURA,

litho., in Gal.

153.

Duke

etch.,

Esp.

5.9x4.4, at Calco. Nacional, without the bust.

LAURENT,

E. C. Cos,

photo.

CARDINAL CASPAR DE BORGIA, son of Francisco de Borgia, Archbishop of Seville and

of Gandia, born 1584, died 1645. Toledo, Viceroy of Naples, and Cardinal. 51, Frankfort.

Stadel Kunst-Institut,

A Cardinal about forty-five years of age, three-quarters

VELAZQUEZ.

66 left,

with gray hair and thin whiskers, wearing a red cap and cape.

Bust, without hands.

Salamanca

.62X.49No. 42, "cited by Cean Bermudez.

sale, 1867,

From

the gallery

of Cean Bermudez," 27,100 francs.

JOH. EISSENHARDT, etch., in Die Stadel'sche Galerie, &f. Leipzig, 1876 A. Seemans). (E. [The Salamanca sales included pictures from the following collections among the infant D. Luis de Bourbon 13 ; Conde Madrazo 41 others. From D. Jos ;

desa de Chinchon 13; Duque de San Fernando I ; Marques de Leganes 28; Conde de Altamira 8 ; Sebastian Martinez 7 ; Jorge Dies Martinez I ; Marques de Remisa 6

;

Goya 9

;

Iriarte 3

;

Serafin de la

Huerta

13, etc. ]

CARDINAL CASPAR DE BORGIA.

154.

Esq.

represented

Walter Ralph Bankes,

black dress.

Bust,

41x38

life-size.

inches. Presented to an ancestor of Mr. Bankes by the Duchess of Gandia.

Exhib-

ited at the British Institution 1816, 1821.

painted also a portrait of D. Caspar de Borgia, Cardinal of Santa Cruz in It Jerusalem, Archbishop of Seville and Toledo, President of the Royal Council. Also Ponz, iv. is now in the Palace of the Duke of Gandia." Palomino iii. 333. 265.

Conca, Descrizione della Spagna,

iv.

363.

Cean Bermudez, Die.,

v. 168, 180.

155. CARDINAL ROSPIGLIOSI, afterward Clement IX., born 1600, became Cardinal 1657, Pope 1667, died 1669. Munich Gallery, He is about 55 years of age, with long face and nose, and S. 367.

prominent chin. Purchased

20x17

in 1808,

inches.

The

from Artaria.

picture has been cut

down from

its

It may have been painted at Madrid, where the Cardinal original dimensions. resided for eleven years as Papal Nuncio.

PlLOTY AND LOHLE, photo.

156.

CARDINAL MAJORDOMO.

A man

with grayish hair and

mustache, black toque, white sleeves, and blue surplice lined with red ; his left hand is on the arm of the red chair in which he is seated ; in his right

cenzio

hand

a paper inscribed Alia Sant ta di Nro. Sigr* Inno-

X" Mans. Maggiordomo ne

Velasqu. e Pietro Martire Neri.

Salamanca

parti,

Sta

Per Diego

Three-quarters length.

Silva

1.14x92.

sale, 1875, No. 35, 19,300 francs. Palomino mentions a portrait of Monsenor Mayordomo de su Santidad, painted

Rome

in 1649.

Mus.

Pict.,

iii.

337.

MALE PORTAITS A

157.

CARDINAL.

Edward

CORRAL.

158.

CARDINAL.

W. W. Burdon

1583.

Duke

28^

sale, 1862.

Waagen,

Manchester, 1857.

(James.) 476.

I58b. J. Dennistoun sale, June 14, Cardinal holding a book, seated 1855.

in an arm-chair

of arms.

ornamented with shields

From Fesch

Wynn

Ellis sale, 1876. 1580. youthful Cardinal, called Cardinal Frivoli.

Waagen, ii. 294. I58d. Lord Cowley. gs.

small, full length.

Cardinal,

British Institution,

September 22, 1774; January

19,

December

II,

April

B. Arts,

xiii.

I58f.

Cardinal.

&c., 1791

1778; 1780;

;

April

I5,&c.,l8n; January,i8i3; May23,&c., 1814; December 27, &c., 1814.] Ellis sale, 1876. I58g.

Wynn

Antonio de Cardenas.

A portrait. ^30 9^.

I58h. Sir Arthur

Aston sale, August Marques de Castel Rodrigo. Full length, life size. Stirling, Annals of the Artists of Spain, iii. 1400. I58k. Prince Pio, of Savoy. Count of Castel Rodrigo, Knight of Calatrava. Milan Exhibition, 1872.

CERVANTES.

Bust, about forty-

March

530 francs.

Gaz.

nearly front, with thick, loose hair, mustache, and chin whiskers ;

a very wide linen collar falls 'over his slashed doublet > a cloak partly covers

432.

Lebrun

December

sale,

Camille Marcille

6, 1876.

10, 1778;

1788; April

158!.

1836.

1586.

A bust.

12, 1862.

^4 4^.

Gallery.

Exhibited at Leeds 1868.

of Wellington, London.

Cardinal, full length, in crimson dress, seated in an arm-chair. Small. ^4 141.

^30

Bust.

left.

inches.

Purchased about 1860 from Mr. Walesby.

iv.

A. Leatham, Esq., London.

has a square cap in his right hand, and papers in his

X 24

sale, 1811,

No.

51.

five years old,

Cardinal with mustache, wearing a cape,

his breast.

and square cap. 27X22 in. 301 francs. The same in Lapeyriere sale, 1817, 450 francs. Mentioned

was only seventeen years of age, the authenticity of this portrait may be

in Gault de Saint

doubted.

reversed, wrongly Philip [There were the following Lebrun sales

the possession of

rolling collar,

Germain, Guide, 338. Outline in Lebrun Recueil No. 133 called " IV." :

June 19,1764; December 20, &c., 1 773;

159.

As Cervantes died when Velazquez

BOUVIER,

PASCAL,

line,

line, after

the picture in

M. Brieve

9.4x7.5.

Geneva.

LEISNIER,

line,

11.9X9.5-

A SON OF DON CHRISTOVAL DEL CORRAL. Duque de VillaA gentleman about fifty years old, full length,

hermosa, Madrid.

standing, dressed in black, with his doublet closely buttoned,

and

with cordons and agraffes of diamonds ; his stockings are fastened at the knees with black ribbons ; in one hand is a folded letter, the other rests

on a table covered with red

velvet.

Latest manner.

2.05x1.15.

VELAZQUEZ.

This and the companion portrait of the wife of Don Christoval (No. 259) in the Chateau de Narros, from the time of Velazquez until 1850, when they passed to the present owner, a cousin of the Condesa de Narros.

remained

FIAMINGO the

160.

Fitzwilliam

Sculptor.

Museum, Cambridge.

He seen nearly front, wearing a black hat with wide brim, and a collar edged with lace; his right hand holds before his breast a is

statuette, the left

hand not

DON JUAN FONSECA Y

i6oa.

FIG-

UEROA, Sumiller de Cortina de Su Majestad, Maestro escuela, y Canonigo de Sevilla, was a painter and a man of letters

He showed Velaz-

as well as a courtier.

quez particular attention when the visited

Madrid

second

visit,

lodged

quez

in April, 1622.

artist

his

the following year, Velaz-

Fonseca's house and

About 30x22

Bust.

seen.

painted his portrait, which, being carried to the Palace by a son of the Conde del

into his service with a

The

20 ducats.

dated October (not April)

6, 1623, and evidently had reference to the equestrian portrait of the king which was finished

on the 3Oth of the preceding August,

The

king's order

which

his

plumed

UNKNOWN, is

and

Stirling

that caused the king to receive Velazquez

length,

1848,

hat.

Stowe

sale,

No. 396. ^53 us., to J. H. GurEngraved by R. COOPER, line, 17.2

Xii-3.

160),

full

standing near a chest of drawers

portrait

(v.

InJdit., p. 393.

Count Gondomar,

i6ob.

artist was commanded to paint the Infant and the King. Pacheco (102),

(589) are doubtless mistaken in supposing that it was the portrait of Fonseca

published accurately

by Zarco del Valle. Doc.

ney.

Cean Bermudez

monthly salary of

order to that effect was

Peiiaranda, Chamberlain to the Cardinal Infant, gave such satisfaction that the

young

inches.

line,

8.4x6.4. This

no longer ascribed to Velazportrait of Gondomar, attribu-

quez. ted to Velazquez, once belonged to F.

W. Wentworth.

Jones, Views

of the

Scats, &c., 1829.

Museo del Prado, 1,085. 161. Luis DE GONGORA Y ARGOTE. The poet is represented as about sixty years of age, wearing a dark habit and a small

linen collar.

First

manner.

.59X-46.

probably the portrait which Velazquez painted at the request of his father-in-law on his first visit to Madrid, as mentioned in Pacheco, 102, and in Palo-

This

mino,

iii.

325.

CARMONA,

Parnasso Espanol, 7.2, lengthened to Espanoles Ilustres.

line,

5x3.2,

an oval with a

lyre,

mask,

etc.,

beneath, in

BLAS AMETTLER, directed by Carmona, line, ii.6x a half length, holding a book and pen, at Calco. Nacional, in J. LAURENT, photo., 216.

vii.

171.

T. P. Smyth, Esq. A gentleman a black felt hat with red plumes, large standing, front, wearing large soft boots, and a dark doublet enriched with gold, silver, and pearls ; 162.

HENRY DE HALMALE.

MALE PORTRAITS a

staff in

his right

hand

Landscape background. T. Purves

;

on the

left

MOSCOSO.

a servant holds a white horse.

Full length.

90X62

inches.

June 9, 1849. ^98 14^. Purchased in Flanders by Mr. Purves of Lincoln's Inn, from a descendant of the person represented. The owner would not part with the portrait until he had cut out the coat of arms in the lower left corner, which was afterward bought for a trifle from the vendor's servant, and sale,

Exhibited at Manchester, 1857.

replaced.

Halmale was a distinguished Burgomaster of Antwerp, 1596-1679. His portrait by Pierre Thys is in the Antwerp Museum No. 394, and the catalogue of the Gallery gives his biography, from which it does not appear that he was ever out of the

Low

Countries.

length,

Luis DE HARD. Baron James de Rothschild, nobleman on horseback with an attendant on foot. Full

DON

163.

Paris.

life size.

Lord Northwick sale, 1859, No. 1009, ^966. British Institution, 1846. [Don Luis Mendez de Haro, Marques del Carpio and Marques de Heliche, was After the disgrace of the

a son of Olivares' sister Francises.

Conde Duque, D. Luis

succeeded him as prime minister, and on the death of Olivares, inherited the title of Conde Duque de Olivares, together with the Guzman estates. See No. 166, note.]

164.

ALONSO

A man

1,105.

brown

and

MARTINEZ DE ESPINAR. about

Bust.

years

del

Prado,

and mustache turned up, wearing a black dress

hair, whiskers,

golilla.

forty-five

Museo

of age, with plain features,

74x44.

From San Ildefonso. This person was valet to D. Baltasar Carlos, and was El Arte de Ballesteria y Monteria, escrila par D. Alonso Martinez de

the author of

Espinar, que da el arquebuz a su majestad.

Madrid, 1644, 410. Stag Hunt No. 40, and in the engraving by C. Galle, No. I43C.

165.

DON PEDRO Moscoso DE ALTAMIRA

A smooth-faced

ecclesiastic,

(?).

seen in the

Louvre,

with bald head, three-quarters

left,

553.

wear-

ing a black habit, with his right hand on his breast, holding a small

book

in his

left.

Inscribed beneath,

"JET

54 1633."

Half length,

92X-73Presented about 1690 by the Archbishop of Toledo to the Marques de Guardia Real of Grenada, in whose family it remained until it was sold in 1846 to M. Couturier. It was purchased in 1849 from M. Gallery for the Louvre.

There is some uncertainty as to the person represented in this picture. He is described in the catalogue as " Pedro Moscoso de Altamira, Dean of the Chapel Royal of Toledo, and afterward Cardinal." It does not appear that there was ever

VELAZQUEZ.

7<D

names and titles. Don Baltasar de Moscoso y Sandoval, born in 1589, became Dean of the Cathedral of Toledo, Archbishop of that diocese, and was created a Cardinal in 1615. Philip IV. by will appointed him one of the did not take effect, as guardians of his infant son Carlos II., but the appointment Don Baltasar the prelate died on the same day as the king, September 17, 1665. was a son of the Conde de Altamira, and was called by his father's name Moscoso, to which was added according to the custom in Spain, that of his mother, Sandoval. Altamira was the name of a title, not of a family. It is also to be observed that a person bearing those

Don

was only forty-four years of age in 1633, not fifty-four, as the inscripon the picture states. See J. W. Imhoff, Genealogiae viginti illustrium familiarum, etc. Lipsiae, MDCCXII., fol. p. 222. Ortiz y Sanz, Compend. cronol. de Espana, vi. 491. A portrait of the Cardinal Moscoso, painted by Francisco Rizi in 1666 for the sala capitular of the Cathedral of Toledo, was engraved by Pedro Baltasar

tion

de Villafranca.

As to the execution of the picture in the Louvre, it seems too tame for VelazIt has been attributed to Carreno, but as that artist was only nineteen years quez. of age in 1633, it can hardly be ascribed to him. A. BRAUN, photo.

CONDE DE OLIVARES.

166.

Museo

del Prado, 1,069.

seated far forward on a chestnut horse galloping to the

left,

his

head

turned front; he wears a steel cuirass, sombrero, crimson scarf, and long boots ; with a baton in his hand he points to a battle raging in the background.

3.13X2.39.

This portrait was painted about 1640. the Marques de la Ensenada, from whom described at great length, F.

GOYA,

etch.,

Stirling-Maxwell

passed from the house of

was purchased by Charles and warmly praised by Palomino, iii. 332. it

Guzman III.

It is

14.7X12.4, 1776, at Calco. Nacional. In the collection of Sir is an impression with the letters written by Goya. B. MAURA,

9.8x7.4, 1875, in Grab. Ag. Fiierte. J. JOLLIVET, litho., in Col. Lito* E. C. Cos, litho., in Gal. Esp. On wood in Gaz. B. Arts, June, 1880. Photo, in

etch.,

Reid, Velazq^cez.

[Don Gaspar de Guzman, Conde Duque de Olivares, Conde de San Lucar la Mayor, was born in Rome in 1587. He married in 1607 his cousin, Agnes de Zufiiga, daughter of the Conde de Monterey, became first Minister of Philip IV. in. He was succeeded 1621, fell from power in 1643, and died in exile July 22, 1645. by his nephew Don Luis de Haro, Marques del Carpio, who, as Olivares no descendants, inherited the Guzman family titles and estates. These descended to the prodigal and profligate Marques de Heliche, who dispersed the noble library that Olivares had accumulated. The morals of this nobleman may be

in office left

judged from his saying, quoted by Madame D'Aulnoy ( Voyage, 401, Paris, 1874), that he would be the happiest of men if he could only find a mistress as charming The Duke of Alva now bears the family name of Haro with the as his wife. titles

of Olivares, Heliche, Monterey, etc.

MALE PORTRAITS The

title

Duque de San Lucar and

its

OLIVARES. estates

were bestowed by Olivares on

his adopted son Julian (see No. 194), but this reprobate having died childless, the title was, at the end of a long lawsuit, awarded to the Marques de Legans, the third

Marques of that name having married a cousin of the Count Duke.

This

title

sub-

sequently passed by descent to the Conde de Altamira. The Marques de Legans was in his day a noted lover of art, and he founded a noble gallery of pictures

which remained it was dispersed.

in the family of his descendants until the present century, when Two portions of the gallery were consigned to London for sale.

The

first sale of the Altamira pictures was by Mr. Stanley, June I, 1827, the second But these sales did not exhaust the treasures of portion was sold June 29, 1833. the collection, for 161 pictures, including a full-length portrait of the Marques de Legans by Van Dyck, passed into the possession of Don Jose de Madrazo, and

eight of the pictures afterward belonged to the

Marques de Salamanca.

See Nos.

153 and I77d.]

Duque de Montpensier,

167. OLIVARES.

Seville.

sketch

for the above.

Companion to No. 100, which see. LAURENT, photo., No. 1,011.

Earl of Elgin, Broom Hall, Fife. A repetiNo. 166, except that the horse is white. 49x40 inches.

168. OLIVARES. tion of

Manchester iv.

Waagen,

Exhibition,

1857.

Royal

Academy,

1876.

Stirling,

ii.

618.

444.

169. OLIVARES.

Sir Richard Wallace, Bart.

Apparently a

Mrs. Henry Huth, Wykehurst,

Surrey.

sketch for No. 166. 170. OLIVARES.

Count

represented at

full

length, standing three-quarters

left,

bare head, wearing a richly embroidered black dress, over which

The with is

short cloak bearing the green cross of Alcantara, a projecting linen collar, short breeches,

long hose, low shoes, and a broad gold chain hand holding a wand, the badge of his

across his breast; his right office as

his left

Master of the Horse, rests on a table covered with red cloth ; is on his sword; red drapery in the background. 81x43

hand

inches.

Louis Philippe to

Henry

Farrar,

who

sale, 151.

sold

From

in 1863 to

a private collection in Madrid,/'325 iox.

Mr. Huth.

Manchester Exhibition, 1857.

British Institution, 1864.

Engraved on wood

in Illustrated

London News, May

21, 1853.

VELAZQUEZ.

above, inscribed

85x51 inches. Hugh Baillie ^598

Robert S. Holford, Esq., London. A repeEl Conde Duque in the lower left corner.

OLIVARES.

171.

tition of the

sale,

May

"believed to be from the Altamira Gallery." 262 loj. British InstiMay 10, 1861.

15, 1858,

Charles Scarisbrick

icw.

sale,

tution, 1855.

OLIVARES.

172.

Companion

Hermitage,

to Philip IV.

A. Delahante

sale,

repetition of the above.

2.06X1.25.

London,

Phillips,

421.

No. 115.

May

1850, with

its

companion No.

seen at

full

King

Lapey-

of Holland

sale,

115, 38,815 florins.

Duque de Villahermosa,

173. OLIVARES.

No. 200.

30, 1817,

riere sale, Paris, April 19, 1825, No. 63, 11,520 francs.

Madrid.

a black dress length, standing nearly front, wearing

and

Golden Fleece, the red hand rests on a table on

cloak, horizontal linen collar, the order of the cross of Santiago,

which

girdle.

his

and a sword

casque

;

his right

his left falls at his side

;

a key

thrust in his

Life-size.

Companion to No. 106, which see. The cross of Santiago in this picture

Olivares was is a puzzle to Antiquaries. a Knight of Alcantara, and for that reason could not have worn the order of Santion the same person. Some have ago, as both these orders were never conferred therefore thought the individual here represented must have been a brother of the

Count Duke, although the features are those of Olivares himself. 174. OLIVARES.

Dresden Gallery,

622.

Bust, three-quarters

a black dress over which left, wearing a golilla or stiff linen collar, and Alcantara on his breast ; cross of is a cloak partly concealing the green a folded

letter is in his right

hand; the

left

hand not

seen.

43X39

inches.

Purchased with the Modena Gallery in 1746. It may have been executed for I., Duke of Modena, whose portrait Velazquez painted at Madrid in 1638, and who might naturally have wished to compliment the powerful minister by orderHe appears to have complimented the King by a similar order. ing this picture. Francis

See No. 103 note.

Photographed by the BERLIN PHOTO. Co. This or some similar portrait is the type or model of

all

the portraits of Oli-

and of the following engravings. HERMAN PANNEELS, line, 7.3X5.2, bust reversed, in an oval border decorated with olive branches, shields, etc., inscribed above, SICVT OLIVA FRVCTIFERA, in

vares,

MALE PORTRAITS

OLIVARES.

PAUL PONTIUS, line, 23 x without hands, in armor, a scarf over his shoulder; in an oval wreath,

Tapia y Robles, Renombre de Grande, Madrid, 1638. 17.2, bust

standing on a pedestal between two winged figures ; inscribed Boetis Oliviferae, etc., and Ex Archetypo Velazquez P. P. Rubenius ornavit et dedicavit. L. M. Pau-

This engraving

lus Pontius sculpsit.

is of especial interest as combining the labors COR. GALLAEUS, line 10.7x6.8. A copy of the above reversed. Smith (Cat. Raisonnc, ii. Rubens, No. I ISO asserts that the engravings last mentioned were made from a beautiful picture in grisaille, evidently for

of Velazquez and Rubens.

the purpose of engraving, in the possession of the

Duke

of Hamilton.

FRAN'CO

XS-2, full length, in armor, piercing a dragon with his sword, in Extremes y Grandezas de Cmstantinopla, por Rabi Moyseu Almosnino, Madrid, 1638,410. M. MERIAN, line, 6.5 X 4.8, perhaps after Velazquez, in an edition of

NA(VA)RRO,

line, 7.1

Petronii Arbitri, Satiricon by J. A. Gonzali de Salas, Francoforti 1629, 410. P. DE line, 6.3X4.5, half length, in an oval, with a paper in his left hand, both arms

IODE, seen.

MO.VCORNET, line, 5.4x4. 1, same

as de lode's, reversed.

11.5X7.3, half length, with two letters in his

left

hand,

NOSERET,

line,

Calco. Nacional, in

Espaiiolcs Ilustres.

OLIVARES.

175.

Hermitage,

a shorter bust and without hands. Purchased

No. 175.

From

of No. 174, but

.67X.54.

1814 from Mr. Coesvelt.

176. OLIVARES. tition of

A repetition

422.

Marquis of Lansdowne, London. 26X20

repe-

inches.

the Gallery of the Prince of the Peace. Brought from Spain in 1813, to the Marquis of Lansdowne. Buchanan, Memoirs, i.

and sold by Mr. Buchanan 146,

ii.

244-247.

177.

British Institution, 1867.

OLIVARES.

etition of

No. 175.

Royal Academy, 1877.

Francis Clare Ford, Esq., London.

26^X22^

rep-

inches.

Purchased from General Meade. 1773.

Lord Northwick

No. 1804.

Thomas

Olivares.

sale,

^14

1859,

14^. to Sir

Phillipps.

I77b. Sir Robert Price. Olivares. Exhibited at the British Institution, 1838. 1770.

Jos6 de

Madrazo,

Catalogo

chestnut hair. Life-size. .48X-42. the Altamira Gallery.

From

[The gallery of Don Jos de Madrazo, court painter and director of the Real Museo del Prado, was in its day one of thfe

most important

in Spain.

The

cata-

Olivares, bust, wearing a rich black dress, a gold chain on his breast, and

logue (Madrid, 1856, 8vo) comprised 696 numbers, including the Italian, Spanish,

another on his right shoulder. .54X-46. I7?d. Jose de Madrazo, Catalogo 436. Olivares, bust, in armor, with a

French, German, and Dutch schools. These paintings were gathered from the most noted galleries formerly existing in the Peninsula. There were from the

443.

buff sash,

and whiskers,

perilla,

and

VELAZQUEZ.

Altamira Gallery 161 specimens ; from that of D. Bernardo Iriarte, 51 ; Bor-

Jose died in 1859, and his pictures were dispersed. Forty-one of them fell into

ghese, Rome, 10 ; Raphael Mengs, 9 ; Charles I. of England, I; Vitali, 12; Don Onate, 6 ; Feral, 20 ; Alba, 2, etc.

the possession of the Marquis of Salamanca, and were sold in his sales. See

No. 153.]

DON ADRIAN PULIDO PAREJA. Karl of Radnor. LongHe is seen at full length, turned to the right, with Castle, Wilts.

178.

ford

thick black hair, wearing a black velvet dress with sleeves of flowered satin,

a broad lace

baton

collar,

accessories.

and a sword suspended by a white belt a his hat in his left brown background

hand

in his right

81X44

;

Inscribed

inches.

Did Velasq :

Philip IV. a Cubiculo eiusq.

pictor 1639.

ADRIAN PULIDOPAREJA Royal Academy, 1873. This portrait is believed to have been purchased by the grandfather of the present owner some time before the year 1828. Stirling, ii. 621. Waagen, iii. 141. "In 1639 Velazquez made the portrait of Don Adrian Pulido Pareja, a native of Madrid, Knight of the Order of Santiago, Captain General of the Armada and fleet of Nueva Espafia. The portrait is life size, and one of the most cele-

of the

brated works of the artist that

he might paint

;

executed with brushes of unusual length, which he used and with greater force, so that observing it closely

at a distance

not easily comprehended ; but far off it is marvelous. It is signed Didacus Velazquez fecit, Philip IV. a cubiculo, eiusque Pictor, anno 1(139. The king one day paying his accustomed visit to the painter, mistook the portrait for the admiral him-

it is

and reproached him for remaining in Madrid when he had been ordered away. ' Discovering his mistake he turned to Velazquez and said, I assure you I was deceived.' The portrait now belongs to the Duque de Arcos." Palomino, iii. 331. self,

Notwithstanding the slight discrepancy in the inscription, there is every reason now at Longford Castle is the one referred to by Palo-

to believe that the picture

mino.

179.

not the one sold in the Altamira sale?

DON ADRIAN

Woburn Abbey,

PULIDO

Bedfordshire.

PAREJA.

See No. I7gb.

Duke

Bedford,

brown, hard-featured man, with dark hair and mustache and heavy eyebrows, wearing a black dress with white sleeves, collarette, and the red cross of Santiago, standing, with a

MALE PORTRAITS baton his

in his right

en la

hand, and his hat in his left ; a red curtain behind sail on the right ; inscribed Adrian Pulido

dudad de Nueva Vera

Armada y flota de Nueva Espana, falletio

Cruz, 1664.

British Institution, 1818, 1846.

Full length,

Manchester 1857.

771^X42^

Stirling,

ii.

622.

in.

Waagen,

465.

Admiral

79X46

I7gb. Altamira sale, June 29, 1833. Pulido Pareja, Captain General of

Aston Hall sale, August 6, 1862.

1798.

Pareja, full inches. Also

portrait of his wife.

length, its

.336.

Don

life-size.

Spain under Philip IV. Full length, [For a notice of the pictures in the

companion, a [Sir Arthur

Altamira gallery see the note to No. 166. ]

Aston was minister to Spain, 1840-43. ]

Earl of Radnor.

JUAN DE PAREJA.

180. in

head, and a vessel under

Pareja, Capitan General de la

iii.

PIMENTEL.

dark green doublet with white

falling collar.

642, 709. Royal Academy, 1873. Stirling, " Moorish slave who Is this the picture of the ii,

Bust of a mulatto

30X25

inches.

Waagen, iv. 361. was in the service of Velazquez

and became a great painter ? From the Baranello Collection at Naples." Sold at Sir William Hamilton sale, March 27, 1801. 39gs. Buchanan, Memoirs, ii. 76. Velazquez, on his second visit to Rome, before painting the portrait of Innocent X., tried his hand on that of his own slave Pareja. This half-length, life-size picture was exhibited on the festival of St. Joseph in the Rotunda, and was so much applauded that in 1650 the artist was made a Palomino, iii. 337. Cean Bermudez, iv. 51.

181.

JUAN

PAREJA.

Earl

member

of the

Academy

Carlisle,

St.

Luke.

Howard.

Castle

Bust of a mulatto, with broad white collar falling over a gray doublet. ii. 710. Waagen, iii. 325. Perhaps this may be the by Palomino. See No. 180. Photograph in Lord Ronald Gower, Great Historic Galleries.

Stirling,

portrait

men-

tioned

i8ia.

Stockholm

Octave Piccolomini.

Museum, He wears

and a cuirass over which

Museo

is in

his right

hand ;

his

casque in the left. Half length. .92 x Doubtful. Style of Vandyck. 78.

a scarlet

DON ANTONIO ALONSO

182.

mantle; a baton

765. a ruff

PIMENTEL, Conde de Benavente.

del Prado, 1,090 (289).

about

fifty

years old, in

armor, standing three-quarters left, face front, his left hand on his sword, his right on a hemlet which lies on a table covered with red cloth

;

a curtain in the background.

Half length.

Second manner.

I.09X.88.

From the Palac^ of San Ildefonso. B. MAURA, etch., 6.8x5. i, 1875, in

Grab. Ag. Fuerte. J.

LAURENT,

photo., 48.

VELAZQUEZ.

76 183.

POPE INNOCENT X. (Pamphili). Born 1574, elected pope Doria Palace, Rome. A red-faced man turned

1644, died 1655.

partly to our right, wearing a white linen robe scallopped at the bottom, white sleeves trimmed with lace, a rolling linen collar, red velvet

cap and cape, seated in a crimson chair with square posts, enriched with gold and surmounted by vase-shaped ornaments; his arms rest

on the arms of the chair

;

in his left

hand

a paper inscribed Alia

Sant" Innocencio X. per Diego de Silva Velazquez. curtain.

Three-quarters length.

Background a red

1.40x1.20.

work of Velazquez at Rome in 1649 was the portrait of His Holiness Innocent X., by whom he was greatly distinguished. Recognizing the virtue and merit of the artist, the Holy Father rewarded him with a gold medal

"The

principal

bearing his own likeness, in relief, attached to a gold chain. Velazquez took a copy It is related that when the work was finished and placed of the portrait to Spain. in a chamber of the palace, a chamberlain entered the room, and seeing, as he thought, the Pope himself, he retired hastily, and cautioned his companions in the antechamber to speak low, for His Holiness was within." Palomino, iii. 337.

Notwithstanding the assertion of Palomino, Stirling doubtful

and

Velazquez ever made a repetition or copy of

other writers,

this portrait as

a whole,

although there exist numerous repetitions of the head. This is a complete symphony in red ; the face, the cap, cape, and chair are all presented with a red curtain for background, and yet with such unpromising mate-

has produced a marvel of portraiture. Sir Joshua Reynolds proRome. This and the St. Michael by Guido are the only ones he condescended to copy. Lord John Russell, Memoirs of Thomas Moore, iii. 62. rials the artist

nounced

the finest picture in

A. LALAUZE, etch., No. 4248.

at Versailles,

copy by Ternante in the Museum Armengaud, Galerics Publiques de P Eu-

for this catalogue, after a

The wood-cut

It appears but is not, from the Doria picture. from an old print about the same size as the wood-cut, which bears the name of neither painter nor engraver.

Rome,

rope,

p. 285, professes to be,

to be copied

184.

POPE INNOCENT X.

etition nearly

Sig

of the above.

Marquis of Bute, London. The paper

Innocencio X. Per Pero Marti Jesi.

A rep-

inscribed Alia Samt"* Nro.

Three-quarters length,

life-

size.

Purchased by the

first

Marquis of Bute about the end of the

last century.

Duke of Devonshire, Chiswick. 185. POPE INNOCENT X. The Pope in red cap and cape, both edged with ermine, and an embroidered

stole, is

seated three-quarters right, in a red velvet chair,

MALE PORTRAITS

INNOCENT

the square posts of which are surmounted by mitres and crossed keys his right

hand

curtain behind.

raised before his

32X28

left

shoulder in benediction

;

a red

;

inches.

This portrait is mentioned in a manuscript catalogue of the pictures at Chiswick House belonging to the third Earl of Burlington, who died in 1753. J.

1807,

FITTLER, C.

fol.

11.8x9.7, in E. Forster, British Gallery of Engravings,

line,

WARREN,

line,

7.1x6.2.

POPE INNOCENT X.

186.

Hermitage,

418.

Bust, turned slightly

wearing a red cap and cape, and a rolling linen collar. .49X,4i. From the Houghton collection. Appraised by West and Cipriani at 60. In Aedes Walpolianae, p. 67, is told the pretty tale that " when the Pope sent his

left,

chamberlain

pay the

artist,

he would not receive the money, saying the king, his The pope humor'd him." A copy is

master, always paid him with his own hand. in the Academy of San Fernando at Madrid.

VALENTINE GREEN, mezzo,

A repetition

Lebrun

ROTTGER, photo.

of Wellington.

Bust,

life-

of No. 186.

British Institution, 1828.

alier

Duke

POPE INNOCENT X.

187. size.

reversed in Houghton Gallery.

perhaps the picture 26x21 inches, sold in M. Lebrun purchased from the heir of ChevRome under Charles III., more than half his valu-

This

sale, 1810, for 1,050 francs.

d'Azara, former Minister at

Ponz praises this amateur highly, and notes one which was considered to be the first which Velazthe famous portrait of Leo (Innocent) X. in the Pamphili Gallery

able collection of works of art. especially

among

his pictures

quez painted for Rome. Ponz, Viage,

LEBRUN,

by Velazquez, the

188. Bust.

xiv. 56.

Lebrun Recueil. by Camail.

outline in rest

POPE INNOCENT X.

A repetition

189. Bust.

may be

Marquis

fur.

25^x19^

inches.

Alfred Semour, Esq., Knoyle,

Bust, in red cap

Mentioned by

Wilts.

of No. 186.

POPE INNOCENT X.

Lanarkshire.

Lansdowne, London.

Mentioned by Waagen, Art Treasures in Great Britain,

190.

head

the portrait No. igod.

POPE INNOCENT X.

A repetition

text informs us that only the

of No. 186, except that the cap and cape have an

edging of narrow white Possibly this

The

Stirling,

ii.

242.

Mrs. C. Stirling, Cawdor House, and cape.

Annals of the

25^X18^

Artists of Spain,

iii.

inches.

1402.

VELAZQUEZ. igoa. Corsini Palace, Rome. Innocent X., wearing a red cap and a cape the edged with ermine over a white robe, sleeves of which are seen.

about 45

X35

inches.

Long

igof.

any

Inigob. Bracciano Palace, Rome. nocent X. Stirling, iii. 1402.

Bulkley-Owen robes

pontifical

Bought

in 1831

in an

igoi.

Thomas

arm-chair.

May

from Alexander Gordon,

$ 3j.

sale, 1831.

sale,

1859,

Innocent X.

^35 14-?., to Thomas Barber sale,

Barber.

1862, from

H. A.

Northwick

Munro

collection.

sale,

May

18,

il. The catalogue of the Munro 1867. collection by Frost and Reeve says this

was bought at Northwick and gives the size 28^X22 inches.

of Velazquez' pictures, as well for its strong character as its clear and powerful

Rome

Lord Northwick

No. 1604.

sale,

of Edinburgh. 19 igs. (to Davenport.) " One of the most striking and brilliant

portrait

Purchased by Mr. Irvine in for Mr. Gordon."

execution.

6s.

1837.

Innocent X. seated in

April 30, 1868. his

sale,

Innocent X.

13, 1823.

igoh. Josf Mazaredo sale, Paris, Innocent X. 10x7% inches.

of the above, and doubtful.

igoc. T.

June

igog. Hon. Mr. Vernon Innocent X. ,32 Ids.

bust,

Different from

George Watson Taylor

Christie,

igok.

was

about 1801

A Portrait of a

in the

new

sale,

Pope, half length,

palace at Madrid.

Cean

Buchanan, Memoirs, ii. 84, 92. "The most striking picture I have seen in Edinburgh is Mr. Gordon's Velazquez. The head and hands of this are very fine, more complete, and having more tone than the same picture in the Doria."

Bermudez, Die.

Wilkie, in Life by Cunningham, iii. 24. igod. Le Bailli de Breteuil, for-

Bust, with thin face, gray mustache and chin whiskers ; he wears a red cap and cape

igol.

v. 179.

Lord Methuen had

of Innocent X.,

26x19

a portrait

inches.

Men-

tioned in Neale, Vinvs of Seats, 1820. was sold in 1842.

igom. Academy of Rome. Pope Innocent XI.

St.

brun, January id, 1786. Innocent X. seen three-quarters face, wearing a red velvet cap and cape bordered with ermine

trimmed with ermine and a

rolling linen

and a white

mer Ambassador

Rome,

sale,

by Le-

collar.

Luke,

Life-size.

Innocent XI. (Odescalchi) ascended

pictures

the papal throne in 1676, sixteen years after the death of Velazquez.

brought from abroad by Mr. Andrew Hagwill, to be sold at auction at Mr. Cocks new auction rooms in Poland St.,

igon. Alexander VII. (Chigi, succeeded Innocent X. in 1655). His portrait after Velazquez, engraved by G. N. Bertinot,

Innocent 19, 1725." No. 37. X., by Velazquez. This is the first auction sale of a picture by our artist known to the writer, in England or else-

where.

attributed to Velazquez.

igoe.

collar.

collection of fine

February

191.

Duke

DON

FRANCISCO

mentioned

Andressen Handbuch.

igop. Stockholm Museum, 763. Innocent XII. (1691-1700). Bust. .65 X-49- A good picture, but it cannot be

QUEVEDO VJLLEGAS.

1580-1645.

of Wellington. Bust, with abundant grayish, frizzled hair, a narrow linen collar, a huge pair of lunettes on his nose, and theLife-size. cross of Santiago on his breast.

MALE PORTRAITS

RONQUILLO.

Mentioned in Formerly belonged to Don Francisco Bruna, at Seville. R. Twiss, Travels through Spain, &c., London, 1775, 4'> P- 3^- This is doubtless the portrait spoken of by Palomino (iii. 333) in which the poet is represented with glasses which he was accustomed to wear. M. S. CARMONA, line, 5.1x3.2, with lyre, mask, book, nasso Espanol,

etc.,

beneath, in far-

M. BRANDI, line, 11.8x7.2,

186.

iv.

three-quarters length, holding a book. The engraving is lengthened to suit the fancy of the engraver ; at Calco. See also No. 22gbbb. Nacional, in Espanoles Ilustres.

DON FRANCISCO DE

192.

don.

RIBAS. J. C. Robinson, Esq., Longentleman of the court of Philip IV., three-quarters length,

turned partly

nearly

left,

with long black hair, black cloak,

full face,

sword, and the Order of Santiago a letter in one hand, the other a pedestal on the right bears the names and ;

;

person represented, with the addition Aeta" Suae is

45X36

by Velazquez.

his gloves in titles

of the

Only the head

4.9.

inches.

Exhibited by Mr. Robinson at the Royal Academy, 1880. A sculptor named Francisco de Ribas was much employed in decorating the cathedral and other churches in Seville. He was living in 1669. Cean Bermudez, Die. iv. 182. There is a portrait of a person of that name by an unknown artist of the school of Ribalta

Museum

in the

at Valencia,

No. 1000.

THE ALCALDE RONQUILLO,

193.

standing on a tiled

quarters right, with black dress, short cloak, in his right hand, his left

column on the

left,

on the top of

a red curtain above.

ii.

mira Gallery,"

Hoskins us.

sale,

Sold Sir D.

496. 2(1

June

$s.

Wilkie

James Hall

18, 1864,

^50

British Institution, 1844.

8s.

sale,

his staff;

;

threehis hat

a pedestal and

Full-length, life-size.

Purchased by Sir David Wilkie from D. Jos

Cunningham,

golilla,

floor,

and sword

sale,

de Madrazo. Life of Wilkie, by " from the Alta-

April 25, 1842,

.157 IQJ-. G. A. March 16, 1872, \ 16

April 18, 1855,

G. R. Burnet

sale,

Manchester, 1857. Stirling, Velasquez, Paris Ed.

185.

According to the Hoskins catalogue

this Alcalde was a fighting Judge of the the Bishop of Lanoza, and whose maxim was that all criminals ought to be hung, the old for what they had done, the young for what they might do.

time of Charles V.,

The

old

man wearing

by Goya, and which probably No. 753. 1933.

TILLY

Munich

(?)

who hung

a golilla, called the Alcalde Ronquillo, which was etched mentioned by Cean Bermudez as being in the royal palace, is

Gallery

375.

Bust, in armor, wearing a

plumed cap ; his mailed right hand rests on his staff. 31X19 inches. Doubtful.

VELAZQUEZ.

80 LORENZ QUAGLIO,

litho.,in

K. Baier-

founder of the Carmelites at Boadilla.

ischer Gemdlde Saal, Munich, 1817-36.

44X

Photograph by Hanfstangl.

Erard sale, 1832. RODRIQUEZ DE CITRAY,

I93b. Chevalier

DIEGO

194. JULIAN VALCARCEL.

eighteen years, dressed in a in his left

hand

his hat

Altamira trait is in

sale,

Stirling,

Karl

1,800 francs.

iii.

Clarendon.

TOR-

dark

dress.

Bust,

(?)

1404.

A youth of and breeches, hold-

Ellesmere.

coat, red scarf,

adorned with white and blue plumes, Full length,

in his

Only the upper

life-size.

finished.

June

room

a private

Earl

QUEMADA

brown

right the Order of Alcantara.

part of the picture

35 inches.

IQ3C.

1827.

^37

ids.

in Bridgevvater

This pornot generally shown to

British Institution, 1838.

House, and

visitors.

[Julian

was the son of Dona Isabel de Anversa, a noted courtesan of Madrid.

c. xii.,her name is given as Isabel Margherita Spinola. When the youth was about eighteen years of age, Olivares, who was ranked among the numerous admirers of the mother, compelled D. Francisco Valcarcel to acknowledge the boy as his son. Twelve years later Julian married a woman of the same profession as his mother ; but about this time the Count Duke, his only daughter

In Gil Bias

having died [in 1626], resolved to give the scrapegrace the benefit of a doubt, and recognized him as his own son, bestowed upon him the name of Henrique Philipe de Guzman, made him his to annul his marriage,

heir, created

him Duque de San Lucar, induced

and forced the Duque de

the

Pope

Frias, hereditary Constable of Castile,

to give his daughter to the upstart. [1642.] The following year Olivares fell from power. Julian was also banished and, his only child having died, the Duque de Frias sent for his daughter and placed her in a convent. Julian died before the

year 1650, and the title of Duque de San Lucar passed to the Duque de Medina de las Torres, who had married the only daughter of Olivares, and through him descended to the Marques de Leganfe. J. Dunlop, Memoirs of Spain, i. 345. J.

1712,

Imhoff, Genealogies viginti ilhistrium in Hispani Familiarum,

fol. p.

195.

The

Lipsiae,

IIO.]

VELAZQUEZ.

Uffizi Gallery, Sala de' Pittori, 217, Florence.

painter, sixty years of age, half length, standing three-quarters

right, face front,

with bushy black hair, chin whiskers, and mustache

turned up, wearing a black coat and cloak, a golilla or collar,

and a sword

at his breast

key that

;

stiff

horizontal

a medal with the cross of Santiago is suspended his left hand rests on a table, his right partly conceals a ;

thrust in his girdle.

i.ooX.Si.

Velazquez was installed as a Knight of Santiago on the 28th day of November, 1659,

and died on the 7th day of August

in the following year.

The badge

of that

MALE PORTRAITS

VELAZQUEZ.

order seen in this portrait would indicate that the picture was painted during the year of his life.

last

FRANCESCO CECCHINI, line, 10.2x7.9, Romae. CALAMATTA direxit, DELBOETE sc. Bruxelles, 1847, in Imp. e Real Gal. di Firenze. Firenze, 1847, &c., in BLAS AMETTLER, line, II X7-3, holding a palette, brush, etc., at Calco. progress. Nacional, in Espanoles Ilustres ; the changes from the above portrait were made to suit the fancy of the engraver. Annals. LASINIO figlio, outline, in

C. NANoutline, in O'Neil, Die. of Spanish Painters. Photo, in Reid, Velazquez. following are similar to the above, but busts only; JEAN MINGUET, line,

8vo.

JOHN BROMLEY,

TEUIL,

litho.,

The

H. ADLARD, line, after Amettler, in Stirling, Real Gal. di Firenze, Firenze, 1817-33, 4 vols.,

10.3x8.

Fo MO, [Federico de belonging to D. Jos6 de Madrazo. On wood in Blanc, Peintres; Scott, Murillo ; Stirling, Velazquez, Paris Ed; Becker, Kunst und Kiinstler ; Gaz. B. Arts, May, 1879. This last is reversed and

9.8x7.2.

MAUZAISSE,

Madrazo],

litho., in

El Artista,

Chabert, Gal. des Peintres.

after a picture

varied.

[The key

thrust in the artist's girdle

was

his

badge as an

officer of the royal

household, and Velazquez was probably entitled to bear it when he was appointed Ugier de Camera, an office which was conferred on him in 1627, and which he sur-

rendered to

Mazo his

son-in-law in 1634.

Similar keys were

worn by the gentlemen

of the chamber, and even by the valets, etc. (see Nos. 72 and 1 73), but in case of the higher officers the handles were gilt. They were constantly carried, even when the

wearer was out of Spain, and they locked the doors of all the royal palaces in the kingdom. Should a key chance to be lost, all the locks and keys were at once changed at the cost of the careless loser, the expense amounting to as much as 10,000 crowns. The keys were of two sorts, one for show, and the other for use by the officers on actual duty.

196. VELAZQUEZ.

Memoirs of Saint Simon,

iii.

117.]

Uffizi Gallery, Sala de' Pittori, 216.

Bust,

without hands, three-quarters right, face front, with mustache, and long hair falling on his shoulders, wearing a small skull cap on the

back of which

his head,

falls

GIROLAMO propria mano.

Uomini

and a very wide linen

over his dark habit.

collar with square corners,

.7OX.58.

Rossi, line, in Serie di Ritratti degli eccellenti Pittori dipinti di Firenze, 1748, 4 vols., fol. C. COLOMDINI, line in Serie degli

LASINIO figlio, piu illustri nella pittura, Firenze, 1769, 13 vols., 410. Real Gal. di Firenze, 1817-33, 4 vols., 8vo. UNKNOWN, line, reversed, with a stiff narrow collar, in D'Argenville, Vie des Peintres, Paris, 1762, 4 vols., 8vo. On wood, in Sir W. Stirling-Maxwell, Catalogue of Prints. i

outline, in

197. artist,

VELAZQUEZ.

Portrait in the

picture of the Meninas.

The

fifty-seven years of age, stands nearly front, holding a palette

VELAZQUEZ.

82 and a brush.

his breast

the red cross of the Order of Santiago.

See ante No. 21. This portrait is the best and the most authentic that exists of Velazquez, and the only one whose history can be traced back to the time of the artist. Etched for this catalogue. FED. NAVARRETE, E. SAINT RAYMOND, etch.

AUG. ESTEVE,

line, 8.6x6.1, oval, at Calco. Nacional. without hands.

198. VELAZQUEZ.

Valencia Almost

turned partly to the right.

Less than

Museum,

line,

684.

6.1x4.6

oval, bust,

short

identical with the bust of

bust;

No. 195.

life-size.

"Among

other occupations, he

made

Rome

[1629-31] a famous portrait of

which is now in my possession." Pacheco, 105. The fate of the portrait mentioned by Pacheco, painted when the artist was thirty to thirty-two years of age, is unknown. Baron Davillier suggests that it may be the one at Valencia, but the face there represented seems too old for a man of thirty years. FORTUNY, etch., 4.6x3.9, inscribed^/ B" Ch. Davillier su amigo Fortuity, himself,

This plate was etched as a labor of love, and presented by the distinguished artist to his friend, who made use of it to adorn an interesting reprint of the Alemoire de Velazquez sitr quarante et un tableaux renvoyes par Philippe IV. a /' Escorial. Rcimpression de f exemplaire unique with a fac-simile of the signature of Velazquez.

h Baron

Ch. Davillier, Paris, 1874, 8vo. Only two hundred and fifty copies printed. There are four proof impressions of this etching on parchment before the fac-simile of the signature of Velazquez. Of these one belonged to M. Fortuny, two to M. Davillier, and one is in the collection of the author of this Catalogue. Fortuny etched five plates before he was satisfied with his work, all of which he gave to M. Davillier. Only a few trial impressions have been made from eacK. Specimens may be seen in the Biblioteca Nacional, Madrid, and in the Bibliotheque de 1'Ecole des Beaux Arts, Paris. A wood engraving of the Valencia portrait lengthened is in La Ihistracion Esp. y Amer. Madrid, January 8, 1876, and in Almanaque de la Iluslracion, 1879. (1658), avec une^ introdtiction par

199. VELAZQUEZ.

head, somewhat like Sir J.

Sir 'William Stirling-Maxwell, Bart. that of No. 195. A miniature.

M. Brackenbury

Engraved on wood

200. VELAZQUEZ.

sale, 1848,

about habit,

Leeds Exhibition, 1868. London, 1855, I2mo.

iSs.

Earl of Ellesmere.

Purchased from H. Farrar.

201. VELAZQUEZ.

in Stirling, Velazquez,

British Institution, 1843.

head. Stirling,

ii.

675.

Marquis of Lansdowne, London.

thirty-five years old, three-quarters

and narrow

left,

Bust,

with black hair, dark

linen collar; grayish background.

26^X20^

in.

MALE PORTRAITS.

From one of the royal palaces of Spain purchased from the Prince of the Peace ; brought to London by Mr. Buchanan, who sold it in 1814 to the Marquis of Lansdowne. Buchanan, Memoirs, ii. 244, 247. British Institution, 1867. Royal Academy, 1877. This picture is different from any other known to the writer. The ;

features,

however, seem to resemble those of Velazquez.

202. VELAZQUEZ.

Palazzo Ducale, Modena.

Bust, in an oval,

three-quarters right, face front, wearing a cap, dark habit, linen collar

turned down, gold chain, and mustache

and brushes

his left

;

hand holding a

palette

partly seen.

Described in Raccolta di Catalog/it ed inventari inediti, of the pictures of Prince " Ritratto di Ignazio d'Este, by the Marchese Giuseppe Campori, 1685, p. 311. Monsieur Velasco con cornice a cordone dorata, qual figura ha le mani solo abbozl zata, di altezza braccia 2 /i e di larghezza br.

in a catalogue at the

e oncie

Mentioned also

circa."

end of the XVII. century by Cesare Cavazza.

? Bust, about fifty years of Capitol, Rome. with bare a head, wearing age, nearly front, rolling linen collar, musand chin whiskers. Life-size. tache,

VELAZQUEZ

203.

The

features

painted by him

seem

resemble those of Velazquez.

when he was

The

portrait

may have been

in Italy in 1650.

Photographed by ALINARI.

Munich

2033.

Gallery, 336. Velaz-

quez, bust, with pointed beard, mustache, long black hair, and collar turned down.

canvas mounted on wood, is said to be a copy, but

This

resemble any

known

igx it

15 in.

does not

portrait of Velaz-

It is engraved in Gal. Elect, de quez. Dusseldorf, Basel, 1776, PI. 8, No. 92.

2osb. sale

f,l"J.

the

Also a head of Velaz-

He de

SPANISH NOBLEMAN.

forty-five

his left falls at his side

39^X30^

inches.

;

tuft

;

Among

the

an engraving of the picture by

Jeanrot, published

the Calcographie

733.

Earl of Stanhope, London.

years old, in

mustache, and chin

Faisans.

Spanish portraits are those of Philip IV., Velazquez, and D. Alonzo de Pimentel.

du Louvre, No.

length, about hair,

Samuel Woodburn, deceased, London, May 15, 1854. There

20.

204.

andVandermeulen representing the interview between Philip IV. and Louis XIV.

Christie,

Velazquez, quez,

2030. W. Y. Ottley sale, 1811. 8 $s. Velazquez, 203d. In the Gallery of Versailles, No. 1059, is a copy of a picture by C. Lebrun

his right

Half

black dress, with long brown

hand holds

dark background.

his

watch guard,

Signed Diego Velazquez.

VELAZQUEZ.

This portrait, formerly supposed to represent Olivares, belonged to Count Lecchi of Brescia, and was bought by Lord Mahon, afterward Earl of Stanhope, in November, 1845. Manchester, 1857. British Institution, 1861, Leeds, 1868. Lecchi Collection, purchased by Mr. portrait 39X31 inches, from Count

Irvine from Sir William Forbes,

205.

was sold

SPANISH NOBLEMAN.

London June

F. B.

1842, for

74 us.

Massey-Mainwar-

ing, Esq., London. Bust, three-quarters right, with chin whiskers, and mustache turned up, bare head, short hair, and very wide falling linen

edged with lace. Lord Northwick sale,

collar

Life-size. 1859,

No. 1763.

f,2

los.

Exhibited at the Bethnal

Green Museum, 1877.

206.

SPANISH NOBLEMAN.

Perthshire.

a partly

50X38

drawn

Lord Kinnaird,

Rossie Priory,

represented as entering a door-way at which hangs

curtain

;

in his

hand

a paper inscribed Velazquez.

inches.

[At Lord Kinnaird sale, March 4, 1813, was a portrait of a Spanish Nobleman, different from this, ascribed to Velazquez, which was bought in at ^380, and It has been found to be a work of Rubens, whose private mark is now at Rossie. it bears, and is supposed to be a portrait of a General Velazquez, painted in Spain.

]

207.

A YOUNG MAN.

three-quarters falling collar

left,

Duque de Montpensier,

Seville.

Bust,

with smiling face and bushy hair, wearing a wide

edged with

lace.

.43*. 35.

Purchased by Baron Taylor from J. F. Lewis, a painter at Seville. This picture, now called a Cabattero, was formerly considered to be a portrait of Velazquez, and is so called in the following engravings. It is probably neither a portrait of Velazquez, nor by him.

Louis Philippe

PANNIER,

line,

sale, 330,

.140.

5.7x4.5, Paris, 1846, in Gal. Hist, de Versailles, Supplement Artiste. A. MASSON, line, Paris, 1843, in S. B. MALE-

T. V., series 10, sec. v.

ZIEUX, litho., 18.4x16.2, reversed. JULLIEN, On wood in J. F. Robinson, Great Painters.

208.

A YOUNG

MAN.

litho.,

8.7x6.5, in Journal

Grosvenor House, London,

129.

Album.

Bust,

wearing a fur cape, a cap adorned with crimson ribbons, and an orangecolored coat, looking front over his right shoulder. On panel. 22 x 17 inches.

MALE PORTRAITS.

This picture, incorrectly called a portrait of Velazquez, is from the Wellbore Agar Gallery, which was purchased entire in 1806 for 30,000 guineas.

Ellis

Etched in

209.

Young, Grosvenor Gallery.

MAN,

incorrectly called Velazquez.

Bust, in black dress

ton, 159.

tache and whiskers, his body

left,

and narrow

Duke

of Wellingmus-

linen collar, with

face nearly front.

Life-size.

Exhibited at the British Institution, 1855.

210. A MAN. Earl of Wemyss, Gosford Hall, East Lothian. A middle-aged man in black dress, with white collar, standing, with a

hand, and holding his dress with the

letter in his right

Half

left.

length.

Mentioned by Waagen, Art Treasures of Great Britain,

211. Bust, in

A YOUNG

W. Anthony

sale,

tleman, in black dress,

212.

MAN.

Edward

MAN.

a gray cloak.

27X22

February

,13

A. Leatham, Esq., London.

4, 1871,

In the same sale was also a Gen-

^42.

(Gray).

Earl of Dudley.

MAN.

13^X11^

head,

inches.

from Marque's de Leganfe Gallery,

Royal Academy, 1871. sold No. 43 Salamanca sale, 1867, for 2,000 francs

438.

inches.

Is this the picture

213.

iv.

Lord Leconfield,

Petworth, Sussex.

Bust,

wearing a white collar. Mentioned by Waagen, Art Treasures of Great Britain,

214.

MAN. Lord Arundel of Wardour,

iii.

42.

Wiltshire.

Mentioned by Waagen, Art Treasures of Great Britain,

iv.

A head.

393.

MAN. Fitzwilliam Museum, 48, Cambridge. 215. Man, with bare head, rich gray and red dress, and wide falling linen collar; his right

hand before

his breast, his left

covered with red cloth; more than half length.

arm

resting

on a

About 10X8

table

inches.

Doubtful. 216.

GENTLEMAN.

lingar, Ireland.

Charles Brinsley Marlay, Esq., Mul-

Three-quarters length, about thirty-five years old,

VELAZQUEZ.

with dark hair, mustache, and beard, wearing a black doublet,

ruff,

lace

cuffs, and sword; one hand is on his waist, the other on a guitar which rests on a table covered with crimson cloth a column and cur;

tain in the

This picture, which Kellogg, an American

217.

inches.

45X37

background.

thought to be a portrait of Pareja, was purchased from Mr. who bought it in Florence. British Institution, 1862.

artist,

ALCALDE.

Sir

John Neeld,

Bart., Grittleton, Wilts.

standing, with black dress, mantle,

Man,

and sword

crossed, the right holding a letter, his hat in his

Exhibited at the Royal Academy, 1878.

218.

ton Lacy, Dorset.

26X23

Man,

with long hair falling on his

GRANDEE.

stiff

Annals,

left

iii.

1404.

and a sword

Half length, in 1839

St.

Petersburg.

shoulder, wearing a cloak, an ;

oval.

his right

35X33

hand

inches.

married the Grand Duchess Marie,

was transferred from Munich

etch., in

Kings-

inches.

horizontal collar,

The Due de Leuchtenberg having N. MUXEL,

245.

Leuchtenberg Gallery,

his breast, the left not seen.

his collection of pictures

ii.

R. Bankes, Esq.,

Stirling,

219.

embroidered habit, is

Bust.

Mentioned by

in Italy.

Waagen,

Walter

ECCLESIASTIC.

Purchased

hands

his

;

three-quarters,

;

inches.

53^3X41

length.

left

to St. Petersburg. I.

Leuchtenberg Gallery, Frankfort, 1851, 410.

A. MAYR,

htho., 16.2X12.3.

220.

A CAVALIER.

mounted on a white

Pesth Gallery,

695.

A Man, seen

Formerly in the Esterhazy Gallery at Vienna, which was sold Hungarian Government for 1,300,000 florins.

221.

NOBLEMAN.

Jarves Collection, 135. Life-size.

in profile,

Small.

horse.

Yale

College,

New

in 1870 to the

Haven, U.

represented at full length

in armor.

7 5X49 inches.

The background and

outline of the

hand bear marks of changes and

alterations

in the progress of painting.

222. fifty

MAN.

Museo

del

Prado, 1,104

(

39)-

years old, with thin face, swarthy complexion,

Bust,

homely

about

features,

MALE PORTRAITS. and short black manner.

wearing a plain black dress and

hair,

LAURENT,

223.

collection of the

Museo

MAN.

del

From

the palace of San Ildefonso,

quarters

Duchess del Arco.

Prado, 1,103

mustache streaked with white, short ruff. First manner. .40X.36.

left,

where

his hip

scribed above, Aet.

black dress, and large

was attributed

in Italy,

;

wide red

silk coat,

to Tintoretto.

Gentleman, seen three-

1630.

scarf,

and collar of Santiago a staff with a silver knob.

fall-

sword suspended

silver,

in his right

jp an

From Suermondt by Velazquez

Bust, about

looking front, with thick black hair, small mustache,

from a baldric embroidered with

hand on

(228).

complexion, dark whiskers and

hair, plain

MAN. Berlin Gallery, so8C.

ing collar, flowered black

left

Second

photo., 191.

thirty-five years of age, with yellowish

224.

golilla.

.56x.3g.

Supposed to be from the J.

;

his

In-

Doubtful. Kneepiece. i.ijx.S^. M. Burger thinks this portrait was painted

Gallery, 1874. that it represents perhaps the Spanish Minister to Venice,

and

or the Viceroy of Naples. Gas. B. Arts, January, 1869, p. 30. Photographed by the Berlin Photographic Company.

225.

Dresden Gallery,

MAN.

624.

Gentleman, about

fifty

years old, standing, with dark dress, narrow linen collar, and a cloak which falls from his left shoulder and is held his right hand ; his

left

hand on

Half length.

his sword.

52X37

Bought as a Rubens in the Modena collection was attributed to Titian, but now to Velazquez.

ERNST MOHN,

line, in

inches.

in 1746.

Galerie de Dresde, 3 vols.,

fol.

From

1826 to 1846

1780-1874, vol.

iii.

pi. 41.

Photographed by the Berlin Photographic Company.

MAN. Dresden Gallery, 423. Bust, with gray hair, and chin whiskers, dark dress, and a gold chain. mustache, 28^ X 226.

24 inches. Bought

in the

Modena

Collection as a Rubens, and so classed in Smith Cata-

logue Raisonne P. IX., p. 281,

No.

140.

Since

1828

has been ascribed to

Velazquez.

ZUCCHI,

line, in

Gal. de Dresde,

ii.

45.

Attributed to Rubens.

VELAZQUEZ.

227. A MAN. Pitti Gallery, 329. Bust, wearing a ruff, his body turned to the right, face front, with short curling hair, mustache, and

chin whiskers.

.58X.44.

G. GUADIGNINI,

MAN.

inscribed "Ignoto No. I."

line, in Bardi, Gal. Pitti,

Half length, with bare head, wearing over his habit a collar edged with lace. A cloak falls from his shoulder, and is wrapped around his waist ; his right hand is on 228.

his hip, his left

Pitti Gallery, 198.

his sword.

BELLA BRUNA,

229.

A YOUNG

i.i4X.86.

line, in Bardi,

MAN.

young man wearing a

Stockholm Museum,

ruff,

in 1649.

Mentioned by Palomino

iii.

337.

22gc. Cardinal Pamphili, nephew of Innocent X. Ib.

Camilo Maximo, 22gd. Monsenor Camarero de su Santidad Insigne Pintor.

22ge. Monsenor arero del Papa.

Abad

Hypolito,

Cam-

Ib.

Monsenor

Mayordomo de

Ib.

Santidad.

Michael Angelo, 2295. Monsenor Barbero del Papa. Ib. 22gh. Don Nicolas de Cardona Lusigniano, Maestro de Ib.,iii.

2zgi.

Camara

del Rey.

Es muy celebrado

el retrato

Pereyra, del Abito de Christo, tambien

Camara. Ib. Fernando de Fonseca Ruiz de la

Contreras, Marque's de la Lapilla, Cavallero de la Orden de Santiago. Ib.

22gk. Fr. Simon de Roxas, estando difunto.

Cat. Mus. Prado, p. 627. 22gm. Berlin Gallery, 408 A.

Ib.

iii.

335.

Old Man seated, with gloves in his right hand ; his arms on the arms of the chair. Half length. .86x.6g. Bought as a Velazquez in 1860, but an Italian painter.

22gn.

probably by

Museo del Prado, 1,115 (9).

man with white, unkempt hair and beard, seen in profile. .39X-3 1 Formerly attributed to Velazquez, but now

of an old

considered doubtful.

PINEDA, etch., in Grab. Ag. Fuerte. An 22gp. R. S. Holford, Esq. officer

wearing left

armor,

full

length, standing,

and long hose; his helmet, which lies on a

soft boots

hand on

rock, his

333.

maestro de 22gj.

22gl. Juan de Cardenas y Calabazas. Formerly belonged to the Marques de

Head

Ib.

22gf.

sleeves.

Legane's.

337-

22gb. Ferdinando Brandano, Oficial Mayor de la Secretaria del Papa. Palomino,

Bust of a

764.

and a buff doublet with slashed

2293. Geronimo Bibaldo, painted "i.

No. II."

Doubtful.

.63X.46.

Rome

Gal. Pitti, inscribed "Ignoto

his

right holds

staff.

82x50

inches.

Lebrun drawn

No. 130. Withand afterward sold

sale, 1810,

at 6,500 francs,

to T. Baring. Buchanan, Memoirs, British Institution, 1839, 1851.

ii.

255.

This

picture has long been attributed to Velazquez, but it is more in the style of Van-

dyck.

MALE PORTRAITS. Lebrun

Outline, reversed, in

The

Recueil.

text absurdly suggests that

portrait of Cromwell. 22gq. Rev. J. S. Ogle, Kirkley Hall,

Northumberland. inches.

28^X21 Stirling,

iii.

Gentleman.

Man.

iii.

Ambrosian Library, Stirling,

monk

life-size.

;

Head of a iii.

sleep-

1402.

Colonel the Hon. C. S. Vereker. A Cavalier. Leeds Exhibition, 22911.

1868.

22gv. Marquis of Exeter, BurHouse, Rutlandshire. A Man. iii. Jones, Views of Seats, 1829. Stirling,

22gw. Marquis of Exeter.

of a

Boy about

222.

2ojxio24 n Velazquez, but now

and brown doublet.

Formerly ascribed

Juan de Pareja. 22gy. Darmstadt Gallery, 534.

51x35 inches. 22gz. Darmstadt Gallery. A Knight in red robes, with white collar. 27x21 Child.

inches.

22gff. South Kensington Museum, Dyce Collection, 86. Head of a

Gentleman wearing a small ruff. Miniature in oil on copper. 22ggg. Comte A. de Stroganoff, St.

No.

850 francs.

22ghh. Siebel

right, his J.

hand outstretched.

LOEDEL,

fac-simile of a

1781,

fol.

drawing

r Academic d Also in Hand-

zeichnungen aus der Weigelschen Kunstsammlung, 1854-61, Heft iv, No. 12.

22gbb.

Munich

Spanish School."

hand on his Half length. Perhaps

Gallery, 380. Man with his right

hip, his left

on his sword.

this is the picture

sale,

1852.

hat with feathers, a silk doublet enriched with gold, soft boots, and a sword ; gloves in his left

hand.

2.00X1.12.

Lebrun sale, December 10, Bust of a Man with bald forehead,

22gii.

24 X

wearing a black cloak and cravat.

22gkk. Lebrun

sale, April, 181 1, No. Portrait of a youth with hair falling over a lace collar, slashed sleeves, gloves in his left hand ; his right falls naturally.

90.

Kneepiece. 22gll.

quiou] 1

788.

399 francs.

Marquis de sale,

[Montes-

by Lebrun, December

Head of a man

seen three-quarters,

with chapeau and dark cloak.

engraved in

Gal. Elect, de Dusseldorf, Basle, 1776, No. 196; attributed to Velazquez.

PI. 15,

d'Elberfelt

Full-length portrait of a nobleman, standing with his right hand on his hip, wearing a gray felt 19,

15 inches.

Recueil de dessins de

Dusseldorf,

May

Paris,

1778.

A Man on horseback galloping

22gaa.

Por-

British Institution,

1862.

his long black hair falls lar

William Goldsmid.

of a Gentleman.

From L. M. Vanloo sale, 1772. Randon de Boisset sale, 1777, No. 13,

years old, profile left ; on his white col-

five

22gee.

Bust

1405.

Dulwich Gallery,

22gx.

Portrait of a

British Institution, 1836.

Boy.

1404.

iii.

22add. Lord Cowley.

Petersburg, catalogue, dated 1800, Bust of an old man with long 31. hair, white beard, and brown drapery, seen three-quarters face. 30X22 inches.

leigh

Stirling,

trait

Stirling,

seen in pro-

Bust.

right.

VAL. GREEN, mezzo, 12x9.3, J an ' From a picture belonging to Mr.

Milan.

1403.

2291. Brera, Milan.

ing

collar,

file,

Man.

iii.

wearing a loose linen

1403.

2295.

face, short,

and chin whiskers,

1773. Reid.

1404.

Stirling,

with thin

thin hair, mustache,

Bust.

Royal Academy, 1876.

22gr. Manfrini Palace, Venice.

A Man

22gcc.

26x19

inches.

229mm. Marquis de June

10, 1825.

Belville

Portrait of a boy.

sale,

From

VELAZQUEZ.

90 Lord

Townsend's

Charles

collection.

Also No.

72.

A Gentleman in black with

slashed dress, seated, writing.

Schamp d'Aveschoot

22gnn.

sale,

Young PhilosoSeptember 14, 1840. pher, half length, resting his hand on some books. 27X20^ inches. 140

(Rhodes.) 22gyy. Marquis sale,

1838.

A noble

sale,

May

30,

Spanish youth in hat and

Portrait

15^.

Lansdowne

of a

Knight of

Malta.

194 5-f. 22gzz. Dr. Rinecker,

florins.

22gpp. M. M. Zachary

1806.

Professor in

the University at Wurzburg, sale, Paris, March 30, 1868. Portrait of a young

feathers, slashed sleeves, and fallingcollar.

man,

Aguado sale, 1843, No. A Magistrate. Un Corregidor.

raised to his neck, with black hair, mustache, and lace collar, wearing gray silk

22gqq.

146.

Full

uncovered, and seen full complete black costume and

length, head face, in

down, handker-

cloak, white collar turned

chief and white sleeves, buckskin gloves, girded with a sword. 1.96x1.02. 1, 600

This was probably sold as a

francs.

Joseph Parkes'

Murillo at

1858, 90 gs.

at a sale July Sold again July

13, 14,

is.

22grr. Sir D.

Abbot.

May 8,

Again

1860, to Graves.

,863,

sale,

,13

Wilkie

sale, 1842.

2s.

22gss. W. W. Burdon Abbot. ^3 12s.

1862.

sale,

22gtt. Louis Philippe sale, No. 77. of an Inquisitor. A study. -54X

Head

10.

.43.

22guu. Earl of Bessborough 1801.

1841.

sale,

Priest at the altar.

^35 14^. 22gvv. Lady Stuart sale, May 15,

spectacles.

Advocate

^49

Js.

noble child with a

in black dress with

Also, Portrait of a

hawk

in its hand.

lS I&r.

22gww. Gaetano

Faccioli

London, June 19,1852. from Grimani collection.

sale,

A Burgomaster, 27

6s.

230.

8 8s (Southeran).

She

hand

From

the

57X42

inches.

22gaaa. Erard sale, 1832, No. 52. General galloping on a piebald horse,

He holding a baton in his right hand. is followed by a trumpeter, to whom he In the background are gives orders. two armies 1, 600 francs.

fighting.

118x74

inches.

22gbbb. Jose de Madrazo Catalogo No. /\i\/\. A Knight of Santiago, " Style of Velazquez,"

with

black

hair,

chin

whiskers and mustache, lunettes, and the cross of Santiago. .56X-37. From the Iriarte gallery. Perhaps the following VIengravings are after this picture.

CENTE CAMARON, Real Est.

lith. 9.4x7.2, at Madrid, "from a picture D. J. de Madrazo." R.

Lito.,

belonging to

HANCOCK,

line,

5.1X3.1, inscribed D.

Francisco Quevedo.

22gccc. Bust of a

James Whatman, Esq. man with long, curling black

hair, sallow collar,

complexion, mustache, white dark dress, soft hat and feather,

20X15%

inches.

Mr. What-

British Institution, 1858.

man's pictures were sold

Christie's,

February 20, 1882.

QUEEN MARGARITA OF AUSTRIA,

del Prado, 1,065.

right, his

pourpoint; light background. royal gallery at Schleissheim.

looking front.

22gxx. Alton Towers sale, 1857, No. 148. Portrait of an Artist standing before his easel.

head turned

his

wife of Philip III.,

Museo

about twenty-five years of age, mounted

FEMALE PORTRAITS

QUEEN ISABEL.

on a chestnut and white horse, which walks three-quarters left; she wears a ruff and a black dress with open sleeves; her red hair is drawn back from her face, and is surmounted by a white plume on ;

a large jeweled brooch the bridle and breastplate of the horse are adorned with gold, and on his forehead is a white rosette her breast

;

his housings are richly embroidered,

and

fall

nearly to the ground;

the Queen's right hand touches the neck of the horse, only three of

whose

Background, a broken landscape with scattered

feet are seen.

bushes.

The costume

evidently not by the

of the Queen,

hand of Velazquez

Companion to No. 96, which see. F. GOYA, etch., 14.6x12.2, 1778,

himself.

[The Calcografia Nacional, No. institution similar to those at Paris

2.97X3.09. In the collection of Sir

at Calco. Nacional.

an impression with the LAURENT and by A. BRAU.N.

Stirling-Maxwell

graphed by

and the trappings of the horse are

II Calle

letters written

de Alcala, Madrid,

and Rome.

by Goya. is

Photo-

Government

Its last catalogue, 1880,

enumerates

forty-one engravings and etchings after Velazquez and eighteen after Murillo. Among its publications is the work known as Retrains dt Esfanolfs Ilustres, com-

prising one hundred and fourteen portraits, which are sold separately at 1.50 pesetas each. These portraits are half length, having been lengthened or shortened by

The coppers of El Grabador at Agua Fiierte, one hundred and thirty-one in number, have also passed into the possession of this establishment, and the impressions are sold at 2 pesetas each, or 131 ps. for the

the engraver to secure uniformity.

entire collection.

Beside the above there are engravings of the paintings by Raphael, Ribera, and the royal collection, Devotional pictures, Costumes, Plants, Sports,

others, in

Views, etc. Nearly all the engravings now published in Spain are printed here. In 1803 the Prince of the Peace, on behalf of the State, purchased from Goya's son the plates of the Caprichos and some other etchings, including probably all those by Goya after Velazquez, except three of which the coppers are lost. The consideration for this sale

was a pension of 12,000

reals.

The

plates

were deposited

in the

Calcografia Nacional, where they are still worked, although the modern impressions are of no great value. They may be distinguished from the old ones by

being on very white paper. ]

231. QUEEN ISABEL OF BOURBON, first wife of Philip IV. Museo del Prado, 1,067. She is about twenty-five years of age, mounted on a white horse, which walks profile left her costume and ;

the trappings of the horse greatly resemble those seen in the above picture of

Queen

Queen Margarita. Isabel

The

brown, her hair

chief differences are that the dress is

black,

and

not surmounted by

VELAZQUEZ.

92 a

her hand does not touch the horse's neck, and

tuft of feathers,

costume,

as in

etc.,

all

The

Background a broken landscape.

the animal's feet are seen.

No. 230, are apparently by a pupil of Velazquez.

3.0IX3.J4. Probably painted in 1644. Palomino, iii. 332. in

No.

which

97,

see.

Mentioned by

A proof before letter is F. GOYA, etch., 14. 6x 12.4, 1778, at Calco. Nacional. the Biblioteca Nacional, Madrid. A photograph of this etching is in Reid's The

Velazquez.

picture

photographed by

LAURENT and by

seen at

full

A. BRAUN.

Mrs. Henry Huth.

QUEEN ISABEL OF BOURBON.

232. is

Companion

length, standing, three-quarters

head-dress with a white feather, white

ruff,

left,

She

wearing a black

close-fitting undersleeves,

and a black hooped dress enriched with a border of leaves of gold, which runs around the bottom and up the front a similar border ;

adorns her bodice and long, open sleeves ; the inside of her collar is of white brocaded silk ; her left hand, falling naturally, holds a fan, her right

on the back of a

chair.

Background, pink drapery.

panion to Philip IV. No. 114. Louis Philippe sale, No. 249

(295), ^300, to

1857 at Manchester, and sold

1863 to Mr. Huth.

79X44

H. Farrar, who exhibited

QUEEN ISABEL OF BOURBON.

repetition

dress

arranged

her right feet

;

scape

of No.

thumb

seen.

234.

on the

99X58

hair,

right,

Court, 91.

the trimming of her

with an opening through which a land-

inches.

No.

113,

which

see.

left,

The canvas has been

Francis

Clare

enlarged.

Ford,

about twenty-one years of age, and is seen wearing a black embroidered dress and ruff, ribbons

She

and a rope of

25X19

;

See also No. 245.

she wears pearl bracelets, and a ring on

QUEEN ISABEL OF BOURBON.

three-quarters

Bust.

;

to Philip IV.

Esq., London. her

;

a black and white spaniel stands on a rug at her

architecture

Companion

in stripes

Hampton

somewhat varied

232, but

British Institution, 1864.

Nos. 233 and 234 are repetitions of this picture, slightly varied. Praised by Mr. Ford in the At/iemeum, May 21, 1862, p. 623.

2 33-

Com-

inches.

pearls crossing her breast

inches.

Painted about 1624.

Exhibited at the Royal Academy, 1873.

and shoulders.

QUEEN MARIANA.

FEMALE PORTRAITS

The writer is informed that on the back of this canvas is a note in the hand" writing of Mr. Richard Ford, certifying that the portrait was bought by me out of " General Meade's pictthe Madrid collection of General Meade in May, 1853 (?). ures were sold at Christie's in 1847, and the General died in 1849.

See No. I4a.

Also 2346.

Rose Campbell

2343.

July

sale,

Isabel of Bourbon, half length. .65X.49-

Purchased

Isabel of Bourbon.

,76 13^. 234b. A. Delahante sale, May 30,

1814.

Isabel of Bourbon.

1817.

2340. Altamira Isabel of Bourbon.

Isabel

1829.

June

^13

13.?.

royal collection at

2346. Louis

Emmerson

Philippe

sale,

May

neeum,

of the purchaser of

14, 1853, p. 594.

The

pict-

however, does not seem to be in Mr. Ford's collection. See No. 234. ure,

149.

QUEEN MARIANA OF AUSTRIA,

235.

name

Mr. Richard Ford. The statement is repeated in an article written by Mr. Ford himself in The Athethis picture as

1827.

Bourbon, from the Madrid. ^29 8s.

at Madrid from M. Cordova, ^46. Messrs. Christie's cata-

logue gives the

10.

sale,

Thomas

234d.

a painter.

second wife of Philip IV.

Museo

del Prado, 1,082. The Queen is represented at full length, In her kneeling in prayer behind a desk covered with rich tapestry. hands is a small Book of Hours, a curtain above. The head and bust in this picture are precisely the

Latest manner.

Companion

same

as in

No. 236, which

see.

2.09X1.47.

to Philip IV.

No.

III.

de D. Vicente Polero, p. 189, mention

In the Catalogo de los cuadros del Escorial, made of a small portrait of Dona Mariana

perhaps a sketch for the above. Photographed by J. LAURENT, No. 54.

praying

236.

;

QUEEN MARIANA OF AUSTRIA.

Museo

del Prado, 1,078.

Full length, about twenty-four years of age, dressed in court

consisting of a black

trimmed with three-quarters

handkerchief face

silver stripes left, is

mourning and basque, the borders of which are she wears immense hoops, and stands

silk dress ;

with her right hand on the back of a chair ; a large

displayed in her

left

profusely rouged; her red hair

hand, which

falls

naturally

in ringlets

;

her

which

fall arranged over one another regularly, each tied at the end with red ribbon, the whole forming a broad mass, the base of which forms a horizontal is

even with her chin ; a long white feather falls over the hair she wears a scalloped collarette and a rich gold chain, the end of which passes from the round rosette on her breast over her left straight line

on her

left

;

VELAZQUEZ.

94 arm

above the

;

her

collarette

seen a bertha of gathered tulle ; behind

a bronze clock on a table

;

above

a red curtain.

Latest

manner.

2.09X1.25. The costume would suggest

that this portrait was painted in 1659, at which time the court was in mourning for the infant Fernando Thomas. The dress is described with unusual minuteness, because the bust has been often repeated.

Photographed by J. LAURENT, No. 40. Rouge was used to such an excess about the time this portrait was painted, that ladies put it on the cheeks, chin, under the nose, on the eyelids, ends of the ears, on the hands, fingers, and shoulders ; and this they did as well on retiring as on Even the statues of women in the royal palace were rouged on the cheeks rising. [

Mme.

and shoulders.

237.

d'Aulnoy, Voyage tTEspagne, 249, 236.]

QUEEN MARIANA OF AUSTRIA.

Museo

repetition of the above, except that the figure

the canvas, and

Photographed by

238.

curtain is displayed above. LAURENT, No. 50.

QUEEN MARIANA OF

AUSTRIA.

Bust.

Battle, Sussex.

Esq.,

del Prado, 1,079. is placed lower on 2.31X1.31.

Hercules B. Brabazon, No. 236.

repetition of the bust in

inches.

28X23 Hugh

Baillie

sale,

^241

1858,

los.

Manchester Exhibition, 1857.

Royal

Academy, 1875. This portrait is supposed to be from the Altamira Gallery. There was no portrait of Mariana in the Altamira sale, 1827, but there was a portrait See No. 2340. called Isabel of Bourbon. Photographed by CALDESI, No. 75. The following engravings are from the above or a similar picture F. BOUT:

TATS,

scu.

aput

Anterpiae

Insc. 6.1X4.5. UNKNOWN, line, 6.8X4. 7,

Meyssens,

line,

Hispaniarum et Indiarum Regina. las Reynas Catholicas, por Fr. Henrique Flores, Madrid, 1770, 2

239.

QUEEN MARIANA OF AUSTRIA.

Howard.

Head.

Mentioned by

240.

New

iii.

A repetition

Purchased from Richard

Navy Agent

at Cadiz,

Memorias de

vols., fol.

Earl of Carlisle,

Castle

Probably a repetition of the bust of No. 236.

Stirling,

1406,

and

The Athenaum, September

QUEEN MARIANA OF AUSTRIA.

York.

Anna Maria

Bryan

of the bust of No. 236.

W. Meade, who was

1805-16.

30, 1876.

Gallery, No. 385,

About 27X23

in.

a merchant and United States

FEMALE PORTRAITS

QUEEN MARIANA.

QUEEN MARIANA OF AUSTRIA. Francis Clare Ford, London. She is seen three-quarters length, standing her Esq., right hand on a chair, a curtain above, and a bronze clock on a table 241.

;

on the

right.

This

nearly a replica of a part of No. 236, except that

the head and neck are differently dressed crosses from shoulder to shoulder,

and not

pendent

ringlets.

and her

57X44

;

a double row of pearls

hair

in concentric rolls,

inches.

Gen. John Meade sale, June 26, 1847, ,13 13.?., to Mr. Beauclerc, from whom it was purchased by Richard Ford. This admirable portrait was given by Ferdinand VII. to Canon Lopez Cepero in exchange for the two Zurbarans representing visions of St. Peter Nolasco, now in the Museodel Prado, Nos. 1,120, 1,121. When Dean Cepero was in trouble on account of his political opinions, this canvas passed into the possession of Seiior Rodenas, whose widow sold it to Gen. Meade. Sir Edmund Head gives a long and interesting account of this portrait, and laments the want of taste and discernment in the British public in failing to recognize

Handbook of Sp. Art,

merits.

p. ix.

British

its

Royal Academy, This is probably one of the two pictures formerly in the Academia de San 1873. Fernando, described as Los retratos de media cuerpo de Felipe IV. y de su Muger Institution, 1852.

Mariana de Austria. Cean Bermudez Die.

242.

Don

QUEEN MARIANA OF AUSTRIA.

Lema,

Madrid.

arranged

in rolls like

three

v. 179.

Bust,

somewhat

No. 241, and not

Nicolas Gato de

No. 236, but the hair is pendent ringlets. There are

bands of diamond-shaped trimming down her

waist.

J. LAURENT, photo. No. 1293. A copy by Carreno is in the Academy of San Fernando, at Madrid. There is a curious portrait of Queen Mariana, in the Gallery of Versailles, No.

It is precisely like the above, but she hand, and with a landscape background.

3361. left

seen to the knees, with a fan in her

Her brown dress has the same diaand down the skirt. The portrait was formerly

mond-shaped trimming on the waist oval, and is one of a series of portraits of the Spanish royal family

that adorned the apartments of Queen Anne of Austria, wife of Louis XIII., who was Mariana's aunt. These portraits are mentioned by D'Argenville, who attributes them to

Velazquez, Vie des Ptintres,

243.

ii.

249.

QUEEN MARIANA OF AUSTRIA.

Francis

Cook,

Esq.

Bust, about sixteen years of age, three-quarters left, wearing a dark green dress with large, puffed sleeves, a gauze collarette trimmed with

narrow ribbon, and having a large rosette in front her hair, which falls low on both shoulders, is smooth on the top, but wide and loose ;

at the sides,

and

adorned with a rosette of brown ribbons.

26X22

in.

VELAZQUEZ.

96 2433.

Count

Harrach,

Vienna.

Queen Mariana

of Austria, standing, in widow's dress, with her right hand on a chair

;

on her

left is

The

a table.

and chair are those seen in No.

clock, table,

same

precisely the

a bronze clock on

236 and No. 241.

Full length.

89x63

inches.

This picture, attributed to Velazquez, sometimes called A Nun, and some-

times

Spanish Princess.

It is

undoubt-

probably the picture above described. Counts Harrach, father and son,

Two

were successively Austrian ambassadors Spain in the latter part of the last century, and this portrait may have been acquired from the royal collection at that to

time.

Photographed by JAEGERMEYER. 243b. King Louis Philippe sale, No. 150. Queen Mariana of Austria. .68X-54- Purchased from M. Cordova,

edly a portrait of Mariana by Carreno de Miranda, painted after the Queen became

a painter at Madrid,

widow in 1665. The features and costume are precisely the same as those in the portrait of Mariana by Carreno in the Museo del Prado, No. 689, an engraving of which picture is given in Blanc, Pein-

ana of Austria, 855 francs. 2436. E. G. sale, Paris, April

In the royal collection at Buen Retire, in the time of Charles III.

tres,

Carreno.

were two portraits of Mariana by Carreno, one of which is supposed to be now in the Prado, No. 689. The other (1772),

244.

and

THE INFANTA MARIA,

sister

185.

;

2430. Lecurieux

Queen Mariana. .66X-56.

242.

sale,

(Rutley.) Mari-

1862.

20, 1876.

H. LEFORT,

etch., in

the sale catalogue incorrectly inscribed Marguerite Thercse.

2436.

Salamanca

sale, 1876,

No.

39.

Mariana of Austria. A finished sketch of No. 236. From the gallery of D. Sebastian Martinez. .2OX.I4- 3,050 f.

or Mariana, daughter of Philip III.,

of Philip IV., born 1606, married in 1631 to Ferdinand

King of Hungary, died 1646.

No.

bust, similar to

III.,

This Princess was the object of the

romantic expedition of the Prince of Wales to Madrid in 1623. Museo del Prado, 1,072. Bust, about twenty-five years of age, with delicate complexion, regular features, prominent lower

lip

and

chin, gray eyes, reddish hair frizzled and raised high on the forehead;

a dress with lapels and plaited sleeves, and a small black cap on the top of her head. .58X44. There is some doubt as to the person represented in this portrait, and the doubt she wears a

ruff,

increased by the fact that the picture

inventories.

parure, this

not mentioned in any of the royal

The is

features appear to be different, but as to position, costume, and identical with the busts which are seen in the full-length portrait of

Dona Maria No.

Nos. 232 and 233. It would therewere so deficient in enterprise and skill, that two royal princesses were obliged to wear the same or similar dresses. Palomino informs us that Velazquez painted a portrait of Dona Maria in 1631 for the King, possibly the one above described. Mus. Pict. iii. 330. In the inven245,

fore

seem

tory

made September

and those of Queen

Isabel,

that the modistes of the Spanish Court

29, 1661, of the effects of

Diego Velazquez,

late

Aposentador

FEMALE PORTRAITS

INFANTAS.

de Palacio, which were contained in the Quarto del Principe in the royal palace, is mentioned " Un Retrato de la Sra Infanta Reyna de Ungria." The name of the painter is not given, and it may or cion de documenlos ineditos, p. 421.

SAINT RAYMOND, etch.,

in Grab.

245.

may

not be this picture. Zarco del Valle.

in Gazette

Beaux

PINEDA,

Arts, Nov., 1879.

Colec-

etch.,

Ag. Fuerte.

Berlin Gallery, 413 C.

standing.

The

Infanta Maria,

full

length,

Similar to No. 232, except that she holds a handkerchief

instead of a fan, and the dress, which

otherwise the same, instead of

a border of gold leaves, has a border consisting of eight narrow 2.00X1.06. stripes of gold. This has always passed for a portrait of Isabel of Bourbon, but a comparison of the features with those which are seen in the known portraits of Maria and those of Isabel, shows that the portrait

that of the

former princess.

Consequently the

name has been changed in the last catalogue of the Berlin Gallery. From the Suermondt Collection, which was purchased in 1874. The Suermondt catalogue says the picture was in the Royal Collection of Spain until 1820, when it was bought by Colonel von Schepeler, Prussian Minister at Madrid. In the Copenhagen Gallery is a portrait of Isabel of Bourbon, by an unknown Spanish artist. It is an exact repetition of the above picture, except that she holds a fan, and the features appear to be those of Isabel instead of Maria. FLAMEXG, etch., in Gaz. Beaux Arts, January, 1874, and in Zeitschriftfur Bildende Kitnst, 1874, called Isabel of Bourbon.

D. Jose" de Madrazo. CataNo. 439. Maria, daughter of Philip

2453. logo III.

Bust, life-size, with reddish

246.

hair,

plaited collar,

and

violet dress enriched

with gold and silver.

THE INFANTA MARIA TERESA,

Museo

del Prado, 1,084.

ten years of age, standing nearly front

red ribbons,

She

;

of France,

length, about

full

her red hair, adorned with

the center of her corsage

falls

loosely as

adorned with a

and crossed by a massive gold chain her rose-colored distended by enormous hoops, on which rest her hands, the

large rosette,

dress

;

XIV.

dressed wide, but not in ringlets, and

low as her shoulders

From

daughter of Philip IV. and

Isabel of Bourbon, born 1638, married 1660 to Louis

died 1683.

-58X.42.

Iriarte Gallery.

;

right displaying a handkerchief, the left holding a rose

;

on her

the folds of a crimson brocade curtain partly hide a large chair.

Xi-47'3

right

2.12

VELAZQUEZ.

98 Two

styles are distinctly observable in this picture, the face being in the second,

and the remainder in the last manner of the artist, whence it would appear that the work was begun before the second journey of Velazquez to Italy, and finished some ten years later. It will be remembered that the preparations for the marriage of this Princess were the last labors of Velazquez. This is the Queen whose bereaved husband made at her death the touching eulogium, "J'ai perdu une femme admirable, qui ne m'a jamais donn< d'autre " chagrin que celui de sa mort. J.

LAURENT, photograph, No.

46.

THE INFANTA MARIA TERESA.

247.

Belvedere,

No.

47,

Vienna.

Three-quarters length, about sixteen years of age, standing slightly left, her right hand on a table, her left, resting on her wide hoops, holds a handkerchief; her hair ribbon,

and over

bertha of

a row of pearls crosses from shoulder to shoulder, a triple row of pearls extends from the rosette on her

center with a rosette

and beneath

this

breast to another

from her waist.

;

on her

48X38

left

shoulder; two watches are suspended

inches.

MIETHKE, photograph, No.

48.

THE INFANTA MARIA TERESA.

248.

Bust, three-quarters

on the

left

;

her hair

;

bow

in the

middle to her

THE INFANTA MARIA TERESA

fifteen years old, three-quarters left, is

Marcille,

Paris.

her corsage and sleeves have perpendicular stripes of two rows of pearls extend across her breast, and two other

rows extend from the

hair

Eudoxe

dressed wide with a white rosette

left;

black lace

249.

dressed wide, the ends tied with red

left, falls

a plain collarette with scalloped edges, ornamented in the

corsage

on her

a long white feather ; she wears a with perpendicular red stripes ; below this and over her

tulle

it,

(?).

shoulder.

left

M. Ledieu,

looking front

adorned with semicircular bows of ribbons.

;

.62X.56.

Paris.

About

her wide mass of

Head.

Exhibited at the Alsace-Lorraine Exhibition, 1874. Photographed by A. BRAUN, No. 357.

250.

THE INFANTA MARIA TERESA.

lection,

No.

37.

Bust.

The same

Louvre, La Caze Col-

as the bust of

No. 247.

.73X.6i.

FEMALE PORTRAITS Louis Viardot

sale, Paris,

April

5,000 francs.

1863.

by the Old Masters, belonging

sale of pictures

INFANTAS.

Mr.

[There was another

March

Viardot).

27, 1857.]

GufiRARD,

THE

251.

8.6x7.

etch.,

MARIA TERESA. South The same as No. 250.

INFANTA London.

Museum,

Paris, 1879.

Bequeathed

to the

Bust.

Museum by George

Bulwer,

East

Painted in

oil,

on paper.

18X15

2523.

mentioned

Christie,

IV.

in the royal inventories of

Catdlogo

252b. Lapeyriere Princess.

sale, 1825,

56X43

No.

inches.

IOJ-.

6,200 francs.

65.

2526. A. Lefebvre sale, Paris, April Maria Teresa. 3,000 francs.

120

Doubtless a copy of No. 247.

253.

^282

2526. Due de Mornysale, 1865, No. 128. Maria Theresa. Bust. .65X-54.

Mus. Prado,

p. 591.

A Young

Scotch Baronet sale, by London, June 18, 1859. The Infanta Maria Teresa, daughter of Philip 252C.

Francia," a different picture from the one now in the Museo del Prado,

1686 and 1772.

No. 250.

inches.

Dona Maria Teresa

infanta

bust, resembling

at the British Institution, 1861.

reina de

francs.

Colonel William E. G.

Dereham, Norfolk.

Exhibited by Colonel Bulwer

Mitchell, Esq.

THE INFANTA MARIA TERESA.

252.

Kensington Life-size.

17,1882.

THE INFANTA MARGARITA MARIA,

Margarita

Teresa,

daughter of Philip IV. and Mariana of Austria, born 1651, married 1666 to Leopold I. Emperor of Germany. This Princess was the

Belvedere

heroine of the Meninas.

about three years of age, turned slightly to our

No.

15.

Full length,

holding a fan in her left hand, her right resting on a table on which is a glass vase she wears a necklace and a white dress trimmed filled with flowers left,

;

with scalloped black lace

and

;

her long hair

falls

loosely on her shoulders,

adorned with a knot of red ribbons ; a heavy gold chain passes

from her

left

shoulder over her breast.

Palomino informs us (Mus. Pict. two portraits which His Majesty wished

48X38

inches.

349) that in 1659 Velazquez executed to send to the Emperor of Germany. One iii.

that of Don Philip Prosper (see No. 147), " the other was that of the Infanta Dona Margarita Maria of Austria. On a table at her right was an ebony clock with

was

figures

within

and animals this

circle

bronze

;

in a circle

a smaller one

absence of the clock, there

was painted the Chariot of the Sun, and Hours." Notwithstanding the

showing the

reason for believing the Belvedere portrait to be the

VELAZQUEZ.

10O

It agrees with that of Philip Prosper in size, treatto by Palomino. ment, and execution, and the two portraits were evidently designed for companions, though they may not have been painted the same year. No picture is known with

one referred

such a clock as trait,

may have

described above, and as Palomino could never have seen the porerred in the description, as he often did.

F. A. MILIUS, etch., 10. 1X7-9, Pans, 1878, perhaps Photographed by H. O. MIETHKE, Vienna, No. 49.

THE INFANTA MARGARITA MARIA.

254.

Madrid.

repetition of the above.

Due de Berwick

Offered in the

bought in at 45,000 francs. Etched by " X " (Lalauze)

length.

picture.

Alba,

April 9, 1877, and

in the sale catalogue.

Louvre,

Half

551.

repetition of No. 253, except that her right hand rests on

the seat of a chair,

and her

L' Infante Margverite,

CONQUY,

Duque de

sale, at Paris,

THE INFANTA MARGARITA MARIA.

255.

above

I.J^X.QI.

Albe

after the

left

holds her gloves.

Inscribed above,

.yoX^g.

line, in Gal, Hist,

de Versailles, PI. 2371.

WALTNER,

etch.,

18x15,

1876 (Goupil). HANS MEYER, etch., Berlin, 1870. MILIUS, etch., 6.7x5.5, in Gaz. B. Arts, May, 1879. LUDERITZ, mezzo., 6.4x5.3, Berlin, 1852. COLTIER, Varied. litho., 6.5x4.7.

256.

Don

THE INFANTA MARGARITA MARIA. Sebastian, Pau, No. 593.

This picture

Heirs of the Infant

Nearly half length.

.j6x.62.

called, in the catalogue of the gallery of the late Infant

Don

Sebastian, a portrait of the Infanta Margarita, but it appears to be identical in features and costume with No. 246, and it is evidently a half-length repetition of that

Purchased from Senor Lopez, Court Painter. in search, as you requested, for a Velazquez. Recollecting a most pleasing specimen, a head in a court dress of an Infanta, a daughter of Philip IV., which Senor Lopez, painter to the King, showed me as a purchase he had made for 20 louis, I sent to offer him an advance in price for his bargain, but his answer was that he had bought it for the Infant Don Sebastian." Sir D. Wilkie, letter to Sir Robert Peel, dated Madrid, January 28, 1828, in Cunningham, Life of Wilkie, picture.

ii.

495.

257.

THE INFANTA MARGARITA MARIA.

tut, Frankfort, 430.

quarters

left,

gray

Stadel Kunst Insti-

Full length, about four years old, standing threesilk

robe with ribbons on the corsage, shoulders,

FEMALE PORTRAITS. and

101

her hands rest on her wide hoops ; her black curling hair on both shoulders; on the right is a table and a red curtain.

wrists

falls

;

1.37X1.04. Pereire

sale,

March

BRACQUEMOND, 258.

From Urquais

1872.

AN INFANTA

Sir Richard Wallace, Bart. Half length,

(?)

about

six years

dress

trimmed with red ornaments.

About 36X36 2583.

of age, standing front, with

Mentioned

James de RothsTwo portraits of Infantas.

Burger, Velazquez, 291.

2580. Schneider

No.

52.

Paris,

sale,

1876,

Infanta, half length, with

blonde hair crimped and tied with red bows, and adorned with a plume that the side; she wears large panlace collar over her embroid-

falls

niers

and a

ered corsage. 258c.

London,

.73X-5O.

Marquis

May

2s8d.

From

Infanta

Blaisel a

holding

the Prince of the Peace.

sale,

sword.

^45

3^.

May

17,

1872, there have been three sales at Paris

May25, 1868; March Also two 9, 1873.

Marquise du

March

28, 1850;

2586.

The

Blaisel,

both

16,

sale,

1870; and of the

sales

at Paris, viz

and March

Aguado

27, 1882.

1843,

No.

Infanta Countess of Neubourg, in

[Charles

II.

Neubourg, but

259.

married a Countess of this lady

the

was born seven

She

Infanta

Neubourg,

Comte Adolphe ThibeauFebruary 20, 1858. An In-

2j8g.

sale,

From

the Poushkin gallery, St.

378 francs.

Petersburg.

258h. Merighi fanta.

sale,

1858. 1,650 francs.

I.25X.95-

In-

258;. Barroilhet sale, April 2, 1860. Infanta. .87x69. 500 francs.

[There was another Barroilhet

March

258k. X sale, 1861. X.oo. 4,000 francs. 258!. C.

Tarral

11,1847.

24 inches.

uaghi.

sale,

Wynn

^57

3OX

sale, 15^.

June 17, (M. Col-

)

Infanta.

sale,

fifty

Paris,

May

6,000 francs.

Munro

Infanta Margarita.

about

by Christie, June

Ellis

Infanta.

258?. H. A. J.

The

.66

Infanta.

$s.

258n. Mailand 1881.

Infanta, half length.

^47

1876.

sale,

1872.]

15,

THE WIFE OF DON CHRISTOVAL DE CORRAL.

Villahermosa, Madrid.

sale, 144.

Countess of

black hooped dress enriched with silver. Bust. -75X.59. 920 francs.

258111.

143.

court dress, half length, a curtain and a table behind. .94 X 1 1 1 1 ,080 frarlcs. .

called

fanta.

sale,

Infanta in

of pictures of the Marquis du Blaisel,

May

Life-size.

in 1673.]

Aguado

258f.

Blaisel

Besides the sale at London,

viz.

Margarita Maria

deau

17, 1872.

Marquis

wearing a white

years alter the death of Velazquez. Leopold I. married for his second wife a Countess of Neubourg after the death of

3,000 francs.

black dress, with white collar and sleeves. From the Prince of the Peace. ^36 I5J-.

1872.

fair hair,

Dark background.

inches.

Baron

child, Paris.

10,700 francs.

gallery.

etch., in sale catalogue.

sale,

1867.

^63.

Duque de

years old, standing, in

VELAZQUEZ.

IO2 black dress with

band attached

wide petticoats, holding with her right hand a

to a pretty

boy of three years, handsomely dressed. Full length. Companion to No. 159, which see. 2.05X1.15. Some suppose this child to be Don Baltasar Carlos, whom the portrait appears to resemble. The ladies or nurses who watched over the royal children of Spain were not permitted to take their hands.

DONA ANTONIA DE HARD.

260.

She

Duque de

Alba, Madrid.

eighteen years of age, standing in a landscape, wearing a plumed hat, a cassock with bouffant gauze sleeves, and a red pettiis

coat embroidered with horizontal stripes ribbons,

falls

on her shoulders ; her

;

right

her

fluffy hair, tied

with red

hand holds the muzzle of a

on the ground ; a handkerchief is in her left hand; on the right is an escutcheon of gray stone, bearing an Full length. inscription beginning D" Antonia de Haro i Guzman. gun, the breech of which

1.99X1.08. Offered in

Due de Berwick

Albe

sale, Paris,

April

9, 1877,

and bid

in at

7,200 francs.

A. LALAUZE, etch., in the sale catalogue, and in Gaz. B. Arts, April, 1877. [This lady was a daughter of Don Luis de Haro, who was a nephew of Olivares.

She married the Conde de Niebla, eldest son of the Duque de Medina Sidonia, but, dying without issue, her titles and estates passed, de Alva. See No. 166.]

after

some

interval, to the

Duque

wife of Velazquez. Museo del of about seated Prado, 1,086. twenty-four years age, profile she wears a yellow mantle and a right, holding a tablet or portfolio pearl necklace; her dark hair is arranged in a roll in front, and fast-

261.

DONA JUANA PACHECO, She

;

ened with yellow ribbons, the ends of which hang down behind her Nearly half length. First manner. .62X.50.

back.

Formerly

in the collection of

Queen

MAURA, etch., 4.5x3.4, Madrid, On wood in LUbke, Hist, of Art, ii. 386. B.

262.

DONA JUANA PACHECO.

Isabel Farnese.

1870.

H. BLANCO,

litho., in

Col.

Earl of Dudley, London.

Lito.

Half

length, about twenty years of age, wearing a robe with high neck and green sleeves, enriched with gold, a gold chain, pearl necklace, and earrings, a fan in her pendent left hand, her right hand on the back of

a red chair.

Half length.

1.37X1.00.

FEMALE PORTRAITS.

103

Salamanca sale, 1867, No. 32. Sold as a " Portrait of a Lady. From the Leeds Exhibition, 1868. gallery of D. Sebastian Martinez, Cadiz." 98,000 francs. Royal Academy, 1871. On the back of this canvas

is written in old writing Juana de Miranda. The wife of Velazquez was Juana de Miranda, hija de Francisco Pacheco, as we see by the marriage register, a copy of which is given by Senor Asensio, Francisco Pacheco,

There

p. 28. artist,

reason to believe that this

a true portrait of the wife of our

painted perhaps the year of her marriage.

Museo

DAUGHTER OF VELAZQUEZ.

263. FRANCISCA,

del Prado,

about seven years of age, turned slightly to our right, in grayish costume with slashed sleeves and a bow of red and white ribbon on her breast she holds a bunch of flowers on a white cloth, 1,087.

girl

;

her hands touching each other. Half length. .58X.46. The identity of the persons represented in this and the following portrait is not established, but there seems to be good reason for believing them to be the child or children of Velazquez. She Francisca, the eldest, was baptized May 18, 1619. was married to J. B. del Mazo in 1634, at which time she was styled, in a document recently discovered in the archives of the palace, the only daughter of Velazquez. Cat. Mus. Prado, p. 443. It would therefore appear that her sister Ignacia must have died young. It is even probable that she may have survived her birth only a

few days,

for the records of the

church of San Miguel

at Seville

show

that

on the

29th of January, 1621, she received the sacred chrism, having been previously baptized at home. The official records of these events are published in Pacheco, sus obras artisticos also ante

No.

por J. M. Asensio, Sevilla, 1876, sm. 8vo, p. 35. See M. P. Lefort (Gaz. B. Arts, November, 1879) considers this the and the following one only a sketch, and that both represent the

literarios,

24.

finished picture, elder daughter of the artist.

MAURA, etch., 1874, in Grab. Ag. J. LAURENT and by A. BRAUN.

Fuertt.

Photo

Reid Velazquez.

Photos by

264.

A DAUGHTER

OF VELAZQUEZ.

Museo

del Prado, 1,088.

portrait resembling the above, except that in this the hands

touch, and the

bow

Photographed by

265.

LADY.

woman, about

of ribbons

.s8x.46.

188.

Sir Richard Wallace,

thirty years of age, stands,

looking front, wearing a brown ful

red.

LAURENT, No.

neck and bosom

;

head and shoulders

hand holds an open

her ;

left

silk dress,

Bart.

handsome

which displays her beauti-

hand holds the mantilla

Half length.

turned partly to her right,

a rosary hangs from her

fan.

do not

left

that covers her

wrist

About 46X37

;

her right

inches.

VELAZQUEZ.

IO4 Lucien Bonaparte

sale, 1816,

Aguado

^31.

sale,

1843, 12,750 francs, to

the Marquis of Hertford.

Retrato tambien en este tiempo [about 1647] Velazquez con superior acierto de singular perfeccion ; a cuyo assumpto escribio Don Gabriel Bocangel

Dama

vna

Epigramma, que no me ha parecido omitir, por su mucha agudeza en tan pocos numeros, para lisongear con ellos el gusto de los Lectores. Ofendiste su belleza, Llegaste los soberanos

este

Ojos de Lisi a imitar,

Silvio, a todas desigual

Tal, que pudiste engafiar

Porque tu la diste igual Y no la naturaleza.

Nuestros ojos, nuestras manos.

Palomino, iii. 334. PISTRUCCI, outline in Gal. Lucien Bonaparte. LEROUX, line, 12.8x9.7, in Gal. Aguado, and in Art Journal, 1864. [This mischievous face and coquettish attire remind us of the decree of that virtuous

King

Philip IV., dated April 13, 1639,

by which

was " ordered

that

no woman

should appear with her face covered, but that she should leave it exposed so that she might be recognized by her husband, relatives, etc., for the veils then worn concealed infinite wickedness, as

were also prohibited iii.

see in the comedies of that age. Farthingales Ortiz y Sanz, Compend. cronol. de Espaiia,

for a like reason."

398.]

266.

Duke

LADY.

of the above.

28X18^

of Devonshire, Chatsworth.

repetition

inches.

Royal Academy, 1876. This picture is mentioned Chiswick House, belonging to the

British Institution, 1852.

in a manuscript catalogue of the collection at third Earl of Burlington, who died in 1753.

267.

A YOUNG

lace, Bart. sleeves, her

hand

right

and a

curtains

LADY, called

Full length,

bit of

life-size,

resting

landscape Dr.

Sir

Infanta.

standing, in

Richard 'Wal-

black dress with white

on a table covered with red cloth;

in the

36^X27

background.

(iv. 81) says this

Waagen Royal Academy, 1872. Higginson collection but it was not in the Saltmarshe ;

portrait is

sale in 1846,

nor

inches.

from the is it

men-

tioned in the catalogue of that gallery, privately printed, in 1842.

268.

A YOUNG

Norfolk.

LADY,

called an Infanta.

Mrs. Lyne Stephens,

Full length, standing, with blonde crimped hair inclosed

behind in a red net

arm-chair, her

left,

she wears a lace collar and a black velvet dress

;

distended with hoops

;

her right hand rests on a

little

dog lying on an

falling naturally, holds a cord and tassel; gray

background with a red curtain on the

right.

1.49X1.02.

FEMALE PORTRAITS. Due de Morny

Exhibition, 1874.

IO5

Alsace-Lorraine sale, May 31, 1867, No. 127, 51,000 francs. picture similarly described was sold in Bonnemaison sale,

No. 44, called Maria Theresa of Austria, for 1,500 francs. Engraved on wood in Gaz. B. Arts, May 1863, reversed. A. BRAUN, photo.

1827,

269.

Akademie der Bildende Kunst,

LADY.

Vienna.

looking front, wearing a rich black dress and a wide ruff; a locket suspended from her neck by a gold chain, hangs Bust, three-quarters

on her breast

;

left,

her brown, curled hair

The background

a reddish

brown

fastened with a high comb.

.82X.64.

tapestry.

Formerly called Queen Mariana. J. KLAUS, etch., in Zeitschrift fur Bildende Kunst, March, 1876.

270.

A LADY

black dress,

OF THE COURT OF PHILIP IV., standing, in rich with slashed sleeves, lace cuffs, and jeweled bracelets a ;

brown net with white right

hand

and gold ornaments covers her head

fringe

on the back of a

Salamanca

No.

sale, 1875,

36.

;

the watch that has been detached

Museo

Marques de Legane's, Mentioned by Burger,

the gallery of the

Mme. B. sale, Paris, 1877, 13,000 francs. Velazquez, p. 264; P. Lefort, in Gaz. B. Arts, April, 1877. MILIUS, etch., in Mme. B. sale catalogue.

AN OLD WOMAN.

del Prado, 1,089.

sixty years of age, in black dress and Flemish cap and scarf covers her breast, a prayer-book is in her hands

green curtain with gold fringe. A. BRAUN, photo. No. 1089. 272.

A YOUNG

LADY.

Bust, three-quarters

on the

right side,

left,

and

i^ox.gg.

Three-quarters length,

From

17,000 francs.

271.

her

a handkerchief; a

chair, her left holds

gold chain hangs at her girdle from it lies on a table at her left.

;

i.o6x.77.

Half-length,

a crimped background a

veil ;

;

Doubtful.

La Caze

Collection, No. 39. with blonde bouffante hair, which is parted

Louvre,

falls

to her shoulders

;

she wears a white dress

with broad black perpendicular stripes, a linen collar, and a pearl

Oval.

neck-lace.

.82X.63-

A. BRAUN, photograph.

273. satin,

A YOUNG LADY a broad lace 14

with light hair, wearing a rich dress of green

collar, bracelets,

and necklace,

stands, with her

io6 right

VELAZQUEZ. hand on a

chair

;

in her left

i.iSX.yy cm. King of Holland sale, 1850, No.

hand

a fan of ostrich feathers.

Full length.

123, 775 florins.

Brett

sale,

April

^189. Manchester Exhibition, 1857. CALDESI, photo., in Manchester Art Treasures.

18, 1864,

274.

SPANISH

LADY.

Sir

William

Stirling- Maxwell,

Bart., Keir, Perthshire. Leeds Exhibition, 1868. 2743. Turin Gallery, 509. Maria Colonna, wife of Paolo Spinola, Doge of Genoa, about fifty years old, seated in a

with bows of ribbon, and holding a fan.

black robe with puffed sleeves, and a sort of white collarette; a fluted column and

Chevreuse.

curtain

the

Half

background.

length, life-size.

de Madrazo, Catalogo No. 442. Condesa de Monterey, full length, life-size, standing; her right hand on the back of a chair. 1.97x1.11. Painted at Rome while the Count was Ambassador there. From Altamira gal274b. Jose"

[Olivares married a sister of the Count of Monterey, and Velazquez re-

lery.

sided in the Ambassador's house

he visited

Rome

when

in 1630.]

274C. Countess Guzman Olivares. An etching by Velazquez (?) of a portrait of this lady, 5.2x3.3, was sold for 7 thalers,

From Lord Radstock

sale,

78.

274f. Marie de

Rohan, Duchesse de Painted about 1637. See

P. Lefort in Gaz. B. Arts, January, 1880, P- 532-

274g. Aston Hall sale. The wife of Admiral Pareja. Full length. 79X46 inches.

See No. ryga.

274h. Madrid.

Duque de Medina Celi, A Woman. Mentioned in

O'Shea, Spain, 302; Joanne, Guide.

Also an 274!. A. Bravo. A Lady. Old Woman, called the Cook of VelazSevilla Pinto, 416, 417.

quez.

Vna cabeza de vna ynglesa de Mentioned in the Diego Velazquez. Inventory of D. Diego Velazquez, late 274k.

Aposentador de Palacio, dated September 29,

66 1.

Zarco del Valle. Doc.

Ine'dit,

18 gr., in Specterschen Auktien. Nagler, Kunstler Lexicon. [The wife of Oli-

424.

Conde de Monmean and abject presence, crooked and deformed. Dun-

A Young Lady, half length, about twenty-

vares, daughter of the terey, was a woman of

lap Memoirs,

342.]

Comtesse d'Espagnac,

274!.

five years old, standing, in a

Paris.

red dress

richly embroidered, with curling hair, lace collar, and cuffs, playing with a

274d. Dofia Olympia, sister-in-law of Innocent X. ; and Flaminia Triunfi, " ex-

small dog on a table. The dog resembles that in the portrait of D. Philip Prosper

cellente pintora," were painted by Velazquez at Rome. Palomino, iii. 337.

about 1815.

2746. 1826.

Admiral Lord Radstock

Duchess

sale,

Osuna, ^257 IQJ. Lord Orford, Wolterton, sale, June 28, 1856. Duchess of Osuna in black dress, hood, and broad white collar fastened

No.

i.oox.82.

147.

Bought

in Italy

274m. Baldeschi Palace, Perugia. Portrait of a Lady.

1849.

life-size,

See ante No. I5ib.

Thomas Purves

274n.

sale,

June

Kneepiece, less than in green dress embroidered with

Lady.

FEMALE PORTRAITS. gold, a fan in her right hand, her playing with flowers in a gold dish.

X3&

inches.

scribed in Stirling,

is. iii.

274p. D. Jose" de

left

Incorrectly de-

Madrazo

Cata-

logue 441. A Lady in hunting costume, with broad-brimmed sombrero, leather

and hoops ; a

her right hand, her left holds two dogs by a cord ; landscape. From Alta-

gun

mira gallery.

1.46x1.06.

274q. Salamanca sale, 1867. Bust of a woman with low-necked dress and pearl necklace ; her hair falling on her shoulders. .38X-30. 2,150 francs (Lyne

Stephens). 2741.

King

Holland sale,

1850.

the costume of the period,

wearing a collar of pearls. 93X-74- 575 florins.

Kneepiece.

Schamp d'Aveschoot

2745.

1407.

gloves, embroidered collar

Woman

ID/

sale,

young and pretty woman, with pearl necklace and long waving hair falling on her shoulders. 24X20 inches. 1840.

i6ofl.

2741. Lethifcres sale, 1829.

Head

November From

Nun.

24,

the

Aldobrandini-Borghese gallery. 2?4U. Fonthill sale, 1823, 24th day, No. 41. Portrait of a Lady. " A beau-

by Velazquez was in the was afterward again acquired by Mr. Beckford. Buchanan, tiful

portrait

Fonthill sale, which

Memoirs,

147.

CHRONOLOGICAL DATA CONCERNING THE

AND WORKS OF VELAZQUEZ.

LIFE

IS99-

6. Diego, son of Juan Rodriguez cle Silva, and of Dona Geronima Velazquez, his wife, was baptized in the parish church of San Pedro at He was probably born the preceding day in Calle de Gorgoja, Seville. No. 8. Guia de Sevilla, 1880, p. 128.

June

1612? Studies under Francisco Herrera the elder. 1613 ? Enters the school of Francisco Pacheco, with

whom

he remains

five years.

occupied in painting bodegones, birds, fishes, market scenes, land-

scapes, figures, food, fruits, furniture, etc.

In the parish church of San Miguel at Seville, he marries Juana de Miranda, daughter of Francisco Pacheco and of Dona Maria del Paramo.

1618.

April 23.

1619.

May 18. Francisca, his daughter, is baptized in the Church of San Miguel. She married, in 1634, Juan Bautista del Mazo. The date of her death is unknown, but she probably outlived her father. After her death Mazo took another wife, who was living when he died in 1667. January 29. Ignatia, his second daughter, having been baptized at home, receives the rites of exorcism and chrism in the Church of San Miguel.

1621.

Period of the Aguador (No. 86), Adoration of Shepherds, in the National London (No. 8), and Adoration of Kings in the Museo del Prado

Gallery,

(No. 1622. 1623.

9).

He makes his He makes his second

first visit to

Madrid, accompanied only by a servant. journey to Madrid at the invitation of Don Juan de Fonseca, Olivares having supplied him with 50 ducats to defray the expenses of the journey. He is accompanied by his father-in law Pacheco, and by April.

his slave

Juan Pareja.

March 17. The Prince of Wales, afterwards Charles I. .arrives in Madrid, where he remains until the I2th day of September. October 6. As a reward for the equestrian portrait of Philip IV., which was finished on the 3Oth of August, Velazquez is received into the service of the King, with a salary of 20 ducats per month, besides medical attendance, payment for the pictures he may paint.

lodgings, and

1627.

He is ordered to bring his family to Madrid, and receives 300 ducats from the King to defray the expenses of the removal. Having triumphed over Carducho, Nardi, and Caxes in a trial of skill, he is rewarded with the prize of the appointment of Ugier de Camara (see No. 3 6b).

VELAZQUEZ.

IIO 1628.

Rubens arrives at Madrid, where he remains until June 15, 9. The two artists had exchanged letters before they met, and they were

August 1629.

companions

in visiting the Escorial

and other churches and palaces.

Period of the Hunting Scenes (No. 37, etc.). September 18. Velazquez is allowed by the King a ration of the value of 12 reals a day, the same as that of the court barbers, to which is added

90 ducats a year 1629.

for clothing.

order is entered explaining that the pensions and allowances that had previously been made, were to be in payment for the pictures which Velazquez had painted or might thereafter paint, including such por-

February

traits as

June (No. June

he might be commanded

22.

to execute.

paid by the King 100 ducats for the picture of Bacchus

27).

The King

28.

loss of salaries,

gives Velazquez permission to go to Italy, without and makes him a present of 400 ducats for his expenses, to

which sum Olivares adds a present of 200 ducats. He sails from Barcelona on the loth of August in company with the Marque's de Spinola. In Venice he makes copies of the Crucifixion and the Last Supper by which he sends to the King. In Rome he copies many parts of

Tintoretto,

Michael Angelo's Last Judgment, and the Prophet and Sybils, Parnassus, Disputa, and other frescoes by Raphael. He lodges in the Villa Medici at Rome, where he contracts a fever that

compels him to remove into the city. He paints the Forge of Vulcan (No. 35), the Tunica de Joseph (No. 3), Views in the Gardens of Villa Medici (Nos. 42, 43), and a portrait of himself, which he sends to his father-in-law, Pacheco. 1631.

Velazquez

Naples, where he associates with Ribera, and paints the por-

the Infanta Maria, sister of Philip IV. the beginning of the year. trait

He portrait

1633.

1634.

returns to Madrid in

paints a portrait of the Infant Don Baltasar Carlos, and an equestrian which is to serve as a model for Tacca's statue of the king.

June 6. The King bestows on him the Vara de Alguazil, the in recompense for pictures executed and to be executed.

staff of bailiff,

January 30. The King consents that the artist may surrender his place of Ugier de Camara to Juan Bautista del Mazo, who has married Francisca, the only daughter of Velazquez. This office Mazo continued to exercise until October 8, 1658, when, with the consent of the King, it was transferred

son Caspar del Mazo, one of the many children of his parents, and grandson of Velazquez. Velazquez is named to the office of Ayuda de Guardaropa, without being

to his

1639.

1640.

obliged to discharge the duties of the position. Period of the Christ on the Cross (No. 12), portrait of Admiral Pareja (No. 178), and of the Dwarfs and Buffoons (No. 66, etc.).

February 27.

The King awards

a year, payable monthly, which ducats.

Velazquez a pension of 500 ducats is in 1648 increased to 700

pension

CHRONOLOGICAL DATA. 1642.

Ill

In the spring he accompanies the King on his journey to Aragon, spending

some time

Aranjuez and

Zaragoza, and returning to Madrid on the 6th

of December.

Murillo arrives in Madrid, where he remains three years, studying under the counsel and direction of Velazquez. 1643.

Fall of Olivares.

Velazquez

enters upon the discharge of his duties as sinecure appointment of Ayuda de Camara is

The

Ayuda de Guardaropa.

charged with the supervision of the works

in progress at the Alcazar.

bestowed upon him. 1644.

accompanies the King on his second journey to Aragon, remaining for The King enters Lerida on the 7th of at Zaragoza and at Fraga.

some time

August. Period of the surrender of Breda (No. 36), the equestrian portraits of

and Philip IV., and

Philip III.

1646.

1647.

March

their

Velazquez

Queens (Nos.

96, 97, 230, 231).

Ayuda de Camara. appointed Inspector of the Works at the

charged with the duties of his

office

Alcazar,

etc.

1648.

November Italy,

1649.

Velazquez departs from Madrid on his second journey to

10.

accompanied by

his slave Pareja.

January 2. He sails from Malaga with the Duque de Naxera. February II. He lands at Genoa. Visits Milan, Padua, Venice, Florence, Rome, and Naples. Paints the portraits of

Pope Innocent X. (No.

183),

and of Pareja

(No. 181). 1650.

1651.

becomes a member of the Academy of St. Luke, at Rome. He lands at Barcelona on his return from Italy, bringing with him pictures and three hundred pieces of statuary, etc., which he has pur-

June.

chased for the King during his absence. 1652.

16. He is appointed Aposentador del Rey, the duties of which together with the superintendence of the works going on at the Alcazar and the Escorial, chiefly occupy him from this time forward, so that

February

office,

that during the last years of his

life

he paints but

little.

Period of the Meninas (No. 21), and the Hilanderas (No. 23). 1659.

November

28.

Velazquez

Anthony and

Paints St. 1660.

made

St.

a Knight of Santiago.

Paul (No. 13).

March. He accompanies the King to the frontier, where he superintends the preparations for the marriage of the Infanta Maria Theresa with Louis XIV. The ceremony takes place June 9, in the Casa de la Conferencia, in the Isla de los Faisans.

June

26.

returns to Madrid, where, on the 3 1st day of July, he

attacked by a fever. Friday, at

August

close.

two o'clock

in the afternoon, his life is

brought to a

buried in the church of San Juan, at Madrid, which was

destroyed by the French in 1810.

August 14. Juana Pacheco, tomb with the husband.

his wife, also dies,

and

buried in the same

112

VELAZQUEZ.

Velazquez, during his salaries,

1623.

life,

was

in the receipt of the following

which were bestowed on him by the King

emoluments and

October 6. The King orders him to be paid 20 ducats per month besides medical attendance, apothecaries' bills, and lodgings, being, per year He is also allowed for expenses of removing his family to Madrid, 300 ducats.

1626.

receives a second pension, for which a dispensation from

the

Pope

required assigned apartments in the Treasury buildings estimated value

1627.

300

200

appointed Ugier de Camara, with a salary of 12 reals per day, being, per year, about This office he surrendered in 1634 to Mazo.

allowed for dress

700

appointed Aposentador del Rey, with a salary of His salary as Superintendent of the Public Works was

office

3,000 .

He was

400 go

receives another pension of 500 ducats, which in 1648

increased to 1652.

;

He 1640.

240 ducats.

720

" "

also appointed Alguazil de la Corte (Bailiff), an

worth

4,000

Ayuda de Costa

Escrivano (Notary) The value of the ducat at that time was 2 francs 75 c. It does not appear whether the three last

named

6,000 1 1

reals,

offices

" "

about

were worth the sums

specified annually, or in gross. Besides the above he was in receipt of sundry presents from the King, His son-in-law, Mazo, and his Olivares, and from others.

from

grandchildren also

received favors from the King, and three appointments, worth 3,000 ducats, were

bestowed on his father. It would seem that Velazquez filled the posts of Alguazil de la Corte, Ayuda de Guardaropa, Ayuda de Camara, Superintendent of the works of the royal palaces, Aposentador del Rey, and Notary, besides that of Ugier de Camara, which he surrendered to his son-in-law Mazo. If there were duties appertaining to all these offices, as we know there were to some of them, we need not wonder that he had so little

time for the easel, and that he

left

so few authentic pictures.

MURILLO.

THE WORKS OF MURILLO.

OLD TESTAMENT. ABRAHAM AND THE THREE ANGELS. Duke of Sutherland, Stafford House, London. On the left three angels advance habi;

ited as pilgrims,

and bearing staves

;

the turbaned Patriarch, kneel-

ing before them, with both hands points to his house behind him on the right, which he invites them to enter.

Companion

to S/. Peter in Prison,

No. 378.

Landscape on the Size,

left.

93 inches high by

102 inches wide. About 1661 the Hospital of San Jorge, called La Caridad, at Seville, having Don Miguel de Manara Vicentelo de Leca, Knight of the order of Calatrava, devoted himself to the work of restoring and decorating it, and up to the time of his death in 1674, he had raised and expended for that purpose a sum exceeding 500,000 ducats. Murillo became a member of the Brotherhood of the Hospital on the fourteenth day of June, 1665 (Tubino, p. 90, note), and he was soon fallen into decay,

afterwards called upon to adorn the walls of its church with eight large pictures which he executed between the years 1670 and 1674. These works of the riper years of the artist have always been esteemed as among his noblest efforts ; and for

MURILLO.

Il6

grandeur of style, harmony of color, and grace of composition, it would be difficult to name an equal number of pictures by any artist that could surpass them. They

were arranged on the walls of the church

the Gospel side

MOSES STRIKING THE ROCK. Still in

in the following order

Stafford

SON'S RETURN.

House (No.

Stafford

Still

House (No.

George Tomline, Esq. (No.

In the Caridad (No. 339).

182).

ST.

PETER IN PRISON.

ST.

ELIZABETH OF HUNGARY. Academy of S. Fernando (No.

Hermitage (No. 378).

l).

SAN JUAN DE Dios.

in the Caridad (No. 180).

CHRIST HEALING THE PARALYTIC.

193).

ABRAHAM AND THE ANGELS.

MIRACLE OF THE LOAVES AND FISHES.

the Caridad (No. 14).

THE PRODIGAL

the Epistle side

Besides these he painted three smaller pictures that

still

adorn the

274).

altars of that

church.

THE ANNUNCIATION (No. 63). THE INFANT JESUS (No. 164). THE INFANT ST. JOHN (No. 317). For the eight large pictures Murillo received in 1674 as follows for the Moses, Loaves and Fishes, 15,975 reals; for the Prodigal, Abraham, the Paralytic, and St. Peter, 32,000 reals ; for the San Juan de Dios and St. Eliza:

13, 300 reals; for the

in all, 78,115 reals vellon, or a little less than 20,000 " in the Caridad were mentioned in the pictures by Murillo life-time of the artist by Ortiz de Zuiiiga, Annales de Sevilla, Madrid, 1677, fol.

beth, 16,840 reals,

making

The "admirable

francs.

long and interesting account of them is given by Cean Bermudez, Carta, p. 767. See also Palopp. 74-88, which has been followed by Stirling, Annals, 852, etc.

mino, Museo Pictorico,

Annals,

Moses

p. 855,

iii.

shows the

422, and Ponz, Viage, ix. 147. lithograph in Stirling's interior of the church with the San Juan de Dios and the

in position.

" Five of these masterpieces were " conveyed by Marshal Soult, who was so able to defend his title to them, and man of business that he was keen a always none of the pictures found in his possession at the Peace were restored to Spain.

In 1823 the Marshal consulted Mr. Buchanan with reference to the sale of his

The difficulty of finding a purchaser for so valuable a entire gallery of paintings. collection in one lot was set before him, and the suggestion was made that eight of the principal works by Murillo might be sold if a separate value were fixed upon To this, after some hesitation, the Marshal consented, and the proposition was communicated to the British Government and to a few amateurs, but without

them.

These eight pictures were the Prodigal, the Paralytic, Abraham, and St. Peter, above mentioned, with the Immaculate Conception (No. 29, now in the Louvre), the Virgin and Child (No. 79, Lord Overstone), the Birth of the Virgin

result.

55, now in the Louvre), and St. Augustine, then called St. Isidore (No. 258, George Tomline, Esq. ). For the first four of these an English amateur made an offer of 400,000 francs, which was declined. Buchanan, Memoirs, i. 43, 346,610.

(No.

OLD TESTAMENT.

II/

In 1830 M. Soult was on the point of selling to King Louis Philippe the Immaculate Conception, Abraham, and the Prodigal, together with St. Francis Borgia (see Velazquez No. 17), for 500,000 francs; the negotiation was, however, broken off, and in 1835 the Duke of Sutherland purchased the three pictures last

named for that sum. See L'Illustration, May 31, 1852. The paintings in the Caridad, on account of their position on

the walls of the church, were somewhat inaccessible, and copies are very rare ; but an old copy of this work, perhaps that which was formerly in the convent of St. Augustine, at Seville (see

No. 254), was sold

at the

Marquis of Lansdowne

sale,

March

20, 1806.

Exhibited at the British Institution, London, 1836. Engraved in outline in Reveil, Musee de Peinture, iv. 271.

Duke

ABRAHAM AND THE THREE ANGELS.

London.

of Norfolk,

Beside a table covered with a cloth are three angels, two

whom

and one standing,

are seated,

habited, as pilgrims,

all

Abraham approaches them,

bearing staves.

and

bearing in both hands a

smoking dish of meat behind him is Sarah at the door of their house, and Hagar and Ishmael in the background. Landscape on the left. ;

76X97 G.

inches.

and

G. E. PRICE,

G. FACIUS, mezzo., 20X24.3 inches, 1781, published by Boydell.

W. HOLL,

line, oval.

Rev. Pryce Owen.

23..

in Kitto, Gallery

Abraham

and the Angels. The patriarch bends forward welcoming the angels, who stand grouped on the right, wearing red and green drapery ; a building on the left, Half length, sky in the background. Exhibited at the South Ken-

life-size.

sington Museum, 1879. 2b. Colonel Edwyn cestershire.

Abraham

Burnaby,

Lei-

Entertaining the

ABRAHAM ABOUT TO

Angels.

of Scripture Engravings.

76X105

2C.

Abraham Darby, Monmouth-

in red

left,

Abraham and

Exhibited at the

1857.

Abraham

the

Angels. bears a quarter of lamb.

8x5

feet.

Burger, TrJsors if Art, 129. 2d. Sale at Christie's, June 8, 1867. Abraham Entertaining the Angels, " exhibited at Manchester."

SACRIFICE ISAAC.

holding his mantle, rests

and blue garments, walks before

his left shoulder.

Manchester

shire, exhibited at

wright, Esq., Aynhoe, Northamptonshire. white turban, blue coat, and red mantle, has a his right hand, his

Royal Acad-

inches.

emy, 1871.

^52.

William

C. Cart-

Abraham, wearing a brazier of live coals in

his father,

sword ; Isaac, iarrying wood on his

Background, a rocky landscape. 33X43 inches. British Institution, 1822 and 1839. The Murillos at Aynhoe

were brought from Spain about

760 by the celebrated collector John Blackwood

MURILLO.

Il8

[see No. 139], whose widow left them to her niece, the wife of William Ralph Cartwright, grandfather of the present owner. " Mr. Cartwright is in possession of some very fine paintings by Murillo ; their derivation I know to be good, notwithstanding I have not seen them." Davies, Murillo,

xcii.

Marquis du Blaisel sale, LonThe Destruction of 17, 1872.

33.

May

don,

Sodom, with Lot's family ground.

^36

Signed.

15^.

said to have been sold in

March

sale,

19, 1804,

in the fore-

sale, 1810, 7,280

This picture

9,100

4,640

Faviers

Dutartre

Lebrun sale, 1837,

Lejeune, Guide des Amateurs.

Museo

del Prado, Madrid, 855.

Eliezer drinks from a copper kettle held

by Rebecca, who, with three

REBECCA AND ELIEZER.

other maidens bearing jars, surround a broken circular well on the

Landscape with mountains in the distance ; on the left, in the men and camels. Five principal figures. Second

right.

middle distance are

manner.

1.07X1.51.

Purchased

at Seville by Philip V. resided in that city in 1729. F. DECRAENE, litho., in Col. Lilo.

E. Buxo, etch

in Alabern, Galleria.

when he and

his

Queen

Isabel Farnese

C. MUGICA, litho., 12.7X14.8, Madrid. Outline in ReVeil, Musce. On wood in

Dohme, Kunst und Kunstler.

ISAAC BLESSING JACOB. Duke of Wellington, London. in seated bed under a Isaac, tent-shaped canopy, blesses Jacob, who 5.

him

kneels before

;

Rebecca stands on the

left

;

near the centre a

girl

approaches with a basket of linen pigeons flutter around her; beyond is a valley and ruined castle. About 42X60 inches. ;

ISAAC BLESSING JACOB.

Before an archway, which in bed, blesses Jacob,

Rebecca bread

;

who

beside the bed

St. Petersburg, 360. a red curtain, Isaac, seated by

Hermitage,

nearly

filled

kneels and

presented to his father by

a table with a dish of game, a spoon, and

a landscape and a well ; a maiden enters with a background Esau approaches with a dog. 2.45X3.58.

opposite

jar; in the

Purchased companion No.

Hermitage, by Baron V. Denon, with its These are doubtless two of the pictures formerly belonging to the Marques de Santiago, Madrid. See No. 10. 7.

at Paris in 1811, for the 7.

JACOB'S

in red doublet

DREAM.

Hermitage, St. Petersburg, 359. Jacob, and yellow mantle, lies asleep with his head on a stone ;

OLD TESTAMENT. his staff lies near

him on a cruse

to the ladder,

;

at the left stands

JACOB'S

an angel pointing

on which are two angels ascending and three

descending. 2.45X3.58. One of the pictures from the Marque's de

The

DREAM.

his staff with both

119

hands

;

Companion

Santiago.

No.

Patriarch reclines on the ground, holding

beside him are his pack, cruse, and hat

;

two ranks, are seen on the ladder ascending and descendthe centre of the landscape are large trees on the left a

six angels, in

ing ;

;

ruined hut.

1.03X1.59. Aguado sale, Paris, March 20 to March KERNOT, line, in Galerie Aguado, and in

Dulwich Gallery,

8a.

No. 294.

near London, Meeting of Jacob and Rachel.

28, 1853,

No.

51,

520 francs.

Scott, Mnrillo.

had a gallery which was open to the public on payment of an admission fee of one shilling. He was a friend of Sir

Kneeling in the midst of their flocks, they embrace and kiss. Jacob wears a skin garment and red drapery; Rachel

Joshua Reynolds, who painted the portraits of his two children as the Children

has a white garment, over which is a blue robe and an orange mantle; her gauze veil floats behind her in the breeze.

in the Wood. The picture by Sir Joshua now belongs to Brodie A. Willcox, Esq., and was exhibited at the

35^X48

Royal Academy, 1880.]

inches.

8b. Rose Campbell sale, by ChrisBenjamin Vandergucht sale, March tie, July 9, 1814, of pictures collected by Earl of him during a residence of twenty years II, 1796, ;6o i8.r., and in Bessborough sale, February 5, 1801, in Spain. Jacob and Rachel at the ;66 3^. It has always been attributed Well. From the Santiago Palace. ^51.

This

doubtless the picture sold in

to Murillo, but in the catalogue of 1880 it

properly ascribed to the Spanish

School.

R. COCKBURN, colored

litho., in

Dul-

wich Gallery Gems, 1818.

and Benjamin, his thirty-second child, was a portrait painter. Both lived in London when they were dealers in, as well as makers of pictures. The latter

JACOB WITH THE

Alexis

Delahante

sale, by grand landscape, with the meeting of Jacob and

May "

Rachel. the

[Gerard Vandergucht was an engraver,

8c.

Phillips,

capital picture, painted for

de Santiago, in whose remained until the Revolution, was purchased with others of

Marques

palace

when the

30, 1817.

it it

same

Jacob,

size, relative to the

one

of which

sold

history of for

2,500

guineas."

FLOCKS OF LABAN.

Sir

John Hardy,

Jacob on the right, in red and down into the pool and lays peeled rods before

Bart., Dunstall Hall, Staffordshire.

gray garments, steps the sheep of Laban, which are gathered on the left ; behind him lies his dog asleep ; on the left is a sheepfold ; on the right a servant lead-

MURILLO.

120 ing a mule landscape.

driving flocks away; a rock in the centre divides the

7 feet

1 1

Lord Northwick

feet 9 inches.

July 26, 1859, No. 456, .1,480. one of the Santiago pictures. See No. 10.

ga. Rose Campbell sale, 1814. Jacob laying rods in the drinking troughs. From the Santiago Palace, 35. See

No.

gc.

May

David

Baillie

sale,

King Louis Philippe

doubtless

sale,

May

1852, No. 161. Jacob placing branches in the fountain. Figures life-size, 1. 68x 2.26. From a nunnery. /l6o. The same picture " from the Spanish Gallery " was probably sold again at Christie's,

London,

1839. Jacob placing striped rods before the sheep, etc. "One of the set of which the Marquis of Westminster 23,

has one, and three are in Russia. 86 2s. large gallery picture."

8b.

gb.

This

sale,

March

12,

1859,

According to

^57

15^.,

Drax.

Stirling, this is a repetition

of a painting by Ribera in the Escorial.

Annals,

ii.

754.

10. MEETING OF JACOB AND LABAN. Duke of Westminster, Grosvenor House, London. In the centre are Jacob and

Laban

animated conversation

before two tents on the

and mountains

left

;

the family of the former

;

on the

right are horses

close in the large landscape.

is grouped and men trees

96X121

;

inches.

The Marque's de

Villa-Manrique, Protector of the Academy which Murillo determined to have a series of historical paintings illustrating the life of David by Murillo, of which the landscapes should be by Ignacio Iriarte, who excelled in that branch of Art. Murillo wished Ignacio to paint the landscapes,

founded

at Seville,

when he would put in

the figures, but the other insisted that Murillo should paint the

Wearied with the dispute, Murillo said that if Iriarte thought his assistance necessary in the landscapes he was mistaken, and so he painted the pictfigures

first.

ures alone, a remarkable thing for him. The landscapes as well as histories, Marques took these pictures to Madrid. Palomino, Mus. Pict., iii. 424. To this story

and

Cumberland adds

that Murillo substituted the

life of Jacob grand compositions, the

for that of David,

he has ever seen of Murillo, then belonged to the Marquis of Santiago. He praises them warmly, and says he would prefer them before any canvases he had ever seen, that the series, consisting of five

except the Venus of Titian. Anecdotes,

ii.

finest

101, 124.

According to the Grosvenor House catalogue these paintings were selected by General Sebastiani as part of the contributions levied when the French army occuBut Mr. Buchanan's account is that the Santiago pictures, includpied Madrid. above mentioned, the Virgin and Child, now belonging to and a Holy Family (I46a) were bought for him by G. Madrid, in 1808. This canvas was valued at 3,000 guineas, and

ing, besides the series

Lord Overstone (No. Augustus Wallis

was

95),

sold to the Marquis of Westminster for money. Buchanan, Memoirs, ii. 221, 228.

two Claudes, a Poussin, and ^1,200

OLD TESTAMENT. The

five

121

Santiago pictures cannot be satisfactorily identified, but

that one of them

it is

probable

Grosvenor House, two in Hermitage (Nos. 6 and 7), and one belongs to Sir John Hardy (No. 9). Engraved by JOHN YOUNG in the Grosvenor House Catalogue, Plate No. 69. is in

JACOB AND LABAN.

Laban, reclining on the ground, receives Jacob, who approaches, leaning on his staff; Rachel stands between them, holding her child on her arm on the right are a boy and a 11.

;

girl

surrounded by flocks

on the

;

a hilly landscape and a river.

left

1.03X1.59.

Aguado J.

sale, 1843,

KERNOT,

No.

50, 1,050 francs.

line, in Galfrie Agitatio,

and

Annals,

Stirling,

ii.

923.

in Scott, Murillo.

In the sale of Gen. Sir Phineas Riall, November 23, 1869. Rachel, engraved, sold for

12.

^40

19.?.

JACOB WRESTLING WITH THE ANGEL.

with outspread wings,

Jacob and

to Patrick.

In the centre the angel,

contending with Jacob.

moonlight scene,

with a wooded and rocky landscape and the sea. .48X.65. Aguado sale, 1843, No. 58, 710 francs. Stirling, Annals, ii. 923. LOUISE PANNIER, line, in Galerie Aguado ; the figures were engraved by I2a. ReVil sale, Paris (1845?). Jacob Wrestling with the Angel. .48X.65420 francs. Perhaps this was the picture, No. 12, with which it agrees in size.

I2b.

Aguado

sale,

No.

Wrestling with the Angel. 285 francs.

61.

Jacob

.37X-32.

Westall

Richard

izc.

Goitte.

sale,

Jacob Wrest-

Phillips, April 14, 1832.

ling with the Angel.

Rose

I2d.

Jacob and

Campbell

Esau;

From

reconciliation. ace.

^25

their

sale,

1814.

meeting and

the Santiago Pal-

4^.

Sir Richard Wallace, Bart., 13. JOSEPH AND HIS BRETHREN. London. In the centre is a group of four figures, among them

Joseph

in a scanty white

his brethren to the

down by a rope four others

About 5X7

;

garment,

mouth of the

who

pit, into

borne

three other brothers are

and a dog on the

right.

in the

arms of two of

which they prepare to

on the Eleven

left,

let

him

and a group of

figures, full-length.

feet.

W. Cave sale, by Christie, June 29, 1854, ^i, 764, to the Marquis of Hertford, who bequeathed his collection of pictures, with other property, to Sir Richard Wallace.

Exhibited at Manchester 1857.

In 1803-6 Mr. Irvine bought from the Capuchin Convent,

Buchanan

six pictures, viz.

Genoa,

for

Mr.

MURILLO.

122 The Charity

of St.

Thomas of Villanueva, which was sold to W. Wells now belongs to Sir Richard Wallace (No. 399).

Redleaf for ^1,000, and which

II. The Flight, or Repose in Egypt, with angels ; companion to the above, about 4 by 5 feet. Sold to Walsh Porter for ^800. It perhaps now belongs to the Earl of Strafford (No. 134).

III. Adoration of Shepherds, somewhat larger and finer than the last. Chosen by Mr. Champernowne for his private collection, and valued at &oo. Probably the one now belonging to Sir Richard Wallace (No. 123). IV. Joseph and his Brethren. Companion to the last; valued at ^800, and sold to John Cave. Now belongs to Sir Richard Wallace. V. A Penitent Magdalen in the Desert with Angels. About 5 feet high or less ; valued at ^500, and for some time in the possession of Walsh Porter. Prob-

ably

now belongs to A. Carstansen (No. 368). The Immaculate Conception, or the Virgin surrounded by angels standing new moon. Companion to the last valued at ^800, and sold to Walsh Por-

IV.

on a ter.

;

(See No. 52). Buchanan, Memoirs, ii. 144, 171. CALDESI, photograph, in The Hertford Gallery, Manchester Exhibition.

133. Duke of Devonshire, London, The Finding of Moses. The child, lying

hand towards Pharoah whose head appears, with that of her maid servant, above the rushes in the upper in a crib, stretches forth his

59X42^

This picture not by Murillo, though it has been inches.

engraved and is still exhibited as by him. In Smith's Catalogue Raisonne

14.

attributed to Vandyck, but British Institution,

Academy, 1873. line, 12.2X9.4. P. ROTH6.7x4.2, 1809. McARDELL,

GRUNER,

WELL,

line,

On wood

mezzo., 20.1X14.

in Kitto's

Bible.

Family

Sir

13!).

Woodbine

Finding of Moses.

Parish.

The

Exhibited at the

British Institution, 1835.

MOSES STRIKING THE ROCK.

Caridad, Seville.

it is

1837, Royal

the daughter of

corner.

108)

(iii.

this also is doubtful.

In the centre

rises

Hospital of

Sed.

a great rock, around which

gathered a throng of Israelites eagerly filling their jars and quenchthirst with the water that has burst forth. Moses and Aaron

ing their

stand in front, giving thanks to

mule, and the traits

girl

who

God

for the miracle.

holds up a jar to be

of the children of the

artist.

filled,

Near them

The boy on a

are said to be por-

woman

drinking,

with an infant in her arms which eagerly claims its share. The canvas is crowded with feet 6 inches by 18 feet. people and animals, For the history of this work see ante No. I. Like its companion, the Loaves and Fishes (No. 180), it is colossal in size, and painted in a sketchy manner, calculated for its height and distance from the spectator.

Sir William Stirling-Maxwell exhibited at Manchester a study for the drinking with the child. (No. 451.)

woman

OLD TESTAMENT.

123

P. Lefort has a study of the boy on a mule, .;ox.94, recently purchased in Cadiz.

The

idea of this composition

said to have been taken from a

work by Guer-

Calabaza, formerly in Seville, and afterwards in the possession of Cardinal de Molina. Tubino, Mtirillo, 170. A sketch formerly belonging to Marshal Soult is spoken of by Thore', Revue de Paris, 1835, xxi. 50, and by Stirling,

cino, called

Annals, ii. 859. The only picture of this subject in the Soult catalogue was by Herrera the younger, perhaps the painting formerly in the Archbishop's palace at Seville.

R. ESTEVE, portion only,

line,

BoiLLY, mezzo., 13.9X23.6. The centre F. GIRARD, and SARTAIN.

17x35.4, 1839.

engraved by

ROGERS, BLANCHARD,

Earl of Normanton, Som-

MOSES STRIKING THE ROCK.

15. erly,

Hants.

Exhibited

sketch for the above.

Lopez Cepero

153.

A ruary 14, 1868. above. .27X-5I. sold. This picture

first

sale, Paris,

thought

1,420

still

to the heirs of Seiior

Feb-

for the

francs.

Not

belonged, in 1881,

Lopez Cepero,

iv.

365.

provingly, and points with the other hand to their house. Landscape back-

ground.

No.

See

2,000 francs.

.85X1.23.

I5b.

ijd. Pinacoteca, Parma. Job, or Jerome, old and naked, sits looking

St.

Seville.

I5b.

Mentioned by Waagen,

at the British Institution, 1850.

Salamanca

Moses on Mount

sale, 1875,

Sinai.

old

No.

20.

man

red mantle kneeling on the left, receives from the Almighty the tables of the law;

;

left

his right

hand

his breast, the

holds a piece of black bread.

Three-

quarters length.

NAYA,

on the right many people are assembled

156.

photo., 1030.

Salamanca

sale,

No. 23. With arms

1875,

worshiping the golden calf; one-third An early work. .85X1.23. life-size.

Daniel in the Lions' Den.

1,200 francs.

This picture, and its five companions, Nos. I5c, 156, I5f, I5g, and 358u were from Los Cinco Gremios Mayores at Madrid, and were purchased at public sale by D. Jose de Madrazo. According to Davies (Afurillo, Ixxix.), Ponz men-

shadow of the cavern. .85x1.23. 1,000 See No. 150. francs. iSf. Salamanca sale, 1875, No. 22. Susannah at the Bath. She is seated

tions

the Gremios

twelve subjects

from Genesis, in the first style of Murillo. The writer does not find the passage in his copy of Ponz. 150.

Salamanca

Job and

his Wife.

sale,

1875,

No.

19,

Seated on a dung-

covered by a tattered mantle, Job looks up to heaven; one hand is on his breast, the other holds a piece of bread; his wife holds up her finger re-

hill,

outstretched, he raises his eyes to heaven Four lions lie in the gratitude.

at the

edge of a marble basin with her

limbs in the water, her arms are crossed on her breast, which she endeavors to while she lifts her eyes to imploring aid; two old men in shadow, observe her amo-

conceal,

heaven partly

rously; a building on the right. 1.32.

I5g.

5,100 francs.

Salamanca

.85X

See No. I$b. sale, 1875,

No.

21.

Tobias and the Angel. The child, wearing a green robe, yellow mantle, and violet cap, carrying a fish

by the

gills, is

MURILLO.

124

and the Angel. The angel, standing front, with outspread wings, points up with the right hand, and places the left on the head of the child, who

along a shady road by an angel in black robe, yellow scarf, and red mantle, who points the way with his fin-

Tobias

conducted

ger; both carry staves, and they are followed by a handsome dog. .85X1.23.

I5h.

kneels with joined hands. Full length, Alsace-Lorraine Exhibition, Paris, 1874.

See ante No. I5b.

7,000 francs.

Rosifere,

A. BRAUN, photo., 253.

Paris.

William

TOBIAS AND THE ANGEL.

16.

The angel Aynhoe, Northamptonshire. and Tobias in a yellowish cloak, with a

Cartwright, Esq.,

plum-colored robe,

hand, both bearing staves, are walking in a rocky country beside a river; a dog looks up at the angel. 33X43 inches. fish in his left

Exhibited by \V. R. Cartwright at the British Institution, 1822 and 1839. i6a. Sir

Woodbine

and the Angel. British

Westall

Richard

l6b.

Phillips, April

Parish. Tobias

the Angel. i6c. Hospital of

Caridad,

RUTH AND NAOMI.

17.

Wiltshire.

They

are leaving

who are to be prayed for are Tobit Burying the Strangled Sketch; about 6x12 inches.

of the dead

sale,

Tobias and

1832.

14,

the Sacristy, on the top of the tabula de difuntos, or the tablet whereon the names

Institution, 1835.

inscribed.

Man. A Mentioned by

Stirling,

iii.

1416.

Earl of Radnor, Longford Castle, Moab; in the background is Orpah

returning to the city; with the text, Populus tuns populus meus et

Deus

tuus

Deus

Full length.

metis.

Royal Academy, 1873. Waagen, 173.

Aguado

sale,

No.

34.

iv.

IMMACULATE

inches.

358. Stirling,

Elijah

reposing under trees in the desert; an

18.

68X80

CONCEPTION.

iii.

1416.

angel

points to a vase of water at his

feet.

2.91X2.40.

Seville

1,000 francs.

Museum,

The

93.

Virgin, looking up, stands in the hollow of a crescent with two horns ; her right hand covers the thumb and tip of the forefinger of her left

hand on her above

breast; on each side are three cherubs

and some heads;

the Father Eternal with arms outspread;

dragon on a section of the globe.

Round

top.

Photographed by J. LAURENT, Madrid, No. 1069. The Capuchin Convent, outside the Cordova Gate,

beneath

the

2.80X1.92.

at Seville, was considered, on account of the paintings by Murillo which it contained, the richest and most highly adorned of any temple of that order. These pictures were executed not later than 1676, as Diego Ortiz de Zuniga mentions the admirable pictures del famoso

IMMACULATE CONCEPTION.

125

Morillo in that convent. Annales de Sevilla, Madrid, 1677, fol. p. 733. As they are in the latest and best manner of the artist, they could not have been painted much

They remained in the convent until 1810, when, on the approach of the French, they were transferred to the Chapter of the Cathedral, at whose cost they were packed up and sent for safety to Gibraltar. There they remained until they were returned to Seville in 1813. In payment for the expenses earlier than that date.

incurred on their behalf, the friars presented to the Cathedral the Guardian Angel, which is now in the Metropolitan Church. The St. Michael and the Santa Faz have disappeared; in what manner, is not known. The remaining pictures, except the Porcinnculo, were in the convent until its suppression in 1835, when they were again transferred to the Cathedral, and subsequently, in 1840, were deposited in the Museo Provincial, which was opened in that year in the suppressed convent of Nuestra Senora de la Alerced.

Ten

composed the retablo of the high altar, a vast structure about and about twenty-five feet broad, which completely filled the end The disposition of these paintings was as follows See Ponz, Viage,

pictures

thirty feet high,

of the nave. ix. 138.

Cean Bermudez, Carta,

Gonzalez de Leon,

88.

In the choir, behind the high

ii.

altar,

was

THE IMMACULATE CONCEPTION, No. The

retablo of the high altar

ST.

ANTONY, No.

JOHN THE BAPTIST, rr ST. No. 333.

SS.

was composed

241.

rorciunculo, NO 28 5'

LA SANTA

At the ends of the ST.

The

VENTURA, No.

366.

FAZ, No. 203. 112.

CRUCIFIX.

lateral aisles

of the church were

THE GUARDIAN ANGEL, No.

MICHAEL, No. 373n.

233.

eight chapels in the nave of the church contained the following altar pieces

ANNUNCIATION, on ST.

LEANDRO AND BUENA-

SS.

VIRGIN and CHILD, No.

as follows

JOSEPH AND THE INFANT JESUS, No. 341.

ST.

FRANCIS,

No. 362.

19.

ST. FELIX, No. 277.

or th

JUSTAAND RUFINA,

258.

ANTONY, No.

CONCEPTION, No.

the chancel wall, No. 61,

240.

NATIVITY, No. 118.

18.

ST. FELIX, No. 276.

ST. FRANCIS, No. 288.

The Convent also contained The VIRGEN DE BELEN No. different altars.

ST.

98,

PIETA, on the chancel wall, No. 225.

THOMAS, No.

395.

and several CRUCIFIXES which stood on the

MURILLO.

126

IMMACULATE CONCEPTION.

19.

Seville

Museum,

55.

The

hollow of a crescent with two horns, looks up to her right ; the palm of her right hand covers the back of her left hand before her left shoulder ; her mantle crosses her body from the Virgin, standing in the

left

shoulder to the right side

and four cherubs, two of

;

beneath, on her right, are three heads hold a round mirror ; a third, looking

whom

up, balances across his breast a long

palm branch which he grasps

with both hands near together; on her roses

on her

left,

beneath,

a cherub with

above, are five heads ; opposite these is a group of three cherubs with a scarf which is identical with the group in

No.

;

2.24X1,78.

29.

From

right,

Capuchin Church. See No. 18. It is probably the "graceful and beautiful Conception, remarkable for the loveliness of the angels that sustain the Virgin, in the choir behind the high altar " of the church. Cean Bermudez, the

Carta, 93.

Photographed by

20.

LAURENT, Madrid, No.

IMMACULATE CONCEPTION.

bridge, Wells, Kent.

793.

Samuel Sandars,

excellent

repetition of

the

Esq., Tunabove, with

inches. trifling variations. This picture belonged to the Infant Don Gabriel, son of Carlos whose death it is supposed to have passed to the Church of San Lorenzo,

80X64^

III., after at

Madrid,

by the French, and sold to Mr. Woodburn. At his sale, June 25, 1853, at Christie's, it was purchased for ^1,050, by George Faulkner, whose widow bequeathed it to the father of the present owner. Royal Academy, whence

was taken

to Paris

1882.

21.

IMMACULATE

CONCEPTION.

Seville

Museum,

68.

The

on a globe, looks front and down the palms of her hands touch, and are higher than her left shoulder; her mantle floats out to her right, higher than her head a narrow scarf crosses her Virgin, standing

;

body, and floats to her right ; one cherub on her right, and three on her left, below, none of whom hold flowers, etc. The Virgin is colossal in size.

3.92X2.75.

Formerly over the principal arch in the Church of the Franciscan Convent. Cean, Carta, 97. G. de Leon, i. 52. See No. 268. M. Quilliet (Dictionnaire, 99)

when this work was completed, the monks, dissatisfied with its coarse and unfinished appearance, refused to accept it. The painter, however, requested permission to place it in the position it was to occupy over the arch of the

has a story that

IMMACULATE CONCEPTION.

I2/

church, remote from the spectator, when its beauty was so evident that they were glad to retain it, even at a higher price than that they had before promised.

M. MARTIN,

A. JAMESON, etch., in the later Seville, 1832. Madonna, replacing an etching which was suppressed. G. WEINHOLD, lith., 20x14. Dresden. J. LAURENT, photo., 1068. 12.2x8.6,

line,

editions of Legends of the

See No. 36.

IMMACULATE CONCEPTION.

22.

Museum,

Seville

The

116.

Virgin, standing in the hollow of a crescent with one horn, looks up the palms of her hands touch before her left shoulder, to her right ;

the fingers interlacing; above her head

heads beneath her

From

Photographed by 23.

Room. horns,

her

feet,

the Colegio de J.

a circle of stars; three

each corner above.

.62X.48.

Maese Rodrigo, at Seville. LAURENT, Madrid, No. 1070.

Seville Cathedral, Chapter IMMACULATE CONCEPTION. The Virgin, standing in the hollow of a crescent with two looks down to her right the palms of her hands touch before ;

left

on her

breast right

;

her robe crosses her body, and

on her

left it floats

three cherubs with roses

each

and three

side,

and

still

out

and palm

;

One

over the crescent

above these are two cherubs on

higher, eight heads.

Painted about 1668.

falls

beneath are three heads and

Life-size.

panel.

name

of the earliest occasions on which the

connection with this picture. F. de la Torre Farfan says that from its beauty, if we did not know it was painted by our great Murillo in Fiestas de la S. Iglcsia de Seville, we might suppose it was made in heaven. The picture has never been engraved or photographed. Sevilla, Sevilla, 1672, fol.

Murillo appears in print

is in

IMMACULATE CONCEPTION. The Virgin, standing on

24.

Cadiz.

Church of San Felipe Neri, clouds, looks

to her right

;

the

palms of her hands touch before her left breast; about fourteen cherubs and six heads in all, some with palm, flowers, etc. one of ;

them looks up to her; two others above her head extend Full length, life-size. as if about to crown her. "

their

hands

painted for Cadiz many pictures, especially of the Conception. The most that above the high altar of the Church of San Felipe Neri, 2j varas high, for which he received 100 doubloons." Palomino, iii. 422. The picture has never been engraved or photographed.

famous

25.

The

IMMACULATE CONCEPTION.

Capuchin

Church,

Cadiz.

Virgin, turned slightly to her right, stands in the hollow of a

MURILLO.

128

crescent with two horns, looking up

above her head

;

circle

her right wrist covers the tips of the fingers of her left hand on her breast ; beneath are seven cherubs in three groups, with lilies, palms, etc. ; five heads on the left, and three on the right above. stars

;

82X64

inches.

Mentioned by D. Antonio Ponz, Vlage de Espana, Photographed by J. LAURENT, Madrid, No. 1814. 26. (229).

xvii. p.

340.

IMMACULATE CONCEPTION. Museo del Prado, Madrid, 878 The Virgin stands, looking front, in the hollow of a crescent

with one horn; the palms of the hands touch before her

her mantle on her

left

cent ; on her right

flowers, etc.

descends to her

floats

out boldly

;

feet,

and

falls

left

shoulder;

over the cres-

beneath are four cherubs,

the one on the right

his back,

and

all

in his

holding hands, which are spread apart, he holds a long palm branch balanced across his body; four heads in each corner above. 2.06X1.44. ;

From the palace of S. Ildefonso. This is one of the very finest representations of the subject. D. Luis de Madrazo has a drawing by Murillo for this picture which has been reproduced in fac-simile by J. J. MARTINEZ in Grabador al Ag. Fuerte.

DE CRAENE,

litho., in Col. Lito.

A. LEMOINE,

Pint.

17.3X13.3, 1844.

stipple mezzo., 12.3x8.6,

27.

On wood,

1855.

Dohme, Kunst und Kunstler,

The

LAURENT,

IMMACULATE CONCEPTION.

Virgin, standing in the

to her left

concealing

;

all

A. LEMOINE,

photo., 15.

Museo

her hands are crossed on her breast, the right wrist left hand except the first two fingers ; her mantle

and

Brought to Madrid,

BART. VAZQUEZ, Paris, 1859 (Goupil).

floats

out to her right, the end turned up

line, J.

stands

whom

one has

;

lilies

five

and

2.22X1.18.

from the Royal Palace of Aranjuez. 2O-7X 12.5, Madrid, 1778. J. BALLIN, mezzo., 11x8.2,

in 1816,

LAURENT,

photo., 16.

IMMACULATE CONCEPTION. Virgin

del Prado, 880 (65).

hollow of a crescent with two horns, looks

cherubs are compactly grouped at her feet, of roses; another has palm and olive branches.

28.

16.9x10.6, in Joyas

H. RAUNHEIM, litho., DOMINGO MARTINEZ, Becker, Kunst und Kunstler ;

of her

crosses her body,

The

litho.,

23.5x17.5, 1861, reversed. E. LASAI.LE, litho., 23.5x16, varied. litho.,

on a

Museo

del Prado, 877 (219).

crescent with joined

hands, and eyes

IMMACULATE CONCEPTION.

129

is a group of three cherubs, one of whom holds her mantle the others have palms and roses two cherubs on ; flowing her left hold a mirror ; many heads above. -96X.64.

raised

at her feet

;

Isabel p'arnese collection.

Photographed by A.

29.

Louvre, Paris, 539. The Virhollow of a crescent with two horns, looks up to

her right hand covers the

her

left

hand on her

;

small portion

in size.

Co., Paris, No. 877.

IMMACULATE CONCEPTION.

gin, standing in the

her

The canvas has beep reduced

BRAUN &

thumb and

breast; her mantle

falls

seen on her right, where

full it is

first

two

on her

fingers of the

left,

About twenty-one cherubs and ten heads are

feet.

whom

have

flowers, etc.

upper corner, one of

but only a

held up by a cherub at seen,

none

the group of three cherubs in the right

;

whom

holds a

scarf,

repeated in

No.

19.

2.74X1.90. The close

friendship existing between Murillo and Don Justino Neve, a canon of the Cathedral, and a zealous agent in the construction and embellishment of the

Hospital de

los

Venerable: Sacerdotes, led to the employment of the artist in 1678, to In the first retablo on the right on

paint for that Hospital three excellent pictures. entering,

was

St.

Peter Weeping, wherein Ribera was outdone in suavity and tenNear the door of the sacristy was a Conception, superior to

derness (No. 376).

anything by his hand in Seville for color and claro-obscuro. In the refectory was the Virgin seated on a transparent cloud with her divine Son, who is distributing rolls of

bread which are supplied to him from a basket by youthful angels to three (No. 1 13). In the ante-refectory was a portrait of Canon

priests seen at half length

Neve with a dog, which seemed alive (No. Mentioned also in Palomino, iii. 422.

The

first

shal Soult,

470). Cean, Carta, 93; Ponz,

ix.

123.

two, and probably the third of these canvases, were acquired by Martheir history is not less interesting as objects of commerce than as

and

works of art. The Conception was one of the eight works which M. Soult employed M'r. Buchanan to try to sell in 1823, at which time it was valued at 250,000 francs. Again, in 1830, the owner was on the point of selling it with others to the Louvre. See ante No. I. In 1835 it was with the St. Peter in Prison (378 ), and Ctirist Healing the Paralytic (182), actually sold to the government for 500,000 francs, but the sale was cancelled, and the pictures, which had beer, removed to the Louvre, were returned to their owner. At last came the day which placed this canvas on the pinnacle of fame. At the Soult sale, May 19, 21, 22, 1852, it achieved the glory of selling for a higher price than was ever realized for a work of art before or since. The competitors were at the Emperor of Russia, the Queen of Spain, and the Marquis of Hertford. The National Gallery of London could hardly be counted in the race, for, although the trustees had authorized Mr. Woodburn to purchase it if he found it in good confirst

MURILLO.

130

dition, yet they limited their price to

^5,000.

French government took part

francs, the

When

the biddings reached 500,000 and finally carried off the

in the contest,

prize at the unprecedented figure of 586,000 francs, or 615,300 francs including the government tax of five per cent.

The Countess of Roseberry is said to have a study, signed and dated 1664. It was brought from Spain by Baron Taylor, and sold at his sale by Sotheby and Wilkinson, June 17, 1853,10 the present owner, who exhibited it at the Grosvenor Gallery in 1877, No. 1143. A copy of the picture by Clemente de Torres is in the Cathedral at Cadiz, but many of the cherubs are omitted. A. LEFEVRE, line, 25.5x18, 1859. BURDET, line, 17x12.

MASSARD, line,

COUSIN, line, 7.6x5.6. W. FRENCH, line, 23x16. REGNAULT, line, H. EICHENS, mezzo., 20.3X14.5, 1854. CORNILLET, mezzo., 6.8x4.5, Dust on ' v CORNILLET, mezzo., 25x19. CORNILLET, mezzo., about 20x14. 35.7x25. 12.7x8.8.

COTTIN, mezzo., 19.5x14.8. LLANTA, litho., 23.6x16.6. GEOFFROY, Htho.,i4X9. PINGOT, litho., 15.3x10. GRAILLE, litho., 15.5x12. JACOTT, litho., 13.5X9.5. M. LAVIGNE, litho., 19x14, and many others. On wood in Blanc, Peintres ; Gaz. B. Arts, April, 1875, etc. Variations by GILBERT, PINGOT, JULLIEN,

IMMACULATE

MAURICE, MASSARD,

etc.

Louvre, Paris, 538. The Virgin stands in the hollow of a crescent with one horn, looking down and front the tips of her fingers touch before her left breast beneath, 30.

CONCEPTION.

;

on the

;

left,

are six half-length figures of worshipers,

one of

whom

points to the Virgin ; on the right two cherubs bear a scroll inscribed

In principle

dilexit earn ; three

heads each side above.

1.72x2.85.

one of the pictures taken by Marshal Soult from the church of Santa Maria la Blanca at Seville. By some means it came into the possession of M. Lorn, from whom it was purchased for the Louvre in 1817 for 6,000 francs. It was originally like all the rest of the S. M. la Blanca pictures, except the Last Supper, semicircular, but it has been enlarged, and is now rectangular. The church of Santa Maria de las Nieves, commonly known as Santa Maria la This

Blanca, being finished in 1656, Don Justino Neve y Yevenes, prebendary of the Cathedral, and a great friend of Murillo, employed the artist to paint for that church The first two four semicircular pictures, two for the nave, and two for the aisles.

Roman Senator and his Wife (Nos. 229, 230). That on on the Gospel side was the Conception with some priests at On the Epistle side was Faith holding the half length at the Virgin's feet. To this Eucharist, which several persons, also at half length, are adoring (231). relate to the

Dream

of the

the wall of the nave

epoch also belong Una Dolorosa y un San Juan Evangelista in the chapel of the sagrario (227c). Cean Bermudez, Carta, 62. The pictures by Murillo in this church were mentioned in the life-time of the artist by Ortiz de Zuniga, Annales, p. 871, Madrid, 1677,

(No. 194),

Another work, not mentioned by Cean, end of the nave on the Gospel side.

fol.

at the

the Last Supper

IMMACULATE CONCEPTION.

131

Cean Bermudez, in the Carta, p. 62, gives 1656 as the date of the completion M. la Blanca. In the Diccionario, ii. 52, he says these pictures were executed in 1665. Gonzalez de Leon (i. 102) says the church was finished of the church of S.

in 1659.

Engraved by MiGNERET, 31.

IMMACULATE

Music Napoleon,

in Filhol,

CONCEPTION.

xi.

43.

The Paris, 541. on a globe looking down to touch before her left shoulder on Louvre,

Virgin, about twelve years of age, stands

the front the

and

;

the tips of her fingers

are three cherubs,

left

five

heads

;

and three heads

buildings

are

faintly

;

on the

right,

seen below

two cherubs

on the

right.

3SX.26. Purchased redo

in 1855

from Jos^ de Mazarredo.

sale, 1837, this picture is said to

age of eight years

LLANTA, 32.

In the catalogue of the Mazarrepresent Murillo's daughter, who died at the

(?).

litho.,

IM Saur des Anges.

9.4X7.5, inscribed

A. BRAUN, photo.

Earl of Northbrook, London.

IMMACULATE CONCEPTION.

The

Virgin, standing in the hollow of a crescent, her head surrounded by rays, looks down to her right ; the tips of her fingers touch before her left shoulder ; beneath are ten cherubs with a long palm, flowers,

and a square mirror;

six

heads each side above.

75X57

inches.

Formerly in the Convent of Carmelitas Descalzos at Madrid. It was brought from Spain by Lebrun, at whose sale, in 1810, it was bid in, and afterward sent to Mr. Harris, who sold it to Mr. Baring. Buchanan, Memoirs, ii. 255. It is men-

by Cean Bermudez, Diccionario, ii. 63 ; also by Ponz, who describes it as Concepcion sobre trono de nubes y angeles." Viage, v. 248. M. S. CARMONA, line, 19.7x14.1, Madrid, 1802. R. GRAVES, line, 20X15,

tioned " La

Outline, reversed, in Lebrun, Kecueil, plate, 134.

1864.

IMMACULATE CONCEPTION. William C. Cartwright, Esq., Aynhoe, Northamptonshire. The Virgin, standing in the hollow of a crescent with two horns, looks up front her right hand covers all but 33.

;

the

first

two

fingers of the left hand,

that partly covers her breast falls

close to her

whom

;

body on her

;

rests

on the blue mantle

the mantle floats out on her right, but left

;

at her feet are five cherubs,

one of

hand, and stretches his right hand two other cherubs hold roses and lilies four heads in each

holds a palm in his

upwards

which

corner above.

left

;

66X42

From John Blackwood.

inches. See No.

British Institution, 1839.

MURILLO.

132

McARDELL, mezzo., 20X14. "From the original belonging to John Blackwood, Esq." LAFOSSE, litho., 28.5x20.4, one of the cherubs, and all the heads omitted. CoOMBS, mezzo., IOX7-6, London, 1839, only half length, and all the heads omitted.

34. IMMACULATE CONCEPTION. New- York. The Virgin, standing

one horn, looks up to her

left;

tip of the forefinger of the

out on her

left in

hold palm,

lily,

left

olive

the hollow of a crescent with

the right wrist covers the

hand on her

a heavy fold

and

Mrs. William H. Aspinwall, in

;

breast

four cherubs,

branch

five

;

thumb and

her mantle floats

on each

side beneath,

heads each side above.

1.98X1.35 centimetres. Taken from the royal palace, Madrid, by Gen. Desolle, whose daughter sold it to Mr. Woodburn, from whom the King of Holland purchased it for about j4,ooo. At his sale, August 12, 1850, it was bought in at 36,000 florins, besides the government tax of seven and a half per cent., and afterwards sold in 1857, to

Mr. Aspinwall.

A wood 35.

Stirling, is

engraving

iii.

1418.

in Harper's Weekly,

No. 34, arched

36.

Waagen,

iv. 144.

15x101^

inches.

M. Brackenbury. Jameson, Madonna, 50.

Purchased in 1844, from 1844.

top.

30, 1858.

Lord Overstone, London.

IMMACULATE CONCEPTION.

repetition of

June

Sir J.

British Institution, 1835,

IMMACULATE CONCEPTION. A repetition of No. 34, but some of the cherubs and heads are omitted. -46X.35.

smaller;

Louis Philippe

sale,

164 (149), -46X-35.

From

the Countess de la Torre,

270.

BRIDOUX, line, with a white

lily

18.3

X 13.9,

1845, the size of the original. Epreuves de remarque, C. CLEMENT, line, 5.4X4. CH. CAREY,

in the cherub's hand.

W. RIDGEWAY, line, 6X4.6. C. CHAMOUIN, litho., 13.5x10. 6.9x5. TESSIER, litho., 18x14.5, reversed. On Wood\n. Stirling, Annals, 1413; Liibke,

line,

Denkmaler der

Jfunst.

Variations by A.

MAURIN, DOPTER, MASSARD, DUCOLLET, PINION,

etc.

the cherubs omitted, and a serpent and globe added beneath. An etching after this lithograph is in Jameson's Madonna, first edition. In the later editions it is replaced by an etching of No. 21.

LLANTA, litho.,

37.

don.

1 9.

15,

IMMACULATE CONCEPTION. Mrs. George Perkins, LonThe Virgin stands on the round globe, looking front the tips

of her fingers touch before her waist

;

above her head

circle

IMMACULATE CONCEPTION.

133

her mantle crosses her body in front, and floats to her right ; at her feet, on the right, three cherubs hold a scroll inscribed Non pro te stars

;

sed pro omnibus haec lex constitua est ; on the mantle, are three heads.

Altamira

sale,

June

98X71

1827,^315.

British Institution, 1863.

^275.

Tour of a German F.

JOUBERT,

Artist,

down;

G. Coesvelt

sale,

June

13,

1840,

Praised by Passavant,

186.

outline in Coesvelt Gallery,

London.

horns, looks

Royal Academy, 1871.

IMMACULATE CONCEPTION. The Virgin, standing in

38.

in the folds of her

left,

inches.

London, 1835,

4to, plate

Marquis

No.

32.

Lansdowne,

the hollow of a crescent with two

her hands, on her

left breast,

are placed

on the

mantle which descends on her right and falls over the crescent; ten cherubs in all ; the two in the upper right corner have a scarf; none

have

flowers.

54X46

M. M. Zachary 50; Waagen,

ii.

sale,

inches.

Christie,

May

30, 1838,

^52

Earl

Jameson, Madonna,

lew.

152.

39. IMMACULATE CONCEPTION. The Virgin, standing in the hollow down the tips of her fingers touch ;

Caledon, London.

of a crescent with two horns, looks before her

left

shoulder

;

her man-

behind the crescent on the right; three heads on the right, ten cherubs at six on the left above, and three near her left elbow tle

falls

;

her feet with mirror, roses, etc. Purchased Exhibited

at the sale of

Life-size.

78^X48

inches.

Lady Harriet Daly, Dublin, between 1820 and 1827.

at the British Institution, 1855.

IMMACULATE CONCEPTION. Robert Lewis Lloyd, Esq., Beckenham, Kent. The Virgin, standing in the hollow of a crescent 40.

with two horns, looks up front

;

above, on her right,

a cherub hold-

one holding roses beneath are seven cherubs, ; ing opposite one of whom bears palm and olive branches ; another bears on his lilies

shoulder a square mirror

;

many heads

in the air above.

Life-size.

Presented in the seventeenth century by D. Juan Palafox y Mendoza, Archbishop of Mexico, to a Carmelite convent in that city. In 1812 it was taken to Spain by Archbishop Martinez, and after his death was sold to Archbishop Vazquez, from whom, in 1853, it passed into the possession of Herr Dick of Offenbach.

Art Journal,

1855.

was sold

at Christie's,

June

1861, for j6ig.

MURILLO.

134

Messrs. Henry Graves and 41. IMMACULATE CONCEPTION. Company, London. The Virgin, standing in the hollow of a crescent with two horns, looks up

;

the fingers of her right

hand cover those

she is surleft, which are placed on the mantle on her breast nine heads and rounded by about thirteen cherubs holding palms, of her

;

mirror, etc.

;

signed B. E. Murillo fecit, 1681.

Life-size.

Sent from Lima about 1850 to Messrs. Anthony Gibbs & Sons, accompanied by documents showing that it was painted for an Archbishop of Lima, a monk, after whose death it became the subject of a protracted and expensive lawsuit between his

monastery and the cathedral chapter.

for

^451

Maria.

42.

The

IOJ-.

Again,

sale catalogue says

Wynn

Ellis

July 15, 1876,

sale,

IMMACULATE CONCEPTION.

London.

Size

was sold at Christie's, June 30, 1850, was painted for the Marques de Santa

It it

^430

los.

South Kensington Museum,

inches.

35^X25

Sold in 1871 by Captain A. C. Tupper for ^350 to John Jones, Esq., who, dying in 1882, bequeathed it with a large collection of Works of Art to the South

Kensington Museum. Exhibited at the British Institution, 1841, by Martin Tupper Royal Academy, 1870, by Captain A. C. Tupper.

;

at the

43.

IMMACULATE CONCEPTION.

ton Manor, Somerset.

George Vivian, Esq.,

Across the Virgin's bosom

her feet four cherubs bearing palms, copper, 11*^x8

362.

and

a yellow scarf; at

olive branches.

inches.

Mentioned by

British Institution, 1828, 1838.

44.

lilies,

Claver-

Stirling,

IMMACULATE CONCEPTION. Hermitage, The Virgin, standing on the outside of a

Annals,

St.

iii.

1419.

Petersburg,

crescent with two

horns, looks up nearly front; the tips of her fingers touch before her left

shoulder; her mantle

gathered in her left arm, are four heads

;

on the

falls

and

behind, passes around her right side,

floats

out to her

left

right of these a cherub,

;

beneath her

and on the

left

feet

four

whom hold flowers, palm, and olive ; in the upper corner are five heads ; opposite these are two cherubs with a scarf, one of them holding up lilies. 2.36X1.96. other cherubs, three of

left

Brought from Spain to Venice by the Marque's de Esquilache, Ambassador to the Venetian Republic. mother presented it to

It became the property of the Cardinal Gregorio, whose Pope Pius VI. (Braschi). It was purchased from Duke

Braschi in 1842 for the Hermitage.

IMMACULATE CONCEPTION.

135

" Accompanied Mr. Weston to the Braschi Palace to see the Antinous and the Assumption of the Virgin by Murillo. It is not a first rate, though a true picture * *. Signer Camuccini says it is a known picture and came from Sicily, but has been touched upon." Sir D. Wilkie, in Cunningham, Life of Wilkie, ii. 248, 257.

Photographed by ROTTGER,

45.

St.

Petersburg.

Mrs. Culling- Hanbury,

Hertfordshire.

A repetition

of the

above, but the cherub in the lower right corner, and the heads in the upper left corner are omitted, giving an oblique character to the composition.

91X80

inches.

The English Connoisseur (\. 14) as being in 1766 in the gallery of It passed by Sir Sampson Gideon, afterwards Lord Eardley, at Belvedere, Kent. inheritance to Lord Say and Sele, to Sir Culling Eardley, and to the present owner. At Sir Culling Eardley sale, June 30, 1860, it was bought in at ^9,000. Praised in Mentioned

sEdes Walpoliana,

British

56.

Institution,

1845,

1862.

Manchester, 1857.

Royal Academy, 1871.

PROFESSOR KNOLLE,

line,

20x17.5, 1861.

Ep'reaves

de remarque, with a white

point to the crescent.

46.

D. Manuel Lopez Cepero,

IMMACULATE CONCEPTION.

The

Seville.

Virgin stands on a globe, turned three-quarters to her

looking front ; her hands touch before her left shoulder beneath her feet are five heads two cherubs on the left, and one on the right left,

;

four heads each side above.

From

8X5

feet.

Don

Joaquin Saenz y Saenz at Seville. Engraved on wood in Miranda, Glorias de Se^>illa, facing p. 158. the gallery of

IMMACULATE CONCEPTION. Museo del Prado, Madrid, 879 (275). The Virgin is seen at half length behind a crescent, look47.

ing up to her right, with her hands crossed on the mantle which

covers her breast; above, each side, are three heads.

From

the collection of

Queen

H. GARNIER, mezzo., 17.4x13.3. litho.,

15.6x11.2.

litho., in

MENDEL,

M. BAUSSAC,

IMMACULATE CONCEPTION. ing, Esq., London. The Virgin 48.

;

litho.,

chromo-litho., 34.5x24.5.

Museo Espanol de Antiguedades, Tomo,

her breast, but not crossed

.giX^o.

Isabel Farnese, in the Palace of San Ildefonso.

six

W. is

vii.

11.5x9.

THIELLY,

ACEVEDO, chromo-

Madrid, 1877.

F. B.

Massey-Mainwar-

seen at half length, her hands on

heads each side above

;

the mantle

MURILLO.

136

over the crescent, which cuts off the lower part of the figure.

falls

inches.

41X31

Purchased in 1848 from the Commander of the French Artillery

The

IMMACULATE CONCEPTION.

49.

for

^146.

Virgin on a crescent, with

hands joined, surrounded by angels holding palms, olive branches, and flowers.

1.64X1.08. Schneider sale, Paris, April

guey House, Var, 22,000 picture

6, 1876.

Some

francs.

From

Sebastian! and E.

of the following notes

may

Gray of Arrirelate to this

Richard Sanderson

sale,

London, March

20, 1858.

Assumption.

the

a group of four infant angels bearing palms and flowers ; her hands From Sebastian! Collection. Brought from Spain by clasped on her breast. Lebrun, and afterwards in E. Gray Collection, .736, to Nieuwenhuys. Stirling, Virgin's feet

iii.

1419.

Lebrun

sale, January, 1813. Conception. The Virgin looks up, with joined a glory of eleven cherubim above, four little angels beneath ; one holds a 10,000 palm, one an olive branch; a third has lilies and roses. 61X40 inches. francs. Again, in the late J. B. P. Lebrun sale, May 23, 1814, 2,600 francs.

hands

;

Gault de Saint Germain, Guide, 341. Mr. Buchanan mentions a small Assumption in Mr.

Gray's Collection,

brought from Spain by Lebrun, and purchased by Mr. Buchanan in Paris. Memoirs, ii.

392.

Lord Ashburton had a Conception, the Virgin on a crescent, looking up, with hands joined, and angels at her feet. 29 X 19 inches. Presented by the King (of Spain ?) to General Sebastian! formerly in the collection of Queen Elizabeth (Isabel Farnese?). This canvas was destroyed by a fire at Bath House, January 31, 1873. ;

perhaps the one which Gen. Sebastian! sent Buchanan. Memoirs, ii. 265. See also No. $ob. It is

50.

IMMACULATE CONCEPTION.

for sale in

1814 or 1815 to Mr.

2.07X1.24.

No. 163 (148). From a convent in Cordova. p8io. Noticed by Head, Handbook, 177. Palomino (iii. 422) mentions a Conception in the convent of La Victoria in Cordova, but he doubts if it be by Murillo. In W. Cave, of Bristol, sale, June 29, 1854, was an Assumption, the hands clasped on the breast, a choir of infant angels beneath; one of the chief attractions

Louis Philippe

sale,

1853,

of the Louis Philippe Gallery.

503. "

The

^745

lOs.

Convent of San Francisco. first

acquainted

public at

second manner, religiose at her

work with which

painted in his a Conception with a

Seville, is

feet writing

upon

this

mystery, placed in an angle of the great cloister of the Convent of San Francisco,

It was in very bad condition when I published the life of Murillo in the Diccionario, and it then appeared to be in

manner, but having been put is a different thing. In the archives of the brotherhood of Vera Cruz, for whom it was painted, is preserved an his earliest in order,

IMMACULATE CONCEPTION. order for 2,500 reals, given in 1652 in favor of Bartolome, with the receipt of

G. PATTERSON, Hall,

Gems ofArt.

137

line,

9x5.8,

in S. C.

ARMYT AGE, line,

The

following lithoof the above :

Don Josef Veitia Linage, who was authorized to receive the money." Cean,

in Scott, Murillo.

Carta 57, and Die, 49, 59. Ponz, ix. 99. On the same wall with the Death of

WEBER, 10.2x7.8. WEBER, 13.7x10.2. M. LAVIGNE, MAGGI, RICAUD, TURGIS.

Sta. Clara in the small cloister of the Convent of San Francisco was " a small canvas

A. MAURIN, bust.

representing the Conception ; companion to another which is over the gate lead-

globe and a serpent beneath.

ing to the principal staircase, with the emblems of the Franciscan religion, but

above

both are of inferior merit." Cean, Carta See also post No. 268. 51. Sob. Carthusian Monastery at Granada. A small Conception, in the Prior's cell is mentioned by Palomino, iii. 422, and by Cean Bermudez, Die. ii. 63. As Granada was the scene of Sebas-

perhaps this be mentioned at No. 49.

tiani's

may

picture

exploits,

Convent of

500.

Buena

beautiful

Mentioned by Cean small Conception. Bermudez, Die. ii. 62 ; by Ponz, ix. 146, and by Arana de Varflora,

46.

Capuchin Church of Sta. Justa and Sta. Rufina, Seville. A ConSod.

ception.

Arana de Varflora,

Sof.

Jorge Diez Martinez,

length, life-size,

From A.

Calle de

Seville.

Isidore,

Conception, full with cherubs and heads.

G. de Leon,

Bravo.

Tubino, 185,

ii.

60.

Sevilla Pinto. 414, 486.

Williams, SOg. Julian Conception, small. Stirling, Tubino, 182.

Seville. iii.

1419.

Son. IMMACULATE CONCEPTION. The Virgin, standing on a crescent with one

horn turned down, looks up

variations

LAFOSSE, half length.

BEQUET, SCHILLER, LLANTA, with a

The

engravings Sir

made

are

Dulwich Gallery. See No. sou. The engraving by Patterson is inscribed "

The Soi.

original

the Gallery of

Query : Can

Louvre."

The

the

be No. 50?

Virgin, standing in the hol-

low of a crescent with two horns, looks up to her right her head is surrounded by a circle of stars ; her hands are crossed on her breast on her right are ;

and four heads, and on her left three cherubs and three heads, none of them with flowers. three cherubs

FRAN'CO DE PAULA MARTI,

to her right

;

line, 13.3 the original of the size belonging to D. Juan Vilar

From

X9-8, 1794.

Diamantista, Madrid. Sok. The Virgin stands on a globe, looking down ; her head is surrounded

by rays ; the palms of her hands touch before her

left

breast; four heads be-

and four in each corner above ; on the left are two cherubs with a round mirror and a lily ; opposite are two others with flowers. The picture is unknown. The engraving strongly recalls the manner of Alonzo Cano, and it may be after a painting by that artist in Stafford House. neath her

feet,

E. LINGEE, outline, 13x8, inscribed

cherubs and

tion at the British Institution,

un-

Stirling-Maxwell (Catalogue, 62) and W. B. Scott (Murillo, 101) are mistaken in saying it is in the

MORILLOS

heads beneath

heads each side above.

her right wrist covers the tips of the fingers of her left hand on her breast ; eight five

which the

original picture from

known.

same

54.

Larrazabal, Seville. ImSoe. Jos maculate Conception, surrounded by a choir of cherubs. Tubino, 183. S.

are

;

Geronimo de

Seville.

Vista,

graphs

;

five

50!.

Lieut.-Gen. Thornton

Virgin of the Crescent."

exhibi-

" The Around her 1

840.

MURILLO.

138 head

a circle of stars;

beneath the

crescent a section of the globe, with a

serpent biting an apple. Spurious. C. TURNER, mezzo., 10.8x8.

5om. The Virgin standing cent P.

;

a cres-

a coiled snake beneath. Spurious. mezzo., 22 X 14. Pub-

WULLEMAN,

lished

whose

Dusacq,

catalogue untruly asserts that the original is in the Muse'e d'Anvers.

Son. J. Osmaston, Esq. The Virgin stands on a crescent, her hands clasped

on her breast ; above her head are stars in the form of a crescent with the points turned up; four cherubs beneath.

84x54

inches.

Exhibited

at the

don, 1879. This may

Royal Academy, Lon-

but not sold in

the

Mme.

picture

offered

sale, Paris,

jor. Rev. J. G. Beresford. Immaculate Conception. Exhibited at Leeds, 1868. It has been sold recently ; present

owner unknown. Sos. D. Jos6 de Madrazo, Catalogo No. 379. Immaculate Conception. The Virgin turned slightly to her left, and Bust, without hands. .44

looking up.

X-34-

VICENTE PALMAROLI,

;

asserts that the original belonged to the

Due

d'Alberg. in

DAMMAN

Christie,

June

Brooks,

in the sale catalogue.

Arts,

April,

now of Bedford

1877.

See

Mr.

Square, formerly

had a picture of this subject which is said to have been presented by Philip V. to D. Feliciano Mateos, whose descendant, Count Castilleja, gave it to D. Jos< Guel y Rente. See Illust. London News, March 13, 1875, p. 255. Sop. Sir J.

M. Brackenbury

exhib-

io-5x

two horns around her head is a circle of stars, and beneath her feet a serpent. Described from an outline engraving, 4.3X2.9, in the Royal Library at Windsor Castle, the inscription on which

pictures

The Virgin Sot. Due d'Alberg. stands in the hollow of a crescent with

April 16, 1877, of which an etching by Gazette

litho.

8.3.

the

There were no Spanish Due d'Alberg sale by

13, 1817.

ImSou. Dulwich Gallery, 341. maculate Conception. The Virgin stands on clouds with her hands crossed on her breast, and her eyes downcast ; thirteen cherubs and heads in all; one cherub has a palm, another holds up the Virgin's

14^X11^

robe.

inches.

Formerly

ascribed to Murillo, but in the catalogue of 1880 it is classed as " After Murillo."

ited, at

ception;

SOY. Graf Orloff Davidoff, St. PetersImmaculate Conception, burg, Russia.

the British Institution, in 1835, the Virgin, and the Virgin of the Conin

1836,

the Virgin

of the

such original

1837, the Virgin of the crescent; in 1844, the Immaculate Con-

life-size, first

ception. Of these the only one sold at his sale in 1848 was the Virgin of the

sammlung

Assumption ascending into heaven, borne by angels, two of whom are in the act of adoration. ^892 ics. (to Marquis of

Petersburg.

Hertford?).

at Paris

5oq. Duke of Newcastle, Clumber Park, Notts. The Virgin on a crescent, surrounded by seven angels; a large

pert;

Assumption;

landscape beneath. iv.

511.

Doubted by Waagen,

the

same

Sow.

manner.

subject. .

known.

Also another of

Waagen, Gemalde-

Si. Petersburg, p.

428.

Emanuel

Narischkine, St. Immaculate Conception,

Doubted by Waagen, Jb., 402. There have been the following sales,

May

all

Narischkine, Objects of Art, 20, 21, 1867. Ch. Mannheim, ex:

M. B. Narischkine, Ancient and Modern Pictures, May 4, 1868. F. Petit, expert S. E. M. E. De'me'try Narisch;

kine, Ancient

Pictures

of the

Italian,

IMMACULATE CONCEPTION.

139

17, 1798,

5odd. Salamanca sale, 1867, No. 19. Immaculate Conception. The Virgin stands with hands crossed on her breast, eyes raised; her thick blonde hair falls in

second day, No. 2. The Virgin in the Clouds. 4 4/. Buchanan, Memoirs, i. 280.

long tresses on her shoulders over her ample white robe a long blue drapery

Dutch, Flemish, Spanish, and French May 24, 25, 1872. A. Mannheim,

schools, expert.

M. Bryan

5<jx.

sale,

Bonnemaison

5oy.

May

sale, Paris, 1827.

The

Virgin, standing on a crescent with a crown of stars around her head, sur-

;

behind

three angels ; beneath, and three cherubs in the clouds on the left. .86X.66. Painted in oil falls

in large folds

rounded by angels holding branches of on glass. 9,700 francs. 5oee. Lopez Cepero sale, 1868, No. palm and olive ; a sketch. Called The 20. Immaculate Conception. The VirAssumption. 27X18 inches. 5oz. Chevalier Erard sale, Paris, gin on clouds, with her eyes raised and April 23, etc., 1832. Conception. The hands joined; angels in the air, two of Virgin stands on a crescent around which whom bear a scroll inscribed Honora are sporting five angels holding roses, patrem ct matrem tuum vitis longtz. .66 other angels in the lilies, and a palm X-55- 3,120 francs. clouds. 5off. Marquis du Blaisel sale, Lon77X44 inches. 10,000 francs. This collection was formed by M. Qua- don, May 17, 1872. The Virgin, with tre-Sols Delahante, son-in-law of the floating hair, eyes raised, and hands Chevalier Erard, and formerly commis- joined, stands on a crescent, surrounded saire-expert for the Royal Museums of by a halo, and supported by three angels ; in the foreground are two other France. The sale produced 736,633 f. angels, 5oaa. Aguado sale, 1843, No. 56. one holding roses, another a palm and Conception. The Virgin standing on lilies. .45X.3I cm. ^15 15^-. clouds, with her hands crossed on her Sogg. R. Napier sale, April 13, 1877. Immaculate Conception. breast, her eyes raised, her head surT). rounded by a starry aureola. I.O5X.86. Sohh. Colonel Hugh Baillie. Im;

maculate

2,000 francs.

5obb.

Aguado

sale,

No.

38.

The

Virgin, standing on a crescent, with joined hands, looking up; sixteen cherubs

and heads, some bearing flowers. X3C (sic). 1 1 50 francs. SQCC. 1865.

Due de Morny

The

sale,

1.63

May

31,

Virgin, standing on a cres-

Baillie sale, by Christie, May was a picture of the Virgin in white dress and blue and yellow drapery,

with her hands crossed on her breast, and her eyes raised in adoration. 16 5s. dd.

Note. ject see

51.

life-size.

Hugh

on her breast, surrounded by a glory of angels. .3OX.23- On copper.

don.

Bust,

1,419.

15, 1858,

hands crossed

cent, looking up, with her

Conception. iii.

Stirling,

For other pictures of this subunder the head of The Assump-

No.

tion,

543, etc.

ASSUMPTION OF THE VIRGIN. Earl of Northbrook, LonThe Virgin is upborne on clouds the twelve Apostles and two ;

Marys surround the open tomb. Mentioned by

Octagon.

13X13

inches. '

Stirling,

iii.

1419.

Waagen,

ii.

181.

British Institution, 1840.

MURILLO.

140

ASSUMPTION OF THE VIRGIN. Alfred Fletcher, Esq., The dark-haired Virgin soars upward in

52.

Allerton Hall, Liverpool.

up to her right, with her left hand raised; six and many heads above seven Apostles surround

lively action, looking

cherubs at her

feet,

;

the sarcophagus, which contains a white rose.

inches.

96X64

Mr. Fletcher informs the writer that this picture was formerly in the Capuchin Convent at Genoa, and that it was purchased by his uncle, through Mr. Buchanan, from the executors of Walsh Porter. See No. 13. In Walsh Porter sale, by Christie, April 14, 1810, the Assumption of the Virgin surrounded by infant angels, sold for ^730, probably bought in. A

picture

similarly described

was sold

ASSUMPTION

53.

Bart., London.

about

fifteen

before her

in a sale

THE VIRGIN.

The

seated

Virgin,

looks

cherubs,

left

by Mr. Hermon, April

shoulder

;

beneath

right.

clouds,

From

Stowe.

The Conception with

No. 390, ^58

i6s., to

Mawson

ASSUMPTION OF THE VIRGIN.

54.

371.

The

hand

surrounded by

palms of her hands touch the sarcophagus, and behind it

;

1848, 23d day, No. i66k.

los.

the

;

Marys kneeling five Apostles on the About 30X24 inches.

the three

.388

Richard Wallace,

Sir

13, 1813, for

and seven on the

left,

" Infant Angels Stowe sale, Marquis of Hertford? See

for the

Hermitage,

St.

Petersburg,

Virgin stands on clouds, looking up to her right ; her right outstretched, a girdle is tied around her waist; ten heads

above, and thirteen cherubs below, none of

whom

have

flowers.

1.97

xi. 45-

From Houghton Gallery. Appraised by Benjamin West and G. B. Cipriani, when Lord Orford's pictures were sold to the Empress of Russia, at 700. VAL. GREEN, mezzo., 18.3x14,1776, in Houghton Gallery. HUOT, litho., 13.4X10.3, in Gal. Imp. de I'Ermitage. ROTTGER, photo. 543.

Joseph T. Mills, Esq., Rug-

The Assumption. by, Warwickshire. Virgin stands on clouds, surrounded by twenty-three heads, her hands crossed on her breast, looking up. 81^X47^ inches.

54b. Sir Thomas Sebright, Herts, Assumption. The Virgin, looking up to the left with her hands folded on her

breast, is

borne upward by

six

cherubs

;

rays of silver light surround her head. Life-size.

Waagen,

iv.

328.

Richard Foster, Assumption. The Virgin, with

540. Formerly

Esq.

eyes upturned and folded hands, is borne up, accompanied by nine cherubs ; above,

on each is

side, are three

cherubs

;

below

the tomb, twelve apostles, and two

ASSUMPTION. holy women. several

iv.

Waagen,

years

Sold

287.

owner

Present

ago.

unknown. 54d. Due de Padoue, Chateau de Courson, Seine et Oise. Assumption.

2.00X1.40.

Signed.

540.

Count Montrichard. AssumpWrexham, 1876. Eyre Coote, Esq. Assumption.

Exhibited at

tion.

54f.

British Institution, 1856.

1819.

Institution,

sold

Collection

1834.

54h. Bryan sale, May 17, 1798, first fine day, No. 33. "Assumption. sketch for the celebrated picture in the

cathedral at Seville."

Memoirs, 541.

Buchanan,

63.

sale, third

day,

No,

^70 Assumption, with cherubs. Praised by Buchanan. Ib. i. 293. 54k.

sale, third

Bryan

48. 'Js.

day, No. 44. Finest

Assumption. A cabinet picture. manner. .50 8.f. Ib. i. 292.

Earl

tion,

with the angels in the clouds.

cabinet picture.

^200. 54n. Sale, London, June 16, 1810, of eight pictures by Murillo, from the convent of

The Assumption. The Trinity holding a crown over the head of the kneeling Virgin ; children in the clouds beneath.

^240. Marriage of the Virgin. Three infants

hold up the Virgin's train. .550. The angel on Annunciation.

Dove. .380.

The

Descent from the Cross. supports the body of Christ

;

two

(68f).

Virgin infant

whom

Saviour, directs attention to the

the Lord.

saints

jllo.

(227f.)

a choir of angels in front. ^55. cloister of Trinitarios Des-

;

["In the

body of

by Simon Gutierrez

calzos are pictures

Esteban

Marquez, disciples of Murillo. The Christ Dead, and the Marriage of the Virgin are considered to be by the Mulato [Gomez]. Nuestra Senora con los Rcdentorcs d los pies is very beautiful.

Some

these

have

been

Murillo."

Ponz, i.

Varflora,

ix.

paintings

are

retouched

105.

by Arana de

53.]

Sale, April 15, 1813, of cabinet

54p.

from

pictures

the

palace

Buen

Retiro, taken by the French, and intercepted near Vittoria by the famous guer-

Assumption of the Virgin; the two women are portraits of the artist's wife and daughter. 63. illa

chief.

;

54q. Marquis of Bute sale, 1822. 20. Assumption, on marble ; small. tion.

^472

London, los.

1833.

Assump-

Also another, ^283

los.

543.

one

having removed the crown of thorns from the head of the

angels, one of

The Virgin assisting at Matins in the Convent of Ciervofrio, attended by St. Felix de Valois, and numerous female

54r. Sale,

^140. Birth of the Virgin.

to the

one of the infants in the clouds

bears a sceptre.

on copper

Trinidad, at Seville.

knee points up

to a royal personage in the habit of the order, with a crown and a sceptre at his

known

Bessborough sale, 1801. Assumption. ^81 iSs. 54m. Sale, June n, 1808. Assump54!.

who appears

Triunfo de la Religion Mercenaria. The Virgin, holding the Child in her lap, presents scapularies to a kneeling friar and

and

277.

Bryan

;

eyes raised to the Saviour, above. ^850. (No. ^^c.)

feet;

54g. T. Hamlet. Assumption. British

Death of the Virgin. Surrounded by Joseph and the twelve Apostles her

St.

sale,

Baron Mathieu de Faviers

April

1837.

Assumption.

The

Virgin on clouds, surrounded by angels

octagon

copper.

26x20

;

inches.

8,300 francs. Bought in, and afterwards sold in London for 60,000 francs. Blanc, Tresor,

ii.

429.

Steyaert de Bruges sale, Paris, The March 14, 1843. Assumption. 541.

MURILLO.

142

Virgin surrounded by angels, her feet on a globe, four choirs of angels in the corners.

81X59

Withdrawn

inches.

54%. R. P. Nichols

Gen. John

5411.

with angels.

Meade

sale,

St. Germaine's picture; formerly belonged to Mr. Napier of Glasgow. 61x41 inches.

Not

June 26, 1847. Assumption,

^35

I4J-.

55.

1868.

sale, 1876,

No.

34.

8/.

^52

study.

Exhibited at Leeds,

los.

5433. Earl of Suffolk sale, 1855. Coronation of the Virgin. ^126. Waag-

Waagen,

BIRTH OF THE VIRGIN.

above.

British Institution, 1853.

170.

sale, June 16, Assumption, with the Apostles beneath in adoration. From Troward

iii.

Wynn

54w. Earl of Suffolk

sketch.

240) calls

Ellis sale, 1876. Cor54Z. onation of the Virgin. large upright picture with a glory of cherubs and heads

1855.

(iv.

Ellis

^29

Assumption.

sale, 1853,

to Drax.

^252.

Waagen

Wynn

547.

No. " 245(160). Queen of the Angels," from a convent in Carmona. .86x.8i. ^35,

collection.

sold.

Conception,

dd.

54V. Louis Philippe

April 30,

2,000 francs. at Christie's,

sale,

Assumption, known as

1874.

en,

iii.

170.

Louvre,

In the centre of a

540.

chamber, grouped around a copper vessel in which they prepare to bathe the new-born babe, are two angels and four female attendants,

one of whom holds the infant while another brings linen ; to the left of these are two cherubs standing beside a basket of linen, one of them playing with a dog ; on the extreme left St. Anne sits in bed under a red canopy, receiving the

fireplace;

of St. Joachim and others, who two women are drying linen at a

visit

are seen in half light ; on the right

above are four cherubs

a glory.

Second manner.

1.84X3.60. Painted in 1655, for the Cathedral of Seville. " It is one of the most graceful of Murillo's paintings, and displays all the softness and delicacy of his second manner. The bare left arm of a woman in front excited the jealousy of the Sevillian women by

roundness, beauty of shape, and rosy complexion." Cean, Carta 59. On the arrival of Soult at Seville this painting and the Flight (?) were concealed by the Chapter, but a traitor informed the Marshal, who sent to beg them as a

its

if refused he would take them by force. (Toreno, xx. ). The worthy Marshal, one day showing Col. Gurwood his collection at Paris, stopped " opposite a Murillo and said, I very much value that specimen, as it saved the lives of two estimable persons." An aide-de-camp whispered, " He threatened to have both shot on the spot unless they gave up the picture." for A, Handbook, 180. The

present, hinting that

anecdote probably refers to this canvas. This is one of the eight pictures which Mr. Buchanan endeavored to

sell in

See ante No. I. It was offered in the Soult sale, 1852, and 1823. bid in at 90,000 francs. After the Marshal's death, in order to liquidate his accounts

England in

with the

state, the following

works were tranferred

to the

Government

at the prices

MARRIAGE OF THE VIRGIN.

143

named: Birth of the Virgin, 150,000 francs ; St. Diego (No. 269), 80,000 francs ; St. Peter Nolasco, and St. Raymond of Penaforte by Zurbaran, 25,000 francs (bid in at the Soult sale at 19,500 francs) ; Obsequies of a Bishop, also by Zurbaran, 25,000 francs (bid in at 5,000 francs) ; St. Basil, by Herrera the elder, 20,000 The paintings by Murillo were in bad condition, or had francs (bid in at 1,200 f. ).

The

been badly restored.

L'Illustration,

repaints have since been removed.

May

31, 1852.

A. MARTINET,

line,

11.3X20.3,31 Chalcographie du Louvre, 1863. A. MASSON,

stipple mezzo., 10.4X19.5, 1859. Outline in Reveil Musce. 1879. in A.

Von Wurzbach, Die

EDUCATION

56.

MASSARD,

wood,

line,

in Gaz.

8.8x15.2. DAMMAN, etch., B. Arts, February, 1875, and

Klassiktr der Malerei, Stuttgart, 1878.

THE VIRGIN.

Museo

del

Prado,

872.

St. Anne, seated on a bench with an open book in her lap, teaches the Virgin, who stands on her left heavily draped two cherubs in ;

the air are about to crown the Child with a wreath of flowers left is

a marble column and a basket of linen

balustrade.

;

on the

background a

in the

2.19X1.65.

Isabel Farnese collection. The figures are thought to and daughter of the artist. H. EICHENS, litho., 20.5x15.7, 1843. F. DECRAENE, litho., in Col. Lito.

Painted about 1674.

portraits of the wife

PRAT, L.

litho.,

MAURIN,

thought

Virgin are

JACOTT,

litho.,

On wood

;

for the

above with

15.6x11.6. JENDELLE; B. Arts, April, 1875.

VOGT;

in Gaz.

Museo

EDUCATION OF THE VIRGIN.

57. first

11.5x8.2, reversed. three-quarter length.

differences.

del Prado, 873.

Anne embraces

the

St.

the positions, the arrangement, and the color of the garments

somewhat changed

;

the cherubs hold no crown.

.4.7

X. 2 5.

Photographed by A. BRAUN, Paris, No. 873.

58.

London.

Purchased 583.

Edward

EDUCATION OF THE VIRGIN.

small finished sketch of No. 56. at the

Bishop of Ely

sale, April 14, 1864.

with a glory of angels ; an easel picture ; from Count Wolkonski. ^105.

59.

^78.

Count Rossi sale, London, July had two pictures of In one St. Anne teaching the Virgin, the Virgin.

10, 1858.

58b.

A. Leatham, Esq.,

Don A. Bravo,

Seville,

formerly

MARRIAGE OF THE VIRGIN.

London. The Virgin and

St.

St. Anne teaching of them the Dove

seen above, surrounded by six cherubs, Mentioned in Sevilla Pinto. 411-414.

Tubino, 190.

Sir Richard Wallace, Bart., Joseph, holding each other by the hand

MURILLO.

144

male and three female attendants, stand in the centre before the High Priest ; the Dove is seen in a glory above ;

and accompanied by architecture

five

and a crimson curtain

A small picture of this

in the

29X22

background.

subject, formerly in the

Royal Palace

inches.

Madrid,

men-

34, and by Cean Bermudez, Die. ii. 63. It is praised by Raphael as displaying the sweetness that characterizes the second manner of the

tioned by Ponz,

Mengs master.

Ponz,

vi.

226.

That picture

now

lost,

unless

be the one above

described.

MARRIAGE OF THE VIRGIN.

60.

The Virgin and

St.

Joseph are accompanied by several spectators ;

angels in the air above.

early work. Waagen, caselle attributes it to Tobar.

ANNUNCIATION.

61.

Earl of Listowell, London.

Full length, ii.

life-size.

Manchester Exhibition, 1857.

311.

Seville

Museum,

96.

The

G. B. Caval-

Virgin on the

and nearly in profile, kneels before a desk on which are her hands and an open book she looks up to the angel who kneels on clouds,

left,

;

holding lilies in his left hand, and pointing with his right to the Dove ; four cherubs and six heads above ; a basket of linen in the centre

foreground; arched top. 3.20X2.18. One of the altar-pieces painted for the Capuchin Church. Photographed by J. LAURENT, Madrid, No. 1081.

ANNUNCIATION.

62.

Gloucestershire.

Philip

A repetition

See ante No.

S. Miles, Esq., King's Weston,

of the above.

52X40

inches.

companion, a Pieta, No. 226, were brought to England by Mr. Vaughan of Bristol, who purchased them from the family for whom they were painted. They afterwards belonged to Sir Philip Miles, father of the present owner. Engraved in the Miles Gallery by J. Young, London, 1822, 4to. This picture, with

its

Hospital of La Caridad, on our with her hands on her breast, kneels left, Virgin desk on which is a book she looks down to her left ANNUNCIATION.

63.

;

Seville.

The

front beside a ;

on the

right

the angel in red robes kneels on his right knee, pointing with his right

hand

to the

on the

Dove

;

his left

floor before the

hand, holding lilies, rests on his left knee is a basket containing linen and scissors

desk

;

ANNUNCIATION.

145

above the Virgin are three cherubs and two heads two cherubs and three heads. 66x50 inches. Painted about 1674 for the Hospital of the Caridad.

See No.

Amsterdam Museum,

ANNUNCIATION.

64.

above the angel,

;

A repetition

215.

of the picture No. 63, but somewhat smaller. .g6x.gg. Purchased in 1809. Formerly attributed to Rubens and ascribed Smith, Catalogue Raisonne, ii. No. 385. Photographed by A.

BRAUN &

kneels beside a desk on the

lilies

in his left

del

right, facing

her hands crossed on her breast floor

;

between them

Second manner. Formerly

in the

Prado, 856. The Virgin front, and looking down, with

the angel on the

;

Dove with

his left knee, points to the

two cherubs and seven

him

Co., Paris.

Museo

ANNUNCIATION.

65.

left

kneeling on the

his right

hand, holding seen a basket of linen and a chair ;

heads

a column on each side.

above;

1.85X2.25.

Academy

A picture about

of San Fernando.

the size of this,

La Encarnacion, was bought by Carlos III. from the Quely Collection. AUGUSTE GUGLIELMI, litho., in Col. Lito. J. LAURENT, photo., No. 5.

called

Museo

ANNUNCIATION.

66.

on the

del Prado, 867. The Virgin kneels

and looking down, with her hands crossed arm rests on a desk on which is a book and a

right, facing front,

on her breast vase of

lilies

;

her

left

on the

left

the angel, kneeling on his right knee on the

marble pavement, extends towards the Virgin his right hand, which does not hold lilies ; his left points to the Dove ; about fourteen cherubs and three heads above linen.

in front

MARIN LAVIGNE,

litho.,

ANNUNCIATION.

etition of the

above.

2O-3X

in 1729.

15.5.

Hermitage,

HUOT, 68.

a basket of

litho., in

1.38X1.11. at Amsterdam

Gal. Imp. de I'Ermitage.

ANNUNCIATION.

Virgin on the

left

Isabel Farnese collection.

DECRAENE,

St.

Purchased from Mr. Coesvelt

The

of the desk

1.25X1.03.

Purchased by Philip V. in Seville

67.

;

Sir

litho., in Col. Lito.

Petersburg, 361.

rep-

in 1814.

Photographed by RoTTGER.

Richard Wallace,

Bart.,

kneels three-quarters right, looking

London.

down ;

her

MURILLO.

146

hands are crossed on her breast

an open book

lilies

in his left

cherubs above.

rid,

on the

;

her

left

arm

rests

on a desk whereon

right the angel, kneeling

on clouds, holds

hand, and points to the Dove with 1.78X1. 29 cm.

his right; five

Brought from Spain by M. Rayneval, formerly French Ambassador to Madand sold at his sale, April 16, 1838, for 15,000 francs. Aguado sale, 1843,

27,000 francs to the Marquis of Hertford.

Aguado. J. ROGERS, line, 7x5.3. W. HULLAND 15.5x12. LAFOSSE, litho., 2O.5X 15.5. BLUMMER, CALDESI, photo., in Manchester Art Treasures.

A. LEFEVRE, line, varied. litho.,

68a.

line, in Gal.

ANDR,

14X9.5.

litho.,

M. Sedelmeyer, Paris. AnThe Virgin, kneeling with

68d.

nunciation.

her hands crossed on her breast, rests her right arm on a desk ; on the left the angel, holding

lilies,

pointing up; no

Dove

stands

on clouds

or cherubs. .45

John

68b. D. Joaquin

Saenz y Saenz,

Annunciation. Less than ilar

one of those

life-size.

the

"Sim-

Museo

del

68f.

68c.

Ellis.

Half length. Waagen,

ii.

Annunciation, 295.

May

^38,

Scarisbrick

10,

1861.

sale,

Annunciation.

in crimson and blue drapery, her hands clasped on her breast, the angel kneeling and pointing to a glory of

angels above

;

the

Dove

the centre.

grand altar-piece from the convent of 222. See No. 54n. La Trinidad.

Sevilla Pinto, 412.

Wynn

Charles

-35X-47.

The Virgin

Prado." Formerly belonged to A. Bravo. Tubino, 183.

Madrid.

Praised in Kunstblatt, 1838, p. Noticed in Head, Handbook, 1 77.

Christie,

offered,

The

382.

where the picture was

1821.

Drax.

E. BOILVIN, etch., in the catalogue of the Sedelmeyer sale, Vienna, December but not sold.

sale,

vent

.37.

20, 1872,

Webb

(x> iSs. Announcing Angel. 68e. Louis Philippe sale, 1853, No. The Annunciation. From a con162.

68g. Sale, June 17, 1864, at ChrisAnnunciation. From Lady Beres-

tie's.

ford's Collection.

^89.

MATER DOLOROSA.

Museo del Prado, 896. The Virgin wears a red dress, and a white scarf which covers her head and is wound about her neck over the scarf is a black mantle ; her head is 69.

;

turned to her right, and inclined forward.

Bust, without hands.

.52X41. Companion

an Ecce Homo, No. 202.

Photographed by

70.

MATER DOLOROSA.

A repetition

From

LAURENT, Madrid, No.

Isabel Farnese collection.

24.

Duque de Villahermosa,

of the above picture, about the same Companion to an Ecce Homo, No. 207.

size.

Madrid.

MATER DOLOROSA. MATER DOLOROSA.

71.

The Virgin

Mrs. William

Gibbs,

Tyntesfield,

turned three-quarters to her right ; her head inclined in the same direction, and is covered by a black mantle,

Somerset. is

147

beneath which

arm the

a white

scarf, the

her right hand holds the

;

hand, which

left

Bought

is flat

scarf,

on her

end of which

and

over her

falls

left

partly covers the fingers of

Bust.

breast.

25X21

inches.

1853 by Mr. Gibbs from D. Francisco Balmaseda, Seville.

British

Institution, 1856.

G. 1864.

WEINHOLD,

11.9x10, Berlin.

litho.,

BARRY,

21.2x18, oval,

litho.,

(Goupil).

MATER DOLOROSA.

72.

The

hoe.

Virgin

head and neck

;

her breast, the

over this

a black mantle

13^X91^

From John Blackwood. See No.

MATER DOLOROSA.

73.

C. Cartwright, Esq., Ayna white scarf covers her ;

white scarf which

her hands are crossed on

inches. British Institution, 1839.

The

Virgin, nearly

her face turned three-quarters right

front,

;

holding the scarf; the red sleeves of her robe are

left

Half length.

seen.

William

seen front, looking up

falls

to her waist,

her head

;

where

half length, is

stands

covered with a

concealed by the black

it is

mantle that covers her body; her hands are raised apart. .8iX.6i. Soult sale, 1852, 10,600 francs (to Mr. Townend ?). A copy is behind the altar in the Seville Cathedral,

Stirling (Annals, iii. 1420) suggests that this the picture formerly in the church of S. M. la Blanca, which Cean praised for the beauty of the hands ; but it is not clear whether the painting in that church

high

may be

was a Dolorosa or a COUSIN,

733. Carmelitas rid.

Una

This

Pieta.

line, 15.

church

See No. 22 7c.

4X 12.5,

73b.

ii.

right

contained

neck.

Cean Ber-

Dean Lopez Cepero. Mater ii.

Tubino, 185.

Mater

hand clasps the

left

but there

The is

picture has disappeared, a copy in the Sacristia Mayor

Dolorosa.

730. Mater Dolorosa. without hands, body front

Bust, three-

quarters left, looking down to her right ; a scarf and mantle cover her head ; her

before her

MANUEL ALEGRE, line, 8.5x6.5, Mad-

of the Seville Cathedral.

Sevilla Pinto. 415.

73d. Mater Dolorosa.

i6x 13.3.

Hoskins,

27.

73C. A. Bravo.

line,

rid, 1792.

63.

Dolorosa. Sevilla Pinto. 451. Spain,

BLANCHARD,

Descalzos, Madformerly

Dolorosa. Ponz, v. 253.

mudez, Die.

1844.

scarf cover her head;

;

Half length, a mantle and

the scarf

wound around her neck

;

her waist. Doubtful. Engraved on in Jameson,

Madonna,

also

a girdle about

p. 36.

wood

MURILLO.

148 73f.

Mater

Full

Dolorosa.

seated with clasped hands

;

7311. Mater Dolorosa. The Virgin, full length, seated, with clasped hands, and a sword in her breast. Spurious. Lith-

length,

sword

her breast; two angels standing at her feet hold a crown of thorns, etc. ; six heads above.

ographed by LAUJOL. 73!. Due de Tallard sale, 1756. Christ crowned with thorns, and " La Vierge de Douleurs en regard"; two

Spurious.

Lithographs by M. LAVIGNE ; CuisiNIER; LAFOSSE; A. BRY; L. MAURIN. Mezzo, by VARIN. 73g. Mater

The

Dolorosa.

pictures, busts,

three-quarters length, with a sword in her breast; no accessories. Spurious. Litho-

graphed by GEOFFROY.

THE

74.

She

rey.

VIRGIN.

on copper.

Francis Cook, Esq., Richmond

seen profile

left,

16x13

in.

302 liv. to Rmy. 73^. Fonthill sale, by Phillips, September 9 to October 31, 1823, No. 124, Mater Dolorosa. 25th day.

Virgin,

Hill, Sur-

her hands on her breast, which

nearly

covered with her blue mantle ; a yellow scarf on her head and shoulders. Bust; apparently a study for an Annunciation. 28X24 in.

Wynn 75.

Ellis sale, June 17, 1876, from Joseph Bonaparte collection. j2OO.

THE

VIRGIN.

Marquis of Lansdowne, London.

kneels, turned partly to our

left,

She

her head inclined forward, her hands

clasped before her waist ; a crown of thorns and three nails

lie

before

her on a white cloth ; dark background, with a rock on the Full length.

19X14

Purchased about 1840. Mentioned by

THE

76.

VIRGIN.

bury, Gloucestershire.

on her

breast.

THE

Bust.

VIRGIN.

Stirling,

Annals,

iii.

1420.

Robert S. Holford, Esq., Weston Birt, TetThe Virgin looking up, with her hands clasped 27X20

British Institution, 1851.

77.

right.

inches.

Mentioned by Mrs. Jameson, Madonna,

Robert

52.

Holford, Esq., Weston Birt. The Half length.

Virgin praying, with a circle of stars around her head.

35X27

inches.

Brought

England by Sir J. M. Brackenbury, who exhibited Mentioned by Waagen, ii. 199.

at the British

Institution, 1835.

The 773. Baron Speck, Leipsic. Virgin with clasped hands, seated near a table, looking up to the Dove ; a basket

From the collection of Prince Kaunitz, who was Minister to Spain in 1 780.

of linen at her

formerly contained Nusstra Senora,yel

feet.

45x36

inches.

77!).

The Royal Palace, Madrid,

VIRGIN AND CHILD. Salvador, media cuerpo. Cean, Die. ii. 64.

770.

260.

vi.

La Trinidad sale, London, June Death of the Virgin.

1810.

16,

Ponz,

78.

770. R. 1877.

13,

Towers

77d. Alton

The

Head of the Virgin in blue and yellow drapery ; her hands joined in 100 l6s. prayer. 22.

See

ante No. 54n. sale,

1857,

VIRGIN AND CHILD

No.

Napier sale, London, April The Virgin as the Good

Shepherdess.

clouds.

^63.

Dulwich Gallery,

Virgin, seated on clouds, holds her son, seated

hand

149

raised to his shoulder

left

347.

knee

;

placed against his and hands hold a which the both rosary Virgin also holds with hip, her right hand in his lap ; her left hand is seen beneath the Child's left arm both look front ; four cherubs beneath. Full length. his right

;

his

on her

left is

;

77X50

inches.

Purchased by Mr. Desenfans from Alleyne Fitzherbert, afterwards Lord who brought it, about 790, from Spain, where he was Ambassador.

Helens,

St.

W. SAY, mezzo., 26x16.4, 1814. ROBERT GRAVES, line, 21x14, 1851. Epreuves tie remarque, with a white rosary. This plate was begun by E. Smith, M. LAVIGNE, litho., 20x15. altered by T. Vernon, and finished by R. Graves. MAGGI, litho., 14.2x11. PRAT, litho., 12x8, reversed. The following are three-quarter lengths without the cherubs J. SOMERVILLE, :

Engravings after the

Best Masters.

R. GRAVES,

line, 9X9.5. J. ROGERS, line. A. FEART, line. H. B. HALL, New-York, line. LECOUTURIER, line. COTTREL, line, varied. PRAT, litho., 14.2x11. W. READ, litho., etc.

line,

13X10.5,

Lord Overstone, Lockinge, a crimson robe, a blue mantle, and a Virgin, wearing on her stands on clouds, surrounded by a multihead, light blue veil tude of cherubs in a glory ; the Child is seated on her right arm, his 79.

VIRGIN AND CHILD

Berkshire.

back supported by her

left

cherubs beneath, some of 1

in clouds.

The

X 64

hand; many heads above, and eleven

whom

uphold the Virgin's mantle.

Round

inches.

9 Formerly an altar-piece in a church in Seville, whence it was taken by Marshal While yet in Spain, thieves gained access to the place where it was stored, Soult. but not being able to remove the picture entire, they cut out and carried away the top.

centre portion, about 40X30 inches in size, containing the half-length figure of the Virgin with the Child. This fragment found its way to England, and was pur-

chased by Mr. Gray of Harringhay House, from whom Lord Overstone acquired it. The mutilated remainder of the canvas was taken by Soult to Paris, where the stolen This artist afterwards visited England part was replaced by a copy by Lejeune. with instructions from the Marshal to find the stolen fragment and to purchase

it,

MURILLO.

ISO

Lord Overstone was unwilling to part with it. At the Soult sale, 1852, La Vierge Coupe'e, was bid in at 5,000 francs. Three years later it was purchased from the Marshal's heirs by the present owner through the agency of Sir Charles Eastlake, and the two portions were skillfully reunited after a separation of more than forty years. This is one of the eight pictures which Marpossible, but

the picture, then called

shal Soult endeavored to dispose of in England through Mr. Buchanan. See No. I. British Institution, 1863. Mr. Wornum considers it perhaps the most beautiful of

Murillo's pictures of this class.

all

LEROUX,

VIRGIN AND CHILD,

80.

for the above.

study

From

Epochs of Painting, 393.

25.4x19.5, 1845.

line,

the collection of

MAGGI,

litho.,

in clouds.

15X10^ Edward Gray

14.2x11.7, reversed.

Lord Overstone, London.

inches. of Harringhay House.

VIRGIN AND CHILD,

81.

Court, Wiltshire.

knee, and angels

in clouds. Lord Methuen, Corsham The Virgin appears seated, with her Son on her at her feet. 23X18 inches.

Brought from Spain by Sir Paul Methuen, Ambassador to Madrid about 1700. Mentioned in The English Connoisseur, 1766, ii. 24. British Institution, 1857. 82.

Virgin

VIRGIN AND CHILD, in clouds. Hague Museum, 255. The is seated on clouds with a white veil on her head and around

her neck

who

;

her hands, holding the linen drapery, support the Child, on her left knee ; both look front. Full length.

stands

1.90X1.37. Formerly

in a

monastery

VICTORINE PEEMANS, in Kunstkronijk, 1847.

Don

82a. Infant

Purchased by William I. at Antwerp. F. B. WAANDERS, litho., 17.5x14, reversed.

Ypres.

litho.,

Outline in Musc'e Royal a la Haye, 1826-30, 8vo.

Sebastian, Pau,

Vierge du Mont Carmel in white mantle, seated on clouds, hold-

No.

563.

ing the Child.

From

the

Due

82b. Earl

Full length. d'Abrantes.

1.73X1.24.

Bessborough

sale,

^80 is. Lord Ashburton. Virgin and in clouds. From the Prince of

don, April 23, 1807.

Child the

Peace and

Virgin, Child,

February 5, 1801. Virgin and Child in clouds, surrounded by groups of angels; a cabinet picture. 32. Again in Edward Coxe sale, by Peter Coxe, Lon82c.

This picture was destroyed by a fire at Bath House, January 31, 1873. 82d. " La Vierge a la Croix." The

Sebastiani collections,

standing on clouds, holds the is about to pierce the dragon

who

with a spear. Spurious, MLLE. LET, litho. 82e. "N. D. de Mont Carmel."

NOLThe

Virgin on clouds, with her head surrounded by stars, and the Child on her

arm.

GEOFFROY, mezzo. "Notre Dame de Carmen." The Virgin on clouds, with the Child on her arm. Spurious. SCHULTZ, litho. 8zf.

Spurious.

VIRGIN AND CHILD. 83.

The

VIRGIN

Virgin

151

AND

Louvre, Paris, 542. CHILD, with rosary. seated on a stone bench, on the end of which is a ball,

with the Child seated on her lap, holding a rosary ; her left hand, which does not hold the rosary, touches the Child's left foot ; a cushion

and

tassel are seen

behind her on the bench

;

both look

Full

front.

1.66X1.25.

length.

Randon de Boisset

"The Sieur Langlois, a Neasale, February 27, 1777. from Spain where he acquired it at a great price." 10,999 liv. igs. de Vaudreuil sale, by Lebrun, Nov. 24, 1784, 9,001 liv. to the King.

politan, brought

Comte La meme

vente de

composition avail & achete'e, 3,151 francs pour le roi de Pologne a la Mais ce tableau est si 3 de son catalogue, anne'e 1755.

M. Pasquier No.

mal indiqu dans les catalogues, qu'on ne sail si celui de des deux cites." Gault de Saint Germain, Guide, 341.

HENRIQUES,

;

but

line,

it is

probably an early work of the master. in Mince Franfais. J. BALLIN, mezzo., 11x8.4,

11.5x9

M. LAVIGNE, litho., 15x10. WEBER, litho., 11x8. Variations by BEQUET FRERES, J. PRAT. A. MAURIN, LAFOSSE,

Outline in Landon, Annales du Muse'e, xvi. 65.

reversed.

CH. VALLET, 20x15. LLANTA, P. BLANZAT, FORQUEMIN, etc.

litho.,

VIRGIN AND CHILD, with

Virgin

which

sits

a ball

;

front,

rosary.

the naked Child

head resting on looking her left arm supports his back ; the Full length.

Dresden Gallery,

634.

looking up, on a stone bench, at the end of seated on her lap, turned to our

front, his

wrist.

sale,

26, 1787,

Vaudreuil). Murillo's scholars

The

pas un

There was another

* * * by Le Brun, of pictures from the cabinet of (de M. Viardot considers this a flagrant imitation, or a copy by one of

November

84.

la collection n'est

70X48

his

hand, which

left,

on her breast

;

fingers of her right hand touch his

inches.

is a portrait of Dona Maria de Legan^s, an See Velazquez, No. 166, note. A. SEMMLER, line, in Clauss, Dresden Gal. D. J. POUND, line, in Payne, Dresden Gal. F. SEIFFERT, line, in Bilder Brevier, 1858. HANFSTAENGL, litho.,

There

a tradition that the Virgin

ancestress of the Counts of Altamira.

in Hanfstaengl,

Dresden Gal.

Outline in Iconographic Encyclopedia.

VIRGIN AND CHILD, with rosary. Pitti Gallery, Florence, The Virgin sits on a stone bench, on which, at her left, is a 56.

85.

No.

with the Child seated on her lap holding a rosary with both hands ; her right hand also holds the rosary, and touches the Child's right

ball,

knee.

Full length.

1.65X1.09.

MURILLO.

152

Purchased by Ferdinand III. for 900 crowns from the painter Fedele Acciaj, it from Cartoni, a picture dealer at Rome.

who had

MANCION,

in Bardi,

line,

Galleria Pitti.

Photographed by ALINARI,

Florence. t

VIRGIN AND CHILD, with

86.

The

who

stone bench embracing the Child,

the bench and the other in her lap

cheek touches hers their right hands.

;

both look

Full length.

Museo

rosary.

Virgin, wearing a yellow veil which

;

del Prado, 870. on a

to her waist, sits

stands naked, with oneToot on

his

front,

falls

hands are on her neck,

and both hold

Second manner.

his

rosary with

1.64X1.10.

From the Escorial. No. 92 is a repetition, but without the rosary. B. MAURA, etch., in Grab, al Ag. Fuerte. J. LAURENT, photo., 18.

87.

AND

VIRGIN

CHILD, with rosary.

Sir

William Eden,

Bart., Windlestone House, Durham. The Virgin holds the Child in Full length her lap ; both are seated, and both hold the rosary.

65X42

inches.

Formerly in the convent of the Shod Carmelites

at Seville.

Purchased from

" An excellent Virgin del Rosario, full length, life-size, Julian Williams in 1834. seated with the Child in her arms, is in an altar of the sacristy of the Carmen Calzado." " One of the most beautiful of Murillo's Cean, Carta 98. Ponz, ix. 103. pictures."

G. de Leon Not, Art.

88.

199.

The Athenceum, August

18, 1877.

Sir Richard Wallace, rosary. The Virgin, in dark red dress, is seated on a bench Child, who stands with his right foot on the bench, his

VIRGIN AND CHILD, with

Bart., London. holding the left in her lap

her right hand supports his hip, her left, holding linen, covers his middle ; both hold the rosary with their right hands ; his left hand rests on her wrist. Three-quarters length, life-size. Perhaps

;

this

may be

the picture sold in

88a. Leipsic Museum, 154. The Virgin, seated and looking front, holds the naked Child standing on her lap ;

her right hand

his left side, her

left,

holding linen, supports his hip; his head touches her cheek ; his left hand, before her breast, holds a rosary. Three-quarters length.

W. Hope

sale,

June 1849, ^609.

Chromo, 29X22. Lithograph by HASSEL, 23.5x21, bust, with hands, Both published by W. Seitz. 88b. VIRGIN AND CHILD, with rosary, The Virgin sits on a bench, front, the Child stands on her left knee, his body J.

three-quarters to our left; both look front ; his left hand rests on her right ;

VIRGIN AND CHILD. a rosary

suspended from her wrist.

Full length.

59X40 inches. Purchased by Lebrun from

the col-

lection of Chevalier d'Azara, Minister to

Rome

under Carlos

Lebrun

III.

Mr. Harris

was sent by and is

for sale,

probably now in England. Buchanan, Memoirs, ii. 256. Ponz (xiv. 55) speaks highly of Chevalier d'Azara, who was, when he wrote, residing at Barcelona,

and describes

which, he says, was purchased from the famous Farinelo this picture

Manor, sale, June 18, 1863. The Virgin, seated with the Infant Saviour on her Exknees, holding a rosary. j(>6 ioj. hibited at the British Institution, 1861. 88e. 13,

Baron Massias The Virgin

1825.

sale, is

December

seated on a

bench, turned partly to our left; the Child sits on her knee in lively action ; his left

hand

hold a rosary

rests ;

six

on her wrist; both heads above. inches.

66X37

length, life-size.

F. SOYER, outline in Landon, Annales

Outline reversed in Lebrun, Recueil, 135.

du Musee, Gal. Massias. 88f. D. Jorge Diez Martinez,

Hon. Edward Ellice sale, gen del Rosario. Tubino, 1 86. June 17,1 864. The Virgin, in crimson and dc Belcn, with her Son standing 88c. Rt.

blue dress,

seated

Full 10,000

francs.

collection at Bologna.

ii.

153

the Child stands in

;

lap.

Vir-

Virgen in her

Swilla Pinto. 486. 1

her lap, and holds a rosary.

Bought

at the sale of

42x32

in.

Mr. Carr, London,

about 1840, <)2. Stirling, iii. 1421. 88d. John Allnutt, of Clapham

VIRGIN AND CHILD.

89.

The

Virgin, seated

both

feet in

arm

a rosary. iii.

Pitti

Full length, life-size. Stirling,

1421.

Gallery, Florence, No. 40.

on a stone bench, holds the Child standing with his left arm is placed on her right arm, his right

her lap

;

on her breast

Full length.

88g. D. Jose de Madrazo. The Virgin, with the Child in her lap, hold-

;

her

left

hand, holding

linen, supports his hips.

1.55X1.05.

Hague Museum says the Ypres Convent formerly conMadonnas by Murillo, one of which is now in that museum the other was sold to the Grand Duke of Tuscany. Is this the picture referred to? G. BALLERO, line, in Bardi, Gal. Pitti. L. MARTELLI, line, 9.9x6.8. A. PERM. STEINLA, line, 4x3. PRAT, litho., 15.7x11.8. NAP. FETTI, line, 13.4x10. THOMAS, litho., 12x8.3. The

catalogue of the

tained two

90.

;

VIRGIN AND CHILD.

The

Corsini Palace, Rome.

Virgin,

seated on a stone bench beside a broken wall, holds the Child seated

on her lap; in front

;

his right leg extends across her lap; the left

his left

look front.

hand

on her

Full length.

right wrist,

which

hangs down both ;

his lap

1.64X1.08.

"A first-rate, rich, and beautiful picture, but a little touched and stippled upon, but the head of the Virgin and the Child are most luxuriously painted." Sir D. Wilkie, in

Cunningham, Life of Wilkie,

ii.

257.

Stirling,

ii.

910.

MURILLO.

154

A wood

Armengaud. Rome: Art Journal, November, 1862; Photographed by ALINARI.

page ; Robinson, Great Painters.

Museo

VIRGIN AND CHILD.

91. is

engraving

Scott, Murillo, title

The Child

del Prado, 862.

seated on the right knee of his mother, on a white cloth which

passes over her

arm

covers her knees.

a greenish blue mantle falling from her shoulders Full length. Second manner. 1.51X1.03. ;

Photographed by A. BRAUN,

92.

Paris,

VIRGIN AND CHILD.

don.

repetition

60X40 inches. Hugh Baillie

sale,

the Marquis of Hertford.

EST&BAN Boix,

line,

of No.

No. 862.

Sir

Richard Wallace,

86,

but without

the

Bart., Lon-

About

rosary.

15, 1858, "from the Altamira Gallery," ^1,575 to British Institution, 1823, by Colonel Baillie.

May

i6x 10.5, executed about

the end of the last century from This engraving is after the

the picture belonging to the Conde de Trastamara. above or a similar composition.

VIRGIN AND CHILD.

93.

Seville

Museum,

65.

The

Virgin,

seated on a stone bench, holds the naked Child seated on her lap ; both front; her left hand holds his left; her right, holding linen,

supports his body beneath his right arm, which length.

One

Second manner.

Arched

of Murillo's earliest works

;

top.

94.

VIRGIN AND CHILD.

From

the convent of

LAURENT, No.

Berlin Gallery, 4ioA.

1083.

A repetition

1.59X1 .04.

in 1875 from M. Suermondt, who obtained it in 1851 from Schepeler, Prussian Minister to Spain. Burger, Gal. Suermondt.

Purchased

Von

95.

AND CHILD.

VIRGIN

Full

1.66X1.07.

painted about 1641.

Mercenarias Descalzos de San Jose. A. BOILLY, mezzo., 13X9.5. Photographed by

or copy of the above.

falls naturally.

Lord Overstone, London.

Herr

The

Virgin, seated on a stone bench, three-quarters right, regards tenderly

who

seated on her lap, looking front, with his limbs spread apart; he seizes with both hands the neck of his mother's dress; her left hand supports his back, her right falls at her side.

the Child

Full length.

64X43

inches.

VIRGIN AND CHILD.

155

This picture, formerly an altar-piece in the house of the Marque's de Santiago,

was considered the finest small picture by the Master in Madrid. It was purchased by Mr. Wallis, and brought to England in 1809, when it was immediately sold to Lord Berwick for ^2,500. Buchanan, Memoirs, ii. 221. See No. 10. It was sold at Lord Berwick sale by Phillips, June 7, 1825. The present owner purchased it through Mr. Buchanan in 1832. " A most beautiful picture of the Virgin with her most holy Son in her lap, full length, life-size, belongs to the Marques de Santiago, and is enchanting for its sweetness and beauty." Palomino, Hi. 421. CALDESI, photo., in Manchester Art Treasures,

The Virgin, heavily draped, is seated on 96. VIRGIN AND CHILD. a stone bench, with the naked Child in her lap, partly standing, and his left hand rests on her right, which partly seated on her left hand ;

holds a linen drapery against his

abdomen

;

hand

his right

scarf that covers her right shoulder; both look front.

seizes the

Full length.

inches.

Brought from Spain by an English merchant, who transferred it to Mr. Harris of Bond street. From him it passed to Mr. Buchanan, who sold it to Lord Kinnaird. At Lord Kinnaird sale, March 4, 1813, it was sold for ^820, but it disappeared before it could be delivered to the purchaser, and is believed to have been

stolen.

TURNER, mezzo., 17.6x12.8, in The Kinnaird Collection, London, 1809, a work of which twelve plates were published. C.

fol.,

97.

VIRGIN AND CHILD.

stone House, Durham.

The

the apple.

an apple

Full length.

Sir

William Eden,

Virgin holds the Child seated on her knee

98.

Mentioned

he has fingers.

The Athenccum,

18, 1877.

VIRGIN AND CHILD.

The

Belen.

on a white his left

;

one hand, and with the other clasps one of her Second manner. 60X35 inches.

Purchased in 1834 from Julian Williams.

August

Bart., Windle-

Virgen de la Manzana, or the Virgin with

cloth

;

Museum,

in front.

72. lies

Three-quarters length.

the Capuchin Convent at Seville.

Photographed by

who

Virgen de

across her lap

with his right hand he seizes the neck of her dress

hangs down

From

Seville

Virgin, seated, holds the Child,

See No.

LAURENT, Madrid, No.

1073.

18.

MURILLO.

156 VIRGIN AND CHILD.

99.

The

Academy

Virgin, turned partly to our

San Fernando, Mad-

both seated, and looking front ;

holds the Child on her lap ; his face is serious and old ; his right

hand

on her

rid.

on her

breast, his left

linen that covers his middle.

Photographed by

100. VIRGIN

costume and The

Infant

AND CHILD.

grandson of

Don

Life-size.

Heirs of the Infant

early work.

Gabriel,

Don Sebas-

of the above, very slightly changed

I.O3X.83.

who died in 1875, was who was a son of Charles III.

Sebastian,

VIRGIN AND CHILD.

101.

Knee-piece.

A repetition

position.

Don

arm, which rests on the

left

LAURENT, Madrid, No. 525.

tian, Pau, No. 579. in

left,

Don

a son of

Due de Montpensier,

Pedro, and

Seville,

No.

The Virgin, 170. Vierge a la Ceinture. seated on a stone bench, holds the Child lying on her lap while she binds him with linen ; on each side is an angel, one playing a guitar Virgen de la Faja, or

and the other a ner.

violin

;

six

heads above.

Knee-piece.

Second man-

1.37X1.12.

This picture had been exposed for sale in the open street opposite the Cathedral. The Marque's del Aguila saw it, purchased it instantly, and made it an heirloom. Davies, Murillo, 96. When entails were done away with, the son of the

Marquis sold it for 60,000 francs to King Louis Philippe, at whose sale, No. 72, was purchased by the present owner for ^1,500. It was exhibited at Boston, U. S., with other Spanish pictures of the Duke, 1875-80. A copy by Tobar is in

Museum, No. 53. M. LA VIGNE, litho., 20.3x15.3. GEOFFROY,

the Cadiz

litho.,

14.7x11.6.

PRAT, litho., 10.3x8.3. RICAUD, litho, 11.3x9. LAUJOL, litho., 11.4x8.5. EVERWYN, litho., 11.2x9.

7.6x5.9.

24.4X

litho.,

10x8.

On wood

18.

102. lands,

above.

litho.,

VAYRON,

litho.,

in Blanc, Peintres.

VIRGIN AND CHILD.

William H. Smith, Esq.,

Henley-on-Thames, Buckinghamshire.

54X41

COQUARDON,

LAFOSSE,

repetition

Greenof the

inches.

" Billings sale, by Christie, June 3, 1876. Brought from Spain by a Birmingham merchant, who purchased it from a nunnery for 1,000 guineas during

the Peninsular

War."

103. VIRGIN

1,312.

Royal Academy, 1871.

AND CHILD.

The

draped Child, who has an apple

Virgin holds on her lap the partly in

his hands,

and

rests his

head

VIRGIN AND CHILD. against her

shoulder; she holds with both hands the linen drapery

left

on which the Child

both look

seated;

Aguado

sale, Paris,

Three-quarters

March 20-28,

line, in Gal.

LEFEVRE,

AND CHILD.

104. VIRGIN

1843, No. 36, 2,790 francs. Outline in Lubke, Denkmdler der Kunst.

Aguado.

The

seated on her lap; her cheek touches his left

shoulder ; her right hand

her

left

encircles his front.

Aguado DlEN,

Muse

lilac

robe, a

from her head on her shoul-

falls

naked Child, who is head, which rests on her

three-quarters right, embraces the

der, turned

both look

Virgin, wearing

blue mantle, and a brown scarf that

105.

front.

i.nX.86.

length.

the

157

;

on the drapery that covers

his left

hand

sale,

Galerie Aguado.

LLANTA,

(?)

LEROUX,

litho.,

VIRGIN AND CHILD.

in the

Knee-piece. 46X.36. Paris, March 20-28, 1843, No.

line, in

Royal

back

his hip

bosom of her

;

dress ;

60, 2,460 francs.

line,

12x9.5.

From

the picture in

7.2x6, reversed and shortened.

Duke

of Bedford, London.

A rep-

of the above picture, 39X29 inches. Calonne sale, by Skinner and Dyke, London, March 22, etc., 1795, third day, No. 80, 205 guineas. Bryan sale, 1798, 3d day, No. 55, ^304, to H. Hope. etition

An old copy is in the church of S. Isidore, Seville. i. 240, 294. [There was a sale by Le Brun, at Paris, April 21, 1 788, of pictures of the Italian, * * * Flemish, Dutch, and French schools, from the cabinet of [de Calonne]. Buchanan, Memoirs,

The

very rare.

catalogue

copy, with prices, sold in

Reiset sale, 1879,

for 150 francs.]

AND CHILD.

106. VIRGIN Paris.

A repetition

Comtesse Robert de Pourtales,

of the above picture.

i.o^x.jS.

Faviers sale, April 8, 1837. Purchased from an amateur in Seville, 10,100 Pourtales sale, March 27, 1865, :8,ooo francs to Comte Robert de Pourfrancs. tales.

Photographed by GOUPIL, in Souvenirs de

107.

VIRGIN AND CHILD.

A repetition

Henry Mason,

of the above, framed as an oval.

Salamanca francs.

la Galerie Pourtales.

sale,

Exhibited

1073. Virgin

1867,

at the

and

No.

24,

Metropolitan

Child,

Esq., New-York.

.g^X.'jS centimetres.

from the gallery of Mme. Cordova, 20,000

Museum

somewhat

like the above, except that the figures

of Art,

New- York,

1882.

are only half length; the Virgin's chin touches the top of the Child's head,

MURILLO.

158 which breast

rests

hand on her on his left side,

his right

her right hand

;

M. S. CARMON A, line, 9.2x7.1, 1763, Ymagen de la Santis'ma Vn Maria" 108. VIRGIN

from a picture belonging to D. Tiburcio Aguirre y Ayanz de Navarra. JUEZ,

Madame

AND CHILD.

Both

4.3X3.3. very rare.

line,

engravings

A. Thiers,

naked Child, standing on the lap of the Virgin, with grasps the forefinger of her left hand which, holding

are

The

Paris.

hand

his left

linen, supports

from behind ; he seizes with his right hand the scarf that covers her right shoulder his right foot is in her right hand both his left hip

;

look front. Perhaps

this is

to the Louvre.

E. FLAMET,

one of the Works of Art which

Seiior line,

Lopez Cepero,

The

right leg

Thiers has bequeathed

Sir Richard Wallace, Bart., Lon-

Virgin, seated, holds the Child kneeling or sitting on his

her

;

Madame

has a repetition or a very old copy. Tire du cabinet de M. Thiers.

of Seville,

IIX8.8, 1851.

VIRGIN AND CHILD.

109.

don.

;

Knee-piece.

left

hand supports

his

body behind, her

right supports

both her hands hold the linen drapery his left hand is on his breast, his right embraces her neck ; both look front. Oval.

his breast

;

Three-quarters length.

From

About 42X36

Casimir Perier collection. Waagen,

inches. iv.

82.

was not

in the C. Perier

April 18, 1838.

sale,

no. VIRGIN AND CHILD. Francis Clare Ford, Esq., LonThe Virgin, seated nearly front, regards tenderly the Child, who

don.

on a white cloth on her lap his back is supported by her left which holds the drapery ; with the right hand she bares her hand, breast and offers it to the Infant, who turns his face towards the specreclines

;

Three-quarters length. 41X31 inches. sale, 1843, No. 5 (179), attributed to an unknown artist, ^55 13^. to Richard Ford, author of the Handbook of Spain, and father of the present owner.

tator.

Standish

Royal Academy, 1873. This picture is unfinished, and may be the one mentioned in Murillo's will. " Item : I declare that a weaver, whose name I do not remember, but who works in the Alameda, has ordered of me un lienzo de media cuerpo de nuestra Senora que en bosquejo, and has given me nine varas of satin ; not being able to deliver the picture, I direct that he be paid the price of the nine varas of satin." The picture described in the will is not mentioned in the unfinished inventory of Murillo's esta

effects,

made

the next day after the will

was executed.

The

will

and the inventory

VIRGIN AND CHILD.

159

are given in Spanish in Tubino, Murillo, p. Ill, and in Stirling, Annals, ii. 891, Translations of the will without the inventory are in French in 'Artiste, 1864.

vol.

p. 77; in

ii.

German,

Stromer, Murillo, 55.

in.

See No. H2kk.

Baron Speck,

in. VIRGIN AND CHILD.

The

Leipsic.

Child,

standing on the Virgin's knee, holds the third finger of her left hand, which is on his hip ; his right hand is extended in benediction. Knee-

52X441^

piece.

H. FRANK,

left

litho., in

VIRGIN AND

112.

de la

inches.

side supported

on her wrist

of her arms

;

Sammlung.

Seville

CHILD.

The

Servilleta.

his left

Speckschen Gemdlde

Leipsic, 1827,

Museum,

52.

Virgin holds the Child on her

La left

fol.

Virgen

arm, his

by her right hand, his right hand on her breast, he is in lively action, and seems to struggle out ;

both look

Half length.

front.

.66X.7O.

Capuchin Church. See No. 18. There is a popular tradition that while Murillo was employed in the convent he formed a friendship with Painted for the altar of the

who served him as cook. At the conclusion of the artist's labors this begged for some trifling memorial of his art. The painter replied that he had no canvas remaining, whereupon the ready cook offered him the napkin, sermlleta,\iz had used at dinner, which before evening was covered with this charming picture. The story is doubtful; a similar one is told concerning a Head of Christ, in Davies. a lay brother friar

Murillo, 35, note.

[Captain Davies says he purchased from D. Manuel de Leyra a Virgin and now in the possession of Mr. Ball, but which had been for many years in the

Child,

family of a General Officer of Artillery. The subject is the Murillo, Ixxxv. painted considerably below the knees.

it is

same

as the above, but

This note

may

inter-

such persons in England as may have in their possession pictures of the Virgin and Child three-quarters length. ]

est

BLAS AMETTLER, 7.4.

MAURIN,

line,

litho.

7.7x8,

at Calco.

On wood

nza. VIRGIN AND CHILD.

Leuch-

Petersburg. The Virgin embraces with her right arm the Child who sits on her lap ; his right foot

tenberg Gallery,

St.

on her left wrist, his hands are crossed on his breast; they look at each other.

Three-quarters length. 34X24 inches. On the marriage of the Due de Leuch-

tenberg with the Grand Duchess Marie, Works of Art was trans-

his collection of

ferred from

Munich

Nacional.

in Stirling,

to St. Petersburg.

Annals,

A. BOILLY, mezzo., 8.2X ii.

and popular as this picture cannot be attributed to Murillo.

Beautiful it

879.

is,

MONTMORILLON, line, 16.5x12.7, C. GONZENBACH, line, 10x8.7 ANDRE-GEIGER, mezzo., 17X13, Vienna, 1840.

1836. COTTIN, mezzo., 19.5x14. 7, oval. RYNOLDS, mezzo., 15.3X11.6, PhiladelN. MUXEL, outline, in Leuchphia.

Lithographs by HANFDRAGENDORF, STEFFAN, LANCEDELLI, LLANTA (3), GEOFFROY,

tenberg Galerie.

STAENGL,

MURILLO.

i6o

H. EICHENS, SELBE, GRAND, ENGELOn wood in MANN, HURTER, etc. Jameson, Madonna, 130. H2b. Palazzo Rosso, Genoa. The Child reclines on the lap of the Virgin, with his head on her arm ; on the left are two children, one of

whom

the infant Saviour with roses. quarters length.

About 36x30

crowns Threeinches.

nal. The Virgin, with the Child seated on her lap ; his hands are on her neck and breast ; her right hand touches his left wrist.

Knee-piece. etching of this composition, signed Bartolome Moryllo fecit, is in the Biblio-

teca Nacional, Madrid, formerly in the Carderera Collection. fac-simile, 5

The Palazzo Rosso or Brignole-Sale was, about 1875, presented, with its con-

dddes,

by the Due de Galliera to the City of Genoa. H2C. Heirs of the Infant Don La Vierge du CarSebastian, Pan. The Virgin, seated on clouds, met.

Child.

tents,

crowned, and wearing a brown robe, holds the naked Child on her lap his ;

right

hand

both look front Virgin's robe.

extended in benediction; three cherubs uphold the ;

Full length.

1.73X1.22.

H2d. D. Francisco de Herrera. Virgin and Child. More than half length ;

a charming picture.

mino,

iii.

ii2e.

Mentioned by Palo-

95.

Thomas

D. Juan Bautista Olabarieta. life-size.

H2n. Jose' Saenz. La Serrano, full length, life-size. Tubino, 189. H2p. Duke of Buccleugh. Virgin and Child.

British Institution, 1829. Vir-

W. Wynn.

H2q. Sir Watkin gin and Child.

British Institution, 1842.

H2r. Benjamin Oliviera. Virgin and Child. British Institution, 1857. H2S. Houghton Gallery. The Virgin, with the Child in her arms, on a block of marble. Presented to Sir RobWalpole by Benjamin Keene, Amat Madrid. Appraised by West and Cipriani at ;8o. This picture ert

not in the Hermitage.

H2t. C. H. Francolet

Ib. ii2f.

Archbishop's Palace, Seville.

Painted in 1673 for Virgin and Child. the Archbishop Ambrosio Spinola, who paid 1,000 ducats for dez, Die. ii. 62. ii2g.

dova. ii.

ii2h.

it.

Cean Bermu-

Ponz,

xvii. 53.

Condesa de

September

Mejorada.

Virgen de Belen, on panel of the best time of Murillo. G. de Leon, ii. 202. iiai. Church of La Cruz, Medina ;

del Rioseco. Nuestra Senora; attributed to Murillo. Ponz, xii. 122. ii2k. Earl of Listowell, London.

69X45^

H2U. Due de Tallard No.

125.

Vandergucht

H2w. Bryan

sale,

May

^22

17,

Buchanan, Memoirs,

first

321 1 j.

277.

H2x. Dutartre sale, March 19, 1804. The Virgin, seated, holds the Child who stands naked.

Life-size.

55X40

inches.

6,500 francs, to Paillet.

Catalogue of pictures at private

312.

2s.

1798,

Virgin and Child.

day, No. 35.

March

sale,

Virgin and Child.

by Waagen,

ii.

pour

Virgin and Child,

saints

1756,

Remy

inches,

and Child with two kneeling and other persons, and several Less than life-size. Doubted angels. Virgin

inches.

sale,

Virgin and Child, half length. 660 liv. to "

Angleterre. ii2v. B. ii, 1796.

sale, Brussels,

The Virgin with

1764.

10,

the Child in her arms.

24X20

Church of St. Augustin, CorUna nuestra Senora, signed.

63.

Virgin and

Kibble.

British Institution, 1861.

bassador

421.

Virgin and Child, half length,

Ib.

iv.

ii2m.

Museo Espanol de Antigui-

4.5, is given in

H2y. H2z.

London, April 28, 1807. life-size. ^525. Buchanan, January 5, 1815.

Sale,

sale,

pur-

VIRGIN AND CHILD. Virgin and

chased in Spain in 1809-10.

From the palace of Aranjuez. H2aa. Lord Courtney sale, April

Child.

well-

chef-d'oeuvre.

Henry Hope

ii2bb.

The Virgin

1816.

Virgin and Child.

27, 1816.

known

read.

if>

sale,

June 27,

teaching the Child to

art,

161

of which were presented to

many

him by

the reigning houses of the Peninsula, in the hope of securing the favor

of the young general who was then commencing his meteor-like career. At the time of the abdication of the Emperor, in 1814, the Cardinal's house, in rue de la

Chauss^e d'Antin, Paris, contained 1,600

S s - 6d.

Lord Gwydir sale, May 8, The Virgin clasps her hands around the Child, who is seated on her

paintings, besides marbles, bronzes, etc. Some of the pictures, and most of the other objects were sold at the sale of

lap, and springs forward with outstretched

ii2cc.

1829.

scription asserts that the picture belonged to Charles I., and was presented by his

(Fesch), at Paris, June 17, The greater 1816, and following days. part of the paintings were from time to time removed to Rome, where the work of collecting was prosecuted with such

Queen to Lady St. Albans, from whom was purchased by Sir Peter Burrell R. (an ancestor of Lord Gwydir).

have died possessed of 14,000 pictures, besides those called his gallery. Allow-

HOUSTON, mezzo. .attributed to Raphael. H2dd. Baron Mathieu de Faviers The Virgin, with sale, April 8, 1837.

ing a wide margin for exaggeration, it is beyond doubt that his collection was by far the largest ever owned by one man.

arms. J.

6s.

Spurious.

CALDWELL,

line.

1793.

The

in-

zeal, that his

Eminence was reported

the Child resting on her knees.

36 X

Unfortunately

King

spond with its extent, for, although its owner valued it at 20,000,000 francs, and had been offered 5,000,000 francs for it, yet, when it came to be sold, it realized only 2,000,000 francs. It was said that the

inches.

27^

Joseph Bonaparte,

from

present

who accompanied

with a flattering letter. 2,600 francs. iizee. Marquis de Forbin-Janson

May

sale,

The

1842.

Infant Jesus

on the lap of the Virgin. Brought from Spain in 1827. On wood. 55X-45. 7,950, to Patureau. H2ff. B. Hick sale, February 21, 73 los. Virgin and Child. 1843. ii2gg. Aguado sale, 1843, No. 82.

sleeping

The

Child seated in the lap of the Virgin

with a bird in his right hand;

I.I2X-90.

1,560 francs.

H2hh. Cardinal Fesch 17, 1845,

March

sale,

Virgin and Child. Also No. 122 crowns.

No. 723.

IIX9

inches.

610.

Virgin and Child.

oval.

night scene.

The

Claudius Tarral

first

sale,

9X7

inches.

of these was in

June n, 1847,

"engraved," ^53. [Cardinal Fesch, uncle of Napoleon I., was in 1 796 a commissaire of the armies in Italy,

when he began 21

to collect

works

its

quality did not corre-

Cardinal gave orders to his steward to

purchase every painting that was offered about I franc 80 c.

at 2 pauls or less

Some of the pictures passed into the possession of Lucien Bonaparte, Prince of Canino ; others were inherited by Joseph Bonaparte, the Cardinal's legatee, who gave some 700 to form a public gallery at Ajaccio, Corsica. The remainder

were dispersed

in several sales held at

the palace of the Cardinal in Rome, after his death, under the superintendence of

M. George, Paris.

the well-known expert from

A catalogue was

4to, before the

printed in 1841, It is a

owner's death.

French translation of that prepared by Camuccini and others, and enumerates 3,332 pictures, with the sizes in feet and inches. The following sales have been

MURILLO.

some of these may

naked, asleep on his couch.

be found in the Cabinet de I' Amateur, 1845-6, and in Bulletin des Arts, vol. ii. iv. and v.

From Forbin-Janson sale, francs. The Patureau sale

Price-lists of

held.

1843, April 17, etc., 'George, expert. I

The

partie.

sale

comprised 229 num-

bers, besides 450 Italian pictures not cata-

650 francs.

26,

schools.

second

etc.,

sale.

and French

Dutch,

Flemish,

Italian,

sold again.

Third part? last sale,

compris-

ing 1,836 numbers, viz.: 325 Flemish, Dutch, and German schools; 153 French,

and 1,357

Italian

comprised nearly

schools.

all

the valuable part

12, sale

Christie,

Lon-

fully

of these pictures

May

From

enveloped in white drapery.

Joseph

Hall, sale,

Louis

British

Arthur

August

Aston,

Stirling,

H2tt. Mr. Brooks' Virgin and Child. H2uu. Sir W.

.Sox.59.

March

Virgin

No. 113 (no). Child at her breast ;

sale,

a sketch.

Improperly called a Nativity in the catalogue. -73X.6o. ^42. Stirling (iii. 1422) suggests that this may be the picture mentioned by Murillo in his will.

See No. no.

nail. Alton 207.

The

No. purple robe and sale, 1857,

blue drapery, holding the Child in her arms. 216 6s.

H2mm. Theodore

Patureau

sale,

April 20, 1857. The Virgin kneels with joined hands before the Child who lies

sale,

iii.

1422.

May, 1871.

<)6 12s.

1877.

Feilden sale, and Child.

39 'Ss. iiavv. Viscount Stratford de

Red-

clyffe sale, June 29, 1878. Virgin and Child. Brought from Spain in 1832.

H2WW. John Heugh 1878,

Christie.

2o /^Xi6 inches.

Towers

Virgin, in

Aston

by Churton and Child.

Virgin

^105.

Philippe sale, 1853, No. 166 (151). Virgin and Child. From the Constantinople Convent in Madrid. ^180.

Institution,

1862,

and Whitechurch. inches.

collection.

Bonaparte

Owen.

I853iiass. Sir

Leicester

Virgin and Child.

18, 1860.

40X30

28, 29, 1859.

H2kk. Standish The Virgin, with the

May

los.

nzrr. Rev. Frederick sale,

^231,

1857, February 12, Paris. Pictures belonging to M. Moret, from the gallery of Cardinal Fesch. The sale produced

H2ii.

Nieu-

ures were from the Fesch collection.

Some

to C. J.

H2qq. Henry Cruger Price sale, March 21, 1859. The Virgin, in yellow of and crimson drapery, holding the Child,

don, of pictures belonging to the Prince of Canino. All but four of these pict-

were resold April

/2io,

Sold again at Christie's,

^283

1874.

who

Besides the above there were

112,000 francs.

Bonaparte Gallery.

wenhuys.

This sale

the collection.

March

Virgin and Child.

1758.

and two following

17,

Fourth and

21, to

Lord Northwick sale, No. From Joseph

ii2pp.

A sale.

sale, 1859,

No. 1751. Virgin and Child. Whitcombe.

829 pictures.

May. March

months.

1853,

important

nann. Lord Northwick March

1844,

1845,

of the

Many

pictures in the Van Saceghem de Gand sale, Brussels, June 2 and 3, 1851, were here

logued.

1844,

1842, 41,500 realized 846,

sale,

May

II,

Virgin and Child. From Prince Bona-

525.

parte.

ii2xx. Earl of

February

1801.

Bessborough sale, The Virgin and

Child in the clouds, surrounded by groups of angels; a cabinet picture.

same

Edward Coxe

Coxe, April 23, 1807.

32.

sale,

j8o

"js.

The

by Peter

VIRGIN AND CHILD. VIRGIN AND CHILD AND PRIESTS.

113.

The

163

Pesth Gallery,

689.

Virgin, seated on clouds, supports the Child who, standing on

the clouds before her, takes rolls of bread from a basket held

and gives them

angel,

to three

priests seen at half length

aged

one of the

priests has a book, another has a pilgrim's heads in the air above. Life-size.

by an

below

;

seven

staff;

Painted in 1678 for the refectory of the Hospital de los Venerables Sacerdotes. See also Ponz, ix. 124. Cean Bermudez, Carta, 94, and Die. ii. 53. picture was carried off by Marshal Soult, and found its way into the possession

See No. 29.

The

of Prince Esterhazy, whose gallery was sold in 1870 for 1,300,000 florins to the Kingdom of Hungary.

copy

in the Cadiz

Museum, No.

170.

Another

is in

the Hospital del

Sangre, at Seville. Another belonged to Dean Lopez Cepero, 27x22 inches. Doubtless another was sold in the sale of Mr. Barrett of Lee Priory, May 28, 1859,

Christie, for

^52

ioj.

and mezzo., 20.3x15.8. igx 15.6. An etching is promised

BALLIN,

line

GER,

litho.,

now

in course of publication.

VIRGIN AND CHILD AND

114.

Belvoir Castle, Leicestershire. ing, offers

Virgin

left

FOLline, 5.7x4.1. Gemalde Galerie in Budapest,

AXMANN,

ROSALIE.

Duke

of Rutland,

Rosalie in Franciscan habit, kneel-

roses to the infant Jesus,

on the

;

ST.

St.

in the

who

seated on the lap of the

are four maidens in white with palms,

a street scene with a

friar

four cherubs

on the

right

and seven heads

preaching above; seven figures. About 6x5 feet. The Murillos belonging to the Duke of Rutland were brought ;

Mr. Stanhope, afterward Lord Harrington, on returning from rid in

his

729. Davies, Murillo, xci.

A drawing for at Turin.

115.

It is

this

Waagen, iii. 398. composition, attributed to Murillo,

is in

the Royal Collection

photographed by Manville, Paris.

VIRGIN AND

CHILD

AND The

'Wallace, Bart., London. Jesus seated on her lap ; on the

ST.

ROSALIE.

Sir

Virgin, seated, holds

left,

a plain looking

girl,

Rosalie, in green dress, offers two roses to the child. less

to England by embassy to Mad-

than

116.

Richard the

Infant

probably

St.

Half length,

life-size.

VIRGIN AND CHILD AND SAINTS.

Sir Richard Wallace,

Bart., London. The Virgin, with the Child on her left arm, is seated on clouds, surrounded by a multitude of youthful angels, cherubs, and

MURILLO.

164 heads

beneath are

;

St.

and Francis kneeling,

Aguado

sale, Paris,

John Baptist standing, and

all

.yoX^i No 39.

looking up.

March 20

to 28, 1843,

SS. Justa, Rufina,

centimetres. 17,900 francs.

NARGEOT, line, in Galerie Aguado; in Scott, Murillo ; and in Art Journal, The figures of SS. Justa and Rufina are engraved on wood in Jameson, 1875. S. and L. Art ; and in Clement, L. and M. Art.

VIRGIN AND CHILD AND SAINTS.

117.

The

Cambridge.

St.

Francis and

who has been

Museum.

Fitzwilliam

Virgin, surrounded by cherubs and accompanied St.

Thomas Aquinas, appears

reading the theology of

of the saints a crown, while

low the doctrine he has

St.

She hands to each

Francis admonishes the

just read.

Arched

top.

monk

to a- Franciscan

Thomas.

85X67

monk

to fol-

inches.

works of Murillo, and was painted not later than 1639, when the artist was only twenty-one years of age, and still in the school of It was placed in an angle of the cloister of the Dominican Convent of Castillo. This

one of the

earliest

La Regina Angelorum, where it remained until the early part of this century, when was acquired by Canon Pereyra, in whose possession it was seen in 1833, by

Head. Handbook, 162. Mentioned also by Ponz, ix. 93, Cean Bermudez, Carta, and Die. ii. 49, 58. Arana de Varflora, i. 48. About 1852 it was purchased by W. G. Clarke, whose representatives presented it to the Museum at Cambridge.

34,

See G.

Clark, Gazpacho, second Ed., London, 1852, p. 239.

1173. Nuestra Senora del Kosario ac-

the beginning of the present century

companied by St. Peter and St. Paul standing, and St. Dominic kneeling, and

was removed to the Thomas. Cean, Die.

some angels; size.

Head, 163. In the Life of Carta, 35. Juan del Castillo, Cean attributes this

painted about 1639 for the convent of

picture to that artist. Die. i. 288. At a sale in London, May 9,

Regina Angelorum. Ponz, ix. 93. VarIt would seem that about flora, i. 48.

Dominic receiving the rosary from the Virgin and Child, sold for ^52 los.

figures

full

length,

life-

Signed Bar*"* Murillo. This is one of the earliest works of Murillo,

118.

ADORATION OF SHEPHERDS.

who

shows him

lies

on a box

filled

49,

58,

and

1807,

Seville left

Museum,

86.

The

arm the head of the

with straw ; she raises the linen and

to the kneeling shepherds,

hand on the shoulders of a lamb other hand

ii.

St.

Virgin, seated on our right, holds on her

Child,

of St.

College

one of whom, in

front, rests

one

that lies at the Virgin's feet ; the

extended towards the Child ; beyond this shepherd is another, partly bald, with his hands crossed on his breast ; behind these, on the left, a young woman with a basket of eggs thrusts a child foris

ADORATION OF SHEPHERDS. ward

into the scene

behind the

in the centre,

;

with his hands crossed on the top of his tre

Seven

above.

One

figures, life-size.

staff;

crib, St. Joseph stands, two cherubs in the cen-

2.77X1.81. See No.

of the altar-pieces painted for the Capuchin Church.

Photographed by

165

LAURENT, Madrid, No.

18.

792.

ADORATION OF SHEPHERDS. Vatican, Rome. A of the above, reversed. The composition is spread out in

119. tion

and shortened

at the top,

where the cherubs are omitted.

Photographed by ALINARI, Florence, and by A. BRAUN,

ADORATION OF SHEPHERDS.

120.

ford House, London.

7X5

sketch,

repeti-

width,

Life-size.

Paris.

Duke of Sutherland, Stafsomewhat resembling No. 118.

inches.

ADORATION OF SHEPHERDS. Museo del Prado, Madrid, The Virgin, kneeling on the left behind the crib, holds the head

121.

859. of the Child Jesus on her right arm, and raises with her left hand the linen that covers him St. Joseph stands behind in the centre, with his hands crossed on the top of his staff; in front a shepherd kneels on both ;

knees, joining his hands before his breast in adoration

on the ground before

him

;

on the

right

woman

lie

and a man leading forward a lamb by a rope ruins of a temple Five figures. Second manner. the background. 1.87X2.28.

eggs, in

two fowls

;

with a basket of

;

This

may be

the Nacimiento del Cristo,

which was purchased by Carlos

III. in

It was taken to Paris by the French, restored in 1816, and the Quelly collection. placed in the Academy of San Fernando, whence, in 1829, it was transferred to the Museum. One of the Shepherds is from the same model as one of the beggars in

No. 273. Lito.

HUVERT, line, 16.8x20.6, at Calco. J. LAURENT, photograph, No. 7.

ADORATION OF SHEPHERDS.

122.

363.

Xacional.

the extreme

at his feet, holds

left

up the

the Child

breast;

in the

nearly touches a

foreground

lamb

Hermitage, lies

linen that covers

tre of the composition, stands St. is

that lies

P. F. FEILLET, litho., in Col.

St.

naked on a

him

;

Joseph with

Petersburg,

crib

;

behind her, his right

the Virgin, in the cen-

hand on

his

a kneeling shepherd, whose left hand before him ; behind and beyond him is

MURILLO.

166

woman

an old

with her hands crossed on her breast; behind the

two shepherds, one of them with a staff; above the Child's head the heads of an ox and an ass are seen.

woman, on Seven

the right, are

figures.

From

the

manner.

First

Houghton

VAL. GREEN, mezzo.,

123.

1.96X1.47. Appraised by West and Cipriani

Gallery. 1

7-8x

13.9,

775, in the

Houghton

ADORATION OF SHEPHERDS.

Sir

Gallery, vol.

600. plate 24.

Richard Wallace,

In the centre, on a square crib, of which the comer is seen in front, lies the naked Child with his head towards the Virgin, who kneels, holding the linen with both hands; behind and above Bart., London.

Joseph bends forward with a staff in one hand, the other is extended towards the Child ; opposite to them a shepherd kneels, with clasped hands another stands, leaning on a staff; and a third, in her

St.

;

the foreground, kneels, with his

with

lies

its

legs tied

;

basket of doves; in the corner above.

for

58x85

hand on the back

of a sheep which forward on the right, with a the head of a dog; two cherubs

woman comes is

inches.

From the Boursault collection, which was purchased in 1839 by Mr. Artaria Edmund Higginson. Sold in Saltmarshe sale, June 4, 1846, for .3,018 15^.,

Manchester Exhibition, 1857. to the Marquis of Hertford. This is probably one of the pictures brought by Mr. Irvine from the Capuchin Convent at Genoa. See No. 13. It was valued at 800, and was retained by Mr.

Champernowne, who exhibited it at nowne Collection was sold in 1820.

124.

ADORATION

The Champer-

the British Institution in 1819.

SHEPHERDS.

Hermitage,

St.

burg, 364. Probably a sketch for the above. 43X.6i. Purchased in 1834, at Cadiz, by M. de Gessler, Consul-General Adoration of 1243. Dr. De Mey. Shepherds. Exhibited at Leeds, 1868. I24b. M. Dupille sale, by Remy, Adoration of Shepherds, Paris, 1780. 5

X 73 1240.

inches.

Bonnemaison

sale, April 25, Virgin, kneeling at the foot of a crib on which the Child lies on a

1827.

little

him

The

and shows Joseph and the shepherds, one

straw, raises the linen

to St.

whom

his breast in adoration

Peters-

to Spain.

kneels, with his hands crossed

; another, also kneeling, offers a lamb which lies at his side ; a third bends forward with respect ; a woman bringing two doves leads

forward a young

54X78

inches.

girl ; angels above. 20,800 francs,

1246. Aguado sale, 1843, No. 75. Adoration of Shepherds. Eight figures, Style of Ribera.

.32X.4O.

690 francs.

FLIGHT INTO EGYPT. 1246. of

Aguado

No.

sale.

Adora-

79.

Shepherds. Thirteen figures, .6oX-44. 1,705 f. including cherubs. tion

I24f.

W. Buchanan

sale,

Adoration of Shepherds.

^S 2

The

auctioneer said 2,000 guineas had been offered for this picture

Marquis de Saint Clou

124!.

April II and 12, 1864. Adoration of Shepherds.

and refused.

sale,

Fe'ral, expert.

720 francs. Adoration of Shepherds. "From

1 24k.

I24g. Gen. John Meade sale, 1847. Adoration of Shepherds. 7 17^. 6d., to Sudlow.

125.

Brett sale, April 18, I24h. J. Adoration of Shep1864, at Christie's. herds. 11. to Sir J. C.

1846. -

I6 7

Sold

collection."

Brackenbury June

Christie's,

^32 nj-.,toEv-

3, 1871.

erard.

ADORATION OF KINGS. Duke of Rutland, Belvoir Castle, The Virgin, nearly full length, standing on our right,

Leicestershire.

holds the Child on a box which

supported on trestles;

St.

Joseph

stands behind her; in the centre foreground kneels one of the kings,

held by two pages; beyond is another in white robes, holding vases on his right is a third in white turban, and

whose yellow mantle

;

two

children.

Eleven

figures, life-size.

About 6X5

early work.

feet.

1253. Dulwich Gallery, 312. Adorof Kings. The Virgin, seated, holds the Child on her lap, fully draped ation

;

before her are two kings bearing vases behind her stands St. Joseph. 13X10 ;

inches.

I25f. Sale,

Hermon. sition life.

now to the School of Murillo. I25b. Viscount Stratford de Redclyffe sale, June 29, 1878. Adoration of

Church of Sta Maria, Medi-

na del Rioseco.

xii.

Nativity.

large

122.

small.

by Mr. Strubing. 126. Virgin,

June

I25g. Sale,

to the above.

1815.

Nativity.

I25h. Chevalier Sebastian Erard

London, 1833. The Virgin, kneeling in the stable, holds the Child in her arms ; St. Joseph advances from the rear with a lantern

^418

FLIGHT INTO EGYPT.

mounted on an

the Child,

who

lies

125!.

ass

three angels above the

Louis Philippe

165 (150).

(Drax).

Nativity.

Stirling,

No. H2kk,

for

subject in the

19^.

;

Child, and a fourth above the landscape. 77X44 inches. ,15811.?.

Comte

Romre". Nativity; Brussels Exhibition, 1873. 1256. Sale, March 14, 1791. NativPurchased from a convent in Spain ity. I25d.

Companion

sale,

oblong picture, possibly by Tobar. Dirty, and badly placed. Ford, Handbook, 559. Ponz,

by Mr.

38 '7*

but

I25C.

1813,

13,

grand compowith figures rather smaller than ioj. Also Presentation in ";T,

the Temple.

Formerly attributed to Murillo,

the Magi.

April

Nativity.

Duchesse de

which walks

on her lap with

his

iii.

sale, 1853,

No.

-59X.8o. ^21. See also 1427.

another picture of this

same

collection.

Galliera,

The

Paris.

to the right, regards tenderly

head on her

right

arm

;

St.

MURILLO.

168

Joseph, wearing a broad-brimmed hat and a mantle, walks, assisted by his staff, at the head of the ass and guides the animal by a rope; a pack is bound to the saddle behind the Virgin ; a night scene. The

landscape discloses an arid country with a tree on the manner. 2.12X1.66.

First

left.

La Merced Cahada, now the museum at Cean Bermudez, Carta, 55, and Die. ii. 59. Ponz, ix. 107. The picture was captured by Soult and sold at his sale for 51,500 francs. It is understood that the Duchesse de Galliera proposes to present her choice collection of paintings to the Painted about 1648 for the convent of

Seville.

city of Paris.

Outline in Reveil Musee, and in Musce Religieux.

FLIGHT INTO

127.

The

Park, Herts.

Mrs. Culling-Hanbury, Bedwell

EGYPT.

Virgin, seated on an ass, looks tenderly on the

whom

she holds on her lap, wrapped in swaddling clothes ; St. Joseph, in a brownish yellow cloak, guides the ass with his right hand, holding his staff over his shoulder with the left. sleeping Child

82X64

inches.

For the history of noisseur, 1766, vol.

128.

14.

Royal Academy, 1871.

Exhibition, 1857.

The

see No. 45. Mentioned in The English ConManchester British Institution, 1821, 1845, 1862.

work

this

FLIGHT

INTO

Pesth Gallery, Hungary,

EGYPT.

692.

Virgin, seated on an ass which walks to our right, regards ten-

who

hand, his breast supported by her beside the right hand ; St. Joseph, with a wallet on his back, walks ass on the left, clasping his cloak to his breast with his left hand, and derly the Child

bearing a

sits

on her

staff in his right

;

left

above are two cherubs on the

a broken landscape with a tree on the background First manner. size. is

Formerly C.

129.

left.

The

right.

Half

life-

in the gallery of Prince Esterhazy, at Vienna. etch., in Landes Gemaldc Galerie in Budapest.

RAUSCHER,

FLIGHT INTO EGYPT.

Hermitage,

St.

Petersburg, 368.

The Child is in a repetition of the above, with slight differences. arm the on the of Virgin ; the cherubs reclining position, with his head are on the

rower.

left,

instead of

on the

right,

above, and the canvas

nar-

REPOSE IN EGYPT.

169

From

the Houghton collection. Appraised by West and Cipriani at ^300. SPILLSBURY, mezzo., 11.5x7,111 the Houghton Gallery, London, 1788, vol.

plate 45. sale, Vienna, 1293. Sedelmeyer December 20, 1872. The Virgin, wear-

ing a broad-brimmed hat, white robe, and blue mantle, with a staff in her right

1290. Earl of

Mulgrave

sale,

April

The Flight, 1838, at Christie's. with a choir of angels in a grand land7,

^42.

scape.

There was another Earl

hand, holds one hand of the Child, who extends his other hand towards St. Jo-

of Mulgrave sale, May 12, 1832. I2gd. Sir J. M. Brackenbury sale,

seph; behind is a troop of five maidens in white; all walk to the left. -5OX-64.

1848. Christ

8,600 francs.

Emmaus.

E. BOILVIN, etch., 3.8x5, in the Sedel-

meyer

sale catalogue.

130.

The

Nearly life

Flight.

REPOSE

size.

EGYPT.

per.

walking

These pictures were sold

for

Disciples

17,

Marquis Du Blaisel The Flight. On 1872.

Hermitage,

the bridle of the ass

;

St.

Petersburg, 367.

left,

hat.

Landscape background.

and a broad-

1.36X1.75.

I n '^ e Munich Gallery by Remy, 17,535 " v picture by Tobar, which has been lithographed by Piloty. J. WALKER, mezzo., 18x23, inscribed in Russian and English.

Gaignat

131.

sale, 1768,

outline in Description de

REPOSE

r Hermitage,

EGYPT.

From

T. Baring.

parte sale, GHIGI,

132.

May

This

a similar

SANDERS,

2 vols. 410, 1805.

Earl of Northbrook, London.

About 38X48

repetition of the above.

who

stand two cherubs ;

the foreground, on the right, are a bottle, a pack,

brimmed

cop-

Joseph stands on the right, holding

beside the Virgin, on the

;

sale,

f> 6s.

Virgin, seated before a tree in the centre, watches the Child,

sleeps on a rock by her side

^63.

May

Companion

Flight. his

each to Sir E. B.

ioj.

I2ge.

I2gb. Sale, April 13, 1813, by Her-

mon. The

The and

inches.

Lucien Bona-

believed to be the picture sold in the

^80. Mentioned in Buchanan, Memoirs, ii. 281. in Galerie de Lucien Bonaparte, London, 1812, plate No. 109.

14, 1816, for

etch.,

REPOSE

Court, Somerset.

EGYPT.

Sir

Philip

Miles,

repetition of the above.

50x67

Bart., Leigh inches.

Exhibited at the British Institution, London, 1821.

JOHN YOUNG, 133.

etch., in the

Miles Gallery Catalogue, plate No.

REPOSE IN EGYPT.

the above.

37^X48^

Glasgow Museum.

repetition of

inches.

Presented in 1855 by A. McClellan, the founder of the

12.

Museum.

MURILLO. 134.

REPOSE IN EGYPT. Earl of Strafford, Wrotham Park, The Virgin, seated in the centre, adores the Child, who

Middlesex.

looks up to her from her lap

on the

;

left, St.

Joseph, holding the

ass,

on the ground, between the Virgin and St. Joseph, are a gourd bottle, a straw hat, and a bundle on the right are two cherubs in adoration three cherubs above, one of whom is hanging a curtain between two trees as a screen mountains in the background. is

also adoring

;

68x63

inches.

Mentioned by Waagen, iv. 320. Exhibited at the British Institution, 1857. [Buchanan mentions a Repose, with angels, from- the Capuchin convent at Genoa, sold to Walsh Porter' for ^800. See ante No. 13. At Walsh Porter sale, April 14, 1810, was a Repose: two angels approaching with linen ; St. Joseph with the ass in the foreground a group of young angels above bear up drapery which is attached to a branch of a tree and forms a shelter for the principal figures ; a mountainous distance. From the Capuchin It was convent, Genoa. ji,ooo. ;

sold again April 13, 1813, for ,590.

Davies (Murillo, sale, to

p. xc.) as

Mr. Byng.

Perhaps the same picture is referred to by having been sold "a few days ago" at C. Johnson

Repose was exhibited

at the British Institution,

1816 and

1840, by G. Byng, perhaps an ancestor or relative of the Earl of Strafford. these notes refer to the picture above

described?]

1343. Carmelitas Descalzos, MadUn Descanso de nuestra Senora.

rid.

small sketch, which seems to be by

Murillo. Ponz, v. 252. Cean, Die.

ii.

63.

1340. G. J.

The Riposo. I34d. Sir

May 26, 1848. Repose

I34b. D. Joaquin Saenz y Saenz. Repose of the Virgin, Child, St. Joseph, and St. Joachim. From the Prince of

ited a

the Peace. Tubino, Murillo, 183.

tion, 1835.

135.

HOLY FAMILY.

Cholmondely sale, 1831. ^59 17.1. J. M. Brackenbury sale,

Again

IDS. <-,

;

a sketch,

los.

Auldjo sale, July 14, 1859, Sir J. M. Brackenbury exhib-

Holy Family

at the British Institu-

National Gallery, London,

13.

The

Child Jesus, standing on a pedestal in the centre, gives one hand to the Virgin, who is seated on his right, the other to St. Joseph, who kneels on his

left holding lilies ; the Father and the Dove are seen with three cherubs on each side. above, 114X82 inches.

In the house of the Marques del Pedroso is a large picture of about six varas, with Jesus, Mary, and Joseph ; and above, the Eternal Father and the Holy Spirit with a glory; an admirable work." Palomino, iii. 422. "At the same time [i. e., when he was at Cadiz, shortly before his death] he painted the celebrated picture of Jesus, Mary, and Joseph of which Palomino speaks, and which is now in the house of the Marques del Pedroso, in Seville. It is four varas high and three wide, and was appraised in Cadiz, February 22, 1708, at 800 dollars, when it formed part of

HOLY FAMILY.

171

Marques D. Carlos Francisco Colarte." Cean Bermudez, Die. Mr. Buchanan says he employed Mr. Campbell to go out to Cadiz during the war in Spain [about 1810] for the purpose of acquiring some fine pictures by Murillo which were at Seville, one of which, a picture of the Virgin, the Infant Saviour, and St. Joseph, Mr. Campbell obtained through a relative of his in that This capital picture was in the possession of T. B. II. Owen, Esq. country. the succession of the ii.

57-

Memoirs, ii. 202. The painting was purchased from Mr. Owen in 1837 with Rubens' Brazen Serpent for .7,350 for the National Gallery. Cean Bermudez (Die. iv. 278) mentions an old copy formerly considered an original, belonging to D. Francisco de Bruna, at Seville, painted by Josef de Rubira, one of the most skillof the copyists of Murillo. In 1846 some clergymen of the Church of England requested the Trustees of the National Gallery to receive a deputation for the purpose of stating their objections ful

to the representation of the Eternal Father in some of the pictures of the gallery, but the trustees declined to listen to them. petition was then prepared for presentation to the House of Commons praying that certain pictures might be removed as being " blasphemous and insulting to our holy religion, and direct breaches of

commandment." The petition was transmitted to a large number of the clergy for signatures, accompanied by a wood-cut of this picture. See Edinburgh Review, No. 173, p. 208. Art Union, August, 1846. the second

There are I. Epreuves de remarqite, with line, 22.7x16.3, 1851. the branch held by Joseph, fifty copies. II. Artist's proofs, one hunIV. With outIII. With artists' names only, one hundred copies.

BRIDOUX, white

lilies in

dred copies.

line letters, fifty copies.

McRAE,

20x15. 1353. sale,

V. With open

24X 18, New-York,

W. FRANQUINET,

2,020

francs.

the

The same sale, 1869,

VI. With finished

letters.

MARIN LAVIGNE,

10,000

francs.

I35b.

highly finished sketch of the

above was purchased from D. Francisco de la Barrera Enguidanos, and afterwards sold by D. Julian Williams to some English collector. Stirling,

HOLY FAMILY,

JOHN litho.,

about 25x17.

litho.,

finished sketch

Benjamin Delessert

136.

letters.

the Father omitted.

Marquis de Forbin Janson

1842.

above.

line,

The

Trinity.

iii.

1425.

Martin Colnaghi, Esq.,

In the centre the youthful Saviour gives his right hand to the Virgin, and his left to St. Joseph, who holds lilies; all are heavily

London.

draped, and stand on a tesselated pavement

Saviour are seen the Father and the female figure adoring ; above

St.

;

Dove

above the head of the ;

above the Virgin

Joseph an angel

;

many cherubs and

heads in the clouds. Landscape background. 2.22X1.42 centimetres. Standish sale, 1853, No. 118. La Trinite. ^89 5.?. Praised by Sir E. Head, who saw it in the possession of Don Julian Williams at Seville. Handbook, 163. "

Interesting as a specimen of the early style in which Murillo painted before he to Madrid, and the influence of his first master, Juan del Castillo, can be

went

traced." Stirling,

iii.

1424.

MURILLO.

1/2

HERMANN

EICHENS, litho., 20.4X15, inscribed La Stc Famiglia.

PRAT.litho.,

IIX8. 137.

HOLY FAMILY.

Museo

del

Prado,

854.

seated in a chamber, supports the Infant Jesus, right holding a goldfinch, with floor before

him

;

winds yarn from a

Joseph,

stands at his

which he amuses a dog seated on the

the Virgin, on our reel.

who

St.

observes them while she

left,

Second manner.

1.44X1.88.

Called Sacra Familia del Pajarito, from the bird, or del Perrito, from the dog. From San Ildefonso. It was taken to Paris by the French, where it was some-

what injured by cleaning and repainting,

especially the

dog and the

face of the

The canvas has been cut down at the top and sides. B. GALLART, line, J. A. S. CARMONA, line, 12.8x15.3, at Calco. Nacional. 7.6x10.7, Madrid. B. MAURA, etch., at Calco. Nacional. Luis ZOELLNER, litho., A. LEMOINE, litho., in Joyas Pint. J. VALLEJO, litho., 12.5x14.9. in Col. Lito.. Virgin.

Outline in Rveil Afusfa, and in Musee Religieitx. There is, in the National Library, at Madrid, a very scarce line engraving by M. S. CARMONA, of St. Joseph and the Child. The figures are similar to those in the above picture, but the Virgin ter's bench, plane, and saw.

138.

omitted, and her place

HOLY FAMILY. Hermitage, 369.

St.

spectator, with the Infant Jesus in his arms

arms towards

his

Mother, who, seated on the

;

occupied by a carpen-

Joseph stands facing the the Child stretches both

left

on a chair which

not

seen, extends her arms to receive him ; a long piece of linen is in her lap, the end of which falls into a basket at her right ; beyond the Virbehind St. Joseph an arch and gin is a curtain partly filling an arch ;

two caqjenter's benches with a saw leaning against one of them in a chair is seen between the Virgin and front is a straw basket of tools ;

;

Joseph. .23 X.i 8. Due de Tallard sale, 1776, No. 128,802 liv., to M. de Thiers. " C'est le plus joli morceau du monde; il est vigoureux de couleur et tout esprit. Quand il On a sera remis en estat, et cela ne sera pas difficile, on m'en dira des nouvelles. St.

cru que

planche sur laquelle il estoit peint estoit fendue, et on ne s'est aper?u une feuille de papier; ainsi la pretendue dommage ne porte que

qu'il est peint sur

sur la planche ou vols. 8vo.

est colleV' Marietta, P. J. Abecedario, iv. 24.

Paris, 1857, 6

This picture did not form part of the Crozat collection, which was purchased in 1771 by the Empress Catherine IL, for 460,000 liv., as it was not acquired by M. Crozat at the Due de Tallard sale until 1776. "A Monsieur Crozat, Baron de reversed. J. B. TILLIARD, line, 9.3X7.2,

Grav6 d'apres le tableau original de Morillos haute de 8 pouces 9 lignes sur 6 pouces 8 lignes de large qui est dans son cabinet."

Thiers.

HOLY FAMILY.

173

[The famous Crozat Gallery was formed by M. Crozat, who died May 24, 1740, when his works of art descended to his nephew and heir, the Marquis du Chatel. The Marquis died in 1750, when the Crozat collections were divided into three parts.

The

first part,

consisting of two hundred and forty specimens, appears to have

been sold in 1751, in the sale of pictures, sculptures, etc., from the cabinet of the late President Tugny, and that of M. Crozat. The second part was bequeathed by the Marquis du Chatel to his younger His pictures brother, Lonis Antoine Crozat, Baron de Thiers, who died in 1771.

were sold the same year

to the

Empress of Russia, and many of them

are

now

the Hermitage.

The

third part was bequeathed by the Marquis du Chatel to his daughter, Honorine, who, after her father's death, married the Due de Choiseul. These pictures were doubtless included in the Due de Choiseul sales, April 6,

Louise

1772; December 18,1786; and December 10, 1787. There were the following Crozat sales :

1741. Description sommaire des dessins des grands maitres d Italic, des Payset de France, du cabinet de feu M. Crozat. Avec des reflexions sur la manicre de y

Bas

dessiner des principaux peintres. Par P. J. Mariette, 1741. Svo. A copy of this very rare sale catalogue, with prices and purchasers' names, sold at M. Reiset sale, 1879, for

215 francs.

There was also published a description by Mariette of the Crozat Engraved Gems, which were afterward sold to the Due d'Orleans for 67,000 francs. Statues, busts, vases, etc. 1750, December 14, etc. Pictures and sculptures from the cabinet of the late President 1751, June. Tugny and that of M. Crozat. 1772, February. Engravings, vases, figures, etc., from the Cabinet of the late M. Crozat, Baron de Thiers. By P. Remy. In 1755 was printed a Catalogue des tableaux du cabinet de M. Crozat, Baron de Thiers, comprising about three hundred and forty pictures, pastels, and drawings, none of which were by Spanish masters, except one by Ribera. In the sale of the library of M. Reiset, April 15, etc., 1879, No. 465 was a manuscript inventory, made about 1742, of the pictures, drawings, engravings,

and bronzes of the Marquis du Chatel, by Pierre Tricher, 303 pp. folio, containing a description of about four hundred and fifty pictures, with their proi>cnance, cost, and valuation. This important manuscript sold for 2,900 francs to M. Gaucher.

139.

HOLY FAMILY.

Rev.

seen in profile,

Thomas

Staniforth, Storrs Hall, Joseph, standing on the right, and holds the Infant Jesus seated on his right arm ; the

Windermere, Westmoreland.

St.

Child stretches forth his right hand towards the Virgin, who, seated on left on a chair with square posts, extends her arms to receive him ;

the

behind

St.

Joseph, on the right,

an arch, carpenter's bench, and

MURILLO.

174 tools

between him and the Virgin

;

beside the chair Sir again,

a cat.

Lawrence Dundas

December

9, 1811,

81X66 sale,

^800.

a basket in the background ;

inches.

by Mr. Greenwood, May 29, 1794. ^135. Sold Mr. Staniforth's collection was formed by Mr.

Bolton. Waagen.

This picture was brought from Spain about 1760, by Mr. Blackwood, of Soho St. Francis, the Infant Jesus asleep, and St. Martin dividing his cloak, all by Murillo. They were purchased by Sir Lawrence Dundas, who placed two of them in his town house, and sent the others to Moor Park. Square, together with a

After his decease, the Earl of Ashburnham purchased the Mr. Agar, the Infant Jesus (No. 161), Mr. Thelluson, the St. *

St.

Francis (No. 301),

Holy Family, and the

Martin came into the possession of M. Desenfans.- See A descriptive catalogue * * of some pictures purchased for his majesty, the late King of Poland by N.

Desenfans, London, third edition, 1802, 2 Desenfans catalogue were exhibited and

vols. 8vo. for sale at

The

pictures

named

in the

No. 3 Berners

street,

but the

any of the works of Velazquez or Murillo now in the Dulwich Gallery. None of the pictures above mentioned were in the sale of pictures belonging to John Blackwood, by Mr. Langford, at the Great Piazza, Covent Garden, March 19 and 20, 1760. collection did not include

T. CHAMBERS, line, 17.8x14.5, 1764, published by Boydell, from the picture belonging to Sir L. Dundas. On wood in Knight, Gallery of English and Foreign Portraits, vol.

HOLY FAMILY.

140.

York,

iv.

182.

The

receive the Child

Metropolitan

;

St.

and holding the Infant left.

of Art,

New-

Joseph stands, bending slightly towards her, reclining on his hands ; a white dog lies on the

floor at the left of the Virgin

our

Museum

Virgin, seated on our right, extends her hands to

beside a basket of linen

Signed B ME Murillo f.

80X61

;

a curtain on

inches.

Purchased about 1835 from the Convent of Buena Muerte, Peru, by Joshua who sold it in 1843 to Henry Brevoort, of New- York, for $1,200. It was sent to London, where it was cleaned and relined, and afterwards passed into the possession of Mr. Brevoort's daughter, Mrs. Coolidge, whose nephew, John Jacob Astor Coit,

Bristed, presented

to the

Museum

in 1874.

HOLY FAMILY.

Sir Philip Miles, Bart., Leigh Court, The Virgin holds with her right hand the drapery of the Somerset. naked Child, who lies asleep on her lap, his face front, his right hand 141.

his breast, his left

on her knee

;

St.

the right; both look at the Child. inches.

Joseph stands beneath a tree on Three-quarters length.

42X38

HOLY FAMILY. Calonne 100,

.535

1/5

by Skinner and Dyke, London, March * * Mentioned in the catalogue of

sale,

lor.

23, 1795, fourth day, No. * [Calonne] sale, Paris,

Henry Hope sale, June 27, 1816, ^320 $s. Buchanan, Memoirs, Royal Academy, 1870. In the Henry Hope sale were two other pictures of this subject ; one sold for 68, the other for ^38 lox

April 21, 1788. i.

255.

1807,

line, 9.1X7.5, in Forster, British Gallery of Engravings, London, Etched in the Miles Gallery.

HEATH,

fol.

142.

HOLY FAMILY.

Earl of Northbrook,

Joseph stands on our

Hamp-

Stratton,

holding a rule and compasses; the Virgin, in violet and blue drapery, is seated on the left with the Child in her arms; at her feet is a basket of linen, and beside a shire.

St.

bench

a plane and saw

through an open window. Mentioned by

iii.

Stirling,

;

right,

three cherubs above

29X23

a landscape

seen

inches.

Waagen,

1425.

;

181.

iii.

British Institution, 1840.

In the Lapeyriere sale, April 14, 1817, a picture, the description of which corresponds with the above, sold for 4,000 francs.

[The collections of M. Lapeyriere were sold in consequence of the demolition of his hotel to give place to the street that bears his name. His gallery was formed by M. Quatre-Sols Delahante, a well-known picture dealer, afterwards Commissaire-

who greatly aided in The Lapeyriere sale,

Expert of the Musee Royal, of the

London

francs.

galleries.

Another

sale,

the formation of

April

14, 1817,

some of the best produced 31,228

April 19, 1825, realized 917,744 francs.

HOLY FAMILY. Duke of Devonshire,

Chatsworth, Derbyan adze a of on wood, turns to look at Joseph, using piece the Child lying in a cradle ; the Virgin, on the other side, observes 143.

shire.

St.

the Child

;

four cherubs in the

Mentioned by Waagen,

iii.

at the British Institution, 1837.

air.

One-third

life-size.

The At/ienteiim, September, 1875. Leeds Exhibition, 1875.

351.

Exhibited

HOLY FAMILY.

Henry G. Bohn, Esq., Twickenham, on our left, and St. Joseph, on our right, hold Virgin, the Child by the hands, and all, with bare feet, walk front ; St. Joseph has a flowering staff, the end of which touches the ground the Child 144.

Middlesex.

The

;

inclines his

head

heads in the sky. Hon. F. Byng

to his right,

;

the Virgin points to three

inches.

12X9 sale,

and looks up

Christie, July I, 1871.

17 17^.

MURILLO.

76 145.

HOLY FAMILY.

Earl of

The

Lothian, Perthshire.

Child,

of bread.

50^x64^

Mentioned in

146.

Stirling,

21X16

Stirling,

iii.

St.

reclines, eating a crust

Joseph

Artists of Spain,

Lord Heytesbury,

iii.

1424.

Wiltshire.

The

Vir-

Child in her lap, and St. Joseph standing near, is adored a greyhound lies asleep beneath a low arch.

by a kneeling prelate Full length.

;

Gosford Hall, East an Italian bambino,

inches.

Annals of the

HOLY FAMILY.

gin, with the

wrapped up

asleep in the lap of the Virgin

lies

Wemyss,

;

inches.

Purchased by the

1425.

Lord Heytesbury from a physician

late

in Lisbon, about 1825.

1463. St.

The

Joseph

;

young

Virgin, or,

Christ,

and

The Virgin and Joseph

and exquisite harmony ; the other, a St. Francis Xavier" [No. 308]. Anecstyle,

a picture conducting the Infant Saviour Purchased by of very fine character.

dotes,

Mr. Wallis from the

whether

mona.

St.

Jago palace; brought to England in November, 1809, and sold by Mr. Buchanan to Mr. Harris

Bond street, for ^2,000. Buchanan, Memoirs, ii. 222, 234. Palomino (iii. 421) describes a picture which belonged to D. Jose Francisco of

Eminente, and afterwards

D. Fran-

" el Artier, representing glorioso Patriarca San Joseph, con el niiio Jesus de la mano, y arriba un rompimiento

cisco

de gloria." Davies (Murillo, Ixiii. note) says the painting described by Palomino

was purchased from the Marques de Santiago by Mr. Wallis, and sold by Mr. Buchanan. Cumberland mentions " two full-length pictures in the Santiago palace, companions in size and excellence,

superior to all the works of this author in the royal collection,

which are

and which no stranger of taste, who visits Madrid, should

fail

to see

;

the one, a

Joseph leading by the hand a Christ of the age of eight or ten years, and St.

overhead a

glory of

background

Cherubim

landscape

;

the

a grand

126.

ii.

The

fate of the

not known, nor

picture

Santiago

is it

certain

was composed of two or three figures. See No. 358 and No. 234. i46b. Carmelitas Descalzos, CarJoseph holding the Child in

his arms, while the Virgin covers

with linen Die.

ii.

;

him

attributed to Murillo. Cean,

63.

The Infant 1460. HOLY FAMILY. Jesus stands in the centre, robed in white, with bare

feet, his

head surrounded by a

glory ; he looks up and points to a Dove in the clouds above his head ; St. Joseph, right, leaning on his staff, and the Virgin, on our left, both look down, kneeling; rocky landscape, with a tree

on our

left. This picture is known only through the following engravings THOS. BURKE, mezzo., circular, 12.5 diam. London, 1788. MAGGI, litho.,

on our

17X13.2, circular in a square border. GABRIEL, litho., 12x12.5. H. BRUNET ET ClE., Lyon, 10X13, reversed, and

Dove omitted. EMILE LASALLE, litho., Paris, 1853. The head of Jesus only. A study from the

the above.

HOLY FAMILY. I46d. HOLY FAMILY. Two cherubs hold a scroll inscribed Ex EGYPTO vocAVl

FILIUM MEUM.

Knee-piece.

Spurious.

15.5x12.1. "Ex Friderici Caroli Com' Schoen-

JOHN MILLER, collerl:

line,

Published by Boydell, 1773, and dedicated to William Fitzherbert, Esq. born."

The

pictures of

Count Schoenborn, of

Pommersfelden, were sold at Paris, May 17, etc., 1867, but this picture did not appear in the catalogue. There was * * another sale of Comte de L (Lepine), April 15, 1868, of pictures not dis-

posed of 1466. learning

in the

above

sale.

Haro, expert.

Copenhagen Museum. to read. 2OX 16 inches.

I46f. Stafford

House,

Jesus

London.

Holy Family, with the globe, serpent, and apple. Mentioned by Waagen, ii.

such picture by Murillo in Stafford House.

68.

now

From

Holy Family.

Rio Frio. Tubino,

the palace of

147.

St.

HOLY FAMILY AND

Joseph

ST.

Brit-

ish Institution, 1819.

Lionel

146!. Sir

Family and Angels

Hervey. on stone.

;

Holy British

Institution, 1823, 1835.

I46k. Mrs.

Myles Formby. Holy

British Institution, 1855.

Family.

146!. H. Williams. British Institution, 1862.

Holy Family.

Aguado sale, 1843, No. 52. Joseph and the Virgin admire the Child sleeping on a couch background, 146111.

St.

;

i.ooX.So.

a red curtain.

No. 722. Holy Family. 820 crowns. 118.

Child in left,

of Holland sale, 1850, Joseph stands with the the Virgin, on the his arms ;

Not

2.11X1.64.

Madrid.

4,450

sold.

John Hardwicke Holy Family,

19, 1856.

JOHN.

1845. inches.

St.

observes him.

I46q.

sale,

20X15

King

I46p.

No.

1,050 francs.

Fesch

i46n. Cardinal

From

a sketch.

86.

I46h. Sir H.Wellesley.

presenting the Child to the Virgin.

florins.

1465. Jorge Diez Martinez, Valencia.

177

the

in a

royal

sale,

June

landscape

;

palace at

British Institution, 1840.

The

Virgin, wearing a close-

her right arm, and a scarf that falls fitting robe, a mantle that covers and arm, stands on the right, shoulder her left from her head over raising the drapery that covers the Infant Jesus,

who

lies

asleep on a

rock by his Mother's side, with his face turned front, his right hand on his breast, and his left on the rock ; the Virgin's left hand rests on the pillow beneath the Child's head

;

on the

left

clasping with both hands a reed cross to which

in front, stands St.

John

attached a parchment band inscribed Ecce Agnus Dei ; beypnd him stands St. Joseph with both hands on his breast, the left holding the thick mantle that is

Landscape background, envelopes his body ; all look at the Child. with a great rock and a tree on the right. Three-quarters length. A. L.

line, 13.3X14, Paris, 1797, at Calco. Nacional, Madrid, from inch wide, and 3 feet 10 inches high, which was in the Royal

ROMANET,

the original, 4 feet Palace at Madrid. 23

MURILLO.

1/8

Cean Bermudez (Die. ii. 64) mentions two pictures of La Sacra Familia, which were, when he wrote, in 1800, in the Royal Palace. One of them is now in the Museo del Prado ; the other, doubtless the composition above described, has disappeared. This last picture was admirably copied by Tobar, and Cean describes it

as la Virgen, S. Josef, el nino Dios, y S, Juanito. Diccionario, v. 50.

HOLY FAMILY AND

148.

Lord Heytesbury,

ST. JOHN.

repetition of the above, but reversed and circular.

Wilts.

Diameter 45

inches.

Purchased from a picture dealer

HOLY FAMILY AND

149.

in Lisbon,

who procured

from a convent in

British Institution, 1865.

Spain.

Lord Overstone, London. some changes the Child lies on a head does not rest on a pillow; St. Joseph's hands ST. JOHN.

repetition of the above, with

stone slab, and his

are joined in adoration. Purchased

;

wood,

circular.

Diameter

inches.

Mentioned by Waagen, Art Treasures of Great Britain,

1831.

iv. 146.

HOLY FAMILY AND ST. JOHN. Lincolnshire. On the altar in

150. Castle,

Virgin, seated little

form

holds the Child,

standing in the centre

to the

in the

left,

of Rutland, Belvoir

who

composition

background.

Brought

;

the figure of St.

behind the group, gives a pyramidal

on the

grand

The

embraced by the

John standing on the ground before them

St.

Joseph,

on our

Duke

the chapel of the castle.

right

altar-piece.

a lamb

;

landscape and sky

Life-size.

England, about 1729, by Colonel William Stanhope, afterwards his embassy to Spain. Mentioned by Davies, Considered by Dr. Waagen one of the finest Murillos in all Eng-

Lord Harrington, on returning from Murillo, land.

xci.

Art Treasures,

151.

iii.

402.

HOLY FAMILY AND

ST.

JOHN.

Pesth Gallery,

687.

The

seated, sewing, before some buildings on the left with her needle raised, she suspends her work to observe the Infant Christ and

Virgin

;

who

are seated in front with a reed cross

St. Joseph, hold; stands at the bench on the ing compasses, carpenter's right ; behind him is a landscape ; in front lies a saw. Half life-size.

St.

John,

From 59.

the Esterhazy Gallery.

.29X.23-

RAUSCHER,

copy was probably in the Aguado

350 francs. etch., in

Landes Gemalde Galerie in Buda-Pest.

sale,

No.

HOLY FAMILY AND

ST.

JOHN.

179

HOLY FAMILY AND ST. JOHN. Sir Richard Wallace, London. The Virgin, seated on the left, supports the Child, Bart., who stands on the ground before her, and, who turning, offers her a 152.

which

scroll,

also held

by the

little St.

John, kneeling;

St.

stands on the right with an open book, which rests on a rock.

scape background.

Full-length,

may be

this

Perhaps

Joseph

Land-

life-size.

W. Hope

the picture sold at

sale,

June

15, 1849,

,819.

Exhibited at Manchester, 1857.

CALDESI, photo.,

Manchester Art Treasures.

HOLY FAMILY AND

153.

ST.

Edmund

JOHN.

A repetition

Clewer Manor, Berks.

of the above.

Foster,

Esq.,

46X4314

inches.

Exhibited by Admiral Eliab Harvey at the British Institution, 1819. It afterwards belonged successively to Lord Nugent and to Sir William Eustace, from whom Mr. Foster purchased it. It was not sold in the Clewer Manor sale, 1876.

HOLY FAMILY AND

154.

The Child

London.

who

John,

and

his

stands on the

arms around her neck; both look at holding a cross and scroll his right

left,

resting on the rock before him

hand

our right; landscape background.

13X13 On

1543.

the back

About 1668 he painted the

fa-

Virgen Nino, San

el viage a Egypto con el Josef y San Juanito, with figures the size

which

the sacristy of the

chapel of the Antigua in the Cathedral ; executed, with great boldness, after the first

style of the pictures in the small

cloister of the It is

Full length.

Octagon, on copper.

a paper certifying that this picture was presented, in 1809, by British Institution, 1821. Praised by Davies, Murillo,

picture, del descanso de la

life,

;

Joseph stands in shadow on

Lord Holland.

en of

;

St.

inches.

Jovellanos, to 62, note.

mous

Marquis of Lansdowne,

JOHN.

stands on the lap of the Virgin, with his right

foot in her right hand, St.

ST.

convent of San Francisco,

supposed he painted

to please the

that time."

in that

Mayordomo of the

manner fabric at

Cean Bermudez, Car/a

73, and

Description de la Catedral, 89. The picture is described by G. de Leon (ii. 92, as " La

Sma. Virgen con S.

Jose y

Nino en los brazos. Nino arrodillado

Bautista

presentandole a Jesus el Ecce Agnus Dei." Stirling (Annals, ii. 852) incorrectly describes this

pictures and the

work

as being

two

the Infant Christ and St. John, Repose of the Virgin,

I54b. Sir

Lawrence Dundas

by Mr. Greenwood, May 29, Holy Family and St. John. Four

sale, 1

794. half-

length figures. 31X37 inches. ,42. The same at a sale, February 27, 1802, from Dundas and Fonthill collections,

^99

15*.

MURILLO.

ISO

Baron M. de Faviers sale, 1837, No. I. Holy Family and St. John. Four figures, nearly life-size. 62X48

the sleep of the Infant watching Jesus, whom she is about to cover with linen drapery ; St. Joseph and St. John

1540.

Painted

inches.

observe the Child with veneration.

20,000

1665.

155. VIRGIN, CHILD,

Maxwell,

Bart.,

From

a palace near the Hospital of Charity, at

Baron M. de Faviers sale, Holy Family. The Virgin

I54d.

No.

about

Durand-Duclos.

francs, to

AND

ST.

William

Sir

JOHN.

Perthshire.

Keir,

Circular, .43 in. diam.

Seville.

4,605

f.,

to Billaudel.

Serrana.

Stirling-

The

Virgin,

seated on a bench, holds, with both hands, the Child seated on her lap,

and pointing

his left

to her

with his

hand

left

;

the Child

border and fringe like the Moorish

stuffs still

Spain; background, architecture.

64X44

St.

John stands on the

a bird in his right hand, and a reed cross in wrapped in a white cloth with green and red

at her feet, with

ground

worn by the peasants

inches.

1838, by J. M. Escazena, from the convent of Madre de Dios, Seville, where Murillo's daughter Francisca took the veil. Exhibited at Manchester, 1857. Tubino, 182. Waagen, iv. 449. Stirling, iii. 1423. altar-piece, purchased, in

[The

Escazena was once the largest in Spain, and conCount Raczynski, 3,000 pictures. Les Arts en Portugal, 490. ]

collection of Senor

tained, according to

1553. Earl

Bessborough

^43

at Christie's,

and the Saviour attended by lo

is.

156. VIRGIN, CHILD, ST. JOHN,

de Seville.

Louvre, Paris,

543.

St.

John,

who

AND

the right, supports

;

John

;

the Father

ST.

ELIZABETH.

;

St.

Elizabeth, kneeling

and the Dove are seen above,

;

Painted probably about 1670. made 1816 at 60,000 francs.

Vierge

a hillock, holds

surrounded by seven cherubs a lamb lies in the foreground. Bartholom. de Murillo F. Hispan. 2.40X1.90. tory

John.

the Child receives a reed cross

stands on the ground

St.

l6j-> to Stirling.

The Virgin, seated on

the Infant Saviour standing in her lap

from

M. Brackenbury sale, May 26, 1848. The Virgin

iSSb. Sir J.

sale,

London, February 5, 1801. The Virgin with the Child and St. John. Sold for

Purchased by Louis XVI.

Valued

Signed

in the inven-

BoiLLY, mezzo., 13.2X9.6. ALLAIS, mezzo., 20X15.2. Lithographs by A. LEMOINE, 13.5x10.5. BLOT, 8.9x6.7. KRAMP, 21. 5X 16. A. BRY, 17.6x14.2. H. ROBILLARD, 17.8x14.5. LAUJOL, 11.3x8.3. LLANTA, 7.2x5.9. A. MAURIN, 14x11. MAGGI, 15.2x11.4. MAGGI, lo.gx

WEBER, 11.3x7.6.

THE INFANT JESUS ASLEEP.

l8l

GEOFFROY, 12X9. On wood in by ROUARQUE, REGNIER, LEMERCIER, L. MAURIN, RICAUD, JOANNES, PRAT, LAFOSSE, LLANTA. CH. VALLET, 14x10.

8.4.

1563.

LAFOSSE, 14X9.6.

Variations or studies

Blanc, Peintres.

Y. Ottley

sale,

May

25,

Virgin, Child, and St. Anne. picture cut from its straining frame with a sabre, and rolled up. Soon after the 1811.

British gained possession of Cadiz,

was

brought to England by a gentleman in the British service. Evidently an altarI56b. Sir

in the

M. W. Ridley exhibited at

107, 258

;

ii.

I56d. J.

St.

Martin, Seville, and

400.

M. Escazena,

Virgin, and

St.

of Murillo in the foreground.

182.

standing at the foot

32X31

inches.

Supposed

be the picture formerly in

Blanca.

The

Seville.

John the Evangelist,

life-size, as if

of the cross.

the British Institution, in 1832, The Presentation in the Temple, with the portrait

157.

church of

sold to D. Juan Arrambide. G. deLeon,i.

Busts,

399-

piece.

1560. Presentation and Circumcision of the Nino in the Temple. Formerly

Stirling,

iii.

Tubino,

1420.

See No. 2270.

THE INFANT

naked Child

lies

JESUS ASLEEP. Earl Howe, London. The asleep on his right side, his face and body front, on

a drapery spread over a hillock which elevates the upper part of his body beneath his head, and behind his body is a cross, on the upper part of which his head rests ; his right arm is on a skull by his side, ;

his left

on the drapery that covers

on the ground behind

his left hip

;

his left foot is planted

above the Child, two hands joined in adoration,

his right; in the sky,

cherubs observe the sleeper, one with his the other with his right hand raised a hilly landscape and sky on the ;

right.

Exhibited at the British Institution in 1824 and in 1858. This is doubtless the picture mentioned in the English Connoisseur, i. 36, as being, in 1 766, in the possession of Charles Jennens. This gentleman, dying in 1773, left his possessions, by will, to the father

whose

of the

He was a cousin of William Jennens, been the object of such anxious longings in the two hemispheres who could trace a pedigree back

first

Earl

Howe.

vast estates have from time to time

to every man and woman to an ancestor bearing the

happy name of Jennens or Jennings. The estates of William Jennens also passed by succession to the family of Earl Howe, by whom they are

now

held.

A picture No.

20X16

inches,

in the

Dyce

collection,

South Kensington Museum, London. drawing in red chalk, washed with bistre and heightened with white,

centimetres,

M. Sir

similar to the above, about

41, in the

was

in the

CARMONA,

Standish collection, No. 427.

line,

7X5,

1806, scarce, after a picture similar to the above.

Stirling-Maxwell incorrectly says the original of this engraving See No. 159. picture in the Museo del Prado.

the

MURILLO.

182

THE INFANT JESUS

158.

don.

repetition of

of the cross

seen, the landscape

and the canvas

late

Only the upper part' no cherubs,

differences. is

different, there are

inches.

19X28^

oblong.

Purchased by the

Karl of Clarendon, Lon-

ASLEEP.

No. 157, with

when he was Minister

Earl of Clarendon

to Spain,

I833-39-

159.

The his

Infant Jesus, entirely naked,

head

skull

to the right

which

manner.

his left

;

behind him

;

del Prado, 886.

on a

cross,

his breast, his right

on a

his left side asleep

hand Js on

beneath him

Purchased by the King Carlos

Seville.

III.,

a red drapery.

from the Quelly

LAURENT, Madrid, No.

THE INFANT

tierrez,

Second

JESUS ASLEEP.

collection.

181.

Jose"

Morales y Gu-

repetition of the above, with the addition of a bit

of red drapery which

X33

lies

.63X.88.

Photographed by

160.

Museo

THE INFANT JESUS ASLEEP.

made

to pass

between the Child's limbs.

inches.

161. THE INFANT JESUS ASLEEP. Duke of Westminster, Grosvenor House, London. The Child lies on his right side on

a couch extended across the canvas, naked, except for a piece of linen that covers his middle beneath his head is a pillow; his -right arm is ;

extended forward,

his left

his head.

inches.

20X37

his side

;

a red curtain

looped above

Brought from Spain about 1 760, by Mr. Blackwood. It passed into the possesLawrence Dundas, and at his sale, May 20, 1794, was sold as a See 68, to Ellis Agar, from whom it was purchased in 1806. Sleeping Child, for No. 139. It is identical with a picture attributed to Antolinez, No. 397, in the sion of Sir

gallery of the Hermitage.

Etched by

162.

JOHN YOUNG

in the Grosvenor Gallery,

THE INFANT JESUS

erby, Hampshire.

The Child

52.

Earl of Normanton, Som-

ASLEEP. lies

No.

asleep on a white cloth.

Praised by Dr. Waagen, Treasures of Art in Great Britain,

163. Suefio.

THE INFANT JESUS The Child

lies

ASLEEP.

his right side

iv.

369.

Earl of Roseberry on a cross which

(?)

on a mar-

THE INFANT JESUS ASLEEP. ble slab

;

head

his

covers his middle

on a

;

enjoining silence

lips,

40^X49

pery.

pillow, his left

at his feet is a cherub, ;

arm on a who places

183 a drapery

skull,

his finger

his

two cherubs above cover the Infant with dra-

inches.

Exhibited at the Royal Academy, 1877, by Miss Hannah de Rothschild, now Countess of Roseberry. Purchased in Cadiz, about 1876, from Don Ruiz Blasco. In the Salamanca sale, 1867, No. 225, a picture which was perhaps a repeti-

1.04X1.16; from the gallery

tion of the above, attributed to the School of Murillo, of Monroy Cordova, sold for 2,300 francs.

1633. Cathedral,

Calices.

las

MurillO;

dormido. G.

Miirillo.

de Leon, ii. 97. Doubtful; mentioned by Ponz or Cean. i63b. Mrs. Sussex.

not

John Abel Smith, Dale The

Park,

Infant

Jesus

lies

asleep on a cushion with the cross. l6x 22 inches. Inherited by the Duchess of

San Fernando from her father Don Luis de Borbon, and sold by her to D. Jose de Salamanca, who presented it, in 1845, to Mrs. Smith. Stirling, iii. 1428. Un Nino Dios was formerly in the Real

Casa de Boadilla belonging to the Infant D. Luis de Borbon. Ponz, vi. 165. 1630. Comte Czernin, Vienna. Infant Jesus on a cross.

Duque de Uceda,

i63d.

The

Su-

perb. O'Shea, Spain, 302.

1636.

a private

March

Catalogue of 1815, of pictures

purchased in Spain in 1809-10. The Infant Saviour asleep. From the Prince of the Peace.

Captain Davies mentions an Infant Jesus sleeping, with his head on a skull ; very fine

;

belonging to Mr. Buchanan.

Afurillo, xci.

163!.

Dulwieh Gallery,

Infant Jesus

lies

naked on

330.

The

his back, with

his legs crossed, his left hand on his hip, his right on the pillow which is beneath his

head; a red curtain above. inches.

School

the

i63g. The Infant Jesus, surrounded by cherubs, reposing on a cross ; from the cabinet of Prince Carignan. 25x35^ Sold at a sale [Mr. Bertels ? ] March 4, 1791. ^63. Sold

inches.

at Christie's,

again, London, July 27, 1832. [There was also a sale at Bruxelles, January 20, f

'779i

pictures

Sieur

Clarke

and

belonging

Bertels.]

Simon

i63h. Sir

George Hibbert sale, May 14, 1802. The Infant Jesus lying on a cross. ^30 9-r.

to Harris.

1631.

Altamira sale, London, June The Infant Saviour Asleep.

i63k. E.

Higginson (Saltmarshe)

June 4, 1846. The Infant Jesus from Boursault reclining on a cloth sale,

;

Buchanan.

sale,

29, 1833.

Madrid.

Infant Jesus asleep on a cross.

now

but

Seville, Sacristia nifio

22^ X

Formerly attributed to

23^X26^

collection.

inches.

^74

I is.

Gen. John

163!.

Christie's,

June

26,

Meade

Jesus holding a reed cross. Norton. 163111. tie's,

W. Lake

April

1848.

sale,

The

sale,

The

1847.

Infant <)s.,

Chris-

Infant Jesus

sleeping ; his hand under his head resting on a skull, beneath which is a cross. Exhibited at the British Instil<) icjs. tution, 1838.

l63n. Louis

No.

71.

cross.

Philippe

sale,

1853,

Sleep of the Infant Jesus on a .27X-3331, to Drax.

MURILLO.

THE INFANT

164.

The Child

globe surmounted by a cross tion

;

Hospital de la Caridad, Seville. his left hand is on a

SAVIOUR.

stands front, on clouds, looking up ;

his right

arm and

bit of linen partly covers his left

heads beneath

his feet.

;

held forth as

his

if in

benedic-

middle ; three

inches.

36X24

Painted about 1661, for the Hospital of La Caridad.

ALPH. BOILLV, mezzo., 10.7x7.5,

See ante No.

1855, round top (Goupil).

FRENZEL,

litho.,

Berlin, 12.5X9.

THE INFANT

165.

tition of the

above

Bequeathed

About 40X30

Somers by the

to Earl

third

transferred from fresco to canvas. If so,

THE INFANT

166.

Manor, Somerset.

SAVIOUR.

The Child

Stirling,

iii.

sale,

Christie,

repe-

inches.

Marquis of Lansdowne.

the only known

work

It is said to

in fresco

by Murillo.

Claverton

George Vivian, Esq., is

hand, attended by three cherubs.

Henry Hope

Karl Somers, London.

SAVIOUR.

picture.

seated on clouds, with a cross in his

38X28^ June

inches.

Mentioned

10 los.

27, etc., 1816.

1428.

i66a. Hospital del Sangre, Seville, on the door of the Tabernacle. The Infant Jesus stands front on three winged heads his right hand is on his breast a drapery, falling from his left shoulder,

age, stands on a platform with his hands raised, looking up to the Dove.

covers his middle.

Christ with a cross in his

;

-33X.27.

Probably

by Tobar. Photographed by J. LAURENT, Madrid, No. 1064. i66b. Cabinet Fleury. L'Enfant a

Jesus

1'tipine.

Very

fine.

Lejeune,

CARAVELLI,

March

13-r.,

27,

p. 161.

i6Gd.

Paris.

;

a crucifix

^34

sale,

March

on a table covered

.24X.I9-

Stowe (Duke

i66k. sale,

Comtesse d'Espagnac,

hand.

1661. Aguado sale, 1843, No. 55. The Infant Jesus seated, and holding the crown

with red cloth.

Faucheux

left

Lord Kinnaird

i66h.

of thorns

d'Hautepool, Paris. Praised by L. E. Annuaire des Artistes, 1860,

Spurious.

The Infant Christ; 1813 (Christie). enriched with angels. ^8 los. dd.

The

Jesus.

12x8.4.

Fowler.

Guide, iii. 310. i66c. Comte

Child

line,

William Hamilton sale, 1801 (Christie). The Infant

i66g. Sir

Christie,

August

24th day, No. 391.

85 francs.

Buckingham) 15, etc.,

1848,

Glorification of the

Jesus, about twelve years of age, kneeling beside the cross and other instruments of

youthful Jesus. Companion to the Immaculate Conception. ^30 gs., to Ry-

the passion.

man.

.gox-70.

i66e. D. Jose"

Lerdo de Tejada,

Two

pictures of the Infant Christ. Tubino, 187. Sevilla Pinto, 481. Seville.

i66f.

The

Saviour, about ten years of

i661.

See No. 53.

Lord Northwick sale, 1859, The Infant Christ holding the 22 is., to J. S. W. S. F.rle-

No. 994. cross.

Drax.

CHRIST, THE GOOD SHEPHERD. 167.

Baron Rothschild, Gun-

GOOD SHEPHERD.

CHRIST, THE

nersbury, near London.

The

Saviour, about six years of age, wear-

ing a sheep-skin garment, stands front, looking up crook, and

at his right side

a sheep lying

down

;

in his right

65X42

This picture and

Guiche ber

March

sale,

18, 1779.

its

hand

his left are

sheep standing, his hand on the head of one of them.

background.

185

two

Landscape

inches. pendant,

St.

1771, 12,999

Citoyen Robit

sale,

John, No. 322, were sold in Cornte de la

liv.

May

iqs.

Marquis de Presle

21, 1801,

sale,

Novem-

" Ces deux chefs-d'oeuvre etaient

pour 25 anne'es dans le cabinet Presle. Us provenaient avant cette e'poque de la vente faite au palais de Lassay, ou Donjeux, le premier commerciant en tableaux de son temps, les avail acquis." 1.60X1.07. 40,650 francs. At the Robit sale they were purchased by Mr. Bryan for Sir Simon Clarke and George Hibbert, and in the division of the purchases at that sale they were valued to the former gentlemen at At Sir Simon Clarke sale, May 18, 1840, the pictures were separated; ^4,200. the Good Shepherd sold for .3,045 to Baron Rothschild ; the St. John was pur2,100 by Lord Ashburton, who ceded it to the National Gallery. is in the church of San Isidoro, Seville.

chased for

copy by Tobar British

Academy,

Institution, 1816, 1838, 1862.

Manchester Exhibition, 1857.

Royal

1870.

THOMAS MAJOR, 22. 6x 16, 1772. [This engraving is after apicture then owned by Major, supposed to be the original, but afterwards ascertained to be a copy by Grimoux. The copy was sold in 1 773 to the Duchess of Bridgewater, for ^400, and at her sale, in 1778, sold for ^500 perhaps bought in. Dallaway, Account of An etching after this copy Pictures Exhibited at the British Institution, 1813-23. but the picture is not engraved is in the Stafford Gallery, by J. Young, 2 vols., 410 in the Stafford Gallery, by Ottley and Tomkins, 4 vols. folio.] COOPER, line, 15.7 Xii. 2. MLLE. DUCLOS, line, 18x14, 1806. J. HEATH, line, 8.1x5.2, 1809, in G. VIRTUE, British Gallery of Engravings. J. C. ARMYTAGE, line, 8.6. X6. 1. R- GRAVES, line, 20.6x14, 1863. Also by LHUILLIER, SIMONEL, line, 7x5.5. BOVINET, etc. REYNOLDS, mezzo., 22.7x16.8. J. R. JACKSON, mezzo., i8_3X 13. CALDESI, photo. [The Comte de Lassay was a gay Lothario of the last century, whose love for art was only surpassed by his love for the sex. Among his conquests was that distinguished amateur, the Comtesse de Verrue, one of the most celebrated Aspasias of that age of pleasure and easy manners, who, dying in 1736, bequeathed to her lover " tous les tableaux qui, lors de mon deces, se trouveront garnir le mur entier de * * d'une fengtre a la dite galerie [sur le terrain des Carmes] oppose a la cheminee " The 1'autre. pictures so described were appraised at 46,000 liv. The Comte de Lassay was also a large purchaser at the sale of the Comtesse de Verrue, March 27, He died in 1750, and a part of his pictures were sold in the Grande etc., 1737. Salle des Marechaux in the palace of the Tuileries, May 17, 1775, but this sale is supposed to have included only those articles which formed the succession of ;

Madame de

Lassay.

The

greater part of his property, including pictures, passed

MURILLO.

186

Comte de la Guiche, in whose inventory, made about 1771, three by Murillo are mentioned, valued at 15,000 liv. Two of these were doubtGood Shepherd and St. John, which were sold in the Comte de la Guiche The third was probably the Flower Girl (No. 426), now in the Dulwich GalThis last is known to have been in the Verrue cabinet perhaps the two

to his kinsman, the

pictures less the sale.

lery. first

;

may

been

also have

in that collection.

note in Forster, Brit. Gal. of Engs.,

two pictures above named had been presented to the Marquis de Lassay when he was Ambassador at Madrid. The writer has not been able to learn that this Marquis de Lassay was ever in Spain. ] asserts that the

THE GOOD SHEPHERD.

168. CHRIST,

ford Hall, East Lothian, Perthshire.

Mentioned by

Stirling,

iii.

1429,

formerly considered an original. It

lowing sales:

was

17 probably in the

Lempereur

1773, 1,560

etc.,

Wemyss,

Gos-

repetition of the above pict-

and by Waagen,

i68a. Dulwich Gallery, 262. The Good Shepherd. A copy of No. 167, 12 inches.

Earl of

inches.

64X44

ure.

liv.

May

sale,

fol-

24,

Prince de Conti

sale,

April

iv.

cabinet, 1,401 sale,

438.

from

1777, liv.,

Remy.

by Re'my, April

25,

Prince de Conti, 1,299

l' v -

dergucht sale, March M. Beaujon. ^49 -js.

13,

Lempereur

Beaujon 1787, '9^-

from

Van-

1788, from

THE GOOD SHEPHERD. Comte Henri de GrefThe young Saviour, walking front, rests his hand on

169. CHRIST,

fuhle, Paris.

the head of one of two sheep that are on his right

;

his left is

another sheep, running ; a crook is in his left hand. Landscape background, with a tree on the left, and sky on the right. .56x.4i. Presented by Queen Isabella to M. Guizot in recognition of his services in Sold at bringing about the marriage of her sister to the Due de Montpensier. Alsace-Lorraine Exhibition, 1874. Paris, May II, 1874, for 120,000 francs. Photographed by A. BRAUN & Co., Paris, in Alsace-Lorraine collection.

THE GOOD SHEPHERD. Leuchtenberg Gallery, The youthful Saviour stands front, with a crook in hand, looking up his left hand is on the head of a sheep

170. CHRIST, St.

Petersburg.

his right

;

which stands beside him

Xi6

his right are

two sheep lying down.

inches.

M. [UXEL],

etch., in Galerie Leuchtenberg.

171. CHRIST,

The

;

THE GOOD SHEPHERD.

R. LEITER,

Museo

litho.,

15x10.

del Prado, 864.

Saviour, about seven years of age, wearing a red tunic and a

CHRIST, THE GOOD SHEPHERD. sheep-skin garment, with his feet and

crook

in his right

hand, his

left

leg bare,

on the back of a lamb

;

l8/

seated, with a

behind him

a rock, a piece of broken cornice, and a fluted column. from second to third style. 1.23X1.01. From Queen Isabel Farnese collection. Murillo is supposed

have been

indebted for this design to an engraving of Cupid by Delia-Bella, which found in an edition of the Metamorphoses of Ovid.

WALTNER,

etch., in Gaz.

A. LEMOINE,

Lito.

litho., in

Seville.

is to

B. Arts, February, 1875. J. AERIAL, litho., Joyas Pint. LAKOSSE, litho., 17x14, 1843.

GOOD

THE

CHRIST,

172.

Cepero,

D. Manuel

SHEPHERD.

repetition of the

above

Transition

in Col.

Lopez

i.osx.yy.

picture,

From

the gallery of Senor Larrazabal. Offered in Lopez Cepero sale, Paris, Mentioned in Sei'illa Pinto. 451. 1868, but not sold.

GOOD SHEPHERD.

THE

173. CHRIST,

The Child

Glasgow University.

seated before a huge rock, surrounded by sheep, Jesus holding with both hands a crown of thorns. Full length, life-size. is

to the University by Dr. William Hunter. R. STRANGE, line, 11.6x14.2. "This was the last work to which I put my hand as an artist." R. Strange, in Memoirs, ii. 222. G. VIRTUE, line, x

Bequeathed

LEDOUX, mezzo., 9.5x12,

1856.

ANGEL, mezzo., 5x6, inscribed

St.

John.

1733. Convento de Religiosas del Angel, Granada, en la Puerta del Un Buen Pastor Nino, cosa Sagrario. maravillosa. Palomino, iii. 422. Cean

Jesus Pasteur, Paris, 1840.

Bermudez, Die.

Christ 1730. Aguado sale, No. 81. bearing a Iamb on his shoulders; in his

ii.

63.

I73b. El Divin Pastor. The young Saviour is seated on a stone with a cross

on his

lap,

a sheep

and

whose head

iour's lap; five

E. Boix,

hand on the back of

his left is

Doubtful,

10.2.

hand etc.

BECQUET FRERES, litho., 17.6x12.5. I73d. Christ, a man of mature age, stands, in a large landscape, with a

lamb

on his shoulders, which he holds with both hands by the legs on the left are ;

sheep before a sheepfold.

Full length.

Spurious.

SIXDENIERS, mezzo., 25.4X19,

inscr.

the legend

1.50X1.10.

M. de

1735.

MLLE.

13.3X11, the figure length,

Ego sum pastor bonus, 230 francs, Bastida.

L'enfant

an man/on. at

1730. The Good Shepherd stands with three sheep before a stone arch. Spurious.

litho.,

of Christ only, three-quarters copied from the above.

almost in the Sav-

heads above.

line, 14.3

GRANDJEAN,

charming sketch, valued 10,000 francs. Mentioned in Lejeune,

Guide,

ii.

239.

Jeremiah Harmann The Good Shepherd. A

i?3g. 1844.

finished study.

i?3h. I73i.

^294.

William

Shepherd.

sale,

small

Stuart.

The Good

British Institution, 1857.

Comte A. de

Stroganoff,

Petersburg, Catalogue dated 1800.

Good Shepherd. 27x18 inches. panion to No. 3$2b.

St.

The Com-

MURILLO.

188

THE INFANT SAVIOUR AND

174.

Museo

Concha.

our

left,

Los Nifws de

left

hand

;

a lamb

Landscape background.

on the

lies

left

Vaporoso manner.

Isabel Farnese collection.

Infant Jesus, standing on

gives a drink of water in a shell to St. John,

From Queen ii.

JOHN.

The

del Prado, 866.

holding a cross in his above.

ST.

who

kneels,

three cherubs

;

1.04X1.24.

Palace of San Ildefonso. Cean, Die.

65.

LINAU,

litho., in Col. Lito. LAFOSSE, litho., 13.9x17.1. MLLE. ASSELEDOUX, mezzo., 10X12. Elched by J. Pi, in Alabern, 11.5x13.2. Outline in Reveil, Muse'e, and in Musee Religienx. On wood in Dohme

CAMARON, litho.,

Gallerla.

Kunst und

Kiinstler.

THE INFANT SAVIOUR AND

burg, 382. embraces the young

The Infants Christ and St. John, 1856. with a lamb in a landscape. A sketch. " From the Palace Madrid. Companion to a Holy Family." Exhibited at the

British Institution, 1840.

John stands a lamb; above the Infant Saviour are three cherubs on the ground in front of him is a basket of fruit and two pomegranates on a red drapery.

Landscape background. 1.25x1.16. This copy of a lost painting was purchased as an original at the sale of Marshal Soult, in 1852, No. 61, for

the head of Christ in youth. Stirling,

1743.

ST. JOHN*.

Hermitage, St. PetersThe Infant Jesus, standing,

St. John, who, clad a garment of skins, kneels on one knee, holding a reed cross ; behind St.

;

63,000 francs.

I74f.

The

Infant Saviour with St. John.

From

the gallery of the Infant Don of Spain." Sold, London, 1815,

Luigi

^68

5,.

I74g. Seville Cathedral.

Sketch of iii.

1429.

I74h.

Church of San Andres,

Se-

the chapel of St. Luke, or de las El Salvador; more than half J'intoivs. ville, in

M. S. CARMONA, line, 12.6x14.5, Madrid, 1799. Dedicated to Da. Luisa Maria de Borbon. DUPRESSOIR, litho.,

length.

in Galerie Imperials de I'Ermilage, St.

Cuevas, Seville. Un Salvador, half length. Cean Bermudez, Die. ii. 62, and Arana de Varflora, i. 45. Carta, 99.

Petersburg, 1844, folio. I74b. In the Royal Palace, Madrid, was El Nino Dies y S. Juanito. Ponz, vi.

Cean Bermudez, Die. ii. 64. 1740. The Infant Jesus and St. John. 34.

small oval

picture,

frame enriched with

with an

silver,

was

ebony the

chapel of the Antigua in the Cathedral of Seville. G. de Leon, ii. 92.

I74d.

Juan Govantes,

Seville.

The

Infants Jesus and St. John. Stirling,

iii.

1426.

1746.

John Hardwicke

sale,

June

19,

Cean Bermudez, Die.

ii.

58,

and

Car/a, 98. 1741.

Cartuxa de Santa Maria de

las

I74k. In the Merced Calzada, Sewas a Jesus Nazareno. G. de

ville,

Leon,

174!. Christ.

156.

Lionel British

Hervey.

I74m. Reginald

Head

of Christ.

Head

Institution, 1835.

Cholmondeley.

Exhibited at Wrex-

ham, 1876. I74n. Christ, half length, seated behind a table, holding bread. Sptirious.

LLANTA,

litho.,

9x7.4.

BAPTISM OF CHRIST. I74p.

No.

73.

Calonne Salvator

sale,

1795,

Mundi.

ist

Salvator Mundi,

1834.

day, 12

,68

Salvator

The

May

Williams, who acquired tonio Bravo. .250.

Oval.

I2s. sale, 1833.

Mundi. 1741.

175.

Charles O'Neil

sale,

24,

BAPTISM OF CHRIST.

48x41

inches.

5.!-.

I74S.

I74q. Altamira

189

Louis Philippe

Seville

sale,

Purchased

Saviour.

Cathedral.

No. 241.

from Julian from D. An-

The

Saviour,

wearing only a white drapery about his loins, with his hands crossed

his breast, kneels

both

on both knees on the bank of the

feet in the water,

sacred rite;

St.

John

and bends forward reverently

river,

with

to receive the

Baptist, partly clothed in a raiment of camel's

hair, stands on the right, holding a reed cross and pouring water from

a shell on the head of our Lord

;

in the air,

on our

left,

two cherubs,

holding the garments of Jesus, observe the ceremony with interest in the centre above is the Holy Spirit in the form of a Dove. Back;

ground, a wooded landscape and sky, with the river Jordan, which Life-size. Round top. completely fills the left of the composition. This picture hangs above the

St.

Anthony,

in the baptistery of the cathedral.

was restored by Sefior Cubells in 1875. Photographed by J. LAURENT, Madrid, No. 1355. [There is a rare etching by Arteaga, 9.6x6. 7, executed in 1698, which bears no name of painter, but which is evidently after a composition by Murillo. A copy

Sir W. Stirling-Maxwell (Catalogue Sy) in the Biblioteca National, at Madrid. Christ on suggests that it is after the above work, but it is quite a different thing. the left, nearly in profile, kneels on his left knee on a rock, with his right foot in the

water and the palms of his hands joined; opposite, St. John, holding a cross, kneels on one knee, and pours water from a shell on the head of Christ; above is the Dove with three cherubs on each side.

Formerly W. W. Burdon, Esq. St. John, seen in profile, pours water from a skull on the head of the Saviour, who is seen three-quarters face, kneeling on one knee, with 176.

BAPTISM OF

CHRIST.

his other leg in the water.

W. W. Burdon

sale,

Life-size. Christie,

Signed

June

28,

rl!o -

1862,

102x67

inches, ^183.

The

catalogue says this is one of five pictures painted for the convent of San Leandro, at Seville, two of which were purchased by Baron Taylor for King Louis Philippe, and two others, of which this is one, were purchased by Nathan Wetherell.

Manchester Exhibition, 1857. See No. 1780.

283.

Mentioned by

Stirling,

iii.

1429.

Standish, Seville,

MURILLO.

190

The first two No. 176 and No. 334. [Nathan Wetherell, a leather merchant of Snow Hill, London, having occasion to travel in Spain to receive orders and to collect debts, was by chance thrown in the way of the Conde de Floridablanca, one of the most enlightened of Spanish ministers, who was desirous of encouraging manufactures in Spain, and who held out It is difficult to identify accurately the five pictures referred to.

may be No. 177 and No. 259;

the third and the fourth,

He strong inducements for the Englishman to establish himself in that country. was granted the use, free of rent, of the suppressed Jesuit convent of San Diego at Seville, with seven acres of land besides other advantages, and there he founded, in 1784, a manufactory of leather and leather goods that important industrial enterprises in the Peninsula, giving

became one of the most to more than

employment

workmen. But the enterprising projector lost his powerful friend, and finding himself unable to secure fair treatment, or to overcome the vis inertia His protestant of the Spanish people, after a long struggle he abandoned the field. bones now repose in the grounds of the old convent that was the scene of his labors, adjoining the Quemadcro, where heretics in the good old times were burned for the good of their souls. Townsend, Joseph, A Journey through Spain, 2d edition, four hundred

ii. G. de Leon, Not. Art., ii. 296. Ford, i. 208. 335. Wetherell, perhaps a son of the above, lived for many years opposite the Carmelite church of S. Alberto in Seville, and was devoted to history and antiqui-

London, 1792,

3 vols., 8vo,

Don Juan

Roman and Mexican. He formed a collection of objects of this class, and had a catalogue of them printed in London, with lithographs of some of the This gentleman, somewhere about 1830, removed to England, principal articles. ties, chiefly

carrying his cabinet of curiosities with him.]

Duque de Montpensier,

BAPTISM OF CHRIST.

177.

Chateau

de Randan, Puy de Dome, France. The Saviour stands on the left with his hands crossed; on the opposite side of the narrow rivulet stands

St.

in his left

John Baptist with his lower limbs bare, holding a reed cross hand, and pointing to the Master with his right; both are

heavily draped inscription bull

winged

and look

front

above the Saviour

OMNES CREDERENT PER

an eagle and the

ILLUM; above

and Hie ERIT MAGNUS CORAM DOMINUS. sale, No. 74, ^660. Bought from Don A.

Louis Philippe chased

;

St.

John

2.68X1.80. Bravo,

who

pur-

from the nuns of S. Leandro. Stirling, iii. 1429. See No. 176. AccordCh. de Bled the history of this painting is too painful to relate. Univers

ing to

Illustre,

January

14, 1861.

Engraved on wood in Univers Illustrf, January 14, 1861. SEVESTRE, litho., I6.2X 12.5, 1848, without the eagle, bull, etc. The figure of St. John, half length, with the hand pointing up, has been lithographed by MLLE. HEBERT, by C. ANDRE, and by LLANTA. 178. St.

BAPTISM OF CHRIST.

John baptizing Jesus,

who

Formerly J. P. Anderdon, Esq. kneels on a rock at the end of the river,

MIRACLE OF THE LOAVES AND FISHES. an attitude of prayer

Dove and J. P.

;

two angels appear on the opposite bank

a glory of angels above.

Anderdon

sale,

IQI

May

Figures 96

1847,

15,

;

the

life-size.

\2s., to

" Mr. Anderdon

Smith.

possesses a picture of the same subject, which I know to be by the hand of Murillo, a painting of high class, and which excites the admiration of every one." Davies, Murillo, p. cii. and 61 note.

Baptism of Christ.

I78b.

25, 1810.

San Leandro. ^162 I78d.

1827, by Chrisin the Jordan;

Whiting, Worcester.

179.

The

MARRIAGE

Saviour

IN CANA.

seated on the

ures, at a table,

on which are

Lopez

1786.

John Baptist in the Wilderness, the companion; a grand and beautiful

1868.

St.

No.

See No. 176.

i$s.

Lord Northwick

Baptism of Christ.

Baptism of Christ

and

picture from the convent of the nuns of

14,

i$s.

Baptism of Christ.

June

1780. Sale, tie.

March .141

Michael Bryan's Assignee's

May

sale,

London,

Sale,

1783. 1791.

^34

Cepero

Baptism of Christ.

175.

1859. to H.

sale,

Paris,

A sketch

Wiltshire.

with the Virgin and five other

fruits

for

.5OX.64. 45ofrancs. Not sold.

Marquis of Ailesbury, left

sale, 13.1-.,

and cake,

a hall; near him

figis

with his right hand he points to the wine jars which are

small

dog

being

filled

;

by the attendants, one of

whom

a negro

;

other attend-

ants are waiting on the guests ; twenty-two figures, less than

Second manner.

70X90^ March

life-size.

inches.

No. 83, 6,000 liv. L'abbe Guillaume sale, Prince de Conti sale, April 8, 1777, No. 164, " from Boileau sale, 1779 [March 4, 1782?], 5,010 liv. Julienne sale," 9,060 liv. Robit sale, May 22, 1802, " from Julienne, Conti, and Presle cabinets," 7,310 francs. George Hibbert sale, May 13, 1829, "from Presle and Robit cabinets," ^819.

Julienne

May

18, 1769,

sale,

No.

83,

6432

30, 1767, liv.

British Institution, 1816, 1831.

sketch,

in.

9 lin.Xi4

Royal Academy, 1881. in.

* * * 9 lin.,was in Julienne sale, No. 84. In of the well-known picture which is in the It would seem from the notes in Gault de

November n, 1784, was a sketch cabinet of M. Presle. 10X15 inches. sale,

Germain Guide, coles Allemandes, ii. 255, and cole Italienne, 340) that there were two pictures of this subject, one of which was in the Conti and Boileau sales, the other in the Julienne and Guillaume sales ; that the Guillaume picture Saint

was purchased by the King, and was in 1817 in the Royal Collection at Paris. [The sale of the Prince de Conti was one of the most important of the past There was realized for pictures, 946,955 livres for Engraved Gems, century. Clocks and Watches, 18,502 43,620 liv. ; Drawings and Miniatures, 37,508 liv. liv. ; Jewels, There was another sale, March 15, total, 1,059,823 liv. 13,238 liv. ;

;

etc., I779>

180.

comprising pictures, drawings, bronzes, marbles, porcelains, etc.]

MIRACLE OF THE LOAVES AND FISHES.

Caridad,

Seville.

Hospital de la

Christ, seated on a rock in a hilly landscape, with

MURILLO. a loaf in his hands,

surrounded by the twelve Disciples, one of whom a lad approaches with two fishes ;

places four loaves in the Saviour's lap in

a basket;

Moses

the multitude

striking the Rock,

No.

Painted for the Hospital of

According to papers

seated on the right.

14,

which

see.

See ante

Caridad.

Conde

in the possession of the

ft.

Companion in. X 18 ft.

del Aguila, Murillo copied

a picture of this subject by Herrera, formerly in the refectory of St. Hermengild. Tubino, 171. In the Soult sale, No. 87, a picture of the Multiplication of the It was quite Bread, 2.49 X5'^4> by Herrera the younger, sold for 1,000 francs. different from the above, yet M. Thore and Stirling describe it as being a repetition

by Murillo himself, of the above work. In T. Purves sale was a sketch of the Apostle and the lad with the fishes. See No. 4Oik. There are one hundred and four artist's J. G. LEVASSEUR, line, 17X35, 1876. BOILLY, mezzo., proofs, and fifty-one proofs before letter, besides india proofs. 13.6x23.6, 1859.

181.

LAURENT,

photo.

H. A. Stirling,

i8ia.

ii.

J. 860.

Munro

sale,

Waagen,

Lopez Cepero

ii.

sketch of the

inches.

13^X30 Christie,

June

Mentioned by

first

thought for the above. .27X-5I. to No. 153. Not sold.

I, 1878. ,315. British Institution, 1832.

136.

The

sale, 1868.

Multiplication of the Bread and Fishes.

182.

MIRACLE OF THE LOAVES AND FISHES.

above, with some differences.

Companion

CHRIST HEALING THE PARALYTIC, or Christ at

George Tomline,

Bethesda.

the Pool of

Esq., Orwell Park, Suffolk.

Christ,

standing in the centre of the composition, accompanied by three Disciples

who

stand on his right, puts forth his hand to raise the Para-

forth

who, stretched on the ground in the centre of the group, holds in front, beside the cripple, is a crutch, his hands imploring aid

and a dish

lytic,

jar,

;

his thirst

;

on the

the sky ascending principal figures.

92X101

dog approaches the pool

the middle distance are

porch of a temple

193.

right a

;

many

figures

grouped

the angel that has troubled the waters architecture

Companion

quench in the

seen in

and sky

to the

in the background. Five Return of the Prodigal Son, No.

inches.

Painted for the Hospital of

Caridad.

See ante No.

It is

one of the

pictures which Marshal Soult sold in 1835 to the French Government, and for a few days it was in the Louvre. Mr. Tomline purchased it in 1846 from the Marshal

THE PRODIGAL SON.

193

The picture has never been exhibited. An old copy, made while the picture was still in the Caridad, was sold in the Marquis of Lansdowne sale in 1806. This copy was probably from the Augustine Church at Seville. See for 160,000 francs.

No.

"There are few productions of art that can be compared with this." 254. Mrs. Jameson, History of our Lord, i. 368. T. VERNO.N, line, 22x24, London, 1872. Proofs only are published at eight guineas each. The plate was executed at the cost of Colonel Tomline, who pre-

sented

and

it to the Newspaper Press Fund. Musce Religieux.

183.

Outline in ReVeil, Musce de Peintiire,

THE PRODIGAL SON RECEIVING

Earl of

PORTION.

HIS

Dudley, London. The aged father, seated at the end of a table, with his left hand resting on some papers, looks anxiously at his son, who stands opposite grasping a bag of gold

stand the brother and

be a

sister

on the

;

left,

portrait of Murillo himself.

41X53

behind the

The

of the prodigal.

brother

father,

said to

inches.

Salamanca

Leeds Exhibition, 1868. Royal Acadsale, 1867, 28,500 francs. This, and four others of the same series in Dudley House, belonged

emy, 1871.

Marquis de Narros, Chateau de Campo Zarana, and afterwards Madrazo.

to the

184.

THE PRODIGAL SON RECEIVING

Prado, 882.

1843. Standish sale, No. 226(116). The Prodigal Son receiving his portion.

article

on the Louis

The Athemcum, June

D. Jose de

Museo

HIS PORTION.

Latest manner.

sketch for the above.

del

.27X.34.

Philippe sale in II,

1853, p. 711.

Hickman). "Four

Probably these four pictures are the ones

small sketches of the Prodigal Son, really by Murillo, and dashed off with much

formerly belonging to Julian Williams, mentioned in Guia de Forasteros Je

.27X.37' ^22

spirit.

The

185.

is.

last

(to

was the best." R. Ford,

Sevilla, 1832.

THE PRODIGAL SON LEAVING HOME.

Earl of Dudley.

Wearing a purple mantle, and mounted on a chestnut horse, with a

plumed hat sister,

in his

who

hand, he salutes his father, mother, brother, and

stand in the door of their house

weeping eyes with a handkerchief; on the are loaded mules driven along a road.

Salamanca 186.

883.

sale, 1867,

32,000 francs.

;

left,

41X53

Same

sketch for the above. 25

middle distance,

inches.

history as No. 183.

THE PRODIGAL SON LEAVING HOME.

the mother dries her in the

Latest manner.

Museo

del Prado,

.27X.34.

MURILLO.

194

i86a. Standish sale, 1853, No. 227. The Prodigal Son leaving his home. A Sketch.

,37

.27X.37-

No. i84a.

ids., to Talbot.

THE PRODIGAL SON

187.

Probably this is one of the four pictures formerly owned by Mr. Williams. See

Earl of Dudley.

FEASTING.

Seated

table, wearing a red doublet and a plumed hat, he receives a cup of wine, offered him by a page, on a salver ; his left hand is on the shoulder of a courtesan seated beside him, who regards him

behind a

amorously ; on the right, at a corner of the table, another courtesan is seated, behind whom is a servant with a plate in the foreground, on ;

the

left, is

a musician playing a guitar

beneath the table cloth fastened

columns;

entrance to a park.

Salamanca

i88a. Standish

The Prodigal Son

sketch.

41X53

73,000 francs.

seen a landscape and the inches.

Companion

FEASTING.

No.

Museo

183,

which

see.

del Prado, 884.

.27X.34.

sale, 1853,

No. 228.

feasting with courte-

.27X-37.

right

Six figures.

sale, 1867,

sketch for the above.

sans.

the background consists of a red curtain

on the

THE PRODIGAL SON

188.

;

a dog thrusts his head from

;

Probably this picture was purchased from Mr. Williams. See No. Drax.

$s., to

Earl of Dudley. A man 189. THE PRODIGAL SON BEGGING. with a drawn sword, two young women, one of whom wields a broom and the other a ing prodigal

;

and an old woman with a

landscape and sky on the

left,

Salamanca 190.

stick,

staff,

a dog leaps up before him, barking

sale, 1867,

41X53

right.

35,000 francs.

fly-

inches.

Companion

THE PRODIGAL SON FEEDING

;

pursue the

a house on the

No.

183,

which

see.

Earl of Dudley.

SWINE.

kneels half naked in the midst of a herd of black swine, and peni-

weeping eyes to heaven ; behind him is a ruined hut, a on the left, and small trees on the right ; sterile mountains in the lifts

tently river

his

background. 41X53 inches. Salamanca sale, 1867, 39,000 191.

885.

francs.

Companion

THE PRODIGAL SON FEEDING

sketch for the above,

SWINE.

.ayx^.

No.

183,

Museo

which

see.

del Prado,

THE PRODIGAL SON. The igia. Standish sale, No. 229. Prodigal Son Feeding Swine. A sketch. .27X.3769 6s., to Hickman. panion to No. 1843, which see.

Com-

THE PRODIGAL on

falls

by the mother,

his

in the

and

sister,

brother,

sale,

Again,

June

29, 1854.

sale,

June

Drax.

The

1870.

to Cave.

Christie,

Hinds

Prodigal

II,

swine.

herding

22 u., to Nieuwenhuys.

Earl of Dudley. Half who is followed who come forth from their house to

SON'S RETURN.

knees

Five figures.

receive him.

^i 10,

Cave

igic. Philip

Louis Philippe sale, No. 75. The Prodigal kneeling among swine.

192.

.57x1.03.

^105,

igib.

naked, he

195

arms of

41X53

his father,

inches.

Presented in 1856 by Queen Isabella to Pope Pius IX.,

who

placed

in the

Lord Dudley acquired it in 1872 in exchange for a Holy Family by Bonifazio, and a Virgin and Child enthroned with saints, by Fra Angelico. Royal Vatican.

Academy, 1871. This picture arated from dealer,

who

its

a pendant to the others in Dudley House. How it became sepis not known, but about 1850 it fell into the hands of a

companions

offered

M. Salamanca,

owner of the

the

rest of the series.

The

price was, however, so extravagant that the offer was declined. Queen Isabella at once paid the sum demanded, and sent the canvas to the Pope. [For this note I

indebted to Charles Morse, Esq., who possessed the most extensive and valuable collection of engravings after Velazquez and Murillo in Europe. It was dispersed in 1874, to the great regret of every lover of Spanish Art. Many of the prints

were purchased by

Sir

William Stirling-Maxwell, and a large number came into

the possession of the author of this catalogue.]

193. falls

THE PRODIGAL his knees,

welcome him

calf;

on the

RETURN.

Sox's

embraced by

Companion

Stafford House.

his father; a little

man and boy

behind him a

right servants bring rich

ures, life-size.

93X102

;

and

dog leaps up

lead forward the fatted

garments and the ring; nine

Christ healing the Paralytic,

fig-

No. 182.

inches.

For the history of this painting see ante No. I. " I know not any picture whatever which can go beyond it in heartfelt nature and dramatic power ... In point of truth of expression and in execution, Raphael himself never exceeded it." Jameson, Our Lord, \. 384, and Private Galleries, 168. " The most beautiful of all the pictures that have come out of Spain. " Viardot, Mttse'es de France. Mentioned by Ponz, ix. 148 Cean, Car/a, 78. An old copy, perhaps from the Augustine Church, was in the Marquis of Lansdowne sale, March 20, ;

See No. 254. Outline in ReVeil,

1806.

Musce de Peinture.

Lord Ronald Gower, Great Historic

On wood

Galleries

Minor, Murillo.

of England.

Photo,

MURILLO.

196 1933. C.

H. Francolet

sale, Brussels,

September 10, 1764. The Prodigal Son received by his father. 4 ft. 3 in. 6 lin. XSft. 2

in.

194.

THE LAST Christ

delabrum attached

Round

See No. 30. Leon,

104.

has

Blanca, covered

upper

corner dimly lights the

left

2.65X2.65.

Mentioned by Ponz, ix. 85. Arana de Varflora, by Murillo it is a very early work.

This

said to be

work painted for ,a convent in Valencia, where D. Vicente Lopez found origin

and

history.

W. H. WORTHINGTON,

195.

this

particularly for this painting, never been able to find it.

to the wall in the

top.

early

Stir-

Although the writer has gallery often, and inquired

1432.

35.

G. de

If this picture is

inches.

its

Study for a large

a candle, but no dishes or food; a can-

are two lighted candles ; on the floor in front is a large basin containing two vases.

a record of

iii.

Institution, 1843.

his Disciples are seated at a square table

1943. LAST SUPPER. Christ is seated with his Disciples at a table on which

80X130

ling,

British

Church of Santa Maria

SUPPER.

and

with a white cloth, on whieh

scene.

work. visited

lin.

I93b. Earl of Ellesmere, Bridgewater Gallery, London. Lazarus at

Seville.

the door of Dives.

line, in

Cun-

ningham, Cabinet Gallery, from the inal belonging to

Berkeley

orig-

Sharp of Upper

street.

ig4b. In the convent of

La Merced

Calzada, now occupied by the Museum, the Seville, were two beautiful pictures Last Supper of our Lord and the Descent of the Holy Spirit. Mentioned by G. de Leon,

CHRIST IN THE GARDEN OF OLIVES.

angel, holding a cross in his

W. W.

left

160.

Louvre, Paris,

544.

hand, has descended on clouds,

and presents a chalice to the Saviour, who kneels profile left in the background are two Disciples asleep, and beyond them a group of ;

soldiers approaching.

marble.

.36X.28.

This picture and its companion, No. 196, were in the late Elector of Cologne sale, by Remy, at Bonn, December 10, 1764. Again in Comte de Vaudreuil This Elector of Cologne was doubtless sale, by Lebrun, November 27, 1784.

Clement August, son of Maximilian, Elector of Bavaria, and Theresa, daughter of John, King of Poland. He died February 6, 1761. In treatIt is difficult to recognize the hand of Murillo in these two pictures.

ment and execution they resemble the style of Meneses Osorio, especially a Christ Praying in the Garden by that artist, in the gallery of the Duke de Montpensier at Seville, No. 177. GODEFROY, etch., in Filhol, Muses Napoleon, i. 50. Outline in Landon, Annales du Mnsee, vi. 5-

ECCE HOMO. 196.

CHRIST BOUND TO THE COLUMN.

St. Peter,

kneeling, with his

reverence to the Saviour,

a cloth about his loins

them.

197

;

hand on

left

who

bound

lie

on the ground between

marble.

.36X.28. Companion to Christ in the Garden of Olives, No. 195, which PAULINE LANDON, outline in Landon, Annales du Musee, outline, in The Historical Gallery, vol. vii.

197. thorns,

ECCE HOMO. and standing

body is naked drawn up from

his is

arm;

SANDS,

;

his right,

his wrists are

xv. 31.

enveloped in a red drapery, which crosses his body and falls over the left fore-

the lower part

;

see.

Cadiz Museum, 34. Christ, crowned with the upper part of front, looks down to his right

bound

uppermost and touches gers of the left hand are

before his

left

side; the right hand,

his left elbow, holds

partly cut off

a short reed

;

which

the fin-

Half length.

by the frame.

Capuchin convent at Cadiz. Mentioned by Ponz, xvii. 339. was presented to the convent in 1730 by Dona Catalina Rodwidow of Ambrosio de los Santos, in fulfillment of the wishes of her deceased

Formerly Cean, Die. riguez,

545.

up with

a column, naked, except for

a book and keys

Louvre, Paris,

his breast, looks

ii.

husband. transferred

in the

62.

short time before the suppression of convents in Spain, the monks for safety to the keeping of certain friends, by whom it was, in 1852,

deposited in the

198.

Museum.

ECCE HOMO.

shire.

Mrs.

Thomas

Birchall, Preston, Lanca-

repetition of the above, with slight variations,

of the Saviour

trifle

longer.

Manchester Exhibition, 1867. logue asserts that the picture

36X28)^

and the

figure

inches.

Royal Academy, 1872. The Manchester catafrom the Standish Gallery, but it is not men-

tioned in the catalogue of that collection. CALDESI, photograph, in the Manchester Exhibition series of photographs.

199.

Hon. Robert

ECCE HOMO.

Baillie- Hamilton.

ton House, Dunse, Berwickshire, Scotland. the

same

length.

Louis Philippe

whom

panel,

sale,

round

No. 240,

passed to the present owner.

top.

A repetition

33X29

Lang-

of No. 197;

inches.

Marquis of Breadalbane, from Exhibited at the Royal Academy in 1881. 160, to the

MURILLO.

198

William

ECCE HOMO.

200.

C. Cartwright,

Esq., Aynhoe, Northamptonshire. A picture almost identical with No. 197, but the Saviour looks up instead of down, and more of the red drapery is seen.

13^ X 9/^

Brown background. Brought

Christ,

rey.

downwards

;

British Institution, 1839.

Francis Cook, Esq.

ECCE HOMO.

201.

inches.

England by John Blackwood. See No.

crowned with

Richmond

Hill, Sur-

thorns, stands front, looking front and

the upper part of his

body

naked

;

the lower part

enveloped in a red drapery which covers his breast and the upper part of his

left

arm

;

his wrists are

bound before

holding a long reed, touches his is

drapery,

A long

bust.

The

25X21

;

his right

hand,

shoulder; his left,

inches.

following engraving

is after this

MANUEL ALEGRE, line, 8.5 X 6. 4,

ECCE HOMO.

202.

his left side

holding the seen within the bend of the right arm, above the elbow. left

or a similar picture.

1798, dedicated to the

Museo

del

Duque de Villahermosa.

Prado, 895.

The

Saviour,

crowned with thorns, with heavy dark hair and beard, is seen turned Bust. three-quarters right, wearing a purple robe, and looking down. -52X.4I.

From

the collection of

Photographed by

Queen Isabella Farnese. Companion LAURENT, Madrid, No. 33.

No.

69.

or The Veronica. On a napkin suspended by its which two upper corners, are formed into round knots or rosettes, is depicted the face of Christ, crowned with thorns, turned slightly to

ECCE HOMO,

203.

our

left,

the eyes downcast, the beard short, and the hair falling below

the chin. This description is from a coarse and excessively rare line engraving, 9.3X7, executed by " R. 0." in 1792, evidently in Spain. There is strong reason for believing that the engraving is after the picture called the Santa on the high altar of the Capuchin Church. See No. 18.

f'az,

which was formerly

The Santa

Faz, or Holy given in Spain to the representation of the face of our Lord on the handkerchief of St. Veronica.

Face,

204. tical

name

ECCE HOMO.

Lord Overstone, London.

with the above, except that the napkin

work iden-

but slightly indicated,

ECCE HOMO. and

corners and edges are not seen.

its

19^X15

199 Second manner.

Oval.

inches.

Acquired from Julian Williams by Richard Ford, who sold it to the present in 1836. British Institution, 1851. Manchester, 1857. Mentioned in Guia

owner

de Forasteros de Sevilla, 1832. Sir W. Stirling- Maxwell (Catalogue, 91) supposes this to be the picture formerly in the Capuchin Church. See No. 203.

ECCE HOMO.

205.

Beresford-Hope, Esq., London.

picture apparently identical with No. 203, including the corners and Life-size. edges of the napkin. Acquired from Henry Gaily Knight,

who

probably brought

from Spain about

1810.

ECCE HOMO.

206.

the head

Bust, front;

crowned with thorns,

turned slightly to our right, the eyes upturned, the long, curling hair a red drapery covers the shoulders and is tied falling on his shoulders ;

a knot, with projecting ends. COLLIER, line, 9X7, 1853. The inscription informs us painted in 1650, was in the Musee Espagnole (Louis Philippe in front in

H. ROSE,

line,

G. BARRY,

8.8x7, l8 53-

litho.,

that the original,

Gallery), at Paris.

21x18. (Goupil.)

is after the picture No. 163, in the old catalogue of the Louis Philippe Gallery probably No. 76 sale catalogue, which was "withdrawn from the sale by the Queen." He also informs us that it is

According

to Stirling the

engraving by Collier

the painting formerly in the Capilla del Filar in the Cathedral at Seville. nals,

iii.

Catalogue of Prints,

1430.

The Sacristia

etc., p.

An-

91.

was removed in 1836 to the In 1839, as the result of certain negotiations between Lopez Cepero, it was transferred to King Louis Philippe

picture, formerly in the Capilla del Pilar,

Calices.

los

Baron Taylor and Dean

exchange for some illustrated books and a paltry portrait of Columbus painted by Emile Lasalle. See Ponz, ix. 12. Cean Bermudez, Description de la Catedral in

p. 72.

Sevilla Pinto., 166, 183.

In the gallery of the Duque de Montpensier, Seville, No. 490, picture, 13X10 inches, attributed to the School of Murillo.

207.

ECCE HOMO.

etition of the

208.

above.

ECCE HOMO.

Duque de Villahermosa, Companion

No.

70.

a similar

Madrid.

Oval.

rep-

Life-size.

Lord Ashburton, London.

crowned with thorns, wearing a brown robe, looking

up.

The

Saviour,

Bust.

inches. Stirling,

Sebastiani.

iii.

1430.

Waagen,

ii.

102.

Purchased

1815,

from

General

MURILLO.

2OO

ECCE HOMO. Lord Ashburton. About 34X24 inches.

209.

The Grange, Hamp-

Bust.

shire.

Mentioned by

Stirling,

ECCE HOMO.

210.

Annals of the

Artists of Spain,

Earl of Zetland,

iii.

1430.

Yorkshire.

Leeds Exhibition, 1868. " It is interesting to mark a correspondence almost amounting to identity between this picture and the same " Art Journal, 1868, p. 137. subject by Titian belonging to the Due d'Aumale. The. Titian referred to is a half length, with the hands bound, wearing a red British Institution, 1865.

garment.

Carmen Calzado, On an altar in the

2ioa.

Ecce Homo.

Arana de

Varflora,

44.

2iok. Fonthill sale, by Phillips, Sep-

Seville.

Chapel. Cean, Die. ii.

tember

9, 1823,

Homo. 2iol.

59-

Carmen

2iob.

Calzado,

Ecce Homo. Cean, Die.

ii.

Madrid.

Bust

25th day, No. 125. Ecce

No. 73k. 1843, No. 57. front, crowned with

Companion

Aguado

of Christ,

sale,

thorns, the eyes upturned; circular, .26

63.

2ioc.

Larrazabal,

Jose

Ecce Homo. Life-size.

repetition of

Seville.

No.

197.

Tubino, 183.

Joaquin Saenz y Saenz, Ecce Homo. From Juan

aiod. Seville.

Ib. 183. Pereyra. 2ioe. Julian Williams, Seville. Ib. 182. Christ bound to the column.

The

2iof.

heirs of

Dean Lopez Cep-

ero have a repetition or copy of No. 203, showing the corners and edges of the

Ecce Homo.

Lopez Cepero.

2iog.

705 francs.

2iom. Aguado sale, No. 63. Christ au rosean, the face front, eyes downcast, head crowned with thorns, hands bound. 340 francs.

95X-792ion.

Aguado

der of the picture.

2iop. at

Bordentown, U.

not sold.

thorns.

Tallard

sale,

Christ crowned with thorns.

16X13

copper.

No.

inches.

1756. Bust, on

Companion

Y. Ottley sale, May 25, crowned with thorns. ComNo. 2i2d. A small Study.

1811. Christ

panion to 3

2ii.

2ioq.

Une

355 francs.

sale, by from his palace A. Christ bound.

Queen. 2ior.

June

sale,

Christ with the

.6oX-48. Withdrawn See No. 206.

1853,

crown

by the

Rev. R. R. P. Mealey 1870. Ecce Homo. ^136

sale, los.,

2ios. Right Hon. William E. Gladstone sale, by Christie, January 23, Christ bound to the Column. 1875. 11 us., to

9-f-

don.

84.

to Colnaghi.

73!.

2ioi.

.55X-47-

Louis Philippe

No. 76 (163).

Due de

No.

Joseph Bonaparte

repetition of No. 197. .6oX.5O. Offered in the sale at Paris in 1868, but

2ioh.

sale,

Vhvnique. The head of Christ, crowned on a white with thorns, impressed drapery, the folds of which form the bor-

Christie, 1846, of pictures

Life-size.

napkin.

diam.

FLAGELLATION OF CHRIST.

Duke

Noseda.

of 'Wellington, Lon-

executioner scourges the Saviour while another prepares the

THE CRUCIFIXION. crown of thorns three figures,

2OI

a wall and a grated window in the background ;

;

full

Companion

length.

No. 227.

About 16X10

Francis

Cook,

inches.

CHRIST

212.

Richmond

AFTER

FLAGELLATION.

The

Hill, Surrey.

his loins, kneels as

to take

Esq.,

Saviour, naked, but for a cloth about

his garments,

which

in the fore-

lie

ground on the right two angels with outspread wings, one in white and one in reddish drapery, have come to comfort him on the left is ;

;

a column with rope, rods, etc.; three

Described in Noel Desenfans, Catalogue, No. 47.

early work.

Cathedral.

2iza. Seville

after Flagellation, with St.

background, Stirling,

iii.

Mentioned by

weeping. 1430.

213.

2I2C. S. tie,

May

M. Mawson

19, 1855.

Two

by Chris-

sale,

angels appear

Christ kneeling on the ground after From the Prince of the

Flagellation.

2i2b. Standish

5.r.,

Christ

Peter in the

116.

sale,

after Flagellation, kneeling.

,215

58X41

figures.

inches.

Christ

Peace.

Hickman.

2(1 $s.

2i2d.

1.25x1.46.

Y. Ottley

ellation of Christ.

sale, 1811.

Companion

Flag-

No. 2 ici.

CHRIST SINKING BENEATH THE CROSS.

His right hand rests kneeling on the ground, gazes

on a stone; the Virgin, seen in profile, on him with anguish a hilly landscape with buildings ground two figures, life-size. ;

in the back-

;

Earl of Orford (Wolterton) sale, by Christie, June 26, 1856, ^724 ioj., to Fordham. Praised by Mrs. Jameson, Madonna, 284. Waagen, iii. 435. This picture is said to have belonged to the Bishop of Taranto (Capece Latro?) 2133. 1813.

Mr. Wilkin sale, April Christ bearing the cross.

2i3b.

No.

Noel

Desenfans

30,

Catalogue

Christ bearing his cross, beaten executioners, and attended by the 48.

Virgin, St. John,

and

St.

Veronica

;

ten

Louis Philippe sale,24i(i6i).

The

Saviour, I.o6x.79, .250, to Duke of Cleveland. Stirling (1430) describes this as " Christ the cross.

holding

214. St.

half length, which

was formerly

capilla de los Pintores in the

in the

church of

San Andres, and afterwards belonged to who sold it in London, where it was purchased by the French Julian Williams,

figures.

2130.

from Julian Williams, who purchased it Antonio Bravo." Gonzales de Leon (i. 254) mentions Un Salvador,

from

THE

CRUCIFIXION.

Bought

for the

bearing

the cross.

lithograph by ClSNEROS.

Spurious.

Hermitage,

John and the Virgin stand on the 26

Louvre.

213d. Christ

left,

St.

Petersburg,

370.

at the foot of the cross,

MURILLO.

2O2

which the body of Christ is suspended ; St. Mary Magdalen, kneeling on the right, embraces the Saviour's feet, looking front; in the back-

ground are the towers of Jerusalem. .99X.6o. From the Houghton gallery. Appraised by West and

Cipriani at ^150.

SPILSBURY, mezzo., 11.5x7, reversed, in the Houghton Gallery, 2143.

Mr. Spinocchia, New-York,

Christ on the cross, with the

at his feet.

Magdalen

repetition or copy of the

above, without the Virgin and St. John, and without the city in the background.

About i8x 12 inches. Sold at, N. D. Morgan sale, by Leavitt, NewYork, January 27, 1876, $310. "Acquired in Madrid in 1837 through Vicente Court

Lopez,

Painter.

afterwards "

belonged to Cardinal Gregorio. 2140. Seville Museum. The Crucifixion.

Mentioned

iii.

Stirling,

Paris,

March

around

his loins, the

cross above

falls

his

end of which

2i4d. crucified

Salamanca

Christ

sale, 1867.

two

between

Women.

The

thieves.

Magdalen embraces his feet, the Virgin and St. John stand beside the cross; on the right, in the foreground, are soldiers

playing

From 1.08x1.43. J. de Madrazo

dice.

Museo

5,900 francs.

del

Prado,

falls

his right

;

The wound

874.

right shoulder; a linen

attached to the

Hie EST JESUS REX JUDAEORUM; One figure. faint light in the horizon.

a scroll inscribed

mountainous landscape, with a Third manner. 1.83X1.07. Brought

Christ on the

27, 1860.

accompanied by the Holy 1.70X1.40. 8,800 francs.

cross,

galleries.

CHRIST ON THE CROSS.

in the

2140. Comte H. de Steenhuyse and Hoop van Alstein of Gand, sale,

215.

Museum.

Marques de Castelar and

head of the Saviour

46.

has the writer been able to find

1431,

and by Tubino, 178. This picture not mentioned in the catalogue, nor

Madrid from the royal palace of Aranjuez J. LAURENT, Madrid, No. 184.

in 1816.

Photographed by

216. CHRIST

body

of Christ

bit of light is

One

figure.

ON THE CROSS.

Museo

del

Prado,

875.

The

attached to a cross formed of the trunk of a tree

seen in the clouds near the right

Third manner.

hand of

;

the Saviour.

.yiX^.

Brought from the royal palace of Aranjuez in 1816. Photographed by A. BRAUN & Co., Paris, No. 875. 217.

cast.

Marquis de Mornay,

Paris.

of the Saviour has fallen on his breast; the eyes are

down-

CHRIST ON THE CROSS.

The head

1.98X1.40.

A CRUCIFIX. At

Soult

the

sale,

No.

203

was bought

62, this picture

in at 3,100 francs,

and now

belongs to the grandson of the Marshal.

Francis

CHRIST ON THE CROSS.

218.

mond

The head

Hill, Surrey.

Cook,

Esq.,

Rich-

of the Saviour, surrounded with rays,

has fallen on his right shoulder; a linen is tied in a knot around his loins ; the cross is upheld by a wooden wedge driven into the ground ;

scroll inscribed I

12^

20 x

extends over the top of the cross.

inches.

Brought

England about 1806 by Viscount Strangford, ambassador

Portugal, and sold at his sale, June 17, 1864.

CHRIST

219.

pery

ON THE

The body

Seville.

floats

from

his

middle to the

parchment bearing a long

Condesa de

CROSS.

of the Saviour

above

left;

78X53

inscription.

The Mejorada to

pictures have been in the family for Cean, Carta, loo, and G. de Leon, ii. 202.

Capuchin Convent of

2iga.

Sta.

Mejorada,

nailed to the cross his

head

;

a long dra-

an oblong

inches.

many years, and are

shoulder, and he looks

referred

to his left

;

Justa and Sta. Rufina, Seville. Christo Arana de Varflora, i. 54. crucificado. 2igb. Miss Luce, Liverpool. The

an oblong tablet above his head bears a

Crucifixion; on copper,

14X9^2

inches.

trilingual inscription; a skull

are

night scene.

W. FRENCH,

Royal Academy, 1876.

One line,

hilly

and bones

background.

figure.

20x14. (Published

Saenz y Saenz, on wood. Tubino, 184. 2igd. Christ nailed to a cross, which

by A. H. Payne, Leipsic.) Christ 2ige. Aguado sale, No. 78. on the cross. Jerusalem in the back-

upheld by a wedge driven into the his head falls back on his right

ground.

Joaquin

2igc.

Christ Crucified

on the ground;

ground

;

220.

crucified

CRUCIFIX.

body

One

figure.

D. Manuel Lopez Cepero,

Seville.

of Christ painted on a small cross of black

looks up to his right. The cross on which

27X16

230

.45X-37-

francs.

wood

The ;

inches.

this picture is painted is placed

on a pedestal with three by Juan de

bas-reliefs in brass, representing passages in the life of Tobias, signed

Zaragoza.

A brass

plate on the pedestal bears an inscription certifying that the

was painted for the Capuchin Convent [see No. 18], and that it was taken thence by the French, from whom Dean Lopez Cepero purchased it in 1812. Cean Bermudez (Carta 88) mentions, " los crutifixos de algunas cruces pequenas, que estan sobre las aras de los altares," in the Capuchin Church, from which it would appear that there were several of these crosses. Crucifix

MURILLO.

204

221. A CRUCIFIX. Hospital de la Caridad, Seville. Christ on the Cross ; painted on a cross of wood which is inlaid in a wooden

iSXni^

panel.

This crucifix

inches.

CRUCIFIX.

Christ painted fallen

may be

which Manara devised

his bed,"

222.

have come directly from the family of Manara, the the " Christ painted on a cross at the tester of

said to

restorer of the hospital.

to his sister

his will. Stirling,

Duchesse de Luynes,

on a cross of wood

his breast; a scroll

852 note.

ii.

The

Paris.

the head, surrounded

figure of

rays, has

nailed to the cross above.

9*7^2

;

Set in blue velvet with a gold frame.

inches.

Charles Martin sale, by Christie, March 27, 1876, ^30, to Lord Ronald Cower, from whom it passed to the Duke of Westminster, who presented it, in 1880, to the Duchesse de Luynes. It was probably in Sir J. M. Brackenbury sale, 1848, ^64 ioj., and in

George Blamire sale, by Christie, November 6, 1863, ^23 2s. Royal Academy, Sir J. M. Brackenbury exhibited a picture of this subject at the British 1877. Institution, 1835, 1847.

223.

Condesa de

CRUCIFIX.

The

Mejorada, Seville. 20X14 inches.

figure of Christ painted on a cross of wood.

Mentioned by G. de Leon, Noticia Artistica 224.

Sir

CRUCIFIX.

The

Keir, Perthshire.

William

de Sevilla,

ii.

p. 202.

Stirling- Maxwell,

figure of Christ painted

on a

Bart.,

cross of

wood.

inches. Purchased

in 1845

from D. Salvador Gutierrez, a painter

be from the Capuchin Convent. 2243.

The

Capuchin Church,

figure of Christ painted

cross of wood. Stirling,

iii.

Stirling,

Seville.

on a small Tu1431.

bino, 183.

224b.

Carmen Calzado, Madrid.

Crucifix. Cean, Die.

ii.

small Crucifix was in the col-

225. PIETA.

on a white .

Seville

sheet,

and said

was sent to England for sale, and this work was purchased by Captain Davies, Murillo, Ixxxiv. xciv.

2246. J.

which belonged successively D. Antonio Murcia, to the Marques de

lection

in Seville,

1431.

Canada, to D. Sebastian Martinez, and to D. Manuel de Leyra. The collection

63.

2240. Royal Palace of San Ildefonso. A Crucifix. Ponz, x. 152.

224d.

iii.

Ponz,

xviii, 22.

M. Suarez de Urbina,

Seville. The figure of Christ on a small cross of wood. Painted for the Capu-

Mentioned by Tubino, and by Amador de los Rios in

chin Convent.

187,

Sevilla Pintoresca, 496.

Museum,

75.

The body of

Christ, lying

extended across the canvas ; the head

in the

PIETA OR DEPOSITION. who

lap of the Virgin,

seated with outspread arms

are two cherubs, one of

205 on the right left hand.

;

kneeling, holds the Saviour's

whom,

1.68X2.13. Painted about 1676, for the Capuchin Convent.

Photographed by

226. PIETA. cestershire. see.

52X40 Etched by

227.

LAURENT, Madrid, No.

Philip

A repetition of

See No. 18.

1080.

S. Miles, Esq., Kings-Weston, Glou-

the above.

Companion

No. 62, which

inches. J.

Young,

in the

Miles Gallery Catalogue, plate No. 71.

Duke

PIETA OR DEPOSITION.

of Wellington, London.

seated on the tomb, his

body supported by an angel seated behind him ; another angel holds linen ; a holy woman kisses the Saviour's hand. Companion to No. 21 1. About 16X10 inches. Christ

2273. Collegiate Church, Vittoria. grand historical picture, with figures

somewhat

larger than life, representing the Virgin with the dead Christ. Cean Bermudez, Die. ii. 65.

227b. Palace

San

Ildefonso.

Christ placed in the tomb. Ponz, 2270. In the church of S.

from the Cross. collection.

Blanca, Chapel of the Sacrament, there existed at the beginning of this century:

Una Dolorosa y tin S. Juan Evangtlisla de mt'dh cuerpo. Ponz, ix. 85. Cean Bermudez, Die. ii. 59. It is somewhat

^294,

Clarke

Descent

From Mr.

Purling's

John Knight

227g.

Mr.

Phillips.

sale,

1819,

" 120 i$s. beautiful picture in good condition and of high value. The large picture belongs to the Capuchins, and the smaller one to the church of S. la

which sold

227h. Robert Udney sale, Descent from the cross. 1829.

Senor Escazena. Neither of these authors

inches.

pictures

that

church, but Captain Davies, who did see them in 1807, informs us that in S. M. la

Blanca was La Piedad or Dolorosa

;

2271. tie,

Cross.

church, but smaller.

'43 1-

See No. 30, No.

227d. N. Ogle.

73,

and No. I56d.

The Dead

British Institution, 1822.

Christ.

110

^77

1876.

sale,

Descent

May 15, 22X17 by Chris-

from

the

in the lap of

by two angels. Octagon on copper. Mentioned by Stirling, iii. attended

inches. 5.r.

227k. D.

Manuel Sanz de Tejada,

Cadiz. Christ dead tiful.

141-.

The dead Saviour

the Virgin,

13X13

xciii.

for

H. A. J. Munro

June

the Virgin, with the dead body of Christ the same subject as that in the Capuchin

Davies, Murillo,

Blanca." Davies, Murillo, xciii. In the same sale was a Dead Christ,

are to a single picture of the Virgin and St. John, which afterwards belonged to the

Piedad, or Dolorosa.

doubtfully suggested by Stirling (1420) and Tubino (182) that these references

could have seen

and

sale, 1802.

Deschamps. De22?f. La Trinidad sale, 1810. scent from the Cross. 110. See No. 54n.

152.

Simon

2276. Sir

George Hibbert

small and very beau; Raczynski, Arts en Portugal, 518.

MURILLO.

2O6 228.

The

THE RESURRECTION. Academy of San Fernando,

Madrid.

Saviour, leaving the tomb, ascends into the sky, bearing a red

banner

in his left

sleeping below.

hand, and pointing up with his right ; guards are

2.43X

Cean, Die.

ii.

59.

Espiracion in the convent of the Merced Cahada and returned to Madrid in 1814. Ponz, ix. 107. Study in red crayon was in the Standish collection, No. 438.

Taken by Soult

at Seville.

1.64.

in the chapel of

Formerly

255x167 mil. FRANCH, line, 9X6, LAURENT, photo., 485.

to Paris,

Cuadros Selectos de

2283. CHRIST AND His DISCIPLES AT EMMAUS. Also another of the same

Two

subject.

229.

pictures formerly in the

R. Acad. de S. Fernando.

palace of San Ildefonso, are mentioned

by Ponz, Viage, Die.

ii.

x. 139, 145,

and by Cean,

64, 65.

THE ROMAN SENATOR. Academy of San Fernando, THE DREAM. The Senator, wearing a yellow doublet, is

Madrid.

seated in a chair asleep, with his head on his hand, which

on a

table covered with red cloth

;

his wife sleeps

on the

supported

floor beside

they behold the vision of the Virgin, who appears in the upper part of the chamber holding the Child and pointing to the site, visible

him

;

through the open door, on which she directs the founding of the

Church of

Sta.

Maria Maggiore.

Semicircular.

2.30X5.22.

DOMINGO MARTINEZ,

mezzo., 12.5x25.4, 1857, at Calco. Nacional. GALVAX, MME. SOYER, outline, 9X etch., in Cuadros Selectos de la R. Acad. de S. Fernando. MME. SOYER, outline, 3.4X6.8, in Huard, Vie des Peintres Espatrnoles,2\o\s,., 18. 8vo, Paris, 1839-41.

230.

THE ROMAN SENATOR RELATING

HIS DREAM. Academy The Senator and his wife, kneeling, relate their Pope Liberius, who sits enthroned on the left, accompanied

of San Fernando.

dream

by two Cardinals, one of distance,

under a canopy, cular.

whom

wears spectacles

;

on the

right, in the

a second scene, in which a throng of people, and the assist at

the founding of the

new

church.

Pope

Semicir-

2.30X5.22.

D. MARTINEZ, mezzo., 13X25.4, 1858, at Calco. Nacional. GALVAN, etch., 4.2 X9-8, in Cuad. Sel. de S. Fernando. On wood in Dohme, Kunst und Kiinstler. The two pictures above described were painted about 1656, for the principal aisle of the church of Sta. Maria la Blanca, and are among the earliest specimens of the Vaporoso manner. See No. 30. According to the Biographic Universelle, Art.

ANGELS.

207

Murillo, the city of Seville presented (?) them with the St. Elizabeth of Hungary (No. 274), to Marshal Soult. At the Restoration the Marshal gave them to the King, who caused the present frames to be constructed under the direction of the

and placed the paintings in the Louvre. The Peace restored them Copies were in Marquis of Lansdowne sale, 1806.

architect Perier,

to Spain, but not to Seville.

The

Museum

Lille

has copies by Souchon.

FAITH PRESENTING THE EUCHARIST, or The Church

231.

Tri-

young girl, umphant. On the left, white and seated on clouds, holds out a chalice surmounted by the Faith, represented as a

clothed in

Host, for the adoration of a group consisting of a mother and child and four monks, who are seen at half length in her left hand is a book and the golden keys of the heavenly mansions the Doves and ;

;

three heads are seen above;

a cherub on the

inscribed In finem dilexit

1.62X2.65.

eos.

left

holds a scroll

Painted for a semicircular space on the wall of the Epistle side of the nave of the church of Sta. Maria la Blanca. Companion to the Immaculate Conception No. It was brought from Spain by Gen. Faviers, but it was not in his sale in 30. It

1837. (to

was sold

in the

Pourtalfcs

March

sale,

27, etc., 1865, for 67,500 francs

Lyne Stevens?). Photographed by GOUPIL

in the Galerie Pourtales, a

work comprising

forty-

eight photographs in four livraisons.

232.

SOULS

PURGATORY.

twenty-one figures and seven heads

;

large

composition,

among them

containing

are the Father, the

Son, the Dove, the Virgin, St. Joseph and St. Francis, all on clouds beneath are the souls of those in purgatory. 5^X3^ varas= 14 ft. ;

5 in.

by 9

ft.

7 in.

Painted by order of the Duque de Alba for the church of Gelves. into the possession of Don Aniceto Bravo, and afterwards belonged to

passed

Don

Jorge

Diez Martinez. Tubino, 184, 186.

PORTOL,

233.

litho., in Sevilla Pintoresca, Sevilla, 1844, 8vo.

THE GUARDIAN ANGEL.

Seville Cathedral.

in dark robe, with outspread wings, points to

hand, and looks

down

leads with the other

The

heaven with

to a child clad in a thin, white robe,

hand; both walk to our

Painted for the Capuchin convent.

left.

See ante No.

his

angel, right

whom

1.70X1.13. 18.

During the French

invasion, all the pictures in this convent, together with those in the Cathedral, were removed to Gibraltar for safety. In payment of the expenses incurred in this mat-

MURILLO.

2O8

the brotherhood of the convent, in 1814, transferred to the Cathedral this picture, which was in 1818 placed in its present position in the altar of the chapel of the Angel de la Guarda. ter,

inches, was in the collection of Dean Lopez Cepero, Catalogs noticed in Sevilla Pinto., 452. One of the pictures composing the famous retable of the high altar of the Capuchin church at Cadiz (see the Marriage of St. Catharine, No. 264), is a Guardian

15x11

sketch,

No. 861, and

It is idenchild, by Meneses Osorio, after a design by Murillo. with the above, except that the angel's right hand falls naturally instead of

Angel leading a tical

pointing up, and the wings are closer to the body. R. C. BELL, line, in Stirling, Annals. On wood in Becker, Cliaracterbilder. J.

LAURENT,

photo., 1120.

SCATTERING FLOWERS. Duke of Bedford, 234. CHERUBS Woburn Abbey, Bedfordshire. Ten cherubs, mostly winged, are flying and scattering flowers as they

cherubs in the

left

75X97

ground.

upper corner

from a basket held by three red and blue drapery in the back-

;

fall

inches.

Purchased from Mr. Bagnols, who brought it from Spain. British Institution, 1822 and 1851. Mentioned in Pennant's Tour ; Aides Walpoliana, p. 56; Waagen, iii.

465. " Cinco

Quadros, de a tres baras de largo, y dos de ancho, tiene Don Francisco que fueron de Don Juan Francisco Eminente (gran protector de nuestro El vno es apaysado, de vna Gloria de Murillo), que cada qual es vna admiracion Angelitos, traveseando con varias flores en differentes attitudes, que verdaderaEl otro es a lo alto, del Glorioso Patriarca San mente es vna gloria el verlo Joseph, con el Nino Jesus de la mano, y arriba vn rompimiento de Gloria. Los otros tres son de San Francisco de Assis, San Francisco de Paula, y San Francisco

Artier,

" Palomino, Mus. Pict. iii. Xavier, que cada vno por su camino es vna admiracion The description It is probable that all these pictures came to England. 421, 423. For the second see No. 1463 ; of the first agrees with the painting at Woburn. !

the fourth was in the

Ashburnham

sale

(No. 301); the

fifth

belongs to Mr. Drax

(No. 308.)

235. Dorset.

ANGEL.

Walter R. Bankes, Esq.,

Kingston Lacy,

angel, seated on a cube-shaped stone, holds a Cardinal's

hat over his head so that his face

thrown into shadow.

23X21

in.

Said to have been cut from an altar-piece in Seville, and used for covering a knapsack which was found on the back of a dead soldier in Spain. Praised in

Waagen, 236. shire.

iv.

381.

Royal Academy, 1870.

FOUR ANGELS.

Earl of Normanton, Somerly, Hamp-

Life-size figures.

Formerly

in a convent in Seville.

Praised by Dr. Waagen,

iv.

367.

ANDREW.

ST. 2363. Sale

Four

1827.

Augustine, at

St.

The

thick panel. color,

and

Christie,

June

Seville,

painted

two are

first

in fine condition

;

rich in

the others

Juan Govantes,

2$6b.

pictures from the church of

209 Seville.

Two

angels adoring the mystical Lamb, which is sleeping on a cross. small sketch.

Mentioned by

Stirling,

iii.

1417.

Tu-

bino, 182.

have been somewhat injured by long exposure to a powerful sun. A spirited and beautiful group of two infant angels on the wing, bearing up

2360. A. Bravo. A group of angels adoring the Lamb. Tubino, 185. Scvilla

volume of the Sacred Scriptures which serves as a foundation for a small model of a church. 10$. A group of two infant angels bearing 57 15^. up a mitre and a crozier. Four infant angels on the wing. 42.

flowers

the

The Companion. ^43. These pictures were formerly in the Church of St. Augustine, outside the Carmona gate, at Seville, and are mentioned by Cean, who says " estan colocados en los casetones del medio punto con que remata el retablo, varios angeles

con atributos 6 insignias episcopales en las manos." Cean Bermudez, Carta 96. G. de Leon, ii. 274. Ponz, ix. 136.

Other pictures

in that

tioned at No. 254.

church are men-

The church

of St.

Augustine was destroyed long ago, and the convent was converted into a prison. In 1880 the property passed into private

237.

MARTYRDOM OF

rid, 881.

The aged

in the centre is

on a

ST.

angel with a wreath of belonged successively to the

236d. ;

Prince of the Peace, to Don Campana, to Captain Davies. Davies, Murillo,

and

Ixxxiv. note.

2360. Don Julian Williams. Cupid peering from behind a red curtain. Also Cupid with his back half turned. Stirling,

iii.

1443.

Two 236f. Dulwich Gallery, 317. infant angels with wings, adoring the crown of thorns placed on a column. 8i{

x 10^6

This

inches.

after Murillo, but

called a

Lady

236g.

Copy exists

to the

this catalogue.

Garvah

exhibited

Cupid at the British Institution, 1850. 236h. Aguado sale, 1843, No. 53. Three angels in clouds with palm branches. 236;.

ANDREW.

,8iX.62.

510 francs.

Gen. John Meade

angel with a

Museo

Saint, naked, except for

sale, 1847.

2 2s.

fish.

del Prado,

a linen cloth,

formed of the trunks of

saltier cross

no such group

any picture by Murillo known

author of

hands.

Pinto., 415.

Mad-

raised

trees, to

which

fastened with cords; his white hair and beard stream loosely in

the air as he looks up to the sky, where cherubs appear with the

crown and palm of martyrdom

;

beneath are executioners, two of whom

are tightening the cords that bind the martyr's feet front, is

;

on the

left,

boy; on the

right,

with lances.

Latest manner.

Photographed by

among them women and a weeping two soldiers on horseback, and others on foot

a group of spectators,

1.23X1.62. LAURENT, Madrid, and by A. BRAUN

Co., Paris.

MURILLO.

2IO

MARTYRDOM OF

238.

ST.

JOHN YOUNG,

Etched by

sale, April

30,

inches.

43,

1870. St. Agnes. to Grindley.

49X38^

2380. Mrs. Standish

March

tie,

Foster, April 30, 1879.

sale,

^25

14^.

Anthony. 238b. W. Delafield

7.T.,

sale,

Ambrose.

by Chris-

;

the eyes covered with a white veil; downcast. From Madrazo Gallery, No.

to Leslie. sale,

lies

2386. Salamanca sale, 1875. Head of St. Anne, about forty years of age,

Agnes feeding

238d. Mr. Cox, of Pall Mall,

\2 I2s. Christie, June 18, 1859. Also in George Grote sale, March 2, ll IIS., tO COX. l872.

two angels above. England by Mr. Standish.

lambs with flowers Brought

St.

6, 1858.

387.

.37X.35-

1, 100

ANTONY OF PADUA AND THE INFANT

239. ST.

dral, Seville, in the Baptistery.

The

francs.

to visit the smooth-faced, brown-frocked Saint,

ing in his

cell,

welcomes

Cathe-

JESUS.

Infant Saviour, attended by a

host of cherubs and youthful angels, descends in a glory, as

on clouds,

inches:

51x66

Death of St. on the ground, attended by two monks, one of whom kisses About 24 the hand of the dying Saint. X3O inches. Perhaps this was in a sale

around her, and angels above. 6</.,

Sir Philip Miles, Bart.,

of the above.

Miles Gallery Catalogue, plate No. n.

Agnes, with lambs

St.

Christie, 1847.

in the

Meade

2383. Gen. John

ANDREW.

A repetition

Leigh Court, Somerset.

walking who, kneel-

his celestial visitor, looking up, with out-

spread arms ; on a table is an open book and a vase containing lilies on the left, cloisters are seen through an open door. Vaporoso man-

;

ner.

5.50X3.30. the largest painting ever executed by Murillo, and the first of which a any printed book. F. de la Torre Farfan, (Fiestas de la S. * * eleven years before the death of the de Sevilla, p. 164, Sevilla, 1671,

This notice Iglesia

to be found in

account of the Cathedral and its treasures, praises this picture of Murillo, the Sevillian Apelles. Palomino (iii. 421, 423) tells the story which is so often repeated, that birds have been seen trying to alight on the table and peck the

artist), in his

flowers.

also gives credit to Valdes Leal for the perspective of the cloisters and is justified neither by the character of

the table, a very improbable tale, which Valdes, nor his relations towards Murillo.

The work was painted by order of the placed it in the baptistery, November 21, 1656, and gave the artist for Cean Bermudez, Carta 60. M. Viardot was it 10,000 reals, about 2,500 francs. told by a canon of the Cathedral that in 1815 the Duke of Wellington offered to buy

who

Chapter,

the picture, covering it with gold ounces, a price equal to about ^36,000, but the offer was declined. Musees d'Espagne, 146.

Don Stirling

iii.

M. Escazena had a study 1437.

for the figure of the Saint.

36x27

inches.

ST.

ANTONY.

211

the 5th of November, 1874, it was discovered that this picture had been mutiby cutting out the figure of St. Anthony during the previous forty-eight hours, within which time the curtain covering it had not been withdrawn, so far as was known. This was the third robbery in the Cathedral within a short period. The

lated

first was that of a crucifix, subsequently recovered. Next was the loss of a crown and pectoral cross of the image of the Virgen de los Reyes, jewelry of the thirteenth After the second robbery the watch was reinforced by two mastiffs, but century. all these On the discovery of this last outrage the precautions were ineffectual.

Spanish Government sent to its representatives abroad photographs of the picture showing the mutilation, and instructing them to aid in the search for the criminals. On the 2d of January, 1875, a Spaniard, named Fernando Garcia, called on Mr. Wm. Schaus, the well-known picture dealer in New-York, and proposed to sell a Murillo which he had at his lodgings. The canvas was, at Mr. Schaus's request, brought to his place of business, and left for examination. It was about 7 feet high by about 5 feet broad, and was rudely tacked to a stretcher, but had evidently been rolled for some time. Much of the paint of the head and face had peeled off; the nose had almost entirely disappeared, and a rough jag on one side, made by a slip of the knife, had been repaired. Mr. Schaus perceived that it was the stolen Murillo, and at once gave notice to the Spanish Consul, for whose account it was a few days later purchased for $250. It was immediately packed and sent to Cuba, accompanied by Garcia, who was, however, released from custody after a brief examination, in the course of which it appeared that the thief had walked boldly on board the steamer at Cadiz, in broad daylight, with the picture on his shoulder. The injuries were carefully restored, and the picture reinstated in its old position, amid imposing religious and secular festivities, on the 30* of October, 1875. The Chapter of the its gratitude towards the skillful restorer of the canvas, Senor His wife Cubells, by presenting him with a gold medal weighing three ounces. was also rewarded with four relics of St. Peter, St. Bartholomew, St. Laureano, and

Cathedral expressed

Lorenzo.

St.

that

had been

As Mr. Schaus had offered,

declined to accept the reward of 50,000 pesetas

was proposed

his share in the transaction

make some acknowledgment

him

for

but in the joy over the return of the picture this has been forgotten. See D. Claudio Boutelont, Estudio de San Antonio de Murillo, A. de Latour, Comment un tableau de Murillo fut vole, etc., Sceaux, Sevilla, 1875. ;

1878, pp. 50, privately printed.

AUG. LEMOINE, litho., 21x12.6, Paris, 1859. Engraved on wood in Gas. Beaux Arts, February 1875. Harper's Weekly, February 20, 1875, showing the mutilation by a white line. The Graphic, London, June 30, 1875, the stolen part left

blank.

240. ST.

Museum,

ANTONY OF PADUA AND THE INFANT 92.

St.

Antony, kneeling profile right, with

right hand, embraces with on an open book, places

four cherubs above.

JESUS.

in his

hand the Infant Saviour, who, seated right hand on the head of the Saint;

his left

his

Seville

lilies

Full length.

2.87X1.90.

MURILLO.

212

See No.

Painted for the Capuchin Church.

18.

This

probably the

finest of

Murillo's pictures of the subject.

Engraved on wood called St. Francis,

in Robinson, Great Painters, London, 1877, 8vo, wrongly Dohrae, Kunst und Kiinstler, half length, reversed. J. LAU-

RENT, photo., 1067.

ANTONY OF PADUA AND THE INFANT Museum, 60. The Saint, holding lilies in his right 241. ST.

file right,

JESUS. Seville hand, kneels pro-

and embraces with both arms the Infant Saviour, who stands his right hand on the head, and his left before

on an open book, with

the breast of the Saint.

Three-quarters length.

1.90X1.22.

Painted for the Capuchin Convent. Companion to No. 277. Photographed by J. LAURENT, Madrid, No. 1075.

242. ST.

de la

ANTONY OF PADUA AND THE INFANT

Mejorada,

Seville.

repetition

See No.

JESUS.

the

18.

Condesa

above.

50X37

inches. Pictures by Murillo have been in the Mejorada family since the time of the

See Standish, Seville, 315.

artist.

Cean Bermudez, Carta

100.

G. de Leon,

ii.

202.

243. ST.

ANTONY OF PADUA AND THE INFANT

Museum,

St.

414.

presses his cheek to

arms

;

five

and two others on the ground on the

holds up a

lily,

background. Purchased

Berlin

Antony, profile left, kneeling on the ground, that of the Infant Jesus, whom he holds in his

the Child caresses the cheek of the Saint

in a glory,

JESUS.

the other opens a book;

cherubs are seen

left,

one of

whom

a hilly landscape in the

1.65X2.00. at Paris in 1835.

It is

probably the picture, one of the most celebra-

ted of Murillo's works, formerly in the convent of S. Pedro de Alcantara at Seville, whence it was taken by Soult in 1810, with the assistance of a troop of infantry. G.

de Leon,

ii.

198.

Cean Bermudez, Die. ii. 58. J. C. Robinson, Esq., London, has an pen and bistre heightened with white, on white paper. 13X9^

original study with

inches.

Signed. A. H. PAYNE,

15X18.

LOEILLOT DE MARS, litho., line, in Payne, Berlin Gallery. Outline in Liibke, Denkmaler der Kunst. Photographed by the BERLIN Co. Engravings of the centre portion only, by CASPAR, SCHULTZ, and

PHOTO. L. DE MARS. 244. ST.

ANTONY OF PADUA AND THE INFANT

Dudley, London.

repetition of

JESUS.

Earl of

No. 243, but upright, and with-

ANTONY.

ST.

213

out the two cherubs on the ground before the Saint.

About 24X16

inches.

San Donato FLAMENG,

L'Illustration,

February 21, etc., 1870. .62X-4O cm. 19,500 francs. San Donato sale catalogue. Engraved on wood in

sale, Paris,

etch., in the

Paris,

February

12, 1870.

[Prince Anatole Demidoff was one of the most noted collectors of pictures in modern times, and the Demidoff sales were among the most important of the present age. The fortunes of the house are said to have begun when an ancestor skillfully repaired a pistol for Peter the Great,

but the discovery of mines in Siberia,

was the foundation of the wealth of the family. In 1814 Nicholas Demidoff purchased the old convent of San Donato at the gates of Florence, where he

in 1725,

erected the beautiful

palace

Grand Duke Leopold

II., in

ferred on Nicholas the

title

so well

known

to all visitors

The

that city.

recognition of his generosity and public spirit, conof Prince. His son Anatole, who married the Princess

Mathilde Bonaparte, continued the work of collecting which his father began. He died in 1870, on the last day of his great sale of pictures. The following is a list of the Demidoff sales, all of which, except the last, were held in Paris :

1863, January 13 to 16, Prince Anatole Demidoff. Thirty-four paintings, principally of the French and Dutch schools, produced 13,021 ; forty-three drawings, about .5,000; forty-one other lots, snuff-boxes, etc., about 21,900; total, about

40,000. 1863, February 26 (Paul Demidoff).

Seventeen pictures

sold

for

158,000

francs.

1864, May 25 and 26, sale of snuff-boxes.

* * *

(Paul Demidoff).

Modern

pictures and

Ancient and modern pictures.

1868, February 3 (Paul Demidoff).

Galerie de San Donato (A. Demidoff). Twenty-three Flemish and Dutch pictures. The catalogue is illustrated with etchings. 8.

1868, April

1869, April

2, 3.

ures, objects of art,

1870, February

Ancient and modern

(Paul Demidoff).

pict-

etc.

24- March

10.

San Donato

sale (A. Demidoff).

Ancient and

modern

The catalogue is pictures, marbles, drawings, aquarelles, and miniatures. illustrated with fifty-six etchings. The Gazette des Beaux Arts for that year has several articles

1870,

on the

collection, with etchings of

March 22-April

28,

illustrated with photographs.

1880,

March 15-May

thousand and seventy-five

some

of the pictures.

San Donato sale. Objects of art. The catalogue These two sales realized 4,863,031 francs. San Donato

13.

The

sale,

Florence.

There were

six

pictureSj chiefly of the

Dutch, Flemish, and

Italian schools, aquarelles, engravings, sculpture, furniture,

bronzes, curiosities,

lots.

plate, carpets, tapestries, porcelains, carriages, wines, etc.,

hot-house plants, 109463 francs

produced 6,579,580 francs

;

18,142 francs ; furniture in the out-building^ 37> 2 ^9 francs ; total, 6,844,454 francs, besides the palace and grounds of San Donato, which were subsequently sold at private sale. The catalogue is mag;

nificently enriched with etchings,

library,

many

of which, with notices of the collection, are

published in L'Art, for the year 1879-80.

MURILLO.

214 245. ST.

ANTONY OF PADUA AND THE INFANT

Hucks Gibbs, No. 243, with

A repetition

Esq., London.

slight differences.

43X36

Henry

JESUS.

of the Berlin picture

inches.

from Senor Espelosin, Leeds Exhibition, 1868.

Purchased by Mr. Gibbs it had been since the time of Murillo.

in 1853, at Seville,

family

246. ST. tition

ANTONY OF PADUA AND THE INFANT

of the Berlin picture No. 243.

H. A.

Munro

sale,

the royal gallery at Madrid. Earl of Rosebery ?).

247. ST.

63X81

JESUS.

whose

repe-

inches.

1878 (by Christie). "Sold by Queen Christina from Purchased from M. Teschier." ^2,362 ids. (to the

ANTONY OF PADUA AND THE INFANT

age, St. Petersburg, 373. The Saint, kneeling

JESUS.

walking on an open book, which held up in benediction, his cherubs above, one of whom holds is

on a rock

lies

left is lilies.

in St.

Hermit-

profile left, incloses

with his arms, without touching, the Infant Saviour,

hand

;

who appears

the Child's right

Antony's right

Full length.

;

five

2.49X1.67.

Purchased in 1852 for 30,000 francs. A similar, perhaps the same, picture was in the sale of the Marquis de Forbin-Janson, May 2, 1842, "brought from Seville by a French General," with-

Formerly belonged

drawn

Laneuville.

40,000 francs.

Photographed by ROTTGER (Schmitzdorf,

248. ST.

librairie

la cour), St.

ANTONY OF PADUA AND THE INFANT

Bohn, Esq., Twickenham,

No. 240, with

variations.

ground a crimson

curtain.

Middlesex.

Near the

11X8

lilies

Petersburg.

JESUS.

Henry

sketch, perhaps for

a skull, and in the back-

inches.

Purchased by the present owner about the year 1860.

249. ST.

ANTONY OF PADUA AND THE INFANT

JESUS.

Wil-

liam Cornwallis Cartwright, Esq., Aynhoe, Northamptonshire. The Saint, in brown robe, seated at an oak table, on which his left arm rests, stretches forth his right hand, and looks up to the Infant Saviour, who appears standing on clouds, with his hands extended towards his worshipper a book is on the table, and on the book a ;

lily.

82X57 See No.

10.

inches. Exhibited by

R. Cartwright at the British Institution, 1839.

ST.

ANTONY.

215

ANTONY OF PADUA AND THE INFANT

250. ST.

Lady

JESUS.

Holland, Holland House, London. The Saint, kneeling on his right knee, profile right, holds a branch of lilies in his left hand, and supports with both hands, on his left knee, an open folio, whereon the Infant Saviour stands, with his right hand on

St.

Antony's head.

Landscape

Full length.

background. The Princess Marie

Liechtenstein observes that the Saint seems to ignore the

whom

visible presence of the Deity he is adoring, and that the Spiritual Infant casts a shadow, although he impresses no weight on the book, which is an error.

Holland House,

ii.

JOHN DEAN,

29.

mezzotint, 17.9x14, London, August

1776.

ANTONY OF PADUA AND THE INFANT JESUS. Duke of Sutherland, Stafford House, London. The Saint, standing profile left, embraces the Infant Saviour, who stands front on an open 251. ST.

book, which rests

lies

on a great rock

on the book,

14X1

length.

the Saint's right hand, holding

;

his left holds the right

hand of the

lilies,

Full

Child.

2 inches.

Formerly belonged

Francillon.

has sometimes been called St. Fran-

British Institution, 1828.

cis.

[The cabinet of M. Francillon was

252. ST.

sold at Paris, April 14, etc., 1828.]

ANTONY OF PADUA AND THE INFANT

Baron-

JESUS.

ess Burdett-Coutts, London. The Saint, kneeling before a table on which is a book, beholds the Infant Saviour, who appears to him holding a globe surmounted by a cross. Cabinet size. Samuel Rogers sale, by Christie, April 28, etc., 1856, No. 715, wrongly called St. Francis,

253. ST.

Marcille,

Manchester Exhibition, 1857.

241 los.

ANTONY OF PADUA AND THE INFANT JESUS. M. Eudoxe Paris. The Infant Jesus, standing on a table covered

with red cloth, places his right hand on the shoulder of

who

holds

lilies

in his right

hand before

his breast.

St.

Antony, Half length, on

.23X17.

copper. "

In the church of S. Diego, 2533. belonging to the Descalzos of S.

Francisco, outside the

city,

not far from

the Alcazar at Seville, if I

a picture, which,

not mistaken, represents

tonio." Ponz,

ix.

157.

An-

MURILLO.

2l6

2 53 D Julian Williams formerly possessed a small sketch or study of No.

243. Stirling,

iii.

1437.

Joaquin Saenz y Saenz.

2530.

St.

Antony of Padua kneeling before the

St.

253k.

stand

;

the Infant Jesus, seated on a lies on the table, caresses the

Saint's chin

253d. Jose" Saenz. St. Antony of Padua kneeling with the Infant Jesus; an early work. Tubino, 190. Sevilla

length.

Pinto., 477. 2 53e. Jorge

D. Seville,

Antony, kneeling on the

St.

ground, beholds the Infant Jesus descending from heaven. Second manner. Sevilla Pinto,, 486.

253f. St. Antony, of Padua, half length, less than life-size, with the Child seated

a book.

Belonged successively

to the

Marques de la Canada, to D. Manuel de Leyra, and to D. Sebastian Martinez, and finally came to England. Davies,J//-zY/o, xciv.

and Ixxxiv. note.

Ponz,

xviii. 22.

2 53g- Lopez Cepero. The Infant Jesus appears above on clouds, blessing St. Antony, who kneels profile left before a table, on which

1.55X1.07.

length.

a closed book

probably in the Lopez Cepero 1868, but not sold.

253h. Mr.

;

full

This picture was

profile right, hold-

book which

Infant Jesus. Tubino, 183.

Diez Martinez,

Antony,

ing lilies before his breast, stands beside a table, on which are pens and an ink-

JOSEPH 1810.

three cherubs above.

;

Rico,

Half

5.6x4.4, about

line,

From

the original belonging to Josef Ignacio Lascano, Cadiz. P.

BERSIERE,

line,

BORROM,

7x5.

line,

6X4-4253!. St.

with

Antony,

Infant

the

Jesus seated on his arm. A. PINGOT, litho. Spurious. 25301. St.

Desenfans

sale,

Antony of Padua.

April

42X48

1786.

inches.

V253n. Altamira sale, 1827. St. Antony of Padua and the Infant Saviour.

From Lopez Cepero

gallery.

^39

i6s.

253p. Schamp d'Aveschoot sale, Gand, September 14, etc., 1840. St. Antony of Padua, kneeling at a prie-dieu, extends his arms towards the Infant Jesus.

210

inches.

44X34

florins.

sale, Paris,

1843, No. 80. St. Antony, in prayer before a stone table on which is a lily, sees the Infant Jesus

253q.

Aguado

sale,

clouds.

afterwards

appear

Earl of Harrington, Minister to Spain in

francs.

1725, brought to England a St. Anthony of Padua. Davies, Murillo, xcii.

St. 2531-. Soult sale, 1852, No. 63. Antony of Padua, kneeling on a terrace

253!. Due de Montpensier, Xo. 146. School of Mnrillo. St. Antony of Padua, three-quarters length, profile right, with

presses to his

Stanhope,

hand supports the hips, and with his right touches the foot of the Infant his left

1.60X1.00.

405

which overlooks a pleasant landscape,

bosom

the Infant Jesus,

who

responds with naive caresses. .59 X.62. 10,200 francs (to Cte. Demidoff?). 2535.

Louis

Philippe sale, 1853, Antony of Padua and the

Jesus, who, standing on clouds, with a lily at his feet, caresses the cheek of the

No. 496.

Saint.

No. 243, but upright and without the cherubs. I.I4X.89. ,85, to Colnaghi. 2531. Due de Mornysale, 1865. St. Antony of Padua, kneeling before a table on which is a book, with his hand on his

i.igx.93.

LAURENT,

sition

The

photo., 1003.

lowing lithographs are

after

fol-

compo-

similar to the above, ascribed to

Murillo:

LAFOSSE, 16x12. L.

LAFOSSE,

MAURIN, 4.6x3.5. HIRSCH, 10.5x8. C. BURT, line, 8x4.6.

7.4X6-

St.

Infant Jesus.

repetition probably of

breast, beholds the Infant Jesus seated

on a cloud, with one hand on a globe,

ST. blessing

him.

1.65

AUGUSTINE. Madrid.

253U. R. P. Nichols 1875.

From

angels.

13,000

1.09.

francs.

St.

Cox.

sale, April 30,

Antony of Padua with two

254. ST.

AUGUSTINE.

Choquet inches.

collection,

Mr. Nichols exhibited a

Museum,

ing the black habit of the order of

who

the

14^X11

Js., to

St.

John

Baptist at the British Institution, 1860.

Seville

presents to the Infant Jesus,

2I/

St.

59.

The

Saint, wear-

Benedict, kneeling on the right,

seated on the lap of the Virgin, a

flaming heart, which the Child transfixes with a dart ; three cherubs and five heads above. Painted on a rough panel showing the marks of the plane.

2.50X1.32.

About 1678,

at the instance of his friend

and

fellow-artist,

Pedro de Medina

Valbuena, Murillo was employed to paint two pictures for the great retable in the church of the convent of St. Augustine outside the Carmona gate, at Seville, which

Herrera the elder had already adorned with paintings representing the Annunciaand the Coronation of the Virgin, and which Valbuena was himself engaged in The works by Murillo were on the sides of the retable gilding and decorating. tion

and represented St. Augustine writing (255), and the Virgin appearing to the Saint There were also some pictures of angels with episcopal insignia and attri(254). butes in their hands in the angles of the arch (236a). In the Chapel of St. Thomas were two beautiful paintings, afterwards removed to the prior's cell, one representing St. Thomas dividing his clothes among some poor children (396), the other, St. Thomas giving alms, with the perspective of a cloister (398). In the sacristy was There were also several smaller St. Augustine kneeling, with some books (258). In the body of the church were copies of paintings in the lower part of the altar. works which Murillo had executed for the Caridad (probably Abraham and the Angels, The Prodigal Sou's Return, and the Healing of the Paralytic, which were sold in the Marquis of Lansdowne sale, in 1806). See Ponz, ix. 135. Cean BermuPictures in the Augustine G. de Leon, ii. 274, etc. dez, Die. ii. 60, and Carta 96. Convent, "del msigne Murillo" are mentioned by Diego Ortiz de Zuniga in Annales de Se-cilla, Madrid, 1677, fol. p. 722, a work published in the lifetime of the artist.

Photographed by [The Convent of after those of St.

burial place of

LAURENT, Madrid, No.

795.

Augustine was one of the largest in Seville, ranking next Its church, the Francis, St. Paul, the Cartuja, and St. Jerome. St.

numerous great

families of Andalusia,

among them

that of

Ponce de

Leon, was one of the richest in works of art and precious metals. About the begining of this century the church was destroyed, and the convent was converted into a prison.

In 1880 the property passed into private hands.]

255. ST.

AUGUSTINE.

Seville

Museum,

54.

The

Saint, seated

front, table, holding a pen over an open book, turns his head to behold a vision of the Trinity above, on his right, surrounded by

behind a

MURILLO.

218 several cherubs

Painted on a panel which

and heads.

cracked and

2.49X1.32.

injured.

Painted for the convent of St. Augustine, at Seville. Photographed by J. LAURENT, Madrid, No. 1084.

256. ST. AUGUSTINE. robes, kneeling profile

Seville left,

Museum,

See No. 254.

The

51.

Saint, in black

before an altar, with hands outstretched,

looks up towards a ray of light which descends from above; dark

background; no accessories.

sketch

257. ST.

;

i.3oX.72.

From

very dark and obscure.

AUGUSTINE.

Museo

the convent of St. Augustine.

del Prado, 860.

black robes and cape, kneeling on the steps of an

The

altar,

Saint, in

nearly front,

beholds the Virgin, on his left, in a glory, who bares her breast and presses from it a stream of milk, which falls on his lips ; opposite to the Virgin

Christ

blood, which also

heads above

;

mitre and pastoral

on the falls

cross,

on the

from whose side flows a stream of

lips

of the Saint

;

many

cherubs and

the foreground are books and two cherubs with staff.

Second manner.

2.74X1.95.

This picture formerly belonged to the Marques de los Llanos. Photographed by J. LAURENT, Madrid, No. 183. [Twiss mentions a picture in the church of St. Mary Impatica, in Pavia, where the Virgin, standing on clouds, squeezes milk from her breast into the mouths of souls in purgatory ; another, in the Chartreuse, in the same city, where Christ, standing on the basin of a fountain, spouts blood from his five wounds. Travels in

Spain, 144.]

258. ST. AUGUSTINE.

The

George Tomline, Esq.,

Orwell

Park,

wearing a rich robe lined with red, kneels in before a ecstasy flaming heart which appears in gray clouds, with the inscription, INQUIETUM EST COR MEUM DONEC PERVENIAT AD TE ; on Suffolk.

Saint,

the floor are three books, a mitre, and a crozier; a curtain in the

background. Full length, life-size. Second manner. From the convent of St. Augustine. See No. 254. It was taken to Paris by Marshal Soult, who sold it at private sale about 1846 to Mr. Tomline. This is one of the pictures which the Marshal authorized Mr.

Buchanan

ante No.

the finest single figure he knew in the Cadiz Museum, No. 36.

the master.

Dr.

Waagen

A copy,

(iii.

441) considered

perhaps of

this picture, is

to sell in

England.

See

AUGUSTINE.

ST.

219

Sir W. Stirling-Maxwell (Catalogue of Prints, p. 96), asserts that there is a engraving by JOUBERT, 12x9.8. The writer has never seen such an engraving, and Mr. Tomline doubts its existence. line

259. ST. AUGUSTINE.

Sir

The

Court, Worcestershire.

Edmund

A. H. Lechmere, Rhydd

Saint, in black habit, attended

by a monk

holding a napkin, while washing the feet of pilgrims, recognizes Christ, who has descended from heaven to have his feet washed with the rest ; above

seen a church like the Pantheon

a group of angels

in the background the Saviour is supposed to utter the words Tibi commendo ecclesiam meant. Second manner. 97x66 inches. ;

Painted for the nuns of St. Leandro, of the Order of St. Augustine, and sold by It passed into the them, during the French invasion in 1810, to D. Manuel Real. possession of IJon Julian Williams, who sold it, in 1825, to Mr. Standish for ^600. At the Standish sale, No. 204, it was by mistake attributed to the School of Murillo, for ^32 \os. J. Dennistoun Lord Northwick sale, 1859, ^252 $s. Murillo in his possession. Seville and

and sold

See ante No.

76.

260. ST. AUGUSTINE.

The

wickshire.

by Christie, June 14, 1855, ^199 icw. Mr. Standish considered this the best its Vicinity, 284. Guia de Sei'illa, 1832.

sale,

Joseph T. Mills, Esq., Rugby, War-

Saint, in Bishop's robes,

wearing a mitre and holding

a crook, stands on the sea-shore conversing with a child his side beside a hole in the sand,

which

trying to

who fill

kneels at

with water

brought from the sea in a shell. Landscape background, with the sea on the left, and mountains beyond. 1.80X1.35 centimetres. Louis Philippe

sale, 246, j6So. Stirling (885) is probably mistaken in supbe one of the pictures painted for the Augustine Convent. Praised in Jameson, S. ami L. Art, 312.

posing

this to

According in a shell to

fill

to the

legend the Bishop saw a child on the sea-shore carrying water

a hole in the sand.

replied that he intended to possible," said the Bishop.

empty

all

the inquiry what he was doing, the child the water of the sea into that hole. " It is im-

" No more " than for impossible," answered the child, mystery of the Trinity on which you are now meditating." Among the pictures of this subject by other artists, may be named a small fresco attributed to Raphael in the Sala della Segnatnra a painting by Sanchez Coello in the Escorial, and one by Guercino in the Museo del Prado, 250. Engraved on wood in Jameson, Sacred and Legendary Art, and in Clement,

you

to explain the

;

Legendary and Mythological Art,

261. ST.

AUGUSTINE.

Lacy, Dorset.

The

Walter R. Bankes, Esq.,

Saint, holding a pen,

Kingston

seated at a table on

MURILLO.

220

which are some books ; turning Full length, voice from above.

his head,

he looks up as

life-size.

About 7X5

From

Juan Govantes.

2613.

St.

Augus-

ling,

iii.

1433.

26ib. Jorge St.

rid.

Stir-

life-size.

Diez Martinez, Mad-

Augustine writing, half length, From A. Bravo. Sevilla Pinto.,

meditating, half length.

St.

Augustine

Sevilla Pinto.,

Tubino, 187. 26id. Formerly in the Louvre, 552.

464.

St. Augustine, seated at a table, turns his head, and looks up to the Father and the Son above. Half length. Called the In-

spiration of Murillo.

04X^4.

feet.

for 4,000 francs.

It is

now

considered to

be only a copy, and has been withdrawn from the gallery. PISTRUCCI, etch., in Lucien Bonaparte Gallery,

26ie.

No.

Tubino, 185-6. 2610. Pedro Garcia.

413.

he heard a

Mentioned by Waagen,

the Chapter house of the Cathedral at Plasencia. Treasures of Art in Great Britain, iv. 382.

tine writing, half length, life-size.

30.

London, 1812,

410.

Baron V. Denon Vision of

St.

francs, to I.afontaine.

sale,

Augustine.

1826,

1,200

A sketch, identical

with No. 257, except that Christ and the Virgin are different, and seen only at half length, and there are no cherubs or

heads above.

GOUNOD,

14X10.5, the size of Denon, Monuments des

litho.,

the original, in Arts. VILLAIN,

12.9X9.8,

litho.,

re-

This picture was sold in the Lucien Bonaparte sale, 1816, for ^130. Bu-

versed, in Chabert, Galerie des Peintres. 26if. Standish sale, 1853, No. 115.

In 1829 it was purchanan, ii. 283. chased by Charles IX. from M. Lapey,

Jesus giving alms to

BERNARD.

262. VISION OF ST.

X.yo.

^38

Museo

17.?.,

St.

Augustine.

.58

to Durlacher.

del Prado, 868.

The

wearing the white habit of the Cistercian Order, while kneeling his cell beholds the Virgin, who appears standing on clouds, sur-

Saint, in

rounded by a glory of cherubs and heads, and bearing the Infant Jesus on her arm; with her right hand she presses from her breast a stream of milk, which

falls

before a case of books, lilies

;

on the

lips

of her worshipper

other books and the pastoral staff

Second manner.

ground.

From on which

;

on the

lie

on the

floor in the fore-

3.11X2.49.

Ribadeneira (Flos Sanctonim, p. 396) gives the legend founded " Ita fertur aliquando patulum ejus os lacte de S.S.

St. Ildefonso.

this picture is

suis uberibus prosiliente suaviter implesse, atq. hinc illam styli suavitatem cunctis in scriptis ejus sese prodit, liberalitur hausisse."

left,

a table with books, writing materials, and

MUNTANER,

line,

O'Neil, Spanish Painters.

quae

20.8x16.7, at Calco. Nacional. J. BROMLEY, outline, in A. JAMESON, etch., in Monastic Orders. C. ALABERN,

etch., in Alabern, Galleria.

BONAVENTURE. Francis Cook, Esq., Richmond Hill, The Seraphic Doctor, in gray robe and doctor's cap, seated

263. ST. Surrey.

ST.

CATHARINE.

221

a red leather chair beside a table on which are writing materials crucifix, holds on his left hand a book in which he is writing. 74

and

X44

inches.

Louis Philippe

wer in

sale,

1869.

sale, No. 497, from A. Bravo, ,135. Lord Calling and BulFebruary 21, 1873,^257. Exhibited at the South Kensington Museum This is one of the earliest works of Murillo. It was formerly in the

south-west corner of the large cloister of the convent of San Francisco at Seville, and is mentioned by G. de Leon, i. 60; Ponz, ix. 99. See an account of the pictures in

convent at No. 268.

was permitted to return might finish the memoirs of St. Francis, on which he was engaged. The Due de Montpensier has an old copy. Engraved on wood in Jameson, Monastic Orders, first edition, p. 303. The engraving is withdrawn from the later editions of the book.

this

According

to (he legend, the Saint

to the world for three days, that he

MARRIAGE OF

264.

The

ST.

CATHARINE.

Capuchin Church, Cadiz.

right on a raised platform, holds on her the infant who Saviour, lap places a ring on the finger of St. Catharine kneeling; behind the Virgin are three youthful angels, and on

the

Virgin, seated

curtain

two others

are

left

and others

on the

in the glory

;

three cherubs are on the platform in front,

above

;

on the

a sword and a broken wheel

;

ment of the chamber.

right, are

lie

in front

Full length, life-size.

two columns and a on the

tiled

13 feet 9 inches

pave-

x 10

feet

8 inches. This

the last

work of Murillo,

the one which cost the artist his

life.

The

having resolved to expend, in the decoration of their church, a sum of money which had been left to them by Juan Violante, a Genoese merchant formerly

Capuchin

friars

residing at Cadiz, Murillo was employed to paint five pictures for their high altar. He chose as the subjects for the centre the Marriage of St. Catharine ; on the :

Joseph and the infant Jesus walking above it St. Michael standing with a palm in his left hand, the right hand raised on the right St. Francis, standing before a balustrade, with a crucifix; above it the Guardian Angel. This immense altar-piece, about 20 feet high by 24 feet wide, fills the entire arch at the end of the convent church and all the figures are of the size of life. left St.

;

The account

of the accident that befell Murillo while engaged on this picture is " Such was the : modesty of Murillo that we may

given by Palomino, as follows

say this virtue cost him his life. For while engaged in painting for the Church of the Capuchins at Cadiz a large picture of St. Catharine, he stumbled on the scaffold

and ruptured

his intestines. Being unwilling, through modesty, to permit an examination, or to show the injured part, he died of the accident." Palomino,

Mus.

Pict. iii. 421. Murillo's will, which he dictated but was not able to sign, on the day of his death, April 3, 1682, says: "I declare that I am making a large painting for the

MURILLO.

222

convent of the Capuchins at Cadiz, and four smaller ones; the price has been agreed upon at 900 pesos, on account of which I have received 350 pesos." A Ponz informs us (xvii. 339) that the translation of the will is given in this volume. St.

was

Catharine was completed by Murillo himself, except a part of the glory, which Meneses also executed the four finished after his death by Meneses Osorio.

lateral pictures, doubtless all after the designs of Murillo.

fact,

the Guardian

Angel with a child is a repetition, with slight variations, of that formerly in the Capuchin Convent at Seville, and it may reasonably be inferred that the St. Michael was likewise taken from the picture of that saint in the same convent, now lost. Murillo's drawing for this composition, .2OX-28 cm., belonged to Raphael in P. Lefort sale, Paris, Jan. 28, 1869. sketch belonged to the Marques de la Canada, to D. Sebastian Martinez, to D. Manuel de Leyra, and after-

Mengs and was wards

Captain Davies.

Murillo, xcv. and 94.

Twiss,

Travels, 316.

Ponz,

xviii. 20.

In 1861 two prizes were offered by the Academia de Bellas Artes, of Cadiz, one of 10,000 reals and the other of 5,000 reals, for paintings to commemorate the The first prize was awarded to D. Alejanaccident by which Murillo lost his life. dro Ferrant y Fischermans, the second to D. Jos6 Marcelo Contreras. The picture by Ferrant is now in the museum at Cadiz also another of the same subject by ;

D. Manuel Cabral Bejarano. This is one of the richest and most graceful of all the compositions of Murillo, and is so interesting, as well for its history as for its artistic merits, that the author of this catalogue has thought no offering could be more acceptable to the friends of our artist than the accompanying etching which M. Saint Raymond went from Paris to Cadiz expressly to make. E. SAINT RAYMOND, etch., 1880, in this volume.

265.

MARRIAGE

ST.

CATHARINE.

Vatican, Rome.

The

Virgin, seated on the right, holds the Infant Jesus seated on her lap ; the Child places a ring on the hand of St. Catharine, who bends reverently forward, with her

Three

ground.

left

hand on her breast

figures, life-size, of

;

dark grayish back-

which two are half length.

42 X

52 inches.

The picture was presented, in 1855, by the ex-Queen Christina of Spain Pope Pius IX., who placed it in the gallery of the Vatican. Photographed by ALINARI, Florence, and by A. BRAUN, Paris.

266. ST.

CATHARINE.

Duke

of Wellington, London.

The

wearing a rose in her hair, is turned three-quarters right, and looks up ; her right hand on her breast holds a sword, in her left is a Saint,

palm.

Bust,

life-size.

Exhibited at the British Institution in 1824.

DEATH OF

223

Church of Santa Cruz, Medina

CATHARINE.

267. ST.

CLARA.

ST.

del.

Rioseco. Mentioned by Ponz, Viage 2673.

Duke

Durham.

xii.

Cleveland,

122

and by R. Ford, Handbook,

;

Raby

a beautiful

St.

ii.

559.

Catharine Martyr, half-

Catharine, life-size, kneeling, her eyes turned towards an angel above. 65X44 inches. Doubtful.

length, painted like nature. Cean, Carta G. de Leon, i. 206. 98, and Die. ii. 58.

King Louis Philippe sale No. 501. From the Due d'Hijar. ^300. 26jb. H. D. Owen. Marriage of St.

longed to

Castle,

St.

Exhibited at Leeds in 1868.

Catharine.

Stirling says the picture afterwards be-

iii.

2676.

2670. Canon Maestre, Seville. St. Catharine, half-figure, with a sword in one hand and a palm branch in the

Guide's softest and richest

ure

other;

manner.

"One

of the finest Murillos in

Standish, Seville, 314. private hands." Cook, S. S., Sketches in Spain, ii. 198.

This picture, I.22X-95, was sold several years ago and

is,

perhaps,

now

Eng-

(?).

Diego del Campo has engaged

to paint a picture de la devocion de

executors to deliver to him the pictwhich is finished." Extract from

Murillo's will. 267!. ST.

CATHARINE OFSiENA, three-

quarters length, profile left, crowned with thorns and holding a crucifix with

both hands,

FRANCISCO FONTANAELS,

267d. The Parish Church of Sta. Catalina, Seville, formerly contained

DEATH OF

ST.

CLARA.

on a

dying saint lies

monks and nuns

;

Annals,

Santa Catalina Martyr, for 32 pesos, which sum he has paid me, and I order

land.

268.

Marshal Soult

1439.

8.2.

Barcelona.

line, 10.5

Dedicated to D. Jayme

de Llanza y de Vails.

The

Earl of Dudley, London.

on the

surrounded by a group of pallet the Saviour and his Mother approach attended by left,

a throng of female saints and martyrs, all in white robes, wearing crowns and bearing branches of palm. Beneath is a long inscription, " Entre giving the legend which the composition depicts, beginning, los singulares favores," etc.

inches by 14

ft.

28 figures,

less

than

life-size.

ft.

4 inches.

Painted for the small cloister of the convent of San Francisco at Seville.

When

Murillo returned from Madrid, in 1645, a project was on foot to adorn the small cloister, called de la porteria, of the convent of San Francisco with eleven historical paintings, the figures to be of life-size. For this purpose money had

been collected by one of the brotherhood, but the sum was so small that ists

of repute declined to undertake the work.

all

the art-

Murillo, however, being needy,

although the monks greatly doubted his ability to satisfy their of the pictures had verses underneath, taken from the chronicles of the Seraphic religion, intended to explain the story. The first on the right, or easterly side, on entering the cloister, represented San Francisco listening to angelic

accepted their desires.

offer,

Some

MURILLO.

224

music ; the second was San Diego de Alcala distributing soup to the poor on the same side were two others, in one of which the soul of Philip II. was seen ascendIn an interval on the north was the Death of Santa Clara. Four ing to heaven. ;

filled the space on the west side. On the south side were two, one of them quadrangular in form, with two figures ; the other represented San Diego in the convent kitchen. On the completion of these works all the connoisseurs were

others

and wondered where Murillo had acquired so admirable a manwas no longer obscure, he became famous at once, and was by all. Employment was heaped upon him, and it was by the merit

greatly astonished, ner.

The

painter

sought after and fame he thus acquired that he obtained the favor of Dona Beatriz de Cabrera y Sotomayor, whom he married in 1648. Cean Bermudez, Carta, 46-53. The convent of San Francisco was the oldest, the largest, and the richest in Seville, having accommodations provided within its spacious walls for 200 monks, whose annual expenditure, notwithstanding that all were fed by charity, exceeded 400,000 reals. It occupied a conspicuous position adjoining and communicating with the Ayuntamiento, or City Hall, and gave its name to the plaza on which that edifice stands. Its vast cloisters stretched far to the west towards the Guadalquivir, and with its gardens it occupied all the space from the Plaza de San Francisco on the east to Calle de Zaragoza on the west, and from Calle de los Catalanes on the north to Calle de los Tintores on the south. Every altar and chapel, not only of the church, but of the cloisters as well, was under the special patronage of some great family, whose pride and religion had been displayed in its adornment. It was the chosen burial-place of the grandees of Andalusia, by whose devotion it had been enriched

with precious marbles, sculptures, bronzes, frescoes, and paintings to such an it was justly considered, after the cathedral, the chief glory of Seville. But the richest part of the convent in artistic wealth, Gonzalez de Leon says, was the small cloister which contained eleven of the best works of Murillo. See Palomino,

extent that

Ponz, Viagc, ix. 95. Arana de Varflora, Compendia, i. 41. G. de Leon, Cean Bermudez, Carta, 46-57. Stirling, Annals, ii. 834-7, etc. On the arrival of Marshal Soult on the first of February, 1810, all was changed. The convent was assigned as quarters to a regiment of the line, which negligently, iii.

420.

59.

or as the Spaniards say, designedly, allowed a fire to break out on the first of November in the same year, whereby a large part of the conventual buildings were Little more than ruins remained when the French evacuated the city destroyed.

on the 26th of August, 1812.

Efforts

were made from time

to time to restore the

church, but with only partial success. Finally, in September, 1840, its complete demolition was decreed, and in place of the convent, with its cloisters and gardens, new streets were laid out, and the Plaza de San Fernando, sometimes called Plaza

Nueva, was constructed, one hundred and fifty metres in length by ninety in breadth, being the largest and finest in Seville. Immediately on occupying the city the French took the precaution to secure such artistic treasures as were portable and had a market value. Of the eleven paintings in the small cloister of this convent, three fell into the hands of Marshal General Faviers, Intendant-General of the Soult, who carried them to Paris. French army, took possession of four. Owing to the haste of the evacuation the

remaining four were

left

behind in the Alcazar, with

many

other pictures from dif-

ST.

DIEGO OF ALCALA.

225

and convents, amounting, Mr. Ford asserts, to more than a thousand (Handbook, i. 186). Two, if not four, of these fell into the possession of Don Antonio Bravo, a noted collector at Seville. (See Velazquez, No. ga. ) These paintings are so interesting, and mark so important an epoch in the life ferent churches

The

of the artist, that no biographer of Murillo omits to mention them. a list, with the names of the present owners :

following

DEATH OF ST. ST. ST.

ST.

CLARA, No. 268.

DIEGO OF ALCALA, or the Cuisine des Anges, No. DIEGO BLESSING A POT OF SOUP, No. 270. DIEGO SURPRISED BY THE GUARDIAN', No. 273. DIEGO IN ECSTASY BEFORE A CROSS, No. 271.

Earl of Dudley. Louvre.

269.

Academy

Toulouse Museum.

Due

ST. DIEGO, or The Plague, No. 272. ST. FRANCIS listening to music, No. 287. ST. GILES before the Pope, No. 309.

of S. Fernando.

Charles B. Curtis.

Academy

Pozzo

di Borgo. of S. Fernando.

Philip

ST. PHILIP, No. 383.

S. Miles.

Soult Sale.

Two MONKS, No. 400. A MONK robbed by a brigand,

Francis Clare Ford.

No. 401.

Ch. Baudet.

Besides the above the convent contained

small CONCEPTION, on the same wall with the Death of St. Clara ; companion to another CONCEPTION which was over the door leading to the principal staircase of the convent.

CONCEPTION, with a religioso grand cloister, No. 5oa.

at the Virgin's feet

writing

;

an angle of the

in the nave of the church, No. 21. of the grand cloister, No. 263. ante sacristy, No. 47611.

Another CONCEPTION, over the principal arch

BONA VENTURE, in the south-west corner PORTRAIT OF D. PEDRO DE URBINA in the ST.

In the plunder of the convent by the French, the Death of St. Clara fell to the share of General Mathieu de Faviers, and was carried by him to Paris; but it was not in his sale in 1837, having been previously sold to M. Aguado, at whose sale, in 1843,

was bid

1865, for 75,000 francs. for

19,000 francs. Again in the

was sold

in the

Aguado

Marquis de Salamanca

sale April 10,

sale

June

3, 1867.

95,000 francs. Exhibited at

Leeds in 1868, and at Royal Academy in 1871. A copy by Hermitage, No. 396. D. Roberto Kith, Seville, has a very old repetition or copy, considerably varied and unfinished, about 7x11 feet. Illustration, March 18, 1855, and in Gaz. B. Arts, Engraved on wood in Bocanegra

in the

Jan. 1875.

2683. D. Pedro Garcia had a picture representing the

Mentioned

Death

of St.

Clara.

Tubino, Murillo, 187, and

in Sevilla Pintoresca, p. 464.

269. SAINT 546.

The 29

DIEGO OF ALCALA.

268b. Louis Philippe sale, 274. Death of St. Clara. .33X-36. ^28 to Drax. Jameson, Monastic Orders, 277. Doubted by Stirling, Annals, iii. 1440.

Saint, with joined hands,

Cuisine des Anges. raised from the

Louvre,

ground with

MURILLO.

226 rapture, while

kitchen

;

angels perform

holds a jar

duties as

his

cook

the

convent

two angels with spread wings, one of whom other angels on the right, with provisions and cooking

before ;

him

are

preparing food ; on the left a monk has introduced two the one on the extreme left is supposed to represent Murillo

utensils, are

visitors

;

Beneath

himself. artist,

and the

size.

long inscription, and the signature of the

"""*

date.

deMurillo.

1646 f.

12 figures nearly

life-

1.804.50.

Painted for the Franciscan Convent. See No. 268.

remained

in its original

was appropriated, with others, by Marshal Soult, at whose sale, in 1852, it was bid in at 85,500 francs. About 1858 While in the Marshal's heirs sold it to the Louvre for 80,000 francs. See No. 55. Soult's possession it was injudiciously restored and repainted. L''Illustration, Jan. A writer in the Athenceum, Jan. 19, 1852, asserts that it was at one 8, 1859, p. 25. time sent to London and offered for sale at ^3,000. " When I was at Seville I made repeated offers to bring this picture to England, saying I would send it safe back (and give security for the performance), perto the convent the exhibition would fectly repaired, without any expense whatever, have paid it an hundredfold. Being exposed to the morning sun, and having been so one hundred and fifty years to the open air, pieces about a foot from the bottom, as large as the palm of your hand, had been chipped off, the remainder is perfect."

position on the south wall of the cloister until

;

Davies, Murillo, 53 note.

Engraved on wood 1875.

A. BRAUN, Photo.

L' Illustration, Jan. 8, 1859. Gazette Beaux Arts, Jan., The figure of the angel arranging the dishes, in Gas. B.

Arts, Feb., 1877.

2693. R. Baxter. a sketch.

16^X23

Cuisine des Anges, Exhibited

inches.

at the winter exhibition of

270. SAINT

emy

emy, London, in 1873. sold at Mr. Baxter's

Royal Acad-

London, Jan.

was probably by Christie,

sale

8, 1881.

DIEGO OF ALCALA BLESSING A Pox or SOUP.

San Fernando,

Madrid.

St.

Acad-

Diego, kneeling on our

left

with joined hands, blesses the food contained in a large basin placed on the floor; around the basin are grouped four kneeling urchins,

with their mother, and surrounding them a throng of other beggars lines are inscribed eagerly await the supply of their wants ; eight

beneath; 17

figures.

1.72X1.80.

Painted for the convent of San Francisco. See ante, No. 268. FED. NAVARRETE, etch., in Cuadros Selectos de R. Acad. de S. Fernando. J.

LAURENT,

photo. 486.

DIEGO OF ALCALA.

ST.

DIEGO

271. SAINT

227

ALCALA IN ECSTASY BEFORE A CROSS. The Cardinal Bishop of Pampeluna, 39.

Toulouse Museum,

accompanied by four monks, entering the garden of the convent, beholds with amazement before a cross

mattock

in the

;

St.

background

the convent on the right.

beneath.

Diego raised from the ground

the feet of the Saint are

;

in ecstasy

some vegetables and a

a landscape with trees, and the walls of

Six figures.

Eight lines are inscribed

1.69X1.81. See No. 268.

Painted for the convent of San Francisco.

This picture was brought from Spain by General Faviers, passed into the possession of M. Aguado, and was sold in his sale, 1843, for 2,825 francs, to the

Government. It was sent to the Museum in 1846. The canvas has been injured and extensively and badly restored, with the loss of some of the lines beneath. line, in the Galerie

COUSIN,

Borgo,

The

Paris.

;

de Pozzo

who

recoils as if fearing conta-

in the background. The figure standing thought to be a portrait of Murillo himself.

and people

architecture

beside the Alcalde 1.

Due

Saint kneels, imploring assistance for the vic-

tims of an epidemic, from an Alcalde

gion

n. d. folio.

SAINT DIEGO OF ALCALA, or The Plague,

272.

Aguado, Paris

78X1. go. Painted for the convent of San Francisco.

Paris by

Marshal Soult, and

Engraved

in outline in Reveil,

273. SAINT

Musce de Peinture,

in his

was taken

iv.

255.

DIEGO OF ALCALA SURPRISED BY THE GUARDIAN.

Charles B. Curtis, Esq., New-York. bread

See No. 268.

sold at his sale, 1852, for 20,000 francs.

The

Saint

surprised with

robe changed to flowers. He stands on the right, holdbrown robe filled with roses, which he shows to the

ing up a fold of his

Guardian, the Saint

who

raises his

another

hands

monk

amazement

old beggars imploring alms, and two boys;

with the stigmata, " ing,

Inasmuch

background

have done

done

in a group,

on the

behind

;

left

are four

Christ himself,

marked

;

seated in front in the guise of a beggar, as

as ye

brethren, ye have

whom,

at the miracle

with a basket of bread

unto me."

say-

unto one of the least of these

Above

are five cherubs, three of

shower flowers on the head of the

Saint.

formed by the walls of the convent, with a

bit

The of sky

MURILLO.

228 on the

left.

The

figures of the

and the Guardian

Saint

are,

one

or both, the same as those in the pictures in the Louvre, No. 269,

Toulouse Museum, No. 271, and in the Academy of San Fernando, No. 270. One of the beggars is seen in the Adoration, in the Museo del Prado, No. 121.

inches.

93X78

Painted for the convent of San Francisco.

See No. 268.

hands of

After the occupation

Don Antonio

Bravo, from Aniceto Bravo (see Velazquez No. 9a), " whose magnificent gallery of 840 paintings might rank with many museums of the first order." A. de los Rios, Sevilla Pinto., 409. The picture is fully described, of Seville by the French, this picture

whom

fell

descended to his nephew,

into the

Don

and

its history given, in Gonzalez de Leon, Noticia Artistica . de Sevilla, Sevilla, 1844, 8vo, part ii. p. 256. Miranda, Glorias de Sevilla, Sevilla, 1849, 8vo. p. 134. A. de los Rios, Sevilla Pintoresca, 8vo, Sevilla, 1844, p. 414. Also in Tubino, Mnrillo, .

su epoca, su vitfa, sits cuadros^&vo, Sevilla, 1864, p. 1856. Seiior Tubino adds a note by which he informs us that after the death of Senor Bravo, his widow dispersed the collection of pictures which her husband possessed, and that the San

Diego Surprised by the Guardian was purchased by Don Jorge Diez Martinez. this gentleman it passed, in 1865, to Don Luis Portilla, Madrid, who, in It was sold by Mr. Shaw, in 1880, at private sale, to 1873, sold it to W. J. Shaw.

From

the present owner. Comte A. Raczynski endeavored to buy the picture in 1842, but he considered the price which Seiior Bravo demanded for it, 45,000 reals, greater

than he could afford. Raczynski, Les Arts en Portugal, p. 512.

The legend

to the effect that the

Saint, having

been often reproved by the

prior of the convent for his excessive charity towards the poor, was on one occasion protected from punishment by the miracle which the artist has depicted. Annibale Caracci, with the assistance of Albano, painted a picture representing this miracle in the series of frescoes

which once adorned the church of San Giacomo degli

The church has been

Spagnuoli at Rome. exists in the engraving

destroyed, but the composition

still

by Guilain.

like story is told of St. Elizabeth of Hungary, and also of St. Casilda. picture by Zurbaran, representing the miracle operated for the benefit of this lastnamed saint, is in the Museo del Prado, No. 1132.

Etched by A. LALAUZE,

for this catalogue, after a

The Church of Sta.

photograph.

Seville, formerly

Diego bearing the cross, in a landscape an early work. Head, Handbook, 163.

273b. Galerie Espagnole, No. 177. Mrs. St. Diego of Alcala. i.oox.78.

273d. St. Diego, in profile, bearing a heavy cross over his shoulders. Doubtful. LLANTA, litho., 7.2x5.9.

Catalina, possessed a St. Diego of Alcala, half length. G. de Leon, i. 206. 2730.

Jameson describes Diego with roses in

this

picture

his tunic.

St.

does

not appear to have been sold in the Louis Philippe sale, 1853.

2730. Julian

Williams had

a St.

2736. A. Bravo.

St.

;

Diego of Alcala,

three-quarters face, with eyes upturned, kneels on the left, embracing a cross against which his cheek rests; his right hand is on his left wrist; the cross bears

ELIZABETH OF HUNGARY.

ST. the

I N R 2^X2% varas

inscription

life-size,

Companion

to St.

Full length,

(58x62

Joseph and

inches), the Infant

Saviour. Sevilla Pintoresca, 412. Lithograph in Miranda, Glorias

Sevilla, Sevilla, 1844, 8vo.

;

an emaciated half-length figure

life-size.

;

Aguado No.

March 20 Dominic is rep-

sale, Paris, St.

83.

resented in religious costume, consisting of a white robe covered by a black mantie.

One

273!!.

273f. A. Bravo. St. Diego of Alcala, with the bread in his tunic changed to roses

273g.

to 28, 1843,

229

figure.

Dominic

St.

1853.

.9OX.6g.

Vigneron de

60 francs.

Haye

sale,

1,000

kneeling.

francs. St.

Dominic with

the

See

Virgin.

ante No. 1173.

Sevilla Pinto., 412.

ELIZABETH OF HUNGARY, El Tiiioso. Academy of Madrid. The young and beautiful Saint, arrayed

274. ST.

San Fernando, in the

dark robe and white headgear of a nun, surmounted by a small

coronet, stands in a rich portico washing the scald head of a beggar

boy, el

Tifioso,

two

ladies

her

left is

who bends

over a silver basin placed on a pedestal;

and a spectacled duenna supply the Saint with lotions on a second boy cautiously removing a plaster from his head, a ;

cripple hobbling

foreground

away on

crutches,

and an old woman seated

seated a half-naked beggar with his head

;

in the

bound

up,

removing a bandage from an ulcer on his leg; on the right, in the background, is a secondary scene, in which the same Saint and her ladies are serving a lery at

table.

number of poor

Nine

figures, full

San Juan de Dios, No. 339. One

persons,

who

length,

life-size.

are seated in a gal-

Companion

4.20X3.20.

of eight large pictures painted for the Caridad.

In 1674 the artist received companion, San Juan de Dios, 16,840 reals (4,210 francs). See anteNo. 1. In the Diccionario, Cean Bermudez called this Saint, Isabel of Portugal, an error which he corrected in the Carta. According to the BiagrapkieUniverselle,ait. Murillo, for

and

its

and the two pictures of the Roman Senator (Nos. 229 and 230) were presented by the City of Seville to Marshal Soult, who gave them to the King at the Restoration. For a time they were in the Louvre, but in 1815 they were returned to Spain and placed in the Academy. The Brotherhood of the Santa Caridad have made repeated efforts to secure the return of this precious canvas to Seville, and when the Queen visited that city in 1862, they procured from her a promise to restore it, this,

in Madrid. " The composition so closely resembles the print of St. Erentrudis washing the head of a patient, by Raphael Sadeler, in Bavaria Sancta descrifta d Matt. Radero; Monaci, 1615-24, 3 vols. fol. i. p. 45, No. 16, that there can be no doubt that Murillo used that print as the foundation of his own design." Sir W. Stirling-

but

it is still

Maxwell, Catalogue of Prints,

HI.

MURILLO.

230

P. BOUTROIS, line, in Montalembert, Paris,

Monumens

D. MARTINEZ, line, 23X17, 975, and in Muse'e Religieux.

1840, fol.

de Vhistoire de Ste. Elizabeth, Nacional. Outline in

at Calco.

ReVeil Mus/e, xiv. Lithographs by FLORENTIN DE CRAENE, in Col. Lit/i. LAFOSSE, 20.3x15.6. F. CHEVALIER, 10.8x8.4. CH. VOGT, 9.2x7.8. DEFRONDAT, 11x8.8. M. LAVIGNE, 20.5x15.5. CHARPENTIER, 8.8x6.8. H. JANNIN, 8.9x7. On wood in Blanc, Peintres ; Viardot, Illust. Hist, of Painters, London, 1877. Becker, Kunst und Kiinstler.

ELIZABETH OF HUNGARY.

275. ST.

New- York. ations.

There are two urchins behind the one

ministering six

John

instead of

and

;

away

Bought

in place of the architecture

among them, the one on

beggars,

L. O'Sullivan, Esq.,

small sketch for the above, with

some important to

whom

and the

crutches,

who

feast is a

group of

hobbling towards,

On wood, ioi^x6|^

from, the Saint.

vari-

the Saint

inches.

Lisbon about 1848, by Mr. O'Sullivan, then United States Minister

to Portugal.

2753. In the Sacristy of the Convent La Visitacion, Madrid, belonging to the nuns of San Francisco de Sales,

was a picture of Santa Isabel, Reyna de Hungria. Mentioned by Ponz, Viage de Espana,

FELIX OF CANTALICIO.

276. ST.

aged Saint kneeling, profile

left,

243.

Seville

Museum,

90.

The

with the Infant Jesus seated in his

arms, beholds a vision of the Virgin,

who has descended on

clouds

accompanied by three cherubs, and who reaches forth her arms to receive her Son ; the Child stretches his right hand upwards towards his

The

mother.

Full length.

wallet of the Saint lies in the centre foreground.

2.95X1.95.

One

See No. 18. of the eight altar-pieces painted for the Capuchin Church. The Spaniards have a saying that this picture is painted con leche y sangre, with milk and blood.

Photographed by 277. ST.

LAURENT, Madrid, No.

794.

FELIX OF CANTALICIO. Seville

Museum, 53.

St.

Felix

seen, profile left, bending over the Infant Jesus, whom he holds reclining on his arms; the naked Child, with both hands, caresses the

bearded cheeks of the aged Painted for the high-altar to

No. 241.

This picture

Three-quarters length, of the Capuchin Church. See No. 1 8.

Both were framed is

called St.

Saint.

89 x 1.20.

Companion

segments of the arch at the top of the retable. Felix de las arrugas, from the wrinkles in the hands of the as

Saint.

Photographed by

LAURENT, Madrid, No.

1,074.

SAN FERNANDO. Lord Elcho, London.

FELIX OF CANTALICIO.

278. ST.

231

The

Saint, on the right, in Capuchin habit and hood, holds a wallet, in which the Child Jesus is about to deposit a roll of bread ; above are two heads and three cherubs, two of them with loaves a landscape ;

with a town in the background.

Full length,

life-size.

2.06X2.06

centimetres.

Louis Philippe

sale No. 499, from a convent in Seville. ^350. British InstituManchester Exhibition, 1857. South Kensington Museum, 1870. D. Roberto Kith, Seville, has a very old copy, about 3X2 feet. The two figures without background, etc., are engraved in Jameson, Monastic

tion,

1855.

and M.

Orders ; and in Clement, L.

Art.

Manuel Sanz de Tejada,

2783. D.

Cadiz, formerly

among them

had twelve

St. Felix

was informed in Cadiz that these had been sold in London, zySb. D. Josef Murcia, Cadiz, had

writer

Murillos,

de Cantalicio,

pictures

life-

a finished sketch of St. Felix de Canta-

very beautiful and well-preserved, Raczinski, Arts en Portugal, 518. The

size,

licio.

Ponz,

xviii. 27.

Seville Cathedral, Chapter Room. The crown and ermine robes, and holds a globe and

SAN FERNANDO.

279.

royal Saint wears a sceptre.

Bust, circular

;

life-size.

Pedro de Medina Valbuena in 1668, in which year he was mayor-domo of the Murillo had founded at Seville, gilded and painted black the ornaments of the Chapter Room, spoiling the beauty of the stone and marble. Murillo

Academy which

painted for the eight circles of the dome of this chamber portraits of the canonized archbishops of the diocese, Pio, Laureano, Leandro, and Isidoro ; the royal Saints Hermengildo and Fernando, and the virgin Saints Justa and Rufina. Cean, Car/a These medallion portraits are painted in oil, and are ranged on the dome of 72. the circular hall in the following order On the right SS. Hermengildo, Isidoro, view of Pio, and Justa ; on the left Fernando, Leandro, Laureano, and Rufina. :

the interior of the Sala Capitular, showing the position of these pictures and of the Immaculate Conception, No. 23, as they are placed on the walls, is given in Miranda, Glorias de Sevilla, facing p. 37.

280.

SAN FERNANDO.

Counting House. royal robes

a globe.

281. Saint,

;

The

Seville Cathedral,

his outstretched right

Full length,

in the

Contaduria or

crowned and wearing armor and hand holds a sword in the left is

Saint stands

;

life-size.

SAN FERNANDO.

Biblioteca Columbiana, Seville.

The

crowned and wearing armor, and an ermine cloak with a broad

MURILLO.

232 looks up

collar,

hand

left

;

Is this the picture

Casas Capitulares

mentioned by G. de Leon

(i.

;

in his

66) as being formerly in the

LAURENT, Madrid, No.

Museo

1124.

del Prado, 876.

thirty-five years of age, three-quarters

;

sceptre are on a red cushion beside him.

The

royal Saint,

wearing armor and prayer on a red cush-

left,

an ermine mantle, with hands joined, kneels in two cherubs above draw aside a red curtain

ion

sword

Half-length, half-size.

SAN FERNANDO.

282.

at his side holds his

Photographed by

about

hand

his right

a globe.

;

a crown and

Full length.

^x.^S.

This picture appears, from the inscription on Carmona's engraving, to have belonged in 1791 to the Marques de la Hinojosa. It was probably painted about the time of the Canonization of the King in 1671.

CARMONA,

line,

14.2X9.5, Madrid, 1791, from the picture belonging to A. G. VILAMIL, L. F. NOSERET, line, 9.5x6.8.

the Marques de la Hinojosa.

On wood

litho., in Col. Lito.

ent,

reversed, in Jameson, Monastic Orders, and in Clem-

and M. Art.

283.

SAN FERNANDO.

Bust, in an oval, looking front, wearing a

crown and an ermine cape, and holding a sword and a globe above beneath are are three cherubs, two of whom hold aside a curtain ;

;

two others with a

scroll inscribed

MATIAS DE ARTEAGA,

etch.,

MAGNI FERDINANDI,

11x7.2,

1772, in F.

la Sla. Iglesia de Sevilla, Sevilla, 1672, fol. " sacada con facilidad por la mano del famoso

etc.

Torre Farfan, Fiestas de

The author

says the portrait

was

Bartolome Murillo en una tabla de

There is another etching by Arteaga of the same portrait. an oval, with a shield on each side, dated 167; the last figure of It seems to be part of the title-page of a book of which, in the illegible.

alerce." Fiestas, p. 325. It is smaller, in

the date

" have seen, the word " APOLOGIA alone

is preserved. These are the engravings ever made after a work of Murillo. Arteaga's engraving is copied by F. MUNTANER, line, 7X4-8, in D. Alonzo Nunez de Castro, Vida de S. Fernando, Madrid, 1784, 410. The original after which Arteaga worked is unknown. Perhaps it was a drawing made by Murillo for the engraver's use. Stirling {Annals,

only copy

first

918)

incorrect in saying the etching is after the portrait in the Biblioteca at In another place (Annals, 1435) Stirling the two are quite different.

Seville, as

mentions a picture in black and white, purchased in Cadiz in 1830 or 1831 by J. M. Escazena and afterwards sold to Sir J. M. Brackenbury, which he thinks may have been Murillo's drawing for the etching, with which it agrees even as to size.

284.

SAN FERNANDO.

Pau, No. 580.

The

Heirs of the Infant

Don

Sebastian,

royal Saint, wearing a rich gold chain over his

FRANCIS OF ASSISI.

ST.

ermine mantle, bears in the

left

233

hand a globe and

in the right

Bust, in an oval, hung with sword, which extends over his shoulder. red drapery beneath are four cherubs holding aside the drapery. 1.66x1.12. Inscribed, VERA DIVI FERDINANDI II. ;

" It in the

is the model from which the effigy was carved by Senor Piquer, which is seen Armeria at Madrid, No. 1785, and is borne in procession to the palace chapel

on the anniversary of the capture of

left

From

varas.

Scvilla Pinto., 413.

Sevilla Pinto., 410-12.

253.

285. ST. FRANCIS OF ASSISI, or

Infant the

29." O'Shea, Handbook, yn.

284b. Don Aniceto Bravo, Seville, San Fernando, full length, life-size, in royal mantle, trimmed with gold, grasping a sword with his right hand. A picture of more merit than the preceding,

rests on a globe. I/^X^ the chapel cle los Pintores in the church of S. Andres. G. de Leon,

hand, his

May

Seville,

2843. A. Bravo. San Fernando, halflength, life-size, a sword in his right

Porauncula.

Heirs of the

Don

left at

Sebastian, Pau, No. 569. St. Francis, kneeling on an altar, which is placed in the centre of the composition,

with outstretched arms, looks up to the Saviour

who

seated on

clouds above the altar, clad only in a single robe, which covers the lower part of his body, the end of the robe floating upwards above his head the Saviour, supporting with his left hand a cross, the lower end ;

upheld by a group of cherubs, looks down to the Saint, towards whom he extends his right hand in benediction on the left of which

;

the Virgin, kneeling on clouds, with her hands crossed on her breast, intercedes with her Son for the grace of the Jubilee of the Porciun-

cula

;

above the

altar is a

head of the Saint

has used as a scourge left

group of seven cherubs scattering on the have sprung from the thorns which he

roses that ;

a lay-brother

of the altar; the composition

infant angels

and seven angels

faintly seen

standing on the

enriched with about twenty-seven

full-size.

4.30X2.95.

Painted for the Capuchin Church. See No. 18. rious picture of the Jubilio de la Porciiincula. in the angels, that the artists said when they

" In the high-altar

the glo-

There is so much variety and beauty saw it, that they had never known so

wonderful a picture." Palomino,

iii. 422. D. Joaquin Bejarano, a painter of Seville, having done much work for the Capuchins in restoring their church and its pictures after the French quitted that city, received in payment for his services this

Senor Madrazo picture which he sold to D. Jose de Madrazo for 18,000 reals. sold it to the Infant Don Sebastian for 90,000 reals. G. de Leon, Noticia Arlis1

tica,

ii.

260.

Mr. Ford (Handbook, 708), gives an amusing account of the

vicissi-

MURILLO.

234

tudes this canvas has undergone at the hands of Bejarano, Madrazo, and Bueno. It for a time in the Museo Nacional del Fomento at Madrid, but its late owner,

was

Don Sebastian, being attached to the Carlist cause, transferred himself and his valuables to Pau. V.

CAMARON,

litho.

18.5x12.

Privately engraved.

Museo

286. ST. FRANCIS OF Assist, or La Porciuncula.

86 1.

del Prado,

Francis, with outstretched arms, kneeling on the right before an altar which is placed on the left of the composition, looks up to the St.

Saviour,

who

extended

seated on clouds wearing a mantle, with one

in benediction, the other supporting a cross

seated on the right with her right

extended towards the Saint

and three cherubs

;

hand on her

;

Francis.

2863. Cathedral, Seville. Capilla " El centro se ocup6 de una

admirable pintura de nuestro mejor Tiziano Bartolome Murillo, donde se conti-

ene aquel indulto maravilloso concedido del Cielo al Santo Patriarca Francisco,

Second manner.

tuted for

de la

de Sevilla,

Murillo.

p. 233.

FRANCIS OF ASSISI. Seated on a mat in his

2.06X1.46.

reals.

286b. The Alfaro family have documents showing that in 1667 Murillo painted for Juan Ignacio de Alfaro a picture of the Porcitincula. That picture has disappeared, but one that has been substi-

de Jubileo de la Porciiincula." F. de la Torre Farfan, Fiestas titulo

287. ST.

left

;

St.

de Belen.

Madrid.

breast,

and the

in the

Appraised by D. Jose de Madrazo in 1834 at 70,000 Photographed by J. LAURENT, Madrid, No. 19.

;

upper right corner are two heads beneath the Saviour are three cherubs all show-

ering roses on the head of

con

hand

the Virgin

still

in the possession of

de Madrazo, in Joyas Pintura, note to Tobar's portrait of

the family.

Academy

JoscJ

San Fernando,

and bearing the stigmata, the Saint beholds with ecstasy an angel, who consoles him with the music of a violin.

cell

Eight lines are inscribed beneath.

Two

figures.

1.70

Xi.86. Painted for the small cloister of the Convent of San Francisco. See No. 268. This subject has been treated by Ribalta in a painting in the Museo del Prado, 947. Photographed by J. LAURENT, Madrid, No. 487.

288. ST. FRANCIS OF ASSISI.

Seville

Museum,

88.

St.

Fran-

standing with his right foot on a globe, embraces the crucified Saviour, who has released his right hand from the cross and places it cis,

ST.

FRANCIS OF ASSISI.

on the shoulder of the Saint an open

;

two cherubs

Vaporoso manner.

folio.

in clouds

23$ on the

right hold

2.77X1.81.

Painted for the Capuchin convent. See No. 18. Two small sketches existed in 1794, one in the collection of D. Pedro O'Crowley, at Cadiz, the other in that of

Marques de Montehermoso, at Vittoria. Stirling, ii. 876. MARTIN GUTIERREZ, line, 11.7x7.6. Madrid, 1800. L. FLAMENG, etch., in Caz. B. Arts, April, 1875, and in Stothert, French and Spanish Painters. JACOTT,

the

litho.,

MME. SOYER,

15.7x10.7.

outline,

On wood

11x8.5.

Dohme, Kunst

und Kiinstler.

289. ST. FRANCIS OF ASSISI.

A repetition omitted.

of the above

About 30X22

;

George Salting, Esq., London.

the cherubs holding the open

Purchased from Mr. Cox, a picture dealer

290. ST. FRANCIS OF ASSISI.

enham, Middlesex. Louis Philippe

sale,

book are

inches. in Pall Mall.

G. Bohn, Esq., Twick-

Henry

11X8

sketch of the above.

inches.

No. 493 (167), from a Franciscan convent

in Seville.

2$, to Hoskins.

G. A. Hoskins

sale,

June

18, 1864, called St.

291. ST. FRANCIS OF ASSISI. the nave of the church.

St.

Thomas. ^39

iSs.

Capuchin Convent, Cadiz,

Francis, three-quarters right, bearing the

stigmata, kneels, and, with outstretched hands, looks up to the vision

of a seraph tance, in

;

amazement

are

on the

behind him, reclining on the ground,

monk who

turns to look at the Saint,

at the sight

which he beholds

right in the foreground

background.

Full length.

Photographed by

72X81

The

and

middle

raises his

hand

a cross, skull, and book

inches.

Sir

1815.

William Fitzherbert, Bart,

Saint, bearing the stigmata,

and wearing the cord and

habit of his order, kneels on a large rock, nearly profile

hands outstretched, and looks up

dis-

landscape with buildings in the

;

LAURENT, Madrid, No.

292. ST. FRANCIS OF ASSISI.

London.

;

in the

in ecstasy.

66X44

left,

with

inches.

Bequeathed to the father of the present owner by Henry Gaily Knight, who is supposed to have brought it from Spain in 1810. Leeds Exhibition, 1868. Royal

Academy,

1879.

MURILLO.

236

FIDELE ROCA, line engraving, after the above or a similar composition. mark measures 10.6x6.8. There is an engraving without the name of

plate

The either

painter or engraver, measuring 12.6x8.7, identical with the above, but larger and with additions of a winged seraph in the left upper corner, and the bust of a lay brother faintly seen beneath the right hand of the Saint. The writer is informed by

Don Manuel

Williams, of Seville, son of

Don

ligent and cultivated amateur, that this plate additions and enlargement were done by Jose

Julian Williams, and himself an intelis the same as Roca's, and that the

Maria Martin, an engraver of

Seville,

about 1830. S. Sturges, Esq., London, has a picture similar to Sir William Fitzherbert's, and of the same dimensions, but the Saint is represented without the stigmata. It was formerly attributed to Murillo, but now to Cigoli. Baron V. Denon had a drawing attributed to Murillo, of St. Francis kneeling three-quarters right, with his head turned to behold in clouds on the left a vision of a lay brother is seen at full length on the right. Christ crucified The drawing is ;

lithographed in Denon, Monuments, iii. 237. In the Bonnemaison sale, 1827, was a

work by Alonzo Cano. St. Francis bearing the stigmata, and wearing a thick robe rent at the side, and bound with a thong, kneels on the ground, and, with hands upraised, contemplates a winged seraph in the air; at a distance is one of his companions reading, seen only in bust; the arid

summit of a mountain

inches.

2,000 francs.

in the

background.

7 feet 5 inches

Don Nicholas

293. ST. FRANCIS OF ASSISI.

Maestre,

5 feet 2

Seville.

Francis kneeling, with outstretched arms, looks up to heaven in prayer ; in the middle distance, on the left, is a lay brother reading. St.

Landscape background.

1.95X1.62.

This picture was painted by Murillo for an ancestor of the present owner. Mentioned by G. de Leon, ii. 183. Head, in Foreign Quarterly, xxvi. 267. StanW. G. Clark, Gazpacho, 247. dish, Seville, 314.

294. ST. FRANCIS OF ASSISI

Munich

Gallery, 371.

beard-

less, tonsured monk, in black robe, attended by two young ecclesiastics, stands on a stone portico before a column, giving alms to a cripple,

who

kneels, holding a crutch

architecture, with cloisters

in the background is where about twenty small

staff;

left,

among them some monks

ures are seen,

81X51

and a

on the

rich fig-

distributing bread to the poor.

inches.

Purchased

monk and

in 1815 from General Sebastian!. This smooth-faced, youthful from all the other representations of St. Francis of Assisi by Murillo, also from the traditional type of that Saint, who is

differs

with a beard.

commonly represented

The

intended to represent

saint St.

doubtless wrongly named. Thomas of Villanueva. is

Photographed by HANFSTAENGL, Munich.

Perhaps the picture

FRANCIS OF ASSIST.

ST.

295. ST. FRANCIS OF ASSISI.

dlestone Hall,

The

Durham.

Sir

237

William Eden, Bart, Win-

Virgin, appearing

on clouds, has placed

the Infant Jesus in the arms of the kneeling St. Francis,

who

looks up

to her with rapture.

Purchased in 1835 from Julian Williams. Stirling, iii. 1436. In the Athenitum, August 18, 1877, from which the above description is taken, this picture is said to represent the Porciuncula. Compare the description with that of St. Felix,

No. 276.

Francis Cook, Esq., Richmond

296. ST. FRANCIS OF Assist.

The

Hill.

upturned f

S'/2

I x 4 /2

staff,

ecstasy, points with both hands to a

with his head

wound

in his side.

inches.

Acquired by the present owner

297. ST.

The

and bearing a

Saint, in pilgrim's robe,

Saint

Madrid.

Henry H. Gibbs,

FRANCIS OF ASSISI. is

Esq., London.

represented at half length, receiving the stigmata.

21 inches. Purchased about 1853 from Julian Williams.

The

picture

shows the influence

of Ribera.

298. ST. FRANCIS (OF ASSISI

IN ECSTASY.

George Perkins,

Esq., Chipstead Place, Kent. ited

Exhibited at the British Institution, 1862. A picture with this title was exhibin 1852. See also No. 302. J. Perkins in 1821, and by F. Perkins

299. ST.

FRANCIS OF ASSISI

Hankey, Esq.,

St.

(St.

Anthony

Leonards-on-Sea, Sussex.

faced monk, holding a

branch

lily

in his right

?).

The

Walter Alers Saint,

a smooth-

hand, supports on his is seated, embrac-

arms an open book, on which the Infant Saviour ing the Saint with his Albert

Levy

sale,

left

arm.

April

panel.

24X20

inches.

1876; from Lord Cowley's collection.

Exhibited by Lord Cowley at the British Institution, 1836.

Perhaps

210.

was also

Craig sale, 1863. ^173 5-r. Mr. Hankey has another picture, representing St. Francis of Assisi as a dark, emaciated figure, with thick black hair, beard, and mustache, wearing a brown in his right hand, marked with the stigmata, is a large habit fastened with a cord crucifix and a rosary; his left hand holds a leaf of the book. 48x36 inches. ;

Formerly

in the Louis Philippe gallery."

See Nos. 3005, 3001, 3Oou.

MURILLO.

238

300. ST. FRANCIS OF ASSISI kneels on stretched,

on the

steps of

the

with arms out-

left,

above which he beholds with

altar,

rapture an angel pointing to a scroll held in the angel's

containing the statutes of the Franciscan order

and book

cross, candle, skull

door

in the

background.

;

a landscape

;

on the

left

hand,

altar are

seen through an open

2.37X1.84.

" Aguado sale, 1843, No. 31, "brought from Spain by Gen. Le>y. 15,400 francs (to the Due de Galliera?) Z. PREVOST, stipple mezzo., 12.4X9.3 inches, in the Galerie Aguado. On wood in Blanc Peintres and in Scott, Murillo.

3003. Akademie der Bildenden Kunst, Vienna. St. Francis of Assisi, kneeling on clouds, accompanied by two

with an angel. British Institution, 1829. St. Francis and 30oi. H. Clive.

angels, adores the Host, which stands on

the

1819.

a glory; beneath are other worshippers ; above are heads, and on the altar in

open window. Adoration of the Host. right an

3<job.

Antwerp

Francis of Assisi,

sketch. Called

.6oX-52.

Cathedral. turned to our

St. left,

kneels in a rocky landscape, with his hands clasped before his breast, and looks

up to a glory above. A cross and skull on the ground in front. Full length. About 60X48 inches. 3ooc. Antwerp Museum, 400. St. Francis of Assisi, kneeling on a rock, raises his hands towards a glory above ;

on the ground before him is an open and above it a crucifix on a rustic

folio,

altar.

Landscape, with a building on the

right. in 1841

Full length. ,6gX-7iBought from the widow of J. A. Snyers.

30oh. Charles Dixon.

Infant Jesus.

30ok. G.

30om. Sale at Paris, May, 1879. St. Francis.

Queen

Bequeathed by Isturiez

in his arms. 3<x>f.

Tubino, 190.

Jos6 Saenz.

St.

30on. St. Francis of Assisi standing before a crucifix, placed on a rustic altar, with a skull in his left hand and his right

his breast; half length.

3OOg.

M. Zachary.

Doubtful.

Lithographed by JACOTT. * * 300p. sale, Paris, Nov.

with the Infant Jesus in his arms, kneeling before the Virgin surrounded by a glory of angels. i6x 1784.

St. Francis,

13 inches.

30oq. Fumaroli St.

Francis ;

sale, Paris,

kneeling

Dec. before

16,

three angels in the

sky.

30or. General Meade sale, 1847. Francis with the Infant Jesus in his arms. 4 41-. St.

Francis kneel-

ing in the desert, covered with sackcloth; a glory above. Sevilla Pinto. ,476. his devotions.

Christina.

celestial apparition St.

Francis and the

tion, 1863.

Head, Handbook,

3000. Jos6 Canaveral, Seville.

Institution,

300!. Earl of Strafford. St. Francis and the Infant Jesus. British Institu-

1843.

Francis of Assisi with the Infant Saviour

St.

Francis

British Institution, 1842.

30od. Julian Williams had, in 1833, St. Francis on his knees ; an early work. 163.

British

Byng.

Infant Jesus.

St.

Francis at

British Institution, 1821.

3005. Louis Philippe sale, 1853. St. Francis in prayer ; from a Franciscan convent in Seville. I-7OX

No. 247. 1.

^78,

to Pearce.

FRANCIS DE PAUL.

ST.

3001. Louis Philippe sale, No. 494. Francis bearing the cross; from a

aoow. Hugh Baillie sale, 1858. St. Francis supported and comforted by three

St.

Franciscan convent in Seville. 1.07,

^27,

Drax. Stirling

I-75X

(iii.

angels.

sale, ;

j4l,

Towers

No. 642.

etc., 1857.

in prayer.

St.

in the left

his face

are seen three

76x59

St.

Munro

June

sale,

23X17 inches. ^30.

Francis

half-

Assisi,

length, standing with clasped hands before an altar, on which is a crucifix, book

and

sale, July 6, Francis kneel-

skull.

Doubtful.

Lithographed by LLAXTA, by MAGGIOLO, and by LAFOSSE.

The aged

ported by a forked stick held in his

CHARITAS

St. Francis.

3007.

;

loj-.

and before

St. Fransale, 1858. 1,050 francs,

3Ooy. H. A. J.

Seville,

301. ST. FRANCIS DE PAUL.

gs.

I.25X-96.

1878.

to Haseltine.

30ov. Alton ing

cis.

No. 495.

half length

from a Franciscan convent

()

300%. Merighi

1439)

says this picture represents St. Diego, instead of St. Francis.

300U. Louis Philippe Same subject as the above

239

left

Saint on his knees, sup-

hand, looks up to the word

upper comer above his head are two cherubs, on the left, are three others beneath these last ;

;

monks on

the sea-shore, and a ship in the distance.

inches.

Brought from Spain about 1760 by John Blackwood, of Soho Square. It was March 19, 20, 1760, but was sold by him at private sale to Sir Law-

not in his sale

whose sale by Greenwood, May 29, 1794, the F.arl of Ashthe purchaser at ^400. See ante No. 139. At the Earl of Ashburnham sale, July 20, 1850, it sold for ^1,050. This is probably the San Francisco de Paula mentioned by Palomino as having formerly belonged to D.

rence Dundas, burnham became

Francisco Artier, and afterwards to D. Juan Francisco Eminente. See No. 234. McARDELL, mezzo., 18.3X13.9, from the original, 6 feet 4 in. by 4 feet in.,

in the possession of

John Blackwood.

302. ST. FRANCIS stead Place, Kent.

The

PAUL.

George Perkins, Esq.,

Saint, kneeling

above.

Cherubs hover over him.

Chip-

prayer, turns his face

behold the word CHARITAS in radiant

upwards

letters in the

sky

large picture.

perhaps the same picture as that above described, This is probably the picture called St. Francis at his devotions, exhibited at the British Institution in 1852 by Frederick Perkins, and in 1862 by George Perkins. See also No. 301. repetition, doubtless, or

No. 301.

See also No. 298.

Mr. Perkins, a member of the great brewing firm of Barclay, Perkins died in 1879. The pictures at Chipstead are heirlooms.

303. ST. FRANCIS DE PAUL.

Museo

del Prado, 890.

tion of the figure of the Saint in the picture

Co.,

repeti-

No. 301, half length on a

MURILLO.

240 plain background, with the

other accessories.

word

Charitas, but without the cherubs or

1.04X1.00.

The picture was in the Isabel Farnese collection. A. LEMOINE, litho., 16x11. C. ALABERN, etch., in Alabern, Galkria. LANGE TESSIER, litho., in Joyas Pinto. J. LAURENT, photo., No. 9. 304. ST. FRANCIS

The

shire.

TAS

Saint

DE PAUL.

Priory, Perth-

seen praying and looking up to the word CHARI-

a glory above.

Lord Kinnaird, Rossie

Sou-

Bust.

25X21

inches.

Brought from Spain by Mr. West, R. A.

DE PAUL. Museo del Prado, 894. The turned Saint, three-quarters right, with his hands joined before his looks breast, up to heaven in prayer ; a crooked staff rests before 305. ST. FRANCIS

Half length,

his left shoulder. J. B.

VOALDE,

litho.,

.yox^o.

10.4X7.5, at Real Est.

FRANCIS DE PAUL.

306. ST.

Lito.,

Museo

Madrid.

del

Prado, 891.

The

on a rock and leaning with both hands on a staff, a light on the left in the background is a circular church

Saint, kneeling

looks up to

;

and a rocky landscape. From

shore

FRANCIS DE PAUL, or

St.

robe, grasping his stick, stands

;

i.uX.83.

the Royal Palace of Aranjuez.

307. ST.

brown

Full length.

Raymond

of Penaforte, in a

cloak spread on the sea-

two monks kneel on the cloak behind him

;

beyond them on

a ship with red flags and white sails ; in the centre foreground are three children, one of whom, looking front, points to the Earliest manner. Saints; two peasants stand on the right. 78X99 the

left is

inches.

Standish

sale, 1853,

No. 230,^162

15*.

Rt.

Hon.

E. Gladstone

sale,

January 23, 1875, ,105. Praised by M. Thor< (W. Burger) in Cabinet de r Amateur, 1842. Stirling says that after the expulsion of the French, this pict-

Christie,

ure hung over the principal altar of the conventual church of St. Francis de Paul at Seville. It was bought from Julian Williams. Annals, iii. 436. Mr. Standish, on the other hand, asserts that it came from the church of St. Philip Neri. Seville

and its

vicinity, 186.

British Institution, 1858.

" Painted in the master's very earliest manner. out especially in a

little

boy seated on the sand.

St.

The genius of his style peeps Raymond of Penaforte, a Cat-

FRANCIS XAVIER.

ST.

241

alan confessor, determined to quit the King of Majorca because he would not give up his mistress. An embargo was laid on the shipping, whereupon the buoyant Saint embarked on his cloak with two disciples, and sailed to Barcelona in six hours.

distanced the royal galleys sent after him, as five hundred credible witnesses The cloak was not even wetted by the voyage. There is no attempt to The subject is well worked out, the broad sea and the brownidealize the legend.

saw.

robed monks, the two vulgar attendants contrasting with the elevated character of the Saint." Richard Ford, in The Athenaum, June II, 1853, p. 711. 3073.

Francis

St.

Paul,

turned

three-quarters left, with hood, wallet and cord, holding a staff before him with both

down Engraved on wood

hands, looking nastic Orders,

;

and

half length.

Purchased from the widow of A. Bravo.

de Paul

Tubino, 184.

3070. Julian Williams. St. Francis de Paul. Tubino, 182. Sn'illa Pinto.,

No.

64.

St.

Fran-

with joined hands

360

francs.

307g.

307b. Joaquin Saenz y Saenz. Seville. St. Francis de Paul ; from Senor

sale,

in ecstasy,

and eyes raised; bust, .65X-48.

Art,

Pereyra.

Aguado

3O7f. cis

in Jameson, MoClement, L. and M.

Sevilla Pinto., 413.

Tubino, 185-6.

Aguado

sale,

No.

St.

70.

Francis de Paul standing in ecstasy, with a rosary in one hand, the other extended " as if praying; " Charitas on the right above. Half length. 1.15x1.00. 475 francs.

Cox sale, London, April Francis de Paul (called St. Antony of Padua in the catalogue), stands " Charitas " in a looking up to the word 3O7h. Mr.

472.

Lopez Cepero. St. Francis de Paul; full length. 70X49 inches. Also another, 81X43 inches. Tubino, 186.

30,1879.

Sevilla Pinto., 451.

glory, with

3O7d.

3076. Jorge Diez Martinez, Madrid, St. Francis de Paul; style of Ribera.

308. ST.

FRANCIS XAVIER.

flat

St.

two cherubs;

right a long crook.

John

his right

About 2OX 16

;

in.

Erle-Drax, Esq.,

Olantigh Towers, Kent. The Saint kneels with eyes upraised stream of light falls on his breast, from which issues a flame at a tance in the background

hand

his breast, his left holds up-

a group of Indians in a landscape.

;

dis-

Full

length, life-size. This is doubtless the picture which once belonged to D. Juan Francisco Fminente, and afterwards to D. Francisco Artier, as related by Palomino, Mns. Pict., iii. 421. See Nos. I46a and 234. Cumberland saw it in the Palace of the Marques de Santiago at Madrid and admired it greatly. Anecdotes, ii. 126. The painting was purchased about 1809 by Mr. Campbell, who was Buchanan's agent in Spain, it passed to his sister, Mrs. Grant, of Greek Street, Soho, "who says she can produce the receipt for the price paid for it." Davies, Murillo, Ixiii. This lady sold it to Charles O'Neil, from whom it was purchased by Mr. Drax. Passa-

and from him

work Tour in England, ii.

vant saw the

at the

20.

Manchester Institution

in 1831,

and praised

highly.

MURILLO.

242 309. ST. GILES.

The

Gloucestershire.

Philip

brother, stands in ecstasy before

Pope Gregory

an arm-chair between two cardinals Five figures, nearly

Miles, Esq., Kings Western,

blessed Giles, accompanied by a Franciscan

who

IX.,

seated in

eight lines are inscribed beneath.

;

73 X 77 inches.

life-size.

See No. 268. Companion to No. Brought from Spain by Gen. Faviers and sold at private sale to M. Aguado, Mr. Buchanan afterwards became at whose sale in 1843 '' brought 3,100 francs. the owner and offered it at Christie's, July i, 1846, but bought it in at ^294, and subsequently sold it to John Miles, brother of the present owner. Manchester Painted for the convent of San Francisco.

271.

Exhibition, 1857.

study for the head of the monk M. Escazena. See No. 4013.

formerly belonged to

TAVERNIER, 3093.

line, in

Galerie Aguado.

Baron V. Denon.

sheep

to receive the blessing of St.

main

Ger-

her father and mother stand be-

;

hind.

I2|^xi8^

Landscape.

Doubtful. in

girl,

inches,

Lithographed by MAUZAISSE,

Denon Monuments. 310. ST.

The

inscription

3ogb.

sadly misspelled.

Aguado No.

sale, Paris,

March 20

Gregory the Great stands, wearing the tiara and ponto

28, 1843,

tifical

42.

St.

robes enriched with gold, holding left hand, and bearing the

a book in his

papal cross in his

2.10x1.10.

right.

Seville

Cathedral, Chapter

Room.

clad in armor, with a red scarf across his breast ; he

holds a battle-axe in one hand, and a palm in the other. lar.

St. Giles

460 francs.

HERMENGILD.

royal Saint

The

Gene-

St.

kneels amidst her

vieve,

young

who accompanies

Bust, circu-

See No. 279.

3ioa. A.

Bravo.

St.

Hermengild,

half length, life size, looking up with the fervor of a Christian martyr.

i^X^

varas (41 X2g inches). Obtained in 1809 from the chapel de los Pintores in the church of San Andres. Mentioned by

3iob. 1816.

Henry Hope

St. Ignatius.

sale,

June

27,

21.

[A St. Ignatius by Murillo, captured on board of a Spanish brigantine, was taken to Philadelphia and fell into the hands of Governor Hamilton.

Benjamin West

Gonzalez de Leon, Noticia Artistica de Sevilla, vol. i. p. 253 and by Amador

painted several portraits in which the attitudes were taken from that of the

de Los Rios, Sevilla Pintoresca,

Saint in this picture. ]

;

311. ST. ILDEFONSO.

412.

Museo

del Prado, 869. The Virgin seated

an arm-chair on a platform beneath a canopy, attended by four youthful angels, delivers a chasuble into the hands of the kneeling

Saint, tle;

behind

whom

kneels an old

woman

cherubs and heads in a glory above.

cap and red manLast manner. 3.09X2.51.

in white

This picture belonged to the royal collection in the time of Philip V.

ST. F. SELMA,

x 17,

line, 21.

JEROME.

at Calco. Nacional.

243 C.

ALABERN,

etch., in Alabern,

Galleria.

LAURENT,

photo., No. 14.

Seville

ISIDORO.

312. ST.

Cathedral,

white and wearing a mitre, he

hand and an open

folio in his left

;

Robed

Sacristy.

seated with a crook in his right

on the

Grecian column; a curtain behind.

books and a

right are other

Full

length;

second manner.

1.88X1.66.

Don Juan Federigui, Archdeacon of Carmona, employed Murillo to two famous pictures of San Isidore and San Leandro. These pictures were presented by Don Juan to the Cathedral, and were placed in the Sacristy. The Chapter recorded its acceptance of the gift by a minute in which the artist is characterized as "the best painter in Seville." Tubino, 149. This is the first In 1655

paint the

mention of Murillo as an is

artist in any existing document. It is said the San Isidore a portrait of the licentiate Juan Lopez Talaban, and San Leandro that of the licen-

Alonzo de Herrera, Apuntador

tiate

del coro.

Cean Bermudez, Carta

LAURKNT, Madrid, No. 1122. [The Apun/ador del coro was an officer whose business Photographed by

58.

was

to register the

attendance of the canons and other functionaries at times of service, for which duty he received the sum of about ,1,500 a year. Davies, Murillo, 58, note.]

313. ST. ISIDORO.

dore

Seville Cathedral, Chapter Room. St. Isireading in a book which he holds in his right his left hand a crook. See San Bust, circular.

in bishop's robes,

hand, and holding in

Fernando, No. 279. 314. ST. JAMES, or

Santiago.

Museo

Saint stands front, wearing a blue tunic ers his left

arm

;

A. S.

a scallop shell

arm.

Half length.

his breast

hand, a book under his

CARMONA,

left

del Prado, 863.

The

and a red mantle which cov;

staff

in his right

1.34X1.07.

12.2x8.4, reversed, at Calco. Nacional. [If the writer is not mistaken, some copies of this engraving bear an inscription stating that the Pictures from the Ensenada original belonged to the Marques de la Ensenada. J.

gallery

were purchased by Carlos III.]

3143.

Aguado

sale, 69.

and Child appearing siba;

line,

the

Holy

315. ST.

naked,

to St.

Spirit

The Virgin James of Ni-

descends accom-

JEROME.

Museo

except for a purple

CAMARON,

litho. in Col. Lito.

panied by angels, one of whom places a crown on the Saint's head. 21 figures,

2.35x1.75.

650 francs.

del Prado, 889. The Saint, who is robe which covers his middle, is seated in a

MURILLO.

244 grotto, reading in a great

book which he holds

hand, turning the leaves with his right

;

in his lap with his left

on a rock are books, papers, Half length. Second

pens and ink. Background, rocks and sky. manner. 1.25X1.09.

Museo

316. ST. JEROME.

fore a crucifix placed

loins,

3163.

Real,

Seville.

Jerome,

with bare

profile left,

3160. St. Jerome, "bequeathed by Isturiez to

and

crucifix

May,

;

collection

was sold

Jerome

May

1433.

316*. ST. JOACHIM

in prayer.

Formerly belonged Moreau." Stirling,

Gaz. B. Arts, Dec., 1859, p. 363.

AND THE VIRGIN. Valladolid Museum,

Saint, holding a staff in his

Virgin, a child of three years,

hand.

Jerome kneeling in prayer, UNby four musicians.

to Soult, afterwards to

26, 1856.

The

Christina," sold at Paris,

KNOWN, mezzo. 18.4X14. Spurious. 3166. Baron Pasquier sale, 1860. St.

full length. 61X44 outline engraving is in the catalogue of the gallery printed at Leip-

The

St.

interrupted

zig in 1820.

Queen

1879.

3i6d.

feet,

kneeling before a low wall on which skull

Second

Full length.

1.87X1.33.

Don Manuel

Jerome, half length, life-size. 3i6b. Dr. F. G. Baumgaertner.

inches.

naked

on a rock near some books ; beside the rock are

St.

Saint,

kneels with crossed hands be-

other books, papers, a skull and cardinal's hat.

manner.

The

del Prado, 858.

except for a cloth that covers his

left

who

Landscape background.

64.

hand, with the other leads the

bears a bunch of

Full length.

lilies

Early

in her right

style.

and the Infant Saviour. LAURENT, Madrid, No. 1,171.

Stirling calls this St. Joseph

Photographed by

JOHN AND THE LAMB. The Child St. John stands

Hospital de la Caridad,

317. ST. Seville.

hand, holding a cross and

scroll, is

the breast of a lamb which stands

33X24

his left front, bending forward on the back, and his right is on

;

his side.

Painted for the Hospital of La Caridad.

ALPH. BOILLY, mezzo., 10.6x7.5, 318. ST.

The

Full length

;

on panel.

inches. See ante No.

Paris, 1855 (Goupil).

Museo

JOHN AND THE LAMB.

del

Prado, 865. and

child St. John, about seven years of age, wearing a red tunic

a sheepskin robe over his

left

shoulder,

seated beside a great rock,

looking up towards a ray of light which descends on him from heaven

;

ST. his right

hand

JOHN AND THE LAMB.

From

Queen

During the

Don

style of the master.

Marques de

Francisco Eminente, a

This the

i^iX.gg.

repetition or

copy was

of Corpus Christi, in 1670, a Conception by Murillo was it attracted so much attention that the King, Carlos II.,

warm

his art.

Ensenada.

where

Madrid and engage in the royal score of his age, whereupon he was asked to

Isabel Farnese, in the palace of S. Ildefonso.

festival

exhibited at Madrid,

come

;

second to the third

the collection of the

in collection of

requested

left, holding a cross and scroll, rests rocks and trees in the background. Transi-

his breast, the

on the back of a lamb tion from the

245

artist

friend of Murillo, to induce the artist

service.

Murillo excused himself on the

to send to the Court

some specimen of

could not refuse, but as he required a longer time for exe-

cuting the work than the King was willing to grant, Eminente purchased from Don Juan Antonio del Castillo, for 2,500 reals, a picture of St. John in the Desert, which he sent to the King. Palomino, iii. 423. Cumberland asserts that when he wrote, the picture referred to by Palomino was in the palace at Madrid. Anecdotes, ii. Where is it now or was Cumberland mistaken? The description, " St. 117.

John in the Desert," is commonly understood mature age, about thirty-three years old. B.

MAURA,

etch.,

1876, in Graft, al

to refer to a picture of St.

Ag. Fucrte.

CAMAROX,

John of

litho., in Col.

Joyas Pint. LAFOSSE, litho., 17.4x14. A. DE BELVEDERE, litho., 15.8x12, Madrid. L. MAURIN, litho., 4.7x4.4. On wood in Lubke, History of Art ; Clement, Handbook of Painters ; D'Anvers, History of

Lito.

LEMOIXE,

litho., in

Art.

repetition of

Purchased from a picture dealer

320. ST.

Lord Heytesbury,

JOHN AND THE LAMB.

319. ST.

bury House, Wiltshire.

are the letters

Purchased

The

late

repetition of No. 318.

forming a monogram, as

47X39

in 1831,

JOHN AND THE LAMB.

321. ST.

of No. 318.

322. ST. 176.

The

from the Salamanca

JOHN AND THE LAMB. child,

about

marked when wet

M. Escazena, who sold Men. acquired it.

Wood

Gustave Delahante,

Paris.

.62X.53.

Exhibited at the Alsace-Lorraine Exhibition, 1874. logue says the picture

Esq.,

Near the lower corner

inches.

from a picture dealer in Cadiz, by it for 200 to George Field of Clapham, from whom Mr. tioned by Stirling, Annals, iii. 1426.

A repetition

Heytes-

inches.

Western 'Wood,

with the handle of the brush.

42X33

Lisbon.

JOHN AND THE LAMB.

North Cray, Kent.

No. 318.

The Alsace-Lorraine

cata-

gallery.

National Gallery, London,

six years of age, clad in

a sheepskin garment,

MURILLO.

246

stands front, embracing a lamb which stands at his his

left

upwards and scroll

left

on a rock

;

on the back of the lamb, the forefinger pointing a cross the lamb's fore foot rests on St. John's right arm

hand

;

on the ground.

lie

landscape with

60X43

trees.

The background

composed of a

hilly

inches.

Companion to Christ the Good Shepherd, No. 167, which see. The two pictures were constant companions, and their history is identical down to the time of the sale of Sir Simon H. Clarke, May 8, 1840, when the present work was sold for ^2,100, to Lord Ashburton, who ceded it to the National Gallery.

all

copy by Tobar

is in the church of San Isidoro at Seville,and a contemporary Hermitage, No. 379. The manner of execution indicates that nearly the works of this subject and class were executed about 1665-70.

in the

copy

BACON,

line,

L. STOCKS, line,

18.7x12.6, 1855.

9.1x6,

in S.

C. Hall,

Gems of Art, and in Scott, Hfurillo. A. H. PAYNE, line, 7x6.5. J. ROGERS, line, 8.8x6.9. J. STOW, line, 9x6.5, reversed, June 4, 1784, from the picture belongThis is the first plate ever executed by the engraver, who ing to Samuel Athawes. was at the time only thirteen years of age. See Notes and Queries, S. 6, vol. iv. p.

CASENAVE,

427.

On wood

1876.

after the

copy

line,

in the

RICHETON, etch., 8.3x5.3, in The Portfolio, Kunst und Kiinstley. The following engravings are

17.6x14.3.

Becker,

G. SCORODUMOV, line, igx Museo Serenissinum Principiis

Hermitage

ulae picta Murillo quae est in

Potemkin."

323. ST.

H. ROBILLARD,

litho., in Gal.

" 13, inscribed

tab-

Gregorii Alexandrinis

Imp. de I'Ermilage.

JOHN AND THE LAMB.

Earl of Lovelace, East Hors-

64X45

ley Towers, Surrey.

repetition of the above.

inches.

This picture came into the possession of the family of Lord Lovelace by the marriage, about 1734, of his ancestor Lord King with a Brabant heiress, Miss Frye.

VAL. GREEN, mezzo., 18x14. Honorable Thomas King."

324. ST.

"From

JOHN AND THE LAMB.

No. 322. Salamanca sale, 1867.

repetition of

44^X32

the original, in the possession of the

Earl of Dudley, London.

" From the royal palace at Madrid." 30,500 Leeds Exhibition, 1868. Royal Academy, 1871. Engraved on wood in Illustrated London News, January i, 1870.

325. ST.

JOHN AND THE LAMB.

child St. John, with

inches.

a cross in his

Belvedere, Vienna.

francs.

The

hand, stands front, bending towards a lamb that stands by his side, on whose shoulders his right

hand J.

rests.

59X41

left

inches.

BLASCHKE, line, 10x7.5. J- BLASCHKE, line, 4.8x3.4, in Haas, Galerie de PAUL GLEDITSCH, line, 20X15, 1861. W. UNGER, etch., 10.2x7.2,

Vienne.

ST.

JOHN AND THE LAMB.

247

Die K. K. Gemalde Galerit in Wien. PRENNER, etch., 1.9x1.51 reversed, TAeatrum Artis Pictoria, Vienna, 1728, in a plate showing the picture as then placed on the wall of the gallery. MIETHKE, photo. 1877, in

in Prenner,

Duke

JOHN AND THE LAMB. ford House, London. The child 326. ST.

felt

hat,

his right

John, wearing a wide-brimmed

St.

and holding a staff in his left hand, is seated on a rock, with hand resting flat on the shoulder of a lamb, over whose back

the head of another lamb

child St.

seen.

7X5

JOHN AND THE LAMB.

327. ST.

left

of Sutherland, Staf-

inches.

The

Stafford House, London.

John, seated on a rock, front, with a cross and scroll in his

hand, rests his right hand on the shoulder of a lamb that stands by

his side, with its

head nearly touching the

child's shoulder.

This picture, with No. 326 and No. 120, are small sketches

child

seated on the ground, front, with his legs bent to the

looking front

;

the lamb that

hand

his right lies

his side

;

his left

hand, holding a cross and scroll

33X28

Purchased about 1810 from Andrew Wilson, who brought British Institution, 1829, 1840. in

Fifeshire.

The Grosvenor Gallery.

St.

John as a

Mentioned by

330. ST.

Stirling,

DAVENPORT,

hand, and a lamb lying at his From H. Hope collection. Stirling, June

331. ST. front,

right

27, 1816, a St.

John sold

for

JOHN AND THE LAMB.

lamb by

iii.

Hall,

Small.

his side. 1426.

George Vivian, Esq., 38X28*^ inches. In Henry Hope

feet. iii.

1426.

] 17 s.

Claver-

The

side of the

sale,

6</.

child, seated

with his right leg extended forwards, the

hand on the

9X5.9.

John, seated on a rock, with a reed cross

in his

Christie,

line,

Artists of Spain,

JOHN AND THE LAMB. St.

from Genoa.

Earl of Elgin, Broom

child, with a

Annals of the

ton Manor, Somerset.

inches.

Royal Academy, 1871.

JOHN AND THE LAMB.

329. ST.

left,

beneath, without touching the neck of

nearly horizontal, rests on the back of the lamb.

Etched

in.

7X5

one frame.

Grosvenor House, London.

JOHN AND THE LAMB.

328. ST.

The

left

neck of a lamb that

on the ground,

bent, places his

lies

his left

;

his

MURILLO.

248 hand holds a

left

head

and

cross

;

above the lamb's

scroll nearly upright

he looks at the lamb.

Comte Koucheleff Besborodko

.63X.4; centimetres.

panel.

June

sale, Paris,

1869,

17,500 francs

(Dublin National Gallery?). Etched by F. P. in the Koucheleff-Besborodko sale catalogue.

THE INFANT

332.

ST.

JOHN.

Duke

Formerly

of Hamilton.

John (or more properly the Infant Christ), sleeping, a crook, with a skull and a scroll; angels guarding sheep in holding

The

Infant

St.

the background.

Duke to

iii.

Hamilton sale, at Christie's, June 17, etc., 1882, No. 1138, ,2,415, From Fonthill. Mentioned by Waagen ( Treasures of Art in Great 301), who incorrectly calls the child St. John Baptist.

St.

3323.

child, seated right, looks

hand

inches.

Arnot.

Britain,

25X20

flat

John and the Lamb. The on a rock, three-quarters up on

to the

right

his right

;

his breast, his left, hold-

ing a cross and scroll nearly upright, is on the neck of a lamb that stands by his side

;

his left foot

is flat

the right foot rests inches.

on the ground,

on the

heel.

36x29

Outline reversed in Lebrun, Recueil, 136. GEOFFROY, htho., :6.4X 12.5, Tin de la galerie de M. Bertrand ; from the above or a similar picture.

332b.

Count

Good Shepherd.

Pendant

27X18

3320. Sebastian

San Juan Nino, with

Stroganoff.

The young

Catalogue, A. D. 1800. John embracing a lamb.

St.

to the

inches.

From lamb, a reed cross in the right. the Marques de la Canada. Ponz, Viage, The picture probably came to England. See Davies, Mnrillo, Ixxxiv. 332d. Prince Carignan sale, July 30,

xviii. 22.

1742, St. John,

28x22

inches, 2,880

126.

St.

John Baptist

756,

from the Gagny collection inches.

3,320 francs.

(?), 22x17 John Trumbull

(of the American Legation at Paris) sale,

by Christie, February 17, 1797. St. John and the Lamb. ^210, to Bryan. "The most lovely specimen of this admired master in England. It was one of the choicest ornaments of the very fine collection of the

Memoirs,

li.

Ducde 268.

Praslin." Buchanan, Doubtless these notes

same

all refer to

the

be now

England.

3326.

picture,

which should

James Poole

sale, June 10, John and the Lamb. ^101 \"js. St. 332f. F. B. West sale, 1843. " John and the Lamb, formerly belonged to Mr. Holford." ^105. A picture of this subject was sold at Mr. Buchanan's sale, in 1846, for ^252, to Mr. R. S.

1845. St.

Martinez, Cadiz. the left hand on a

Due de Tallardsale, March 22,

as a child, seated in a landscape, caressing a lamb with his right hand, his left holding a cross. Supposed to be

John

liv.

No.

as a child caress-

Holford,

who

afterwards parted with

to a

Aguado

sale,

stream falling from a rock, and inlamb to drink ; in his left hand is

ing a lamb. 28x20 inches. 2,452 liv., to Comte de Choiseul. M. de Choiseul-

a reed cross and a scroll,

Praslin

650

sale,

February

15,

1793.

St.

it.

1843, No. 35. The young St. John, clothed in a fox's skin, and seated on a red drapery, points

332g.

vites a

francs.

i.ux.86.

JOHN BAPTIST.

ST. 332h.

John and the Lamb

St.

sale

bought

May

Christie's, in at

24,

1845,

A. BRAUN, photo., from a design in A. DE BARTSCH, etch.,

and

the Albertina.

,798.

THE CHILD

332!.

of ing beside a rock from which a jet water flows, invites a lamb to drink,

from

;

Offered for

Joseph Bonaparte gallery.

ST.

6.8x5.4, 1815, reversed.

JOHN, kneel-

Seville

JOHN BAPTIST.

333. ST.

249

Museum,

St.

44.

John, about

thirty years of age, only partly clothed, stands front, leaning against a

great rock, looking his left

arm

;

Full length.

hands

to his right, with joined

a lamb stands beside him on his

left,

;

a cross rests on

looking up to him.

2.25X1.25.

Painted for the high altar of the Capuchin Church.

No. 341. Photographed by

LAURENT, Madrid, No.

See No. 18, companion to

1071.

Fitzwil334. ST. JOHN BAPTIST QUESTIONED BY THE JEWS. liam Museum, Cambridge. St. John, wearing a red mantle, and holding a reed cross in his

left

hand, stands conversing with three left, in dark green dress, is seen

Jews; the one nearest him, on the

in profile, gesticulating with animation

partly behind

;

him

one with

and purple robe the third wears a violet cap, a blue coat, and yellow mantle a lamb lies in the foreground above are small

spectacles

;

figures of an angel at half length, and a winged lion, with scrolls

inscribed Inter natos non surrexit maior,

parate viam Domino.

Full length,

and Vox clamantis

sold for

Thomas

^79

JOHN BAPTIST.

335. ST.

inches.

by Nathan Wetherell, who At his sale, June 9, 1849, it was It was at Manchester in 1858. Mentioned in Standish, Seville,

Seville,

Purves, of Lincoln's Inn. John Anderson, who exhibited it purchased by the Museum in 1872. See No. 176. 283. Jameson, Our Lord, i. 297. sold

102X67

life-size.

Purchased from the nuns of San Leandro,

in descrto

William

Cartwright,

Esq.,

Aynhoe, Northamptonshire. St. John the Precursor is awakened by the Divine call. Clothed in camel's hair raiment, he looks up to a light in the clouds

has been seated left side is

;

on the

right as he rises

in his right

a lamb.

hand

from the rock on which he

a reed cross and

Landscape background.

Exhibited at the British Institution, London, 1839.

64X44

scroll

inches.

;

at his

MURILLO.

250

JOHN BAPTIST. Right Hon. George Cavendish Ben-

336. ST.

St. John, wearing red drapery, holding a staff in his Landscape backhand, his right clasped to his breast, looks up.

tinck, London, left

inches.

47X41^

ground.

Exhibited at the Royal Academy, London, 1877. St.

3363.

John

Baptist, as a

man, hold-

ing a cross and scroll, and pointing up with his right hand. Half length. This, the 1

same

half length,

it is

hand points up. MLLE. J. HUBERT,

LLANTA, litho.,

John in No. and the

as the figure of St.

77, except that

litho.,

18.8x15.2.

From

John. 41X31 inches. St. 3366. Duke of Buccleugh. John with angels. British Institution, 1829.

Gainsborough

HEAD OF

sale,

ST.

of the Saint

sale, June 27, John with angels. ^14 y. (>d. 336i. St. John Baptist in the wilderness. Sold at Christie's, June 9, 1827. ^162 15.?.

John

338.

St.

Lord Gwydir

HEAD OF

Louis

sale, 1829.

^105. Philippe

sale,

St.

1853,

John the Precursor. 2.50 Mentioned by Head, Sg. Xi-72. Handbook, 177. Doubted by Stirling, iii.

St.

73.

1427.

Museo

del

Prado, 887.

with the face turned towards the spectator,

mouth

to a

ST.

30,

in prayer.

3361.

No.

JOHN BAPTIST. lies,

the eyes closed and the

Companion

March

Henry Hope

336h.

1816.

St.

a table.

St.

336k.

336d. Carlsruhe, Kunsthalle, 631.

337.

in the Desert.

Rutley.

St.

The head

John

by Christie and Manson, March John Baptist in the desert. Desenfans collection. .451, to

ANDR,

Viardot.

336f.

St.

sale,

1,1873.

John Baptist, as a man, holding a cross and scroll. Half length. LLANTA, litho., 7.2x5.9. Doubtful. St. 3360. Prince Joussoupoff, Mentioned by Petersburg. St. John. 336b.

inches,

Hon. Marmaduke Constable Max-

10x7.7.

9.4X7.5.

35^X29^

John.

ruary 28, 1795.

well litho.,

St.

1789.

Brought from Spain by Mr. Cumberland, 336g. Noel Desenfans sale, Feb-

half open,

Head

St.

on a golden dish placed on

Paul.

Third manner,

.sox.87.

JOHN BAPTIST. Sir Philip Miles, Bart., The bearded head of the Saint lies on

Leigh Court, Gloucestershire. a charger which

seen in profile,

placed on a table covered with drapery ; the face the upper part of the head to the left. 24X29 in.

Etched by JOHN

YOUNG

in the

Miles Gallery Catalogue.

Maria de las Cuevas 338b. Earl of Clarendon, London, The decapitated head of The head of St. John Baptist in a charger,

3383. Sta. at

the 62.

Seville.

Baptist.

Cean Bermudez, Die.,

ii.

19^X24^ Doubtful.

inches.

Stirling,

iii.

1427.

JOHN THE EVANGELIST.

ST. 3380. Altamira St.

John

338d.

Aguado

Head

sale, 1827.

sale,

No.

1843,

67.

Head of St. John Baptist in a silver dish on a stone table ; near it a reed cross and a scroll. .65X-75- 155 francs. 3386.

No.

117.

King St.

of Holland

sale, 1850,

John of the Cross.

kneeling before an altar on which

and some lilies ; above is a glory which some heads are seen ; four let-

crucifix

339.

The per

in a convent at

Formerly

Zaragoza, and supposed to be the portrait of the benefactor, by whom it was

presented to the brotherhood. Stirling, iii.

Full

length, life-size, in Carmelite habit, clasping to his breast a wooden cross, and

tered folios on the ground at his feet.

1.92X1.16.

3 3*-

Baptist.

251

Annals of

2,500

1438. Jameson, Monastic Orders, 425. Salamanca sale, 1867, No. 22.

338f. St. file

John of the Cross, standing nearly proright, with bare head and gray frock,

looking up.

Landscape with ruins

the background. 1.63X1.03. From the gallery of Comte de San Luis. 5,100 f.

Hospital de la Caridad,

SAN JUAN DE DIGS.

fl.

the Artists of Spain,

Seville.

knees under the weight of a half-naked pauhe bears on his back, turns his head and beholds with awe

Saint, sinking to his

whom

an angel with outspread wings in yellow drapery, who takes him by Full length. the shoulders and assists him to rise. Companion to Elizabeth, No. 274.

St.

ft.

by 8

7 in.

ft.

in.

See ante No. I. In original position. Stirling's Annals, vol. ii., facing p. 855, a view is given of the interior of the church, copy by Dauzats showing this picture as now placed on the wall of the church. Painted for the Caridad, and

still in its

was

sold,

No.

133, Louis Philippe sale.

Davies (Murillo 81, 94, note) says he once owned the sketch of

which afterwards became the property of Captain collections of Sebastian Martinez and Manuel de Leyra. Photographed by J. Laurent, Madrid, No. 826. sition,

Ball.

this compocame from the

JOHN THE EVANGELIST. Sir Philip Miles, Bart, Leigh Court, Gloucestershire. The Saint, seated in a reclining post340. ST.

ure on a rock, holding a pen in his outstretched right hand and a

book

in his

right

left,

eagle.

looks up as

Full length.

he heard a voice from heaven

69X47

;

his

inches.

Citoyen Robit sale May 21, 1801, No. 62. Bryan sale 1801, ,525 to Henry Hope, at whose sale, by Christie, June 27, 1816, it sold for ^115 los. See Buchanan Memoirs ii. 51.

JOHN YOUNG,

etch., in the

Miles Galkry Catalogue, No. 47.

3403. John the Evangelist, seated, holding a book and pen ; an eagle on the St.

left.

Three-quarters length. Doubtful. C. PARRETE, line, 13.3x10.2.

34ob. Standish sale, by Christie and Manson, May 27 and 28, 1853, No. 117. St. John the Evangelist, 1.31 x -97,^ I '5 ICM. to

Beauclerck.

MURILLO.

252 341. ST. JOSEPH

AND THE INFANT JESUS.

Seville

Museum, 45.

Joseph, standing on our right, embraces the Infant Saviour, who stands, fully draped, on a stone pedestal ; the Saint's right hand is St.

seen behind the hip, and his

hands left

rest

left

touches the breast of the Child, whose

on the hand and arm of the Saint

hand a

;

the Child holds in his

branch, which extends over the

lily

Full length.

Landscape background. .

shoulder of

left

Joseph, his head rests on the Saint's right shoulder

;

both look

St.

front.

2.26X1.25.

Painted for the high altar of the Capuchin Church.

See No.

18.

Companion

No. 333. J.

LAURENT,

photo.,

ABEL LURAT,

1072.

mezzo., 17.2x11,

1865,

three-

quarters length ("Goupil).

342. ST. sier,

breast

No.

JOSEPH AND THE INFANT JESUS. Due de St. Joseph embraces the Infant 154, Seville.

and hips he supports with

hands a

lily

look front.

his

MontpenJesus,

whose

hands ; the Child holds with both

branch extending over the Half length. .-j^X.^6.

left

shoulder of the Saint ; both

From

the gallery of the ex-King Louis Philippe. Photographed by J. LAURENT, Madrid, No. 1,002.

343. ST.

Due d'Aumale, JOSEPH AND THE INFANT JESUS. St. Joseph seated and seen to the knees, regards

Chantilly, Oise.

tenderly the Child Jesus,

looking front; breast, holds a

the Saint; his

who

stands on his father's lap, fully draped,

the Child's right hand, placed against

St.

Joseph's

lily branch, which extends over the right shoulder of left hand touches St. Joseph's left hand, which sup-

ports the Child's

left

foot of the Child.

side

;

St.

Joseph holds in his right hand the right

.22X.I7.

King Louis Philippe

sale

No. 70 (154), .150.

Alsace-Lorraine Exhibi-

tion, 1874.

EUGENE LEVASSEUR, 344. ST. JOSEPH

Htho., 12.2x10.1.

A. BRAUN, photograph.

AND THE INFANT JESUS.

Lynford Hall, Brandon, Norfolk.

Mrs. Lyne Stephens,

Joseph, seen to the knees, is seated front, with the Infant Saviour standing on his left ; the Saint's left

St.

hand, holding drapery, supports the Child's hips from behind

;

ST. his right lily

JOSEPH AND THE INFANT JESUS.

hand holds the

Child's

left,

and both

front.

hands hold the

their

branch, which rests on the right shoulder of

St.

253

Joseph

both look

;

.gsX.Si centimetres.

Louis Philippe

sale,

No. 168 (153),

When

440.

sold

having been injured by sea-water and ill-usage. Lorraine Exhibition, 1874.

BRAUN &

Photographed by A.

No. 252

Co., Paris.

was

bad condi-

Exhibited at the Alsace-

tion,

Alsace-Lorraine

in the

series.

The

some other

following engravings are after the above, or

repetition of this

popular composition.

LEMOINE, mezzo., half length reversed, 16.6x9.4. COTTIN, mezzo., ig.6x GEOFFROY, 12x9.3. E. LASALLE, Lithographs by GEOFFROY, 15x11.2. 23.2x19.3. E. LASALLE, 25.5x20.2, busts only. MAGGI, 14X11, reversed. J. PRAT, 10x7.8, reversed. BARRY, 23.8x19.6. M. LAVIGNE, 20.2x15.3. L. MAURIN, 7.3x6. L. MAURIN, 4.7x3.9. PINGOT, 25.8x20. LAUJOL, 20x15.5, reversed. H. JANNIN, 16.2x13.1. LAFOSSE, 19.8x25.5, busts only. LLANTA, 18.4x14.5. LLANTA, 17.6x13.2. LLANTA, 9.2x7.6. 14.8.

JOSEPH AND THE INFANT JESUS. Sir John Leslie, London. A repetition, perhaps, of the above. 49^X37 Bart., 345. ST.

inches.

Louis Philippe sale, No. 167 (152), .300. W. Cave sale by Christie, George Grote sale, March 2, 1872,^204 5J-. John 29, 1854, ^267 15.!-.

June

Wendell

sale,

346. ST. JOSEPH

Richmond

Hill.

347. ST.

Somera,

1879,^94

10,

IOJ.

Francis Cook, Esq.,

AND THE INFANT JESUS.

A repetition

of No. 344.

Life-size.

JOSEPH AND THE INFANT JESUS.

Seville.

A repetition

three-quarters length

From

May

Christie,

;

41X31

inches.

D. Roberto Kith y

of No. 344, but

full

length instead of

life size.

the collection of D. Jose Gregorio Rodriguez.

348. ST. JOSEPH

Wrotham

AND THE INFANT

Park, Middlesex.

brown mantle, holding a

lily

bends towards the Child, walk to the left looking background.

86^x62

St.

Earl of Strafford,

Joseph, wearing a violet robe and

branch, which rests on his

whom at

JESUS.

he holds with

each other.

inches.

left

his right

Full length.

shoulder,

hand

;

they

Landscape

MURILLO.

254

Royal Academy, 1 88 1. This may be one of the five pictures formerly belong" El ing to D. Juan Francisco Eminente and afterwards to D. Francisco Artier. otro es a lo alto, del Glorioso Patriarca San Joseph, con el nino Jesus de la mano, y arriba vn rompimiento de gloria." Palomino, iii. 421. See Nos. 234 and 358?

AND THE INFANT

349. ST. JOSEPH Full length.

348.

Pourtales April

sale,

repetition of

No.

.2-JX.22.

March

27, 1865,

No. 202, 15,000

francs.

* * * sale, Paris,

1869.

GOUPIL, photograph litho.,

JESUS.

MIGL. GAMBORINO,

in Souvenirs de la Galerie Pourtales.

12.7x8.9, Madrid, 1877; from the above or a similar picture.

AND THE INFANT

350. ST. JOSEPH

A repetition

lueta, Cadiz.

This picture has been for

Don Antonio Zu-

JESUS.

of No. 348.

Full length,

life-size.

years in the family.

many

JOSEPH AND THE INFANT JESUS. Baroness BurdettCoutts, London. St. Joseph, in lilac and orange drapery, embraces 351. ST.

the Infant Saviour,

who

Henry Hope

whose

sale

sale,

stands by his side.

Christie,

June

27, 1816,

Christie April 28, etc., 1856,

inches.

12X91^ ^28

No. 772,

7.?.,

Samuel Rogers,

sold for ^399.

Manchester Exhibition, 1857. Another picture of this subject was sold in the Henry Hope sale

British

Institution, 1822.

352. ST.

JOSEPH AND THE INFANT JESUS.

Tyntesfield, Gloucestershire. his right

St.

hand, supports with his

leaning against the Saint's

left

49X36

Purchased in 1853 from D. Romero Balmaseda, in

353- ST. JOSEPH

IO.T.,

354. ST.

sale

Moore.

AND THE INFANT JESUS.

St.

No. 114 (in), .399. G. A. Hoskins Manchester Exhibition, 1857.

JOSEPH AND THE INFANT JESUS.

Esq., Orwell Park, Suffolk.

St.

who

Joseph, in gray-

sale

in lilac robe,

June

who

18, 1864,

George Tomline,

Joseph, bearing a flowering

seen walking, accompanied by the Saviour,

sleeps,

Seville.

and yellow mantle, holds the Infant Saviour, sleeping on his knees. 1.69X1.10. Standish

branch in

inches.

ish robe

.304

lily

the Infant Saviour,

shoulder.

3J-.

Mrs. William Gibbs,

Joseph seated, with a left

for

carries a

staff, is

saw on

his

ST. left

JOSEPH AND THE INFANT JESUS.

arm and a basket of

carpenter's tools

255

Full length

his right.

;

life-size.

Praised by Waagen. Treasures of Art in Great Britain,

355. ST.

JOSEPH AND THE INFANT JESUS.

Bart., Blackburn, Lancashire. left

St.

on the

right

and

Full length.

ground.

Purchased

on the

three

left

;

442.

W. lily

L. Feilden,

branch

in his

above are two cherubs

landscape and sky in the back-

;

inches.

75X49

Offered in Sir

1836.

Sir

Joseph, with a

hand, holds the Infant Saviour in his arms

iii.

W. H.

Feilden sale

March

3, 1877,

but

not sold.

356. ST.

JOSEPH AND THE

Petersburg, 365. which covers with the

his right

INFANT JESUS.

Hermitage,

St.

Joseph, in dark robe and yellow mantle,

St.

arm, holding in the right hand a lily branch, Child, who stands partly draped before

arm embraces the

left

the Child's right

him, looking front;

hand

pressed against the

Saint's breast, his left clasps a finger of St. Joseph's left

hand, which placed beneath the arm and against the body of the Child. Half length, dark background. .jox.^i. is

Purchased

for the

Hermitage by Prince Troubetskoy about 1820, probably

Paris.

ROTTGER, photo.

G. NAVIA,

line,

5.6x4.2,

at Calco.

Nacional.

Bust, oval,

similar to the bust of the above.

357. ST.

JOSEPH AND

Petersburg, 366. with the right hand

St.

THE

INFANT JESUS.

Joseph, holding a

lily

Hermitage,

branch

in his left

St.

hand,

leads the Infant Jesus; two cherubs above; land-

scape background with a square wall on the

right,

.j^x.^2.

Presented to the Emperor by Mr. Coesvelt.

358. ST. JOSEPH

holding a right

lily

AND THE INFANT JESUS.

branch upright

hand of the Child

St.

Joseph on our

left

hand, with his right takes the holds his garment with his left

in his left

Jesus,

who

hand; both are standing front; a cherub and ten heads above; a Full length. pedestal on the right. ESTEBAN Boix, to the Marque's

Scarce. From the picture belonging line, 16.2x11.8, 1800. de San Adrian y Santiago. See Nos. 1463 and 348 ?

MURILLO.

256

3583. Philip V. purchased in Seville a "S. Josef," less than life-size, which has disappeared from the royal collections. It

mentioned by Cean Bermudez.

Die.,

ii.

Cean Bermudez, Die.,

225.

ii.

63-

Bryan Gallery, New York,

3580.

Joseph standing with his left on a rock holds the Infant Jesus seated on his right arm, who looks down St.

390. foot

to a hatchet, plane, etc., full

length,

Meade

6 line by 9

Nogaret

64.

358b. Church of the Carmen Calzado, Madrid. St. Joseph, hall length, with the Infant Jesus. Palomino, iii. 421. Ponz,

358k. Prince de Conti sale, April 8, St. Joseph seated, hold1777, No. 163. ing the Infant Saviour in his arms. 12 in.

life-size.

on the floor; From R. W.

collection.

358d. Major-General the Hon. E. Capel "has a genuine picture of St. Joseph and the Infant Jesus." Davies,

Mu-

rillo, Ixiii.

3586. SirJ.M.Brackenbury. St. Joseph leading the Infant Jesus, who carries a basket of carpenter's tools.

British

Institution, 1836.

etc.,

1782.

18,

Comte de Vau-

liv.

901

liv.

sale, by Le Brun, Nov. 24, 1784. Joseph seated with the Infant Jesus in his arms; knee-piece, round top. 12 in. 6 line by 9 in., from Prince de Conti and Nogaret sales.

dreuil St.

Van

358!.

dam,

Helsleuter, of Amsteran ix. (Jan.

sale at Paris, Pluviose

25, 1802), St.

Joseph holding the Infant

Saviour asleep.

3,600

liv.

358m. George Watson Taylor

sale,

by Christie, June 13, 1823. St. Joseph and the Infant Saviour. ^52.

Aguado

358n.

sale,

1843,

No.

43.

Joseph leading the Infant Jesus by the hand. 1.50X1.00. 1,300 francs. 358p. Aguado sale, No. 73. St. JoSt.

seph with the Infant Jesus asleep in his arms. 1.00x1.15. 825 francs.

W. W. Burdon

358q.

358f. A. Bravo, St. Joseph holding the Infant Jesus by the hand ; life-size.

round top. 1,592 by Le Brun, March

in.,

sale,

tie,

June

sale, by ChrisJoseph with the arms bearing a lily

28, 1862, St.

Infant Saviour in his

Sevilla Pinto., 412.

branch.

Joseph seated on a rock by the sea with a lily branch in his right

358r. Pourtales sale, 1865, No. 201. St. Joseph, in yellow drapery over a

hand, holds the Infant Jesus seated on his knee asleep ; the Child has an apple

white tunic, holding a bunch of lilies, stands near a mass of rocks with the

3j8g.

St.

in his right

seph's

left

LLANTA, 358h. .with full

hand, his full

;

left is

length.

St.

Jo-

18.9x14.9. 1844. Joseph, standing on clouds

litho.,

St.

the Infant Jesus on his

length.

Doubtful.

left

arm;

GEOFFROY, mezzo., 19.5x15.

length.

Madrid.

in the church of Santa

Infant Jesus in his arms.

Full length.

40X. 78, on panel. 730 francs. 3583. Daniel Wilson sale, Paris, March 21, 1873. St. Joseph and the Infant

3581.

JACOTT, litho., 15.3X11.4. A spurious devotional print, the inscription on which falsely asserts that the original by Murillo

2s.

Jesus.

Sold

for

about

8,000

francs.

Spurious.

3581. St. Joseph standing on clouds with the Infant Jesus on his left arm ; full

^44

Cruz

Wynn

Ellis

sale,

1876.

St.

Joseph with the Infant Jesus asleep in his arms. Life-size. ^231, to Colnaghi. Praised by Waagen, ii. 294. 358u. Salamanca sale, 1875, No. St. Joseph lies dreaming on a 24. pile of rocks, with his head on his left arm ; an angel in rose-colored robe has descended from above to announce the birth

ST.

JUSTA.

of the Holy Child. .83x1.23. 750 francs, to

Companion

No.

150,

which

358v. ST. JULIAN. Sir J.

359. ST. JUSTA.

257

enbury

^23

sale, 1848.

2/.

at the British Institution in

see.

M. Brack-

Exhibited

1836 and in

1844.

Stafford House, London.

The

youthful Saint,

wearing a yellow robe, and a blue mantle covering her left arm, with ribbons in her hair and on her breast, stands three-quarters right, looking up tall jar,

;

her right hand holding a palm

which

palm of her

left

Companion

is applied to the side of a supported against her body by a low dish held in the hand. Half length. 363^X26 inches.

to St. Rufina,

tution in 1828 and in 1858,

and

No. 392. at the

Both were exhibited

Royal Academy

at the British Insti-

in 1870.

Lord Ronald Gower (Historic Galleries of England) thinks these two pictures formerly belonged to Marshal Soult ; but as he informs me that the opinion rests only on a family tradition, I venture to suggest a doubt. In the Altamira sale, by Stanley, June I, 1827, a St. Justa sold for .325 ids., and a St. Rufina for .275.

The

catalogue of this sale in the South Kensington Museum Library, gives in " Stafford." The next manuscript the purchaser's name as year after this sale the

Marquis of Stafford exhibited, at the British Institution, the two pictures now at StafIt was seven years later, in 1835, when the Marquis purchased from Marshal Soult the other Murillos now in Stafford House, as related ante No. I. It therefore seems probable that both these pictures came from the famous gallery oi the Duques de Altamira, descendants of the great house of Villamanrique, whose ford House.

palace in the Plaza de S. M. la Blanca, at Seville, was notable, among other things, for the important paintings by Murillo it contained, some of which are referred to at

No.

10, ante.

Photograph

CHARD,

Lord R. Gower, Great Historic

pere, line, 12.5x9.9.

BLANCHARD

probably.

These

Galleries of

England.

BLAN-

1842. UNKNOWN, line, 11.4x9.1, after engravings are identical with the picture at Stafford Paris,

House, except that the Saint is represented with pearl earrings and a necklace from which a cross is suspended, and her head-dress is composed of a scarf instead of ribbons.

The engravings may

may not be

after the pictures in Stafford

House.

Seville Cathedral, Chapter Room. The Saint, 360. ST. JUSTA. having a palm branch in her right hand, holds a jar on her right side with both hands. Life-size. See No. 279. Bust, circular. 361. ST. JUSTA.

Earl of Dudley, London.

The

Saint,

about

twelve years of age, stands three-quarters right, face front, with a cup

and saucer

in her left

29^X241^

inches.

hand and a palm

Exhibited at Leeds in 1868, and at the Royal

in her right.

Academy

in 1871.

Half

length.

MURILLO.

258 3613. right,

St.

36ib. Aguado sale, 45. St. Justa, wearing a yellow robe, blue mantle, and rose-colored veil, which falls from her

Justa standing three-quarters front, holds a jar by the

face

handle with the

left

hand

;

another jar

black hair, holds a palm and two small vases. Half length. .36. X-3O. Corn-

forearm supported by her right hand, which holds a palm; bracelets are on her wrists. Three-quarrests

on her

left

panion to

ters length.

3610.

Ramon

Castella.

362. ST.

Rufina.

8,025 francs,

Ellis

sale, by Christie, Manson, and Woods, June 17, 1876. St. Justa and St. Runna. Companions.

D. JACOBO FREYRE, litho., 10.2x7.2, Madrid. From the picture belonging to D.

St.

Wynn

241 los. (Graves).

JUSTA AND

RUFINA.

ST.

Seville

Museum,

95.

The

and holding between them a model of the was before the Christian alterations. Each has a palm

Saints stand looking front

Giralda, as in her left

hand

ond manner.

on the ground in front. Full length. SecCompanion to SS. Leandro and Bonaventura, No. 366. ;

vases

lie

2.07X1.78. Painted for the high altar of the Capuchin Church.

See No.

18.

GEOFFROY, litho., 16.4x12.5. J. LAURENT, photo., 1,077. The figures of Saints Justa and Rufina, which are engraved in Jameson, L. Art, and in Clement L. and M. Art, are taken from No. 116, ante. 363. ST. Saint

LAUREANO.

Seville Cathedral, Chapter Room.

seen in bishop's robes and holding a crook

his breast.

Bust,

life-size, circular.

364. ST. LEANDRO.

;

his right

and

The

hand on

See No. 279.

Seville Cathedral, Sacristy. The Saint, is seated in an arm-chair beside a table,

mitred and robed in white,

holding in his hands a parchment inscribed, Credite o Gothi consubstantialem patri.

Full length,

life-size.

No. 312, which see. Companion Photographed by J. LAURENT, Madrid, No.

Second manner.

1.88X1.60.

365. ST.

Leandro Bust,

life-size, circular.

his

St.

Seville

in bishop's robes, with

366. ST. 83.

LEANDRO.

1,123.

Cathedral, Chapter Room. St. a crook ; his right hand on his breast.

See No. 279.

LEANDRO AND

ST.

Bonaventura on the

BONAVENTURA.

left,

hands a model of a church

;

Seville

Museum,

leaning against a pedestal, holds in St.

Leandro on the

right, in

white

ST.

MARY MAGDALEN.

hand, in his right a parchment beside him is a boy with a mitre. Three fig-

robe, has a pastoral staff in his inscribed, Credite, etc.

;

left

Second manner.

ures, all standing, full length.

LAURENT, Madrid, No.

Louis, King of France Formerly in the Church of La Merced. Noticed by Ponz, ix. 107. Cean Bermudez, Carta, 98 and Die., ii. 3663. ST.

59,

;

and by Arana de

Varflora,

42.

Romero Balmaseda,

Francisco

A D.

men-

tioned by Lavice, Espagne, 275.

Museo

MARY MAGDALEN.

18.

1,079.

picture of this subject, belonging to

half length.

367. ST.

2.05X1.79. See No.

Painted for the high altar of the Capuchin Church.

Photograped by

259

del

Prado,

857.

The

Magdalen, with her lower limbs bare, and her body only partly draped in

a grayish robe and red mantle,

seated nearly front, on a rock in a

cavern, looking up; her cheek rests on her right hand; beneath her

elbow

skull,

and on the rock beside

stands a rude cross ; an

open book is held by her left hand against her body. Second manner. 1.53X1.24. Supposed

have been

HENRIQUE BLANCO,

368. ST.

in the palace of

San Ildefonso

Full length.

in 1772.

litho., in Coliccion Lilografica.

MARY MAGDALEN.

The Magdalen hands joined

Adolph Carstansen, Cologne. and blue robes, turned three-quarters left, with prayer, kneels in a cavern and looks up to three

in red

angels, one of whom plays a violin, another a flute, the third sings from a sheet of music ; on the ground, at her side, are a cross, book, vase,

and

skull.

Full length.

1.37X1.16.

"A Brought by Mr. Irvine from the Capuchin Convent at Genoa. penitent with to an Immaculate about five feet Magdalen angels, companion Conception, high, or less, the countenance of the Magdalen not handsome and the angels not well drawn. It was valued at and was for some time in the possession of

Walsh Porter." Buchanan, Memoirs, ii. 144, 172. See No. 13. In the Walsh Porter sale, April 14, 1810, it sold for ,420. The present owner purchased it in 1871 from Mr. Nieuwenhuys. Perhaps the following notes

may

refer to this picture.

Sale London, April 13, 1813. The Magdalen off by a chorus of infant angels. ^152 $s.

William Hornby in

sale,

January 26, 1869.

in prayer, her attention called

The Magdalen kneeling

a cavern, a group of angels with musical instruments above.

.346.

in prayer

MURILLO.

260

" the Captain Davies mentions Magdalena purchased a few days ago by Mr. Stuart Wortley, the angels appear like Murillo, but not having had a close inspection in clear daylight, I can say no more than that I recommended it to Mr. Wortley, etc." Davies, Mtirillo, xc.

MARY MAGDALEN. The Magdalen, wearing

369. ST.

Madrid.

Academy

San Fernando,

brown robe, with a red drapery over her limbs, seated front, looks up to her right ; her hands are clasped, with fingers interlacing; in her lap is an open book.

Full length,

SIMON BRIEVA,

life-size.

line,

Scarce.

7.5X5.6, Madrid, 1781.

MARY MAGDALEN.

370. ST.

a white chemise and

The

Penitent

Magdalen,

the

entrance of her retreat, clothed in a purple mantle, her arms folded on her breast, looking up. 47^X47^ inches. E. Higginson (Saltmarshe) sale, by Christie, June, 1860, from the Daubeny .267 155-., to Beaumont. A picture of this subject was exhibited at the British Institution in 1853 by

collection.

Wentvvorth B. Beaumont, Esq.

MARY MAGDALEN. Leuchtenberg Gallery, St. PetersThe Magdalen is seen front, looking up, with long, waving

371. ST.

burg.

hair falling over her breast,

The

Bust, without hands.

30X26

partly covered with a chemise.

picture has

much

the air of a portrait.

inches.

MUXEL, 13.8,

which

etch., in the

Leuchtenberg Gallery.

SCHONINGER,

litho.,

19.

Munich.

William Wells, Esq., Holme372. ST. MARY MAGDALEN. wood, Huntingdonshire. The Magdalen, in purple drapery, kneels on the ground at the entrance to her cavern, turned partly to her left, and looking up; her shoulders are bare, her hands crossed on her breast ; on the ground at her right are a book, cross, length.

59X41

and

skull.

Full

inches.

Louis Philippe

sale,

1853,

No. 244.

^840.

Royal Academy, 1871.

Sir

Stirling-Maxwell (Catalogue, 94) says this picture was purchased from Dean Sefior Tubino (Murillo, 216) Pereyra. says it belonged to A. Bravo. Perhaps both are right.

On wood, in Jameson, S, and L. Art, ARTHUR COLLIER, line, 10x8, Paris, 1845,

361, reversed, and without background. half length.

ST.

MARY MAGDALEN.

261

373. ST. MARY MAGDALEN, fully draped, kneeling among rocks, looks up to a light streaming from above her cheek rests on her ;

clasped hands, her right arm cross, vase,

and an open

on a rock before

folio lying

on a

skull.

her,

on which

Full length.

This picture, when engraved by Morghen, in 1801, was said to be in the Bracciano Palace at Rome. The palace has become the property of the banker Torlonia, but the picture has disappeared.

Line Engravings. RAPHAEL MORGHEN, 14.8x11.2, Florence, 1801. LUIGI FINOCCHI, R. Morghen direxit, 18.2X13.1. Gio. BATTISTA NOCCHI, R. Morghen direxit, 8.8x6.5, half length. A. TOFANELLI, R. Morghen direxit, i7-8x

JOAN BALESTRA, Ven to J. Folo direxit, 14.5x11.2, at the Regia CalcoPOMEL direxit, 10.8x7.9. BOVIXET termini, 5.2x3.7. G. B. CECCHI, 14.4x11. JOSEPH BERETTA Modoct' 5 7x5.6; knee-piece. A. DALBOU, about 15X12. RUOTTE, 9.5x8.4; varied. Lithographs by TH. DRIENDL, 16x11.6, Munich. M. MAURIN, 16x12.4. Outline in Reveil, Muse'e de Peinture 12.5,1803.

grafia,

Rome.

de Sculpture, vol.

plate 19.

The 3733. Berlin Gallery, 408. Magdalen, half length, with long, waving hair, which only partly covers her naked

right

arm and bosom, her hands

clasped across her breast, leaning on her right arm, her body and head thrown

back and the eyes upturned. .74X.6l. Purchased in Italy in 1841. Formerly ascribed to Murillo but now to Cerezo. It is identical, except as to size, with a picture by that master in the Czernin gallery at Vienna, of which picture a fac-

simile of the signature and date are given in Blanc, Peintres, Vie de Cerezo by Burger.

BERLIN PHOTO. 373b.

Museo

Co., Photo.

del

"School of Murillo."

Prado,

901.

The Magdalen

standing in a cavern, front, with her left arm resting on a rock beside a book, cross, and skull, her hands crossed on her breast, turns her

head to her right and

beholds at the entrance of her cavern a

group of angels in the sky playing a guitar and violin ; half length. 1.25x1.06.

VILAMIL, litho., 11.7x9.4. RENT, photo., No. 21. 3730.

LAU-

Church of Sta. Cruz, Medina

del Rioseco. Ponz,

122.

xii.

possibly ii.

The Magdalen

kneeling. Dirty and badly placed,

by Tobar. Ford, Handbook,

559.

373d.

William

C. Cartwright.

The

Magdalen. British Institution, 1822. 3736. J. Osmaston, Esq. The Magdalen, in red robe, kneeling, profile right, before a cavern, with her hands joined in

prayer

;

ground.

books, vase, and a skull on the Full length. 65X42 inches.

Royal Academy, 1879. This is probably the picture exhibited in London in 1875 by Reuben Brooks, and afterwards offered in " Mme. B." sale, Paris, April It is said to have 16, 1877, but not sold. formed part of the royal collection of St.

Two pictures of this subject Ildefonso. are enumerated in the inventory of that palace in 1772, but they are supposed to be now in the Afuseo del Prado. See

Nos. 367, 37 3 b.

LURAT,

Mme

etch.,

the

catalogue

B. sale.

373f. Marquise d'Espies, The Magdalen, kneeling in a

Paris. grotto,

points with one hand to a skull, with the other to a distant village. Signed, Mu-

MURILLO.

262

X .64.

Hispan. The picture is said to have been in the family for several gen-

Aguado

erations.

373k. The Magdalen. Presented by King Ferdinand VII. to Queen Chris-

rillo f.

373g. Gen. Viscomte

d'Armagnac

The Magdalen

sale, 1836.

A present

ert.

in the des-

June

sale,

Small, upright.

British Institution, 1861.

of Murillo

her right hand on a book placed on a rock, looks up ; on the right is a skull, on the left a scourge, beneath which

cionario,

the

of the artist.

monogram

CONVERSION OF

374-

Saviour,

who

whom

lies

on the

San Miguel, of the best time was formerly in the Capuchin Seville. Cean Bermudez, Dic-

tries to raise his fallen

del Prado, 871.

Saul

outstretched, looks up to the left,

on the

;

ii.

Museo

hand

left

Liechtenstein

61. Ponz, Viagede Espana,vf.. was probably similar to that by Meneses Osorio, now in the Capuchin Church at Cadiz. See No. iSandNo. 264.

PAUL.

ST.

MICHAEL.

139.

seen in clouds on the

horse of the Saint

one of

Church

"From

lying prostrate, with his right

373m.

Marquis du Blaisel sale, London, May 17, 1872. The Magdalen, with 3731.

4*.

steel armor, about to smite, with his flaming sword, a dragon beneath his feet. Full length. About 70X50 in.

lOs.

Gallery, 304, Vienna. The Archangel stands, with wings, plumed helmet, and

1856. The Magdalen kneeling in prayer, a glory of angels above ; the castle of Ouan de Ferrache, near Seville, in the

background.

?) .83

francs.

373!. ST.

Thomas Kibble

374h.

(

Sold at Paris in 1879 for 25,500

tina.

from Joseph Bonaparte.

gallery.

West.

holding a cross

;

the white

right are several soldiers,

Best manner.

master.

1.25 x

1.69.

Photographed by

HEAD

375.

Museo

OF ST. PAUL.

itated

head of

mouth

partly open.

3753. J.

LAURENT, Madrid, No.

St.

Paul on a table

del Prado, 888.

The decap-

the beard and hair are white, the

Third manner.

M. Suarez de Urbina.

Decollation of St. Paul.

;

sketch.

Men-

3750. Altamira

sale, 1827.

Head of

2 sj.

St. Paul.

tioned by Tubino, Murillo, p. 188, and by Amador de los Rios, Sevilla Pinto-

375d. Salamanca sale, 1875. St. Paul preaching on the steps of a tem-

resca, p. 496.

ple.

375b. Sir Arthur Aston 1862. St. Paul reading. 105, to

sale,

August

27X22

Agnew.

376. ST.

PETER PENITENT.

in.

in the foreground, entirely in

the shade, the

distant spectators are

well lighted. .74X-55. 62ofrancs. Jose'

Seated

From

de Madrazo.

among

rocks, clad in a blue

garment fastened with a cord, with bare arms, breast,

and

feet, his

PETER.

ST. arms crossed on

his breast,

263

his eyes to

lifts

heaven

in transport.

2.12X1.55. Soult sale, 1852, No. 65, 5,500 francs (to Townend?). This picture was painted in 1678 for the first altar on the Epistle side in the church of the Hospital " It of Les Venerables Sacerdotes. surpasses in softness and feeling the picture of Ribera, so well known by the engraving, which Murillo endeavored to imitate." Ponz,

Cean Bermudez, Carta,

ix. 123.

The

among

and yellow robes, is seated on the ground with his hands extended, looking up. Second

Saint, in blue

rocks, front,

manner.

Full length.

378. ST.

PETER

Saint, in

inches.

64X43

King Louis Philippe

The

Francis Cook, Esq., Richmond

PETER PENITENT.

377. ST. Hill.

See No. 29.

94.

No. 242, ^31.

sale,

IN PRISON.

Purchased from Julian Williams.

Hermitage,

St.

Petersburg,

372.

blue tunic and yellow mantle, seated in the centre on

the floor of his prison, turns his head towards the angel,

who

takes

him by the arm and points the way of escape

and

sleep-

;

architecture

Third manner.

ing guards in the background.

2.36X2.60.

La Caridad, whence it was taken by Marshal Soult. was sold to the Louvre, where it was deposited for a few days. See ante It was sold in the Soult sale, 1852, No. 64, for 151,000 francs.

Painted for the Hospital of

In 1835

No.

Outline in Reveil, Muse'e de Peinture,

wood

in L' Illustration,

379. ST.

The

PETER

Saint stands

bound

May

31, 1852.

PRISON.

naked but

iii.

178,

wrongly ascribed

to Ribera.

Duke

for

of Wellington, London. a cloth around his loins, his arms

one of the keepers binds his feet, another About 14X9 inches. the scourge; behind is a grated window.

crossed and

3793.

;

MARTYRDOM OF

Dulwich Gallery,

nailed to the cross, which

ST. St.

224. is

PETER. Peter

being raised

plies

3?gb. A. Bravo. St. Peter in prison ; a sketch for No. 378. Tubino, 185. Sevilla Pinto., 415.

by two executioners; on the left is a horseman with a red flag; on the right a group of spectators, among them a

37QC. Earl of Yarborough. St. Peter, Exhibited at the British Institution, 1849.

woman

in prison

seated, with a child.

attributed

Murillo, but

Spanish School.

Formerly

now

to the

Both Waagen and Pas-

savant incorrectly call this a sketch for the Martyrdom of St. Andrew.

37gd. Altamira ;

a study.

sale, 1827.

St.

Peter

] 14?.

37Qe. Comte de Rayneval, former Ambassador of France at Madrid, sale, April 16, Ribera.

etc.,

1838.

St.

Peter; style of

MURILLO.

264 37gf.

No. 243. 10, to

Louis Philippe sale, 1853, Head of St. Peter. .jSx.do.

Lane-Fox.

379g. H. A. J.

Munro

June

sale,

1878. St. Peter in prison with the angel

spirited sketch for

inches.

^39

No. 378.

;

11^X12

380. ST.

Madrid.

St.

Empress Josephine. It was Malmaison until 1815, but is now in the Munich Gallery, where it is properly sold to the

ascribed to Claudio Coello.

l8s.

37gh. ST. PETER OF ALCANTARA, Mentioned by Ponz (v. 243) among the pictures in the convent of the Visitation

Two

Lebrun brought from Spain Peter of Alcantara, with a lay brother walking on the sea, which he at

PETER ARBUEZ.

en-

graved as by Murillo in Lebrun, Recueil, and in Mrs. Jameson, Legends of the Monastic Orders, p. 351.

Hermitage,

St.

Petersburg, 374. him with

executioners, seizing the Saint from behind, attack

sword and poniard as he kneels on the steps of an altar, looking up who brings the palm of martyrdom and points to heaven.

to an angel

A night

scene.

2.92X2.06.

From

the Hall of the Inquisition at Seville, whence it was taken in 1804 by the Prince of the Peace, who left in its place a copy by Joaquin Cortes. It was purchased

Hermitage in 1831. copy by Cortes was in the parish church of San Ildefonso at Seville, perhaps the one which was formerly in the Inquisition. copy is in the chapel of Belen in the Cathedral, and another in the Museum at for the

Cordova.

MATIAS ARTEAGA, etch., 5.9X3.9, Seville. Probably etched in the lifetime of Very rare. A copy is in the Biblioteca Nacional at Madrid. H. ROBIL-

Murillo.

litho., in Gal. Imp. de I'Ermitage. [This Saint, sometimes called St. Peter Martyr, was born at Epila, in Aragon, about 1441. He was an efficient aide to Torquemada, and was slain in 1484 in the Cathedral of Zaragoza by Juan de Labadia and Juan Sperandia, to avenge injuries

LARD,

done

to the sister of the one,

381. ST.

above.

and the

PETER ARBUEZ.

39X31

father of the other.]

Vatican, Rome.

A repetition

of the

inches.

Brought from Spain lery of the Vatican.

and placed by Pope Pius IX. in the galthe sketch " from the palace of the Inquisition at

in October, 1876,

may be

Osuna," l.ooX.So cm., formerly belonging to Dean Lopez Cepero, and which was offered in his sale in Paris, 1868.

3813.

Thomas

coin's Inn, sale,

1849,

Purves, late of LinLondon, June 9 and 10,

Christie.

382. ST.

St.

Peter the

Domin-

PETER NOLASCO.

ican Martyr. to Rutley.

82x58

inches.

Mentioned by

^14

14^.,

Stirling,

iii.

1435.

Seville

Museum,

80.

The

Saint,

kneeling, with outspread arms, looks up to a vision of the Virgin,

who

RAPHAEL.

ST.

265

appears seated on clouds on the left, with a circle of stars around her head, and holding a fold of her mantle with both hands ; above the Saint

a cherub and three heads ; another cherub

beneath the Virgin.

air

sporting in the

Second manner.

Full length.

2.18x1.55.

Supposed to have been painted for the convent of La Merced, now the Museum. Photographed by J. LAURENT, Madrid, No. 1082.

A Monk, standing on the right, points out to his stand behind him, a scene in the sky, where the soul Philip, attended by two angels, ascends to heaven from a blaz-

383. ST. PHILIP ?

companions, who of

St.

ing pyre beneath.

Six figures.

1.74X1.88.

Painted for the small cloister of the convent of San Francisco.

See No. 268. was taken thence by Soult, and bought in at his sale, 1852, for 15,000 francs. Sold again in Soult sale, April 17, 1867, for 16,000 francs, to M. de Guitaut. The legend which this painting represents is obscure. Cean Hermudez (Cartel, It

49) calls

the ascent to heaven of the soul of Philip II.

Mrs. Jameson (Monastic

represent a passage in the life of St. Francis of Assisi. Another legend is that given in Flos Sanctorum (ii. 445) of St. Philip Beniti, to whom the Virgin appeared in a vision in a cloud of fire. Finally, the Soult catalogue says the city on the left is Adrianople, where St. Philip, Bishop of Orders, 273) suggests that

may

Heraclea, was condemned to be burned. one to suit him.

Among

many

tales the reader is sure

to find

Outline in Rveil, Musee de Peinture,

iii.

146.

Seville Cathedral, Chapter Room. He is in bishop's robes, with a crook in his left hand, and a palm in his right. See No. 279. Bust, life-size, circular. 384. ST. Pius.

3843. ST. QUIRINUS, ST.

AND

ST.

DOMINIC,

RAYMOND OF PENAFORTE.

Hermitage,

St.

Petersburg, 380.

St.

window

St.

Raymond and

a companion

are seen crossing the sea on a mantle.

2.62x1.76.

Doubtful.

The

Quirinus is in the centre before a saltier cross, with a palm in his left hand, his

picture formerly belonged to the Prince of the Peace. According to Stir-

on a millstone ; on the left is St. the right St. Dominic with a key, all standing; through an open

ling these figures represent St. Florian, St. Dominic, and St. Peter the Domin-

right

Raymond, on

385. ST.

RAPHAEL.

hand a 34

Annals,

iii.

1434.

Leuchtenberg Gallery,

The Archangel Raphael, his right

lean.

pilgrim's

full

St.

Petersburg.

length, with wings outspread, holding in

staff,

walks front ; beneath, on the

left, is

MURILLO.

266

half-length figure of a bishop

on the ground.

on the

;

right a mitre

and

crosier lying

inches.

53X30

Cean Bermudez (Carta, 98) mentions the famous San Rafael with the por-

Museum

at Seville.

128,

and

Leuchtenberg Gallery. Clement, L. and M. Art.

3853. Julian Williams.

Guia de

St.

Raphael.

Sevilla, 1832.

38sb. Sir J. 1848.

M. Brackenbury

sale,

(Sir E. B.).

3850. Captain Davies (Muri Ho, \niai\v. xciv.) mentions a sketch for No.

and

RODRIGUEZ.

386. ST.

and L. Art,

also a small San Rafael with the which belonged successively to the Marques de la Canada, D. Sebastian Martinez, and D. Manuel de Leyra. Both

385

Raphael, or Tobias and the Painted before Murillo went to

Madrid.

in Jameson, S.

;

fish,

St.

angel.

On wood

etch., in

MUXEL, i.

Domonte in an altar of the church of the Merced, now Mentioned also by Ponz, ix. 107.

of the Bishop Francisco

trait

the

these pictures came to England, and the sketch afterwards fell into the hands of

Captain Davies,

who

transferred

Captain Ball.

Dresden Gallery,

633.

The

Saint,

standing before a balustrade, wearing a rich chasuble adorned with figures of saints,with a

palm

in his left

hand, and his right hand out-

stretched, looks up to a cherub on his right about to crown him with a wreath of flowers. Full length. Second manner. 88X58 inches.

King Louis Philippe The

sale, No. 500. picture formerly belonged to

From

a convent of St. Clara at Seville.

Canon Pereyra. Head, Handbook, 177. Stirling, iii. 1434. According to Mr. Ford this work was painted for a canon at The chasuble is still preSeville, by whom the dress was worn on grand festivals. .210.

served in the vestry of the Cathedral.

BUCHEL,

line, in Clauss,

Article in

Athenaum, May 28, 1853, p. 657. TH. LANGER, 14X8. F. S., line, 3.8x2.3, in Die Dresdener Gemalde-

Dresden Gallery.

in Bilder Brevier, 1857. H. BURKNER, etch., Gallerie ; Original-Radirungen. JULLIEN, litho.,

13x12.

ROSE OF LIMA, wearing the Dominican habit, stands front, holding in her right hand a bunch of roses on which is the Infant Jesus, who extends his hands towards her; her left

387. ST.

nearly

seated

hand on her breast holds a rosary and a

fold of the black mantle that

covers her white robe; six heads in the length.

air

above.

Three-quarters

1.66x1.07.

Salamanca sale, 1875, " Ce tableau a t( gravcS a Madrid par Bias Amettler, et se trouvait alors dans la galerie du Real Palacio." 20,000 f. Cean Bermudez mentions a picture of this subject formerly in the palace of St. Ildefonso. Die., ii. 65. BLAS AMETTLER, directed by M. S. Carmona, line, at Calco.

13.8x7.9,

Nacional.

MAURIN,

litho.,

4.6X3.3.

ST.

ROSE OF LIMA.

267

ROSE OF LIMA. Frederick E. Church, Esq., HudNew- York. A repetition of the above. 64X44 inches.

388. ST. son,

Don Aniceto Bravo. It was purchased from his widow by who sold it about 1865 to D. Luis Portilla, Madrid, from was bought in 1873 by W. J. Shaw. At his sale, by Leavitt, New- York,

From

the gallery of

Jorge Diez Martinez,

whom it May 27, 1880,

sold for $380, to Mr. Church.

Mentioned

Tubino, Murillo, 185.

Sevilla Pinto., 412.

ROSE OF LIMA.

389. ST.

Emile and Isaac Pereire 1857.

repetition of

sale,

1872, No.

No. 387. From 84.

.giX^. Rhone' collection,

25,500 francs.

ROSE OF LIMA,

390. ST.

Bankes,

St.

William Ralph

Rosalie.

The

Esq., Kingston Lacy, Dorset.

Saint,

wearing a white

robe, and a white scarf on her head, over which is a black mantle that covers her head and falls over her robe to the ground, kneels three-

quarters left before the Infant Jesus, who, seated on a basket, places a left hand, and seizes with his other hand the rosary that is neck from her before the on basket the ; suspended ground are a book a the are and rose ; behind Saint buildings and a trellis. Landscape

rose in her

background. Signed. 68X52 inches. From the Marques Ledesma of Granada. Exhibited 1864. J.

Mentioned Rico, "

Inscribed,

in Jones,

line,

From

at the British Institution,

Views of Seats, London, 1829.

5.8x4.4.

Engraved

after

the original, belonging to

Don

a picture similar to the above. Josef Ignacio Lascano at Cadiz."

391. ST. ROSE OF LIMA. repetition of the above. E. and I. Pereire sale, 1872, No. 83. " From the Standish

and Urzais

11,200 francs.

galleries."

etch., in Pereire sale catalogue.

DEBLOIS, 3913.

1.15X1.08. (?)

Duque de Uceda, Madrid.

St.

Rosalie. O'Shea, Guide, 302.

hibited

by Rev. C. Brackenbury

at the

British Institution, 1862.

3Qib. Jose Larrazabal.

St.

Rosalie

offering flowers to the Infant Jesus in the arms of the Virgin. Sevilla Pinto.,

492.

3Qic. Sir J.

M. Brackenbury.

St.

Rose of Lima kneeling with the Infant Saviour;

full

Purchased

length, life-size.

Signed.

Cadiz about 1831.

British

Institution, 1836.

St.

Rose was

ex-

3Qid. Aguado sale, 1843, No. 76. St. Rosalie, habited as a nun, and crowned

with thorns, holding a crucifix and lily in one hand, and a scourge in the other. i.iox.833Qie.

500 francs.

Lopez

Cepero

sale,

Paris,

Rose of Lima and the Infant A repetition of No. 390. .48x Jesus. .35. 510 francs. Not sold. 1868.

St.

MURILLO.

268

Stafford House, London.

392. ST. RUFINA.

The

ing a green robe and purple mantle, stands three-quarters front,

holding a jar in her

on her

left

hand by one of its handles

;

Saint wearleft,

looking

another

jar,

held against her body, lightly supported by the tips of her right forefinger and thumb ; a palm is in her right hand. resting

Half length.

left wrist, is

inches.

36^X26

No. 359, which see. Photographed in Lord Ronald Cower, Great Historic Galleries of England.

Companion

to St. Justa

RUFINA.

393. ST.

Cathedral, Chapter Room.

Seville

The

Saint holds a jar with both hands before her breast.

young

See No. 279.

Life-size; circular.

Aguado

3933.

sale,

Bust.

No.

46.

Ru-

St.

3930. ST. Sebastian.

small sketch,

Half length. Companion to St. Justa. .36X-30. 3,010 francs. 393b. St. Rufina in profile, standing, with her hair tied with ribbons, and a bow on her breast, looking up; in her

Belonged successively to the Marques de la Canada, Don Manuel de Leyra, Don Sebastian Martinez, and Captain Davies.

hand is an earthen cup; in her right a jar and a palm held against her body.

Thomas Lawrence sale, May 15, 1830. 27^X20 inches. A present from M.

fina.

left

VICENTE CAMARON, at

litho.,

10.3x7.4,

Real Est. Lito., Madrid.

394. ST.

THERESA

ling-Maxwell,

Murillo, Ixxxiv. note, and xciv. 393d. ST. STEPHEN STONED.

Francillon,

who

attributed

Sir

to Cigoli.

17.

Sir

praying, in a landscape.

William

Stir-

Bart., Keir, Perthshire.

Exhibited at the Leeds Exhibition in 1868.

In the Alton

Towers

sale, 1857,

a woody landscape, sold for 1838,

and

395. ST.

The Times, July

6s.

No. 105, St. Theresa kneeling in prayer in Praised by Waagen, Works of Art, London,

II, 1868.

THOMAS OF VILLANUEVA.

Seville

Musem,

84.

The

Archbishop of Valencia, wearing a mitre and holding the pastoral staff, stands front, in the centre of the composition, beneath a Grecian dropping a coin into the hand of a beggar who kneels before him, holding a crutch with his left hand which rests on the pavement; an old woman is seated in the foreground on the left, with a portico,

standing at her knee

on the

left is

;

on the

right are

an open book lying on a

boy two other beggars and a nun .

table.

The background

con-

THOMAS OF VILLANUEVA.

ST.

269

of architecture with columns, wreathed above with a curtain, and a church seen through an opening on the right. Seven figures. sists

2.90X1.92. See No.

Painted for the Capuchin Church. Murillo called su lienzo, his

own

This

18.

the

work which

picture.

When this painting was executed St. Thomas was not a saint but only a Beato, an honor which was conferred on him in 1618. It was not until 1688, six years after Murillo's death, that the Archbishop was canonized.

ANNA JAMESON,

Jameson, Monastic Orders.

etch., in

LAURENT, photo-

graph, No. 1,079.

396. ST.

Lord Ashburton, London.

THOMAS OF VILLANUEVA.

seven years of age, is divesting himself of his nether garments to supply the wants of four ragged urchins, one of whom, seated on the left, is putting on some St.

Thomas,

clothing

;

represented as a

boy

six or

another, behind the Saint,

examining the raiment he has

received; a wall on the right; in the background buildings and

several figures.

75X57

a street with

inches.

Painted for the convent of St. Augustin. See No. 254. It was sold by the monks to the Prince of the Peace, who presented it to Genera! Sebastiani. In 1814 it was sent to Buchanan for sale, and was purchased by Mr. Baring, an ancestor of

Ponz, Viage, ix. 136. Cean Bermudez, Diccionario, ii. 60. Buchanan, Memoirs, ii. 264. Mrs. Jameson considers it one of the finest Murillos in England. Monastic Orders, 202. Royal Academy, 1871. According to the the present owner.

Sebastiani catalogue the sale of this work by the monks was the occasion of a popular outbreak. In order to effect the removal of the canvas from the convent it

became necessary three persons.

employ

copy

force,

in the

and the suppressing of the riot cost the lives of Cadiz cathedral. Others belonged to the Duque

de Montpensier, to the Condesa de Perhaps there

Seville.

Mejorada and

another in the Lille

Museum,

D. Rodrigo de Quirios, called St.

Roch

dividing

his clothes.

A coarse and ragged line, 10x7.5. Seville, 1778. which the only copy known to the writer was purchased by Charles Morse, Esq., at Christie's, March 14, 1853. At the sale of Mr. Morse, July 4, 1873, it was sold, with eight other prints, for nine shillings, to Sir William StirlingSN

ROMAN Y CODINA,

print, of

Maxwell,

whose

397. ST.

collection

now

is.

THOMAS OF VILLANUEVA.

Grange, Hants.

A sketch

of the above.

Lord Ashburton, The About 24X15

inches.

Purchased in 1832 from Julian Williams, who picked it up at a fair in Seville for half a dollar. Stirling, ii. 877. Mr. Williams had, in 1832, two pictures of this subject. Guia de Sevilla, 1832.

MURILLO.

270 398. ST. don.

who

Earl of Northbrook, Lon-

THOMAS OF VILLANUEVA.

Saint, wearing a mitre and accompanied by an attendant holds a crozier, stands in an archway giving alms to a kneeling

The

who

beggar,

surrounded by other beggars

;

among them

one

seated on the ground, supporting himself on his right hand ; on the an infant, with a boy by her side; right stands a woman holding

above

the Virgin, seated on clouds, with the Infant Saviour in her

arms and two children clinging to her lap ; a church is seen through an opening on the left. 15 figures. 51^X29^ inches.

King Louis Philippe sale, 1853, No. 498, jlo, to Thomas Baring, uncle of Lord Northbrook. Painted about 1678 for the chapel of St. Thomas of Villanueva in the convent of St. Augustin, outside the as St.

Thomas and a

religious giving

Carmona

gate at Seville.

It is

See No. 254. Ford in The Athenaum, May 28, 1853, p. 655. A. PINION, litho., 16x12. Paris. On wood in Blanc, Peintres, and Beaux Arts, April, 1875, wrongly called Saint Diego.

cloister

;

finely executed.

described

alms to the poor, with a perspective of a " One of the finest sketches of Murillo in

existence." Richard

des

299. ST.

in Gazette

Sir Richard "Wallace, THOMAS OF VILLANUEVA. The Saint, wearing a skull cap and holding a purse, into the hand of a naif-naked beggar, who sits on a stone

Bart., London.

drops coins with a crutch resting on his lap ; he is attended by an ecclesiastic holding a mitre, and another holding a crook ; before him is a boy examining a coin, and on the right a group of beggars, among them a

woman

with a child in her arms holding a boy by the hand.

tecture

on the

58^ x 59}^

Second manner.

left.

Archi-

inches.

Brought by Mr. Irvine from the Capuchin Convent at Genoa, and sold by Mr. Buchanan to Mr. Wells, of Redleaf, for ^1,000. See No. 13. Sold at

William Wells

sale

May

.2,992 ioj., to the Marquis of Hertford. Royal Academy, 1872.

12, 1848, for

British Institution, 1823, 1835.

sale, 1843, No. 41. of Villanueva giving alms in the vestibule of a palace. 7 figures.

3993.

St.

Aguado

Thomas

42X.39- 1,310 of No. 395.

francs.

Probably a copy

sale, 1853, No. 119. of Villanueva dividing his

399b. Standish St.

Thomas

clothes.

39gc. Christie,

.27X-36.

\o, to

Edward Mulling June 24, 1854.

St.

Drax. sale,

Thomas

Villanueva, clothes

child, dividing his children in a street,

Also, of Villanueva, in Augustin habit, blessing a poor cripple near the Both were ] 17^. gate of a cathedral. St.

(>s.

Thomas

small works, purchased in Spain in 1809

by by

when a

among poor

Jacob.

39Qd. Sale by Christie, May 2, 1874. St. Thomas of Villanueva giving alms.

MONK ROBBED BY

The probably by some unknown

ure

26x19

in.

Doubtful.

the presence of many persons. On the by the force of his will, he miracu-

left,

pictItal-

lously holds in the air a mason who is In the centre he falling from a scaffold.

Ur-

stands, in religious costume, with large,

ian master.

Altamira

39gf.

sale,

St.

1827.

extended wings. 38 figures. 3.24X-431,020 francs. Sold again in Dubois sale,

sula.

^4. 3995. H. A. J.

The miraculous

1878.

Ursula to

St.

June

for a picture in

Aguado

II S

sale,

1843, 390 francs. Mentioned in Jameson, Monastic Orders, 405. 39Qk. Suermondt gallery, No. III. St. Vincent Ferrers kneeling. The Sa-

visitation of St.

Dudley's gallery. "(?)

39gh.

sale,

Catharine of Siena.

"Sketch

in.

Munro

No.

Lord

(Agnew).

62.

St.

viour appears in clouds accompanied by Moses and Elias. Mountainous back-

Vin-

cent Ferrers, with wings, and holding a crucifix ; at his feet is an angel holding a

.6lX-42. Purchased in 1855 from the Conseiller C. Waagen. Menground.

mitre; on the ground is another mitre, a 2 figures, cardinal's hat and a book.

400.

Two

London.

FRANCISCAN MONKS.

A monk

back against a hands on the

tioned

69 francs.

32X.24.

tree

sick

building on

manner.

;

Aix

by W. Burger, Galerie Suermondt la Chapelle.

Francis Clare Ford, Esq.,

seated on the ground, apparently

his

companion standing on the

man's head and looks up as

the

left.

2/1

St. Vin399'- Aguado sale, No. 40. cent Ferrers resuscitates a dead man in

Formerly belonged to the Emperor Maxi126, to J. Watson. 3996. Carlsruhe Kuntshalle. St.

milian of Mexico.

Ursula.

A BRIGAND.

Two

figures,

full

ill,

left

resting his

places both

imploring a blessing.

length, life-size.

Sometimes called The Good Samaritan.

63^X42

First

inches.

See No. 268. Being too stiff to be rolled it was left behind by Marshal Soult, and was bought in 1831 from Julian Williams by the father of the present owner, Richard Ford, author of Painted for the small cloister of the Franciscan convent.

the admirable Handbook of Spain. Stirling, ii. 836. Waagen ii. 223. "This picture was, in Soult's hurried flight after Salamanca, left behind in the Alcazar

and

now

401.

in our collection, purchased

A MONK

and paid for." Ford, Handbook,

M. Ch. Baudet,

ROBBED BY A BRIGAND.

190.

Havre.

coarse-featured, ragged, and half-naked bandit kneels on one knee before a Franciscan friar, and loosens the cord of the latter's habit in

the act of robbing him. his

own

safety,

gentle words, to

The

victim of the assault, not alarmed for

seems only intent on persuading

abandon

his evil courses

;

his assailant,

the robber's hat and staff

behind him on the ground. The scene is enacted in a harsh and mountainous country before the gate of a ruined castle. Beneath is

lie

MURILLO.

2/2

an inscription half obliterated, which casts no which the picture represents. 1.77X2.23.

on the legend

light

See No. 268.

Painted for the small cloister of the Franciscan convent.

was

taken thence by Soult, and was bought in at his sale in 1852 for 25,000 francs. It afterwards belonged to the Comte de Mornay, grandson of Marshal Soult, who sold it in March, 1 88 1, to the present owner. 4013. J. M. the head of the

Escazena.

monk who

for

Study

stands behind

the saint in the picture of St. Giles, No.

17x12

309.

inches.

Stirling,

iii.

1434.

4Oib. ]os6 de Madrazo. Two nuns and white drapery, one of them

in black

life-size.

kneeling;

belonged iii.

Stirling,

iii.

Lord Leconfield, Monks discoursing.

4Oic. Sussex.

Colonel

Unus Dominus, etc. and palm, are on a balcony on the right; half length. 1. 39 X. 97Purchased from M. Coindros for 2,500

a skull,

;

lily,

francs.

1440.

Petworth,

Formerly

Wyndham. Waagen,

4oig. Aguado sale, 1843, No. 71. Bust of a monk praying. .45X-34- 121 francs.

John Meade sale, monk praying. ^5 5^.

4oih. Gen.

A Monk Head

Viscount Hardinge.

bearing a cross on his shoulder

mountains

;

the

the catalogue.

4oie.

Duchesse de Grammont.

402. BELISARIUS.

man,

the alms a

Head

Duke

April 1846,

parte's palace at sey,

1847.

at Christie's.

From Joseph Bona-

of a Saint.

Bordentown,

New

Jer-

JS.

Thomas Purves sale, June 9, An Apostle and a lad with two

4Oik. 1849.

Saint in prayer. I.oox.75- Exhibited at the Alsace-Lorraine Exhibition, 1874.

old

of a

401!. Sale,

snowy

background; half length. 40x30 inches. Royal Academy, This picture is said to be from 1873. the Soult sale, but it is not mentioned in

Franciscan

a scroll inscribed

43. 4<jid.

Museum, No. 251. Monk preaching, holding

Brussels

40if.

fishes.

180.

sketch for two figures in No. inches. 6 los,, to Nor-

16x13

ton. Stirling,

iii.

1429.

of Devonshire, Chatsworth, Derbyshire. on the ground, extends his hands for

in red dress, seated

woman

about to bestow

on the

a striking figure

Mentioned by Waagen, iii. 346. was ascribed to Van Dyck.

This picture was

;

left

of a soldier with his hands knit. British Institution, 1837.

formerly at Chiswick, where

4023. old

man

THE ROMAN CHARITY. is

seated on the floor of his

prison, with feet manacled, and hands

bound behind

while his his back; daughter offers her breast, he turns his head as if fearing interruption.

This picture was in Madrid when the French occupied that city. In order to

save

it,

to have, a

artist

who

had, or pretended

commission to paint an

altar-

piece for some obscure church outside the city walls, succeeded in smuggling it It was taken to the and fell into the hands of Richard Kidder Meade, a merchant and

through the gates. sea-coast,

United

States

Navy Agent

Cadiz.

LANDSCAPES.

273

now lost, which Ponz and Cean Bermudez mention as having been in the Escorial ?

Mr. Meade carried it to Philadelphia, where it adorned his gallery, which was in its day one of the finest in America, Sometime before 1830 it passed into the

picture by Ribera,

possession of the Pennsylvania Academy of Fine Arts, and was destroyed by a fire which broke out in that gallery in 1845.

X 16.8,

patra with

British Institution, 1849.

TOMAS LOPEZ ENGUIDANOS,

.32X-46 cm., from the Iriarte gallery, was in D. Jos<5 de Madrazo collection, No. 396. The choice of the subject, and the style, if one may judge from the engravold copy,

Cean

Godolphin

6, 1803.

sale,

A Sibyl. ^59

Js.

4o2d. A Satyr and Tigers. Calonne See Velazquez No. 35d ante p. 21.

4026. DIOGENES.

Marquis of Exeter,

Burleigh House, Northamptonshire. He is represented as about to throw away

have con-

his

cup as useless. Waagen,

picture of Diogenes

asserts (Carla, p. 125) that

hante

Murillo never painted any subject of profane history or mythology. Can this be the

403. ORIGIN OF PAINTING.

June

at the

sale.

make it doubtful if this composition can properly be ascribed to Murillo. It is not mentioned by Palomino, by Ponz, by Cean, nor by any other author

Exhibited

the Asp.

4020. Earl of Christie,

ing,

suited.

line, 13

Madrid, 1809, at Calco. Nacional. 4O2b. Earl of Yarborough. Cleo-

sale,

30, 1817,

El Cuadro

No.

was

Phillips,

iii.

406.

A. Dela-

London,

May

the

135.

de las Sombras.

right a youth traces on a wall the outline of the shadow of another youth ; on the left is a rich landscape, and a group of figures in the

1^X2

foreground.

varas

(44X66

inches).

From

time immemorial there was in the parish church of San Andres at Seville a chapel called the Capilla de fas Pinions, dedicated to St. Luke as patron of the artists. When the Academy of Seville was founded in 1660, one of its statutes required that each

The above

picture that office in 1660.

owned by

to this chapel a specimen of his art. believed to be the one presented by Murillo when he filled It was sold in 1809 to Don Antonio Bravo, and was afterwards

mayordomo should present is

Don

Mentioned by Tubino, 231 ; Sevilla 253; Raczynski, Arts en Portugal, 505. Cean Bermudez mentions un quadra maltratado in the Capilla de San Lucas. Carta, 98. M. Pereire had a large picture of this subject. Mentioned in Gaz. B. Arts, his

nephew,

Pinto., 410; G. de Leon,

xvi. 209.

was not

Aniceto Bravo.

in the Pereire sale.

404. LANDSCAPE.

Museo

del

Prado, 898.

country, through which passes a river, with ruins on

mountainous steep banks

;

lofty, detached rock, overhanging the stream ; four figures are seen, among them, on the left, a peasant directing a traveler on his way. .95X1.23. P. DE LEOPOL, lithograph, 13x16.3.

the middle distance

A its

MURILLO.

274

Museo

405. LANDSCAPE.

with trees and buildings bridge

in the

;

a passenger to

A view

From

;

middle distance a his vessel.

sailor is

rocky shore and a

seen carrying the luggage of

Bromley Davenport, Esq., Lon49^x66 inches.

of the river Manzanares.

the Royal Palace at Madrid.

T. B. Bulkely

Prado, 8gg.

.95X1.23.

'Walter

406. LANDSCAPE. don.

del

in the distance rocks with a fortress

Owen,

whose

sale,

Purchased from Mr. Yates, in 1817, by

Christie, April 30, 1868,

was sold

for

" I have purchased a very fine landscape of Murillo's, size, 5 feet 6 long by 4 6 high * *. It will be expensive to put it in order ; although well preserved, it has been badly lined ; and being on three pieces of cloth, it has many little pieces feet

wanting."

Letter of

Mr. Wallis.

407. LANDSCAPE.

In the centre

Buchanan, Memoirs,

ii.

218.

Francis Cook, Esq., Richmond

Hill, Surrey.

a shepherd watering his flock at a circular well

the background, on the

left,

a hut; sky

on the

right.

;

14X18

inches.

408. LANDSCAPE.

W. Graham,

Esq., London.

landscape

with figures on horseback and on foot moving along a road towards a castle on the top of a lofty hill on the right ; inscribed in the left

24X21

corner, Morillof. Hispan. Exhibited by Mr.

Graham

at the

Royal Academy, London, 1877.

4083. LANDSCAPE. In the centre a boy is seen mounting a mule; a man standing on the right, a bridge on the

12^x18^

left.

in.

Companion to the following picture, Both were from the gallery of the Chevalier

D'Azara, minister of Carlos III., at

Rome. They for 5>i

Lebrun

sale, 1810,

francs, to Laneuville.

Engraved vures au

sold at

Lebrun, Recueil de Gra-

trait, etc.,

No.

inches.

137.

4o8b. LANDSCAPE. Two women are conversing, one seated, the other standing; two jars between them; a village in the distance. 12^x18^ in.

Engraved vures au

Lebrun, Recueil de Gra-

trait, etc.,

No.

138.

4080. LANDSCAPE, with three women at a circular well, over which is a crane

and pulley; a shepherd with three sheep, a dog, and a donkey on the right. 15 X 23

in.

Lebrun

sale, 1810.

Engraved

Le-

brun, Recueil, No. 139. 4o8d. Landscape, with a family group of five persons before a large building on the left; river.

on the right two goats

15x23

Lebrun

in.

sale, 1810.

brun, Recueil, No. 140.

Engraved

Le-

STILL LIFE. Francis

4o8e.

Edwards,

In the centre

Landscape.

Esq. an

old

275

other shepherd loo francs.

sits

apart.

31X31

in.

peasant on an ass, and a young man walking near him. Manchester Exhibi-

4o8k. Louis Philippe sale, 1853. No. 327. Alandscape. 1.08x1.87.^81,

tion, 1857.

to Drax.

4o8f. Earl Spencer. Entrance to the grotto of Posilipo, near Naples, with three herdsmen and their flocks approach-

Christie, July 3, 1875.

About 20 X 1 6

ing the cavern.

South KensingAs Murillo was

Sunderland collection. ton

Museum,

From

in.

1876, etc.

never out of Spain he is hardly likely to have executed this picture.

4o8g. Desenfans

1802,

catalogue,

408!. J.

figures,

women and

for

man

at a well

;

on the

left

4o8h. Lapeyriere toral landscape.

Pas-

sale, 1825.

A young girl with a crook

in her hand leans on the edge of a well and modestly listens to a shepherd who

drawing water

the

in.

408!. scape.

woman

75x49

in.

in winter.

early

one of the series

409. STILL

Sir

LIFE.

Keir, Perthshire.

clyfle sale,

;

a folded napkin.

25X31

beside

work resembling the Academy at

Red-

June 29, 1878. well and figures and

Christie,

;

Companion. Also, A Landscape, with Not Isaac and Rebecca at the well. sold.

William

Stirling- Maxwell,

Bart.,

a square basket containing grapes two broken pomegranates and a roll on

a table

and pomegranates

an-

was sold 16, 1860,

^273, to Seymour. 4o8p. Viscount Stratford de

Landscape, with a

;

June

Madrid."

from a well

sale,

^42A 4o8n. H. A. J. Munro sale. group of beggars at the stall of a woman selling bread and aguadiente in Madrid

Lapeyriere sale, 1825. LandSheep crowd around a trough, fills

feeding fowls on 120 15.1-, to Dyer.

picture similarly described

E. Higginson

501 francs.

which a shepherd

left.

for his

sheep; rough, uncultivated country, with ruins, igx

gj.,

a mule and a

;

a shepherdess and a dog following a flock, with ruins, etc.

4o8m. H. A. J. Munro sale, June I, The native village of the artist, in 1878. the Andalusian mountains, with a lady on

50.

6s.

^27

sale,

Landscape, with Also, a companion,

both to Rudd, and both from Lord Radstock's collection.

^30

Landscape with trees and a building seen detached on a silvery sky in the foreground on the right are two

No.

Watts Russell

in.

Painted for a Spanish nobleman, in whose family it remained until 1830, when was purchased by Sir J. M. Brackenbury. At his sale in 1848 it sold for 10

io.f.

410. STILL LIFE.

Jos6 M. Asensio,

Seville.

picture repre-

senting a wall on which are suspended several fragments of paper, etc. Among them are the title-page of Fiestas tie la S. Iglesia de Sevilla, .

.par F. de la Torre Farfan, three drawings, an engraving, and pieces

MURILLO.

276 of parchment with

Signed, Bartolome Murillo, ano 1678.

seals.

.94X. 7 6.

Carmen Calzado,

4ioa. "

Madrid.

4100. Lopez Cepero sale, Paris, 1868. The Monk's Breakfast. On a table is

Una cabana," or" Una cabanita." Ponz,

bread on a wallet; at the left a cruse of enamelled ware and a cardom. On a

Cean, Die.,

253.

4iob.

Dos

ii. 63. fruteros de a

media vara molduras," are mentioned

de largo, sin

in the inventory of Murillo's effects after his death.

411.

PEASANT BOY.

is the full signature, scratched in the paint with the handle of the brush,

paper

made

Louvre,

pannier and jar at his right.

Gaignat bought

sold.

boy, seated on

ridding himself of vermin

;

1.37X1.15,

No. 8, 1,544 'i v Sainte-Foy sale, April 22, 1782, No. i, and afterwards sold by Lebrun to the King for 2,400 francs.

sale, 1768,

in at 3,000 liv.,

A ragged

547.

the floor of a chamber, near a window,

Not

770 francs.

.55X-92.

Probably painted about 1650. In the Stockholm Museum, No. 783, is an unfinished copy slightly varied, perhaps made when the original was in the Gaignat There is in the Museo del Prado, No. 904, an old copy with variations, cabinet. viz. : bread, cheese, and a knife are on the It is probable that this boy's right.

copy is the picture which the King brought from Cordova, and which is described by Cean Bermudez (Die., ii. 64) as "un muchacho espulgandose, quadro muy celebrado con el nombre del Piojoso."

BOUTROIS,

line,

11.9x9.5, 1808.

MASSON,

line,

7.2x6.4.

JAZET, mezzo., 12

Villerey, etch., in Filhol, Music Napoleon, iii. etch., 3.8x3.2, in Landon, Annales du Muss'e, Paysages, ii. 38.

CHATAIGNEE,

Xg.8.

finished

BOUTROIS, 155. L'HOTELLIER, etch., 6.2X4.9.

MARION Y,

BAKER;

Lithographs by G. ENGELMANN, LANGLUM, by MME. V. NOEL. On wood in Blanc,

also half-length

Peintres, etc.

National Gallery, London, 74. A one shoulder bare, laughs as he looks out from a window, on the sill of which his elbows rest. Bust. 21X15 412. in

boy

PEASANT BOY.

ragged

dress, with

inches.

Marquis of Lansdowne sale, March M. M. Zachary.

.115

20, 1806,

ioj.

Presented

to the

gallery in 1826, by J.

ROGERS,

line,

in Jones,

National Gallery, 2

HUMPHREYS, line, 1848,6.5X4.8, executed for WATT, line, in Cunningham, Cabinet Gallery, ii.

vols., 410. pi.

No.

the Associated Engravers. 33.

W. WARD,

W. W. H.

75.

mezzo., 7.7x5.9,

1825.

413.

PEASANT BOY.

Hermitage,

St.

Petersburg,

377.

boy, standing before a wall, holding a basket with his right hand,

A PEASANT BOY. turns his

head

to observe a dog,

Half length.

right.

whose head

2// is

seen below on the

.74X.6o.

This picture, and its companion, No. 427, were sold in the Due dc Choiseul Nos. 117 and 118, for 4,600 liv., to Prince Galitzin. WEISBROD, line, in Cabinet Choiseul. V. DOLLET, litho., reversed in Gal. Imp. de F Ermitage. On wood in Blanc, Peintres ; Gaz. B. Arts, January, 1875; sale, April 6, 1772,

Becker, In

Kunst und

Kiinstler ;

Randon de Boisset

Dohme, Kunst und Kiinstler; sale,

1777,

two

Scott, Murillo.

pictures, described as

Boy, and

Girl holding her Veil, half length, on canvas, 19 in. by 14 in. 6 lin., from the cabinet of the Countess de Verrue, were sold for 2,999 '' v - '9 s -> to Paillet. They

were apparently similar to the two pictures in the Choiseul sale, but smaller. They are mentioned by M. Blanc (Tremor, i. 16) as an addition posterieure to the Verrue catalogue, but as this addition seems to rest on no other authority than the Randon de Boisset catalogue, its accuracy may be doubted. See No. 426. [There were the following Choiseul sales, all Mgr. le Due de Choiseul sale, by

1772, April 6, liv.

at Paris J.

F. Boileau, produced 448,544

19 sols.

1775, January 23, the late Mgr. Leopold Charles de Choiseul, Archev&jue Cambray sale, by P. Remy.

1786, 1787, 1789,

December December November

Due de Due de Ch * *

18, the late 10,

25, the late

Due de

Choiseul sale.

* (Choiseul) sale, by J. B. P. Le Brun. Marechal de Choiseul-Stainville sale, by J. Folliot

and F. Delalande. '793. February 18, the late M. Choiseul-Praslin sale, by A. J. Paillet. 1808, May 9, 10, the late M. de Choiseul-Praslin sale, by A. J. Paillet.

Comte de Choiseul-Gouffier sale, by L. J. J. Dubois. * * * 14, Comte Ch (Raynald de Choiseul-Praslin) sale, by Febvre and Ch. Manheim. * * * 1869, May 3, Comte R. de Ch (Raynald de Choiseul-Praslin) sale, by Dhios 1818, July 20, etc., 1866,

March

12,

13,

and George. ]

414.

PEASANT BOY.

Hermitage,

St.

Petersburg, 376.

boy

a red dress, holding a white dog by the ear, searches the animal's body for vermin. Half length. .6iX.49. From the gallery of M. Paez de la Cadena. Purchased in 1834. in

415. to the

PEASANT BOY.

right,

hair falling

neck.

Bust.

and seen

Hague Museum,

256.

boy, turned

in profile, with bare head, long, disordered

his shoulders,

and a dark

dress showing his shirt at the

.43X. 3 8.

Purchased probably from General Rottiers. Hollande, p. 308.

Praised by Burger, Musees de la

MURILLO.

278

and

[There was a sale of the pictures of General Rottiers 1846, by Alexis Wery.] Photographed by A. BRAUN & Co., Paris.

at Paris,

December 4

416.

Earl of Lonsdale, Lowther

PEASANT BOY.

A boy, herding cattle

Westmoreland.

Castle.

and ridding himself of vermin.

inches.

54X39

Mentioned by

Stirling,

Annals,

iii.

Waagen, Art

1441.

Treasures,

iii.

265.

Abraham J. Robarts, Esq., London. 417. A PEASANT BOY. A laughing boy, with long hair, wearing a hat and feathers, a brown and a white handkerchief about

dress,

right

hand

418.

Half length.

to the spectator.

Waagen,

iv.

Exhibited

164.

Waagen,

iii.

at the

21X16

inches.

Royal Academy, 1877, by Mr. Robarts.

of 'Warwick, Warwick Castle, boy, laughing and pointing to the spectator.

Earl

PEASANT BOY.

Warwickshire.

his neck, pointing with his

Exhibited at the British Institution, 1865.

214.

erset.

A PEASANT BOY. Mrs. William Gibbs, Tyntesfield, SomA boy, seen front, bending over a basket which he holds with

his left

hand.

419.

Purchased at

Half length,

28X24

life size.

Lord Northwick

sale, 1859,

inches.

No. 1014,

for

63.

PEASANT BOY. Earl of Elgin, Broom Hall, Fifeshire, A boy eating a pie. At his side is a basket of fruit, and a dog snuffing at the food on its passage to his master's mouth. Small. 420.

Mentioned by

421.

Stirling,

Annals of the

PEASANT BOY.

Earl

Artists of Spain,

iii.

1441.

Northbrook,

London.

and a cap

laughing boy, wearing a ragged black jacket, a white shirt, crowned with vine leaves, turned partly to his right, holds before his breast a pipe, with his fingers

on the

holes.

Bust on panel.

21X18

inches.

From Lebrun and in England, 1838, and

422.

SLEEPING INFANT.

child lying filled

Sir Thomas Baring collections. Art Treasures, ii. 181. British

naked on

with straw

;

the

its

Stirling, 1442.

Waagen, Art

Institution, 1837.

Earl of Northbrook, London.

back on a white cloth spread over a basket

body

strongly foreshortened.

Life-size.

A PEASANT BOY.

PEASANT BOY, El Vmatero. A boy, in coarse attire, with hat wreathed with leaves and fruit, stands three-quarters right,

423. his

279

looking front, smiling and pointing to his left ; under his right arm a square bottle, and in his right hand a wine glass. Half length.

Formerly in the Royal Palace at Madrid. Cean Bermudez, Die., ii. 64. A. S. CARMONA, line, 8.6X6.4, at Calcografia Nacional, Madrid.

424.

BOY

DRINKING.

National

Edinburgh.

Gallery,

inches.

19X15

Bequeathed by Lady Murray to the National Gallery.

425.

PEASANT BOY, L'Enfant a

the ground at the foot of a rock which

tle .

with his right hand on his lap

tart

on the ground

97 x.8 3

at his side.

tourte. is

boy, seated on

washed by the hand is on a

glass bot-

Pendant

No. 429.

sea, holds

his left

;

Full length.

Sold at the

Aguado

A. BLANCHARD,

sale, Paris,

March

20, 1843,

Gal. Aguado, in

line, in

No.

49, for 3,250 francs.

Art Journal, August,

1864,

and

Scott, Murillo.

4253. Nantes blind old

Museum,

man in cloak and knee

723.

breeches,

folk

knows nothing

of the pictures, and

their authenticity is doubtful. 1

seated on a stone, playing a hurdy-gurdy ; full length.

1.62x1.05. Doubtful. F. VILLOT, etch., 10.2x7.6, Paris,

1847.

On wood

September, "Ribera."

1842,

Magasin wrongly

Pittoresque, inscribed

425b. boy, three-quarters right, holding before him, on a table, a dog, which he teases with a piece of bread ;

with his hand

7.4x6, 4250.

mezzo.,

boy, profile left, holding before him, on a table, a pigeon in a basket; half length. stipple

mezzo.,

7.2x5.9, oval, 1781. The two prints above described were published by Boydell from the companion pictures, 25 X i8j^ inches, in the possession of the Duke The present Duke of Nor-

of Norfolk.

ragged

middle distance

" Le tableau 1 1 X8-3du Cabinet de Mr. Abel,

MORACE, line,

original est tir

Conseiller de

Companion

Legations a Stoutgart."

No.

432<1.

has at his

house, in Piccadilly, two pictures similar this

oval, 1781.

CAROLINE WATSON,

in the

;

The Duke of Devonshire stipple

ducks are swimming in a pond.

half length.

CAROLINE WATSON,

boy, seated on a rock, holds on his lap a basket filled with birds, which he covers

Le Nid Soigne

42sd.

and

attributed

its

companion.

Amoroso, and

They are men-

are

The English Connoisseur, i. 43, Another " Boy, with a bird's nest," by Amoroso, was at Wilton. English tioned in

44.

Connoisseur,

4250.

ii.

"The

boy in ragged

78.

Rat-catcher."

dress,

holding a rat by the length.

smiling seated on a bench,

tail

;

three-quarters

MURILLO.

280 DAWE,

mezzo., 14X10.5. beggar boy, seated, with a staff in his left hand, holding out his right hand for alms ; three-quarters length.

425f.

DAWE,

mezzo.,

Both

14X10.5.

boy paring

About 36 X 30 inches. 425y. Earl Poulett. A Piping Boy.

The

Mentioned

A boy, wearing

425)1. to a

snail

on a melon

a cap, pointing half length.

;

SPRICK,

litho.,

Lord

425!.

15X12.

Normanton, Somerly,

A slave, with

Hants.

a basket of flowers,

seen almost to the knees. Waagen,

iv.

425k. Richard Booth, Esq., Glen-

don Hall, Northamptonshire. A Spanish boy. Waagen, iii. 426. 425!. Earl of Rosebery. A boy with lemons.

Bacchanalian boy.

British

Institution,

A Man

425p. Colonel Fitzgibbon. 425q.

British Institution, 1838.

Lord Cowley.

Head

425bb. Caulet d'Hsuteville sale, by Joullain, April 25, 1774. A boy, standing at a window, holding a jumping-

Edward Davies Davenport.

Sleeping Child.

Spurious.

THERESE DEVAUX, line, 9.6x7, the size of the original. The catalogue says the companion,

Girl with a

Hurdy-

gurdy, was also engraved by Therese

42500. Due de Tallard sale, 1756. Child lying asleep. 25X21 inches.

388 liv. 425dd.

British Institution,

sale,

January

15, 1782.

by Lebrun, Boy making

soap bubbles; knee-piece. 26x21 in. 42566. M. Bertels sale, London, May A Shepherd. 10 los. 8, 1783. 425ff. Sir

British Institution, 1838.

425r.

March

Joshua Reynolds

II, 1795.

Peasant Boy.

sale,

^29.

425gg. Sale, London, February 3, A Beggar Boy. ^168. 425hh. J. E. Breen sale, May 28,

1804.

1845-

Count Czernin, Vienna.

4251.

Sleeping Child.

7 X 1 2 inches.

1805.

Liechtenstein Gallery, Vienna. A boy, with black hair, wearing a velvet cap and a red silk jacket with 42511.

puffed

42533. Mortimer Sackville-West, A boy blowing a pipe. Hazlitt, Criticisms on Art.

Paris,

I837-

Valued 300 guineas. Imported by Mr. Wallis for Mr. Buchanan. Memoirs, ii. 244. at

Devaux.

British Institution, 1822.

425m. T. Sloane Stanley. A RareeShowman. British Institution, 1823. A 42511. Miss C. Brackenbury.

drinking.

of Seville.

Boy

the Prince of the Peace.

jack; half length.

367-

boy.

From

in Neales" Views, 1820.

The Orange

4252.

Knolle, Kent.

Spurious. J.

half length.

length.

pictures are spurious.

;

425X. Hampton Court, 397. boy, seated in a chair, wearing a white cap, and playing a guitar ; three-quarters

the above prints are inscribed "from the picture belonging to Mr. Broderip."

425g. A boy, standing, with his fingers on the holes of a pipe ; half length. Engraved by C. LAVOS. Spurious.

fruit at a table

Doubtful.

sleeves, carries a staff

shoulder, and holds a

over his

dog by a

string

;

Ballad-singer.

425W.

Kunsthalle.

28x21

Hampton

390.

resting his elbow on a table on which is a square bottle, drinking a glass of wine ; a bandeau and a bunch of vine leaves

surround his hair; his muslin cravat is negligently tied; a napkin on his right shoulder partly covers his dress. 31X25

inches,

inches.

Court,

Piping Boy.

half length, life-size.

425V. Carlsruhe

425!!. Silvestre sale, February 28, 1811. Young Spaniard, half length,

1840 francs.

The

picture for-

THE FLOWER GIRL. merly belonged to M. Berger, whose heirs sold

M. Charles

for 120 Hv., to

Godefroy. At his by E. F. Gersaint,

April 22, 1748,

sale,

was sold for 300 liv. to the Due de Tallard. At the Due de Tallard sale, 1756, it brought 97 liv. it

See Mariette, Abecedario, iv. 24. A copy is in the Stockholm Museum, No. 754.

Von

425kk.

and Boy

Donovan

Dornich,

Griffiths sale, February 4, 1811. with a bird's nest. ffs 6s.

Richard Wyatt

425!!.

19, 1813.

12 ids.

425mm. J. J. Lasalle sale, May 14, An Infant Sleeping. j6o I&s. 4251111. J.

Kerr

sale,

Infant Sleeping.

26,

April

^30

gs.

425pp. Fonthill Abbey (Mr. Beckby Phillips, September 9 to October 31, 1823. A Boy blowing bub-

ford) sale,

bles.

Head

1826.

No. 421

May

Boy, mounted on a mastiff, about to loose him on a wolf that has

attacked the flock.

Also, the companion, Bacchanalian figure on a goat, to

which he

offers vine leaves.

Ambassador

16, 1838. ;

Madrid,

April

Boy with bare head, seen

a study.

Lady

42511.

former

sale, Paiis,

Stuart

sale,

May

15,

1841. Boy in brown dress, examining a bird's nest in his hat. ^105. The

same

31 IQT.

W. Lake

sale, April 7, 1848.

GIRL.

See

Montcalm

I.oox.8o.

425xx. Louis Philippe sale, 1853. No. 325. A Young Man playing the -43X.57. ^54, to Pearce. 425yy. Earl of Clare sale, by Chris-

harp.

tie, June 17, 1864. Peasant, holding a bottle, and drinking from a glass ; a wreath,pf vine on his head. From Prince

Talleyrand and Lord Charles Townsliend. .1,365. At

425zz.

Lord Charles Townshend sold for

John Lucy

395. sale,

May

Shepherd Boy with a pipe.

inches.

1875.

17x15

42.

425333. Oppenheim sale, Cologne, October 15, 1878. Head of a Child. 375 marks.

425bbb. Mrs. William H. Aspin-

Boy, six years of

wearing a scanty white garment which does not cover his legs, lies on his back on a couch, his head to the left resting on a pillow, the face and eyes age,

turned front

couch

his right hand, on the ; his side, holds a square fan;

behind him

and white a vase

THE FLOWER

to the Prince of the Peace.

ground.

seen the head of a black

looking front, and beyond, with red flowers ; dark back-

cat

filled

425uu. Sir J. M. Brackenbury sale, 1848. A Boy blowing bubbles. ^73 los.

426.

los.

^152

by Laneuville, March 25, 1850. A Slave, wearing a turban, and carrying fruits in a basket. Formerly belonged

wall, New-York.

Comte de Rayneval,

42555.

in profile

inches.

425ww. Marquis

of a Boy. sale,

June

sale,

sale, April 14,

George Hibbert

42jrr. 13, 1829. is

21X18

panel,

sale, 1836,

425qq. Lord Berwick

sale,

A Boy

laughing, crowned with ivy, holding a pipe in his hands ; bust on

1814.

1815.

W. Coningham

425vv. 9, 1849.

8,200 francs.

March

sale,

Piping Boy.

281

Full length,

life-size.

28x39

inches.

Dulwich Gallery, 248. A

girl,

wear-

ing a white turban and a yellow robe, seated on a rock beside a stone wall, holds with both hands the end of the embroidered scarf which falls

from her

left

shoulder,

and smilingly

offers to the spectator the

MURILLO.

282 roses

contains; landscape

length.

formerly

46^X37^ 41^X33^

Blondel de Gagny lin.

by 2

ft. I

in.

lin.

inches.

and sky on the

left.

The canvas has been

Three-quarters enlarged ;

was

inches. sale, Paris,

December

cabinet de

No. 3. Size, 3 ft. 3 in. 6 Comtesse de Verrue, et de celui

10, 1776,

Madame

de M. le Comte de Lassay," 12,000 liv., to Basan. Calonne sale, London, 1795, whose heir, Sir Francis Bourgeois, 4th day, No. 99, ,672, to Mr. Desenfans, An old copy is in the Akademie der Bildenden it to Dulwich College.

bequeathed Kunst, Vienna.

In The Art Union, 1841, is an electroLIGHTFOOT, line, 7.9X6.4, in S. C. Hall, Gems of Art; in Art Journal, 1877, and in Scott, Murillo. R. GRAVES, line, 3.3X2.7, R. COCKBURN, line, colored, 12x10, 1816, A. H. PAYNE, line, 8.4x6.5. 1828. C. COUSEN, line, igx 14.5, bust only. in Duhuich Gallery Gems. The catalogue of the Blondel de Gagny sale asserts that this picture was in the J.

H. ROBINSON,

line,

type of this engraving.

8.4x6.9, 1835.

It is not, however, mentioned in the catalogue of cabinets Verrue and Lassay. the sale of the Comtesse de Verrue, as published for the first time from a manu-

la Curiosite', script in C. Blanc, Tresor de

If the statement of the Blondel de

have been among the catalogue above quoted is correct, the canvas may works of art which the Countess bequeathed to her lover, the Marquis de Lassay, and from him it may have passed to the Comte de la Guiche. See ante No. 167.

Gagny

An addition postcrieure to the Verrue catalogue, as given by M. Blanc, describes " un jeune gar?on et une jeune fille tenant son voile, figure a mi-corps sur toile

de dix-neuf pouces de haut sur quatorze pouces

description evidently points to the half-length pictures

six lignes

now

in the

de large."

This

Hermitage.

See

Nos. 413 and 427.

427. girl,

PEASANT GIRL.

Hermitage,

Petersburg, 378. A hand the

St.

half length, standing, applies to her face with her right

end of a

scarf

which covers her head ; her

left

hand holds a basket of

a wall on the right. -74X.6o. Companion to a Peasant Boy in the same gallery. See No. 413. V. DOLLET, litho., reversed, in Gal. C. WEISBROD, line, in Cabinet Choiseul. OctoImp. de I'Ermitage. On wood in Armengaud, La Russie ; in Art Journal, ber, 1868; in Scott, Murillo ; and in Gaz. B. Arts, January, 1875. fruit;

428.

GALLICIAN PEASANT GIRL.

Museo

del Prado, Mad-

A girl, with a white scarf around her head and neck, hold893. Bust. a silver coin in her hand, looking front. .63X.43. ing in the palace of San Isabel in of the collection Farnese, Queen Formerly

rid,

Ildefonso.

HENRIQUE'BLANCO, litho., 1 1x9.6, in Joyas Pint.

LAURENT,

photo.,

No.

26.

AN OLD WOMAN. THE FISH

429. girl,

GIRL.

seated, turned partly

Lady Cranstoun,

fish.

London.

left, looking front, holds up with her

the end of the scarf that covers her neck

handle of a basket of

283

;

her right hand

beside which, on the ground,

fruit,

Full length.

Landscape background.

40X32

peasant left

hand

on the

a dish of

inches.

Purchased about 1864 from Mr. Burley. It is identical with, and is believed to be the picture sold No. 48, Aguado sale, 1843, size, 97X.83 cm., for 6,900 francs, and which is engraved as follows .

BLANCHARD, line, 9.1x8, in Galerie Aguado; in The Art Union, 1846; in The Art Journal, September, 1864; and in Scott, Murillo. Outline in Liibke, Dcnkmaler der Kunst. On wood in Blanc, Peintres.

430.

GIRL.

Robert

tution, in 1837. ii.

199,

Exhibited by Mr. Holford, 1844, 1852.

and by Head,

431.

gray dress,

GIRL.

Holford, Esq., London.

Bust, life-size. looking front and raising her veil. Formerly belonged to Sir Thomas Baring, who exhibited

girl,

at the British Insti-

Mentioned by Waagen,

185.

Stafford House, London. A girl, wearing a tied under her chin, holding a pear in

and a white hood

her lap with both hands.

Bust, oval.

About 20X16

inches.

Presented by Marechal Soult to the Duchess of Sutherland.

Mentioned by

Stirling, 1443.

432.

HEAD OF A BACCHANTE.

William

'Wells, Esq.,

Holme

Wood, Huntingdonshire. face, laughing, crowned with yellow grapes, her neck covered with a yellow handkerchief, and girl is

a glass of wine in her right hand. Manchester Exhibition, 1857. of

William Wells,

433.

of Redleaf, 1848.

AN OLD WOMAN An

seen

14X10

in.

picture, similarly described,

^320

SPINNING.

was

in the sale

$.r.

Museo

del Prado,

Mad-

wearing a gray dress with a white cloth on her head and tied under her chin, holding rid, 892.

old peasant

full

woman, turned

her right hand a spool, and under her with flax. Nearly half length. .6iX.5i.

to the

left

left,

arm a

Queen Isabel Farnese, palace of S. Ildefonso. ENRIQUE BLANCO, litho., 11.6x9.6. E. POEL, line, 4x3.3. Collection of

distaff

covered

MURILLO.

284

434.

PEASANT WOMAN.

Landon, Esq.

dress, with a basket of flowers and

ing a green and red

woman, wearfruit.

54^ X

inches.

42^

Towers

sale, 1857,

434*.

LA VENDIMIADORA."

woman, with

old

Alton

harsh, strong

a coarse and

wearing

features,

was sold

picture similarly described 18 l8s., to Landon.

Royal Academy, 1875.

ragged dress, her head covered looking intently to her right, and

with a kerchief, stands front,

holding against her body a basket of grapes, which she grasps with

both hands. at the Calcografia Nacional, Madrid. J. A. S. CARMONA, line, 8.5x6.4, Inscribed " El Quadro original existe en el Real Palacio de Madrid." The picture is mentioned by Cean Bermudez, Ducionario, ii. 64, among those in the royal

palace, but

4343.

has disappeared.

Girl, seated, knitting,

kerchief

white

her head,

with a looking

front; three-quarters length. Spurious. From the S. OKEY, JUNR., 12.3x9. picture belonging to

434b.

Girl,

Edward Athawes. making

seated,

three-quarters length.

lace;

Spurious.

San Donato sale, February 10, 1870, " From Comte 198. Zichy. Bought

No.

in 1851."

12,200 francs.

V Illustration, February

Engraved in There 19, 1870.

is a similar line engraving by E. MORACE, 11x8.3, called Le Plaisir Innocent, from the original in the

OKEY, JUNR., mezzo., 12.3X9. 4340. Baron Massias sale, Paris, December 13, 1825. A Girl, seated, with

cabinet of Mr. Abel, Conseiller de Legations a Stoutgart. See No. 425d.

chestnuts in her lap, near a fire-place in which a kettle is steaming; at her side is

March

a small dog in a basket

14X1

;

full

length.

inches.

A Girl, neatly dressed, seated on

a basket.

size.

Annals,

size.

Two PEASANT

boy, standing on the loaf in his his

left.

BOYS.

left,

table, is

sale,

An Old Woman

three-quarters

length, lifein Stirling,

Mentioned

1442.

434g. Doria

ket of chickens.

.95X-74-

iii.

Feilden

iSs.

Doubtfiil.

Woman

435-

^18

Girl with chickens in

434f. Brera, Milan.

a rock beside a high wall, looking front, holds with both hands on her lap, a basFull length.

W. A

3, 1877.

Spinning;

F. SOYER, outline, in Landon, Annales du Musee, Galerie Massias.

434d.

4346. Sir

Palace,

Rome.

singing ; beside her, on the a music book. Half length, life-

Doubtful.

Dulwich Gallery,

286.

A ragged

with a jar in his right hand, and part of a

He munches

a mouthful of bread, and looks

companion, who, with his legs and shoulder bare,

sits

down

on the

TWO PEASANT earth amusing himself with two balls thrusts into the

63X41

right.

ground

BOYS. and an

285 iron spike which

a dog stands between them

;

a wall on the

inches. its companion, No. 452, were probably in the Desenfans 126. Mrs. Jameson considers them the finest and bid in at

This picture, and sale, April 8, 1786,

pictures in the gallery. Public Galleries, 489.

W. wood

J. ROGERS, mezzo., 5.8X4.4. J. Gems of Art ; and in Scott, Murillo. On CHARLES CouSEN, line, 16.7x11, the head only,

SAY, mezzo., 25x16, London, 1814.

STEPHENSON,

line, 8.5

X6,

in S. C. Hall,

in Pictorial Gallery of Art.

of the boy seated.

4353.

Due d'Abrantes

Lon-

sale,

don, June 17, 1817. Two Spanish peas" ant boys eating bread. Belonged to the Elector of Cologne. Engraved. 66 li us. Probably a X5o inches." copy of the above. It was not in the Elector of Cologne sale, 1 764. 435b. Sir Lawrence Dundas sale,

May

20,

436.

Two

1794.

beggar boys at

17x16

play.

inches.

A copy,

^2910^.

perhaps, of No. 435.

435C.

Aguado

Two

sale, 68.

beggar

boys, one playing with balls, the other eating bread near a house. 9x21 cm. ( sic) 275 francs.

435d. Marquis d'Espies. Children Valued at 20,000 f.

playing with balls. Lejeune, Guide.

Two PEASANT BOYS EATING A MELON. Munich GalTwo boys are seated on the ground, nearly front. One

lery, S. 349. is

eating from a slice of melon which he holds over his

other, dipping

his

hand

seated on the right watches them of

fruit

and a

From

wallet.

;

on the ground,

in front,

;

the

;

dog

a basket

inches.

50X42

Mannheim

mouth

a dish, observes his companion

Gallery; brought to Munich in 1802.

M. D'Argenville once had an original drawing representing two peasants seated, eating a watermelon in black lead, washed with India ink, and heightened with white. Vie des the

;

Peintres,

ii.

258.

A. CARSE,

line, in

Payne, Munich Gallery. F. PILOTY, litho., 18.6x14.1, in F. PlLOTY, litho., in Cotta, Munich Gallery.

Piloty and Lohle, Munich Gallery. F. PILOTY, litho., 18.3x14.8.

Two PEASANT BOYS EATING GRAPES AND A MELON. nich Gallery, S. 348. Two ragged urchins are seated 437.

ground, nearly front. holds over his mouth

One ;

eating from a

in his left

hand

Muon the

bunch of grapes which he slice of melon the other ;

boy, holding a melon and a knife in his right hand, and a

slice

MURILLO.

286 melon

in his

left,

turns his

head

to observe his

companion

a basket

;

inches.

of grapes on the left. 54X40 Brought to Munich from the Mannheim

CHARLES LANGLOIS,

gallery before 1 788. A. stipple-mezzo., 26x18.9, Munich.

H. PAYNE,

and Lohle, Munich Gallery. 7X5.3- F. PILOTY, litho., 18.8x15, in Piloty PILOTY, litho., 19x15. A. Selb, litho., 17.7X13.3, in Cotta, Munich Gallery.

438.

Two PEASANT BOYS

Balfour, Esq.,

X56

EATING GRAPES AND A MELON.

Balbirnie, Fifeshire.

line,

John

repetition of the above.

inches.

Mentioned by

439.

Stirling,

Annals of the

Two PEASANT BOYS

Artists of Spain, Hi. 1440.

EATING GRAPES AND A MELON.

R. Bankes, Esq., Kingston Lacy, Dorset.

64X52

inches.

Mentioned by

Stirling,

above.

440.

Two PEASANT BOYS EATING GRAPES AND

N. Button, Esq.,

49X38

Annals of the Artists of Spain,

Scavvby, Lincolnshire.

Hi.

Walter

repetition

of the

1440.

A MELON.

Robert

repetition of the above.

inches.

Inherited from Sir John Nelthorpe,

who purchased

Two BOYS PLAYING DICE. Kunst, Vienna, 307. Two boys 441.

about 1790.

Akademie der Bildenden are seated at the foot of a tower,

gambling. The one on the left, wearing a red mantle, is kneeling, and has just thrown two dice from his hand on a brown cloth spread on the ground

;

the right.

is seated, and looks towards his companion as he Landscape background, with a square tower on

the other

points to the dice.

1.48X1.14.

In 1821, Count Lamberg, then President of the Akademie, presented this, with the rest of his collection of seven hundred and forty pictures, to that institution, which gift was the foundation of the gallery. A repetition, with slight variations in is in the Hermitage, No. 387, where it is attributed to Villavicencio, probably the author of the Vienna picture also. KLAUS, etch., in Zeitschrift fur Bild. Kunst, 1876. ANTON BOCK has

the landscape,

who

engraved the head of the seated boy.

442.

ESAU SELLING HIS BIRTHRIGHT TO JACOB

rach, Vienna.

Two

boys, leaning on a

(?).

Count Har-

table, are engaged in ani-

TWO PEASANT mated conversation, and

GIRLS.

gesticulating with spirit

28 7 the one on the right

;

wears a yellow robe with fur cape ; the other, in blue jacket and red mantle, holds on the table a dish containing food and a wooden spoon.

Half length.

inches.

40X46

Formerly belonged

Count Thurn, who acquired

Don A. Bravo, Seville. El Two boys are seated at the foot

4423. Piojoso.

length.

other offers him a pear. a pomegranate in front.

38 inches.

A. Rosi,

and

jars

litho., in Sevilla Pintoresca.

Gallery, 442. Two boys, wearing ruffs and looking front ; one of them playing the lute. Half

50x39

438.

boy

No.

Boursault

234.

inal

repetition

inches. "

of the

iii.

442!.

a melon

the

442f. Sir

Gregory Page, and Mr. sale,

London,

443.

Two PEASANT

lery, S. 368.

girl

grapes, watches her right.

left is ;

(?)

55X42

Boys

seated, eating

Museum

about 1815, by

Captain Davies, and sold again by him. Davies, Murillo, 1. note.

Munich Gal-

seated on a stone, counting

the other

companion

St.

thought to be the small sketch

GIRLS COUNTING MONEY.

on the

from one hand into the other

a wall on the

Two ;

the European

May

old man, in coarse garments and sugar-loaf hat, teaching a boy from a

8,1783.

in the

for the large picture ; the foreshortening of the legs and arms is inimitable ; in the first manner of Murillo. Purchased at

263.

Bertels, of Brussels,

Mentioned Stroganoff.

ruary 14, 1799.

Munich Gallery." Mentioned by Waagen,

Count

The Athawes

orig-

picture in

inches.

Gemdldtsammlung

belonging to Samuel Athawes. collection was sold Feb-

original,

4426. Earl of Lonsdale. Two Boys; one holding a pigeon, the other eating a

13X10

48x37

44 Boys Play." Two boys, neatly dressed, blowing soap bubbles before a cottage. Spurious. WM. WOOLLET direxit. From the

442d. Mr. Wallis brought from Spain

watermelon.

in mezzotint."

Petersburg, 1800. 2 h. " at

a picture of Boys eating Fruit. Buchanan, ii.

his letters.

catalogue

sale, 1846.

Memoirs,

Engraved

Praised in Waagen, in dcr Ermitage, 402.

This was not in the Salt-

collection.

marshe

from

inches;

442g. Count Stroganoff, St. PetersAn old schoolmaster teaching a

(Saltmarshe)

repetition, doubtless of

Paillet, Paris,

burg.

length.

The same in a sale March 27, 1786. 48 X

15-r.

mezzo., 18.2x15, called The Schoolmaster and Scholar.

4420. Cassel

gallery.

W. PETHER,

66 X 45 inches.

32)4X34 inches. 4420. E. Higginson

Naples.

card which they hold between them inscribed LAUD E DOM US three-quarters

of a wall, nearly front; one of them is removing vermin from his garments, the

Three

closely.

girl,

money

seated behind a basket of

Landscape background, with

inches.

PICHLER, mezzo., 15.8x12.7, 1797. HAUBER, line, 14X9.7. J. C. ARMYTAGE, line, in S. C. Hall, Gems of Art, and in Scott, Murillo. A. H. PAYNE, line,

MURILLO.

288 PILOTY,

7-IX4-819. 1

X 14-3,

litho.,

staengel, Dresden Gallery,

444.

18.8x14-9, in Piloty, Munich Gallery.

Munich

reversed, in Cotta,

from a copy

GIRL AND HER DUENNA.

bury, Heytesbury House,

dow

in the

Las

Wiltshire.

PILOTY,

litho.,

Hanf-

WIEDENBAUM, litho. Dresden Museum, No. 635. S.

Gallery.

Lord Heytes-

Gallegas.

Two women

are seen at a win-

looking out at the spectator, smiling; the younger, a plump, rests her arms on the window sill and her

brown-cheeked maiden,

cheek on her right hand the Duenna on the left holds to her face the end of the kerchief that covers her head. 48X40 inches. ;

the

Purchased in 1823 by Lord Heytesbury, then British Minister to Spain, from Duque de Almodovar. British Institution, 1828, 1864. " JOAQUIN BALLESTER, line, 9.8x8. 1, from the picture belonging to the Duque

de Almodovar."

445.

A. at

W. NICHOLS,

mezzo., 6x5.

GIRL AND HER DUENNA.

Munro, ofNovar.

On wood in

Stirling,

Las Gallegas.

A repetition

of the above.

Annals,

ii.

920.

Heirs of H. 43X39

in.

Presented by a Spanish Grandee to Mr. Munro's father when he was Consul Madrid. It was offered in the Munro sale, 1878, but not sold.

JOHN BROMLEY,

mezzotint, 12.2x11.

AND HER DAUGHTER

446. CELESTINE St.

Petersburg,

375.

Two women,

IN PRISON.

Hermitage,

seen only in bust, look out of

a grated window, the bars of which the daughter clasps with both

hands

on the

left is

a violet drapery.

.4iX.59. by the Grand Chamberlain, Dimitry A beautiful study by Velazquez, which is wrongly attributed to Tatistchef. Murillo." Viardot, Muse'es d'Angleterre, de Russie, etc., p. 386. These two women are said to have been celebrated intrigants in the painter's time. ;

Bequeathed

to the

Hermitage

in 1845

447.

old

OLD WOMAN AND BOY.

woman, seated on the

Munich Gallery, S. 376. An removing vermin from the head of with his head in her lap, eating a piece of

right, is

a boy who lies on the floor bread and playing with a dog ; a distaff lies on the floor in front ; on the left is a table and two jars, and above them a window. 53X40 inches.

PICHLER, mezzo.; 15x11.3, 1797. HAUBER, line, 12.3X9. B. WEIS, etch., PILOTY, litho., 17.2x14, in Piloty, Munich Gallery. PILOTY, 19X14.3,

5.8x4.

reversed, in Cotta,

Munich

Gallery.

Outline in Reveil, Musee de Peint., xiv. 937.

OLD WOMAN AND BOY. 448.

289

OLD WOMAN AND BOY. La Vieja. Duke of WellingAn old woman, wearing a red petticoat, and a gray

ton, London.

kerchief covering her head,

sits

on the

food which she eats with a spoon front,

and pointing

to her derisively

pitcher in the foreground. right.

;

About 56X41

right,

on the

bending over a basin of

a boy is seated, looking a dog, a basket of linen, and a

;

left

Landscape with rocks and bushes on the

inches.

Ponz describes this composition with unusual minuteness, and praises it It was, he says, in the choice collection of more than three hundred highly. pictures belonging to his friend D. Sebastian Martinez, at Cadiz. Viage, xviii, 21. When Captain Davies was at Cadiz, about 1809, he saw it in the collection of D. Manuel de Leyra, and rejected it, being covered with paint and filthiness, which rendered

almost invisible.

at Christie's,

lowing year

and

it came when he

adds that

that

was,

England and was sold the

fol-

wrote, in the possession of Mr. as the Captain says, it was seen

Anderdon. Murillo, Ixxxiv., Ixxxv. 97, note. If, by Twiss in the collection of the Marque's de la Canada, I have overlooked the note in Twiss's Travels, and have not the volume at hand to refer to. It was sold at J.

Proctor Anderdon sale, May 15, Mentioned by Stirling, ii. 917.

1847, for

Duke

ly., to the

,202

Wellington.

449.

OLD WOMAN AND

London.

Salamanca is

450. Paris.

4503. ton,

Earl

Vieja.

56X41

Dudley,

inches.

85,000 francs. The catalogue asserts that the picture Sebastian Martinez (?). See No. 448. Leeds Exhibi-

sale, 1867,

from the gallery of

tion, 1868.

BOY.

repetition of the above.

Don

Royal Academy, 1871.

OLD WOMAN AND

BOY.

repetition of the above.

F. Trimnell, Esq.,

Gloucestershire.

old

Clif-

woman

lying down, holding a tambourine and snapping her fingers ; a boy stands over her, playing castanets.

30x39

inches,

Duque de Padoue,

Vieja.

1.35X1.07.

Van

P. V. B. [P.

neath are eight

maid

Bleeck], 1757. Be" The beginning,

lines,

in rural happiness."

45Od.

" Les Coquillages."

ged children, a boy and a a

some

Two girl,

rag-

seated,

on the

Royal Academy, 1877. 45ob. Mr. Blathwayt. A Woman and Boy. Royal Academy, 1882. Praised

with

The Athenatum, January 7, 1882, and by Louis Gonse, in Gaz. B. Arts, March,

454C.

1882.

children handsomely dressed; the boy, wearing a plumed cap, has his back to

A Boy and a Girl with two raband a cabbage on a table before them. Spurious. 45oc.

bits

basket;

shells

ground in front. Spurious. B. MICHEL, line. Companion 4506.

Spanish Boy

the spectator length.

;

and

Girl."

the girl looks front.

Spurious.

No.

Two

Half

MURILLO.

290

45oh. J. D. Gordon, Xeres. A repNo. 443. Stirling, iii. 1443.

T. WOOLNOTH, mezzo., 1835. "From the original in the Guise collection at

etition of

A young A

45of. "Rejected Addresses."

vances of a

man who

embrace

offers to

A. Rosi,

No.

DEAN & MUNDAY,

gerald.

frame of the window

451.

31,

380 francs.

45om. Lady Stuart

Fitz-

the

1841.

sew.

omitted.

A WOMAN

DRINKING,

Two

44.

1.35X1.90.

from

litho.;

No.

sale,

450!. Aguado sale, No. 54. boy leading a blind beggar, who leans on the shoulder of his guide ; busts. .62X-45.

half length. Spurious. S. F. RAVENET, line, 13.1X10.4. Pub-

Edward

in Sevilla Pintoresca.

5,550 francs.

;

by Boydell, vol. ii. the picture belonging to

money.

counting

girls

A The 450g. Young Gypsy." mother and her child seen at a window

litho.

Aguado

45ok.

her ; three-quarters length. Spurious. J. DIXON, mezzo., 17.8x12.8.

lished

A. Bravo. La Frutera. No. 444 ; slightly varied,

repetition of 66X45 inches.

with a clarionet, repels the ad-

woman

Don

45i-

Oxford."

sale,

mother teaching her

May

15,

child to

1411$*.

WITH A

Sir

CHILD.

William

Stirling- Maxwell, Bart., Keir, Perthshire. A study for the figure woman with a child in her arms, drinking from an earthen cup,

of the

in the picture of Moses, ante

No.

Exhibited at Manchester, 1857.

was formerly Diccionario,

452.

in the

ii.

Life-size.

14.

A picture

Carmen Descalzos,

of a

woman

Madrid. Ponz,

giving drink to another

v. 253.

Cean Bermudez,

63.

THREE PEASANT

BOYS.

Dulwich Gallery,

283.

boy,

seated on the ground on the right, with a tart in his hands, looks up

young negro standing, with a jar on his shoulder, holding out his hand for a share of the food a third boy, seated on the ground on the left, looks front a basket and a pitcher on the ground in the cen-

to a

;

Landscape background, with a wall on the

tre.

Companion the

Aguado

left.

No. 436, which see. A copy, probably of No. 47, 1.45 x 1. 1 1, 1,300 francs.

sale,

E. COOPER, mezzo., 8.IX.6, reversed, scarce.

UNKNOWN,

63X41

inches.

this picture,

line,

was

10x6.7.

THREE BOYS PLAYING

DICE. Munich Gallery, S. 357. boys are throwing dice on a large stone ; a third stands beside them, biting a crust of bread ; beside this last are a basket of fruit, a 453.

Two

and a dog looking up

broken

jar,

54X40

inches.

expecting a share of the bread.

FOUR PEASANT BOYS. CHARLES LANGLOIS, mezzo., 26x19. F. PILOTY, Munich Gallery. F. PILOTY, chalk litho., 18.7x14.5. xiii.

291

18.7x15.1, in Cotta, Outline in Rlveil, Musee,

litho.,

890.

THREE BEGGARS REGALING.

454.

M. Leathes,

Hill

Esq., Three men are seated, drink-

Herringfleet Hall, Lowestoft, Suffolk.

ing; a jar on the ground in front; background, a landscape with

rocks on each side, and cloudy sky.

From Godolphin The

tradition

that

Full length,

54X51

inches.

Exhibited at Leeds in 1868.

collection.

Lord Godolphin proposed

Mr. Carteret Leathes, grand-

father of the present owner, that in exchange for the first foal of the celebrated Arabian horse Godolphin, Mr. Leathes might take his choice of the pictures in his

Lordship's collection, and this

the one selected.

Evelyn gives the following account of the sale of the first picture by Murillo known to have been sold in England, only eleven years after the death of the artist.

"June hall.

21, 1693.

saw

a great auction of pictures in the

They had been my Lord

Rome, and engag d

Melfort's,

Banqueting House, White-

now Ambassador from K. James,

the Boys

by Morillio, the Spaniard, for Memoirs, London, 1854, 5 vols. 8vo, ii. 325. At the Earl of Godolphin sale by Christie, June 6, 1803, No. Beggar Boys," sold for ^257 15^. No. 59, "The Companion," ^283

4543.

Boy, wearing wooden shoes,

standing on the right, offers a nut to a

boy and

girl seated.

who

455.

door.

warming

his

hands

FOUR PEASANT BOYS.

urchins, reclining

on the

left,

right.

43X35

left

an open

HALBOU,

line,

13.4X11.5,

454C.

Le Jen mat place."

Two

boys

seated, playing cards, a third stands looking on. Spurious.

B. to

MICHEL,

line,

14X10? Companion

No. 45od.

Munich

Gallery, S. 358.

Three

a fourth, kneeling on Landscape background, a wall

are playing cards

the right, holds cards in his hands.

on the

Spanish

los.

Spurious.

Louis

seated on the floor; in the is

on the

" 58,

Paris, 1763.

litho.,

15.8x11, Glasgow. 454b. "La Toilette du Savoyard." A mother is combing the hair of a little girl,

at a fire-place;

Spurious.

MACCLURE & MACDONALD,

background a boy

Lord Godolphin bought the picture of 80 guineas, deare enough." John Evelyn,

to his creditors here.

;

inches.

is probably the work of Villavicencio. Munich Gallery. F. PILOTY, litho., in Piloty, W. FLACKENECKER, litho., 20.5x14.6.

Although attributed to Murillo, this A. H. PAYNE,

Munich

456.

Gallery.

line, in

Payne,

FOUR PEASANT BOYS.

three boys, one of

whom

Enfants du Peuple. On the left, seem to be conspiring to gain

half naked,

MURILLO.

292

which possession of a loaf of bread, Half length.

apart.

Soult francs.

sale,

No.

Bought

70.

Lejeune, Guide,

held by a fourth boy standing

Landscape background. ii.

in at 9,000 francs,

It is

242.

probably

now

.57X1.85.

and afterwards sold

for 25,000

in the possession of

M. Fran-

cois Seilliere, Paris.

Musee de Peinture,

Outline in Reveil,

4563.

iii.

1441.

456b. Sir Charles Coote. of Peasants.

tioned as belonging to Mr. Cleeve, in

Group

The English Connoisseur,

British Institution, 1838.

Lady Dover.

456d. Noel Desenfans

sale,

at the

Spanish peasants

1786.

April 8,

door of a

27x23 inches. ^10. 4566. Noel Desenfans sale,

Coxe,

May

62.

Young

31, 1813.

surrounded by the

cottage.

456i-

456f. Sir George Yonge sale, March 24, 1806. Boys at Cards. 20x16 in.

Salamanca

Seville.

Escosura.

DON ANDRES DE ANDRADAE.

peasants

fruits of the country.

Architectural background.

1795.

Sportsmen regaling.

457.

456g. W. Y. Ottley sale, 1811. Children at play. ,31. 456h. J. W. Willett sale, by Peter

Spanish Peas-

British Institution, 1839.

ants.

117.

.84. The collection was formed by Bouchier Cleeve, and this picture is men-

Marquis of Exeter. Beggars

regaling. Stirling,

4560.

ii.

-44X.8o.

sale, 1875.

From

Gamins

Patricio de

1,000 francs.

Earl of Northbrook, Lon-

A gentleman, about fifty years of age, with bushy hair, wearing a dark doublet with slashed sleeves, knee breeches, white stockings, don.

with his hand on the head of a dog hand, a sword is girt to his

and a narrow linen

collar, stands,

seated by his side

his hat is in his left

side

;

behind him

pedestal of which length.

78X46

a balustrade, and on the

inscribed

left

a square column, the

Andres de Andrady y

Col.

Full

inches.

This picture was purchased from Don Antonio Bravo by Sir J. M. Brackenbury, British Consul at Cadiz. It was afterwards offered to the National Gallery, Lonit was purchased by King No. 328, for ^1,020, to Thomas agent, Mr. Graves, to bid ^1,700 if

don, for ^500, but the offer having been declined,

Louis Philippe

for ^1,000,

and sold

at his sale,

Baring, who had, it is said, authorized his Andradae was conductor of the processions in the Cathenecessary, to secure it. dral of Seville. " is also in the gallery [King the Man with the Dog Brackenbury's Murillo Louis Philippe's] ; this I saw in the linen draper's [Bravo's] house in Seville, and the expression of the head strikes me as much now as it did then. It seems to see you while you look at it." Sir D. Wilkie, Life, iii. 117. " The picture was bought by Sir J. M. Brackenbury some twenty years ago, from the heirs of Andradae, for 1,000. dispute arising between Sir John and

the broker respecting the commissions, the latter gave notice to the Government, and the old law of Charles III., prohibiting the exportation of pictures, was put in

MURILLO.

293

After some time a poor copy was obtained and substituted for the original, which was smuggled out of the country. This is the picture which Lord Wellesley, when in Seville, endeavored to obtain." R. Ford, in The Athenaum, May, 1853, p. force.

623.

Exhibited at the British Institution, 1853. Royal Academy, 1870. copy by Gutierrez is in the Academy of San Fernando, at Madrid.

Another,

82x44 inches, was sold as a Murillo in Sir A. Aston sale, August 6, 1862, for ^472 los. Again, in J. Philip R. A. sale, May 31, 1867, attributed to Velazquez, 15$ Sj. It was purchased from Messrs. Graves Lewes, who attributes it to Valdes Leal.

458.

CONDE DE AVALOS.

in 1875,

by F.

Cosens, Esq., of

Earl of Caledon, London.

gen-

tleman wearing a habit with slashed sleeves, a lace collar, and a sword. His right hand holding a glove, rests on the flat, oval frame that Half length, life-size. Companion to No. 477. encloses the figure.

50^X39^

inches.

Purchased

at the sale

Lady Harriet Daly,

Dublin, about 1820-27.

Exhib-

ited at the British Institution, 1855.

459.

Museo

FATHER CAVANILLAS.

Friar,

features, in gray dress, looking front.

From

460.

Bust.

DON Luis DE HARD Bust, in

an oval.

(?).

33X24

Robert

the back of the old lining of this portrait neveu du Due cTOlivares.

4603. Alton Towers sale, 1857. D. Luis de Ham, with long hair and black silk dress, wearing the Order of the Golden Fleece and a rapier; on an oval

DON DIEGO MAESTRE.

portrait of Captain

Diego

panion to No. 480.

2.01X1.06.

Holford, Esq., Lon-

was written

^53 nj.

of stone.

Alton

Towers

Scarisbricke etc.,

1861.

Dom

462. MURILLO. artist is

Earl

Luis de ffaro,

The same from

collection, sale,

^50

Christie,

D. Nicolas Maestre,

Maestre.

Full

Spencer,

length,

Althorpe,

the

Charles

May

10,

8s.

Seville.

life-size.

This portrait and its companion are said to have been painted remain in the possession of the Maestre family.

The

Claudio Coello.

inches.

461.

-76X.62.

where it was attributed LAURENT, Madrid, No. 182.

the Isabel Farnese collection,

Photographed by

don.

del Prado, Madrid, 897.

about forty-five years of age, with bare head and coarse

for,

Com-

and they

still

Northamptonshire.

represented as about sixty years of age, with bushy hair,

MURILLO.

294 body turned

his

partly to his

half length.

the

rests,

left,

the face nearly front, wearing a

collar, edged with lace. Nearly an oval frame, on which his right hand hand not seen. The frame stands on a pedestal, on

black doublet over which

falls

Painted as

left

a linen

which are brushes, a

palette, a roll of paper, etc.

BART US

SEIPSUM

MURILLO

PRECIBUS EXPLENDIS.

47X42

DEPINGENS

PRO

The base is

inscribed

FILIORUM VOTIS AC

inches.

This portrait was purchased by Sir Lawrence Dundas the latter part of the last It may possibly be one of the pictures which were brought century, for ^100.

from Spain by John Blackwood. See No. 139. It was sold in Sir Lawrence Dundas sale, by Mr. Greenwood, London, May 20, 1794, for^So. Earl of Ash-

burnham

The trustees of the National sale, by Christie, July 20, 1850,^829 los. Gallery would have purchased this picture at the Ashburnham sale if their purse had been long enough (see Parliamentary Papers, 1853). Exhibited at the British Manchester, 1857, Leeds, 1868, South Kensington, 1876-79. painted a portrait of himself, at the instance of his sons (a wonderful work), which was engraved in Flanders for Nicolas Amazurino ; also, another in a Palomino, Mas. Pict., iii. 423. golilla, in the possession of his son Caspar." Institution, 1855,

According to Cean Bermudez (Die., ii. 55, and Carta, 104) the portrait painted for his sons was taken to Flanders to be engraved by Collin. There can be no reasonable doubt that the picture referred to by Palomino is the one now belonging It is the best and the most authentic of all the portraits of to Earl Spencer. Murillo, and

Museo

doubtless the one from which Tobar

Prado, No.

del

painted his portrait and

RICHARD COLLIN, inscribed as above, to

made

the copy

now

in the

Murillo was a warm friend of Amazurino, 1044. that of his wife, Isabel Malcampo, in 1674. line,

which

and

13.9x9.2, reversed. The base of the pedestal is is added Nicolaits Omazurinus Antverpiensis Tanti

simulacrum in Amiciiiae symbolon in aes incidit mandanit. Anno 1682. In the is partly cut off by the oval, and the palette, etc., on the pedesare omitted. RICHARD COLLIN, line, 3.8x3.5, in Sandrat, Academia Nobilis-

viri

engraving the hand tal

simae Artis Pictoriae, Noribergae, 1683, p. 392, oval, bust only. CALAMATTA, line, 5.5X4.5, reversed, without the hand or the accessories, in Galerie Aguado ; in

Art Journal, 1864; and in Scott, Murillo ; probably engraved after a copy by BEN. EREDA, line, 5.8x4.5, in Cabral Bejarano in the Aguado Gallery, No. 102. Uomini Illust. nella Pitlura, Firenze, 1769, 13 vols. 410, vol. xi. C. O. MURRAY, Outlines by G. COOKE, in Hisetch., 7.1X5.3, in The Portfolio, November, 1877.

feint. ; in

Landon, Biog. Universelle, Paris, 1811-28, xxx. all editions of the work); in ReVeil, Musee de Liibke, Denkmaler der Kunst ; and in D'Argenville, Abrege de la vie des

Peintres.

On wood

torical Gallery,

144.

(The

London, 1808;

463. MURILLO. etition of the

The

plates are not found in

Dohme, Kunst und Kiinstler.

Lord Leconfield,

Petworth, Sussex.

above, without the base and the other accessories.

collection formerly

belonged

to Colonel

Wyndham.

rep-

MURILLO. Duke

464. MURILLO.

295

of Wellington, London.

of No. 462, but without the accessories and inscription.

repetition

About i2X

12 inches.

Museo

del Prado, 1044. Forby Tobar. A copy of No. 462 with the accessories, but without the inscription. I.oix.76.

4643.

trait

Baron

465. MURILLO.

sented about ders, slight

fifty

LOUTREL,

on wood 1875, and

of Murillo

litho.,

Joyas Pint;

Gaz. B. Arts, September,

in Illustration

Esp.

y Amer.,

March, 1879.

Seilliere, Paris.

The

painter

repre-

years of age, with long hair falling on both shoul-

mustache, and chin

tuft, close-fitting

slashed sleeves, and a go/ilia or narrow

out hands, in an oval, as

another block which

stiff

black doublet with

linen collar.

Bust, with-

painted on a block of marble, standing on

inscribed,

VERA

BARTHOLOMAEI STEHlSPALI NATI ANNO 1618, OBIIT EFIGIES

PHANI A MORILLO MAXIMI PICTORIS, ANNO 1682 TERTIA DIE MENSIS APRILIS. Purchased

at the sale

of D.

Bernardo

Iriarte, Madrid, by D. Francisco de

was acquired by Julian Williams, who sold it for jl,ooo to King Louis Philippe, at whose sale, No. 329, it was sold for ^420 to Nieuwenhuys. Besides the portrait engraved by Collin, No. 462, Palomino mentions " another in a golilla, formerly in the possession of Don Caspar Murillo, his son." Mas. " It Pict. iii. 423. appears by the inventory that he left various pictures, some finished, and some unfinished. Among the first was his own portrait, when young, with the golilla, which I presume is the one now in the possession of the illustrious Senor Don Bernardo Iriarte." Cean Bermudez, Carta, 104. In 1832 Mr. Williams owned thirty-six pictures by Murillo, among them a portrait of himself, a work of la

Barrera Enguidanos.

After his death

extraordinary merit, the only authentic portrait in Spain. Sevilla Pinto., 473. also Ponz, Vtage, v. 307.

Burger, Manchester Ex.

Sir

See

Stirling- Max well, Cat-

alogue, 127.

SICHLING, line, 7x5.4, in Gal. Hist, de Versailles, from the picture in the Gakrie Espagnole. BLANCHARD, line, 11.9X9.5, Paris, 1842. H. ADLARD, line, MANUEL in Stirling, Annals. MANUEL ALBUERNE, line, 8.3x6.6, Madrid, 1790. ALEGRE, line, 1790, without accessories. These two engravings are after the origbelonging to D. B. Iriarte. On wood in Blanc, Peinlres ; in Scott, Murillo ; Robinson, Great Painters ; Becker, Kunst und Kiinstler. MAUZAISSE,

inal picture

litho.,

10.5x8.4, bust only. following are from

The

this picture, the

engraver having lengthened the figure 1L ALEGRE, D.

and added hands and a drawing of a seated naked figure. S R CARMONA lo concludo, line, 11.6x7.2, at Calco. Nacional. -

outline in O'Neil, Die. of Spanish Painters.

JOHN BROMLEY,

MURILLO.

396

John W. Marshall, Esq., London. A porsomewhat resembling No. 465, but with material differences.

466. MURILLO. trait

79 x -65 centimetres. Purchased from the Conde de Maule, sale, 1853, No. 232, ^346 lew. Manchester Exhibition, 1857, No. 632. Praised by Waagert, iv. 183.

Standish Cadiz.

Burger, Tresors d'Art, 130. This picture was sold by Mr. Marshal in 1880.

Francis Cook, Esq., Richmond Hill, Surrey. about twenty-five years of age, with long hair falling on

MURILLO.

467.

The

Present owner unknown.

artist is

his shoulders his breast.

his left

;

hand

30X24

Francis Cook, Esq.

468. MURILLO.

Murillo

about forty years of age, in black habit with lace tache and long chin whiskers, his right

beneath, Bust.

hand

flat

Ritrato de Bartolome Esteban

represented

collar, thick

mus-

his breast. Inscribed

mano

Murillo de

suyo.

inches.

30X24

The

brown cloak on

inserted in a fold of his

inches.

from

features resemble those of Murillo, but this differs

all

his other

portraits.

4683. Muse'e de Versailles, 4289. "Spanish School." Murillo, wearing a

frame;

black jacket buttoned close, a cloak seen on both shoulders, a linen collar cut

jacket buttoned in front with many small buttons, and a cloak which is seen on both

falling

straight across in front, with curling hair on both shoulders, a brush in

dem D. Bartolomaei Murillo,

his right hand, palette, mahlstick, and brushes in his left. Bust, three-quarters

8.1X5.5.

left.

.77X-58.

E. SCRIVEN,

line,

5.1X4.

by himself

original picture

collection of the

From

the

in the private

of the French," in

King

C. Knight, Gallery of English

and For-

eign Portraits. The following are variations of the above : GEOFFROY, line, 3.5

X4-

SCHUBERT,

litho.,

3.6x3.8.

VIL-

LAlN,litho.,in Chabert, Gal. des Peintres.

CECII.E

BRANDT,

litho.

On wood

Urbino, Princes of Art. three-quarters

left,

A PALOM.,

in a

flat,

oval

and

lau-

etc.

del et sculp. M*'., line,

This print

excessively rare, to

Senor Car-

the

Biblioteca

copy formerly belonged

derera,

Inscribed beneath,

shoulders.

now

Nacional, at Madrid. Another is in the collection of the author of this catalogue.

The

original portrait

unknown. The

engraving is by Juan Bernabe Palomino, nephew of the author of El Museo del Pictorico, or

perhaps by Juan Fernando, son of Juan Bernabe', and it may be after the portrait No. 466.

468c.

468b. MURILLO. Bust, without hands,

with long hair falling on both

shoulders, a narrow linen collar, a close

Abbey. inches.

Duke

Bedford, Woburn

Portrait of Murillo.

Waagen,

iv.

336.

26x21^

MALE PORTRAITS. 468d. Alfred Seymour, Esq.

297

porof Murillo, similar to No. 465, but

had a portrait of Murillo. Mentioned by

with some variations. South Kensington

468h. Captain Davies brought to England a portrait of Murillo with its companion Dona Beatrice, his wife.

trait

Museum,

Ponz, Viage,

1879.

4686. Sir W. Stirling-Maxwell, Bart. A portrait of Murillo, young, with a narrow collar. By Tobar. Waag-

Davies, Murillo, Ixxxvii. 4681. Lethieres sale, Paris,

468f. Valencia Museum, 662. Murillo; a very doubtful portrait, said to have been presented by Queen Isabel

years before Murillo, we may be permitted to doubt the authenticity of this

Farnese to Carlos Boschi, a musician. 468g. D. Joseph de Murcia, Cadiz,

(?).

Novem-

ber 24, 1829. A portrait of Murillo, executed after his death, by Zurbaran. 861 francs. As Zurbaran died twenty

en, iv. 450.

469. MURILLO'S SON

xviii. 27.

portrait.

Duque de

Alba, Madrid.

man,

twenty-five years of age, standing, in ecclesiastical habit, consisting of a white surplice, black robe and mantle, holding a square cap in his right

hand, and a breviary

in his left

two books and a watch. 1680. the

left.

coat-of-arms

;

on a table covered with red cloth are

Inscribed sEtatis suae vigesimo quinto anno sculptured on the pedestal of a column on

Background, a red curtain.

Due de Berwick

Full length. 1.97X1.08. Albe sale, Paris, April 9, 1877,23,000 francs. Not Due de Berwick et Albe sale catalogue. et

sold.

LALAUZE, etch., in [Murillo had three children a daughter, Francisca, and two sons, Gabriel and Caspar Estban. Concerning the first two, we have but few particulars beyond what the artist's will supplies. Dona Francisca, who was probably the oldest, was professed as a nun in the convent of Madre de Dios, about 1675. Don Gabriel, at the time of his father's death, was absent in the Indies. Palomino gives his name as Joseph, and asserts that his father's influence obtained for him a rich benefice worth Don Caspar was baptized October 22, 3,000 ducats, and that he died at a ripe age. He was a painter and imitator of the 1661, in the parish church of Santa Cruz. style of his father, but took orders and obtained a benefice at Carmona, whence he :

was, on the 1st of October, 1685, transferred to a canonry in the cathedral at Seville, of the value of 8,000 reals per annum. He died May I, 1709, and was buried beside the regia of the altar mayor in the cathedral. His epitaph describes him as a man of good manners, modest, with a soul full of piety and devotion, and liberal

towards the poor, and the inscription

Don

Gabriel,

whom it

he made his

who must have been born

nineteen years old at the date"

470.

DON

in l(>55,

and not Caspar, who was only

this picture.

JUSTING NEVE Y YEVENES.

downe, Bowood, 38

named on

If the picture above described, results that the portrait is that of

heirs.

bears are authentic,

Wiltshire.

See Chronological Data, /art.

Marquis of Lans-

ecclesiastic with a small

beard and

MURILLO.

298

mustache, seated in a red velvet chair, wearing a black cassock and a gold medal at his breast his right hand is on the arm of the chair; in ;

his left

hand

him are a

a book, in which a finger

and book ; a

clock, bell,

little

inserted

on a table beside

;

dog, decorated with a collar

of red ribbon, looks up to his master's face.

Full length,

life size.

Brought from Spain about 1804 by M. Delahante, and sold to Mr. Taylor for Sold at G. Watson Taylor sale, 1823, for 504, to the Marquis of LansjT 1,020. British Institution, 1818.

downe.

Don

Justino Neve was a canon made him an executor of his will.

of Seville, and a

warm

friend of Murillo,

who

was by the Canon's order that the artist executed the famous pictures for the Church of S. M. la Blanca (see No. 30), and As a mark of gratitude those for the Hospital of the Venerables (see No. 29). and friendship, this portrait was painted about 1678, and it remained in the It

refectory of the Hospital until the beginning of this century. " In portraits he was also eminent, as witness that of D. Faustino

\_sic~]

de Nebes,

the Hospital of the Venerables, which is truthful and well painted, especially the little English dog, which is so life-like that other dogs used to bark at it." Palomino, iii. 432. Quilliet says, in the journey which he made to

Canon of

Seville, in

Spain with Lebrun, that eminent judge of paintings authorized him to offer 20,000 which was refused. Die. des Peintres Esp. t p. loo, note.

francs for this portrait,

Mentioned

Ponz, Viage,

Buchanan, Memoirs,

ii.

Don Aniceto Bravo for the

above

471.

portrait.

ix.

123.

Cean Bermudez, Die.

A man

60,

and Carta,

95,

had a head of Neve, which

supposed

be a study

Sevilla Pinto., 413.

DON NICOLAS OMAZURINO

London.

ii.

193.

in black habit,

(?).

Robert

Holford, Esq.,

with white puffed sleeves, edged

with black lace, holding a skull against his breast with both hands.

Half length.

Oval within a square.

33X30

inches.

Purchased by Mr. Holford through Mr. Buchanan, the eminent picture dealer. Omazurino was the person at whose cost Collin engraved the portrait of Murillo (see No. 462). Mr. Holford's picture may be the one described by Cean " In Bermudez, who says 1672 Murillo painted Omazurino and his wife, Isabel Malcampo, at half length he had a skull in his hand, and the lady had a rose. These portraits are in the large and select collection of Senor Iriarte. Senor D. :

;

Manuel Maria Rodriguez, chaplain of the Chapel Royal of Seville, has excellent copies of them, painted by some very good scholar of Murillo, in 1674, with inscriptions, which are not on the originals." Cean, Carta, 105.

472. Paris.

DUKE OF OSUNA.

Louvre,

gentleman, seen three-quarters

La Caze left,

Collection, 29,

with long hair falling on

his shoulders, wearing a black habit, a linen collar cut square in front,

MALE PORTRAITS.

299

the order of the Golden Fleece suspended at his breast, and a sword,

the

of which

hilt

seen at his side.

BRAUN &

Photographed by A.

DUKE OF OSUNA.

473.

Landscape background.

Bust,

.29 centimetres diameter.

circular.

Portrait of a

man;

Co., Paris.

Robert

Holford, Esq., London. About 36 X

probably a repetition of the above.

30 inches.

DON FRANCISCO DE QUEVEDO

474.

Caze Collection,

28, Paris.

VILLEGAS.

The poet

Louvre,

seen three-quarters right,

with long hair falling on his back, wearing lunettes, a black habit, and

a linen collar cut square across in

Photographed by A.

BRAUN &

Quevedo was Edwin Williams.

portrait of

14^. to

^14

475.

front.

Landscape background.

.29 centimetres diameter.

Bust, circular.

Co., Paris.

sold in

Lord Northwick

sale, 1859,

No. 262,

for

ARCHBISHOP AMBROSIO IGNACIO SPINOLA. Stafford House,

London.

ecclesiastic,

about forty years of age, wearing a white

habit beneath a dark robe, a narrow collar, a gold cross suspended at his breast,

hand

and a

ring.

Bust,

an oval, on which

life-size, in

his right

rests.

Perhaps

this is the picture sold in the

Altamira

sale,

London, 1833.

Don Ambrosio

Ignacio Spinola, grandson of the great Spinola, Archbishop of Valencia, Santiago, and Seville, died May 14, 1684, and was buried in the Colegio de las Becas, afterwards the Palace of the Inquisition at Seville.

4758. April

Mathieu de

8, 1837.

Faviers sale, Ambrose Ignace Spinola,

Archbishopof Spam, about

fifty-two years of age, in religious habit, in the embrasure of a window. 3,200 francs. The cata-

mentioned by Palomino, who indicates its place in one of the palaces of the " Due de El Pedroso " ; but I have failed to verify the logue says this portrait

reference.

476.

475b. Sir

MAN,

called Murillo. fifty

1824.

British

Bart.,

Institution, in

Portrait of one of the Spinola

Family.

June g, 1827, by Chrisof pictures recently brought from religious houses in Spain by the French, 475C. Sale,

tie,

Archbishop Spinola of a chair ore.

Bust of a man, about

Abraham Hume,

exhibited at the

;

Seville, seated in

a small, full-length cabinet pict-

^28

7*.

Pesth Gallery,

years of age, his

body

694,

Hungary.

to the right, face

MURILLO.

3oo

turned slightly front, with narrow, projecting collar, slight mustache, long chin whiskers, and long, thin hair, which is drawn behind his ears and falls on his back.

From

The

the Esterhazy gallery.

ing the hair clearly indicate that this

RAJON,

etch.,

6x4.6,

can Art Review, 1879,

vol.

Half length,

No.

Konigl.

Founder of the Hospital of La Caridad, where his ashes now repose. He was born 1629, died 1679. Head in an oval, the border inscribed with the name and a date. .55X-4I cm. ^22. In the Stan-

Don

dish catalogue the name is misspelled, and the portrait is ascribed to an un-

oval.

UNKNOWN, litho., 9-7X 7.6, at Lith. Inst., Berlin, 1824.

Hampton

476b.

Court, 396.

Carlos II., son of Philip IV., about four years old, standing, his left hand on a Full length, life-size.

Doubt-

Perhaps by Carreno. Academy of St. Luke,

Rome.

collection.

ful.

From King James

Dated 1665.

table.

4760.

"Claudio Bust.

Lorenese."

Pittore

Gellee

left,

Landes-Gemalde-Galerie in Buda-Pest, and in Ameri-

seated in a chair before a table, wearing a skull cap and a linen collar, and hold-

ing a pen.

parted on his

features, and the mode of parting and wearnot a portrait of Murillo himself.

CASPARIS BERETTA,

4763. D. JOH.

known

painter. Stirling considers true picture by Murillo, and says it

was

purchased by Julian Williams, about 1828, from the widow of the Marques de Loreto. Annals, ii. 919; iii. 1444. It was sold again in George Blamire sale, Nov. 6, 1863, <), Again, Charles

Martin

Doubtful.

sale,

March

12 ids.,

27, 1876,

476d. D. A. Bravo. D. Juan FedeSevilla rigui, Archdeacon of Carmona. This gentlePinto. ,415. Tubino, 234.

perhaps useful, to compare this portrait with the engraving, after the portrait oi

man

Manara by Valdes.

Don Jos6

of the

trait

No. 312. Larrazabal.

referred to ante

4766. length.

Por-

Conde de Hinestrosa.

Sevilla

Pinto.,

492.

Half

Tubino,

quite likely to have painted the portrait of this gentleman, who was occasionally called upon to

Murillo

234.

preside over the meetings of the Academy of Seville, and to whose memory the

Academy was only prevented by

poverty honors

from

when he

paying died in

Cox.

that prelate, in the antesacristy of the

convent of San Francisco (see No. 268), where it was seen by Head, who informs us that

was one of the

artist.

distinguished

asserts

that

Cean,

Luke Schaub

sale,

April

11. Thesame 11,1758. LopedeVega. in the Earl of Leicester sale, 1842.

French, and

4761.

ii.

Don Miguel Manara

No.

133.

Vicentelo de Leca,

earliest

works

Handbook, 163. Stirling it was removed by the

much

injured in the process.

917.

DON PEDRO NUNES DE

VILLA-

VICENCIO, Knight of the Military Order, friend, pupil, and protector of Murillo (b. 1635, d. 1700).

sale, 1853,

and

length portrait. Cean Bermudez, Carta, This portrait was near the tomb ot 97.

of the

1670.

interesting,

476h. DON PEDRO DE URBINA. Archbishop of Seville. Died 1663. A full-

Annals,

476g. Standish

would be

its

Carta, 69.

476f. Sir

don, June 12, 1874,

Don

Sold at a

,178

sale,

Lon-

ios.,to Palmer.

Julian Williams had recently a

full-

MALE PORTRAITS.

301

length portrait of Villavicencio, about thirty-five years of age, with hooked

whom he painted the portrait in my dining-room." Gonzalez

nose, mustache, and long black hair, wearing a black dress with open sleeves, a hat in his hand, a sword at his side. 476k. D. Juan Govantes. Father

quoted

Hortensio Villavizenas.

and white

habit.

Bust, in black

Stirling,

iii.

Hugh

Baillie sale, 1848. Diego 476!. Ortiz de Zuniga, author of the Annalss de Sevilla. Bust, life-size, in dark dress

with gold studs and the red cross of Santiago on his shoulder ; in a carved stone

arms above, and two cupids supporting the frame beneath. oval niche, with

^194

British

5.!-.

1856. Stirling,

iii.

Institution,

1832,

476m. Don A. Bravo.

Portrait of

Zuniga. Sevilla Pinto., 413.

Bust, without

Hicks.

Spanish Gentleman.

of a

Portrait

British Institution,

I837-

476v. Viscount Alford.

Knight of

British Institution, 1838.

476w. Sir Francis Grant, R. A. Man. British Institution,

Portrait of a

1861.

Aguado

4?6x.

No.

sale,

66.

A Mag-

holding a book in his hand. Half length. Signed and dated 1652. I.OOX istrate,

155 francs.

.81.

Aguado

476y. Bust.

No.

sale,

72.

An Ad-

hands.

26x19

inches.

man

Aguado

collet.

215 francs.

-45X-34.

4762.

476n. Corsini Palace, Rome. An Advocate, in black habit and long linen bands.

Mrs.

vocate, in black habit, with a small

1444.

Tubino, 122.

47611.

Calatrava.

1444.

which

de Leon,

No.

sale,

black, probably

77.

monk

old

or a

magistrate, standing, with gloves in his

Half

hand.

i.oox.75-

length,

345

francs.

4?6p. Bordeaux

Museum, No.

264.

Philosopher, holding a book in his Half length. hands, near a table.

476q. Lille

Museum,

651.

47633.

Aguado

sale,

No.

Mu-

74.

rillo's

Doctor, in black dress, holding a

skull.

Half length. .goX.So. 205 francs. possibly be a portrait of Juan

This

may

Architect, standing, with compasses in hand ; the left holds a drawing

Agustin Lagares, a surgeon, who married Murillo's aunt, and who became the boy's

on the table before him.

guardian after the death of his father. See Chronological Data, post.

his right

DAMMAN,

etch., in

i.O3X.So. L'Art, T. ii. 1877.

This portrait has been attributed successively to Velazquez, to Zurbaran, to Murillo, to Govaert Flinck, and finally to Sebastian 4761-.

Bourdon.

Suermondt Gallery. A Man,

with long hair, dark costume, a sword at his side, and a letter in his hand; dark

background, with a red curtain. From the Marques de Moz, Madrid. 1.30X1.10. Burger, Suermondt Catalogue.

Aguado sale, No. 71. Head Monk, with eyes upturned, wearing

476bb. of a

a violet

collet,

45X-3447&cc.

Aguado

Monk

.59.

1,050 francs.

476dd. San Murillo hair,

(?),

.72X-57.

"The of

painter was an intimate ancestor (abuelo), for

Donate

and a wide,

ing a gray cape and a hood over his head.

4761.

his shoulders.

No.

65.

Bust.

.7OX

sale,

1870.

nearly half length, with long

with a ribbon

friend

sale,

brown costume.

4765. Darmstadt Gallery. A Carthusian Monk, three-quarters right, wearOval, bust.

which covers

121 francs.

from beneath

;

falling linen collar tied

his left hand, thrust out

his cloak, holds his gloves.

in 1850 from the Sold for Arrighi collection at Florence.

Bought

6,180 francs.

BRACQUEMOND, etch.

in sale catalogue.

MURILLO.

3O2 477.

of Caledon, London. A trimmed with lace, with a

Earl

CONDESA DE AVALOS.

lady in red mantle and flower in her right hand, and a basket of flowers in her rich brocade dress

length,

life-size.

Purchased

478.

Companion of Lady

at the sale

50^X39^

Harriet Daly.

lined with white

her right hand.

;

Bust,

Half

left.

inches.

British Institution, 1855.

MADRE FRANCISCA DOROTEA VILLALDA.

Seville Cathe-

A portrait

of a nun, wearing a black her head to kiss a crucifix held in bending

dral, Sacristy of the Chalices.

hood

No. 458.

life-size.

Painted in 1674, and presented to the cathedral by the Canon Juan de Loaisa. Sevilla Pinto., 160. This good woman, the foundress and Abbess of the Domini-

M. de los Reyes, died in 1623, when Murillo was only five years hence the authenticity of this picture as a portrait may be doubted. Photographed by J. LAURENT, Madrid, No. 1211, called St. Dorothea.

can Convent of S. old

;

479.

A lady

DONA JUANA EMINENTE.

J. C.

Robinson, Esq., London.

of the Court of Philip IV., in black dress with slashed sleeves,

white undersleeves, and scallopped lace collar, with long hair parted on her right, and falling in tresses on her shoulders ; her right hand, holding a fan, is on the back of a red chair, her left touches an ornament

on the bosom of her

dress.

Bust,

39X30

inches.

Sold as a Velazquez in Louis Philippe sale, No. 152. From a private collection in Madrid. Praised by Head, Handbook, 157. This may be a portrait 46. of the wife of D. Francisco Eminente,

480.

DONA MARIA

Portrait of a lady.

who

FELICES.

Full length,

mentioned

Don Nicolas life-size.

No. 318.

Maestre,

Companion

Seville.

No. 461.

2.01X1.06.

481.

LADY, sometimes called Murillo's

Stirling- Maxwell, Bart., Keir,

Mistress.

Perthshire.

Sir

young

William woman>

with long black hair, wearing a loose white garment, looking front over her right shoulder. Half length. 28X23 inches.

Lucien Bonaparte 1848,^94

sale, 1816,

^50,

to E.

Gray.

Richard Sanderson

i<w-

F. PISTRUCCI, etch., in Galerie de Lucien Bonaparte.

sale,

FEMALE PORTRAITS. 4813. Standish sale, 231. Murillo's Mother, half-length, seated. Dated 1673. 2 3 2S

97X-7I.

(Drax.)

Praised by T. 919. de I' Amateur, 1842.

Head

sumed

be the

old

artist's

francs.

l>5

37-

of an

ii.

mained twenty years in the studio of Murillo, where it served as a model for his Virgins."

.62X.48. 4815. Louis Philippe

Cabinet

sale,

May

woman,

31,

pre-

mother.

-47X Gaz. B. Arts, May,

[Dona Maria

Perez, the mother of

326.

woman

middle-aged with mortar and pestle knee-

piece.

-73X.57-

;

This

(Drax).

the portrait of Maria de Salcedo, wife of Geronimo Bravo, Murillo's house-

may be

whom

keeper, to

1863, p. 386.

sale,

Murillo's maid-servant,

Due de Morny

48ib. 1865.

Stirling,

Thor,

303

velloti,

his will

he ;

50 ducats, de

left

may

represent

was buried in the church of Santa Maria Magdalena, January 8, 1628, when the artist was only ten years

Ana Maria, widow of Pedro Rodriguez, who was one of the witnesses on whose

of age.

bate.

wife of Murillo.

a girl about nine years old, said to be an Infanta of Spain. Bust, without

Murillo,

See Chronological Data. ] 4810. D. Juan de Olivar, Seville. Dona Beatriz de Cabrera y Sotomayor, Bust.

Mentioned by

Pilas.

Sr.

Purchased

Tubino, in

Ilustracion Be'tica, April 3, 1882, p. 92. " I 48id. Murillo's Wife. brought a portrait to England, of Murillo, with

its

companion, Dona Beatrice de Sotomayor y Murillo, his wife, of whom I also had

testimony the will was admitted to pro-

Earl

48ih.

Portrait

Spencer.

hands, turned partly to our right, face front, with lilac corsage, ornamented with gold lace, pearl necklace, and a red rosette in her hair, which is parted on the

20x16 inches. This

left.

picture

may

a miniature, with a pink in her right

represent Louise d'Orleans, first wife of Charles II., of Spain, granddaughter of

hand." Davies, Murillo,

Charles

4816.

John Elwick,

Ixxxvii.

a picture dealer,

by Oxenham, March 16, 1816. The daughter of Murillo as a Magdalen

sale,

on the day of her profession,

in the act

It is probably by I., of England. Carreno de Miranda. Mentioned in The

Athenmim, August Berlin

481!.

12, 1876.

Museum,

Young Woman, wearing

velvet

white sleeves, and a pearl

of tearing off her variegated dress preparBeing neither atory to taking the veil.

necklace, turned to the

handsome, nor her dress otherwise than

Bust.

gaudy, it is the least captivating of his pictures." Davies, Murillo, 100.

ForAcquired in Italy in 1841-2. merly attributed to Murillo, but now to

picture of

La Magdalena, by Valdes

dress, with

405.

a red

1806.

The engraving corresponds with above description, and may be after

1814.

same

picture or a repetition of

4&if.

Murillo's

daughter

sented as a Virgin at the moment of ascension, with colored veil and white " This drapery, half length, life-size. pict-

ure was well

known

in Spain,

and

re-

Lasalle

sale,

May

14,

young lady of rank, holding a

goldfinch.

repre-

sale,

Portrait of a girl. ^105.

481!. J.

Marquis de Forbin-Janson

sale, 1842.

Marquis of Lansdowne

4&ik.

the

it.

looking front.

Sustermans.

Leal, formerly belonging to Don Aniceto Bravo, is engraved in Sevilla Pintoresca. the

left,

.66x.$o.

13-r.

48im. George sale, 1823.

Watson

Taylor

small head of a female.

S 2 Itw -

48in. Sir E. Landseer sale, May 8, Head of an old woman. ^39 ir.,

1874. to

Crawley.

CHRONOLOGICAL DATA CONCERNING THE

LIFE

1617.

AND WORKS OF MURILLO.

December 31 (?). Bartolome, son of Caspar Esteban, and Maria Perez, his was born. The exact date of his birth is unknown, but as the custom of the time was almost invariable, to baptize an infant on the day following wife,

birth, we may, without great risk, accept the opinion of the Padre Valderrama, Tubino, and others, that the child came into the world on the last day of the year 1617. The house in which he first saw the light was a its

small tenement belonging to the brotherhood of the convent of San Pablo, then numbered 12 and 13, afterwards No. 52, in the Plazuela de San Pablo, in the parish of Santa Maria Magdalena, in Seville. It was doubtless one of the houses which had been leased by the brotherhood to the artist's father in 1613, and which Murillo afterwards surrendered to the lessors, as mentioned hereinafter under the date of 1668. 1618.

January

The

child

was baptized by the

licentiate Francisco

de Heredia

church of La Magdalena, which formerly occupied the ground converted into the Plaza de La Magdalena. The church was despoiled

in the parish

now

by the French in 1811, was partially restored in 1817, and finally demolished by order of the city authorities in 1842. It does not appear whence the artist derived the name of Murillo. Cean Bermudez supposes it to have been adopted, according to a custom not On the other infrequent at the time, from his maternal aunt, Ana Murillo. hand, Senor Tubino, after carefully weighing the evidence, gives it as his opinion that the father's name was Caspar Esteban Murillo, which opinion

See Tubino, Murillo, 43-7, 86-7, accepted by Don Pedro de Madrazo. Madrazo, Catalogo Mas. Prado, p. 464. This presumption is strengthened

by the is

1628.

Esteban, in Spanish, like its equivalent Stephen, in English, a Christian name, rather than a patronymic.

fact that

commonly

January 8. Maria Perez, the mother of Murillo, was buried in the church of La Magdalena. His father died about the same time, as appears from a document hereafter noticed, bearing date January 23, 1668, in which the artist declares that his father

died "cuarenta afios antes mas que menos."

After the death of his parents Bartolome was placed in charge of Juan Agustin Lagares, a surgeon, who had married Ana Murillo, the boy's aunt.

Lagares was also the boy's tutor, and guardian of his property.

MURILLO.

306 163-.

Bartolom6 enters the school of Juan del

Castillo,

who

resided at the time in

the Plazuela de Santa Isabel, in the parish of San Marcos. Period of the Virgin anti ChilJ ami Saints (No. 117), and NiKstrv

Senora del Rosario (No. H7a). Castillo, having removed from Seville to Cadiz, Murillo is thrown upon his own resources, and supports himself by painting pictures for the Feria. Pedro de Moya having returned from London, where he had studied under

1639-40.

1642.

Van Pyck, Murillo

is fired

with the ambition to travel in foreign countries,

he might observe and study the works and methods of the To procure the money necessary for the purpose, he purgreat masters. chases a quantity of canvas, and dividing it into pieces of suitable dimensions,

in order that

he covers

with figures of saints, flower pieces, landscapes, and other popu-

These pictures he sells to the merchants trading to the Indies, and the money thus acquired enables him, early in 1642, to undertake the lar subjects.

journey to Madrid. [Such, at least, is the story told in brief by Palomino, expanded by Cean Bermudez, and repeated by every subsequent biographer of the artist, but the accuracy of the statement

Admitting that works painted his future fame, yet

was

in the school

still

may

reasonably be called in question. were crude and unworthy of

that period

certain that paintings executed by Murillo while he of Castillo, three years at least before he went to

Madrid, were favorably known, and were considered characteristic of the masSee Catalogue Xo. 1 1 7 and No. 1 1 ;a. During the past two centuries the

ter.

dark places of the earth have been explored in search of pictures by Murillo, ami thousands of foundlings of obscure parentage have been fathered on him, yet no picture corresponding with this period of his career has ever

New World to lend support to this pleasant tale.] well received in Madrid by Velazquez, who procures for him the entry into the royal palaces, with permission to copy such pictures as he may desire. Olivares is among the patrons of the young artist, who

been found

in the

Murillo

heartily

1645.

mourns the

fall

of that minister in 1643.

Murillo returns to Seville, and

is at once employed to paint the eleven pictures in the small cloister of the Convent of Siin Franfista (see No. 268). He is engaged for three years on these works, and executes them in so

surprising a

manner

that

employment,

riches,

and fame are thrust upon

him. 1648.

Beatrix de Cabrera y Sotomayor, concerning whom nothing known, except that she was the daughter of Cosine del Corral y that Sotomayor and Dona Beatrix Mejia, natives and residents of Pilas, she was born in Pilas, November 12, 1622, that she brought some property to her husband, and died before him. [Some accounts will have it that she was of a noble family, and rich, but there is nothing to justify such a statement, and it is not mentioned by Palomino or Cean Bermudez. To assert that because she bore the name of Sotomayor she was of the noble family of that ilk, would be as hazardous as to assume that every man named Howard inherits "the blood of all the

marries

whatever

Dona

CHRONOLOGICAL DATA. Howards."

307

appears from Murillo's will that his wife brought him a

portion, but of its nature and extent we have no account. may, however, conjecture that the olive trees at Pilas, mentioned in the will as being rented

hundred

reals a year, came to him by marriage. ] changes his style from the first, or />;'<>, to the second, or Calitk, manner, and paints the Flight into Egypt for the convent of La Merced (Xo. 126). The pictures of the Bfggar Bt\vs were probably executed about

for five

this time.

1652.

The Brotherhood

of Vera Cruz, in the convent of San Francisco, pay

1,500 reals for the picture of 1655.

paints St. Isitipiv (Xo.

The

Ctncfftiffn 312), St. LeanJre

I'irgin, for the Cathedral.

The Chapter,

him

(Xo. 500). (Xo. 3641, and the Birth of tht

in accepting these paintings, praise

This is the earliest mention the artist as being the best painter in Seville. name of Murillo as an artist in any existing document.

of the 1656.

paints the St.

Anfanv and

the

Infant Jesus,

for the baptistery of the

Cathedral (Xo. 239), and the paintings for the Church of Santa Slanta. (Xo. 30, etc. 1.

Maria

165-.

In Francisca, the daughter of Murillo, and his oldest child, was born. 1674 or 1675 she entered the Dominican Convent of Madre de Dios, at

1660.

January

where she was

Seville,

at the

The Academy of

time of her father's death. Seville

founded, with Murillo as

its

first

President. 1661.

October

Gaspar, the eldest son of Murillo, was baptized

22.

Santa Cruz.

in the

Church of

adopted the ecclesiastical career, and through the influence

Don Jose de Veitia Linage, Knight of Santiago, and Judge of the Royal Tribunal of the Indies, who had married a relative (cousin ?) of the artist, of

the son obtained in his father's lifetime a benefice at Carmona, whence, on the 1st of October, 1685, he was transferred to a canonry in the Cathedral

Xot having taken the necessary oaths in due time, he was, on the 3Oth of April, 1688, condemned by the Chapter to forfeit one year's fruits of his stall, amounting to 8,000 reals. He died May I, 1709, and was buried

at Seville.

Xo. 469). imitator of the style of his father. in the Cathedral (see

He was

given to painting, and was an

See Anhn'es de

Santa fglaia, quoted

in Davies, Murilh', 183.

1662.

April 12.

dad

Murillo makes application to the Brotherhood of the Santa Cari-

admission to membership in their order, which petition was granted June 14, 1665. Tubino, 90 note. 166-? Gabriel, the second son, and third child of Murillo, is supposed to have been for

born.

At the time of

he died

his father's death he

was absent

in the Indies,

where

an advanced age.

[If the portrait called Manila's Son, belonging to the Duke of Alba (see No. 469), and the inscription it bears are to be accepted as authentic, it would appear that Gabriel was born in 1655. But this is doubtful, for all the notices concerning the family of the artist assume, without, however, presenting any facts in support of the assumption, that Don Gabriel was the

youngest of the children.]

MURILLO.

308 1665.

The

pictures of the

Good Shepherd

&si& the

Infant

St.

John were probably

executed about this time. 1668.

" January 23. Instrument of Release, executed by Bartolome Morillo, pintor de imagines," living in the city of Seville, in the parish of Senor San Bartolome, to the Prior and Fathers of the Convent of San Pablo el Real, That the fathers of the said convent, in the month of January, 1613, ; in consideration of a rent of twenty thousand maravedis [588 reals and 8 marecites

ravedis] and forty fowls to be annually paid, and such covenants as to repairs as the said Fathers ordinarily require in the leasing of their estates, rented to

Caspar Esteban mi padre, que Dios haya," a house with two small in the parish of Sta. Maria Magdalena, in the plazuela of that convent, for the term of the life of the said Caspar, and the life of his son dependencies

or daughter, or such other person as he might by will or otherwise appoint ; and the said Caspar Este'ban, who died forty years ago, more or less, having named the said Bartolome as his successor in the enjoyment of the said lease ; and Juan Agustin Lagares, surgeon of this city, as tutor and guardian of the person and estate of the said Bartolome, having, on the 2 1st day of

September, 1641, accepted in his behalf such nomination, and having obliged him to pay the said rent and to execute the said covenants and the said ;

premises having been condemned by the Surveyor of Estates of the city of Seville, for want of repairs which he is unable to make ; therefore, the said

Bartolome consents to pay 400 reals and to surrender to the said convent premises named in said lease. The document is printed in full in Tubino, p. 91-96. [It is probable that the house above mentioned was that in which Murillo's father resided, and in which the son was born. But this is not the

absolutely certain, for it appears by Murillo's will that he died possessed of other houses in the same parish of La Magdalena, which were then occu-

pied by a tenant.] Period of the paintings in the Chapter

room of the Cathedral the Con(No. 23), and the eight circular pictures of Saints), No. 279, etc. Murillo is invited by Carlos II. to take up his residence in Madrid, but he declines on the score of his age. :

ception

1670

1670-74.

paints the pictures in the Hospital of La Caridad (see No. I). mention of Murillo's name in print occurs in Fiestas de la Santa

1672.

The

1676.

by F. de la Torre Farfan, Sevilla, 1672. The artist characterized as the " Apeles Sevillano " and " nuestro mejor Tiziano. " He executes the paintings in the Capuchin Church (see No. 18). He is again mentioned in print as the " insigne pintor, Apeles Sevillano." by Don Diego Ortiz de Zufiiga, in Annales eclesiasticos y seculares de Sevilla,

first

Iglesia Metropolitan, is

1677.

Madrid, 1677. 1678.

paints the pictures for the Hospital de los Venerables Sacerdotes (see No. and those for the Convent of St. Augustine (see No. 254). Murillo is employed to paint the altar-piece for the Capuchin Church at

29),

1682.

Cadiz (see No. 264). dent, from the effects of

While engaged in this work he met with an acciwhich he died in his house in the parish of Santa

CHRONOLOGICAL DATA.

309

Cruz, at Seville, on the 3d day of April, about five o'clock in the afternoon. It is believed that he lived and died in the house No. 2 Plaza de Alfaro, the wall of which bears a tablet erected in 1858 by the Academy of Fine fact. In the registry of the parish of Santa Cruz it appears that this house was once inhabited by Don Bartolom Murillo, Don Arts, certifying to the

1682.

Caspar Murillo, Ana Maria, and Joseph Cano. Murillo's will was written, but not signed, on the day of his death. A translation will be found in this volume. Murillo was buried in the parish church of Santa Cruz, in the April 4. tomb belonging to the distinguished family of Hernando de Jaen, beneath a white marble stone bearing the words Vive Morilurus. It is not certain whether this stone and inscription were placed in honor of Murillo or of

some previous occupant of the tomb. G. de Leon, i. 21. When the French occupied Seville, the church of Santa Cruz was The invaders made diligent efforts to recover the ashes of the destroyed. great artist, but were unable to separate his bones from those of the victims of a plague that ravaged Seville in 1649.

WILL OF BARTOLOME ESTEBAN MURILLO, AND INVENTORY OF

IN the name of God, Amen.

come.

HIS EFFECTS.

all

whom

this

testament

may

Bartolome' Esteban Murillo, master of the art of painting,

residing in Seville, in the collation of Santa Cruz, being infirm of body,

but sound of mind, and in

full

enjoyment of my natural understanding

and memory, such as God Our Lord has been pleased to give me, declaring firmly and truly that I believe the Divine Mystery of the

Most Holy Trinity, Father, Son, and Holy Ghost, three persons really and one true and only God, and in all that appertains to that

distinct, belief,

olic

acknowledging and confessing the Holy Mother Roman CathChristian, desiring to be saved, and seeking to be pre-

Church as

pared for whatsoever

God Our Lord may have

trusting in the intercession of the ever Virgin

in store for me, and Mary, our Lady, con-

ceived without spot or stain of original sin from the being, do make, acknowledge, and ordain manner following

first

instant of her

testament in form and

First

made

offer

and commend

and redeemed

soul to

God Our

Lord,

who

with the infinite price of his precious blood,

humbly praying that he will pardon it and bear it to rest in his glory and when it shall please his Divine Majesty to remove me from this ;

life, I direct that my body shall be interred in the aforesaid and that on the day of my burial the customary Requiem Mass parish, shall be sung for my soul. The form and disposition of my burial I

present

leave to the discretion of

Item.

I direct

executors.

that there shall be said for

soul four

hundred

masses; one-fourth part in my said parish, where they belong, one hundred in the convent of Nuestra Senora de la Merced, principal house of this city, and the remainder in such convents as my executors

may

direct, for

which the customary alms

shall

be paid.

MURILLO.

312 Item.

direct that the necessary

and customary

legacies,

and

the Casa Santa de Jerusalem shall be paid, eight maravedis to each.

Item.

declare that, as executor of

Dona Maria de

cousin,

Murillo, widow of Don Francisco Terron, I have in my possession two silver candlesticks, two spoons, and four forks, and six spoons enriched

with

silver,

which property, Caspar Esteban,

can identify and it same, and expend the sum orders,

masses

;

Maria de Murillo, one half

will that

my son, a priest of minor my executors shall sell the

for the soul of the said

Doiia

convent of San Antonio, of the order of the Seraphic Father San Francisco in this city, and the other half in the said convent of Nuestra Senora de la Merced, principal house

in this city.

Item.

way

in the

declare that

of deposit, which

have received

fifty

Dona Maria de

cousin

ducats vellon

Murillo gave and

devised for the benefit of Manuela Romero, a native of the village of Bollulos,

which sum

acknowledge to be

my hands

for the

purpose

stated.

Item.

devise

Bravo, who has served her after

Item. Pilas,

owes

years of

Ana Maria de

house,

fifty

Salcedo, wife of

death. I

declare that Andres de

me two

some

thousand

Campos,

reals vellon,

olive trees, at the rate of five

living in the village of

being the rent for four hundred reals each year,

on account of which he has paid me ten arrobas of each, and I direct that the remainder be collected. Item.

which

Geronimo

ducats vellon, to be paid to

I declare that there is

own

La Magdalena,

for the past year, the writings for

oil at

eighteen reals

due me, for rent of some houses months' rent at eight duros each

six

which were executed before Pedro

Calves, a notary, Antonio Novela of this city being surety for the lessee of said houses, whose name I do not remember. I direct that the

sum be

collected.

I declare that I am making a large painting for the convent of the Capuchins, at Cadiz, and four smaller ones ; the price has

Item.

been agreed upon 350 pesos.

900 pesos, on account of which

have received

WILL OF MURILLO. Item.

declare that I

owe

313 Casomaner one hun-

to Francisco

dred pesos of eight reals de plata each, which he gave and delivered to

last year,

1681, and I gave and delivered to him two small

canvases valued at thirty pesos each, or sixty pesos in all deducting owe him forty pesos, which I order to be paid. ;

that sum, I

I declare that Diego del Campo has engaged me to paint Item. a picture of the devotion of Santa Catalina Martyr, the price of which has been fixed at thirty-two pesos, which sum he has paid, and I

direct

executors to deliver to him the picture, which

Item.

but

who

declare that a dyer, whose

Alameda, has engaged

lives in the

picture of Nuestra Senora, which

has given

nine varas of satin

ing, I direct that

Item.

;

name

finished.

do not remember,

make

a half-length

sketched but not finished, and he

not being able to deliver the paint-

he be paid the value of the nine varas of

satin.

declare that thirty-four or thirty-six years ago I mar-

Dona Beatriz de Cabrera Sotomayor, my deceased wife, who brought me a portion, as will appear by a writing passed in one of the ried

public offices then in the plaza de San Francisco, and I brought to

the said marriage no goods or property whatever. Item.

I declare.

Dona Francisca Murillo, my daughter, a convent of Madre de Dios in this city, received

declare that

professed

nun

[Stirling's

copy of the

in the

will says renounced}

her lawful dower, as appears

by a writing made before Pedro Calves seven or eight years ago, more or less. So I declare. Item.

ment,

fulfill

and discharge the provisions of this, my testaas my executors and testamentary repre-

make and appoint

sentatives Senor

Don

Holy Church of this

Justino de

city,

Neve y Yevenes, prebendary

of the

and Don Pedro de Villavicencio, Knight of the

Order of San Juan, and the said Don Caspar Este'ban Murillo, my son, giving to them, and to each of them, full power and authority to collect

and receive

all

or otherwise,

my goods and

effects,

and out of the proceeds

visions of this,

themselves of

all

will,

and

to sell

to execute

which, being done,

the remainder of

them

at public auction

and discharge the pro-

direct that they possess

estate, real

and personal,

debts,

at the

demands, choses in action, and other property belonging to 40

MURILLO.

314 time of

and general the said

death. heirs

And I make, constitute, and appoint as my only Don Gabriel Murillo, now absent in the Indies, and

Don Gaspar Esteban

In the city of five o'clock in

Seville, the

Murillo.

3d day of the month of April, 1682, at

the afternoon, or thereabouts, having been called to

prepare the will of Bartolome Murillo, master painter, living in this city,

and having finished it as far as the clause relating to his heirs as written, and having pronounced the name of the said Gaspar

above

Esteban Murillo with that of his other son,

saw that he was dying,

my question he had executed any other will he made no reply, but shortly expired whereupon I have attested the fact in the presence of the undersigned Don Bartolome Garcia Bracho de Barbecause to

;

reda, presbyterio of this city, in the collation of

San Lorenzo

;

Don

Juan Caballero, cura of the church of Santa Cruz; Geronimo Trevino, painter, of the collation of

San Estdban

in this city

;

and Pedro

Belloso, notary, of this city.

Bartolome Garcia Bracho de Barreda,

Juan Caballero, Geronimo Trevino, Pedro Belloso, Notary.

Juan Antonio Guerrero, Notary Public of

Seville.

[The sudden death of Murillo having prevented the completion of Don Gaspar, on the same day presented a petition to

his will, his son,

Don Rodrigo Seville,

de Miranda y Quinones, Teniente de Asistente of explaining the circumstances and praying that the instrument

might be admitted to probate as a nuncupative will. The petition was supported by the declarations of the above named Don Bartolome Garcia Bracho de Barreda, Geronimo Trevino, Pedro Belloso, Juan Caballero, and by Ana Maria, widow of Pedro Rodriguez, que asistia a Murillo. The will was admitted on the following day, and an inventory

was begun of the Inventory.

effects of the testator, as follows

In the city of Seville, the fourth day of the

April, one thousand

six

hundred and eighty-two,

in the

month of

house of the

late

WILL OF MURILLO. Bartolome Murillo,

315

Santa Cruz, in

in the collation of

this city,

before

me, Juan Antonio Guerrero, notary of this city, and witnesses, appeared Senor Don Justino de Neve y Yevenez, prebendary of the Holy Church city, Don Pedro de Villavicencio, Knight of the Order of San and Don Caspar Esteban Murillo, of this city, testamentary Juan,

of this

named

executors of the said Bartolome Murillo,

made by him

as such in the will

before the present notary in the present year, and said

that after his death they searched for his goods

tory thereof as follows First.

Item.

escritorio

de Salamanca, with large

two varas

buffet,

and made an inven-

less

feet like a cupboard. a quarter wide, of mahogany

with iron-work. Item.

Another

buffet of

mahogany, one and a half varas wide,

with iron-work. Item.

picture, three-fourths of a vara wide, with gilt frame, a

copy of the head of

John Baptist; and two

St.

pieces half a vara

fruit

wide, without frames.

And now the and completed presence, and

is suspended, to be resumed a convenient time, and the same is signed in my in the presence of the witnesses Pedro Belloso and

taking of this inventory

Francisco Martin Soldan, notaries of

Seville.

Don

Justino de Neve,

Frey

Don Pedro Nunez

de Villavicencio,

Caspar Esteban de Murillo, Pedro Belloso, Notary of Seville.

Juan Antonio Guerrero, Notary Public of

The will and vol.

ii.

the inventory are given in Spanish in Stirling, Annals,

page 891, and

Tubino, Murillo,

tion of the will, without the inventory, 77,

and a German

Leben und Werke,

Seville.

in.

French

L' Artiste, 1864,

transla-

vol.

ii.

Th. Stromer, Murillo, The record of the documents is preserved

translation of the will alone, in p. 55.

in the registry of

Don Antonio

for the year 1682,

folio

444, etc.

Abril, notary of Seville, in the Liber

NOTICES OF THE LIFE AND WORKS OF SOME OF THE

FOLLOWERS, AND IMITATORS OF

PUPILS,

VELAZQUEZ AND MURILLO.

MAZO. ONE

of the most important of the pupils of Velazquez was

JUAN

BAUTISTA MARTINEZ DEL MAZO, who is supposed to have been born in Madrid somewhere about the year 1610. In due time he entered the studio of Velazquez, where he displayed so

many

other

qualities, that

good and what was more,

much

talent,

he obtained the favor of

his

that of his master's daughter Francisca,

and so master,

whom

married in 1634. To advance the young man's fortunes, Velazquez at once resigned in his behalf the post of Ugier de Cainara, and the

King consented

bestow the

Mazo continued

youth.

office

upon the ambitious and happy

to discharge the duties of this position until

the eighth day of October, 1658, when, with the King's consent,

was transferred

to Caspar,

one of Maze's numerous children.

1652, Velazquez having been appointed Aposcntador del Rey,

became

his assistant,

and

in that capacity

accompanied

Mazo

his chief, in

1660, on the unfortunate journey to Irun. after his return to

his son-in-law,

Velazquez died six weeks Madrid, having appointed as executor of his will,

who

resided with

or Alcazar, called the Treasury.

ing April, after this

Mazo succeeded

him

in that part of the old palace,

the nineteenth day of the follow-

his father-in-law as

Court Painter.

Soon

appointment, his wife died, and in no long time he took to who outlived him. Mazo's death took place at his

himself another,

quarters in the Royal Palace, in the

month of February, 1667, not

AND IMITATORS OF

PUPILS, FOLLOWERS,

318

in 1687, as the date 1670, as Palomino states, nor

given by

Cean

Stirling and Burger. As Mazo was Court Painter, we might naturally look for numerous portraits by him of different members of the royal family. It is therefore somewhat surprising to find that there is no record of such

Bermudez,

portraits in the royal inventories,

unless

nor any tradition concerning them,

except the one attributed to

him

in the

Museo

del Prado,

No. 790, called Queen Mariana of Austria, second wife of Philip IV. the Queen appears to be not more than twenty years of age, this She is dressed painting must have been executed as early as 1655.

in black, with her right

hand on the back of a crimson

chair.

Two

The children are seen through an open door in the background. whole history of this portrait is obscure. In the old catalogue of the

museum

was called a

portrait of the infanta

The change, and

attributed to Velazquez.

Pedro de Madrazo assigns The portrait No. 789, call in question.

It is

for

full

a soldier of a noble family,

Maria Theresa, and

the reasons which

length of Don Tiburcio de Redin y Cruzat, who abandoned the camp and the court,

became a Capuchin monk, and went on a mission Central America, where he died.*

Mazo Of

Don

it, do not seem altogether satisfactory. the same museum, there is no reason to

to the Indians of

excelled in landscapes, hunting scenes, views of towns, etc.

landscapes, thirteen are in the

Museo

del Prado.

One

of them,

a View of Zaragoza, containing figures in the foreground, by Velazquez, is

mentioned

27,

No. 5i.t

in the

Catalogue of the Works of that master, ante page is in the Hermitage, but it is only one-fourth

A repetition

the size of that in Madrid.

" Palomino, | he painted en su menor edad el Senor Carlos Secundo, y a la Reyna Madre nuestra Senora en su viudedad

According

con grande acierto y semejanza."

It is

not altogether certain whether

these portraits were on one canvas, or two. *

The

by Galvan

portrait in

engraved on wood in Blanc, Peintres, Vie de Mazo, and etched

El Grabador al Agua

The picture is engraved on and on wood in Blanc, Peintres. t Museo Pictorico, Vol. III., p. t

If they were single

Fuerte.

stone by Asselineau in the Coleccion Litografica,

372.

VELAZQUEZ AND MURILLO. portraits,

may be

319

that one of them, that of Carlos II.,

was formerly

in the collection belonging to Louis Philippe.* It

however seems more

probable that Palomino referred to a

which the Queen mother, and her Son, who was but little more than five years old when Mazo died, were represented on the picture in

same canvas.

In that case, two pictures are

respond with the description given. composition, and are

They

be found, one

known

that might cor-

are repetitions of the

same

in the collection of portraits

made by Don Valentin Carderera, and which since his death has become the property of the Duke of Villahermosa at Madrid the other ;

was exhibited by

at the winter exhibition of the

Royal Academy, in 1880, C. Robinson, Esq., and now forms part of the large and valuable

collection belonging to Francis

Cook, Esq.,

Richmond

Hill.

In the Carderera portrait Dona Mariana is represented at full length, the size of life, about thirty years of age, wearing the robes and head-dress of a widow, seated in a gallery in the background ;

seen, about four years of age, with several maids-ofhonor and nurses, one of whom offers the child a glass of water.

Carlos II.

The

The age of the young picture is signed J. BTA. DEL MAZO. King, and the costume of the Queen, indicate that the portrait was painted in 1665, the year in which Dona Mariana became a widow. is similar to the above, but somewhat smaller. Earl of Carlyle has at Castle Howard a portrait of Queen

Mr. Cook's picture

The

Mariana, which is attributed to Pareja but it appears to be a tion of the above picture, and is probably by Mazo. ;

The Hermitage

contains, besides the landscape

a Bust of the Saviour,

who

holding a globe with his

known

left.

This

the only religious work by

Mazo

to the writer.

Velazquez

No. 4136,

find a "

of the portrait of Philip IV., in which the

length in hunting costume. *

above mentioned,

seen blessing with his right hand, and

In the Berlin Museum,

full

repeti-

The

figure

the

Copy after Kiog is seen at

same

as in the por-

Louis Philippe sale, 1853. No. 137. Portrait of Charles II., 1.18x1.09, jio. In the catalogue of the Galerie Espagnole this portrait is said to be the one " cite' par Palomino dans la vie de Mazo Martinez."

AND IMITATORS OF

PUPILS, FOLLOWERS,

320

Madrid Gallery

the

trait in

;

but there are changes

in the landscape,

and the royal hunting seat at Segovia has been introduced in the This is one of the pictures purchased in 1874 from background.

M. Suermondt, who Mr. Cook has,

Mazo, and probably correctly. besides the portrait above spoken of, another,

attributed

.it

which represents Don Baltasar Carlos (?), about ten years armor, standing in a balcony, with a baton in his right hand, resting

on a helmet which

lies

beside him on a table.

In the Carderera collection of portraits IV., about

old, in his left

a half length of Philip

years old, dressed in black, with the collar of the

fifty

The

Golden Fleece.

signature of the artist appears on a memorial,

which the King holds in To the above list of

his right hand.

portraits

we can only add that of A Cavalier, Don Sebastian at Pau. When

belonging to the heirs of the Infant

we remember

that

Mazo

have excelled

reputed

por-

and that he was the successor of Velazquez as Court Painter, we may well be surprised that so few works of this class can be traced. A picture which we think is undoubtedly by Mazo, and one of

traiture,

the most interesting and important of them

all,

that called the

Family of Velazquez, in the Belvedere at Vienna. The reasons for attributing this work to him are given in the Catalogue of the Works of Velazquez, ante No. 24. A Portrait of Mazo, painted by Esteban

March,

Museo

in the

El Grabador Peintres, Vie

The above

del Prado.

Agua Fuerte, and Mazo.

tie

brief

list

comprises

all

the

pictures by this master that the writer is now able to recall. few have appeared

in sales, of

which the following are the

most important,

Aguado

viz.

buying

Two

engraved on wood in Blanc,

may be Pampeluna.

half length figures.

1.13X1.54.

Comte de Gessler sale, 1866. View of Town, which M. Burger suggests

well

known

that about 1646 the artist received

the

King 200 escudos

of that

for painting a

Buen

from view

city,

Salamanca sale, 1875. 25.

fruits at the stall of a fruit-seller.

Sold for 600

has been etched by Galvan in

No.

gentleman dressed in a military costume of velvet and gold, with a plumed hat and a sword, sale,

It is

No.

View at

41.

fountain in the centre, with trees and statues on each side; Retire.

women making

music, and

From the .47x1.88. Duchess of Chinchon. Promenade to

the

Buen

above.

men

walking,

gallery of

the

Also No.

42,

Retire, a

companion

In the centre

equestrian statue of

Philip

the

IV., with

VELAZQUEZ AND MURILLO. gentlemen walking, sicians, and beggars

mu-

ladies seated, ;

on the

left

a wall

on the right a landscape seen .47x1.77. These landscapes were in the Salamanca sale in M. Burger thinks 1867, but not sold. they are by Mazo. A bird's-eye Salamanca sale, 1867. view of A Fortified Place, the castle of San Giovanni, as the inscription declares. and

trees,

The heirs of Dean Lopez Cepero formerly had two Encampments. Signed,

28x20

through a gate.

1.45X2.81. 450 f. Jos< de Madrazo Catalogue, No. 373., A Sea-port, with some people landing

from boats, near the shore on the in the middle, a

fore a statue.

left

;

personage kneeling be-

inches.

Lopez Cepero inner court of

ground,

officers

and

orientals,

The Paris, 1867. Citadel ; in the fore-

sale,

and other personages, merchants.

.6OX.69-

About 500 f. Comte de Rayneval sale, 1838, No. The Infant Ballasar. This por29. trait may be a copy after one painted by Velazquez.

Thomas Purves

sale,

1849.

Rural

" The Landscape. figure of a sportsman on a white horse and other figures are by Velazquez."

.72x1.16.

321

$ los.

CARRENO DE MIRANDA. The most important and interesting of the followers of Velazquez, both on account of the quality and the number of his pictures, was DON JUAN CARRENO DE MIRANDA. 1614, of a distinguished family. 1623, the city.

tuition of

same year

was born

25, in

which Velazquez took up his residence in that the proper age the youth was placed under the

las Cuevas, who instructed him Roman, who taught him the use of

Pedro de

played such

March

arriving at

of Bartolem

in Aviles,

His father removed to Madrid

skill in his art

in drawing,

and

dis-

colors.

as to attract the notice of Velazquez, who,

having been appointed to superintend the works that were being caron at the Alcazar and other royal palaces, chose Carreno as an

ried

assistant, in

which capacity the young

artist

gave so much

satisfaction

that he continued, after the death of Velazquez, to enjoy the favor of

the court, and in 1669 he was formally received into the royal service. In 1671, on the death of Don Sebastian de Herrera, he was appointed Pintor de Camara, and made assistant Aposentador del Rey, to which honor was afterwards added the crowning one of the Cross of Santiago.

Charles

II.

was so well pleased with the painter that he would permit

none but him in

AND IMITATORS OF

PUPILS, FOLLOWERS,

322

Madrid

to paint the royal portrait.

Carreno's death took place

September, 1685. executed numerous works in fresco for the royal and for many of the churches in Madrid, beside a much palaces, number for churches in Toledo, Granada, Orgaz, Pampeluna, greater This

artist

On some

Vitoria, the Escorial, etc.

Cean Bermudez

for a co-laborer.

Carreno, which

of these he had Francisco Rizi

gives a long

would be useless

list

to copy, as

of the paintings of

most of the pictures

have disappeared from the walls they once adorned. religious subjects and greatly esteemed, but his works of

now

They were this class are

neglected, the preference being given to his portraits, partly,

we look

suppose, because

may

to find in

them evidences of the

he must have received from the prince of portraitists, Velazquez; for although Carreno did not study under that master, yet he had the good sense to appreciate his wonderful qualities and to try

instruction

to imitate them.

The

paintings by this artist most

commonly seen are portraits, members of the royal family of Spain. The

especially of the different

face of Charles II. he repeated without end.

the portraits on horseback of Carlos II. at

Madrid

Ayuntamiento Escorial, and another in the

Museo

;

Cean Bermudez mentions

and of his wife

in the

Casa de

two of the same personages in the the palace of San Ildefonso. Neither of also

two porIn these he is

del Prado, but that gallery contains

these

traits

of the King, which are identical, except as to

size.

represented about twelve years of age, dressed in black, with white stockings, the

his breast,

rests

badge of the Order of the Golden Fleece suspended and a sword at his side his left hand, holding his hat,

on a marble

;

table

;

in the right

hand, which

falls

naturally,

paper ; behind the table are two large mirrors.* A repetition is in the Museo Nacional del Fomento, at Madrid, and another in the Museum at Berlin (No. 407),

where

also a

Bust of the King, in a black dress, This last was formerly in the

with the Golden Fleece (No. 407 B).

Suermondt Gallery. In the collection formed by the late Don Valentin Carderera are In one of these he is seen at half length,

three portraits of the King. *

Photographed by

Laurent, Madrid.

VELAZQUEZ AND MURILLO.

323

about thirty years of age, wearing armor, and holding with his right hand his plumed helmet, which lies on a table. Palomino mentions a portrait of himself in armor which the King sent to France in aid of the negotiations for his marriage with Maria Louisa of Orleans.*

This picture would not represent him as more than eighteen years of age, since he was married in 1679. The second is a bust, in a black dress, painted about the same time as the

he is

somewhat

older,

and stands

first.

In the third

at full length beside

a table, which

supported by two carved lions. Mr. Denison, formerly Speaker of the House of

Commons,

afterwards Lord Ossington, exhibited at Manchester in 1857, and at

Leeds in 1868, a youthful portrait of Charles II., with a landscape background, in which the Escorial was seen. It was purchased by Mr. Denison at the sale of the ex-King Louis Philippe, in 1853, for ^95. In the same sale was another full-length portrait, representing the

King about seven or eight years of age, which sold for ^19. The heirs of the Infant Don Sebastian, at Pau, have a full-length

portrait of Charles //., the

same

size as

Mr. Denison's.

Another

Hampton Court, dated 1665, and, consequently, painted when the King was about four years of age, standing with his left hand on a

table.

The

portrait of Charles //.,

Vie de Carrefw,

which

after a portrait in the

engraved

Museo

in Blanc, Peintres,

del Prado,

This picture was formerly ascribed to Carreno, but logue of the Museum it is given to Claudio Coello.

in the

No. 703.

new

cata-

Queen Mariana, mother of Charles II., and regent during the One of these porminority of her son, was painted several times. traits,

and

without doubt,

mentioned

volume, No. 2433.

in the possession of

Count Harrach

Vienna,

catalogue of the works of Velazquez in this Another is in the Museo del Prado, No. 689. This

in the

and is engraved in Blanc, Peintres. A third an excellent half length, signed by the artist, is to be seen in the Carderera collection.

last is a full-length portrait,

portrait,

In the same collection are two half-length portraits of Dona Maria Louisa of Orleans, first wife of Charles II., some twenty or *

Palomino, Museo Pictorico, ill, 419.

PUPILS, FOLLOWERS,

324

twenty-two years of age.

AND IMITATORS OF

It is quite

probable that the portrait in

Earl Spencer's gallery, attributed to Murillo, may represent the same See Catalogue of the Works of Murillo, No. 48ih. personage. Palomino notices * a portrait of Don John of Austria. Two portraits

of this prince, by Carreno, are

known

;

one, which

now

the collection of Sir William Stirling-Maxwell, Bart., was exhibited at

Manchester

Don

Sebastian,

portrait of

Fat Girl are noticed 75 a and 7S C

the other belongs to the heirs of the Infant

1857;

who have

Buffoon and a curious picture of an enormously Catalogue of the Works of Velazquez, No.

in the

Among his religious now

in the

also a portrait of Philip IV.

pictures

may be named an excellent Magdalen,

of San Fernando, at Madrid.

Academy

She

represented

with long hair falling on her breast, the lower part of her body enveloped in a blue mantle, holding a skull in her hand, and looking up. It

may be

Bermudez,

the

celebrated picture which was, in the time of

in the

Cean

convent of Las Recogidas.

ill-arranged Museo Nacional, at Madrid, St. Sebastian, a fine work, which is engraved of Martyrdom in Blanc, Peintres. It is mentioned by Cean Bermudez as having been formerly in the convent of the nuns of Ballecas. The same

The

interesting but

includes the

museum

contains St. Antony Feeding the Fishes, from the convent of

the nuns of Caballero de Gracia; also

Among Christ,

Our Lady of A toeha,

which may be the one formerly

signed.

The Baptism of the Capuchin Church at

the Spanish pictures in the Hermitage

Plasencia; Damian, holding a box of medicines and looking towards two up angels who bring the crown and palm of martyrdom. t

also, St.

figure of St.

Dominic

holding the Host, in the

in the gallery at

Academy

Pesth

;

and

Bishop

Vienna.

The La Gaze collection in the Louvre contains a picture of St. Ambrose giving Alms to the Poor. It may possibly be the one called St. Thomas of Villanueva, formerly in the Augustin Convent, at

Toledo. | * t

Museo Pictorico, in, 419. Cean Bermudez, Diccionario,

t Ibid., I,

267.

270.

VELAZQUEZ AND MURILLO. Count Raczynski has the Assumption of Apostles,

life-size,

formerly in

325

the Virgin, with

two

the parish church at Alcorcon, two

leagues from Madrid.

copy of Raphael's Spasimo di Sicilia is in the Academy of San Fernando. The Martyrdom of St. Bartholomew belongs to the gallery of the excellent

Don

Infant

Sebastian.

The

Saint

soldiers

on the

arm

fastened by one

him

while two executioners are preparing to torture

;

right.

Dean Lopez Cepero had St. Isidro ;

a tree,

horsemen and

St. Antony the Abbot; and a and Don Aniceto Bravo had a St. Jerome.

portrait of

Carreno

stated where the original

engraved

in Blanc, Peintres,

to be found.

may

full-length

but

it is

not

be that the engrav-

a picture by himself, formerly in the possession of Don Caspar de Jovellanos, which was engraved by one of the followers of Don Juan Palomino.

ing

after

The following are some of the paintings by Carreno that have appeared in auction sales : No. 113, The EleNo. 115, St. BerNo. 114. nard, half-length, ^8 ios. Santiago, mounted on a white horse and Louis Philippe

sale.

12 ios.

vation,

bearing a white standard, is assisting in battle against the the Spaniards Moors. This picture is engraved 27. in Mrs.

Jameson's Sacred aud Legendary

Art, p. 237.

No. 3. An equestrian Charles II., in armor, and holding a baton, with an elaborate land180 francs. scape in the background.

Aguado

sale.

Thomas Purves

sale, 1849.

St.

Antony

of Padua restoring, by a miracle, the leg of a man. 2 $s.

Salamanca sale, 1867. Portrait of Beniabe Ochoa de Chinchetru, standing near a table, on which is a

Don

writing-desk ; his hat in his right hand, a paper in the left. Signed and dated,

From

1664.

de Leganfe.

the gallery of the

700

Marques

Matthew Anderson, whose collection was sold in 1861, had a Conception, with angels.

picture of this

subject

portrait of

mentioned by Cean Bermudez as having been in the Church of San Francisco, at Vitoria, signed and dated, 1666 another

Can

was

tices

be the portrait which Cean noas having formerly been with its

this

companion, the portrait of his wife, in the Casa del Ayuntamiento ?

;

the

Church

of S.

Gines, at Madrid; and a third in the convent of the nuns of Ballecas. Diccionario dc las in

Bellas Aries.

268-9-70.

326

AND IMITATORS OF

PUPILS, FOLLOWERS,

PAREJA. JUAN DE PAREJA, whose Moorish blood,

of his birth

In 1623,

the property of Velazquez, whether

when

Madrid.

by inheritance

the master was twenty-four and the

slave seventeen years of age, they left Seville in their residence in

supposed to have been born in Seville about 1606. is not known, nor is it known how or

The precise year when he became by purchase.

parents were of mixed, perhaps

Pareja's duty

was

to take

company

to attend to

the per-

sonal wants of Velazquez and to assist in the studio, where he ground

the colors, cleaned the brushes, and performed other menial tasks.

Twice he accompanied

his

master to

Italy,

on the

last

of which

This work attracted so

Velazquez painted Pareja's portrait. tion when it was exhibited in the Pantheon that

made a member

of the

Academy

St.

Luke.

Earl of Radnor, or to the Earl of Carlisle.

Works of Velazquez, ante No. 180 and Pareja

made good

its

visits

much atten-

author was at once

now

belongs to the See Catalogue of the It

181.

use of his hands, his eyes, and his ears while

and secretly employed the practices he witand the lessons he overheard. Philip IV., one day visiting

in his master's studio,

nessed,

Velazquez at the chambers of the latter in the royal palace, had his curiosity aroused by a picture with its face turned to the wall, and

demanded

asked the

name

see

was greatly pleased with the work, and Pareja fell on his knees, confessed

of the author.

that the performance

The King,

tion.

it.

discovered, turned

was

his

own, and besought

Velazquez, and

said a

ought not to be a slave, whereupon his master But the grateful servant continued to serve latter's death,

his majesty's protec-

struck with admiration for the

and afterwards remained

who had married Juan

man set

genius

had

with such talent

him

free at once.

Velazquez

in the service

until

the

of his daughter,

Bautista del Mazo, until she in turn died.

Pareja did not long survive her, dying in 1670.

Although

this artist lived to

pictures that pass under his

was but

late in life that

a ripe age, yet there are very few

name, doubtless

he commenced

for the reason that

to paint.

The

discovery of

VELAZQUEZ AND MURILLO. his talent

It is

age.

the

name

placed by Cean Bermudez after his return which time Pareja was forty-five years of possible that some of his works may now be passing under in

Prado

size

1651, at

of Velazquez.

Four of del

Philip IV.

from Italy

327

known

his pictures are

One

in Spain.

in the

Museo

Madrid, a large composition of fourteen figures the It does not representing the Calling of St. Matthew.

life,

suggest the style of Velazquez, the rich architectural background and the accessories reminding one more of Paul Veronese.* The figure

standing on the himself,

and

it is

left

of the canvas

engraved

reasonably be doubted whether represents a

man

may, however,

a portrait of Pareja, for it rather than forty-five years and

this is

of twenty-five

upwards, which was the age

begun

said to be a portrait of the artist

as such in Blanc, Peintres.

which the

artist is

supposed to have

to paint.

The Museo The Baptism of Toledo;

Nacional, at Madrid, has three paintings by him Christ,

formerly in the convent of

the Presentation of Christ

Trinidad, at

Temple ; and a Battle

the

Piece, the last two signed by the master.

Palomino

a portrait of Joseph Rates, an architect of Madrid, The Church of the that was often taken for a work of Velazquez. cites

Recoletos, at Madrid, in the time of Cean, possessed a St. John the

Evangelist; a

St.

Oroncio ; and a Virgin

these have disappeared.

The

and Child of Guadaliipe.

following are

now

All

attributed to him.

In the Dulwich Gallery is a bust of A Boy, about five years of age, formerly ascribed to Velazquez, but now to Pareja, on the authority of a very competent judge, Mr. are, however, so scarce that

J. C. it is

The works

Robinson.

difficult to

of Pareja

speak with certainty on

such a point.

According

M. Burger, Pareja

the author of a picture in the

Munich Gallery which is at present attributed is A Gentleman and a Lady playing cards. *

The composition and on wood in

grafica, sale of

to Pereda.

engraved on stone by F. Taylor,

Blanc, Peintres.

Marshal Soult, where

sold for 400

repetition,

The

subject

in the Coleccion Lito-

.54X.7

cm., was in the

AND IMITATORS OF

PUPILS, FOLLOWERS,

328

half-length portrait of a Provincial of the Capuchin Order, in

black dress, holding a book,

The Isabel least,

in the

at St. Petersburg.

Hermitage

and one of

Earl of Yarborough has a portrait of Philip IV. ;

As the Queen died in 1644, seven years, at when we suppose the discovery was made that

of Bourbon.

before the time

Pareja was a painter,

it is

probable these pictures,

if really

by Pareja,

were copied from originals by Velazquez.

portrait of

Mariana of Austria,

at Castle

Howard, although probably a repetition of the portrait by Mazo, See in the collection of the late Don Valentin Carderera, at Madrid. attributed to Pareja,

ante,

page 319.

The Peintres,

the

Philip IV., engraved as

portrait of

was formerly attributed

Museo

del Prado, in

Velazquez."

It is

1872,

by Velazquez, belonging of the Works of Velazquez in

catalogue of

to the

" School of

but

was assigned

Pareja, in Blanc, in the

a copy by Mazo of the portrait Huth, as stated in the Catalogue volume, No. 1 14. it is

to Mrs. this

The Valenciennes Museum the fortune of

likely that

now

telling

to Velazquez,

exhibits a doubtful picture of

A Gypsy

a gentleman, while another gypsy picks his

pocket.

The following

pictures by Pareja have

appeared in sales Aguado sale. No. 90.

A Young Noble-

standing near a table. 350 f. No. 91. Bust of A Lady in religious costume. 54 f. No. 92. Bust

man,

fifteen years old,

of a Young Nobleman.

Louis

sale, London, 1853. Burial of Christ. ^5. No. 197. The Jfoly Women at the Tomb of

No.

505

Philippe

196.

Christ.

Thomas Purves

sale,

London, 1849. mando-

Castilian Peasant playing the lin. 2 IGJ-.

ALFARO Y GAMEZ. DON JUAN ALFARO where he commenced finished

them

he learned

GAMEZ was

his studies

Madrid

to imitate.

born, in

1640, at Cordova,

under Antonio del

in the school of Velazquez,

Castillo,

whose

but he

portraits

Besides being a painter, he was an engraver,

VELAZQUEZ AND MURILLO.

329

and a writer, both of poetry and prose. Among his pupils was Palomino, who, on his master's death in 1680, came into possession of books, manuscripts, and documents, which were of great

many useful

him

service to

in writing the lives

of the painters, especially that of

Velazquez, the most compendious, the most exact, and

altogether

the most interesting and valuable biography that he produced. Alfaro's

name appears on

he caused to be printed, majestad Catholica del

Rey

Memoria de

nuestro Senor

Monasterio de San Laurencio

M.DC.LVI.

the title-page of the pamphlet which

entitled "

Don

Real del

las

que

Philipe IV. embia

Pintvras,

Escurial,

este

aiio

Descriptas, y colocadas, por Diego de Sylva

Velaz-

Dedicay consagra a la Posteridad,D. Ivan de Alfaro. en Roma, M.DC. LVIII." Impresa The works of Alfaro are neither numerous nor important. Only

quez.

two are known

Salts,

An Assumption of the Virgin, in the Madrid, and a bust portrait of Don Antonio de This last picture is in the Conquista de Mejico.

to the writer:

Museo Nacional

author of

choice collection of portraits formed by its

authenticity

Alfaro y

repetition of the above,

ground.

No. 225.

sale.

Aguado

standing, with

205

lily

;

Si.

Salamanca

sale,

Don Bernabi Ochoa

Louis Philippe sale. No. 421. St. Je2 $s. rome, seated on a rock in ecstasy.

Valentin Carderera, but

not so well established as might be desired.

The following works by Gamez have appeared in sales

No. 422.

Don

^3.

Joseph,

landscape back-

1867.

Portrait

of the Order of Santiago, and of the Council of the Indies.

This

the

same person whose

by Carreno

the

Chinchetrn, Knight

Salamanca

member 600

portrait sale is

noticed ante, p. 325, but it was painted three years later, in 1669.

JUAN DE LA CORTE. This

artist

was born

Madrid ia 1597, and studied under

Velazquez, who was sometimes so good-natured as to assist his pupil by retouching his pictures. The skill of Juan de la Corte was chiefly

He displayed in landscapes, classical subjects, and battle pieces. executed several works for the palace of Buen Retiro, one of which, 42

PUPILS, FOLLOWERS,

330

AND IMITATORS OF

representing the Siege of Valencia del Po, contained a head of Carlos

This picture was probmay be looked for

Coloma, or Colonna, painted by Velazquez.

London

ably in the Altamira sale at

1827, and

now in England. See ante, page 22, No. 36a. " attributed " the Museo Nacional at Madrid, is

Christ Crucified, in

Juan de

la Corte.

died in 1660.

PUGA. ANTONIO PUGA was not known

Palomino, or was not con-

The date of his we have but few and unknown,

and

sidered worthy of that author's notice.

birth

that of his death are alike

facts con-

Cean Bermudez

cerning him.

classes

him among the

disciples of

Velazquez, and says that in 1653 he painted six pictures, which were in the possession

Don

Silvestre Collar y Castro, Secretary of the

Council of the Indies.

They represented

scenes, and resembled the

familiar

and domestic

early works painted by Velazquez before he

left Seville.

There

picture

master in any public gallery in Spain,

this

one in any private collection. The works him the writer has ever seen are, one in the Hermitage, by only and one in the gallery at Pesth. The first shows us a Traveling

and

would be

difficult to find

Knife -Grinder sharpening a knife on his wheel, with two hunters standing before him, and on the bottle.

The

left

picture at Pesth

woman

a black dress holding a

a head of an Old

Nun.

PALACIOS. FRANCISCO PALACIOS was born studies under Velazquez,

years of age.

who

died

when

1640, and his pupil

commenced

his

was only twenty

Palacios painted but few pictures, mostly historical.

Cean Bermudez knew of but one work by his hand, although there were, he says, some excellent portraits by him in private collections.

VELAZQUEZ AND MURILLO.

331

AGUIAR. DON TOMAS DE AGUIAR by Cean Bermudez

flourished about 1660.

as a disciple of Velazquez,

who

named

painted portraits

with great credit.

LUCENA. DON DIEGO DE LUCENA was bom

of an illustrious family in

His portraits, Andalucia, and studied under Velazquez in Madrid. both small and large, greatly resembled the style of his master. A sonnet, composed in his honor by Atanasio Pantaleon, is found in

Lucena died

that author's works.

Madrid

in 1650.

MENESES OSORIO. Foremost among the followers of Murillo must be reckoned

FRANCISCO MENESES OSORIO, who was born about 1630, and died in Seville about 1705. He was a member of the Academy of Seville, from 1666 to 1673, and

Mayordomo.

painting from Murillo. artist,

1668-9 was honored with the office of probable that he received his instruction in

It is quite

and was employed

all

events he was greatly esteemed by that

to assist in

some of

his

most important

works, notably the paintings in the church of the Capuchins at Cadiz.

the five pictures composing the ratable of the high altar in that

church, Murillo had executed at the time of his death only part of the large central one, the Marriage of St. Catherine.

by Meneses,

who

designs of Murillo. St.

Michael;

Jesus.

St.

This was finished

also executed the four lateral paintings after the

The

The Guardian Angel;

St.

Joseph with the Infant

subjects of these are

Francis with a crucifix ; and

See ante, page 221, No. 264.

There

nothing by

this artist in the galleries at

the south of Spain his works are easily found.

Cadiz

Madrid, but in offers

some of

AND IMITATORS OF

PUPILS, FOLLOWERS,

332

them, the best of which, and a favorable specimen of his genius, is the Death of a Hermit, in the Museum of that city. A group on the left, in

which the Virgin appears on clouds

to the dying man, accompanied a choir and of angels, might easily pass Catherine,

by the Magdalen, for the work of Murillo St.

The Last Judgment,

himself, so perfect

in the

same

the imitation of his style.

a more ambitious, but a

gallery,

less

pleasing performance, was, until recently, ascribed to Nicholas PousThere is a large painting in the Church of La Merced, at Cadiz, sin.

representing the Virgin appearing to

executed

after Murillo's death,

Cayetano,

who

holds the infant

The composition and

Jesus in his arms with transport. the Saint are supposed to be

St.

the head of

Murillo, the remainder having

been

by Meneses.

In Seville, where he studied, labored and died, there have been in times past

many

of his works, but very few are

now

be found.

The Museum has but

one, depicting the Institution of the Third Order an work, containing many figures of monks, important of and some excellent heads and draperies. In the palace of San Telmo, St. Francis,

Duke

belonging to the

Game

Pieces, and,

what

of Montpensier, is

may be

seen two Fish

and

more important, an admirable Christ Pray-

ing in the Garden of Olives.

This painting offers a striking resemblance in feeling and execution to that in the Louvre, attributed to

One cannot help thinking the See two ante, page 196, No. 195. by Meneses was the favorite assistant of Murillo, the most capable of Murillo, representing the

the

pictures are

his disciples,

same

subject.

artist.

and the one who most

faithfully

reproduced the charm

He lived a style, and the harmony of his coloring. and a doubtless laborious life. That we have so few long specimens of his skill may be due to the fact that he sunk his own individuality of his master's

in that of his teacher,

of the greater

The

and that many of his works pass under the name

artist.

following pictures are mentioned los Rios, but the collec-

by Amador de

which has entirely disappeared, could once show no less than sixteen specimens

been either wholly

dispersed or greatly diminished since his account was published:

St.

tions referred to have

The

gallery of

Don

Aniceto Bravo,

this

master.

Clara;

St.

Among them were Isabel;

a Conception;

the Virgen de Belem ; St. Thomas; St. John Baptist ; a portrait of the Vener-

VELAZQUEZ AND MURILLO. able Contreras ; the Virgen del Carmen, with the infant Jesus in her arms ;

another Virgen del Carmen, oblong, with a number of Carmelite monks and nuns ; a third Virgen del Carmen, with two figures at her feet imploring grace and protection ; and a Holy family, signed

and dated 1699. Don Jos Saenz

paintings, the best of which were St. Joseph with the infant Jesus in his

arms

and

;

St.

Rose praying before the

infant Saviour.

Don Don

Don

before the

Academy of

Seville in 1666.

All these works have disappeared. There have been the following sales of :

No. 118. Preof the Virgin in the temple, thirteen figures. 1.40X2.27. 355 f. No. 119. The Repose in Egypt; the

Aguado

sale,

1843.

sentation

Child; four figures. 1.38x2.19. 505 f. No. 1 20. Christ on the Cross. I.29X-97-

Jose Larrazabal, Vice-Consul of

No. 121. Si. Francis in the 115 f. Desert ; an angel supplies him with water to quench his thirst. 1.75x1.15.

at Seville,

possessed a

St. Joseph,

Jose Maria Suarez de Urbina

St. Rosalie ;

The

Virgin offers water in a shell to the

Lerdo de Tejada had

life-size.

had a

;

Jose

Crucifix.

France

Neri adoring the Virgin; also some " Niiios " which were thought to be his best works and a Conception which was greatly admired when the artist exhibited

paintings by Meneses several

possessed

333

gallery of

and a Magdalen.

No.

121. St. Peter,

and No.

122.

Paul; companions. .97X1.20. 350 f. Soult sale. No. 83. The Virgin,

St.

Dean Lopez Cepero

contained a half-length picture of St. Aitgi4stin, habited as a monk.

Don Pedro

350

Garcia de Leaniz had a

work representing Doctors and Patriarchs

crowned, and bearing a sceptre, appears a

Saint,

1.68x2.10.

angels.

sale. The Annunciation, and The Flight. Thomas Purves sale. The Annuncia-

12 figures

Jtose.

tion,

Rayneval

adoring the Holy Sacrament ; St. Anne Teaching the Virgin ; and a bust of St.

Cean Bermudez mentions only the following paintings by Meneses Elijah ministered to by an Angel ; St. Philip

accompanied 300 f.

;

with angels. 8 8s., to Rutley. Rinecker, of Wurzburg, had a

Dr. St.

The

Seoastian, assisted by two women. collection was sold in 1868.

TOBAR. DON ALONSO MIGUEL DE TOBAR

was born in the year 1678 at near at an Aracena, whence, Higuera, early age, he removed to and himself under instruction the of Juan Antonio Seville, placed Fajardo, a painter of but

little

merit.

afterwards thought to

improve his style by copying the works of Murillo, which he did with such exactness that he became the most noted of all the imitators of that master.

The

success he achieved in this line was such that

he made for himself a greater name than he has acquired by inde-

AND IMITATORS OF

PUPILS, FOLLOWERS,

334

his hand that show pendent work, although we have seen paintings by him to have possessed qualities that would enable him to take a high

rank as an original

artist.

time before 1720 he became a Familiar of the Holy Office, and in that year he executed for the Cathedral of Seville his most

Some

famous picture, called Nuestra Senora del Consuelo, which procured for

him

the favor of Philip V.,

who

visited Seville in

1629, and

who

in appointed him Court Painter on the death of Teodoro Ardemans to removed Tobar On this that year. Madrid, receiving appointment,

where he occupied himself chiefly in portraiture until his death in Tobar was one of the most perfect of all the disciples or 1758. copyists of Murillo,

whose free-handling and warm, harmonious colorProbably much of the work he executed

ing he imitated closely.

during his long

The

life

passes under the

name

of his great exemplar.

painting in the Seville Cathedral

considered his master-

he had not preferred to spend his time in and in copying, portraiture, he might have excelled in a different branch of art. It represents the Virgin of Consolation, enthroned,

and shows that

piece,

with the infant Saviour in her arms, and

Antony of Padua standing on surpliced priest, kneeling.

the size of

and

life,

St.

Francis of Assisi, and

In the foreground

either side.

This picture, of which

at full length,

all

St.

the figures are

bears the signature,

Alonso

Miguel de Tobar, Familiar del Sto. Oficio fee. a IJ2O.

The

only original paintings by his hand in any public gallery in Spain are a Virgin and Child ; and the Virgin appearing to St. Francis, in the

lent

Academy

of San Fernando.

copies after

Museum

at Cadiz,

There are also

Murillo. is

in the

There

are,

however, some excel-

One, of the Virgen de la Faja, in the

an excellent specimen of

Church of

his talent as a copyist.

Isidore at Seville, admirable copies

by him, after Murillo. One is after the Good Shepherd, belonging to Baron Rothschild (ante, page 185, No. 167), the other is after the Infant St. John in the National Gallery at London (ante, page 245, No. 322).

In the Museo del Prado

the Portrait of Murillo, probably

Earl Spencer (No. 464%).

an important copy by him of made after the one belonging to is

VELAZQUEZ AND MURILLO. The Museo

335

Prado contains a picture formerly attributed to Good Shepherdess. She is seated

del

Tobar, representing the Virgin as the

on a rock feeding some lambs with roses above are grouped a number of angels, and in the background, a stray sheep, rescued by an angel ;

This composition was considered

from the pursuit of a dragon.

worthy of being engraved as the work of Tobar, in the Coleccion Litografica, and of being etched by Mrs. Jameson in Legends of the

Madonna, but

The fine

has lately been restored to

gallery of the

copy of the

Duke

Thomas of

St.

German

Llorente.

of Montpensier at Seville has a very Villanueva, dividing his clothes

among

some poor children in the street, after the original by Murillo in the The copy is either by Tobar or by possession of Lord Ashburton. Villavicencio, probably the former.

In the

Museum

at Berlin

we may

see a St. Joseph, holding in his

arms the infant Jesus, who, seizing the drapery, looks towards his father with respect and affection painted in an oval border. The ;

picture

was purchased

The Hermitage

at the sale of

Marshal Soult

for 1,150 francs.

contains a half-length figure of

Boy, crowned

with vines, seated on a marble balustrade, blowing soap bubbles. Mr. McClellan formerly had a St. Joseph with the Infant Jesus.

The

was presented by its owner to the city of Glasgow, and the picture may now be looked for in the Museum of that city. collection

Portrait of Murillo, attributed to Tobar,

in the collection

the late Sir William Stirling-Maxwell at Keir.

A Monk Tobar, but

Praying, in the

seems rather

Museum

Nancy,

attributed to

resemble the manner of

German

Llorente.

The

Don Sebastian, Museum at Pau, con-

gallery belonging to the heirs of the Infant

which was

1881 transferred temporarily to the

tains a picture of the Virgin in Contemplation,

Spanish Infanta.

There

thirty-three years before

and a

also a portrait of Olivares

portrait of a (?),

who

died

Tobar was born. In the gallery of Don Aniceto Bravo St. Francis de Paul, life-size, which

The following paintings by Tobar formerly existed in different private collec-

was a

tious in Seville

has often been mistaken for a work of

336 PUPILS,

FOLLOWERS, AND IMITATORS OF

Murillo two pictures of the Conception, one of them the size of life, with twentytwo cherubs ingeniously disposed and a Virgen del Rosario, in which the the Virgin is seated on clouds, with

The

;

by a group

child in her lap, supported

the eighteen

hundred

pictures,

chiefly of the school of Seville, formerly

Two

pendants.

upborne by angels

was

possession of Don Jose Saenz, Mater Dolorosa ; St. Michael

vanquishing Lucifer with his flaming sword; &!\<\$\. Apotheosis ofSt. Gertrudis. Don Jos Larrazabal had St. John in the desert comforted by angels. Don Jos Olmedo had a Conception

with angels, less than life-size injured by restorers.

;

somewhat

;

in the other, the

Virgin, kneeling on a crescent,

carried

heaven by angels both in medallions formed of garlands of flowers. 1 02 X 82. ;

1,360 francs.

Maria

Blanca at Seville, of the Holy St. John, by Murillo. See

Family and ante,

Louis Philippe

page 177, No. 147.

sale.

1.70x1.24.

Baptist.

No.

25. St.

John

10.

Baron Faviers sale, Paris, 1837. A Virgin and Child, in the style of Murillo. 455 fColonel

Hugh

Baillie sale, 1858.

Joseph in a red garment, with a

branch

in his

infant Jesus,

Cean Bermudez mentions two pictures by Tobar, both of which are now lost a portrait of Cardinal de Molina, and a copy executed for the Church of Santa

131.

\nonel\itfnfantJesus

in the

of graceful cherubs.

Among

following sales of paintings

Tobar have taken place Aguado sale. No. 130 and No.

St. lily

hand, watches intently the

who has

pricked his finger with a thorn from the crown that is on his lap.

Thomas Purves

sale, 1849.

tion of the Virgin, with St.

Glorifica-

Dominic and

St.

Joseph. ,15 5*. Dr. Rinecker had a Virgin surrounded by angels.

and

Child,

VILLA VICENCIO. DON PEDRO NUNEZ DE where he was born ous that Charles

VILLAVICENCIO was a native of

Seville,

His family was illustrious, and so numerwas accustomed to say, it was a nation, not a

in 1635.

II.

took lessons in painting from Murillo, probably more for diversion than as a serious occupation. The duties required of him as a Knight of the Order of St. of called him family.

John Jerusalem having he there became acquainted with Matias Preti, // Calabrese, who was also a member of the Order of St. John, and under him Don Pedro continued his studies, perfecting himself in claro to Malta,

chiefly

obscuro. for

seems to have had from the

find that

Magdalen

that

among

his

was taken

first

a faculty for imitation,

remarkable productions at Malta was a

for the

work of

his master, Preti.

VELAZQUEZ AND MURILLO. Returning to Murillo,

who

Seville,

treated

labored together

artists

Seville in 1660,

Don Pedro resumed

him not

who

establishment of the

in the

These two

Academy

to live in the strictest intimacy until the

said to

under

studies

as a pupil, but as a friend.

and continued

death of Murillo,

his

337

have died

The

in his pupil's arms.

of the dying painter was to appoint Villavicencio one of the executors of his will. Soon after the death of his master and friend,

last act

Don Pedro

took up his residence in Madrid, where he acquired the

him with the picture of Boys Playing

favor of Charles II. by presenting Dice, which the in the

Museo

sent to the Palace of Zarzuela, but which

King

Don Pedro

del Prado.

now

also presented a picture about

the same time to the Count of Monterey, a noted patron of the

arts.

Villavicencio died in Seville in the year 1700.

Palomino mentions a

Cardinal Ainbrosio Spinola,

portrait of the

which has been engraved, and Cean Bermudez notes four pictures representing passages in the life of the Virgin, which were, up to the time of the French invasion, in the choir of the Convent of the

Carmen Calzado

at Seville.

Villavicencio was probably

and the only pictures

more of an amateur than an

which we are able

and scenes of

are representations of peasant boys

showed great

these he

facility.

excelled in portraits, but Spinola,

we know

formerly in private

familiar

commonly

artist,

to trace the style of Murillo life.

reputed to

have

of none except two of Cardinal

collections

Seville.

Don

Jose de

by his hand. The fame he has enjoyed is chiefly that reflected on him as a friend and pupil of Murillo. His best work is the Boys Playing Dice, above referred to,

Madrazo says he has never seen a

now

Museo

in the

on the

portrait

del Prado. Six ragged urchins are grouped together

right of the composition,

two of

whom

cloak spread on the ground before them.

two other boys, while two roguish stakes.

of bread *

The

On ;

the

left is

girl

are playing dice on a

The game

watched by

fellows are slyly abstracting the

holding a rose, and a child with a piece

other figures in the background.*

picture

Laurent.

engraved in the Coleccion Litografica, and photographed by

AND IMITATORS OF

PUPILS, FOLLOWERS,

338

picture in the Hermitage, attributed to Villavicencio, represents

Two Boys

PlayingDice.

a repetition of a picture in the

Academy

(See Murillo Catalogue, No. 441.)

at Vienna, ascribed to Murillo.

be attributed the painting in the Munich Gallery of Four Boys Playing Cards, the coloring of which should

this artist

also,

think,

does not resemble that of Murillo as seen in the other pictures of the

beggar boys

in the

same

(See Murillo Catalogue, No. 455.)

gallery.

In a small picture in the Cadiz St.

Museum,

Gregory the Great,

St.

Ambrose, and some of the Fathers of the Church are discussing the

doctrine of

St.

Ambrose

in the

presence of the Eternal Father, the

Son and the Virgin.

The

Gallery at Pesth contains a

Don Aniceto Bravo formerly had the St. following pictures by Villavicencio the Death of St. Raphael, full length :

;

Joseph, noticeable for rich draperies,

its

excellent heads,

and especially

figure of the Virgin

;

for the

a portrait of Car-

Ambnsio Ignacio Spinola ; the Virgin of the Rosary holding the Child in her lap ; a Virgen de fielem, with the Child in her arms, and several angels in

dinal

a glory above ; and a Virgin of tin Conception, sustained in the air by a group of angels.

Don Pedro

Garcia had a

St.

Bernard

Boy with Two Dogs. The Holy Family, with

1725.

11 us., to J. S.

There was once at Alton Towers a in which Joseph is caress-

Holy Family,

ing the Infant Jesus, while the Virgin

The Activity. Virgin kneeling in the centre, with the Child lying on a white sheet before her on the right and left various shepherds and shepherdesses bringing offeri\ os. da ., to ings. Rutley.

The

;

Aguado the

sale.

Magi.

One

No.

154.

of the

Adoration of

Kings kisses the

foot of the Child.

and a Flight

angels bring fruit to the Child ; ures companion to the above.

into Egypt. Jose Larrazabal had an admirable portrait of Cardinal Spinola. 1

Don had

Francisco

St.

Romeo

de Balmaseda

Raphael ; and a Nino a

The

following paintings

have been

sold:

Lord

500

No.

;

No.

156.

medallion.

Rayneval

Northwick

sale,

1859.

No.

lap.

1 1

fig-

2.<x>X.8o.

440

Landscape, with in a white robe.

sale, 1838.

monk

Lopez Cepero ed, holding

16 figures. 1.11x1.57. Repose in Egypt;

155.

599 f. Mater Dolorosa, in an oval

a figure of a

Espina.

occupied in sewing. Thomas Purves sale.

adoring the Virgin; The Infant Jesus and St. John ; St. Theresa in ecstasy ;

Don

angels.

Erle-Drax.

sale.

the Child

i.ioX.So.

The Virgin

seat-

standing in her

About 400

VELAZQUEZ AND MURILLO.

339

MARQUEZ. in

ESTEBAN MARQUEZ was born, somewhere about

the year 1655,

under

his uncle, Fer-

Estremadura, but studied painting

in Seville,

nando Marquez Joya, who was of the school of Murillo. On the death of his master, about 1672, Esteban, who was still a boy, was employed by a shopkeeper American market, as Murillo tion

he soon

lost for

his native village,

the

Feria to paint pictures for the

said to

have once done.

incompetency, and he returned discouraged to tarried but a short time, when he was

This time he

he soon became expert,

chiefly,

much

diligence and resolution that however, as a copyist and imitator of

applied himself to his art with so

situa-

where he

again driven by want to seek his fortunes in Seville.

Murillo.

This

died in Seville in 1720.

Meneses Osorio, and Tobar, produced them more than half the works which pass under the name of among It is nevertheless an which we estimate think exaggerated. Murillo, Stirling thinks that he, with

true that these three artists were the best of the simulators of Murillo's

and that many of their works have formerly passed, and some pass, under his name.

style, still

Cean Bermudez mentions a

by him for the conthe subject of which he does not

picture painted

vent of the Terceros at Seville,

name.

For the Ascension of

Trinitarios

Descalzos,

that

city,

Our Lord, containing some heads

he executed the

of the Apostles, in

which he displayed great freedom and skill. With the assistance of Juan Simon Gutierrez, he painted for the same church eight works These were in 1810 representing passages in the Life of the Virgin. taken to England, and sold at Christie's as originals by Murillo. (See Murillo Catalogue, No. S4a.) in the

There were

also

some

paintings

Convent of Agustin Recoletos,. among them one St. Peter on the shore of the sea.

by him

which the

Saviour appears to

He Virgin,

painted the fourteen full-length,

life-size figures

of Christ, the

and the Twelve Disciples, on the columns of the Church of the

Hospital del Sangre.

and character.

They contain some good

heads,

full

of dignity

AND IMITATORS OF

PUPILS, FOLLOWERS,

340

The which

Seville St.

Museum

Augustin with Jesus Saviour,

contains three paintings

Joseph with the Infant Saviour*

and the

may be among

and

by him, one of

The

other two, St.

Virgin, Augustin with the Infant the paintings executed for the Augustin St.

Convent. In the Cathedral at Cadiz

St.

Joseph with the

lily

branch,

holding the Child Jesus by the hand.

A sion of

Woman of Samaria was formerly in the possesGarcia de Leaniz.

Christ with the

Don Pedro

MARQUEZ FERNANDO MARQUEZ JOYA,

JOYA.

a painter of Seville,

was an uncle

and the master of Esteban Marquez. A portrait of Cardinal Spinola, painted by him in 1649, was engraved by Van der Go wen at Amsterdam. In 1668 he became a member of the Academy of Seville, and retained his connexion with that body, contributing his share towards

He folexpenses until 1672, when he is supposed to have died. lowed the manner of Murillo, but so few of his works are known that its

it is

difficult to

In the portrait

speak confidently concerning them.

Aguado sale, No. riy was a by Marquez Joya, of a Young

Artist in a black costume, with long hair

falling

his shoulders, holding a

in his right

him.

crayon

hand and a drawing before

i.ooX-78.

80 francs.

GOMEZ. SEBASTIAN GOMEZ, ElMulato de Murillo, was of mixed blood, and in servitude, like Juan What Pareja, the slave of Velazquez. we know of Murillo's father, and of his own circumstraightened

born

stances in youth,

make

probable that

Gomez came

into his master's

possession by purchase after Murillo's marriage in 1648. This picture has been photographed by

As a

Laurent, No. 1117.

slave,

VELAZQUEZ AND MURILLO. Gomez was employed

in servile occupations,

and

341

in grinding colors,

and cleaning the pencils that he afterwards became expert in handling. There is a tradition that he first made his talents known by completing a head of the Virgin which on the easel.

his

master had sketched and

left

unfinished

Both master and slave are supposed to have died in the same it would appear by some papers of the Conde

year, 1682, although

del Aguila, preserved in the municipal archives of Seville, that

was

Gomez

living as late as 1730.

The

El Mulato resembled that common to all the followers

style of

the fatal defect,

an inaptitude for drawing. Care should be taken not Sebastian

Gomez, who

confound

of his master, but he had of the School of Seville,

another

this artist with

was a native of Granada, and a follower of the

school of Alonso Cano. notices by Gomez a beautiful Virgin and Child Church of the Mercenaries Descalzos at Seville a Christ at

Cean Bermudez in the

;

the Column, with St. Peter kneeling at his feet; St.

Anne ;

and

St.

Joseph

the last two works in the Capuchin Convent.

and

All these

have disappeared.

good specimen of

his style is

still

a full-length,

chamber

life-size

picture

house of Joseph, to be seen in the Contaduria of the Cathedral at Seville. A

representing the Holy Family in a

Conception, with a group of angels, in the

strong resemblance to

manner of

the

in the

Museum Murillo,

at Seville,

especially

has a in

the

coloring.*

There

Hermitage a half-length figure of St. Francis of Assist looking up, holding a cross in his hands which are marked with The picture was purchased at the stigmata and joined on his breast. is

in the

the sale of Marshal Soult for 135 francs.

that

There are but few pictures of this artist known, and most of his life was spent in servile labors.

The following Gomez,

paintings by Sebastian

Mulato, have been sold

Soult sale.

No.

79.

length,

Photographed by

down towards a

skull before him.

St. Francis, half-

probable

with his hands crossed on his

breast, looking

it is

.62X.8y.

Laurent, No. 1114.

a ; No.

cross

I7of.

FOLLOWERS, AND IMITATORS OF

PUPILS,

342

Bust of a Young Man, with long a falling on his cheeks, wearing mantle. 300 f. No. 82. A .y)~x..i,d.

81.

hair

Saint, with bare head, inclined forwards, his hair falling on his shoulders ; wearing a mantle. .Sox. 60. 600 f.

Aguado seated on

sale.

No. 217.

The Virgin, beneath

clouds, with angels

and around her, supporting her Son who

stands in her lap, both holding a rosary,

2.20x1.10. 860

No.

218.

The Magi

adoring the Infant Jesus, whom the Virgin holds in her lap; a young slave yellow mantle of worshippers; 8 figures. .28X-30. 102 f. This picture afterwards belonged to M. Fumaroli, whose collection was sold at Paris, Dec. 16, 1843. bears the end of the

one

the

ANTOLINEZ Y SARABIA. DON FRANCISCO ANTOLINEZ Y SARABIA was a native of where he was born in 1644. He was destined for the Bar, but

Seville,

having which was strengthened by his relationship to Don Jose Antolinez, his uncle, he gave to painting as an amusement He became a the time he should have devoted to the law as a duty. a natural taste for

art,

follower of Murillo Seville until 1672,

and was a co-worker with him

when he

in the

Academy

left his native city to seek his fortunes in

his uncle, who had preceded him to His plans were changed by the death of this relative in 1676, when he turned his attention again to the law, which he attempted to mingle with politics. But this experiment was a failure,

Madrid under the patronage of the capital.

for although

he procured himself to be chosen Alcalde for several

towns, yet his eccentric, unmanageable disposition constantly barred the way to success. Returning to Seville, he again sought to establish

himself as an advocate ; but his infirmity of temper

his efforts,

and he was forced

to use his pencil

still

thwarted

to gain a livelihood,

which, however, he did in secret, as he preferred throughout his life to be considered the man of letters, which he was not, rather than the artist,

mined

which he might aspire to to take orders,

he died

and

be.

to that

His wife having died, he deterto Madrid, where

end again repaired

in the year 1700, without

having accomplished his latest desire. Francisco imitated Murillo, especially in the grace and freshness of his coloring, and he succeeded better in than

Don

most of the

disciples of that artist.

drawing His pictures are usually small,

VELAZQUEZ AND MURILLO. and

343

which are introduced scenes

chiefly landscapes, into

in the life

of the Virgin, Saints, or Patriarchs.

Palomino,

Ochoa y

who

name

gives the

of this

artist

Don

inches in height, which he valued at 100 pesos, thinking the

The

hand of Murillo.

some pious women Jesus.

was The Virgin

wash and care

series,

artist is often

which the writer of the

his

to be

in Egypt, assisting

for the clothing of the Infant

of a vara or less in size

one of which, that of

compared with the best in This

subject

adds that Antolinez was accustomed

ten pictures in a portraits,

Francisco

Antolinez, says he saw a small painting by him, about eleven

to paint six, eight, or

also excellent small

;

was worthy

daughter,

its line.

confounded with

his uncle, Jose,

life in Blanc, Peintres,

has

an error into

fallen, especially in

his list of the painter's works.

good specimen of the manner of

Cathedral at

this artist is

a Nativity in the

Seville.

The Duke

of Montpensier has in the Palace of San

small companion pictures, a

Telmo two

Joseph with the Infant Jesus ; and St.

St.

Joseph Dreaming.

Five sketches are to be seen in the

which were formerly

in the

Church of

Museo Nacional S.

represent the Purification of the Virgin; the Adoration; into

Madrid,

Felipe in that city.

Egypt ; the Annunciation ; and the Marriage of the

They

the Flight

Virgin.

Aniceto Bravo formerly possessed ,5 5-?. No. 157. St. Joseph and the /Don Jose Lerdo de font Jesus, in a landscape. .39.5X1.53. dd. f) igs. Tejndahad six small pictures representing

Don

ten landscapes, and

New Testament.

Repose of the Holy Family in Egypt,

No. 93. Soult sale. The Virgin, seated on a balustrade, wearing a veil that falls to her waist, regards tenderly

20X14

the Infant Saviour

passages in the Old and

Dean Lopez Cepero once owned

inches.

The

following paintings by Antolinez y Sarabia have been sold :

Louis Philippe

sale.

No. 423.

The

Baptism of Christ. 1.64x1.05. ^10 los. No. 424. The Assumption of the Virgin. 1.40x1.04. jlo ioj. Standish sale. to St. Joseph, in

The Angel appearing

alandscape.

39.5

53-

who

lies

on her

lap.

1.50x1.07. 2605 f., to Collot. No. A Pastoral Landscape, with an 94. aqueduct, a man and a woman on horseback, and a

No. girl

95.

flock of sheep. 700 f. Pastoral Landscape, with a

leading a child towards a shepherd

who is guarding three 510

f.,

(to Cte.

sheep. 1.06X1.30.

Duchatel

?).

FOLLOWERS, AND IMITATORS OF

PUPILS,

344

IRIARTE. IGNACIO IRIARTE was born he obtained

instruction in painting

first

Guipuzcoa, where from some provincial

who

of Herrera the elder,

his scholars.

Velazquez among

thirty years before

years did not so

scapes, in

his

manner

after

resemble Herrera's as that of the prevailing Finding that he had no capacity for drawing,

abjured figures and devoted himself exclusively to land-

which he attained such excellence that Murillo said Ignacio

landscapes by divine inspiration..

In 1646 Iriarte married, at Aracena,

Dona

Francisca de Chaves;

but she soon died, and in 1649 he took to himself another wife,

Maria Escobar. of Seville, and filled

Iriarte

much

school of Seville. Iriarte wisely

had counted

was from Herrera that

obtained his knowledge of coloring, although

made

In 1642 he went to Seville and placed himself under the

teacher. tuition

his

1620 at Azcoita,

He interested himself in became

Secretary, an office

first

its

the founding of the

Academy

which he again

from 1667 to 1669, after which date we do not find his the

members of

among Though

He died

that body.

mentioned

Dona

at Seville in

name

685.

connection with Murillo, Iriarte cannot be considered either a pupil or an imitator of that master.

often

does not appear to have attempted religious or figure pieces, and naming him as one of the school of Murillo is

the only reason for

found

in the

story by Palomino. Murillo, he says, having been chosen by the Marques de Villa- Manrique to paint a series of large paintings containing scenes in the life of David, wished to have the told

landscapes painted by

Iriarte,

who

excelled in that branch of art.

dispute having arisen as to which should

work, Murillo ended without assistance.

perform

quarrel that caused Iriarte to withdraw from the case, the pictures referred to

his part of the

upon himself to paint the pictures suggests that it may have been this

by taking

Stirling

first

Academy.

were executed about 1670.

In that

(See Murillo

Catalogue, No. 10.)

The

landscapes of this

coloring, are affected

and

artist,

artificial

although

warm and harmonious

in composition,

and

fail

to justify

the

title

VELAZQUEZ AND MURILLO.

345

of the Spanish Claude, which has sometimes

been bestowed

upon him. His works are not Prado, and one

Don

in the

Four landscapes are

rare.

in the

Museo

del

Hermitage.

Julian Williams formerly had four landscapes

Iriarte,

one of which passed into the possession of the late Sir Frederick Roe, and was in his house in London. It contains a ruined castle at the foot of

Dean

wooded

Lopez Cepero

landscapes by

with a waterfall and sheep in the foreground.

hills,

Iriarte,

possessed six one of them a

View of Seville, from Triana. Don Jorge Diez Martinez had no

less

scape, with the

30.

sale.

No.

63. Fruits.

-57X

$s.

A View of sale, 1864. Guadalquivir, with a posada and travellers in a wood. Exhibited at Man\i 6s,, to Kibble.

Chester.

Thomas Purves scape.

No.

and Flowers.

G. A. Hoskins

sale.

31. Friiils

10 los.

the

following pictures by Iriarte have

appeared in sales Louis Philippe

.73.

A landscape than twelve landscapes. belonged to Don Jose' de Madrazo, and seven others to Don Jose Arasabla, formerly Consul of France at Seville. The

No.

los.

.97X-74Standish

A Land-

^10

sale, 1849.

Comte Rayneval

Ladder of Jacob. .38x-6o.

-Land-

tos.

sale,

1838.

Four

Landscapes.

ANTONIO DEL CASTILLO. ANTONIO DEL CASTILLO Y SAAVEDRA, born in 1603, of an distinguished

the

first

artist,

illustrious

and

a native of Cordova, was

artistic family.

was a son of a

Agustin Castillo, and nephew of Juan del Castillo, Agustin, the father, having died in

instructor of Murillo.

1626, the son repaired to Seville and placed himself under the tuition of Zurbaran.

where he

After completing his studies, he returned to Cordova,

once took a high rank

in his profession,

and the remainder

of his days were passed in his native city, whose cathedral and churches he adorned with frescoes and paintings in oil, mostly of religious subjects.

also occupied himself in giving lessons in painting to such

pupils as chose to resort to

Among

his scholars

Cordova, completed

him

for instruction.

was Juan Alfaro y Gamez, who,

his studies

with

Velazquez.

after leaving

Concerning

this

PUPILS, FOLLOWERS,

346

man

a story

Spanish

art.

told

AND IMITATORS OF

which has become a

the history of

classic in

After finishing his studies in Madrid, Alfaro returned to

Cordova, puffed up with the idea of his own powers. He was soon employed to paint some pictures for the Convent of San Francisco, in

own poverty of invention by copying from some engravings after works by the Italian masters, and these Castillo was paltry things he signed conspicuously, Alfaro pinxit. piqued with the young man's conceit, and, wishing to give him a executing which he eked out his

he obtained a commission to make a painting of the Baptism

lesson,

St.

Francis for the same convent, which,

signed,

when

finished,

he simply

Non pinxit Alfaro.

Antonio enjoyed a high reputation in his lifetime, and it had not entirely died away when Palomino wrote, for that heavy author

employs almost as many words to describe this artist and his works as he gives to Murillo. Both he and Cean supply us with long lists of Castillo's pictures, but nearly all of them have disappeared. While alive

to the vanity of others, Castillo

destitute of that comfortable quality.

In 1666,

\vas

full

not

confident in himself, he resolved to revisit Seville, where he

been since he

left

that city as a youth.

The fame

reached him, but the Cordovan Themistocles

lost

himself

of honor, and

had not

of Murillo

sleep

had

on account

of the victories of the Sevillian Miltiades.

Incredulous as to the reports he had received, and secure in the belief that he was himself the fore-

most painter of Spain, he thought lusian capital.

The

artists there

to display his

powers

in the

Anda-

received him with the courtesy and

respect due to his years and recognized position, and in due time they led him to see the wonderful paintings which Murillo, twenty years before,

had painted

cisco.

When

for the small cloister of the Convent of San Franhe came into their presence he was astonished, and could not tear himself from the spot, nor would he believe them to be the works of Murillo. Again, he was taken to the Cathedral, and

shown the St. Isidore, the St. Leandro, and the St. Antony with the Infant Jesus, in the Baptistery, when, carried away by his enthusiasm, he exclaimed, " Ya murio Castillo. Can it be possible that the pupil of

uncle,

the author of so

much

Murillo,' "

grace and beauty

VELAZQUEZ AND MURILLO. He

347

returned to Cordova overcome with chagrin, and,

recollections of Murillo,

he painted

in the style

ture of

San

piece.

Shortly after completing this

Francisco, which

full

of the

of that master a pic-

Cean Bermudez considered work he took

his master-

to his bed,

and

died the following year, 1667, of disappointment and melancholy. It is

unnecessary for the purposes of

this

work

to give a

list

the paintings by Castillo, as they are not likely to be of special interest to the student of the school of Seville.

GERMAN DE LLORENTE. DON BERNARDO GERMAN DE LLORENTE was He received 1685, and died in that city in 1757.

born

in Seville in

his education as

from Cristobal Lopez, a Pintor de la Feria, one who gained his living, as Murillo is said to have done, by painting canvases for the artist

India traders, the seat of whose commerce was Seville.

man Bernardo

how

learned the use of his brushes, and

From

this

to imitate the

coloring of Murillo.

capuchin monk, Frey Isidore of

Seville, at that

time created a

furore in Andalusia

by his description of the Virgin as a shepherdess. Llorente made some reputation by depicting her in that manner on canvas, whence he received Pastoras.

One

a missionary banner for Frey Isidore. in the it is is

Museo

the appellation of

Pintor de las

of his representations of this subject was executed as

del Prado,

where

repetition of this picture

was formerly ascribed

lithographed as a work of his in the Coleccion Litografica.

also an etching of

Tobar, and

There

by Mrs. Jameson in the Legends of the Madonna.

In the revision of the Catalogue of the Madrid Gallery the painting was Don Valentin Carderera had a small repetition,

restored to Llorente.

with

some

variations in the figures of the angels.

The

subject

Virgin seated on a rock in a landscape, feeding with roses

which are grouped around her. When Philip V. and Queen Isabel Farnese were Llorente painted a portrait of their son, the infant

the

some sheep

in Seville in 1729,

Don

Felipe,

which

AND IMITATORS OF

PUPILS, FOLLOWERS,

348

gave such

satisfaction that the artist

was rewarded with a

series

after Lebrun, representing the Battles of might at that time have received an appointment as he had desired, but his gloomy spirit did not accord

engravings by Audran,

Alexander.

Court Painter

with the gay scenes of the court, and he preferred to pass his days with the

His fame, however, had travelled beyond

of Seville.

friars

and on the organization of the Academy of San Fernando he was made an honorary member. his native city,

Llorente was a tolerable imitator of Murillo, but his coloring,

though luminous, lacked harmony, his touch was heavy and constrained, his shadows thick, and he lacked the grace and accuracy of drawing that characterized his great exemplar. in his colors has

The

use of bitumen

blackened and destroyed the quality of

many

of his

works.

Cean Bermudez gives a

have now disappeared. private houses in Seville,

brief

list

of his paintings,

also says that

many

all

of which

were to be seen in

and many have been exported as

originals

by Murillo.

The Duke At the St.

sale of

of Montpensier has a small St. Rosalia.

Marshal Soult, No. 98,

Catharine, crowned, richly dressed,

andholdinga palmandasword,.62X-49, sold for loo francs.

RUBIRA. DON was born

JOSEF DE RUBIRA, a son of Andres de Rubira, a painter, Seville in 1747. He devoted himself to copying the

works of Murillo, which he did with There was great exactness. formerly in the possession of Don Francisco de Bruna a copy by Rubira of the picture by Murillo, now in the National Gallery at

London, called the Pedroso Holy Family. Cean Bermudez says copy might have been taken for an original.

Not meeting with abandoned

the success he

this profession

and took

hoped

for in painting,

to sculpture, in

this

Rubira

which he was

VELAZQUEZ AND MURILLO. equally unsuccessful.

349

then engaged in the manufacture of coaches,

which trade he carried on

until

he died

in 1787.

ESCOBAR. ALONSO DE ESCOBAR tator of the style

mentioned by Cean Bermudez as an imiof Murillo, who lived at Seville at the end of the

seventeenth century.

good picture by his hand, representing an and Child, was in the choir of the Convent of

apparition of the Virgin

La Merced

Calzada, in that

city.

GUTIERREZ. One

fertile and most successful of the copyists of SIMON GUTIERREZ, a native of Seville, and a memJUAN

of the most

Murillo was

ber from 1664 to 1672 of the

The

establishing in that city. are

unknown, but he

Academy which

date of his birth and that of his death

believed to have died in the early part of the

eighteenth century, leaving behind

name, but

him but few

that pass under the

many

Murillo assisted in

Cean Bermudez mentions

name

pictures that bear his

of his master.

four paintings

by him.

His master-

piece was a half-length of the Virgin with the Child in her arms, in the Convent of

Murillo

;

La Regina Angelorum, which resembled a work

the Virgin of the Rosary, with the Child, supported on a

throne of angels, in the cathedral of his native city ; the Saviour taking leave of his mother when he was about to undergo his suffering

on Calvary and a picture of which is not given. ;

In the

Museum

in the

at Seville

Convent of the Terceros, the subject

may now be

religious houses,

circular in

from the Convent of

form and represent passages

one of them, the Saint

making

seen four important

on the suppression of the

specimens of his handiwork, brought,

Pablo.

They

are

semi-

Dominic.

confession of his sins to Christ.

in the life of St.

350 PUPILS, another, he

FOLLOWERS, AND IMITATORS OF

by the Saviour and the Virgin. The first two are the death of the Saint is portrayed.

In the third,

visited in his last illness

and are very creditable works.* In the Royal Institution at Liverpool

the best,

a picture representing

the Ecstasy of St. Francis.

The Church

of Nuestro Senora de la

Seville

had once a painting of

an apple, the figures half-length, life size; St. Louis ofFrance ; St. Francis de Paul;

Mary, and Joseph.

Jesus,

St.

Don

Aniceto Bravo possessed in his gallery twelve works by Gutierrez. They were half-length figures, one and a half varas in height and three-quarters of a vara in breadth, and represented The

Virgen de Belem, or de la Alanzana, with

James

A ndmu;

St.

qnin; and

a pilgrim; St. John the Sebastian ; St. Roch; St.

St.

Evangelist;

Peter; St. Joseph; St.Joa-

St.

Anna.

They were

all

brought, during the occupation of Seville

by the French in 1811, from the Convent of La Assumpcion.

PEREZ. ANDRES PEREZ,

a son of Francisco Perez de Pineda, was born

His father was, 1660, and died in that city in 1727. from 1664 to 1673, a member of the Academy of Seville and conin Seville in

Andres received

tributed his share towards

its

tion in art from his father,

and both were counted among the followers

expenses.

his instruc-

of the school of Murillo.

The works Andres are in the

of Francisco are rarely to be met with, but those of

abundant

sufficiently

Museum

of that

city.

in Seville.

The

subjects

Six paintings are

St.

by him

are

Augustin and

John Chrysostom, wearing bishop's robes, and seen at full length, These two are companions, about fourteen inches standing. high. St.

The

others are Christ

Ferrers; and *

When

St.

Crowned with Thorns ,

St.

Jerome ;

St.

Vincent

Ambrose.\

the writer

visited Seville there

were

three hundred and seventythere are now, as appears by the last catalogue, only one hundred and eighty-seven. Doubtless those that have been removed are not three pictures in the

first

Museum

;

important in themselves, but their absence gallery to study the School of Seville.

a serious loss to one

who

visits

the

t Did not the Museum contain some years ago the Last Judgment, painted for the Capuchin Church, signed and dated 1713 ?

VELAZQUEZ AND MURILLO.

351

The following pictures by Andres Perez were formerly in Seville In the Church of Santa Lucia, a paint-

Don Aniceto Bravo possessed a Santa Lucia; Santa Marina ; Santa Ursula; and Santa Barbara ; greatly esteemed

ing relating to the Sacrament. Church of S. Miguel. The Marriage of the Virgin ; St. Dismas, the good

for the beauty of the draperies.

Don Pedro

Garcia was in possession

of two small Hilanderas.

St. Antony of Don Jose Saenz had several pictures, two were half-length among them two A rchangels; St. Francis and some figures figures, surrounded by a garland of praying in the desert flowers. were these last, of the Apostles. Query Church of San Roman. St. Antony the pictures formerly in the Capuchin and Santa Barbara, both half-length. Church ? Don Jose Lerdo de Tejada had The Capuchin Church. Twelve figures of The Apostles, half-length. Trinity ; and St. Christopher.

Joseph; and

robber;

St.

Padua.

The

last

;

GARZON. JUAN GARZON was a

disciple of Murillo,

whose manner he

closely

was a close friend of Meneses Osorio, and these two labored much together on the same canvas. His death occurred

imitated. artists

There are but few works known by his hand. The only one the writer recalls was sold in the Aguado sale for one hundred and thirty-five francs. It represented three children in a in Seville in

1729.

trough, apparently praying, and picture of

St.

Among named

a fragment of a

Nicholas of Bari.

the other copyists or imitators of Murillo

the following

DON JOAQUIN was

may have been

may be

briefly

JOSEF CANO, a

disciple of

Domingo

Martinez,

at the time of his death, in the year 1784, Secretary of the

of Design in Seville.

was

School

unrivalled in his time for his copies of

and Child, and other subjects by Murillo. mentioned by Cean Bermudez as a copyist of

the pictures of the Virgin

JOSEF LOPEZ

Murillo and a close follower of his master's style. Felipe, formerly in the

Convent of La

MATEO GONZALES name

painted a

Merced Calzada at

St.

Seville.

not noticed by Cean, but Tubino gives his

as one of the followers of Murillo.

PUPILS,

352

FOLLOWERS, AND IMITATORS.

CLEMENTE DE TORRES was born

Cadiz in 1665, and studied under

was one of the best painters of his time, but most of his pictures have disappeared. A painting in fresco, representing the Eternal Father, is still to be seen over the arch of the great chapel Valdes Leal.

of the Church of that city

original of

St.

Philip Neri at Cadiz;

and

in the Cathedral of

a good copy of the Immaculate Conception by Murillo, the which is in the Louvre. (Catalogue, No. 29.) Cean Ber-

mudez had some drawings by him which many judges believed by

hand of Murillo.

the

Among

may be named

the most noted copyists of Murillo

JOAQUIN MANUEL FERNANDEZ CRUZADO, a native of Jerez de la Frontera, who was born December 24, 1781, and studied in the School of Fine Arts in Cadiz, where his father,

Don

was a

where he spent some

time

professor.

In 1808 he went to

copying the works of Murillo and other

him of the Virgin and Child and

now

Seville,

in the

Museum

Jose Fernandez,

artists.

Priests (ante, p.

163,

A No.

copy by 113,)

at Cadiz.

FRANCISCO GUTIERREZ was a

successful copyist

and imitator of

Murillo in the early part of the present century.

JOAQUIN CORTES, JOSE GARCIA CHICANO, FRANCISCO BEJARANO,

MANUEL BEJARANO, ANTONIO BEJARANO, MANUEL QUESADA, and JOSE ROMERO have acquired some reputation in modern times as copyists of Murillo's works.

BIBLIOGRAPHY Of the

most important books consulted in the preparation of the foregoing

Catalogue.

Besides the works noticed in this

list,

there are

many

ing engravings after Velazquez or Murillo, references

found

others contain-

may

Choix des principaux tableaux de

to -which

by consulting the index.

Aguado.

Galerie Aguado.

galerie de Mr. le Marquis de las Marismas del Guadalquivir. Par Charles Gavard. Notices sur les peintres par Louis

Viardot.

Folio.

Paris,

no date [1839-41].

This work contains 36 engravings on and 48 pages of text. See ante, page 9.

Alabern, C.

Amador

Museo

See Madrid.

de los Rios.

Jose".

steel,

a frontispiece on copper,

del Prado. Sevilla Pintoresca, 6 descripcion

de sus mas celebres monumentos

Teniendo presentes y Gloom, y ornada con ocho 6 mas laminas, que representan vistas de los principales edificios, dibujadas esmeradamente por los profesores D. Joaquin los

apuntes de

artisticos.

Don Juan Colom

Dominguez Becquer y D. Antonio Bravo,

pp.

512.

8vo.

Sevilla, 1844.

Contains 12 lithographs, two of which are after Murillo.

useful

work by

a capable and conscientious writer. It is especially valuable for detailed account of pictures in the churches, the museum, and in

its

the private collections of Aniceto Bravo, Lopez Cepero, Pedro Garcia, Julian Williams, Jose Saenz, Jose Lerdo de Tejada, Jorge Diez Martinez, 1

Jos all

Larrazabal, Jose Maria Suarez de Urbina, and Jos of which are now dispersed.

Olmedo, nearly

Handbuch fur Kupferstichsammler, oder Lexicon der Kupfersticher, Maler-Radirer und Formschneider aller Lander und Schulen nach Massgabe ihrer geschatztesten

Andressen, Andreas.

Blatter

und Werke.

2 vols.

8vo.

Leipzig, 1870-73.

BIBLIOGRAPHY.

354

Arana de Varflora, Don Fermin

[P.

Fernando Valderrama]. Commuy noble y muy leal Ciudad

pendio historico descriptive de de Sevilla Metropoli de Andalucia. la

99,

2 parts in

With an appendix of 63 pages.

1 1 8.

Sm.

volume, pp. Sevilla,

4to.

1789.

A work

of the highest authority, but the notices are brief and unsatisfirst edition, published in 1766, contains much less matter

The

factory.

than the later one.

D'Argenville, D.

Abrege de

la vie des plus

fameux

peintres,

leurs portraits graves en taille douce, les indications

avec leurs

principaux ouvrages, quelques reflexions sur leurs caracteres, et la

maniere de connoitre

grands maitres, par

la vie

dessins et

les

tableaux des

Nouvelle edition revue

de plusieurs peintres.

vols.

Paris, 1762.

Arte en Espana, El. 8 vols.

The is

les

* * *.

augmentee de

corrigee,

8vo.

Revista quincenal de las Artes del Dibujo.

Madrid, 1862-70. first

two volumes are

work of

the best

folio,

its class that

the others small folio or quarto.

has appeared

Spain, and

its

This

untimely

death was a great loss to Spanish art and criticism.

Artista, El. drazo.

A graphs.

Los Editores Eugenic de Ochoa, y Federico de Ma3

vols., folio.

Madrid, 1835-6.

periodical containing Only three volumes

Asensio, D. ]os literarias,

some good articles and were published.

number

of litho-

Francisco Pacheco, sus Obras artisticas y especialmente el Libro de descripcion de Verdaderos -

Retratos de ilustres y memorables varones que dejo inedito.

Apuntes que podran

servir

de introduccion a aquel libro si Sm. 8vo, pp. 294, v. Sevilla,

alguna vez llega a publicarse. n. d. [1876].

careful

and scholarly account of Pacheco, containing incidentally relating to Velazquez and his children.

some documents

Aulnoy, La Comtesse

D'.

tion nouvelle, revue et

1874.

8vo.

Relation du

Voyage d'Espagne.

annotee par

Mme.

B. Carey.

EdiParis,

BIBLIOGRAPHY. Bardi, L.

L'Imperiale e Reale Galleria

de L. Bardi.

Folio.

vols.

French edition was issued

Berni y Catala, D. Joseph. los titulos

Beule, Ernest.

Castilla.

355

Pitti.

in 1842.

Creacion, antiguedad, y privile'gios de Folio.

Valencia, 1769.

Murillo et 1'Andalousie.

Article from the

Revue des Deux Mondes, October

Velazquez au Musee de Madrid. Article from the Revue des Deux Mondes,

Blanc, Charles.

Les Tresors de

July

15, 1861.

1861.

a Manchester.

1'Art

i2mo, pp.

Paris, 1857.

258.

Illustrata per cura

Firenze, 1837-42.

Tre'sor

leaux.

Curiosite tire des Catalogues de Vente de

Avec

diverses Notes

Precede d'une

biographiques.

lettre

a 1'auteur sur la curiosite

[By M. Thibaudeau.j

et les curieux.

Tab-

Notices historiques

2 vols.

Histoire des Peintres de toutes les Ecoles.

Paris, 1857.

Ecole Espagnole

par MM. Charles Blanc, W. Burger, Paul Mantz, L. Viardot, Folio. et Paul Lefort. Paris, n. d. [1852 ]. The self.

lives of

Velazquez and Murillo in

German

edition

was commenced

this

work

at Leipsic,

are by

M. Blanc him-

with the engravings

reproduced by tracing from those in the original edition. An English by P. Berlyn was undertaken by Cassell of London in 1852.

translation

Both these enterprises were abandoned after a few numbers had been issued.

Bonaparte, Lucien.

Choix de gravures a 1'eau forte d'apres les 142 plates peintures originales et les marbres de la galerie.

4to.

London, 1812.

Bosarte, Isidore. Sm. 8vo.

Viage

artistica

a varios pueblos de

Espafia.

Madrid, 1804.

This work was undertaken by royal command as a continuation of Ponz, but the author only lived to see the printing of the first volume, containing an account of the works of art in Segovia, Valladolid, and Burgos.

second volume was prepared, but remains unpublished.

British Institution.

account of

all

the pictures exhibited in

the rooms of the British Institution from 1813 to 1823, belong-

BIBLIOGRAPHY.

356

and Gentry of England, with remarks and explanatory. [By James Dallaway.] 8vo. Lon-

ing to the Nobility critical

don, 1824.

Buchanan,

Memoirs of

painting, with a chronological history

of the importation of pictures by the great masters into

Eng-

2 vols.

8vo.

land since the French Revolution.

London, 1 824.

Bulletin de 1'Alliance des Arts, sous

de Paul La-

la direction

Thor6 pour

croix (Bibliophile Jacob) pour les livres, et de T. 6 vols. 8vo. les tableaux. Paris, 1842-8.

Burger, la

Musees de

[T. Thore].

Haye.

Muse'e

Van

der

Amsterdam

Hollande.

Etudes surl'ecolehollandaise.

Hoop a Amsterdam,

12010.

Musee de Rotterdam

complement aux Musees d'Amsterdam

suite et

i2mo.

Paris, 1858.

;

de la Haye.

Paris, 1860.

Galerie Suermondt a Aix la Chapelle, par

catalogue de

la collection

par

Burger, avec 8vo.

Dr. Waagen.

Bruxelles

et Paris, 1860.

Musee d'Anvers.

i2mo.

Paris, 1860.

Tresors d'Art en Angleterre.

Velazquez

ses

i2mo.

edition.

CEuvres, par William

Stirling,

W. Burger.

traduit

un catalogue des

1'Anglais par G. Brunei, avec des notes et

tableaux de Velazquez, par

Paris, 1865.

8vo.

Paris, 1865.

See Thore, T.

Burnet, John.

Practical Hints

Portrait Painting.

410.

Lon-

don, 1850.

Butron, la

Don Juan

de.

Discursos Apologeticos en que se defiende

ingenuidad del arte

derechos, no

Pmtura, que es

inferior a las siete

A Cabinet de et des

curious volume, valuable chiefly because of 1'

Amateur

de todos

que comunmente se reciben.

156 leaves, paged only on one side.

410.

liberal,

de 1'Antiquaire.

Madrid, 1626. its

rarity.

Revue des tableaux

estampes anciennes, des objets d'Art, d'antiquite curiosite. 4 vols. 8vo. Paris, 1842-45-6.

BIBLIOGRAPHY. Caldesi

Co.

The Art Treasures

357

Exhibition.

The Ancient

series,

parts, containing [100 and 96] photographs of pictures old masters exhibited at Manchester in 1857. the Folio. by

two

The Hertford

Containing thirty photographs of Manchester by the Marquis of Hertford.

Gallery.

pictures exhibited at Folio.

Carderera y Solano, D. Valentin.

Catalogo y descripcion sumaria de Retratos Antiguos de personajes ilustres Espanoles Madrid, 1877. y estranjeros de ambos sexos. 8vo, pp. 144.

description of 353 portraits, besides 140 miniatures, etc., collected in the possession of the Duke of

by Don Valentin Carderera, and now

The collection is extremely interesting and who wishes to study the portraits of Velazquez.

Villahermosa in Madrid. important, especially to one

Carducho, Vicente.

Dialogos de

Small 4to. Madrid,

la Pintura.

l6 33There

a reprint of the above by D. G. Cruzada Villaamil, with the

plates reproduced in facsimile.

Castillo,

Leonardo

Madrid, 1865.

4to.

Viage del

del.

grande a la frontera de Francia

Key N.

;

de los Reyes; juramento de buleta de la Jornada. 410, pp. 22. vistas

gusto en

paz; y succesos de ida y

Cean Bermudez, D. Juan Agustin. suyo, sobre

Felipe IV.

funciones reales del desposorio ;

Madrid, 1667. Carta de

pintura de

a un amigo

la escuela Sevillana,

y grado de perfeccion a que elevd Bartolome Estevan Murillo; cuya vida se inserta, y se describen sus obras en

sobre

Sevilla.

Small 8vo.

168 pp.

Cadiz, 1806.

translation of that part of the in Davies's Life of Murillo.

work

that relates to

Murillo

given

The most important work that has been written on the subject, and the one that has supplied all subsequent writers with most of their facts. The appendix contains the documents relating to the Academy of Seville, names " to whom the letter was addressed of the members, etc. The " amigo suyo was Don Caspar Melchor de Jove-Llanos, who was at the time sick and unjustly imprisoned.

Descripcion artistica de 200.

Small 8vo.

Catedral

Sevilla, 1804.

Sevilla.

Pp. xxii,

BIBLIOGRAPHY.

358

Cean Bermudez. de

Descripcion artistica del Hospital de la Sangre

Sevilla.

Small 8vo.

Pp. 29.

Diccionario

historico

Bellas Artes en Espana. S.

Fernando. The

life

Esteban.

Valencia, 1804.

de los mas

6 vols.

ilustres profesores

las

Publicado por la Real Academia de Small 8vo.

Madrid, 1800.

is given in the second volume, under the title of comprises 17 pages, of which one-half is occupied with a list of his works. The life of Velazquez fills 25 pages, including the list of his

of Murillo

It is greatly to be regretted that Cean rarely paintings by any artist, except such as existed in the royal collections, or in the churches or convents of Spain. It is needless to say anything in praise of this author. His writings

pictures, occupying 2 pages.

mentions

are the mines that have supplied the gold to all subsequent biographers of artists.

Spanish

Chabert, M.

Galerie des Peintres, ou collection de portraits des

peintres les plus celebres

de toutes

les

ecoles.

de leur notice historique, de leurs dessins, les arts.

Folio.

3 vols.

Accompagnee

d'un discours sur

Paris, n. d.

Contains 2 lithographs after Velazquez and 2 after Murillo.

Clement, Clara E. Art.

8vo.

Hand-book of Legendary and Mythological

New-York, 1871.

useful vade nucttm of information on the subjects treated of; very who have not the more bulky volumes of Mrs.

desirable for those

Jameson.

includes mythological as well as religious legends, and contains outline engravings on wood, from Mrs. It

mostly copied

Coleccion de las Estampas grabados a tenecientes al rey de Espana.

many

Jameson.

buril

los

Folio.

plates.

Contains a selection of 48 of the engravings

now

cuadros perN. d.

published at the

Calcografia Nacional.

Coleccion Litografica.

Colon y Colon, See also

Conca,

Don

Sevilla Artistica.

Amador de

Antonio.

spezialmente

degne

dell'

See Madrid,

Museo i6mo.

del Prado. Sevilla, 1841.

los Rios.

Descrizione odeporica della Spagna, in cui notizia delle cose spettanti alle Belle

attenzione del curioso viaggiatore.

Arte

De Don An-

BIBLIOGRAPHY. tonio Conca, Socio delle Reali

Georgofili.

A work

vols.

Accademie Fiorentina

e de

Parma, 1793-97.

410 (8vo).

on the plan of Ponz,

359

whom

he closely follows, using often the

very words of that author translated into Italian.

Cook,

Sketches in Spain during the years 1829-30-31-32,

S. S.

2 vols.

etc.

Couch6,

Galerie

8vo.

London, 1834.

du Palais-Royal, gravee d'apres les tableaux des composent avec un Abrege de la vie

differentes ecoles qui la

des peintres et une description historique de chaque tableau,

par M. 1'Abbe de Fontenai.

Cuadros Selectos de San Fernando.

3 vols.

Folio.

Real Academia de

Folio.

Paris,

las tres

1786-1808.

nobles artes de

Madrid, 1871-2.

Four Cuadernos have been issued containing 5 plates each. Academia at 4 and 5 pesetas each Cuaderno.

They

are

for sale at the

Cumberland, Richard.

Anecdotes of Eminent Painters

Spain

and I7th centuries; with cursory remarks upon 2 vols. the present state of arts in that kingdom. Sm. 8vo.

during the i6th

London, 1782. The second edition, 1787, is sometimes accompanied by catalogues of the pictures in the royal palaces of Spain, much the same as those given by Ponz and Twiss, although the author says his lists were furnished him by For many of his remarks on the pictures the King's special command. the author was indebted to a discourse pronounced by Jovellanos before the Real Academia de San Fernando, on the I4th of July, 1781.

Cunningham, Allan.

The Cabinet

Gallery of Pictures by the

first

masters of the English and Foreign schools, in seventy line engravings, with biographical and critical dissertations. 2 vols.

London, 1836.

Davies, Edward.

The

life

of Bartolome E. Murillo, compiled from

Translated by

the writings of various authors.

Esq. late Captain in the ciii,

185.

8vo.

first

Edward Davies,

regiment of Life Guards.

Pp.

London, 1819.

8vo.

confused, slovenly, ill-arranged work, but valuable nevertheless, as contains, besides some notes by the author, all that relates to Murillo in

Cumberland.

Anecdotes

(p.

i-xxx).

BIBLIOGRAPHY.

360

Nouveau Voyage en Espagne

Bourgoing.

(p. xxxiii-xxxvii).

D'Argenville. Abrege' de la vie des Peintres (p. xlv-Iiv). Museo Pictorico, in Spanish (Ivii-lxxii). Palomino. Ponz. Viage, in Spanish (Ixxv-cii).

[This

muddy mixture

last is

are mechanically suspended without the slightest break,

which the Captain's English notes in the Spanish text, sometimes

by way of parenthesis, paragraph, which is Ponz and which is

or quotation marks, to indicate

It must, however, be admitted that the notes, although misleading, are interesting and valuable.] Cean Bermudez. Carta, translated into slip-shod English (p. 9-154). [With notes by the Captain as in the preceding. The documents

Davies.

relating to the Academy of Seville; and the edict of Charles III., issued in 1779, prohibiting the exportation of pictures from

Spain,

are given in Spanish. ] Cean Bermudez. Diccionario.

The

Life of Murillo, with the

list

his paintings, in Spanish (p. 157-182).

Davillier,

Baron Ch.

Memoire de Velazquez

sur quarante et

tableaux envoyes par Philippe IV. a 1'Escurial.

Reimpression de 1'exemplaire unique (1658). Avec Introduction, Traduction, et Notes et un portrait de Velazquez grave" a 1'eau-forte .

par Fortuny.

Pp. 64.

Denon, Baron Vivant.

8vo.

Paris, 1874.

Monuments

des Arts du Dessin chez les

Peuples tant anciens que modernes. recueillis parle Baron Vivant Denon, ancien Directeur-Gene"ral des Musees de France.

vols.

Dohme.

Folio.

Kunst und

Paris, 1829.

Dresden Gallery. tableaux

See Liicke.

Kiinstler.

Recueil d'Estampes d'apres la

Dresden, 1753

Galerie Royal de Dresde.

les

plus celebres

3 vols.

Folio.

1757

Die vorziiglichsten Gemalde der Konigliche Gallerie zu Dresden auf Stein gezeichnet nebst Erklarungen, von J. G. A. .

Frenzel;

herausgegeben

von

Franz

Hanfstaengl.

Folio.

Dresden, 1836.

- Die Dresdener Gemalde-Gallerie, Original-Radirungen von Hugo Biirkner und Andern. 25 etchings. 8vo. Dresden, n. d.

[1857-8].

(Rudolf Kuntze.)

BIBLIOGRAPHY. Dresden Gallery.

361

Meisterwerke der Dresdener Gallerie

Karl Clauss.

durch

Dresden [1871].

Folio.

Museum

Die Konigliche Gemalde-Gallerie im Neuen

Dresden, Beschreibung und Erlauterung sammtlicher Gemalde nach der Ordnung der Raume, etc. 3 vols. 8vo. Dresden, 1860.

Les ventes de tableaux,

Duplessis, Georges. ohjets d'art aux

xvii et xviii

8vo.

Bibliographic.

siecles

dessins,

estampes

(1611-1800)

Essai

Paris. 1874.

English Connoisseur, The. Containing an account

of whatever

curious in painting, sculpture, etc., in the palaces

and

seats of

the nobility and principal gentry of England, both in town and

Small 8vo.

2 vols.

country.

Contains

lists

of the pictures in the following collections:

John Barnard,

Belvidere, Kent,

Blenheim, Chiswick,

Chatsworth, Devonshire House,

Ditchley,

Foot's Cray Place,

Hagley Park, Houghton, Kensington Palace,

Hampton

Okeover,

Oxford,

Sir

Gregory Page,

Stow,

Espanoles

London, 1766.

Court, Charles Jennens, Paul Methuen,

Lord Scarsdale, Wilton,

etc.

Retratos de los Espanoles Ilustres.

Ilustres.

Folio.

Madrid, 1791.

A series of 114 portraits, published Madrid, where the prints are sold separately Farfan, Fernando de

la Torre.

at at

the Calcografia Nacional, peseta 5Oc. each.

Fiestas

Sta.

Iglesia

Metropolitana y patriarcal de Sevilla, al nuevo culto del Senor Rey San Fernando. Folio. Pp. 6, 243, with 2 1 plates. Sevilla, 1672.

first

This work, published ten years before the death of Murillo, printed book in which the name of the artist is mentioned.

named

five times,

and

the

called the Apeles sevillano, mc.ior 'J'iziano, etc.

BIBLIOGRAPHY.

362

de tableaux et Catalogue general des ventes publiques Contenant: 1. Les estampes depuis 1737 jusqu'anos jours.

Fer, P. De.

prix des plus

beaux Tableaux, Dessins, Miniatures, Estampes,

Des notes Ouvrages a figures, et Livres sur les Arts. 2. des peintres et des un dictionnaire formant biographiques, de toutes

graveurs les plus celebres

les

vols.

ficoles.

Paris, 1865.

it,

Filhol.

A work which would be valuable if the author had lived to complete " but unfortunately he was not able to finish the letter B." Galerie

du Musee Napoleon, publiee par

Filhol, graveur, et

8vo. 10 vols. Paris, an XII., redigee par Lavallee Joseph. tome XI. Paris, du Muse'e de Galerie France, 1804-1815. 1828.

Fiorillo, J.

Wiederauflebung

bis

Zeichnenden Kttnste von ihrer

der

Geschichte

auf die neuesten Zeiten.

Bde.

8vo.

Gottingen, 1798-1808.

Volume

IV. contains an account of the Spanish School, chiefly founded Murillo occupies six, Velazquez fifteen pages. At

on Cean Bermudez. p.

464-70

list

some works on

Flores, El P. Fr. Henrique. Historia genealogica de todos los infantes

;

the subject.

Memorias de

las

Reynas Catholicas.

casa real de Castilla, y de Leon,

trages de la

Reynas en estampas y nuevo Secunda Edicion. Madrid, ;

aspecto de la Historia de Espaiia.

MDCCLXX. Ford, Richard. A

2 vols.

8vo.

Handbook

for travellers in Spain.

entirely revised, with great additions.

Third edition, 2 vols.

London, 1855.

8vo.

The

Paintings of Spain, in

Article " Velazquez," in

The Quarterly Review, No.

The Penny

Cyclopedia.

on the Louis Philippe and Standish sales, Athenaeum, May 14, 21, 28, June 4 and n, 1853. Articles

Gault de Saint-Germain, Pierre Marie. de Peinture, ou histoire

clxv.

The

Guide des Amateurs

proces-verbaux des auteurs, des

BIBLIOGRAPHY. collections

ventes.

generates

363

particulieres

des

magasins

Nouvelle edition.

ficole Italienne.

8vo.

des

Paris, 1835.

Gazette des Beaux Arts.

Paris, 1859-1869. 25 vols. 8vo, and Second period, 1870-82. 26 vols.

of Table.

2 vols.

Gonzalez de Leon, Don de todos los noble,

muy

muchas

Felix. Noticia

muy

antiguedades,

contienen.

con todo

;

que

8vo.

vol.

les sirve

de adorno

curiosidades

inscripciones

tomes in

muy

heroica e invicta Ciudad de Sevilla, y de

casas particulares

artistico,

y curiosa

sagrados y profanes de esta

edificios publicos, leal,

artistica, historica,

Pp. 277-400.

que

Sevilla,

1844.

A as

very interesting and useful work, containing an account of Seville then existed, as well as a notice of all the churches destroyed or

secularized,

and an enumeration of the paintings and other works of

art

they contained.

Gower, Lord Ronald.

The Great

London, 1880

4to.

Grabador

series of

Historic Galleries of England.

In progress.

photographs principally from inedited pictures.

Agua

Fuerte, El.

Folio.

Madrid, 187-.

Two volumes, containing 48 etchings each, and 35 etchings of the third volume have appeared, but the work has been discontinued and the plates transferred to the Calcografia Nacional, Madrid, where the prints are sold separately at 2 pesetas each, or half that price for the entire collection. About two-thirds of the subjects are from pictures not in the Museo del Prado. The artists are among the best in Spain, Maura, Galvan, etc.

Grosvenor House.

etchings from the

By John Young.

London, 1821.

Guia de Forasteros (Herrera Davila).

Kabinet

ciudad de

Sm. 8vo.

De voornaamste

Hague, The. 8vo.

notices of the principal works.

historical

4to.

with Catalogue of the pictures at whole collection, accompanied by

'sGravenhage door

100 outline plates.

Sevilla,

par D.

H. D.

Sevilla, 1832.

van het Koniklijk Steengracht van Oostkapelle.

Schilderijen J.

'sGravenhage, 1826-30.

BIBLIOGRAPHY.

364

Les principaux tableaux du Musee Royal a la Haye, 8vo. La Haye, 1826. graves au trait, avec leur description.

Hague, The.

Hazlitt, William.

Criticisms

Galleries of England.

on Art, and Sketches of the Picture vols. i2mo. London, 1843-44.

Contains catalogues of the

following galleries

National Gallery,

London; Dulwich; Windsor Castle; Hampton Court Grosvenor House; Wilton House; Earl of Pembroke; Colt Hoare, Stourhead; Earl of Radnor, Longford Castle; Marquis of Exeter, Burleigh House; Blenheim; Bodleian Library; Fitzwilliam Museum; Stafford House; Lansdowne House, and Bowood LordAshburton; Bridgewater Gallery; Sackvilles, Knolle, in Kent; Apsley House; Sir R. Peel; S. Rogers; Sloane ;

;

Museum.

A Handbook

Head, Sir Edmund.

of the History of the Spanish

and French Schools of Painting.

I2mo.

on the Spanish Painters, Review, No. xxvi. Article

Hermitage, The. gravee au 2 vols.

Camille de Geneve.

trait

London, 1848.

the Foreign

Quarterly

Galerie de 1'Hermitage,

d'apres les plus beaux tableaux qui la composent.

St.

410.

Petersburg and London, 1805-9.

Galerie Imperiale de 1'Ermitage, lithographiee par des artistes

Franais, sous

la direction

Fontaines editeur.

Houghton

St.

Petersburg, 1844.

Gallery.

de M. E. Huot.

set of prints

capital paintings in the collection

Empress of Russia,

lately

Chez Gohier Des 120 plates issued.

engraved

after the

most

of her Imperial Majesty the

the possession of the Earl of

Orford, at Houghton, in Norfolk, with plans, elevations, sections,

chimney-pieces, and ceilings.

2 vols.

Folio.

London, 1788.

See Waagen.

Hoskins, G. A.

Houghton

Spain as

Gallery.

Jameson, Anna.

2 vols.

8vo.

London, 1851.

See Hermitage.

Handbook

and near London.

Companion

It Is.

to the

Svo.

to the

Public Galleries of Art in

London, 1845.

most celebrated private

galleries of art in

London, containing accurate catalogues arranged alphabet!-

BIBLIOGRAPHY. cally for

and

365

immediate reference, each preceded by an historical with a prefatory essay on art, artists,

critical introduction,

The

and connoisseurs.

collectors,

the Bridgewater Gallery

Queen;

Gallery of

Her Majesty

the Grosvenor Gallery

;

the the

Marquis of Lansdowne ; the collection of the Robert Peel the collection of Mr. Rogers. 8vo.

collection of the

Rt.

Hon.

Sir

;

London, 1844.

Jameson, Anna.

Sacred and Legendary Art.

Third edition.

8vo.

London, 1857. History of

Our Lord.

Legends of the

Second

8vo.

Madonna.

edition.

London, 1865.

Fourth edition.

8vo.

London,

1867.

Legends of the Monastic Orders. London, 1867.

Joyas de

la Pintura.

See Madrid,

Museo

Bearbeitet von Wilhelm Liibke.

Recueil de gravures au

beaux-arts.

8vo.

2 vols.

Annales du Musee

del Prado.

Handbuch der Kunstgeschichte.

Kugler, Franz.

Landon,

8vo.

Stuttgart,

86 1.

moderne des

d'apres les princi-

projets d'architecture.

Paris, 1803-27.

Revue des Musees d'Allemagne.

Lavice, A.

Vierte Auflage,

1'ficole

trait

paux ouvrages de peinture, sculpture, ou 41 vols.

Fourth edition.

8vo.

Catalogue Raisonne

des Peintures et Sculptures exposees dans les Galeries publi-

ques

dans

et particulieres et

Musees d'Angleterre.

8vo.

les Eglises.

8vo.

Paris, 1867.

Musees de Belgique, de Hollande,

de Russie.

8vo.

Paris,

1872.

Musees de France. Musees

d'ltalie.

8vo.

Musdes d'Espagne. This volume contains statues, etc.

the

Paris, 1870.

Paris, 1862.

8vo. lists,

Paris, 1864.

or less complete, of the pictures, of Barcelona, Burgos, Cadiz,

museums and churches

BIBLIOGRAPHY.

366

Granada, Madrid, Malaga, Saragossa, Segovia, Seville, Toledo, Valencia, and Valladolid ; also in the private collections of Don Pedro de Madrazo, and M. Manzano, in Madrid; and those of Arasabla, Balmaseda, Garcia de are apparently bookLeaniz, and Lopez Cepero, in Seville. The volumes The opinions and criticisms of the author are worthless, sellers' jobs.

may sometimes have a

but the descriptions of pictures

Lebrun,

Recueil de Gravures au

B. P.

certain value.

trait,

a 1'eau

forte, et

ombrees, d'apres un choix de tableaux de toutes les ecoles, recueillis dans un voyage fait en Espagne, etc., 1807-8.

Lefort, Paul.

Etude biographique

Francisco Goya.

suivie

with 178 etchings.

2 vols. 8vo,

Paris, 1809.

1'essai

et critique,

d'un Catalogue Raisonne de son ceuvre, grave 8vo.

et lithographic.

Paris, 1877.

of the etchings by Goya after Velazquez, and the notes concerning the different states of the plates.

Useful for

its

list

on Murillo

Articles

Arts, 1875,

et ses eleves, in

and on Velazquez,

It is the intention

M. Lefort

Ib.,

The Gazette

des

Beaux

1879-82.

to republish these articles in

a separate

volume.

Guide theorique

Lejeune, T. 3 vols.

8vo.

Leuchtenberg

et pratique

de 1'amateur de tableaux.

Paris, 1864-5.

Galerie.

Gemalde-Sammlung

Hoheit des Herzogs von Leuchtenberg

seiner

Kaiserl.

Miinchen.

gestochen von Inspector J. N. Muxel. Zweite Ausgabe mit umgearbeitetem Texte von J. D. Passavant. Frankfurt am Main, 1851. 4to, with portrait and 252 plates. umrissen

London National

The National

Gallery of Pictures

the Great Masters, presented by individuals or purchased

Gallery.

grant of Parliament.

2 vols.

London,

4to.

n. d. (1836).

Etchings from the National Gallery, with notes by R. N.

Wornum. The

2 vols.

pictures

Folio.

London, 1876-77.

by the Old Masters

photographed by tions, historical,

Signer L. Caldesi

biographical and

;

in the National Gallery,

with letter-press descrip-

critical,

by Ralph Nicholson

BIBLIOGRAPHY. Wornum, Keeper and

(Virtue

Issued

367 London.

410.

Secretary.

Co.) (30?) parts, each containing 12 photographs, at

lOs. the

part.

Liibke, Dr.

Wilhelm.

Denkmaler der Kunst, zur uebersicht des Entwicklungsganges der bildenden Kunst von dem friihesten

Werken

auf die neuere

bis

Zeit.

folio.

Oblong

Stuttgart,

1864.

by Dr. Wilhelm

Outlines of the History of Art,

new

Liibke.

German edition. Edited Royal 8vo. New- York, 1880.

translation from the seventh

by Clarence Cook. Liicke, Dr.

2 vols.

Hermann.

Bartolome Esteban Murillo.

Pp. 40, with 9 wood-cuts.

Royal 8vo.

Forming Lieferung

Leipzig, 1877.

30 of Kunst und Kiinstler des Mittelalters und der Neuzeit, von Dr. Robert Dohme.

Madoz, Pascual.

Diccionario geografico-estadistico-historico de

y sus posesiones de ultramar.

Espana

16 vols.

410 (8vo).

Madrid, 1845-50.

Madrazo.

See Madrid,

Museo

Madrid, Museo del Prado.

del Prado.

Coleccion Litografica

;

or,

Coleccion

de cuadros del rey de Espana que se conservan en sus reales palacios, Museo y Academia de San Fernando, con inclusion de los del real monasterio del Escorial; obra litografiada por habiles artistas baxo la direccion de D. Jose de Madrazo, con el

texto por D.

Juan Agustin Cean Bermudez.

3 vols.

Folio.

Madrid, 1826-36. The

text

died in 1829.

accompanying the first 46 The rest are by D. Jos

is by Cean Bermudez, who Musso y Valiente. There are

plates

198 lithographs of paintings, besides 5 portraits,

- El

etc.

Real Museo de

Espana.

Madrid y las Joyas de la Pintura en Coleccion selecta de cuadros pertenecientes a la

corona, a la Iglesia, particulares,

copiados

Estado y a de

los

las

mas

originales

notables galerias

por

los

primeros

BIBLIOGRAPHY.

368

noticias

desarrollo y vicisitudes de la pintura, por

Don Pedro de Madrazo. The

con

de Europa, y esplicados

dibujantes-litografos historicas sobre el

publication of this

Folio.

Madrid, 1855.

work was suspended when 25

plates

had

been issued.

Madrid, Museo del Prado.

Galleria de

Alabern, Camillo.

Real Museo de Pintura de Madrid;

cuadros escogidas del

grabado sobre acero por

sistema Aleman-Francais.

8vo.

Madrid, 1859. Unfinished, and often incomplete.

Galeria Espanola

del

Bello Arte de la Pintura.

ilustrada con las copias grabadas al perfil ros

que se conservan en todos

1879.

los

Obr.

mejores cuad-

museos de Espafia.

Madrid,

Folio.

Three parts have appeared, containing 8 plates each,

Catalogo descriptive

historico

Museo

del

Madrid, seguido de una sinopsis de

all

after Velazquez.

del

Prado de

las varias escuelas

a que

pertenecen sus cuadros, y los autores de estos, y de una noticia historica sobre las colecciones de pinturas de los palacios reales

en Espafia, y sobre la formacion y progressos de este Por Don Pedro de Madrazo. Parte pri-

establecimiento.

mera.

Escuelas Italianas y Espaiiolas.

8vo.

Pp.

Ixiv,

713;

Madrid, 1872.

most excellent catalogue, the best that exists of any gallery in This volume comprises only the Italian schools, 578 numbers, 344 pages ; and the Spanish Schools, 567 numbers, 312 pages, besides supThe second part, which is intended to plementary matter, tables, etc. include the German, Dutch, Flemish, and French schools, has not yet been published, and the occupations of Senor Madrazo are such that its speedy Europe.

appearance cannot be looked for. There is an abridgment of this catalogue by Don Pedro de Madrazo. Madrid, 1878. 8vo. 499 pp. This volume includes the Dutch, French, etc., as well as the Italian and Spanish schools, but it lacks the very interesting biographies and historical notes.

ing

enumerates 2525 pictures, includ-

some double numbers.

Madrid, Academia de San Fernando. Mariette, P.

Abecedario.

6 vols.

See Cuadros Selectos.

8vo.

Paris, 1857.

BIBLIOGRAPHY. Manchester Exhibition. Scharf, G.;

Miles Gallery. Bristol

See Blanc, C.

Waagen, G.

;

Burger,

W.;

Caldesi;

Catalogue of the pictures at Leigh Court, near

the seat of Philip

;

369

John

ings from the whole collection

and biographical

notices.

Minor, Ellen E. Murillo. A handy little volume,

Miles, Esq., .

with etch-

P.,

accompanied with historical

By John Young. London, 1822. Pp. 88.

8vo.

410.

London, 1882.

based on Stromer, as Stromer

based on

Tubino.

Miranda, D. Vicente Alvarez. ciencias,

letras,

Glorias de Sevilla.

tradiciones,

artes,

monumentos,

caracteres, costumbres, estilos, fiestas y espectaculos.

parts in

vol.

Pp. 172, 159, 134.

armas,

edificios,

Three

Sevilla, 1849.

Contains numerous engravings on wood, of which 2 are after Murillo ; also an account of the paintings in the churches, the Museum, and in the galleries of Senores Aniceto Bravo, Lopez Cepero, Pedro Garcia, Jose' Saenz, Jose Lerdo de Tejada, Jorge Diez Martinez, Jose Maria Suarez de Urbina, and Joaquin Saenz.

Miiller,

Hermann A. 2 vols.

8vo.

Die Museen und Kunstwerke Deutschlands. Leipzig (1857).

Munich

Gallery. Auswahl der Vorziiglichsten Gemalde der Pinakothek herausgegeben von der literarisch artischen Anstalt. Miinchen (J. G. Cotta). Folio.

Koniglich Bayerische Pinakothek zu Miinchen und Gemalde in Lithographirten Abbildungen Gallerie zu Schleissheim in der Kunstanstalt von Piloty und Lohle. herausgegeben .

Folio.

Miinchen, 1837.

Koniglich- Baierischer Gemalde Saal zu Miinchen und Schleiss-

heim

Lithographirt von Strixner, Piloty, Hohe, Selb,

Flachenekker.

2 vols.

Folio.

und

Miinchen, 1817-36.

Die K. Bayer. Gemalde- Galerie Pinakothek. Folio. Etchings by J. L. Raab. Text in German and French by Herr von Reber.

In progress.

Miinchen, 1882.

BIBLIOGRAPHY.

3/0

Museo Espanol de Antiguedades. Juan de Dios de garray, Editor.

de D.

D. Jose Gil Dorre-

Folio.

Madrid, 1872.

About 13 volumes have been

In progress.

la direccion

Bajo

Roda y Delgado.

issued.

Neues allgemeines Kiinstler-Lexicon, oder Nagler, Dr. G. K. Nachrichten von dem Leben und den Werken der Maler, etc.,

Neale,

8vo.

Views of the Seats of Noblemen and Gentlemen

22 vols.

Miinchen, 1835-52.

etc.

England, Wales, Scotland, and

Ireland.

1 1

Lon-

8vo.

vols.

don, 1822-29.

Noticia Historica de i8mo.

Sevilla.

O'Neil, A.

los

principales

monumentos

artisticos

Dictionary

of Spanish

Paintings,

comprehending

simply that part of their biography immediately with the i

arts,

8vo.

vol.

Sevilla, 1842.

from the i4th century to the i8th.

connected 2 parts in

London, 1833.

Only 250 copies

printed.

in the royal collections

contains a

list

of the Spanish paintings Academy of San

of Spain, including those in the

Fernando.

Don Joseph. Compendio cronologico de la historia de Espana, desde los tiempos mas remotos hasta nuestros dias.

Ortiz y Sanz, 7 vols.

8vo, besides

Ortiz de Zuniga, Diego. Sevilla,

vol. of portraits

of the Kings.

Madrid,

Annales eclesiasticos y seculares

desde 1246 hasta 1671.

Folio.

Madrid, 1677.

This work, published five years before the artist's death, contains four references to the works of elfamoso Bartolome Morillo.

Pacheco, Francisco. grandesas.

El Arte de

Pp. 644.

Small 410.

Pintura, su antiguedad y Sevilla, 1649.

There 1866.

is a reprint by D. G. Cruzada Villaamil. 2 vols. 410. Madrid, This was published by the editors of El Arte en Espana, mainly

for the benefit of the subscribers to that The work was handperiodical. somely executed, the edition limited, and it now sells for about 50 pesetas in

Madrid.

BIBLIOGRAPHY.

371

A worthless abridgment by Mariano de la Boca y Delgado, 116 pages, 8vo, was published at Madrid in 1871. The original edition is scarce, but not quite so scarce as Ford and Head represent. Copies are in the British Museum, and in the Bibliotheque Nationale at Paris, but I have been unable to find one in the Biblioteca Nacional at Madrid. I saw a beautiful copy in 1881, at a Madrid bookseller's,

priced at 400 francs, and Quaritch recently had one, not quite 12. This is the only book published in the lifetime

perfect, priced at

of Velazquez in which his

name

mentioned.

Palomino de Castro, y Velasco, D. Antonio. Tomo I. Theorica de Pictorico, y Escala Optica.

Museo

la Pintvra,

en que se describe sv origen, Essencia, Especies, y Qualidades, con todos los demas accidentes, que la enriquezen, e ilustran.

se prveban,

con demonstraciones mathematicas, y Filosoficas,

mas radicales Fundamentals. Pp. 306-46. Tomo II. Practica de la Pintura, en que se trata de el modo de Pintar al

sus

Olio, Temple, y Fresco, con la resolucion de todas las dudas, que en su manipulacion pueden ocurrir. Y de la Perspectiva comun, de la Techos, Angulos, Teatros, y Monumentos de

Perspectiva, y otras cosas

documentos para

las Ideas,

muy

especiales,

con

o Assumptos de

Obras, de que Tomo III. El

las

Pp. 230. ponen algunos exemplares. Parnasso Espanol Pintoresco Laureado. Con Estatuarios Eminentes

la direccion,

las vidas

de los

Espaiioles, qve con svs Nacion y de aquellos

Pintores, y heroycas obras han ilustrado la Estrangeros Ilustres, que han concurrido en estas Provincias, :

han enriqvecido con svs Eminentes Obras; graduados The segun la serie de el tiempo, en que cada vno florecio. is consecutive with that of Tomo II., and runs pagination y

las

from

231 to p. 498-18, besides

perspectives.

3 tomes in 2 vols.

13 plates of outlines

Folio.

and

Madrid, 171524.

The work was reprinted by Sancha at Madrid in 1795-6-7, with imThere have been pressions from the original plates, but no new matter. abridgments of the third tome, containing the biographies, as follows:

account of the Lives and

Works

of the

most Eminent Spanish

Painters, Sculptors, and Architects ; and where their several Performances Translated from the Musaeum Pictorium of Palomino are to be seen.

Velasco.

175 pp.

Small 8vo.

London, 1739.

[A wretched

translation,

BIBLIOGRAPHY.

372

reproducing from Palomino but little more than his blunders. Velazquez " Painter of the is King's Bed-chamber." The translator given the title of for the want of type in England to represent the Spanish " n," apologizes for which reason he is compelled to write nigno for nino.~\

Las Vidas de los Pintores y Estatuarios Eminentes Espanoles que con For Don Antonio Palomino

sus heroycas obras han ilustrado la Nacion. y Velasco. 8vo. Londres, 1844.

Histoire abre'ge'e des plus fameux Peintres, Sculpteurs, et Architectes

2 tomes in I vol. Espagnoles, avec une description exacte de leurs ceuvres. I2mo. Paris, 1749. [This is apparently a translation of the Spanish abridgment, published at London in 1744, with the lives of Raphael and

some others added by another hand.] Leben aller Spanischen und Fremden Mahler, Bildhauer, und BauDresden, 1781. Pp. 367. 8vo. Palomino was Court Painter in the time of Philip V., and had the best of opportunities for successfully executing the task he imposed on himself, opportunities of which it is to be regretted he did not make better use. meister, etc.

lie is pedantic in style and inaccurate in statement, but as he is the earliest biographer of the Spanish artists, all subsequent writers have drawn from him largely. In preparing the life of Velazquez, he was greatly indebted to his master, Juan de Alfaro y Gamez, a pupil and disciple of Velazquez. At the death of Alfaro, his valuable manuscripts and documents came into

the possession of Palomino.

Coleccion de poesias escogidas de los

Parnasso, Espanol.

celebres poetas Castellanos.

9 vols.

8vo.

mas

Madrid, 1768-78.

Parthey, G. Deutscher Bildersaal. Verzeichniss der in Deutschland vorhandenen Oelbilder Verstorbener Maler aller Schulen in

alphabetischer

zusammengestellt.

folge

vols.

8vo.

Berlin, 1863.

Passavant,

Main. -

Tour

8vo, with 10 plates. of a

Galleries, plates.

- Die

und Belgien, nebst Bau des Dornthurns zu Frankfurt am

Kunstreise durch England

einen Bericht iiber den

German

Frankfurt, 1833.

Artist in

and remarks on the

2 vols.

Christliche

Crown

England ; with notices of Private state of art. With portrait and

8vo.

Kunst

London, 1836. Spanien.

Pp.

184.

8vo.

Leipzig, 1853.

Pesth.

Landes-Gemalde-Galerie

Galerie in Wien).

Folio.

Buda-Pest (vormals Eszterhazy-

BIBLIOGRAPHY.

373

Eleven lieferungen have been published, containing four

In progress. etchings each.

Ponz, D. Antonio. cosas

mas

Small 8vo.

8 tomes.

Viage de Esparia, en que se da noticia de las apreciables, y dignas de saberse, que hay en ella. Madrid, 1772-94.

very complete, thorough, and discriminating account of the pictures and works of art in the churches, palaces, public buildings, and a few private houses in Spain. Unfortunately, the author did not live to complete the work, the last volume having been published after his death. Granada

and the Asturias are wanting. There are three editions of some of the earlier volumes, and the paging of the different editions varies slightly. See Bosarte, Isidoro.

Quilliet, F.

Dictionnaire des Peintres Espagnols.

Raczynski, Comte A.

8vo.

Paris, 1816.

Les Arts en Portugal. Lettres adressees a de Berlin, et accompagnees

la societe artistique et scientifique

de documens.

Reid, G.

8vo.

Paris, 1846.

Works of Velazquez

;

being a reproduction of

scarce and fine prints in the British

Stephen Thompson.

Folio.

Museum, photographed by

London, 1872.

[Reiset, F.] Catalogue des livres sur les arts tousbien relies, composant la bibliotheque de M. R * * *, Ancien directeur des Musees nationaux, dont la vente aura lieu 15 Avril, 1879,

etc.

8vo.

of 2315 Sale and Gallery catalogues, many of them valuable contribution to the very rare, and nearly all in fine bindings. bibliography of Art Sales.

Contains

titles

Musee de Peinture et de Sculpture, etc., dessinee et gravee a 1'eau forte par Reveil, avec des notices par Duchesne. 16

ReVeil.

vols.

8vo.

Text

French and English.

This work was republished by Morel

The

Paris,

1828-34.

et Cie., in 10 vols.

Paris, 1872.

number, are classified by Schools and Masters, with notes by Louis and Rene Menard. plates, 1172 in

Musee

Religieux. Choix de plus

a 1'eau forte sur acier, par Reveil.

beaux tableaux, 4

vols.

8vo.

etc.,

gravees

Paris, 1836.

Contains a selection of plates from the above.

Ris,

Le Comte Cldment pp.

i2mo.

de.

Paris, 1859.

Le Musee Royal de Madrid.

150

BIBLIOGRAPHY.

374

Rodriguez de Monforte, D. Pedro. a

se hicieron

que

Rey de

Magd. de Philippe Quarto,

Catholica

Descripcion de las honras

Espanas y del Nuevo Mundo.

las

4to.

Madrid, 1666.

Contains several engravings by Villafranca, some of which are doubtless after

Velazquez.

Academia nobilissimae

Sandrat, Joachimi de. sive in

de veris

pictoriae, 2 parts

genuinis hujusdem proprietatibus, etc.

with

vol. folio,

artis

portraits

Sandrat, Collin, Kilian, and others.

medallion,

engraved by

Noribergae, 1683.

This work, dated the year after Murillo's death, contains the first biography of the artist. It is, however, utterly worthless, as almost every fact is misstated. The author asserts that Murillo visited Italy and the Indies, that he died in August, 1682, and was borne to the tomb by two marquises and four knights. Velazquez, who had been dead 23 years, is not named, nor is any other Spaniard except Ribera.

A Handbook of the

Scharf, George.

Paintings by Ancient Masters a of " Critical

Art Treasures Exhibition.

in the

Being

reprint

Notices," originally published in the Manchester Guardian.

Crown

8vo.

London, 1857.

Schepeler, K. P. von. enthaltende Ideen Maler,

Scott,

8vo.

etc.

William B.

der

Geschichte Spaniens;

iiber

Kunst und Spanische

Aachen, 1828.

Murillo and the Spanish School of Painting.

London, 1873.

4to.

Contains

Beitrage

und Notizen

steel

engraving on

and 5 on wood

steel

after

and 8 on wood

Murillo.

after Velazquez,

Most of the

plates

and

originally

appeared in the Galerie Aguado.

Seguier, F. P.

critical and commercial dictionary of the works of painters, containing 8850 sale notes of pictures and 980 original notes on the subjects, etc. 8vo. London, 1870.

Sevilla Pintoresca.

See

For other works on

Amador de

los Rios.

Arana de Varflora; Gonzalez de Leon ; Guiade Forasteros; Miranda; NoticiaHistorica; Cean Bermudez Colon ; y Colon

;

Farfan

Stafford House.

;

Seville, see

Lavice

;

Ortiz de Zuniga.

Catalogue of the collection of pictures of the most noble Marquess of Stafford at Cleveland House, London,

BIBLIOGRAPHY.

375

containing an etching of every picture, and accompanied with historical

and biographical notices, by John Young, Engraver His Majesty, and Keeper of the British

mezzotint to

Institution.

2 vols.

Standish, F. H.

Seville

William.

Stirling,

London, 1825.

410.

and

its

Vicinity.

Annals of the

8vo.

London, 1840.

Artists of Spain.

3 vols.

8vo.

London, 1848. Stirling needs

praise.

These volumes are a monument, more en-

during than brass, of his diligence, accuracy, and taste. The edition consisted of only about 250 copies, and the work now sells for five times the

it was few presentation copies were originally published. printed, with a supplementary volume, containing photographs, now much One of these copies is to be seen in the faded, by the Talbottype process. British Museum. The work is indispensable to the student of Spanish

price at which

but a new edition is urgently demanded, with additional notes, giving the results of recent discoveries and changes. art,

Velazquez and his Works.

Small 8vo.

London, 1855.

ceuvres, par William Stirling, traduit de Velazquez G. Brunei, avec des notes et un catalogue des PAnglais par i2mo. Paris, 1865. tableaux de Velazquez. Pp. xii, 296. et

This work

far the

ses

a translation and expansion of Stirling's Velazquez, and

best yet published on the subject.

Essay towards a Catalogue of Prints engraved from the works Rodriguez de Silva y Velazquez, and Bartolome

of Diego

Esteban Murillo, by Sir William Stirling-Maxwell, Bart. 100 copies privately printed. Pp. xiv-i37- Small 8vo.

Only Lon-

don, 1873. This volume is the result of the joint labors of Sir William StirlingMaxwell and his friend, Charles Morse, Esq., both of whom were zealous

Velazquez and Murillo. The collection of Mr. Morse, probably the largest in works of these masters that had ever been formed, was dispersed by Sotheby, Wilkinson, and Hodge, July 4, as well as 1873, greatly to the enrichment of that of the present writer, that of Sir William Stirling-Maxwell, which is doubtless the largest now in collectors of engravings after

Europe.

Stothert, tions

James. on

steel

French and Spanish painters, with illustrafrom famous pictures, and a critical and bio-

BIBLIOGRAPHY.

376

graphical account of the

artists.

London,

4to (royal 8vo).

1877.

Stowe, Edwin. wood.

Stromer, Th.

Murillo.

Osgood

Herausgegeben von

Max

Small 8vo.

Jordan.

Berlin, 1879.

new

little

[Sweetser, M. F.]

an epitome, of the

life

of Murillo

by Tubino,

matter.

Murillo.

i6mo.

Pp. 136.

Boston (James R.

Co.), 1877.

Don Juan

Tapia y Robles. de

Leben und Werke.

Eingefuhrt durch Dr.

translation, or rather

with but

and 15 engravings on

viii, 1 1 6,

London, 1881.

Th. Stromer. Pp. 121.

Pp.

Velazquez.

8vo.

Grande,

Antonio.

principio, grandeza,

Ilustracion del

etimologia,

renombre etc.

4to.

Madrid, 1638.

Thord, T.

Etudes sur

la peinture

espagnole, Galerie de Marechal

Soult. Articles published in the

See Burger,

Revue de Paris

in 1835.

Thore' was an acute and conscientious

critic,

who

interested him-

ardent democrat, and a bold writer on political topics, he constantly embroiled himself with the government, and was twice condemned by the tribunals for the freedom of his language. After the coup d'etat of 1851, he withdrew from Paris and lived self especially in

the Spanish School.

abroad for a time, devoting himself to art instead of wards returned to Paris, where he died April 30, 1869.

Most of see.

politics.

after-

on art were under the name of W. Burger, which works there named, still using the signature of W.

his writings

Besides

the

Burger, he contributed to the Histoire des Peintres, by Charles Blanc, the Pantoja de la Cruz, Luis Tristan, Pareja, Carreno, Mazo, Claudio

lives of

Coello, and Cerezo.

Townsend, Joseph. and 1787

;

journey through Spain in the years 1786 with particular attention to the agriculture, manu-

factures, commerce, population, taxes, and revenue of that country; and remarks in passing through a part of France.

3 vols.

8vo.

London, 1791.

BIBLIOGRAPHY. Tubino, D. Francisco M. Cuadros.

Murillo, su

8vo.

301 pp.

careful

3/7 Epoca, su Vida, sus

Sevilla, 1864.

and thorough biography, the best we have of the

some new

artist,

con-

of documents, etc., with an account of the state of the arts in Seville before and after the time of Murillo, brief notices of his principal followers, and a list of his paintings. taining

Twiss, Richard. 410.

1773.

facts, copies

Travels through Portugal and Spain in 1772 and

London, 1775.

Contains incomplete

Viardot, Louis.

lists

Notices sur

of pictures in the royal palaces, Escorial, etc. les

principaux peintres de 1'Espagne.

Ouvrage servant de texte aux gravures de la Galerie Aguado. 8vo.

Paris, 1839.

Les Musees d'Espagne, d'Angleterre i2mo.

and

others.

8vo.

de Belgique,

etc.

Paris, 1843.

Illustrated

History of Painters of

all

schools.

London, 1877.

Vienna, Belvedere Gallery.

Kaiserliche Konigliche Bilder Gal-

im Belveders zu Wien,

lerie

Wien und

etc.,

von Carl Haas.

4 vols.

410.

Prag, 1821-28.

Konigl. Gemalde Gallerie in Wien. Radirungen William von Unger. Text von Carl Lutzow. Folio. Wien, In progress. 1877.

Die Kaiserl.

Waagen,

Kunstwerke und

G. F.

8vo.

Kiinstler in

England.

vols.

Berlin, 1833.

Works of Art and

Artists in

England.

3 vols.

8vo.

Lon-

don, 1838.

Kunstwerke und Kiinstler

in Paris.

Treasures of Art in Great Britain

;

8vo.

Berlin, 1839.

being an account of the

chief collections of Paintings, Drawings, Sculptures, Illuminated

MSS.,

etc., etc.

Galleries

don, 1867.

3 vols.

8vo.

and Cabinets of Art

London, 1854. in Great Britain.

8vo.

Lon-

BIBLIOGRAPHY.

378

Waagen,

1866.

8vo.

vols.

Die Vornehmsten Kunstdenkmaler in Wien.

G. F.

Walk through

the Art Treasures Exhibition [Manchester]

I2mo.

under the guidance of Dr. Waagen.

London, 1857.

Die Gemaldesammlung in der Kaiserlichen Eremitage zu St. Nebst Bemerkungen iiber andere dortige KunstPetersburg.

sammlungen.

Young, John.

See

8vo.

Munich, 1864.

Grosvenor House

;

Miles

Gallery

;

Stafford

House.

Zarco del Valle, M. R. las Bellas

Documentos

Artes en Espana.

ineditos para la historia

Forming part of

Tomo LV.

de of

Coleccion de documentos ineditos para la historia de Espana. 8vo.

Madrid, 1870.

This volume contains some notes concerning

artists not mentioned by Cean Bermudez, and numerous documents, chiefly from the royal archives, relating to Spanish painters, etc., among them about 40 documents in which Velazquez is named, and a fac-simile of a letter by him.

ADDITIONS AND CORRECTIONS. Hamilton Palace Woods, June No.

28X22

17, etc., 1882.

Rubens.

sale,

inches.

London, by

Among

^472

ios.,

Manson and

the pictures were the following:

Duke

Portrait of the

Christie,

Winck worth.

of Olivares, in

grisaille.

photographic process

reproduction of the engraving by Pontius after in the illustrated edition

tome

II.,

No.

page

22.

137.

Rubens.

Golden Fleece.

this picture is given of the sale catalogue, and in L'Art, 1882,

See ante, page 73, No. 174. Portrait of Philip IV., in a rich dress, with the

30X25

inches.

From

a picture of Velazquez

made

during the artist's journey to Spain. See No. 123 in the Catalogue of Rubens' effects in Smith, Catalogue Raisonne, n, 32. ,598 ios., to

Stettiner.

No. 1136. Velazquez.

jiio

5.5-.,

Portrait of

Innocent X.

25X18

inches.

to F. Davis.

No. 1137. Velazquez. Portrait of a Youth in a hat with feather. 28X21 inches. From the collection of the Marquis of Lansdowne,

and

Fonthill.

^283

ios.

The Infant Christ. See ante, Murillo, No. The two pictures last named were sold to and are now owned by Matthias H. Arnot, Esq., of Elmira, New- York. No. 1138. Murillo.

332.

^2,415.

No. 1139. Murillo.

St.

Catharine.

16X13

inches.

^33

I2S., to

W. Dyer. No. 1140. Velazquez. white

collar.

29X26

The Duke of

inches.

,56

Olivares, in black dress

145., to

and

Shepherd Brothers.

No. 1142. Velazquez. Philip IV. (See ante, Velazquez, No. 117.) " Taken from the palace of Madrid during the war, by the French

ADDITIONS AND CORRECTIONS.

380

General Desolle, from whose daughter burn, and afterwards at Fonthill.

was purchased by Mr. Wood-

Buchanan,

.6,300, to the

147."

National Gallery, London.

This portrait

identical with that in the Belvedere

Vienna

ante, Velazquez, No. 121), except that the Hamilton Palace porThe King, about is full length instead of three-quarters length.

(see trait

stands three-quarters right, with thirty years of age,

bare head, wear-

ing a richly embroidered dress, a cloak falling from his right shoulder, short breeches, white stockings, low shoes, and a golilla ; the Order

of the Golden Fleece

suspended on

His right hand,

his breast.

falling naturally, holds a folded letter bearing the signature of Velazquez ; his left hand rests on the hilt of his sword ; at his left is a

on which

table

his hat; a curtain behind.

78X44

inches.

A wood

engraving is given in the illustrated edition of the Hamilton Palace sale catalogue; in L'Art, July 2, 1882, page 13;

and

Art and Letters,

that this

vol. I.,

1882, p. 326.

The

catalogue asserts

the portrait referred to by Buchanan, as mentioned ante,

Velazquez Catalogue, No. 274U. The Hamilton Palace sale was begun while these sheets were in the The objects were accumulated mainly by William Beckford of

printer's

hands.

Fonlhill,

one of the most industrious, lavish, and successful of collectors. This eccentric gentleman was constantly buying, and selling again as the freak seized him. The following sales were made during his lifetime :

1801,

August

Sale at Fonthill lasting three days, chiefly of Furniture.

19.

1801, October 7.

Sale at Fonthill lasting

two days,

chiefly Furniture,

and

eight Marble chimney-pieces. 1807,

August

17.

Sale at Fonthill lasting seven days, comprising

Pictures,

Porcelains, etc.

1822,

September

21.

The

sale of all the

effects at

Fonthill was advertised,

but before the day arrived the entire estate was sold by private sale to George Farquhar for ^330,000, some books, pictures, and curiosities being reserved. Sale at Fonthill by 1823, September 9. Philipps, continuing There was realized for 3960 lots ^22,684 15^.

The

tenth

ceeded to his

Duke

artistic

the present

October 29.

of Hamilton married a daughter of Mr. Beckford and sucand literary property and tastes. The collection was

increased by him, and by his successor, the eleventh Duke, purchaser at the Northwick, Bernal, and other famous sales.

Duke

to scatter this vast wealth.

will attach the

who was

greatly a large

imperishable fame of having been the one

ADDITIONS AND CORRECTIONS. The

was removed

collection

recorded in the history of Curiosite.

sum

of .397,562 os.

381

London, and its sale is the greatest event ever The amount realized reached the incredible

Besides these lots, being ^179 iy. for each lot. Manuscripts was purchased by the German Government for a sum not yet announced, but said to be ^90,000. The library, which was founded by Mr. Beckford, is also being dispersed as these sheets go to press. for

6</.

2213

articles, a valuable collection of

The

total

amount of

sum

largest

the property sold will probably reach nearly ^600,000, the artistic property that ever passed under

hammer.

the auctioneer's

The

all

been realized from any

that has

was a surprise to the public as well as to the owner of whose expectations were exceeded, it is said, by more than ^IOO,OCXD. There can be no doubt that many of the articles sold far beyond their value, especially the pictures, which had never ranked very high as a collection, and which included many that were inferior, doubtful, or false. result of the sale

the collection and his friends,

It will its

be interesting to compare this sale with some of the most important of

predecessors.

M. de Julienne produced 287,610 total to

391,676

sale,

liv.

Two

hundred and ninety-seven pictures etc., raised

the

The

sale, April 6, 1772.

Paintings, 147 in number, sold for

igj.

M. Mariette 21,111

30, 1767.

Drawings, Engravings, Marbles, Vases,

liv. 8.r.

Due de Choiseul 448,544

March

12s.

liv.

4J-.

sale, February I, 1775. Twenty-five Paintings were sold for Drawings, Engravings, Marbles, etc., made a total of 283,726

M. Randon de

Prince de Conti 946,953

liv.

One hundred and

Boisset sale, February 27, 1777.

Pictures brought 866,129 nv the amount to 1,229,692 liv. sale,

Is <)s.,

April

liv.

The

1777.

Engraved gems, 43,620

Clocks and Watches, 18,502

thirty-seven

Marbles, Bronzes, Drawings, Vases, etc., carried or, according to another account, 1,263,000 liv.

liv.

Pictures, 891 in number, produced Drawings and Miniatures, 37,508 liv.

Jewels, 13,238

liv.

Total, 1,059,821

liv.

The Pictures, 196 in number, after reserving some family Gallery. were separately valued by Messrs. West and Cipriani at .40,555, at which sum they were sold in 1 779 to the Empress of Russia. The payment was to be made in three annual instalments, and apparently there was some abatement in Houghton

portraits,

the price, since the Catalogue of the Hermitage (French edition of 1869, p. vi) says the pictures cost ^35,000.

The whole

collection

made by my

three sales, cost but ^40,000." 1861. Vol. VII., page 175.

Comte de Vaudreuil was 381,920

liv.

were sold

Nov.

24,

784.

which there have already been 9 vols. 8vo. London,

Letters.

The sum

realized for 92 Pictures

igs.

Orleans Gallery. ber,

sale,

father, of

Horace Walpole.

The

Pictures of the Italian and French schools, 295 in numliv. They were resold for 900,000 liv., and finally

1792 for 750,000

purchased by the Duke of Bridgewater, Earl Gower, and the Marquis of Stafford

ADDITIONS AND CORRECTIONS.

382

The Flemish, Dutch, and German

1798 for ,43,000. for 350,000

pictures

were sold

1792

liv.

M. de Calonne sale, March 23, 1795. Three hundred and fifty-nine Pictures produced ,23,297. Total, including Drawings, Miniatures, and Prints, ,24,006 14^. Citoyen Robit

May

sale,

II, 1801,

Fonthill sale, September 29,

,22,684

produced more than 650,000

The sum

1823.

realized

for

3960

lots

was

IS*-

The Emperor

Malmaison.

38 paintings for 940,000

Bonnemaison

of Russia purchased, in 1814, from this collection

sale, April 17, 1827,

Chevalier Erard sale, August

produced 253,412

1832, realized 736,633

Strawberry Hill sale, April 25, 1842. Total, ,33,450 us. yd. The Prints Drawings, and Illustrated Books were not sold in their place, on the 7th and 8th day of the sale, but were divided into smaller lots and sold by Mr. Robbins in to 23, the following year.

London, January 13

Aguado fifty

sale,

March

Marbles, Vases,

Saltmarshe (E. Higginson)

Stowe

sale,

August

King of Holland

Three hundred and ninety-five Pictures and

20, 1843.

produced 501,644

etc.,

sale,

15, 1848,

sale,

June

1846,

amounted

produced ,75,562

August

4.1-.

to ,46,603.

kd.

12, 1850, 1,221,873 florins.

Marshal Soult sale, May 19, 1852. One hundred and fifty-nine Pictures and three other lots brought 1,477,019^, of which sum fifteen paintings by Murillo

amounted

843,000

Louis Philippe

May

sale,

realized ^27,812 i6s. 6d. the catalogue, ^9,859 19-f.

Ralph Bernal iSs. 2d., besides this

sale,

The

1853.

March

Galerie Espagnole, 501 pictures, Gallery, 249 pictures, including 5 not on

Amount

1855.

realized for

Books, Prints, and Furniture, making in

sum, the Pictures, Miniatures,

Samuel Rogers lots,

The Standish

sale,

etc.,

brought ,10,838

4294

all

,70,954

ij-.

dd.

lots, 4J-.

^62,690 lod.

April 28, 1856, and 18 following days, produced for 2121

/49.73 1 's- 9^Alton Towers

sale, July 6, 1857, and 29 following days. The pictures were days for upwards of ,13,500. The entire sale comprised 3981 lots, including all the contents of the house, even the furniture of the kitchen, servants' rooms, and stables.

sold the

first six

Patureau

sale, April 10, 1857, realized

864,656

Comte de Pourtales-Gorgier sales, 1864-65, realized 2,820,000 f. There were ten sales in all. The last three included only the Pictures and Drawings, and were held March 25, etc., 1865. Manley Hall (Samuel Mendel) produced ,97,982

2s. 6d.

sale,

The grand

March 29 to April 24, 1875. amounted to ,150,147.

total

The

Pictures

ADDITIONS AND CORRECTIONS.

383

VELAZQUEZ. A

CORREGIDOR OF MADRID.

Frederick Leyland, Esq., Wool-

Hall, near Liverpool, Lancashire. standing, with thick bushy hair, wearing a

ton

and a black cloak which,

dress

ceals the rapier that

and a pair of gloves

scroll,

;

his right

;

his

shoulders, half con-

in his left

hand

breast, with the fingers spread apart.

Full length,

Corregidor of Madrid, stiff square collar, a black

from

falling

girt to his side

hand

his hat,

pressed lightly

his

Brownish-gray background.

life-size.

This description is taken from an article on the Private Galleries of England, The writer, probably Mr. F. G. in The Athenaeum, October 21, 1882, p. 534. Stephens, a high authority in matters of art, pronounces the picture to be one of the most important works of Velazquez out of Spain. Can this be the Corregidor formerly in the Aguado Gallery ?

William

KNIGHT OF SANTIAGO.

A man

York. golilla,

See No. 229qq.

P. Douglass, Esq., New-

of about 45 years of age, standing front, wearing a

with bare head, short hair, side whiskers, and long moustache,

the ends of which are turned up

;

his

gloved right hand,

falling naturally,

holds a glove and grasps his gray hat, the opening of which is outward ; his ungloved left hand protrudes from beneath his cloak, which falls is

from his

left

shoulder,

held beneath his arm

his coat,

and a

;

wound around

his waist like

the red cross of Santiago

similar cross

his cloak

;

and

Landscape background.

Three-quarters length,

and

on the breast of

his wristlets are similarly embroidered.

This picture was purchased in It is father of the present owner.

life-size.

Europe more than half a century ago by the

now

(

1882-3) exhibited at the Metropolitan

New-York.

of Art,

A KNIGHT

girdle,

a baldrick embroidered with

silver crosses his breast,

Museum

Mrs. William H. Aspinwall, New-

OF SANTIAGO.

A man

about 35 years of age, with pleasing features, standing three-quarters left, with bare head, wearing a broad lace collar with scalloped edges, a buff-leather jerkin with embroidered silk sleeves, York.

short breeches, high soft buff boots trimmed at the top with lace,

spurs

;

his

hands are gloved

;

in his left,

which

falls

naturally,

and

his

384

ADDITIONS AND CORRECTIONS.

plumed hat;

his right grasps a

pistol,

the muzzle of which rests on

a table covered with drapery; a sword is girt to his side by a broad Full length. crimson scarf. On his breast is the red cross of Santiago.

72X44

inches.

Purchased about 1850 from a private collection

Palermo.

This gentleman on his

the Catalogue of the gallery, a Knight of Malta, but the cross breast shows that designation to be an error. is called, in

THE INFANTA MARIA THERESA, afterwards Queen of France. Febvre sale, Paris, April 17-20, 1882. Bust turned three-

left

quarters

;

her hair, arranged in large rolls superposees,

with white plumes

embroidered with to a gold

From See ante,

The

silver

;

a jewel on her breast

ornament on her shoulder.

silk

attached by a chain

66X56 cm. and Alfred Stevens.

the collections of Villasante de Montija

p. 99,

adorned

a large gauze collar covers a robe of dark

;

3000

No. 2526.

description reads like that of Mariana, second wife of Philip IV.,

No. 242.

G. Marquand, Esq., New- York, has recently purchased, ^2,000, the Portrait of the INFANT DON BALTASAR CARLOS, which was sold in the sale of Charles Sackville Bale. Size, 20^ X 15^

Henry

for

See ante, page 59, No. 143.

inches.

The

picture of the

on the death of Cullen, is

now

BOY EATING SOUP,

and afterwards in

ante,

page 35, No. 75, passed, and thence to Senor

Seiior Peleguer, to his wife, to the present owner,

Don

Ignacio Cancio.

New- York, and

represents a boy, seen front, coarsely dressed in a jacket laced with red ribbons, taking soup from the side of a

spoon which he holds to

his

mouth.

Bust,

life-size.

18X15

inches.

MURILLO. THE ASSUMPTION. Hampshire.

The

Eyre Coote,

Virgin, with long

Esq., West Park, Salisbury, on her shoulders,

hair falling

wearing a blue mantle, and a white robe with large open sleeves, stands at

full length on clouds, looking up to the right ; her hands are crossed on her breast, the right hand uppermost; the Dove and

ADDITIONS AND CORRECTIONS. eight heads are seen in the clouds lilies

bearing

and

above

beneath are

;

See Murillo

engraving by Navarrete of a picture of this

name

The original

Academia

of Murillo as the painter, which

The a mis-

by Ribera is in the Academia de San Ferinexcusable, inasmuch as the Calcografia and

picture

nando, and the error the

last century.

published at the Calcografia Nacional in Madrid.

engraving bears the take.

cherubs

54!".

ECCE HOMO. subject

fifteen

roses.

Purchased by Sir Eyre Coote about the end of the Catalogue, ante No.

385

are under the

same

roof.

CHRIST THE GOOD SHEPHERD.

Colonel William Stuart, of

London, has the picture mentioned ante, p. 187, No. i73g, and 173!!. It is a finished study for that belonging to Baron Rothschild, No. 167,

and was purchased by the father of the present owner Jeremiah Harmann. The size is 21^X15 inches. VIRGIN AND CHILD.

No.

Pesth Gallery.

of the Virgen de la Faja, ante p. 156, No. 101.

at the sale

688. It is

repetition

etched by

C. RAUSCIIER, in the Gemdlde Galerie in Budapest.

Pesth Gallery.

VIRGIN AND CHILD AND PRIESTS. See ante, No. 113. C.

RAUSCHER,

The church

This picture

in the

Gemdlde Galerie

689.

Budapest.

Omnium Sanctorum

tained seven original pictures

No.

etched by

Murillo.

Seville formerly con-

These were exchanged

wretched retable with Christ at the Column, Gonzalez de Leon, i, 44. Ponz, Viage, ix. 79.

in the last century for a

and are now

Don

lost.

Francisco de Bruna had some

are referred to

pictures by Murillo. They Townsend. Journey through Sfain, p. 322-3. by Joseph

The Marques de Remisa owned Murillo and two by Velazquez.

1848 eight pictures by

Madoz, Diccionario

geogrqfico-

estadistico-historico de Espaiia.

The Duque de Lirios had two Velazquez.

Id.

pictures

by Murillo and two by

ADDITIONS AND CORRECTIONS. Don Jimenes

pictures

Don Nazario

Carriquiri had

six pictures

JOSEPH AND THE INFANT JESUS.

Joseph

fountain.

standing beside

him on the

The

eight years of age, turned three-quarters right, St.

by Velazquez and

Ib.

Murillo.

ST.

de Haro had some

Murillo.

child

Jesus,

about

caressing a lamb, with

right,

and on the

left

Spurious.

" AGNUS DEI. Victor Desclaux, litho., 1.62X13.1 (1838), inscribed galerie de

Ib.

Tire de la

V. Didot."

In the Genealogy of the royal family of Spain (ante, page 42, line 41) I have as she is styled by given to the second wife of Philip IV. the name Maria The better authorities, however, Henrique Florez, and by Berni y Catala. I have preferred to use in especially the later ones, call her Mariana, which name describing her portraits at page 93, etc., in order to avoid confounding her with In this I have followed, other Marias painted by Velazquez, as often happens.

among logico

Diccionario geneaothers, Ortiz y Sanz and D. Luis Vilar y Pascual. de las familias ilustres de la monarquia Espanola. 8 vols. 8vo.

Madrid, 1859-66.

ERRATA. Page

35,

INDEX. V.

refers to the Catalogue

refers to

The

of the Works of Velazquez.

Works of Murillo.

the Catalogue of the

figures in heavy-faced type (i, 2, 3,

etc. )

indicate that the pictures are

now

in the collections named.

Abel, Mr.

Due

Abranles,

33%

3'4a, 33^. 358n, 358?, 3 6 'b, 373'.39id, 393a,399a, 399".

42$d, 4341!

Abercorn, Duke

of.

M. M.

d'.

Abrial, engraving.

138.

8za, 4353.

399!, 40ig, 425, 429, 435c, 4Sok,

452 copy, 476x, 47&y, 4767, 476aa,

171.

Abril, Antonio.

Page 315. Academy. BildendenKunst. See Vienna. of San Fernando. See Madrid. See Rome.

of St. Luke.

Acciaj, Fedele.

Adlard,

M. Agar,

47.

cio,

H., engravings.

27,

195.

465. Ellis.

Agnew.

134, 208.

161.

Aguado, M., notice of. V. 146. Galerie. Page 353. V. 146. En12,

68, 103,

265,

104,

II,

116,

271, 300,

356,

36c,

309, 425, 429, 462. Sale.

146,

Sis,

Sit, 8iu, 8iv, 85b, 8sc, &)b, gib,

22gqq, 2580,

258f, 265.

II, 12, I2b, 173, soaa, 5obb, 68,

103, 104,

H2gg,

37f, 37g. 39,

page 338.

39b

Conde

del.

Aguiar,

Tomas

de.

Page 331.

Ailesbury, Marquis of. Alabern, C. Galleria.

M. 353.

101.

1073.

M. V.

179. 5, 30,

4, 174, 262, 303, 311.

145.

Pages

38-

Engravings by. V. 30, 70, 96, 262 33. 3"97. '37. '45-

y Fatjo, engravings. Alba, Duque de. Notices note, I77d, 260.

254, 260.

Duquesa

M. de.

Albano. Alberg,

M. 273. Due d'. M.

27, 35.

V. 166 Pictures. V. 34, of.

232, 469.

25.

See Berwick et Albe.

2iom,

2ion, 2196, 236h, 253q, 268, 271,

Mazo,

342.

Aguila,

116, I24d, 1246,

14601, 151 i66i, 1736, 2iol,

Garzon, page

Gomez, page

Aguirre y Ayanz.

375b, 399g.

gravings in V.

by Alfaro, page 329.

page 320. Marquez, page 340. Meneses, page 333. Pareja, page 328. Tobar, page 336. Villavicen-

85.

Acevedo, chromo by. V. 71. Actor, The.

Pictures

Carreno, page 325. 351.

See Seville.

of Seville.

476bb, 476cc, pages 382, 383.

501.

INDEX.

388 M. 465. Alcantara, Difiniciones de la Orden. Albuerne, engraving.

123.

Alcazar, Madrid.

21, 34, 366, 4ic.

Aldobrandini-Borghese.

Alegre, engravings.

2741.

12.

73^,

Andr-Geiger, engraving. M. 1123. Andressen, Handbuch. Page 353. Angel, S., engraving. M. 173. M. 192. Angelico, Fra.

V. 4 note. Life and y Gamez,

Alfaro family.

Works.

Alford, Viscount.

203.

Allerton Hall.

156.

52.

Sale.

Allnutt, J.

72.

88d.

Altnanaque de la Iluslracion. V. 198. Almodovar, Duque de. M. 444. Almosnino, Extremes de Constantinopla. V. 174.

H. Van.

Alstein,

Altamira, notices

194.

2I4C.

of.

363, 116, 166,

Gallery.

153 note, 166, 171,

274b,

274 P

363, 116,

77<I,

Varflora,

Arasabla, Jose.

Page 366. Arco, Duchess

Duque

V. V.

of.

de.

Ardemans, Teodoro. Arezzo. V. 151.

436.

Armengaud,

"2ll,

3oov,

los

22gxx.

394,

434,

4 6oa.

Sevilla

Pinto.

Rios.

Page 353. Amazurino. M. 462. American Art A'eview.

Amettler, B., engravings.

476.

86, 161,

V. 1430.

Page 356. Anderdon, J. P. M. 178,448. Anderson, John. M. 334. Matthew. Page 325.

90. J.

373g.

462.

V. engravings. Kussie. M. 427.

C., engraving.

5oh,

167, 443.

M. 332. Arnot, M. H. Arrambide. M. 476dd.

Page

Arriguey House.

See Gray, E.

Art L\

30,

Art Journal. 135,

64-

engravings.

Armytage,

Galeries,

196.

23,

32.

379.

476q.

Pages 379, 380.

112, 387.

Amsterdam Museum.

183.

107,

222. 178.

Page 334.

399f, 475-

Page

See Lavice.

Page 345.

253", 33 g c, 359. 375S 379d, 392,

See Spencer, Earl.

283.

Compendia.

Pages 354, 360. Armagnac, Comte D'.

Towers.

Page

354-

I74q,

37,

Pages 338, 382.

Andr,

Arana de

163!,

3000.

in.

Apologia, engraving A. R. See Reveil.

Abrcge.

Amador de

195.

50111,

I7gb,

Althorp.

Alton

143!],

194- 234C.

Works.

History of Art. M. 318. Anversa, Isabel de. V. 194, note.

Argenville, D'.

92.

Sale.

Life and

356. Anvers, D'.

Arcos,

84.

I77d, 193, 238,

211.

161.

Museum.

85,

119, 265.

Allais, engravings.

Antolinez, F.

Page 342. Jose\ Page 342. Antwerp Cathedral. M. 3oob.

47&v.

Alinari, photographs.

1503.

I4d, 18.

W.,sale.

Pages 328, 345, 372. Juan Ignacio de. M. 2860.

90,

Anthony.

201, 465.

Angerstein, Catalogue. Animals. V. 92, etc.

68, 177, 3363.

145, 265.

25,

27, 68, 86,

131,

90, 116,425,426,

427, 429, 462.

Art Union. M. 426, 429. Art and Letters. Page 380. Artaria. V. 1323, 155. M. Arte en Espana.

Pages 354, 37O.

123.

5, 30, 31, 33,

42.

INDEX. M.

Artier, F.

1463, 234, 301, 308, 348.

The.

Artillerist,

V. V.

Artista, El. Artiste, L'.

Page 354.

Ashburnham, Earl

of.

214.

Page 354.

410.

Ashburton, Lord.

820,

322.

55, 74.

40, 130.

208,

Mrs.

Page

383.

Bankes,

174.

Page

158)1,

1793,

274g.

M. U2SS, 375b, 457. Athawes, E. M. 4343.

Athenaum, The. Audouin, P. V.

V. V. V.

Barbarosa.

d'.

I7f, 8li.

G.,

Barry,

270.

Bacon, F., engraving.

88b,

H.,

sale.

238.

I. ,

engraving.

V. M. de

71,

206,

gb.

no,

143,

5Ohh,

92,

Page 336.

M. M.

199.

411.

V. 1043. V. isib, 27401. V. 143. Page 384.

332!.

la.

M. M.

I73f.

401.

3l6b.

47.

See Munich.

Bavaria.

322.

Baumgartner, F. G.

Baxter, R.

2693.

Beauclerc.

241.

34ob.

Beaujon sale. M. l68a. Beaumont, Sir F. G. V. I43d.

370.

Becker, Characterbilder.

Kunst und 195.

Balbi Palace, Genoa.

Beckford.

Baldeschi Palace.

Bedford,

Bale, C. S.

113.

426.

Bassano.

Baussac,

V. igod.

171,

Baillie- Hamilton

Baker,

5on, 3726.

36.

234.

3<x>w, 476!.

Bartsch, A. de, engraving.

187.

Bachillier, engraving.

Col.

Page 361. 2581.

engravings.

Baudet, Ch.

146,

32,

344-

Bastida,

Baillie, D., sale.