The Castiles. MADRID—EL MUSEC were to be found scattered in con

The Castiles.
MADRID—EL MUSEC —CHOICEST PICTURES.
were to be found scattered in convents were mostly either destroyed or
allowed to disappear: a commission of
painters (pintamonas) was indeed sent
from Madrid to inspect them, but
their verdict was, that these Momarrachas were not worth preserving.
To give a general idea of the extraordinary contents, of this the finest
gallery in the world, suffice it to say
that there are 27 Bassanos, 49 Breughels, 8 Alonso Canos, 10 Claudes, 22
Vandykes, 16 Guidos, 55 by Luca
Giordano, 13 by Antonio Moro, 46 by
Murillo, 3 by Parmigianino, 21 by
N. Poussin, 10 by Raphael, 53 by Ribera, 62 by Rubens, 23 by Snyders,
52 by Teniers, 43 by Titian, 27 by
Tintoretto, 62 by Velazquez, 24 by
Paul Veronese, 10 by Wouvermans,
14 by Zurbaran.
The galleries themselves are not
well adapted for pictures, having been
built for other purposes, but the servants understand opening and closing
shutters, etc., so as to improve the
lights. The rooms are simple; no
gewgaw i/ff/pfo(/ii2</«eornaments distract
the eye from the pictures, which here
are as they ought to be, the emphatic
objects. What a palace of thought
and beauty! How filled with mighty
spirits of the past! The victory of the
grave is disputed; and they appear
here again, as in a vision of life, and
one of delight, not dread! When we
pass these crowded walls, it seems as
if a year were too short to examine
the contents: a too princely banquet
is set before us, and we run the risk
either of feasting on more than we can
digest, or of becoming sated with excellence, and loathing the honeycomb:
but we soon get fastidious, and the
masses simplify themselves; then the
planets shine forth, and we reject the
modern and rubbish as by instinct. But
of one thing, oh beware!—beware,dear
reader, of any lassitude of the beautiful:
be indeed weary of bores, fly the bad,
eschew David, Aparicio, Madrazo, the
devil and all his works: but never, oh
never,riskthe beingtired of thefine and
good. Picture-seeing is more fatiguing
than people think, for one is standing
all the while, and with the body the
685
mind is also at exercise in judging,
and is exhausted by admiration. Let,
therefore, the visits be often and frequent ; take also one master at a time,
as a knowledge of his peculiarities is
more likely to be fixed, than by mixing
up many artists and subjects together,
which fritters and distracts. A new
room was opened in 1853, a sort of
tribune, in which many of the finest
pictures are placed.
The grand .masters to observe are
Raphael, Titian, Murillo, and still
more Velazquez, for the three former
may be comprehended equally as well
at Rome, Hampton Court, Venice, and
Seville; but Madrid is the only home
of the mighty Andalucian, for here is
almost his entire work.
The opening Rotunda contains rubbish: No. 27 is an allegory by J.
Baptista Mayno (1569-1649), a poorish
imitator of P. Veronese, and a friend of
Lope de Vega. On the rt. and 1. open
the saloons appropriated to the old
Spanish masters; the centre room, the
post of honour, being given to the modern ones, with whom we will begin,
reserving the good wine for the last.
Not that the natives think so, as for
one of them who ever looks at Raphael,
a score will admire low commonplace
art, always the most popular with the
many, for mankind only sympathises
with what it understands: and here the
director's nonsense suits the directed's
nonsense, and not to be able to estimate
real excellence, is one sure proof of
mediocrity of intellect. Modern Spanish art, the child of corrupt parents,
carries from its birth a germ of weakness. Mengs, the hero of ephemeral
reputation, and the incarnation of the
academical mediocre, led the way; then
followed David, fit painter of the Revolution, who trampled on the fine
arts of cowed Europe. His theatrical
scenes a la Comeille, his swaggering,
attitudinarian heroes, a la Grand
Optra, combined with a certain Roman
severity of drawing and a rechauffe
of the antique, bewildered the Spanish
R.A.s, already predisposed in his favour
by his Mengs-like style, by his mannerism and conventionality. To him they
turned submissively, in spite of his
2 H 3
686
MADKID—EL MITSEO—M0DEK2T ARTISTS.
Sect. X I .
want of real colour, air, nature and the old masters of Spain, good men
life, the soul of painting; and the dis- and true, free from all infidel and
ciples, as is common in heresies, out- foreign taint, but who now seem to be
heroded their master. Take, for in- hung up here in terrorem, as examples
stance, by Jose Aparicio (1773-I815), of what modern students should avoid;
a pupil of David, 554, " Ransomed for, if their Directors are artists, then
Slaves:" when this was exhibited at Murillo was a blockhead and VelazEome, Canova, who knew the man, quez a dauber; and who, on hurrying
told him, "This is the finest thing in away from these wretched modern
the world, and you are the first of daubs, " sticks left at the door," will
painters." Soon afterwards Thorwald- not agree with the clever Viardot
sen came in and ventured a critique, (' Etudes en Espagne,' 309) ?—" Je n'ai
whereupon the Don indignantly quoted pas le courage d'en parler: ce serait
Canova: "Sir, he has been laughing avouer non la decadence, mais la ruine,
at you," said the honest Dane, to la mort, l'oubli complet de Fart et de
whom Aparicio never spoke again: 57 7, ses traditions."
ditto, " The Glories of Spain." This
Now for Velazquez, who here is to
pet picture, like Maldonado's History, be seen in all his glory—implens mais an exponent of Espanolismo. Here jestate locum. Fortunately for Spain,
Nosotros do the whole work, they as Buonaparte's generals did not quite
alone flutter the French eagles. 584, understand or appreciate either his
"The Famine at Madrid;" these are artistic or -money value, few of his
pictures that present the ne plus ultra pictures were " transported." Again,
of all that is bad in colour and com- from having been exclusively the court
position.
painter, his works were monopolized
Of the Director JoseMadrazo himself, by the crown; and being in the palace
also a pupil of David of blood-stained of Joseph, were tolerably respected.
hand and brush, observe 564, " Death Here, therefore, alone, is he to be
of Viriatus;" transportation is loudly studied, in all his protean variety of
called for: 570, his " Ferdinand VII. power. For his biography consult
on Horseback," is worse if possible Cean Bermudez ( Dice0, v. 155). For a
than the former; alas for Spain, when critical examination of his style, conany countryman of Velazquez, and sult our Life of Velazquez in the
in the presence of his divine models, ' Penny Cyclopcedia,' 1843 ; ' The Handshould perpetrate such wooden tea- hook of Spanish Art,' Sir Edmund Head,
board opaque inanities! 574, Madrazo Bart., 1848 ; the ' Annals of Spanish
" Divine and Profane Love," partakes Painters,' Win. Stirling, 1848 ; and for
considerably of the latter epithet in fuller biographical details, Stirling's exconception and execution. The works cellent ' Velazquez,' 1855. Beware at
of Bayeu and Maella are feeble and com- all events of consulting the blunderers
monplace. Goya alone (1746-1828) Huard, Quillet, C. Blanc, and Co.,
shows talent: 551, " Maria Luisa," who caper on the banks of the Seine,
the royal Messalina of Spain of her in utter unconsciousness of the intime : 595, " A Bullfighter," a thing decent nakedness of their ignorance.
of Spain. Goya was also an etcher,
Suffice it here to say that Diego
and published some spirited carica- Rodriguez de Silva y Velazquez was
tures, and subjects of low bullfighting born at Seville in 1599, and died at
life and free subjects. But Goya was Madrid, Aug. 7, 1660. He is the
a Spanish Swift, and delighted in Homer of the Spanish school, of which
dirty subjects from which others Murillo is the Virgil. Simple, unrevolt. Those who admire him should affected, and manly, he was emphativisit his son Don Javier (No. 9, C. cally a man and the painter of men,
de las Aquas), who has many of his and particularly of those lofty, statefather's sketches and paintings.
ly men which Spain once produced.
Now enter the saloon to the rt. Here In this masculine quality he rivalled
are the Castellanos viejos y sin mancha Timanthes, " artem ipsam complexus
The Castries, MADRID—EL MUSEO —VELAZQUEZ—HIS STYLE.
virospingendi" (Pliny, ' N . H.' xxxv.
10). He was equally great in portrait,
history, Sujets de Genre, and landskip;
he transmigrated at once, without
effort or violence, into each style,
and into every variety of each,—
passing from the epic to the farce,
from low life to high, from the old
to the young, from the rich to the
poor, while he elevated portrait painting to the dignity of history. He was
less successful in delineations of female
beauty, in the tender ideal, and holysubjects, wherein he was inferior to
Murillo. Diego indeed could draw anything and everything that he could
see and touch, then he was master of
his subject and never mastered by it;
but he could not grapple with the
unreal, or comprehend the invisible,
immortal, and divine; and whenever
he attempted any elevated compositions, which was seldom, the unpoetical models from which he studied in
youth were too often reproduced.
" Homo sum," he might have said with
Cicero, after Terence, "et nihil humani
a me alienum esse puto." Yet even in
this style, prose if you please, but terse,
nervous, and Thucydidean, there is
no mistake, no doubt, and always so
much humanity, so much serious,
dignified manhood, such truth to nature, and meaning, that the mind is
satisfied, and we sympathise with
transcripts of beings of living flesh
and blood, like ourselves. No man,
again, Titian not excepted, could
draw the minds of men, or paint
the very air we breathe better than
he: his colour is clean and truthful,
although subdued; to those accustomed
to the glowing tints of Titian and
Rubens his tones appear at first to be
cold, and his greys almost green; but his
mastery over his materials, his representation of texture, air, and individual
identity, are absolutely startling, his
lineal and aerial perspective is magical. His touch was free and firm,
uniting perfect precision with the
greatest executional facility. He seems
to have drawn, improvisoed as it were,
on the canvas, for sketches or previous
studies on paper are very seldom to
be met with. When at work he always
C87
went directly to the point, knowing
what he wanted, and when he had got
it, and then selected the salient features, and omitted the trivial; and
as he never touched his canvas without an intention, or ever put one
touch too much, his emphatic objects
are always effective ; this is the true
philosophy of art: again, his subdued
tone and slight treatment of accessories conferred a solidity and importance to his leading points, which
are all thus brought up and tell.
Having been employed by the king,
and not by the usual patrons of art in
Spain, the priest and monk, his pictures
are more secularised and are less gloomy
than those of many Spanish artists who
were depressed by the cold shadow of
the Inquisition. For truth and life-conferring power he carries everything
before him, and is by far the greatest
painter of the so-called naturalist
school: hence the sympathy between
him and English artists, of whose style
he was the anticipation; for similar
causes must produce similar effects,
allowances being made for the disturbing influence of a different religion,
habits, and climate. Art with our
Velazquez, who took nature for his
guide, truth for his end, and man for
his model, followed the current of life,
and was the reflection of the court.
He held up the mirror of the period
of Philip IV., and of the locality
of Madrid; but his works bear a stamp
for all time, as excellence is independent of the mere accidents of externals and localities.
Look therefore at every one of his
pictures; for, take them for all and all,
we " ne'er shall see their like again."
Those to be peered into and analysed
every day,are :—81, a sculptor, and the
presumed portrait of Alonso Cano; great
truth and force: 87, C. L., St. Antonio
and St. Paul Hermits. ' ' In breadth,"
says Wilkie, " and richness unexampled, the beau ideal of landskip,
not much detail or imitation, but the
very same sun we see, and the air we
breathe, the very soul and spirit of
nature;" indeed all is so simple that
many are at first disappointed, it seems
so easy: 114, portrait of Philip IV.'s
688
MADRID—EL MUf !E0—VELAZQUEZ.
Sect. X I .
second wife, Mariana of Austria: 117,a able for the chariness of bright colours:
masterly sketch, said to be of the Mar- an olive greenish tone pervades the
ques de Pescara, full of individual background: the accessories are only
identity: 127, C. N., portrait, a fine indicated; indeed of Velazquez it may
fierce old Turkish pirate, said to be of be also said, as Pliny ('N. H.' xxxv, 11)
the corsair Barbaroja: 138, C. L., observed of Timanthes, " Intelligitur
C. N., Los Bebedores or Los Borrachos; plus semper quam pingitur, et cum ars
this mock coronation of a drunken summa sit, ingenium tamen ultra artem
group combines the humour of Teniers est:" but no painter was ever more
with the breadth and effect of Cara- objective; there is no showing off of the
vaggio. The actors may indeed be artist; no calling attention to the perlow in intellectual character, but they former's dexterity, to the ego, the
are not vulgar, being true to the life ; adsum qui feci: Velazquez loved art
and if deficient in elevated sentiment, for itself without one disturbing
are rich in meaning, and transcripts thought of self.
of real man.
The scene represents the dull Infanta
Next observe 142, Philip IV. when Margarita, who is tried to be amused,
aged ; it is the individual himself, with by her pages, while her two dwarfs,
the Austrian " foolish hanging of the Maria Borbola and Nicolasico Pertunether lip:" 145, C. L., Fountain at sano, worry a patient dog, which is
Aranjuez, an exquisite landskip, full painted finer than a Snyders; these
of local colour and verdurous freshness, disports and distorts of nature, then
with groups that realize the very form the fashion of the court, are in truth
and pressure of the period of Philip IV. as hideous as Voltaire ce bouffon du
and of the stately Spaniard, the very diable; yet this painting is no caricaantithesis of the Watteau Arcadia of ture nor ludicrous, they are dwarfs
powdered, rouged petit-maitres; these nothing more or less, but just as they
pictures are, in fact, in painting, what were in nature. These Enanos are the
the letters of Madame D'Aunoy are V«VM, the Nam of the ancients, which
in description. Compare 145 with 540, were the delight of Julia (Plin.
C. L., another view at Aranjuez. Ob- ' N. H.' vii. 16) and of Tiberius (Suet.
serve, however, particularly all his in Vit. Gl), although Augustus had the
small bits of landskip, studies of ruins good taste to dislike them. At Rome,
and architecture done at Rome, others as in Spain, the ugliest were the most
with moonlight effects, and all marvel- esteemed, and brought a price proporlous gems of art. See 101, 102, 118, tionate to their oddity, like Scotch
the arch of Titus; 128, 132, 143. Re- terriers, who have their Velazquez in
mark much 155, C. N., Las Meninas; E. Landseer. Our Charles I., who
here we have Velazquez in his own took Philip IV. as a model in many
studio. This was called La Teologia, things, delighted in dwarfs, and had
the Theology, the " Gospel of A r t " his Hudsons, &c„ painted and served
by Luca Giordano, while Wilkie held up in pies. Remark the Infanta, with
its power to amount almost to in- her child-like mealy-faced and uninspiration : nor can aerial and lineal teresting countenance ; but Velazquez
perspective, local colour, animal and was too honest to flatter even royalty
human life, be represented beyond this. or its fools.
The gradation of tones in lights, shaNext observe 156,Philip IV.,agloridows, and colours, gives an absolute ous portrait: 177, C. L., C. N., the
concavity to the flat surface of the Conde Duque de Olivares, the celecanvas, we look into space as into a brated and much overrated premier of
room, or as into the reflection of a mir- Philip IV., on horseback: the animal
ror. The shadows are truly given in is somewhat large, and his seat is
the chiaro oscuro, being transparent awkwardly forward, but no doubt it
and diaphanous, and rather a subdued was true to life, for Velazquez would
light and a less pronounced colour than not stoop to woo even a premier or
a dark veil. The picture is remark- conciliate the spectator : his practical
The Castiks.
MABRID—EL HUSEO—VELAZQUEZ.
689
genius saw everything as it really was,
Next observe 200, C. L., Philip IV.
and his hand, that obeyed his eye and when young and in a shooting-dress:
intellect, gave the exact form and 209, a fine Old Lady, in his early
pressure without much refining. No- forcible style: 230, C. L., C. N.,
thing can be better than the effects pro- Philip III. on horseback, a marvellous
duced by the chary use of gaudy specimen of the effects produced by
colour in this picture and the preceding placing his figure on cool greys; the
155; but no man was ever more sparing royal head is full of the individual
of colour; he husbanded his whites and imbecility of this poor bigot, who was
even yellows, which tell up like gold twelve years learning his alphabet:
on bis undertoned back-grounds,which 245, C. N., an old man named Meenipo :
always represented nature with the 254, C N., Esop, finely painted, but
intervention of air. Passing now into looking more like a shirtless cobbler
the saloon to the 1., 195, C. L., C. N., than a philosopher: 255, C. N., a
the Forge of Vulcan; forcible, but bearded Dwarf, seated as Velazquez
painted fromvulgar ill-selected models. saw him, and as no one else could have
The Apollo has nothing of the deity, ventured to paint him : 267, UnPreten•while Vulcan is a mere Gallician black- diente, or place-hunter, one of the Ausmith: 198, the Infanta Maria in the tochthones of Madrid; the attitude is
court costume of the day. This por- admirable: 270, C. L., the young
trait is interesting to us, as she was Prince Baltasar, aged 6, with his dog
the object of our Charles's romantic and gun. Observe particularly all the
visit to Madrid. Howell, who was numerous sporting portraits of theriothen there, described her " as a very maniac Austrian royalty ; for whether
comely lady, rather of a Flemish com- the subjects are dressed for the court
plexion than a Spaniard; fair-haired, or the chace, they wear their clothes
and carrying a most pure mixture of with ease and fitness ; they are the real
red and white in her face ; she is full everyday garments of living flexible
and big-lipped, which is held a beauty bodies underneath, not dresses stuck
rather than a blemish, or any excess, on like the fancy masquerade of an
in the Austrian family." Afterwards, imaginative painter, or copied from
when the match was off, he spoke with a wooden lay figure: 279, C. N., an
more truth of her being of " fading admirable full-length portrait of a
flaxen hair, big-lipped, and heavy- Dwarf; observe how costume, feather,
eyed." His letters, ' Epistolos Hoe- and Dog are painted: 284, C. N.,
lianee,' 4to., London, 1645, give many El Kino de Vallecas; it is wondercurious details of Charles and his ful how Velazquez could have fixed
visit, and what a loss to this series, is the attitude: 289, a magnificentlythe portrait of Charles himself, which painted portrait; how much effect
Velazquez began ! pariunt desideria is produced, with how little detail;
non traditi vultus (Pliny, ' N. H.' how unlike the finished style of Panxxxv. 2). The " Fife " daub recently toja, yet never was armour better
exhibited in London as this missing represented; but Velazquez was above
sketch is a complete snare and delu- all tricks, and never masked poverty
sion: if it be a Spanish picture at all, of hand and idea under meritricious
which is very doubtful, it is certainly glitter; with him everything was sonot by Velazquez. It would have been ber, real, and sterling: 291, C. N., El
interesting to have compared the real Bobo de Coria; observe the green
picture sketched by the Great Spaniard, tones and expression of roguish wagwith those portraits which we have gery : 295, the Surprise of l o ; nothing
by Vandyke, who knew Charles by can exceed the profound sleep of Argos
heart, as well indeed as Velazquez did or the stealthy action of Mercury ; the
Philip IV., and as well as we seem to god of thieves is painted in an absolute
do too, after visiting this precious anticipation of Sir Joshua's style: 299,
Museo, where he is set before us, em- C. L., C. N., Philip IV., an equestrian
balmed in every stage of his life.
portrait; this true i,u«mi i s witching
690
MADBID—EL MU! EO—VELAZQUEZ.
Sect. X L
the world with noble horsemanship, of each spectator to invest her with that
the only attitude in which the Monarch quality of beauty which best accords
of Cahalleros ought to be painted. The with his peculiar liking: 527, in anbounding horse is alive, and knows its other saloon, is the portrait of Gongora.
rider; how everything tells up on the The short-comings of Velazquez, this
cool blue and greens in the back- great mortal, for he was not a painter
ground : 303, C. N., Queen Isabel, first of the ideal, will be seen in 62, C. L.,
wife of Philip IV., a superb white Coronation of the Virgin, who seems
steed; observe how her costume is a somewhat sulky female, while the
painted, and despair; remark also the Deity is degraded to a toothless monk.
difference of the horses, those which But he could not escape from humanity
carry men are fiery and prancing, nor soar above into the clouds ; he was
while those on which women are neither a poet nor an enthusiast, and
mounted are gentle and ambling as if somewhat deficient in creative power :
conscious of their timid delicate bur- again, he painted for the court and not
den : 319, C. L., the Surrender of for the church; in a word, Nature was
Breda, or Las Lanzas, is perhaps the his guide, truth his object, aud man,
finest picture of Velazquez; never were not always well selected, his model; no
knights, soldiers, or national character Virgin ever descended into his studio,
better painted, or the heavy Fleming, no cherubs ever hovered round his
the intellectual Italian, and the proud pallet, no saint came down from heaven
Spaniard more nicely marked even to to sit for his portrait: hence the negtheir boots and breeches: the lances of lect and partial failure of his sacred
the guards actually vibrate. Observe subjects, holy indeed like those of
the contrast of the light-blue delicate Caravaggio in nothing but name, being
page, with the dark iron-clad General groups rather of low life, and that so
Spinola, who, the model of a high-bred truly painted as still more to mar the
generous warrior, is consoling a gallant elevated sentiment, by a treatment not
but vanquished enemy. He took Breda, in harmony with the subject. VeJune 2, 1625, and died 5 years after- lazquez went to the earth not to
wards, broken-hearted at Philip IV.'s heaven for types and models; hence
treatment, exclaiming, " Me km qui- his Virgin has neither the wotado la honra ? " They have robbed me manly tenderness of Murillo, the
of honour! Velazquez has introduced unspotted loveliness of Raphael, or the
his own noble head into this picture, serenity unruffled by human passions
which is placed in the corner with a of the antique; he rather lowered
plumed hat. This is indeed a male heaven to earth, than raised earth to
subject, and treated with a masculine heaven. Look, however, at No. 51,
mind and hand; nor are men aware The Crucifixion—a sublime represenof how much the sexual undercurrent tation of the death of the Son of Man;
leads them to admire pictures in which the treatment is solemn and impressive.
beautiful females are presented: here, How fine the darkness over the face of
where there is no woman whatever, the the earth, and the partial concealment
painting is the triumph of art by itself. of the face by dishevelled and scattered
Observe particularly 332, C. I/., hair. 63, C. N., the God Mars, is a
C. N., Don Baltasar on horseback; vulgar Gallician porter: 167, C L., an
the child actually gallops out of the Adoration of the Magi, is in his hard
frame, and is the anticipation of our early style, before he was emancipated
Edwin Landseer, and his young High- from the prevalent Ribera peculiariland Chieftains on their wild ponies: ties. So the celebrated Jacob and his
335, C. N., Las Hilanderas, is the per- Sons, formerly in the Escorial—where
fection of reality, taken from or- is it now '—although a picture of great
dinary life; here the artist, feeling truth and force, was but a group of Galat once his power and weakness, has, licians ; yet even when displeased with
like Timanthes, turned aside the head such repulsive subjects we are forced
of the lady, leaving to the imagination to submit to the power of master
The Castiks.
MADRID—EL MI SEO—MURILLO.
mind displayed in the representation;
strange to say thisnaturalist picture was
painted in the Vatican itself, so little
influence had the foreigners Raphael
and M. Angelo, on the local Spaniard,
that he dared them with his very
failings; in fact when Velazquez was
in Italy he had eyes only for the Venetian school, and he did not understand or like Raphael, as he candidly told Salvator Rosa. See ' Carta
del Navegar Pintoresco,' M. Boschini,
p. 56.—N.B. As this picture is not
forthcoming, those who question about
it may be scouted as impertinente
curiosos.
Murillo will naturally come next to
Velazquez. He, however, is seen in
greater glory at Seville, his native
home. Referring therefore to p. 191
for some account of Murillo, suffice it
to say here that the specimens of this
master of female and infantine grace
are numerous, but scarcely one has
escaped the fatal restauracion, i. e., destruction. On him the most perilous
experiments have been tried by the official flayers, poulticers, and plasterers.
However, Murillo is so full of subject, so dramatic, comes so home to,
and appeals so much to the commonsense of mankind, and is recommended by such a magical fascination of colour, that he captivates alike
the learned and unlearned—sure test
of undeniable excellence. He has
more grace, but far less of the masculine mind than Velazquez, who, compared to him, seems somewhat cold and
grey in colour; for Murillo painted flesh
as he saw it in Andalucia, roasted,
toasted, and bronzed by the glowing
sun, and not recalling the pale, unripened beauty of the north. Like
Titian, his strength lay in ravishing
colour; none ever rivalled him in the
luminous diaphanous streams of golden
ether in which his cherubs float like
butterflies; his blending continuity
of tints, like those of nature, slide
into each other, without a particle of
harshness or abruptness ; led on by
an imperceptible transition, where
there is no outline, no drawing, so
that it is difficult to say where one
tint ends and another begins.
691
Murillo, like Velazquez, lacked the
highest quality of the Italian ideal;
true Spaniards, they were local, and
imitated nature as they saw her; 'thus
Murillo's holy subjects are not glorified
forms and visions, which compel us to
bow the knee and adore, but pleasing
scenes of a domestic family, where
sports of graceful children attract the
delighted attention of affectionate parents. There is neither the awful sublimity of M. Angelo, nor the unearthly
purity of Raphael. Again, his Ninos
Dios are not meditative prescient Infant Gods, nor are his cherubs those
angels of heaven from whence Raphael
took his types, but simply pretty mortal
babes with wings, and not even babes
of the world at large, but Spanish ones,
nay more, only local Andalucian children; and such also are his male
saints, who mostly rose to glory in
their own brown Bartican bodies and
clothes.
The stranger will of course look at
all the Murillos, halting particularly
at 43 C. L., a Holy Family ; a pretty
scene of conjugal and parental happiness. It has been cruelly cleaned
and repainted, especially the dog and
face of the Virgin; 46, C. L., a fine
representation of the Infant Deity:
50, C. L., the Companion Infant Forerunner; the left leg is not pleasing;
observe the contrast of the callous foot
hardened by exposure, with the delicate flesh of 46: 52, Conversion of
St. Paul; the thigh of the Apostle
and his white horse, mercilessly repainted : 54, La Porciuncula (see Index), over-cleaned: 56, C. L. the annunciation ; the Virgin's cheek is repainted: 65, La Conception, one of
those representations of sweet cherubs,
and of the fair virgin floating amid
flowers in a golden atmosphere, which
none could paint like Murillo; and
then the gossamer gauze-like draperies
which play in the air, just veiling
human charms, which might suggest
thoughts that war with the purity
of the Virgin: 82, C. L., a penitent
Magdalen, all legs and arms, and in
his imitation of Ribera style: 174, San
Francisco de Paula, was a magnificent
head and beard, before ruined by the
692
MADRID—EL MUSEO—JOANES—RIBEKA.
Sect. X L
picture-cleaner Bueno: 182, Death of by A. 0. Raymundo Pasqual, 1782;
St. Andrew, in his vaporoso style, was but heretics prefer the Lieb frauens
a glorious picture, but is much dishar- milk of the Rhine. 326, C. N.,
monized by the violent white repaint- the miracle of the Virgin giving the
ing of the horse; the drapery of the Casulla to San Bdefonso at Toledo,
Apostle has also been clumsily hafiado : but it is of earth, earthy, and the
189, C. L., Santiago, a vulgar, coarse angels are nothing but milliners, and
head, of rather a Flemish character: the saint a monkish tailor.
191, C. L., C. N., Adoration of ShepNext observe the paintings of Juan
herds, in his second style, hovering V. Joanes, the Spanish Raphael, who,
between Velazquez and Kibera; the however, should be studied in his
drawing is fine and careful; observe native Valencia (see p. 375). 73. Visit
the local colouring and foot of peasant, of Santa Isabel to the Virgin; early
and how their rich browns give value and hardish, but quite Italian: 75,
to the delicate flesh of the Virgin and Death of Santa Ines, painted like Julio
Child: 202, C. L., Infant Saviour and Romano : 150, a Saviour, holding the
St. John, a rich and delightful picture: cup and water; a subject often treated
208, C. L., Rebecca at the Well, in in this manner by Joanes: 158, the
his middle style: the females are some- EcceHomo: 165, Christ bearing the
what Flemish: 211,2,6, 7, the Parable Cross; a fine specimen: 169, Portrait
of the Prodigal Son; all excellent, but of Luis de Castelvi, equal to anything
treated both as to costume and con- ofBronzino: 19G, 7, 9, and 336,337,
ception rather according to a pica- C. L,, subjects from the life and marresque Spanish novel than Holy tyrdom of St. Stephen, are an ItalianWrit: 219, a rich blue Concepcion: looking series, but the stones (in 196)
220, St. Augustine; the Virgin, some- are too much like apple-dumplings.
what too far off, gives her milk Observe the delight of the wicked
to a vulgar burly monk in a black boys; the faces of the Hebrews, with
robe, with rich, red casulla: 229, their hook noses, are somewhat too
C. L., another Conception, innocence Jewish for fine art. This remark apitself, and beautifully painted ; how plies equally to 225, C. L.., the Last
rich and juicy the flesh, how full Supper, for Joanes was rather a manof pulp and throbbing life : 810, C. L., nerist ; but the head of Christ is very
Santa Ana teaching the Virgin. The fine, although it has, unfortunately,
pouting child is admirable, but purely been much repainted: 259, the Savimortal; the draperies are in imitation our on the Mount of Olives: 268,
of Roelas: 315, C. N., Vision of St. Descent from the Cross, one of his
Bernard ; this again shows how closely best pictures. Joanes, because saMurillo observed Eoelas; the drape- vouring of a Roman style, and with
ries of the saint have been repainted; a harder outline, and more decided
but his head is fine, and the senti- drawing, is admired by more Spaments of gratitude and veneration are niards than foreigners.
admirably expressed. The concealing
Jose Ribera, better known as Spathe feet of the Virgin gives her figure gnoletto (see Xativa, p. 359 ), may
too much height. St. Bernard was a be truly studied at Madrid; here, this
champion of the Virgin, second only cruel forcible imitator of ordinary
to San Buonaventura, the Seraphic ill-selected nature, riots in hard ascetic
Doctor; and both advocated Mari- monks and blood-boltered subjects^in
olatry to its wildest extent, substitut- which this painter of the bigot, ining her for the Father and the Re- quisitor, and executioner delighted: a
deemer. The gift of her milk, so power of drawing, of expressing long
common in Spanish legends, is but a suffering and sufferance, a force of
Papal repetition of Pagan Juno's colour and effect, a contempt of the
suckling Hercules. A volume, how- ideal, beautiful, and tender, characever, has been written on the event, terize his productions; unpopular in
' Ilustracion del portentoso favor,' England, his unforgiving repulsiveness,
The CastUes. MADEID—EL MUSEO—ZTJRBAKAN—MORALES.
693
and stern harsh character, have ranked nichino, and Titian • his best pictures
him among the model-painters of are at Seville; no one ever painted a
Spain. He was the personal friend of Carthusian monk like him; while the
Velazquez, who, like Murillo, studied substance, texture, and splendour of
his style deeply, as may be seen in all his velvets and brocades surpass P.
their early productions. As Ribera Veronese, having more real stuff in
was a mannerist, those who will closely them; his best pictures are at Seville:
examine half-a-dozen of his pictures, Notice 47, portrait of Murillo, by
will exhaust the master. Observe 42, Alonso Miguel de Tobar (1678-1758),
C. L., the Martyrdom of St. Bartho- Murillo's best pupil: 48, St. Jerome,
lomew, a favourite subject of his, and Mateo Cerezo of Burgos (1635-1685) ;
one which few else ever wish to see an imitator of Rubens and Vandyke:
twice: 44, a Virgin, elderly and hag- by him also is 57, C. L., an Assumpgard ; Raphael would have chosen her tion : 45, C. L., and 49, a Virgin and
young and beautiful: 53, another St. Saviour, Luis de Morales, called el
Bartholomew : 72, C- N., the Hermit Divino, who is best to be studied
St. Paul, a repetition of the picture in Estremadura: 61, C. L., Boys at
in the cathedral of Granada : 116, C. Play, Pedro Nunez de Villavicencio
L., Jacob's Ladder, a fine picture. of Seville (1635-1700) a pupil of MuThe general effect is very grand: the rillo and El Calabrese, and this excelwild, broken tree stumps are painted lent picture proves how well he had
like Salvator Rosa, and the sleep of studied his first master: 67, C. L.,
Jacob (a vulgar brown monk) is ad- Baptism of Christ, Vicente Carducci,
mirable: 121, Prometheus, a finely a Florentine naturalized at Madrid:
painted picture of gore and bowels, 69, a Flower-piece, Juan de Arellano,
such as could be conceived by a bull- (1614-1676); he was the Van Huysen
fighter, and please a people whose of Spain, and is superior to Menendez
sports are blood and torture; how dif- in fruits and flowers: 79, C. L., View
ferent from the same subject by the of Zaragoza, Juan Bautista del Mazo,
poetical Titian (see 787): 125, Mar- Madrid (1630-1687); a disciple of
tyrdom of St. Sebastian: 204, C. L., Velazquez, but his landskips are apt
the Trinity, painted like Caravaggio : to be too dark: 85, portrait of Wife
243, C. N., the Magdalen, a hard early of Philip IV., Juan Carreno de Mipicture. There are here also many randa of Aviles (1614-1685); the last
Apostles well painted by Ribera, which of the old Spanish painters, and a
we do not enumerate. 285, another feeble imitator of Velazquez: 88, C. L.,
St. Bartholomew. In other saloons, St. John at Patmos, Alonso Cano of
observe 415, E., St. Jerome: 419, E., Granada (1601-1667); a grand pica good portrait of a blind Sculptor, ture : 90, ditto, a Gothic King, in
El Ciego de Gambazo, in which the feeble imitation of Velazquez: 95,
sentiment of touch is well expressed : Moses Striking the Rock, Juan de las
473, St. Jerome: 480, St. Joseph and Roelas of Seville (1558?-1625); a
the Infant Saviour busy with his tools, dark inferior specimen of this truly
a transcript of a Spanish carpenter's great man, who only is to be studied
shop: 484, Ixion at the wheel, say at Seville: 96, C. L., Adoration of
rather a portly Jew on the rack of Shepherds, Pedro Orrente, a Murcian,
the Spanish Inquisition: 542, a Dead and imitator of the Bassanos: 100,
Christ lamented; a powerfully painted C. L., a Dead Christ, Francisco de
group: 545, C. L., two Female Gla- Ribalta, Valencia (1597-1628) ; this
diators.
grand artist, the Annibal Carracci and
The specimens of other Spanish Sebastian del Piombo of Spain, is only
masters in these two saloons, which to be really understood at Valencia:
best deserve notice, are 40, C. L., St. 108, Vision of Ezekiel, Francisco
Peter appearing to St. Peter Nolasco, Collantes of Madrid (1599-1656); a
by.Francisco Zurbaran (1598-1662); horrid subject, and fitter for the
his style is based on Ribera, Dome- monkish cloister than a gallery: 124,
694
MADRID—EL MI SEO—RAPHAEL.
Carreno, a Fat Woman : 134, the
Calling of St. Matthew, Juan de Pareja of Seville (1606-1670), first the
slave and then the pupil of Velazquez;
it is truly local and Spanish. The
face of the Saviour is most ordinary,
while the groups are dressed as in the
time of Philip IV.: 146, St. Bernard,
Antonio Palomino (1653-1726); he
was the Vasari of Spain, but feebler
alike with pen and pencil. 151, C. L.,
the Siege of Cadiz, Eugenio Caxes of
Madrid (1577-1642) ; this is described
in the official catalogue as the attack of
the English in 1625, by the " Conde de
Lest," Spanish, perhaps, for Essex,
whose siege occurred in 1596; the real
leader of the one in 1625 being Lord
Wimbleton; the head of Giron, the
Spanish general, is fine: 152, C. L., portrait of Don Carlos, son of Philip II.,
Alonso Sanchez Coello, a Valencian,
ob. 1590; a very interesting historical
picture: 153, portrait of Maria of Portugal, first wife of Philip II., Juan Pantoja de la Cruz of Madrid (1551-1610),
pupil of Coello, and, like his master,
admirable in painting the rich costumes
of the period: 154, portrait of Isabel,
the favourite daughter of Philip II.,
by Coello; the marvellous jewels and
ornaments tell up on the dark back
ground: 157, Virgin and Child, Morales: 166, C. L., C. N., a Dead
Christ, A. Cano, fine, but stony, and
the painting of a sculptor: 170, Virgin
and Saints, Bias del Pardo of Toledo,
(1497-1557), pupil of Berruguete, and
Florentine in style and colour. His
conceptions are grand, and partake of
Andrea del Sarto, but his colouring is
apt to be leaden. The kneeling half
figure is Alfonso de Villegas, author
of the 'Flos Sanctorum :' 175, Birth
of Virgin, and 181, Birth of Christ,
are both by Pantoja; he was a hard
painter, but excelled in portraits: 188,
a Sunset and rocky scene, Mazo.
Now pass into the saloon to the 1.,
206, Coello, portrait, it is said, of
Antonio Perez, the persecuted minister
of Philip II.: 221, a Magdalen, Jacinto
Geronimo de Espinosa, of Valencia,
where his best pictures are: 222, Margaret, wife of Philip III., Pantoja;
the elaborate finished details are in
Sect. X L
perfect contrast with the broad handling by Velazquez: 226, C. Lj, La
Divina Pastors, Tobar, cold and poor
when compared with Murillo: 227,
St. Jerome, Cano: 237 and 238, Apostles by Francisco Pacheco of Seville,
(1571-1654), a feeble painter, but useful author on Spanish art: 277, Pantoja,
Philip II. when old, very curious and
historical: 283, C. N.. Zurbaran, Santa
Casilda : 287, St. Jerome, Antonio
Pereda of Valladodid (1599-1669); he
imitated Ribera; the cross lis well
painted: 290, Pantoja, Charles V.,
aged about 40, in black and gold armour: 297, Naval Combat, Juan de
Toledo of Lorca (1611-1665): he was
the Bourgignone of Spain : 305, Mazo,
a dark brown view of Campillo near the
Escorial: 307, C. L.,Virginand Sleeping
Christ, Cano ; although the side of head
has been repainted, this is one of his
best pictures in this gallery, and of
fine rich colour: 314, C. L., Baptism
of Christ, Juan Fernandez Navarrete,
El Mudo, Logrono (1526-1579); his
finest works are in the chapel of
the Escorial: 317, Zurbaran, Sleeping
Christ with dark purple drapery, and
a fine effect.
Now pass to la Bajada, and observe
357, portrait of the poor creature
Charles II., Carreno : 362, Charles
IV., an Allegory. Under these two
imbeciles Spain and art lost alike their
force and nationality;—the last daub
is by Vicente Lopez, Pintor de Camaral and director of the academy,
a colleague and compeer of Madrazo;
Ay ! de mi Espafia. 368, Charles V.
and Philip II., Pereda: 375, a Dead
Christ, Domenico Theotocupuli, El
Greco (see Toledo).
Next enter las Escuelas varias, collection of different schools, with manyfine things from the Escorial; the
grand central gallery is divided into
the modern Spanish masters, the old
Italians, German, and French. Let
us take the chiefs singly, and first for
RAPHAEL (1483-1520): 723, C. L., a
Holy Family, called del Agnus Dei,
from the inscription carried by St.
John, whose body has been very much
repainted at Paris, where the exquisite
face of the Virgin was rouged. The
The Castiles.
MADRID—EL MTJSEO—RAPHAEL.
695
ruined architecture and landscape, reise 77) records this anecdote: Mons.
equal to Titian, is said to be by Gio- David calling one morning, found him
vanni da Udina. 726, E., C. N., the sponging these Raphaels with spirit of
celebrated Perla, which belonged to turpentine. Even the man of the guilour Charles I., and was sold with his lotine was shocked, and ventured to
other pictures by the tasteless puritans remonstrate, but was answered, " It
and reformers. Philip IV. paid for does no harm, it is nourishing." As
this, the then enormous sum of 2000?. the tortured Pasmo was then much
The king bought so largely at repainted, the tone is hard, brickthe auction through his ambassador dusty and relackered. In 1845 it was
Alonso de Cardenas, that 18 mules subjected to another ruthless operator
were laden with the lots, and he at Madrid ! Again, however fine the
was so anxious to get them into expression of the mother, beautiful the
Madrid, that he made an excuse Veronica and groups to the r., the
to turn out the Lords Clarendon and principal figure of the soldier in front
Cottington, then ambassadors from is somewhat attitudinarian, theatrical,
Charles II., being ashamed to exhibit and exaggerated: Veronica's hands
his acquisitions from what once be- seem to hold her napkin, which some
longed to his old friend and visitor. say was effaced in an injury, received
When Philip IV. beheld this Raphael, by the picture on its journey. How
he exclaimed, " This is the Pearl of short, alas! the life of pictures!
my pictures," and he was a good Apelles is but a name.
judge, for never was the serious genNext observe, 794, E., a sweetlytleness of the blessed Virgin Mother, composed Holy Family, called De la
her beauty of form, her purity of soul, Sosa; the originality has, however,
better portrayed; the rich Titian-like been doubted : 798, E., a small Holy
blue sky, streaked with red, forms a Family painted in 1507: 834, E.,
fine background: this pearl of great St. Elizabeth visits the Virgin; this
price was overcleaned when taken to contrast of aged and youthful pregParis, and has, in 1845, undergone nancy forms a subject never overanother cruel operation at Madrid, and pleasing. The composition is very
the shadows are somewhat dark. 741, simple, with a fine landscape. This
E., C. N., Tobit and the Fish, la also was removed when at Paris
Virgen del Fez, a simple grand sym- from board to canvas, and was then
metrical composition, perhaps some- painted over and extra-varnished.
what too yellow in colour. This, paint- It is inscribed in letters of gold,
ing also was taken to Paris, and was Raphael Lrbinas, F . ; Marinus Branthere removed from board to canvas, conius, F.F.—fieri fecit: 901, a pora dangerous process invented at Ferrara trait, according to some, of Bartolo,
by one Antonio Contri; it had been the jurisconsult: according to others
first scrubbed and over-varnished, yet of Andrea Navagiero, ambassador to
on the whole it is one of the grandest Charles V., and author of ' II Viaggio
Raphaels at Madrid : 784, Christ bear- de Espagna.' Although somewhat
ing the Cross, called El Pasmo de Sicilia, hard and reddish, it is very grand,
from having been painted for a church simple, suggestive, and effective : 905,
in Sicily, la Madonna del Spasimo ; C. L., portrait of Cardinal Julio de
it is accounted as second in excel- Medicis, a truly Italian head; how
lence to the Transfiguration only by full of mental power; observe the
those who look to size as a test, or decision in the fine compressed lips
the timid who are afraid to express and the keen intellect of the pursuing
an honest dissent when called upon as eyes: 909, a portrait thought by some
a matter of course to fall into stereo- to be that of Agostino Beazano.
typed common-form raptures. This
And now we may whisper to our
picture when at Paris was also removed
from boards to canvas by Mons. Bonne- countrymen another little fact, new,
maison, of whom Passavant (Kunst- probably, to the gentlemen who do
the official catalogue for the Spanish
696
MADRID—PROFOSED SALE OF RAPHAELS.
Sect. X I .
public. During the Carlo-Christinist if not rubies and emeralds, and which,
struggle, information reached Lord in spite of unlearned drawing, carries
Monteagle, then Chancellor of the all before it. Titian was, indeed, a
Exchequer, that these four Raphaels— painter—not, indeed, of Spain, for in
the Spasimo, the Perla, the Tobit, and him the religious sentiment is suborthe Annunciation — were to be had dinate to colour and composition.
for a consideration ; having consulted
By Giovanni Bellini of Venice
Lord Melbourne, they determined on (1426-1516), observe 665, Virgin and
their own responsibility, and to their Child; although curious, it is hard,
infinite credit, on offering 80,000?. for and has been repainted; 414, Jesus
the four pictures. When Lord Claren- giving the Keys to Peter, is a truly
don, then our envoy at. Madrid, made early Italian picture; it came from
this bidding to the Spanish Minister, the Escorial, where it was attributed
it was declined as offensive to Cas- to Giorgione, and was the companion
tilian pride, honour, love of art, &c.; of 792, by that great artist, the Virgin
and the affair went off officially. Not with Saints, which is one of his very
long afterwards, nevertheless, a duly- finest pictures: observe the man iu
empowered agent visited Lord Mont- armour. Giorgio Barbarelli il Gioreagle, re-opened the affair, and accepted gione (1477-1511), died too young,
the offer, undertaking that the four pic- while Titian, his co-pupil, lived too
tures should be sent to Downing-street, long. His picture, 780, of David
in order that their originality might be killing Goliath, is fine; the cinque
tested before the 80,000/. was paid. cento costume is interesting, but the
On mention, however, of the necessity proportions between the stripling and
of this sum being voted for in the the giant are not well observed.
House of Commons, the negotiation
By the immortal TIZIANO VECELwent off at the idea of publicity. LIO, of Cadore (1477-1576), there are
Had this secret bargain and sale been 43 pictures, a museum of themselves.
effected, would copies have been Notice 421, E., The Virgin : 428, E.,
quietly substituted for the originals ? Christ in the Garden, much injured :
Such things have occurred in the best- 437, E., St. Jerome: 465, E., the
regulated galleries. Some will think Virgin, a Dolorosa: 492, E., St. Jethey could easily guess who employed rome : 680, Portrait: 682, Ditto: 685,
C. L., Charles V. on Horseback: this,
this secret agent.
Of all the Italian schools, that of before its recent restoration, was the
Venice is the richest, in which Titian finest equestrian picture in the world ;
is more sublime and poetical than
towers so supremely over all, that our it
Velazquez, yet equally true to life ;
Wilkie compared the Escorial to his the knight-errant emperor, a king,
"workshop." Titian was the personal aye, every inch a king, inspires an
friend of Charles V. and Philip I I . ; awe, like the Theodore of Dryden
and (although Kugler doubts it, being pursuing the perjured Honoria; the
evidently unacquainted with the Span- identical suit of armour is preserved
ish collections) he came to Madrid in in the Armeria, No. 2308 : 695, Titian's
1532, and remained there until 1535, own Portrait, venerable and intelliwhich accounts for the number and gent: 724, a Portrait: 728, C. L.,
fineness of his works (see Cean Ber- Diana and Action, the myth of the
mudez ' Dice' v. 30).
fox-hunter, who leaves his wife, nay
Again, of all the Italian schools, mistress, for his dogs, and is ultithat of Venice was the most admired mately eaten up, i. e. ruined by keepby Velazquez, who went purposely to ing hounds. She, too, is wide-awake,
that city to purchase pictures for while Cupid, good-for-nothing boy,
Philip IV.; at Madrid, therefore, dozes: 729, C. L., Diana and Calisto,
Titian is to be seen in all his sena- two charming sketches, coloured w'ith
torial dignity of portrait and his glo- pounded flesh and turquoise skies;
rious power of colour — oh magical, they have been draped and painted
ravishing colour! pounded flesh rather,
Tlie Castiles.
MADRID—EL MUSEO—TITIAN.
697
over, owing to Spanish prudery ; the when the demitints tell up, all that
drawing is not very accurate, but Titian seems flat when one is near, becomes
was 84 years old when these were pro- form and meaning : 805, E., The Caduced. 740, Portrait of a Knight of tholic Faith flying for Protection to
Malta: 752, E., the celebrated,alas! re- Spain: 812, Adam and Eve ; observe
painted Gloria, or apotheosis of Charles the petitimientos in Adam's head: this
V. and Philip II., who, kings on earth, picture was Rubens' favourite, and
now appear as suppliants before the no wonder, for the forms are more
King of heaven and the angelic court. sprawling and the fleshes heavier than
The Moses and the naked figures are is usual in Titian: 813, E., Christ
admirable. This, by some considered placed in the sepulchre, fine : 821, the
the masterpiece of Titian, was painted Marquis del Vasto, the illustrious
IB his best time for Charles V., who D'Avalos, addressing his troops, finely "
directed by his will that it should al- coloured, but cruelly restored; it beways be hung up where his body was longed to our Charles I . ; 822, E., is a
buried ; it accordingly remained at repetition of 813: 851, another St.
Yuste until Philip II. removed his Margaret; the figure is well relieved
father's remains to the Escorial.
by the gloomy rocky back-ground;
Next observe 756, The Punishment this also was our Charles's: 852,
of Sisyphus, painted for our bloody C. L., Offering to Fecundity, marMary: 765, C. L., Charles V., with vellous ; but it will shock all Malhis favourite Irish dog; this picture thusians, for never were so many or
belonged to our Charles I.; here is such playful living children better
the emperor in his privacy, with his grouped and painted; unfortunately it
look of care, gout, and dyspepsia: 769, has been spotted by retouches: this
C. L., is his son Philip II., young, and was the picture which, when at Kome,
in a sort of armour, still preserved in the Ludovisi Gallery, was the study
in the Armeria, No. 2388; rich in and the making of N. Poussin. 854,
costume, delicate in form and feature, Victory of Lepanto, painted by Titian
and how different the heir apparent when 91 years old ; and even in his
from the cold bigot and tyrant of his age live his wonted fires, for the colater years! These full-lengths are louring is rich, the harmonious effect
fac-similes of the men ; indeed Titian fine, but the composition is feeble;
and Velazquez have so identified the age will not be defied; the rows of
Austrian branch, that we here become pillars look like organ-pipes, and the
as personally acquainted with them as angel seems as if it had been thrown
if we had known them alive. 775, E., out of window and must break its
St. Margaret, very fine, but it has neck; Philip II., in his red breeches
been repainted with false draperies: and yellow boots, places his naked son
776, C. L., Salome, with the Head of Fernando somewhat awkwardly on the
the Baptist; this exquisite picture table; however, as a curiosity of the
is said to be a portrait of Titian's sustained art of Titian this picture dedaughter, and if the face be not serves notice. 864, C. L., a Bacchastrictly correct beauty, it is individual: nal ; Ariadne, in the isle of Naxos,
787, Prometheus captive and tor- abandoned by Theseus; this, before
tured ; this was painted for our bloody its restauracion, was one of the finest
Mary; " here is the rock, the vulture, pictures in the world; joyous mirth
and the chain, and all the proud can and a dance of light never were so
feel of pain;" compare the poetical gloriously coloured; it is a comtreatment by our Italian with No. 121, panion to the inferior Bacchus and
the butcher production of the practical Ariadne in our National Gallery;
Spaniard Ribera; it is iEschylus con- read, while looking at it, the spirittrasted with Torquemada: 801, C. L., stirring verses of Catullus, lxii. 251.
Venus and Adonis, glorious; there is The God, born in flame, dashes from
an inferior repetition in our National his car, all fire and passion, and soon
Gallery: seen from a certain distance, will weeping Ariadne be consoled for