m■V,. a ·^Míis lamKgsWS9Êil^Mg§ í^AAWvÁí.('■A¡i-AZ/v'/y:;·;'r-S,vf.*V wm¡WBíi&á9É . ^A,v. ^ÀA'.>/!ú;"\S A'!.■•;-.i■'^ BRITISH COMMITTEE Excmo. Señor Don Alfonso Merry Sir John Stirling Maxwell, Bt., del Val, Spanish Embassy, London LL.D. His Grace the Duke of Devonshire, Sir Herbert Cook, Bt. K.G. Sir George Holford, K.C.V.O. His Grace the Duke of Rutland, Sir Martin Conway, M.A., F.S.A. K.G. Sir Claude Phillips, B A. His Grace the Duke of Wellington, Sir Isidore Spielmann, C.M.G. K.G. Sir Alfred Temple, F.S.A. His Grace the Duke of Abercorn Mr. Lionel Cust, C.V.O., F.S.A. His Grace the Duke of Westminster, Mr. Witt. G.C.V.O. Sir Aston Webb, K.C.V.O., President The Earl of Crawford and Balcarres of the Royal Academy. Right Hon. the Earl of Lytton Mr. Frank Dicksee, R.A. The Viscount Lascelles Mr. J. S. Sargent, R.A. Right Hon. the Lord Revelstoke Mr. Seymour Lucas, R.A. Right Hon. the Lord D'Abernon Mr. Solomon J. Solomon, R.A. The Lord Rothschild, F.R.S. Sir John Lavery, A.R.A. The Lord Ludlow SPANISH COMMITTEE President : Excmo. Señor Duque de Alba Sr. d. Manuel Benedito. Sr. d..Luis dE ErrA2U Excmo. Señor d. Mariano Benlliure Excmo. Sr. Conde de Peña-Ramiro Ilmo. Sr. d. Aureliano de Berueté Ilmo. Sr. d. Jacinto O. Picon Y Moret Sr. d. Santiago Rusinol Ilmo. Sr. Marqués de Casa-Torres Excmo. Sr. d. Elías Tormo Ilmo. Sr. d. Javier Garcia de Leaniz Secretary : Sr. Don Ignacio Pinazo NOTICES The present Exhibition is divided into two sections :— I. Spanish Painting, from the 14th century until the death of Goya. II. Spanish Painting, from the time of Goya's death until the present day. The Catalogue has been arranged thus : In the first part the description and history have been given in proper chronological order ; the second part has been reduced to a mere list of artists and titles of works in alphabetical series. Due regard has been had in the headings to the merits attributed to the paintings by the owners. In very many instances, however, corrections have been introduced in the text. Deceased painters are indicated with a cross, thus (f). All works contained in the Catalogue marked with an asterisk (*) are for sale. All enquiries respecting the purchase of these works should be addressed to the Secretary. The notes in this Catalogue are by F. J. SANCHEZ CANTON, of the Centro de Estudios Históricos de Madrid. CATALOGUE •PAINTINGS BY OLD MASTERS ANONYMOUS MASTER (of the first part of the 14th century). 1 Life of Saint Peter. Panel, 51J by 68i in. (Lent by the Marquis de Urquijo, Madrid) Panelsenclosing a sculptured figure of the prince of apostles. On a red background, and in short scenes, is narrated with animation and good taste the life of Saint Peter. This picture comes from the church of San Pedro at Zuazo (Alava). It seems to date from the middle of the 14th centur}', and is perhaps the most ancient of a series of pictures peculiar to the Basque province, to which also belong : the altar of Quejana (Alava), to-day in the Deering Collection (Sitjes), scenes unfolding themselves on a grey background ; and the reredcs—portal-shaped—in the monastery of San Millitn de Suso (Logroño). Perhaps this is the main work of the diptych group of the Piedra monastery, now in the Academy of History at Madrid. Outside Catalogues we seldom find any panels anterior to the 15th century. (Notes communi¬ cated by J. Alleude-Salazar.) THE MASTER OF TOBED. 2 The Virgin and the Child, with the portraits of Henry II., King of Castile, and his family in prayer. Panel, 6iJ by 46J in. (Lent by Don Román Vicente, Saragossa) The Virgin, seated, is nursing the Divine Child ; she wears a marine-blue cloak, adorned with yellow birds A 2 SPANISH PAINTINGS, ANCIENT & MODERN and lined with Florentine lake tints ; she is surrounded by four angels, wearing orange-coloured dalmatics with gold foliage ; the costume of the Child is also of gold. The King and Queen and their children wear costumes of gold cloth. Partly erased there is the inscription, Enrique Rege. There appear in the triangles of the arches the arms of Castille and León and those of the Manuels. This panel must have been painted between 1367 and 1379. The escutcheons go to prove that the personages here por- traited are King Henry II., 1333-1379, and his wife Doha Juana Manuel, 1339-1381. They are accompanied by their children he who was to be John I. of Castile, : and Doha Leonor who was married to Charles the Koble of Navarre. The author of this panel calls himself the Master of Tobed, owing to this picture having originated from a small hamlet of that name (Saragossa). He was probably a Spanish artist "directly influenced by the Sienna tradition in the same manner as the Catalan painters of his time." May he have been the mysterious Lorenzo Zaragoza who was at work in Barcelona towards 1360 and in Valencia in 1374 ? This panel was made known at the Retro¬ spective Exhibition of Saragossa in 1908. It was reproduced in lil Albilm with text of Emile BertauXjWho criticised the same anew in La licvuc de VArt ancien et moderne, 1909, I., pp. 61-64. LUIS BORRASA. In 1390 he was already a widower ; in 1396 we hear for the first time of reredos of his, then lost, but up to 1424 a documentary data concerning his pictures are pretty well linked together. Until 1412 he was in Avignon at the Court of the Spanish Pope, Benedict XIII. ; he there availed himself of the teaching derived from the works of Menni and Simone Martini, who influenced his art without, however, making him a servile follower of theirs. "He was an amiable painter," writes M. Bertaux, "and was the favourite of the religious brotherhoods and sisterhoods by reason of the pious sweet¬ ness of his works and of his 'precious perfection.' " Sanpere and Miquel :Cuatrocentistas catalanes, I., pp. 97-133, and II., pp. 221-32. Bertaux : in .VHistoire de VArt, III., 2nd part, pp. 762-6. SPANISH PAINTINGS, ANCIENT & MODERN 5 3 The Lives of Saint John the Baptist and Saint John the Evangelist. Panel, 84J by 92 in. (Lent by the Count of Fuenclara, Madrid) The main central panel, with a gold background, repre¬ sents the Evangelist to the left and the Baptist to the right, each with his distinctive symbols. Kneeling at both extremities are two ladies, and in the centre a noble¬ man, addressing their supplications to the Apostle. The lateral panels recount, in twelve scenes, the lives and martyrdoms of the two Saints. This might be believed to be a work of the last decade of the 14th century, and perhaps the personages in prayer are Peter IV. of Queralt, his mother Constance, and his wife Olemence. This reredos belonged to the chapel of the Castle of Santa Colonna de Queralt (Lérida). Luis Borrasá painted also a reredos of the Life of Saint John the Baptist (Museum of Decorative Arts, at Paris). In the opinion of Torino, this latter picture is hardly related with the art of Borrasa. Sanpere and Miquel reproduced and criticised these panels in ob. cit. II., pp. 222-25. NICOLAS VERBERA. Was a resident, and perhaps also a native, of Vich (Barcelona). In 1406 he was a man of mature years; on 29th August of that year, he signed an agreement for the painting of a reredos, to which, from the description that has been made of it, is likely to have belonged a panel at the Vich Museum—La Virgen y el niño rodeada de angeles músicos. Such is the only information we have, and such the only work which, not without doubt, has been classified as being by Verdera. "The Virgin of Vich," writes Berteaux, "has the child-like grace of the works painted by Colonna." " This is a fresh and light picture, against a background of gold adorned with fine arabesques." Sanpere and Miquel: CnatroccntistaSy I., pp. 118-119 ; IL, doc. VII. Berteaux: Histoire de VArt^ III., part II. p. 763, fig. 446. He reproduces the Vicli panel. 6 SPANISH PAINTINGS, ANCIENT & MODERN Í The Mystic Marriage of Saint Catherine. Panel, 23i by 2ig in. (Lent by D. Román Vicente, Saragossa) This is a small and very fine triptych. In the espina appears the Crucifixion.In the central panel we see the Virgin, seated on a log, with the Divine Child in her arms ; she wears a blue cloak lined with red, and a robe of gold brocade ; there is a crown on her head ; to the left, kneeling also, and with a robe similar to that of Mary, Saint Catherine is changing rings with the Child. In the side panels : in the upper part, the Annunciation ; in the left side panel, Saint Michael throwing down the Dragon, the Magdalene and a saintly bishop ; in the right side panel. Saint Francis of Assisi receiving the stigmata, and below. Saint John the Baptist, with a long beard, a cassock of sackcloth and a cowl, bearing in his hand a high and round standard, and Saint John the Evangelist. Background of gold. This is a picture of the first half of the 15 th century. CATALAN MASTER (of the beginning of the 15th century). 5 San Armengol, Bishop of Urzel, and a Sainted Deacon Martyr. Panel, 86J by 56J in. (Lent by D. Román Vicente, Saragossa) A Gothic reredos, composed of four panels. In the first, to left of the upper part, two Saints—one a bishop and the other a deacon—being conducted to the presence of a king or of a judge. In the second panel, right, a prison yard; to the left, the jailer with the keys. The sainted Deacon, naked, is suffering martyrdom, tied upon the teeth of a wooden harrow ; at his side, two torturers, who appear astounded at the tranquillity of the martyr ; SPANISH PAINTINGS, ANCIENT & MODERN 7 Heaven in the background, with four angels singing. In the third panel, to the left of lower part, the dead Saint ; his naked body is at rest upon a bed, and is covered with transparent veils; in the background, middle distance, ladies and noblemen (the donors?); near the head¬ board, a group of five angels, who are transporting to Heaven the soul of the Martyr, materialized, according to custom, in the shape of a small figure. In the fourth panel, to right of lower part, the sainted Bishop, in his pontifical vestments, is heading a procession coming from the castle, in order to bless the river which is meandering through a mountainous landscape with trees like olives. In the ceiling the inscription, S. Armâgol. Saint Armengol, Ennengol (Ermengaudus), was Bishop of Urzel from 1010 to 1035. He died, dashed to pieces on the rocks below, in a fall while he was watching the construction of a bridge. A few months afterwards he was accorded worship because they attributed to his intercession the end of a drought. This picture probably dates from the first half of the 15th century the style is archaic and ingenuous, but somewhat ; effeminate. Apparently its author was familiar with miniature painting. Melida thought it belonged to the 14th century. Exhibited at Saragossa in 1908. E. Tormo : Bol,^ 1909, p. 62. 6 The Crucifixion. Panel, 56J by 49J in. (Lent by D. Román Vicente, Saragossa) The Saviour on the Cross; Saint John is seated on the right ; on the left, the Virgin Mary, dismayed, guarded by one of the Saints ; others stand behind ; armed soldiers in typical armour complete the picture. The faces are intended to be expressive. Gold background in relief. Catalan work belonging to the first half of the 15th century, according to Tormo, from the time of the Renaissance, due to the influence of the tragic and tempestuous Franco-Burgundy Art ; possibly also owing to the personal influence of Benito Martorell. Exhibited at the Exhibition of Retrospective Art at Saragossa, 1908 ; studied by Tormo, Bol,, 1909, p. 62, s SPANISH PAINTINGS, ANCIENT & MODERN 7 The Madonna and Child Enthroned. Panel, 65 by 44 in. (Lent by Lord Leverhulme) 8 The Legend of Saint Ursula. Size, 65 by 44 in. (each picture). (Lent by Lord Leverliulme) I. She addresses her future fellow Martyrs. II. She and her companions arrive at Rome. III. She is sentenced to death. IV. The Martyrdom. 9 Birth of Saint John. Panel, 31 by 48 in. (Lent by Lord Leverhulme) 10 Saint Michael. Panel, 33 by 72 in. (Lent by Lord Leverhulme) SPANISH MASTER (about the middle of the 15th century). 11 The Annunciation, with the Portrait of thf. first Count of Alba in the act of praying. Panel, 35J by 26J in. (Lent by the Duke of Alba and Berwick) Represented as bestowing the Annunciation, praying behind a slightly raised seat; to his left, on the foot¬ stool, is his casque ; his features are stern and his hair long ; a full great-coat covers his armour. A castle is seen through the open window) below the splay is the SPANISH PAINTINGS, ANCIENT & MODERN 9 shield of the Toledos. To the left, the Virgin Mary is shown receiving the Envoy, who, the sceptre in hand, has just read the salutation which is written on a scroll ; in the background, the bed of the Virgin Mary ; the Virgin Mary is kneeling before the seat ; the open prayer-book lies before her ; at the foot, the vase containing the . mystical lilies. This is a painting of real importance ; it reveals pre- Eykian influences and shows a certain connection with the Horas de Turin, It is not, perhaps, easy to suppose that it is the final work of the evolution of Jorge Ingles, the painter of the Marquis de Santiliana ; the figures of theangels in the altar-piece of Buitrago are not so finely depicted and the ideal of beauty differs. Don Fernando Alvarez de Toledo, the Lord of Valdecorneja and other towns and villages, held a prominent position in the Court of John II. and Henry IV., and was Chief Cup-bearer to tlie King and Lord Chamberlain to the Prince ; his fame is due to the campaigns in which he fought against the Moors as Commander-in-Chief of the Coast of Granada. Having inherited from his uncle, Don Gutierre, Archbishop of Toledo, the lord¬ ship of Alba de Tormes, the King made him first Count with this title in 1429, being the origin of the great House of the Dukes of Alba. He married Doña Mencia Carrillo, which marriage gave him heirs, the eldest of his sons, who died in 1488, being the first Duke of Alba. For having been a partisan of Don Alvaro de Luna he suffered the horrors of prison, and died in Cordoba about 1462. Hernando del Pulgar, in his Claros varones de España^ portrays him thus : He was a man of good stature and a charming disposition, graceful and courteous in his speech, of good understanding, and a valiant horseman. From his youth it was his desire to accomplish deeds in the military order of knighthood worthy of praise and commemoration. He succeeded ... in pitched battles and captured the flags of the enemies, and his successors now bear them on the borders of their arms. He coveted wealth, but was liberal. In some matters he was irritable and impatient, especially in such as he considered affected his honour.'* Barcia : Cap-de la Colección de Pintura del Exmo Señor Duque de Bericich y de Alha^ Madrid, 1911, No. 1. Marques de Hermosilla Los Tolcdos : Revista de y Genealogia, pp. 451-2. lO SPANISH PAINTINGS, ANCIENT & MODERN MAESTRE BARTOLOME DE CARDENAS EL BERMEJO (RUBEUS). Boru at Cordoba. .When at Daroca (Saragossa) on 28th September, 1477, he agreed on the conditions for painting the altar-piece of the church of Santo Domingo de Silos in that city, and on 17th November of the same year, being then at Saragossa, he amended them. Of this altar-piece the remaining superb central board is about to be placed in the Prado Museum. On 23rd April, 1490, he signed La Piedad with the portrait of Canon Desplá, which is kept at the house of the Archdeacon of the cathedral at Barcelona. He must have remained several years in this city, as on 28th February, 1491, he figures in a contract, and a docu¬ ment dated 5th May, 1495, proves that he took part in outlining the scheme for the windows of that cathedral, one of which is preserved. No date accompanies the signatures on the San Miguel, whicli figures at the Exhibition, and the painting of the Cathedral of Acqui (Córcega). The above notes his friendship with the Arragonese painter Martin Bernat, and —if it refers to him—a note by a Saragossa merchant, from whicli it appears that "Maese Bartolomeu, the painter, owed him a 'sueldo'" (a coin worth half a real of plate), constitute all the data collected together to portray the personality of an artist who alone can share the first place amongst the old Spanish painters with Pedro Berruguete. Undoubtedly various other works have been added to those mentioned (having been attributed to him with more prodigality than prudence), of which, perhaps, one alone may be safely ascribed to him, La Santa Engracia (Gardiner Collection, Boston) ; and, in all probability, although it cannot be definitely stated, the Santa Faz (the holy image of our Lord's face) at the Museum at Vich. Bertaux writes: "The initiation into Italian art of Bermejo remains unexplained, as does also his Flemish apprenticeship." Sanpereand Miquel, works cited, pp. 66,132 and 270-2. Bertaux: Lcè 'primitif& EapagnoL·,'"''Rev. dc VArt," 1908; Id. Jlhioire de VArt, IV., part ii., pp. 901-5. Serrano and Sanz : Documento^ para hi Historia de la Pintura en Aragónf*' Rev. Archis," 1914, IL, pp. 455-9, and 1916, I., pp. 482-5. 12 Saint Michael. Panel, 58J by 37J in. (Lent by Sir Julius Wernher, Bath House, London) Represented standing erect, trampling the dragon under foot, clad in full armour, head-dress, full cloak and wings; without helmet, and wearing a diadem which terminates in a cross ; in his right hand he wields the sword, while in the left he holds the richly embellished SPANISH PAINTINGS, ANCIENT & MODERN ii shield. The gesture and heroic bearing are marvellously depicted to the left the donor, ; wearing a wide loose gown of brocade and high cap, holding the Book of Hours. At his feet appears the signature. Originally from Tours. Bertaux writes : '*The marvellous delicacy with which the technicalities are executed in no way detracts from the splendour and elegance of the silhouette. The Archangel is of the youthful type represented by Van der Weyden. The monster, whose carapace, agate in colour, is set with precious stones, is symbolical of the devilish imagination of Jerónimo Bosco. The stones, pearls, gems, rock-crystal, silks, velvets, brocades, etc., are imitated with that precision of which the Van Eyks had discovered the secret, and which appears to be intended to deceive both the touch and the eye. They are splendid examples of Flemish art." Cook : The Burlington Magazine, Nov. 1905. Bertaux : Jlcv. de l'Art, 1906, II,, p. 118. HISPANO-FLEMISH MASTER. 13 Isabel the Catholic and Prince Don Juan (?) Diptych, in panel, 13I by loj in. (Lent by D. Román Vicente, Saragossa) The diptych is formed by two fragments of two panels which, before they were hinged together in modern times, it appears had no connection whatever one with the other. The left-side panel represents, from the waist, the upper part of the body of a queen or a princess, wearing a rose pink costume, a wine-coloured mantle, white head-dress and crown. There is seen in the lower left-hand corner another crown which she probably holds in her hand ; from which it may be concluded that she is very likely a saintly princess, probably Saint Isabel. The similitude of her features with those of the Catholic Queen is, however, but very slight ; perhaps this latter was to be seen kneeling before the Saint. Landscape in the background. This is a Hispano- Flemish panel of the first years of the 16th century. 12 SPANISH PAINTINGS, ANCIENT & MODERN The right-hand panel appears to be a fragment of the outer side of reredos door, such as these used to a be, and is painted white and black only. Perhaps it repre¬ sents the head of the Angel of the Annunciation. Whereas portraits of Queen Isabel La Caiholica are not two only are rare, known of Prince Don Juan of indisputable authenticity : one sculptured on his tomb in Saint Thomas of Avila, the work of Alejandro Fancelli ; and the one which can be seen in Panel No. 1283 at the Prado Museum, and even this latter does not offer every possible guarantee, because the figure does not appear in its original state. From amongst the portraits of Isabel La Caiholica the best known, and probably also the most faithful, is the one which, removed from the Carthusian monastery of Miraflores in Burgos, now hangs in the Palace of Madrid ; this is, without the least probability, attributed to John of Flanders, and it is surely a Spanish I work. PEDRO BERRUGUETE. The greatest of the primitive Castilian painters, he was born proljably towards the middle of the 15th century, and died, we may take it, a few days previous to 6th January, 1504. He visited Italy, as may be gathered from his style, and according to ancient The first genealogical notices. documentary evidence of liis existence in Castile is the payment made to him for painting done in the tabernacle of the cathedral at Toledo in 1483 ; he received other payments from the same church in 1489 and 1495. In 1499, having evidently completed the magnificent reredos of Saint Thomas of Avila, he began painting that of the cathedral in the same town, which was interrupted by his death. It is said that he was Palace Painter to King Hernioso., but this must have been when the latter was only Prince, since the painter died before Don Philip of throne. He was the father of the greatest of Spain ascended the Spanish sculptors, Alonso de Berruguete. Justi wrote of Pedro Berruguete : " He surpisses all the Spanish primitives by the forceful originality of his brilliance and vigour of his conception and the colouring." Oil colouring," says Bertaux, has all the Flemish solidity, enriched with the Spanish golds of the back¬ grounds aiid with the brocades of the large flowerings ; the vigour of a bas-relief in the dark his modelling has shades of bronze." He is said to have been influenced by Signorelli and Melozzo, and others have pointed out Venetian influences in the works of Pedro Berruguete. Documentos de la Catedral de Toledo, Donatión Zarco—publications and notes of F. J. Sánchez Cantón, 1916, I., pp. 21, 22. Allende Salazar : La familia Bemíguete, Bol. delaSdad. Castellana de excursiones, 1915, VI., p. 194. Marti Monzó : Estudios Histórico-Ártisticos, pp. 104-8. Bertaux, in Histoire de VArt, IV., 2nd part, pp. 918-19, SPANISH PAINTINGS, ANCIENT & MODERN 13 1Í Portrait of the Artist. Panel, 14I by g.J in. (Lent by José Lázaro, Madrid) This seems to be a fragment of a The larger panel. figure wears a smock frock with collar ; the shirt is open seen underneath ; the hair is long, and covered with a cap ; the features are young and energetic. I The characteristics of the painting, the position of the head, and the direction of the glance go to prove that tliis is a portrait of the artist. The historians of Spanish painting have agreed that it should be attributed to the great Castilian painter. Published in Boh, 1900, IX. p. 49 ; and by Bertaux, mVHistoire de VArt, IV., p. 919, fig. 618, who considers it ' ' very remarkable. " VALENCIA SCHOOL. 15 San Vicente. Panel, 57 by 21 in. (Lent by Cyril Bruyn Andreus) FERNANDO GALLEGOS (about 1480). 16 Chaos. Panel, 61 by 44 in. (Lent by Sir Herbert Cook, Bart.) i An irregular geometrical design with four concentric * blue and red alternating circles, which are edged with gold, and contain Cherubim and Seraphim. A figure of the Eternal in the upper manderla. Inscribed in large letters : " cahos." Companion picture to Nos. 17, 18, and 19, which are por¬ tions of a large retable, now at Richmond and .formerly the altarpiece of the Cathedral at Ciudad Rodrigo, which would have risen to a height of 60 feet from the floor of the cathedral and been 25 feet wide. Twenty-two upright panels, now at ) f H SPANISH PAINTINGS, ANCIENT & MODERN Richmond, Illustrate "Scenes from the Creation" and ''The Life of Christ " ; none of them is signed. The three panels containing half-length figures of Apostles have a gold back¬ ground with an architectural setting. During the Peninsular War the English Army, under the Duke of Wellington, under¬ took the siege of the fortress. The western portal of the cathedral was blown in, and the reredos was gi'eatly injured. Some twenty-nine panels survived, and were sold to a local dealer in 1879. The arcading of each section was gilded, and each portion separated from the adjoining one by a gilded column. 17 Saint Andrew and Saint Peter. Panel, 32J by 43J in. (Lent by Sir Herbert Cook, Bart.) On the left St. Andrew, with the cross of his martyrdom held before him. On the right St. Peter, holding the keys and an open book. Companion picture to Nos. 16, 18 and 19. Exhibited at the Grafton Galleries, 191.3, No. 14. 18 Saint Bartholomew and Saint John the Evangelist. . Panel, 32J by 43J in. (Lent by Sir Herbert Cook, Bart.) On the left St. Bartholomew, holding two knives in his right hand. On the right St. John, holding in his left hand the chalice from which issues the serpent. Companion picture to Nos. 16, 17 and 19. Exhibited at the Grafton Galleries, 1913, No. 17. 19 Saint Mark and Saint Thomas. . Panel, 32J by 43J in. (Lent by Sir Herbert Cook, Bart.) On the left Saint Mark, his head nimbused, holds an open book. On the right Saint Thomas, wearing the cap of a carpenter, holds the Virgin's girdle in his outstretched hands. Companion picture to Nos. 16, 17 and 18. Exhibited at the Grafton Galleries, 1913, No. 20. SPANISH PAINTINGS, ANCIENT & MODERN 15 HERNANDO YANEZ DE LA ALMEDINA. Said to be a native of La Almediiia, in the centre of La Mancha province. The first reference to his life is made when, in the studio of Leonardo, the sum of five gold florins is paid to "Ferrando Spagnolo, Painter," on 30th April, and on 30th August, 1505, for his assistance in the painting of the " Large Room." In 1506, in the company of Fernando Llanos, he is seen at Valencia painting the reredos of Saint Cosme and Saint Damien. On 1st March, 1507, they sign an agreement for the painting of the doors of the reredos. From the end of 1510 his name disappears from the accounts of the cathedral at Valencia. In 1531 he had planned for the paintings of the Albornoz chapel in the cathedral at Cuenca, which, by 1536, were already completed ; whilst one of the pictures was dated 1526. With a Spanish and peculiar accent he brought into the Peninsula the art of Leonardo. "He is perhaps," to quote Tormo, "the sole great painter of the Renaissance, with the exception of the great Italian masters." Bertaux points out the realistic character of some of his scenes, "examples of popular realism, sometimes lewd," which seem to announce rihalta, " Fernando Yáfiez could give lessons of energy." " His sumptuous Orient¬ alism reminds us more of Venice than of Florence and of Leonardo." Palomino : Vida, p. 34. Caen: Diccionaro^ Síínchis Sivera, Pintores medioevales de Valencia" 135-6.' Bertaux : Le retable monn/mental de la catedrale de Valencet Gazette des Beaiix-Arts," 1907, II. ; Les peintres Fermindo et Andres de Llanos a Murcie^ id. 1908, I. 20 Saint Catherine. Panel, 83^^ by 44^15 in. (Lent by the Marquis of Casa-Argudín, Madrid) Standing erect, full size, with the right hand in the cross-bars of the guard of a sword resting on the wheel of martyrdom broken by angels, she gathers her robe with the left hand. She wears Arabian clothes, of which this painter was always extraordinarily fond—rich old materials, perhaps of the 14th century, so minutely and so truly painted that their Kufic and Nesjies characters can be read—a gold belt, pearl necklace with rich settings of sapphires and garnets. Behind, a high stone socle ; above, the royal crown and the palm on a book ; in the background, an edifice distinctly Spanish in appearance i6 SPANISH PAINTINGS, ANCIENT & MODERN with first courses of floor-tiles. There is remarkable grace in the face and attitude ; the colours are pure, with all the beauty of enamel. ' ' Candid-looking, with her eyes looking towards the ground and veiled with most delicate eye-lids, our Saint Catherine is the most Spanish of the Renaissance beauties " (Tormo). It comes from the Valentian Collection of the Counts of Creixell, from whom it was acquired by the artist Don Vicente Peleguer, who sold it to its present possessor. Tormo : Yañez de la Almcdina cl más exquisito pintor del Remicimiento en España, Bol., 1918, p. 198, plate 105. LUIS DE MORALES THE DIVINE, He was born at Badajos in 1517, although the date is far from certain. It seems that he made his apprenticeship in Seville and Toledo, and that he was a miniature painter in addition to being a painter in oils. His Virgin with the Little Bird " is dated 1546. In 1547 he entered into an agreement for works to be painted at Càceres ; in 1554 he was living at Badajoz, when a son was born to him ; in the same year he was working in the cathedral of that city ; frqm 1565 to 1570 he painted the reredos of Arroyo (Càceres) and that of Saint Martin's at Placencia. Before 1568 he painted the triptych of the Patriarchal College (Valencia). In 1569 he went to Palència to appraise some glass windows ; in 1575 he sells a vine¬ yard. He is supposed to have had, in 1581, an interview with Philip II., of whom it is said that—although this is hardly credible—he had him expelled from the Court because he was wearing showy garments, but, seeing that he was old and poor, paid him a pension. He is said to have died in 1686. He was the most popular ascetic painter in Spain. From his art, sometimes exquisite, always sincere, the tragical side of it made the greater impression, and he was imitated during several centuries. His life, if we may believe the fragmentary documents which are left, was regular and peaceful ; with real love, with devotion, he fixed on canvas and panels of brilliant colouring the religiosity, sometimes intolerant, some¬ times delicate, but always vibrating and fervent, of the Spanish people in the days of Pliilip II. Palomino : Vida, p. 20. Tormo : Museum, 1917, VI. 21 The Fifth Dolour. Panel, 27-JI by 20 Jj- in. (Lent by the Bishop of Madrid-Alcalá, Madrid) Mary, wearing a white coif and a blue mantle, is lamenting over the dead body of her Divine Son ; she is SPANISH PAINTINGS, ANCIENT & MODERN 17 holding His head with the right hand, and with the left she is wrapping His chest in the sudarium. The cheeks of Mary are touching the temples of Jesus. This Fifth Dolour is perhaps anterior, in the production of Morales, to the panel which follows. The composition pro¬ ceeds from a style of painting, of which examples Flemish abound in In the following picture, however, both faces Spain. are not touching one another ; on the contrary, a great distance separates them, which may be explained from an evolution of this genre of painting. In this the head of Jesus is better proportioned and more handsome ; it is less discomposed by death. Tormo : El DivinoMwalesy " J/wscwm," No. VI. of 1917, published and referred* to with en¬ comium. Did not appear in the Catalogue of the Morales Exhibition at the Prado Museum in 1917. 22 The Fifth Dolour. Panel, 33iV by 24Î in- (Lent by Don Ramón de la Sota, Bilbao) The Holy Virgin Mary, half-length, is wearing a white tunic, and a blue mantle surrounds her head and casts a shadow over her eyes ; with the left hand she is holding the bloodless head of Christ, now dead ; with the right hand against His chest she is supporting the Redeemer. This is certainly the work of the painter of Spanish asceti¬ cism. It is of interest to point out the violent contrast between the beauty and the sweetness of Our Lady of "Dolors and the tragic and frightful face of Christ dead. The treat¬ ment of the beard and hair is typical of Morales the miniaturist. Tormo : loe. cit. There was published a re¬ production. ALONSO SÁNCHEZ COEL·LO. Born atBenifayo, and baptized at Alquería Blanca (Valencia), about 1530 ; in 1564, at Madrid, he had a daughter ; on 26th January, 1571, he was appointed a painter to the King. In 1578 he signed the ''Santa Catalina" (No. 1144 at the Prado Museum); in 1579, the portrait of Isabel Clara Eugenia (No. 1137); in 1582, the "San Sebastian" at the Monastery of San Jerónimo (Madrid). February 1583 is the date of the B i8 SPANISH PAINTINGS, ANCIENT & MODERN letter of recommendation from Cardinal Granvcla, in which he writes that Alonso Sánchez was educated for some years at his house with Antonio Moro. As a great painter at Madrid his progress was watched until liis death, which occurred on 8th August, 1588. Such is the documentary evidence cited. Further particulars are in existence, but as they relate to the same localities and years they have not been extracted. Owing to his second surname, according to the statement of the Ambassador Pérez de Tavora, since Granvela says in the letter above mentioned that he showed him the papers relating to his birth and noble descent in Portugal, and because Gálvez de Montalvo refers to him in a novel as the Lusitanian Coello, distinguished Portuguese critic has recently again raised the a controversy as to the Portuguese origin of Alonso Sánchez. Apparently there are documents which refute the particulars contained in those in existence at Valencia, and give the date of his birth as some years later, but these investigations still remain unpublished. Coello was above all a portrait painter, and the merits of his composite pictures are rarely appre¬ ciated. Distinction and sentiment, restricted colouring, but nevertheless true to nature, are the characteristics of his portraits, from which Velazquez learnt many things. There is no special account of Sánchez Coello. Alvarez de Baena and Zarco del Valle have pub¬ lished opinions and documents. Torino : Lu Pintura Española en cl Siglo XVI. ; Sentenach : works cited ; M^· lloblot : Portrait d'Infantes^ Paris, 1913 ; Sánchez Cantón : Los Pintores de Cámara de los Reyes de España^ 1916, pp. 40-5 ; and J. Allende and Sánchez Cantón : Retratos del Museo del Prado^ Madrid, 1919. 23 Wenceslaus, Archduke of Austria. Canvas, 39J by 32 in. (Lent by II.M. the King of England) Half-length, life-size, standing towards the right, weav¬ ing a dark jacket over a crimson vest, a black cap with a red feather in it ; a chain round his neck ; his left haiid on the hilt of his sword. The Archduke (born 156], died 1578) was the sixth son of Maximilian II.,Emperor of Germany, and Mary of Austria, daughter of Charles V. Formerly in the Collection of Louis Philippe, and purchased May 13, 1853, No. 304, by Queen Victoria. Exliibited at Leeds, 1868, No. 265. Catalogue of the Exhibition of Spanish Old Masters at the Grafton Galleries, 1913-14, No. 81. SPANISH PAINTINGS, ANCIENT & MODERN 19 25 Rudolf, Archduke of Austria. Canvas, 38I by 31J in. (Lent by H.M, the King of England) Half-length, life-size, standing towards the right, wear¬ ing a dark greenish vest with gold buttons and light sleeves, light quilted trunks and a narrow ruff ; his right hand on his hip. Aged 16. The Arcliduke (born 1552, died 1612) was the second son of Maximilian II., Prince of Hungary, and afterwards Rudolph II., Emperor of Austria. Formerly in the Collection of Louis Philippe, and purchased at the sale in May, 1853, by Queen Victoria. Catalogue of the Exhibition of Spanish Old Masters at the Grafton Galleries, 1913-14, No. 82. 25 Ernest, Archduke of Austria. Canvas, 39 by 3if in. (Lent by H.M. the King of England) Half-length, life-size, standing towards the left, wearing a dark vest with gold buttons and light sleeves, light- coloured quilted trunks and a narrow ruíF; his left hand on the hilt of his sword. Aged 15. The Archduke (born 1553, died 1695) was third son of Maximilian 11. ; and Governor of the Low Countries. Formerly in the Collection of Louis Philippe, and purchased at the sale, May 13, 1853, No. 303, by Queen Victoria. Catalogue of the Exhibition of Spanish Old Masters at the Grafton Galleries, 1913-14, No. 85. 26 Don Diego, son of Philip II, Canvas, 43Î by 3SJ in. (Lent by Lord Northbrook, London) Full-length and life-size portrait, full face ; wears a white costume with lace collar and cuffs, rose pink shoes. B 2 SPANISH PAINTINGS, ANCIENT & MODERN The complexion is pallid, sickly-looking. From the double gold chain which he wears hang a crucifix, a heart, a medal of the Virgin and Child, and other trinkets ; with the left hand he is holding the reins of a toy horse, and in the right hand a small lance ; the floor is of red tiles; on the left hand a door opens on a balustrade. On the left jamb of the door we read the signature of Alfonsiis Saudus F. 1577, and on the outer edge, Don Diego de Austria Infante. This is a suggestive portrait, painted in grey tones; it set the type which was thereafter followed in the painting of youthful infants by Pantoja de la Cruz, Bartolomé González, and by Velazquez himself. Sánchez Coello painted the portrait of the same prince, wearing a costume of embroidered pink satin and breeches, on 20th April, 1582; this painting was taken to Flanders, and it is not known where it was taken next. Prince Don Diego was the son of Philip II., by his fourth wife, Anne of Austria, and was born on 12th July, 1575 ; he died of smallpox on 21st November, 1582. This picture comes from the collection of Luis Felipe Estuvo (No. 139), exhibited at the Grafton Gallery, in whose Catalogue various opinions are expressed by critics and connoisseurs in regard to this canvas. Don Iñigo Hurtado de Mendoza, V. Duque del Infantado. Canvas, 55 by 37 in. {Lent by the Marquis de Valverde, Madrid) Wears a breast armour of black steel and chased gold, the star ofSantiago, point lace collar, peaked hat with plumes and pearls; his left hand rests on a sword, and he holds a key in the right; on an escritoire is his plumed helmet. Replica to the following exhibit. In the first Catalogue of the Osuna Sale this portrait was supposed to be one of Don Juan SPANISH PAINTINGS, ANCIENT & MODERN 21 Tdllez Giron, second Duke of Osuna ; in the second edition, however, knowing that that nobleman never was a Knight of Santiago, the portrait was identified as being that of the fifth Duke of the Infantado. We abide by this identification, but neverthe¬ less regret that "all the most probable data" are not brought in in support of this contention, and we must point out that in the records of Santiago the name of the Don Iñigo de Mendoza wlio was living in those days does not appear otherwise than in connection with a native of Grenada, in 1560, belonging to the Tendillas branch of the family ; and that the key is decidedly too ingenuous a symbol of a key-bearer of a military order, which in other porL·aits is given no other interpretation, because it then happens that such knight was a mere gentleman, or more often the governor of some fortress. Returning to Don Iñigo Hurtado de Mendoza, we can only say that he was the son of Don Diego, Marquis del Cenete, and of Doña Maria de Mendoza ; that he was born in Guadalajara on 15th March, 1536 ; that, when sixteen years old, he was married to Doña liuisa Enriquez ; that he was the first to bear the title of Count of Saldaña ; and that, in 1566, he became heir to his grandfather, the Duke del Infantado ; that he was a Knight of the Golden Fleece by reason of services rendered to Philip II. ; and that he died where he was born on 29 bh August, 1602. The same personage, more advanced in years, and wearing the collar of the Golden Fleece, was painted on another canvas, apparently of the Venetian School, and which likewise belonged to tlie Osuna family. Sentenach : 1st and 2nd Ed. of the 1896 Cntà- Joijo de la Venta de Osuna^ p. 145 ; and in Ilustra¬ ción Es}xiñola y Americana, 30th June, 1896. Biographical information is taken from an unpub¬ lished genealogy of the Dukes del Infantado in the National Librar}»" at Madrid. 28 Doña Luisa Enriquez de Cabrera, "V. Duchess del Infantado. Canvas, 55 by 37 in. (Lent by the Marquis de Valverde, Madrid) wearing a rich costume bordered with lace and She is pearls ; point lace ruff, and cuffs of the same material ; sleeves of brocade, slashed to show the under-sleeves ; she holds a half-open fan in the right hand, and a hand¬ kerchief in the left one ; her elbow is resting on the back of a chair ; imposing tapestry in the background. When Mr. Sentenach publMhecl the Catáloyo de la Venia de Osuna he identified this portrait with that of Doña Maria 22 SPANISH PAINTINGS, ANCIENT & MODERN de Velasco, wife of the second Duke of Osuna, as evidently a piir with the preceding number ; he pointed out, moreover, that she was the same lady who, when a child, was painted together with a dwarf, as seen in the following number, resembling a portrait supposed to be that of Catalina Micaela, Infanta of Spain, No. 1040 of the Prado Museum. In the second edition of the Catáloga his identification differed, being now of opinion that the portrait was of Doña Luisa Enriquez de Cabrera, wife of the fifth Duke del Infantado, without giving any reasons for his having so altered his opinon. It is indisputable that the portrait may be that of Catalina Micaela, so far as the one in the Prado Museum is concerned, but it would be going too far to seek in evident resemblances a perfect identification, because, whilst advancing in years, the features of the Infanta altered in the way that is revealed to us by No. 1139 in the Museum, which differs from ours to a same greater extent than No. 1040. Let us, however, a