26 AUGUST 1837, Page 18

PICTURES AND PAINTERS.

ANECDOTES OF SPANISH PAINTERS.

IN the account we gave the week before last of the Spanish Pictures in

the Louvre, it was stated that the painters knew but little of the works of the great masters of Italy. The earlier painters of Valencia and Seville are an exception to this remark; for Italian art had a powerful influence over these brilliant schools. This was also the case with the Flemish painters who were established at Seville: but many of the

greatest Spanish artists were never out of the Peninsula. MeeiLLo, ZURBARAN, and ALONZO CAN°, had no other knowledge of foreign painters than what they acquired from the specimens of the Italian and Dutch schools in the galleries of Spain. Munitto, who was the pupil of CASTILLIO, having been recom- mended to go to Italy to improve his style, went first to Madrid with letters of recommendation for VELASQUEZ; who, after looking at the pictures he had brought with him, advised him not to go; promising to obtain for him the means of studying the Italian painters in the

Royal collections. MoniLLo accordingly gave up the idea of leaving Spain, and contented himself with copying a great many pictures in the Escurial and the Palace at Madrid. To this practice may be traced the different manners that are observable in his 'painting ; some-

times he was inspired by TITIAN, sometimes by VANDYKE, and at others by RIBIERA. Afterwards be returned to Seville, where he

formed that grand style on which his high reputation is founded. His

finest works are the St. Elizabeth, at the Academy of St. Ferdinand, in Madrid ; the pictures belonging to a Capuchin convent, and now in

the Cathedral of Seville; the Charity, in the Hospital of Charity in

the same city ; part of those bought by Marshal SOULT ; the portrait of himself and the San Rodriguez, now in the Louvre ; and "The Trinity," as it is called, in our own National Gallery. This last pic- ture Baron TAYLOR regards as one of the chefs d'euvre of Warts° :

it is satisfactory to know that we have got a first-rate picture of the master, though we have paid for it thrice its value. The largest sum given by the Baron for a MuniLLo was 2,0001. ; and that was an exces-

sive price, paid only in a particular instance. The bigotry of one set of monks was such that they threatened rather to destroy than part with their pictures to the Liberals; but their cupidity was tempted by the offer of 2,000/. for a NIcaii.Lo, and 4,000/. for a grand picture of VELASQUEZ : these great sums were exceptions to the general average. MuaiLLo was a man of scrupulously pure life, and strict in his de- votions ; and he never commenced an important work withZtrad receiving the sacrament. One day lie was found on his knees ,,' prayer before a picture of the " Descent from the Cross," by pEDZ CASIPANA the Sacristan, it being late, came to shut up the eb„,,Z and asked him why he staid so long before the picture? MuR7,7„ replied, that he was waiting till they had taken down the body; Christ from the cross,—a remarkable instance of rapt enthusiasm the highest tribute that could be paid to the merits of the west MeeiLLo in his will desired to be buried at the foot of this picture. and his wish was complied with. His remains still lie under the ride; of this church, which has since been destroyed—not by the Spada* and the picture is now in the grand sacristy of the Cathedral of Seville. t The devotional character of Mumuct is as strongly impressed in ha Scripture pieces, as his kindly and cheerful temperament is in his ; homely subjects. It was the spirit of faith and love inspiring the 01,1 painters that made their works what they are : they wrought for fuse also ; but not, as the moderns do, for money merely. VELASQUEZ. was at first a pupil Of HERRARA el Viego; but tit violent temper of his master caused him to leave his school, and he entered that of PACHECO. He afterwards went to Madrid with letters of recommendation for the Count Duke of OLIVAREZ, who sat to hire for his portrait (this picture is now in the Louvre.) The Duke pee. sented it to PHILIP the Fourth; who was so much pleased with it that he permitted the artist to paint his portrait also. VELaserrt succeeded beyond expectation, and soon became a favourite of the King; who ordered a painting-room to be fitted up for him in the palace, and visited him every day. The King sent him twice to Italy to purchase pictures of the great masters of that country, to adorn the Escurial and other royal palaces. At Rome, he studied with great ail. duity, and painted several pictures, particularly one of Joseph's brethren showing his coat of many colours to their father Jacob : it is in the Escurial. His best portraits are in the Museum of Madrid. With his most celebrated portrait picture of the Royal Family of Spain, a associated an anecdote that exhibitshis royal patron in a favourable light The King had given the painter permission to introduce his own per. trait among the group of Infantas : when the picture was finished, PHILIP saw and approved it ; but said it wanted a touch or two to make it complete : then calling for a brush and palette—the painter all the while trembling with apprehension that his royal patron was going to daub out some face that he did not like—the King painted a red cross on the breast of the portrait of VELASQUEZ,—a delicate and appropriate way of bestowing that honourable order on the originaL VELASQUEZ lived in great splendour at court, where he held high office, and was honoured by the King and his courtiers. He was espe. cially charged with the reception of the great painters of other countries who visited Spain ; and hence originated his intimacy with RUBENI. He accompanied the King in all his journies, and was appointed Master of the Ceremonies attendant upon the King's marriage with a Princess of France in the Isle of Pheasants. On this occasion he distinguished himself by his lively wit and fine taste ; and was celebrated in both courts as the cavalier who had the handsomest dresses, and wore them in the most gallant style. But these honours were purchased too dearly ; for the fatigues of this journey to Arragon caused his death, on his return to Madrid. His tomb is in the nunnery of that city. Some of the most famous painters, especially of portraits, were me of wit and gallantry and fashion. Mixing with the highest society, and living in a handsome style, they refined upon the splendours and man. ners of court by their intuitive sense of the graceful. TITIAN, VANDYKE, and RUBENS, and our own REYNOLDS and LAWRENCE, were all finished gentlemen, and cultivated the eleguncies of society. ZURBARAN, the painter of monks, was also an accomplished cavalier of his time. He fought a duel without the King's leave, and ins ordered under arrest ; to avoid which, he took refuge in the Convent of Mercy at Seville. It was then he ornamented this monastery with his chefs-d'oeuvre. He made over some of his finest works to the Char- treuse of Xeres in 1638.9; and most of these are now in the Louvre, His daughter was one of the nuns of Carmona. Many of the families of the great Spanish painters went into convents. The son of MuBILLO Was a canon of the Cathedral of Seville.

An anecdote in the life of ALONZO CANO affords a curious illustra- tions not only of the power of the Inquisition, but of the selfish clue meter of royal patronage. Casio was accused of having killed his wife out of' jealousy : his fame as a painter would have screened him from justice, but the Inquisition, stronger than the ordinary tribunals, seized him ; and, as he would not confess the crime, condemned him to the question : before putting him to torture, however, the Inquisitors applied for the King's sanction ; saying that without his leave they could not mutilate so skilful a hand. The King replied, that he would not interrupt the course of justice of the supreme court of Inquisition: but be directed that the right hand of ALONZO Casio, which had pro- duced so many fine works, should be respected. RIBIERA, who was remarkable for the violent and terrific subjects he chose, enjoyed the reputation of being the greatest painter either in Spain or Italy. His daughter was seduced by a nobleman, whom be killed in a duel ; and to avoid the vengeance of a powerful family, he went into a cloister ; and lay concealed as a monk, so secretly that be was believed to be dead,—indeed he disappeared entirely. Our space will not allow us to add more, than that four of the finest pictures of TRISTAN, dated 1620, and the greatest ornaments of s con- vent at Toledo, also form part of the Spanish Gallery of the Louvre.