The Story of Seville

ists of

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ical confusion, seldom, if ever, fused into a new harmonious whole by that inner welding fire which is genius; and we see in the sixteenth century a foreign influence received and borne as a yoke, because n

lle. An almost impenetrable gloom shadows the early records of her art. Only one work remains to testify to the skill of her artists, during the thirteenth century. This is a rare old Bible, written on vellum

ontinued to increase in potency. Flemish works of art were largely imported into Spain, and three Flemish artists, according to Professor Carl Justi, were employed in the court of Isabella la Catolica. The Gothic characteristics of t

lorentine painter, Dello, who belonged to the school of Giotto, was living in Seville. No authentic works from his hand re

many of them possess great charm, and reveal well-developed artistic power. The Gothic influence is dominant, but a distinctly Spanish tendency can frequently be discerned. Local dress and customs are often depicted, and the pictures are executed with th

him 'the morning star of the school of Andalusia.' He quickly absorbed the Flemish influence, and his works are wholly Gothic, both in conception and manner of treat

hurch, close to the principal entrance. The figure of the saint is of enormous size, entirely subordinating the remainder of the composition, thus producing an effect

manner of the early masters, who did none of their work hurriedly, and devoted much time to the painstaking preparation of their materials. The picture may be regarded as a typical instance of the Hispano-Flemish manner. The conventional grief, symbolised by the drooping eyelids, falling tears and set countenances of the w

rved. The Virgin supports the dead body of the Christ; St. Michael and St. Vincent are at her side, while kneeling ecclesiastics pray below. The Flemish manner still prevails, and the Gothic stiffness of the Saviour's figure bears a strong resemblance to the work of Sanchez. Cean Bermudez praises the picture very highly, and states tha

ill strongly visible, but from out of this eclecticism emerges that forceful effort after truth and natural expression, which is the conspicuous characteristic of the Spanish school. His finest picture is the Virgen de la Rosa, in the Church of Santa Ana, at Triana. The charm of this work is very great. The mellow splendour of its tones, and the lofty spirit in which it is conceived render it a study of high merit. Other pictures by this master ma

pain, and this movement, which in Italy produced the brilliant group of the quatrocentisto, fell upon the artistic genius of Spain as a deadening blight. It was alie

tists of Seville was supported by the munificence of the Chapter of the Cathedral. Unfortunately his frescoes, upon which his reputation, according to Cean Bermudez, largely rested, have been almost entirely oblit

he Nativity, which was painted for the Chapter of the Cathedral, in 1555, and placed over the Altar del Nacimiento, where it still hangs. Sir W. Stirling-Maxwell says that the figure of the Virgin, as she stands gazing upon her babe, 'bears a simple dignity not unworthy of Raphael.' The grouping of the figures is admirab

Adam and Eve adoring the infant Christ, who rests in the arms of the Virgin. The picture is lacking in charm, but the figures are finely conceived, and executed with power. Indeed, the life-like drawing of Adam's leg has given the

he strength and realism of this work are truly majestic. It is, without doubt, the finest picture painted by the Italian mannerists in Seville. It exerted great influence upon the artists of a later day. Pacheco declared that its realism was so overmastering that he did not care to be left alone with it in the dimly-lighted chapel. Murillo spent long hours in earnest contemplation of the picture. He was wont to perform his devotions before it, and once, when asked why he sat w

eneath. The half-length portraits of the Mariscal Don Pedro Cabellero and family, which also hang in the chapel, are individual and life-like. There is little trace of Italian influence in the rendering of these figures; they are all painted with Flemish carefulness. Other works of Campa?

ry Magdalen. Juan Bautista Vasquez, in 1568, executed an altar-piece for the Church of Our Lady of the Pomegranate, in the Court of the Oranges; and other works since destroyed, for the Cathedral. Alonso Vasquez painted many pictures f

e Altar de la Visitación in the Cathedral, is a good example of his work, and displays his charm as a colourist. The garments of both the Virgin and Elizabeth are beautiful with r

. These studies are important, for they afford the earliest instance of the fine brown tones distinctive of the Sevillian school. The central picture depicts St. Gregory saying Mass, whil

nctive personality. The individuality of the artist constantly breaks forth, through the strong Itali

national individuality. All that was essentially Spanish was for the time forgotten, submerged in an imported Italianism. The pictures of these later mannerists are dreary and almost entirely withou

he renown of their pupils. Juan del Castillo was the master of Murillo and Alonso Cano, and the chief interests incited by the study of his work, rests in tracing the influe

nted innumerable pictures, which may still be viewed in the Cathedral, the churches and the Museo, but none rise above the level of mediocrity. They

ists it possesses great value. Pacheco was the Inquisitor of Art, or Familiar of the Inquisition. His authority under the Holy Office was great, and it was his duty to see that no indecorous or indecent pictures found their way into the churches. Here is a copy of the commission which wa

on of the man, who was the first to break completely away from the trammels of the pseudo-Italian manner. His works may be viewed in the Cathedr

amplified in the work of Murillo. His finest composition is the Death of San Isidore, in the parish church, dedicated to that saint. The theme of the picture is the transit of the holy man, Archbishop of Seville, during Gothic days. Many figures fill the canvas, but with true artistic unity, the interest is centralised upon the dying saint, who rests upon the ground, clad in dark mantle and finely-painted pontifical robes. S

of Roelas. Three more of his pictures may be seen in the University-The Holy Family, The Nativity, and the Adoration of the Shepherds

with a dashing pencil, and it was his custom to employ any implement, which presented itself as convenient. It is reported that upon one occasion, when short of a brush, he painted a picture with a spoon. His fame induced numerous artists-t

falsely or not it is now impossible to say-of coining money. To escape punishment he sought sanctuary in the College of the Jesuits, where he painted the Legend of St. Hermingild, now in the Museo. In the year 1624 Philip III. came to Seville, and visited the college. In common with all the house of Austria, the King had a fine

nner conveys to his figures the appearance of being painted in relief. Several of his pictures are now in the Museo; the Cathedral possesses none, but there is one in the Church of San Bernardo, which, in spite of dirt and dim lighting, affords a fine instance of the power of Herrera. In the upper portion the Lord is shown with a band of attendant ang

nius of Spain. Lord Leighton speaks of him 'as a man of powerful personality, in whom more than any of his contemporaries, the various essential characteristics of his race were

he Spanish Caravaggio from his strict adherence to Nature, and his delight in breadth and strong contrasts of light and shadow. As he saw Nature thus he painted her, without desire to soften or to idealise. His one purpose was to portray conscientiously the exact impression of the objects he beheld. And for this reason he may be designated the herald of Velazquez. His pictures lack the facility, the charm and the impelling

ich he painted for the Chapter of the Cathedral. They may still be inspected in the Cap de Sa

arkable series of pictures, painted for the Chartreuse

the city during the life of Zurbaran, and are among the most charming of the pictures of women to be found in Seville. Especially mark Santa M

became the central figure in the artistic life of Sevi

nd that of his brilliant contemporary Velazquez, in a separate chapter; and to conclude this brief chronicle of the Sevillian

he light is dim, and it can only be seen by the glow from the tapers which burn upon the altar. It is somewhat conventional in treatment, and bears distinct traces of Italian mannerism. Yet the picture is not without charm, and the Spanish national note is not entirely absent. The hands and feet are painted with extreme care, and the crimson robe and dark-blue mantle of the Virgin are exquisite in colour. The picture may be regarded as typical of his work. One of his ch

e Museo contains many of his pictures. The Virgin bestowing the Chasuble on San Ildefonso in the Cap de San Francisco, in the Cathedral, is one of his finest works. The two pictures in the Hospital de la Caridad were painted to illustrate the vanity of worldly grandeur. They are theatrical, and have little 'literary' attraction, but the execution exhibits a certain power. In one of them a hand holds a pair of scales, in which the sins of the

strils closed. To which rather uncertain praise Leal is reported to have replied, 'Ah, my compeer, i

ecific merit. The artists who remained were dreary conventionalists, without originality, mere copyists of those who had preceded them. The study of their work yields neither pleasure nor

rtists mentioned in this chapter, this list is appended, namin

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