Madrid: an historical description and handbook of the Spanish capital

by Albert Frederick Calvert

The works of the early Spanish painters may be here studied in the Long Gallery, beginning with Gallegos, whose pictures are catalogued as those of an unknown master. Pedro Berruguete shows the first example of the Italian influence. In the paintings of Luis de Morales we trace the natural Spanish style, and discern that note of dramatic gloom and religious sentiment that characterises the true painters of Spain. Juan de Juanes, much esteemed in his age, reveals an Italianised art. In the works of Navarrete there is visible the influence of Titian, who worked with him at the Escorial Palace.

El Greco, who was taught in Venice, stands alone. The picture of “Jesus dead in the Arms of God the Father” is a representative work of this weird genius, whose art was Spanish, in spite of his Cretan origin. El Greco’s art is also conveyed in all its power in “The Baptism of Christ.” Many of this painter’s canvases are in Toledo, two are at the Escorial, one in the Cathedral of Seville, and his portrait, painted by himself, is in the Museo Provincial at Seville. The Prado Gallery contains nine of El Greco’s works.

Ribera is an artist whose work is singularly modern as regards technique, though he lived from 1588 to 1656.

The collection at the Prado contains a large number of the paintings of Ribera, the predecessor of Velazquez and Murillo, whose virile influence is manifest in the productions of many of the Spanish schools of the later period.

Murillo is represented by about two score of paintings in the Prado, and by several pictures in the Royal Academy of Fine Arts. The Prado contains the “Sacred Family,” “The Penitent Magdalen,” “The Adoration of the Shepherds,” and several other well-known paintings.

We have already referred to the pictures by Velazquez and Goya to be seen in the Prado collection. It now remains to briefly enumerate some of the great works of the Italian and Northern Schools. Among the Italian Primitives, we have examples of the art of Fra Angelico and Mantegna, and of the later school, there are pictures of Raphael, Andrea del Sarto and Correggio. The Venetians are exampled by Giorgione, Titian, Tintoretto, Veronese, and Tiepolo. There are nearly fifty pictures from the brush of Titian. Among his earlier achievements are “Fertility” and the “Garden of Loves.” Here also are the portraits of “Charles V.” and “Philip II.,” the painting of “St Margaret,” and the famous “Entombment.”

Among the other Italian and Venetian pictures are Raphael’s “Holy Family and the Lamb,” Andrea del Sarto’s “Madonna and St John,” and two early works of Correggio.

In the collection of paintings of the Northern School there are examples of Van Eyck and Rogier van der Weyden, and though some of these are copies, there is an authentic picture by Van der Weyden. The triptych of Memlinc is in this portion of the gallery, and Holbein’s “Portrait of a Man.” Rubens, “the third glory of the Prado,” is well represented by about sixty paintings. There are also paintings by Jordaens and Van Dyck.

The work of Antonio Moro should be carefully noted, as the art of this painter, who was the master of Coello, was the foundation of the Spanish School of Portraiture.

In the Museo de Arte Moderna there are many pictures by contemporary artists, and several groups of statuary. Among the paintings are works of Madrazo, Lopez, Pradilla, Casado, and Villegas.