Were the Prado only Velasquez and the Spanish artists, it would be among the first of galleries, but it is astonishingly rich in Italian masters as well. It has the best equestrian portrait in the world, Charles V at the Battle of Mühlberg, a picture to be studied long and often. The Emperor has risen from illness, he has had to be lifted upon his horse, but he has pluckily girded himself to take command. The Venetian red of his plumes and scarf is splendid. Titian has another of the Emperor, standing with his Irish hound, near it a gem of woman portraiture, Charles' lovely wife, Isabella of Portugal. It seems a strange irony for such an exquisite creature to have been the mother of a Philip II. Philip was fortunate in his daughters, too, demure, formal little maidens, who stand with the sedate propriety of Spanish infantas, and in his sisters, whose long, aristocratic faces Antonio Moro has left us. Charles V sent Moro to England to paint Queen Mary for her young bridegroom, and here she sits in her rich crimson leather chair, erect and stiff and insignificant, her auburn hair and homely face not one to charm her future husband still in his twenties, she not far from the fatal forty. A deeply pathetic portrait this. Good woman she was personally, despite having been made the scape-goat for a system, yet one can read in the pinched shrewdness of her mouth that she lacked her grandmother's height of brain, nor was she capable of her mother's dignity of sorrow, whose grand insulted womanhood Shakespeare has rendered so magnificently.[22] There are many other notable portraits in the Prado; a stately matron and her three sons by Parmigianino; a rich pigment of color, Rembrandt's wife; Raphael's Cardinal,—the acute, keen, Italian face so different from the Spanish type; a striking Count de Berg by Van Dyke. Mantegna has a small canvas, the "Tránsito de la Virgen," with the apostles gathered round the couch, a graphic glimpse through the window behind of Mantua. Mantegna put thought into his work, and he compels thought from others; this "Tránsito" drew me to it in the same browsing study as that small triptych in the Uffizi.
Then upstairs are more Italians. The facile Veronese has here, curiously enough, a really impressive scene, Christ and the Centurion. There are many Rubens, and some peaceful Claude Lorraine sunsets and sunrises, offering the needed siesta of quiet in a full collection. And downstairs in the basement are the primitives, Van Eyck, Van der Weyden, Memling, mystical enough to refresh the soul of a Huysmans. The gilded backgrounds of these celestial annunciations, these interiors of so intense and breathless a reverence, have always seemed to me a pure symbol of the uncomplicated perfection of their faith, the unquestioning mental background of the age.
After Velasquez it is not easy to feel much enthusiasm for the other Spanish painters. Murillo can only be really known in Seville, in whose gallery he predominates as does Velasquez here. It is a coincidence that both of Spain's first painters should have been born in the same Andalusian city, within twenty years of each other, and that the ashes of both should have been scattered to the wind in the French invasion. Zurbaran's white-robed monks,—he painted Carthusians as Murillo did Franciscans, and Roelas the Jesuits,—are always effective, but they miss being taken seriously by a dash of pose in them. As for Ribera's martyrdoms, (his portraits are very fine,) if chance led us into his room, one glance and we fled; it is not pleasant to see people disemboweled. The same shuddering horror you feel before some of Goya's, as for instance that awful but tremendously moving blood-red Dos de Mayo. Goya is almost too crabbedly individual to be liked unreservedly. He is in a way the Hogarth of the South, with a gruesome, fantastic imagination, quite pitiless to the vices or follies of his generation; witness the portrait of the Infanta María Josefa, or the appalling group surrounding Charles IV, "a grocer's family who have won the big lottery prize," Gautier cleverly said of it. At times you think Goya had no elevation of soul, then you come on a portrait that shows he could see something besides the weakness of human nature. He was a true Aragonese, stubborn, energetic, analytic. And it should never be forgotten that he painted in that desert of art, the eighteenth century, and swept aside the weak methods of generations to return to Velasquez's vigor of technique.
No visitor in Madrid can possibly miss the Prado gallery, but it is not difficult to omit the Armory; for, discouraged by going to see sights not worth the effort, you may think the Armería just the usual dull collection found in capitals, of interest only to the specialist. No greater mistake could be made. This Madrid museum is like nothing of its kind in Europe, it is an unrivaled show, one hour there and you learn volumes of Spanish history.
It consists of a large hall, down whose center is massed a splendid array of horsemen, caparisoned in historic armor. The manikins have been fitted out thoroughly. Their gauntleted hands hold the polished spears, and ostrich plumes wave from their helmets; they give an astonishing effect of life. Among the thirty-odd suits worn by Charles V, here is the identical one Titian painted in the equestrian portrait, decked with the similar doge-red scarf and plumes. There is the gallant little Baltasar Carlos' suit of mail; the armor of that Bayard of Spain, Garcilaso de la Vega; of the hero of Lepanto, Don John of Austria, and some of the banners and ship-prows of his victory; the suit of Charles' general, the Marquis of Pescara, Vittoria Colonna's husband; the tent of Francis I at the battle of Pavia; the arms of Juan de Padilla, who led the uprising of the independent cities against Charles. History is followed from earliest times in raw gold Visigothic crowns, the sword of Pelayo at Cavadonga, the sword of the great slayer of Moors, King Ferdinand el Santo of Castile, and the winged-dragon helmet of as mighty a battle leader, King Jaime el Conquistador of Aragon, down to the last stage of the seven hundred years' crusade, in Isabella's armor; that of the Gran Capitán; Boabdil's engraved with Moorish letters; and, finally, the surrendered keys of Granada. Spain's majestic hour lives again here.
As we left the Armoury, a present-day scene presented itself and it struck me as very characteristic of a country where the grandee, shopkeeper, and peasant live side by side in friendliness. Before us lay the big courtyard of the Royal Palace, the King's very doorstep as it were, and it overflowed with hundreds of children, nursemaids, families, and soldiers; the crowd being chiefly of a popular character. They tell of strict Spanish etiquette, but it appears to me as if the people here get nearer to their king than elsewhere. Rough boys and men were pouring into the Armoury to wander with pride among the plumed knights, and by their glance they showed they felt themselves part of the stirring past. Each knew himself a cristiano viejo[23] whose forebears had struck a blow for the Reconquista.
TOLEDO
"But changeless and complete
Rise unperturbed and vast
Above our din and heat
The turrets of the Past,
Mute as that city asleep
Lulled with enchantments deep
Far in Arabian dreamland built where all things last."
WILLIAM WATSON
TOLEDO has been compared to Durham, but it is the similarity between a splendid lean old leopard and a beautiful domestic cat. The largest river of Spain, the Tagus, without a touch of England's lovely verdure to soften it, sweeps impetuously round the Spanish ecclesiastic city, through a wild gorge from which it derives its name (tajo, cut) and above the river-cliffs rise sun-whitened houses, innumerable monasteries, and church towers, in a compact, imposing mass. Across the river is a barren wilderness, solitary as if never trod by foot of man, and this, close to an historic city. Stern and a bit fanatic,—for she has lived for generations, with sword in hand to guard her altars,—Toledo represents ascetic, exalted Castile as completely as palm-crowned Seville, stretching out in the meadows by the winding Guadalquivir sums up the ease-loving character of Andalusia. The thought of the Moor is never long absent in the fertile southern province, but here, though for a time he ruled as conqueror, every stone of the city tells of crusading Christian ideals.