This peculiar charm of Murillo, consisting in his choice of subjects, has made him a painter for all men; for all, at least, who have human emotions to be excited, and human affections to be touched. But this is only one excellence of Murillo; and standing apart from others, it might belong to any man of benevolence and fine imagination, however indifferent a painter he might be. Murillo possesses, besides, that rare union of high qualities, some of them pre-eminently his own, which has made him one of the first of painters in the eye of the learned, and of all those who have loved and studied the divine art.
The most striking excellence in the conception of Murillo’s figures is Nature, accompanied by Grace; but never, as in some of the Italian masters, grace running into affectation:—and what is there to desire more in the conception of a picture, than perfect nature and perfect grace, without any alloy of affectation? In the combination of these excellences, Titian, among all the Italian masters, most nearly resembles Murillo; but if a picture of this eminent master be placed beside a picture of Murillo, executed in his ripest years, the former appears feebler; this is probably owing to the unapproachable excellence of Murillo’s colouring, which combines the brilliancy of the Flemish, with the truth of the Venetian. Looking at the greatest efforts of Murillo’s pencil, there seems nothing left to desire. An invention noble and touching; a conception natural and graceful; a composition just, elegant, correct; a colouring rich and true; and over all a delicacy, a spirituality, a beauty,—arising from the blending of the whole,—that leave the mind satisfied, but which never satiate the eye.
There are few painters so difficult to copy as Murillo; although, perhaps, few masters have had more copies attributed to them. The greater number of these are said to be pictures in Murillo’s early style; but the colouring may always be detected; for it is that which constitutes the chief difficulty to him who desires to copy this master. The Italian masters are, almost without exception, easier to copy than Murillo, because their colouring is more simple. Murillo’s colouring, although appearing simple, is extremely artful; and this the copyist speedily discovers. Many pictures of the Italian schools convey an idea of a marbly surface; but the pictures of Murillo, executed at the epoch of his greatest excellence, convey the idea of flesh and blood. This effect cannot be produced by one colour, or one lay of colours; nor even in perfection by the glazing, of which Titian used to avail himself: the effect is produced by one colour shining through another; and by the skilful use of these, Murillo has often given to his ground, or back colour, the effect of air, in place of an opaque body; and the artist who attempts to imitate Murillo by a mixture of colours, will find it impossible to equal the effect of the original.
It is a common idea, that in Spain, the pictures of Murillo are scarce; and that the galleries, churches, and convents, have been despoiled of their greatest treasures. This idea is very erroneous. Spain has, no doubt, been robbed of some of her choicest paintings, and some have found their way into other countries as objects of traffic; but the Peninsula is still rich in the works of Murillo. In the gallery of Madrid, of which I shall presently speak, there are thirty pictures of Murillo’s, two-thirds of them at least, undoubted originals. In the Cabinet of Natural History, three of the greatest productions of his pencil are found. In private collections in Madrid, particularly in those of the Duke of Medina Cœli, the Duke of Liria, Sir John Meade, and some other individuals, there may be nearly an equal number. In Seville, the twenty-five pictures painted for the Capuchin convent, are all in their places. In the hospital de la Caridad, there are four of Murillo’s greatest productions. The collection of Mr. Williams of Seville, is distinguished by twelve Murillos; and in other private houses in Seville, perhaps as many more may be found. In the cathedral there are six or eight; and in Cadiz, in the possession of Mr. Brackenbury—in Murcia,—and particularly in Valencia, Murillos may be discovered by any lover of the fine arts, whose inquiries are directed towards that object.
The present government of Spain watches over the works of Murillo with a jealousy, that is not shewn in any thing else that concerns the prosperity or the honour of the country. By a late government order, the works of Murillo are prevented from leaving Spain; but as bribery is able to conquer many difficulties in that country, the exportation of pictures is not impossible.
CHAPTER VII.
MADRID.
The Picture Gallery; the Works of Murillo; the Annunciation; the Virgin instructed by her Mother; Landscapes; Velasquez and his Works; Meeting of Bacchanalians; the Forges of Vulcan; Españoletto, and his Works; Villavicencio; Juanes; Alonzo Cano; Cerezo; Morales; Juanes’ Last Supper; the Modern Spanish School; Aparicio; the Famine in Madrid; Italian Gallery; Flemish School; the Sala Reservada; Statuary; Cabinet of Natural History; Sala Reservada; the Patrician’s Dream; the Desengaño de la Vida; Private Collections; the Duke of Liria’s Gallery; Churches and Convents; Church of San Isodro; San Salvador; Santa Maria; San Gines; Santiago; San Antonio de Florida; Convent of Las Salesas; de la Encarnation; the Franciscans; Santa Isabella; Hidden Pictures; San Pasqual; Santa Teresa; the Palace.
Since the erection of the splendid building dedicated to the reception of pictures, most of those which formerly adorned the palaces, have been transferred to it; and Madrid can now boast of a gallery equal in extent, and perhaps little inferior in excellence, to any of the other great galleries in Europe. To the lover of the Spanish school, the gallery of Madrid possesses attractions which no other can offer. Besides forty-two pictures of Murillo, it contains fifty-five of Velasquez, twenty-nine of Españoletto, seventeen of Juanes, six of Alonzo Cano, and many of Ribalta, Cerezo, Villavicencio, Moralez, &c.; other saloons contain between four and five hundred pictures of the Italian schools, and about three hundred of the Flemish school; and in the Sala Reservada, there are several chef d’œuvres of Titian and Rubens. At present, I return to the Spanish school, to notice first, a few of the most distinguished works of Murillo.
The first we remark is “A Holy Family,” a picture taken away by the French, and afterwards restored. The invention in this picture is in the highest degree original: we have not a mere uninteresting group; but life and feeling. The infant Jesus—Jesus, but yet a human child—holds a bird in his hand, which he raises above his head, to save the little favourite from a dog that tries to seize it: Saint Joseph holds the child between his knees; and the Virgin, who is engaged in some female employment, lays aside her work, that she may admire the playfulness of her son. This picture is admirably suited for shewing Murillo’s chaste and charming conception of female heads and children.
Passing over “An Infant Christ,” “A John Baptist,” and “The Conversion of St. Paul,” all three, but especially the second, admirable pictures, the next strikingly fine work of Murillo’s is “The Annunciation.” This is considered, and with justice, a very finished composition. The angel Gabriel announces his heavenly message while the Virgin is reading; and in her countenance, as she turns to hear the announcement of Divine will, Murillo has happily displayed the blending of human surprise, with the sudden illumination of divinity that fills her mind.