“The Supper,” by Juanes. This is considered the chef d’œuvre of the author, and was taken by the French, and afterwards restored. Love and devotion have seldom been more beautifully painted than in this picture.
“Jesus Interrogated by the Pharisees, touching the Tribute,” by Arias.
A saloon is dedicated to the modern Spanish school; containing the pictures both of the living masters, and of those who have lived within the last forty or fifty years. It is impossible to look upon these pictures without feeling more and more the excellences of those painters, who now live only in their works; for in the modern Spanish school, there is little to remind us of Murillo and Velasquez; or even of Juanes, Cano, or Morales. Difficult as it must be admitted to be, to imitate the unapproachable excellences of Murillo, it is surprising nevertheless, that the attempt to do this should scarcely ever be made. After the death of Murillo, as well as during his lifetime, there were innumerable artists, who, although conscious of the immeasurable distance at which they followed, yet, thought it wisdom patiently to seek the traces of his footsteps: and it is a merit of no ordinary kind, if a painter can earn the character of being a follower of Murillo; because this at least proves, that he is able to appreciate, even if he cannot approach, his excellences. But in looking through the gallery of the modern school, not one picture can be found, of which it may be said, “this is in the style of Murillo.”
Aparicio and Lopez are the painters who at present enjoy the highest reputation; but neither of these will suffer a comparison with Bayeu, who died thirty-five years ago, or with Goya, who has long since retired from a professional life, but who still lives at Bourdeaux. As little can the pictures of Bayeu or Goya be compared with the compositions of the ancient school.
The two great pictures of Aparicio are, “The Glories of Spain,” and “The Famine in Madrid,”—and both are more in the style of the modern French, than of the ancient Spanish school. The latter of these is intended to represent (as the author of it says), “The Triumph of Spanish Constancy.” During the time of the French invasion, in the winter of 1811-12, the famine that raged in Madrid, almost realized what we read, of ancient Numantia; and many examples of heroic patriotism are recorded of this time. The painter has chosen the following:—an old man, extenuated, and apparently dying, is stretched upon the ground; and the dead bodies of his daughter, and his grandson are at his feet: three French soldiers passing by, touched with compassion, offer him food; but he, disdaining to accept food from the enemies of his country, covers his face with his hands, that he may not be tempted, and prefers death to what he considers dishonour.
The subject is undoubtedly fine, and the picture has many merits; but it is impossible, in looking at any picture, the moral of which is intended to convey an abhorrence of French dominion in Spain, not to feel that we cannot give our sympathy to it; and the same feeling has led me, in walking over those fields of battle that have been fields of glory for England and Spain, to ask “where are the fruits”? They are nowhere to be found: the purchase-money was the blood and treasure of England: and what did they purchase?—the deeper degradation of Spain.
That part of the gallery which is appropriated to the Italian schools, I shall pass over almost without notice; not because there is nothing in it worthy of being mentioned, but because I could hope to add nothing to what is already universally known of the character of the great Italian masters. In the Italian saloons, there are many copies, and many re-touched pictures: but there are also a considerable number of sterling compositions. Guido, Andrea del Sarto, Giordano, Guercino, Leonardo da Vinci, Bassano, Alexander Veronese, Sachi, Salvator Rosa, Tintoretto, Titian, and Raphael, all contribute of their abundance. The most remarkable of these pictures, is the portrait of Mona Lisa, a lady of incomparable beauty, and the wife of Francisco Giocondo, a gentleman of Florence. This picture cost 180,000 reals.
In the saloon dedicated to the Flemish, German, and French schools, there are also some fine originals; particularly, two Claudes; a Bacchanalian piece, of Nicholas Poussin, remarkable for the excellence of its design, and its inimitable harmony; “David and Goliah,” also by N. Poussin; and “The Adoration of the Angels and the Shepherds,” by Mengs.
To be admitted to the Sala Reservada, requires an order from the Director of the institution; but this is always politely given upon application. In passing to the Sala Reservada, the visitor is conducted through a large apartment, in which a picture of the King’s landing at Cadiz occupies one of the walls. The painting contains upwards of twenty figures as large as life,—all portraits: this room is a favourite lounge of his majesty, who, it is said, contemplates with much complacency, the picture that records his restoration. In this Hall, the attention is speedily withdrawn from the picture, by two tables, that well merit admiration. At a little distance, they appear like exquisite flower-pieces, painted on glass,—but upon approaching, you discover that they are of marble; the ground black, and the flowers Mosaic. Upwards of eighty different flowers are represented: and, among the marbles of Spain and her late colonies, is found every variety of colour necessary to give perfect truth to the representation.
In the Sala Reservada are two “Sleeping Venuses,” by Titian, both too good to be seen by every one; “Adam and Eve,” by Rubens; and eight other pictures, by the same master. An excellent Tintoretto, “Andromeda and Perseus,” by Titian; “The Three Graces,” by Albano; and two delightful compositions of Breughel, in which trees, flowers, nymphs, and fountains, are charmingly mingled.