AN HOUR WITH THE PAINTERS 155
It would be a hopeless task to attempt to review with any detail the gems of this collection. My memory is filled with the countless canvases that adorn the ten great halls. If I refer to my notebook I am equally discouraged by the number I have marked for special notice. The masterpieces are simply innumerable. I will say a word of each room, and so give up the unequal contest.
As you enter the Museum from the north, you are in a wide sturdy-columned vestibule, hung with splashy pictures of Luca Giordano. To your right is the room devoted to the Spanish school; to the left, the Italian. In front is the grand gallery where the greatest works of both schools are collected. In the Spanish saloon there is an indefinable air of severity and gloom. It is less perfectly lighted than some others, and there is something forbidding in the general tone of the room. There are prim portraits of queens and princes, monks in contemplation, and holy people in antres vast and deserts idle. Most visitors come in from a sense of duty, look hurriedly about, and go out with a conscience at ease; in fact, there is a dim suggestion of the fagot and the rack about many of the Spanish masters. At one end of this gallery
156 CASTILIAN DAYS
the Prometheus of Ribera agonizes chained to his rock. His gigantic limbs are flung about in the fury of immortal pain. A vulture, almost lost in the blackness of the shadows, is tugging at his vitals. His brow is convulsed with the pride and anguish of a demigod. It is a picture of horrible power. Opposite hangs one of the few Zurbarans of the gallery,--also a gloomy and terrible work. A monk kneels in shadows which, by the masterly chiaroscuro of this ascetic artist, are made to look darker than blackness. Before him in a luminous nimbus that burns its way through the dark, is the image of the crucified Saviour, head downwards. So remarkable is the vigor of the drawing and the power of light in this picture that you can imagine you see the resplendent crucifix suddenly thrust into the shadow by the strong hands of invisible spirits, and swayed for a moment only before the dazzled eyes of the ecstatic solitary.
But after you have made friends with this room it will put off its forbidding aspect, and you will find it hath a stern look but a gentle heart. It has two lovely little landscapes by Murillo, showing how universal was that wholesome genius. Also one of the largest landscapes of Velazquez, which,
THE GRAND GALLERY OF THE PRADO