The Story of Seville

by Walter M. Gallichan

One of the sweetest of Murillo's Madonnas may be seen in El Nacimiento de Jesucristo (The Nativity). Cean Bermudez praises this picture very highly, while Antonio Ponz, a later Spanish critic, says that the stream of light which floods the picture is worthy of Correggio. There are four Immaculate Conceptions. In one the Virgin is supposed to be a portrait of the daughter of Murillo. Possibly the finest is the one termed 'la Grande,' although the difference between the pictures is very slight.

At the farther end of the nave, close to the works of Murillo, is El Martirio de San Andres, by Juan de las Roelas, a huge composition, crowded with numberless figures. In spite of this defect the picture has power. The expression of the faces is individual and life-like, and the form of the martyr, bound to his double-cross, is well drawn. The chief merit of the work rests in its colour, which is Venetian in many of its tones. Very beautiful is the picture of Santa Ana teaching the Virgin to read. The drawing, especially of the hands, is defective, but the flesh tints are full of rich warmth, indeed, the colouring of the whole picture can hardly be too highly praised.

Near to the Martyrdom of St. Andrew hang the Visión de San Basilio and the Apotéosis of San Hermenegildo, two works of great size, by Herrera el Viego. The latter is the finer composition as the canvas of the Vision is overcrowded and the interest of the work is not sufficiently centralised. San Hermenegildo is a noteworthy instance of the power of Herrera, and exemplifies his vigorous individual style. The favoured saint of Seville ascends to heaven in a flood of yellow glory, which reveals the steel blue of his cuirass, and the rich crimson of his flowing mantle. Two angels bear the axe and chain, the trophies of his triumph; while all around cherubs hover, waiting to crown with flowers the newly-martyred saint. Beneath are three figures—a fair-haired, kneeling boy, the son of San Hermenegildo, St. Isidore, robed and mitred, and King Leovigild, the Visigoth, who imprisoned and killed his brother for his defection from the Arian faith.

Upon the same wall as the Santa Ana are the works of Juan de Valdés Leal. They are of uneven merit, and traces of hurry and lack of careful completion may be discerned in almost all of them. One of the most interesting is, La Virgen, las tres Marías y San Juan, en busca (search) de Jesús. The figures convey the idea of motion, while eager expectancy finds expression in look and gesture. The series of pictures illustrative of the life of San Jerónimo are also interesting, notwithstanding the lack of harmony which mars several of the compositions. Entirely distinct are, La Concepción, and La Asunción. They are poor, both in drawing and colour; distinctly mannered, and devoid of simplicity and deep religious feeling.

The works of Francisco de Zurbaran are collected in the old convent choir. In the centre is, La Apotéosis de Santo Tomás de Aquino, considered by some critics the masterpiece of Zurbaran. It is a triple altar-piece, allegorically representing the death of the patron of the College of St. Thomas. The saint is ascending to heaven to join the blessed Trinity, the Virgin, St. Paul, and the hosts of glory. Below sit the venerable figures of the Doctors of the Church; on the right kneels the Bishop Diego de Dega, the founder of the college, while the Emperor, Charles V., with a train of ecclesiastics, stands upon the left. The dark, mild face of the figure immediately behind the Emperor is supposed to be the portrait of Zurbaran. As a work of art the picture is defective; it lacks charm, and the literary interest of the composition is too diffused. The execution is excellent, the colour, though sombre, is rich with a splendid mellowness of tone, while each of the heads bears the imprint of being a separate study.

The three studies of Carthusian monks amply manifest the charm which this allegorical composition lacks. La Virgen de las Cuevas, and San Hugo en el refectorio will be found on either side of the choir, while the third of the series, Confrencia de San Bruno con Urban II. hangs close to the St. Thomas. The genius of Zurbaran is disclosed in these scenes of monastic life. All three pictures are executed with remarkable fidelity, but the finest of the three is St. Hugo visiting the monks in their refectory. It is painted with realistic and individual truth. The monks, clad in the white robes of the Carthusians, sit around a table at their mid-day repast. In the foreground stands the aged figure of St. Hugo, attended by a young page. The saint has come to reprove the order for unlawfully dining upon flesh meat. His purple vestments supply an effect of fine colour, which contrasts with the dull white cowls and frocks of the brothers. What cold, passionless faces! Zurbaran has embodied the very spirit of asceticism. Each monk is a portrait, probably drawn from life. It is a perfect realisation of a monastic scene from the life of ancient Spain.

We can only touch briefly upon the remaining pictures of Zurbaran. They are all worthy of study. Signs of weak drawing can often be detected, but the effort after truthful expression, and the entire absence of a desire to please by any special trick of manner will commend his work to every student. Note the simple, yet powerful, sincerity of his Crucifixion. Consider the manner in which he has depicted the boy Jesus in the picture, El Niño Jesús. A boy clad in a simple gown of darkest grey; no halo surrounds his head, and upon his knees rests a twisted crown of thorns. One of the prickly spines has pierced the boy's finger, and with the verity of life Zurbaran depicts him pressing the finger to extract the thorn. The drawing of the figure is faulty and the execution of the little sketch is not equal to many of the other pictures, but the mode of treatment illustrates very convincingly the sincerity of the artist's purpose. Many of the studies of monkish figures are very fine. San Luis Beltrán is a work of wonderful power. The careful painting of the hands, and the way in which every detail of the picture is subordinated to the whole effect deserve high praise.

To turn from the works of Zurbaran to the pictures of Francisco Pacheco and Juan de Castillo is somewhat difficult. The hard, flat, lifeless portraits of the one, and the dull, faultily drawn, religious composition of the other, offer little inducement to linger. Were it not for the interest which attaches to these artists from the illustrious fame of their pupils, their very names would hardly be remembered.

Equally disappointing are the majority of the remaining canvases, which hang in the nave of the Museo. The modern pictures appear out of place. The chief idea they convey is one of intense crudity of colour. Among the numerous pupils and imitators of Murillo not one is worthy of attention. The work of the pupils of Zurbaran reaches a somewhat higher level. The pictures of the Apostles, by the brothers Miguel and Francisco Polancos are good studies.