MURILLO Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/workofmurillorepOOmuri THE WORK OF MURILLO REPRODUCED IN 287 ILLUSTRATIONS WITH A BIOGRAPHICAL INTRODUCTION ABRIDGED FROM AUGUST L. MAYER ND. NEW YORK / BRENTANO’S MCMXXI Printed in Wurtemberg THE J PAUl GETTY MUSEUM library MURILLO HIS LIFE AND WORK The eastern part of Spain — the warlike Catalonia and the fer- tile Valencia — have always been rich in the talent, but never in the genius, of art. Still less seldom has the central or mountainous re- gion produced any painter of note. If we are to look for the flower of the great Spanish masters in art, we shall find them in the sunny south, in bright and happy Andalusia. And if we are seeking for one in whom, more than in any other, this Andalusian spirit is em- bodied, we shall find him in Murillo. Both on his father’s and his mother’s side, Bartolome Esteban Murillo came from a family long settled in Andalusia. We are igno- rant of the exact date of his birth, but we know that he was baptized on Monday, January i, 1 6 1 8, in the Church of St. Magdalena, in Seville, as the son of Caspar Esteban Murillo and Maria Perez. Murillo’s father died, probably in 1627, and his mother on January 8, 1628; so that already at the age of ten Murillo was an orphan. His guar- dian, the surgeon Juan Augustin Lazares, married to Anna Murillo, took the boy under his care, and, because of his aptitude for draw- ing, sent him to study with Juan del Castillo. This artist, though he came from a high, artistic Sevillian family, was a painter of small atta' unents. Still, he was a good teacher, accomplished in draughts- manship and composition and, as his religious paintings show, a genuine Sevillian in his lively and graceful expression. He be- longed to that company of later Spanish romanticists who imitated the great Italian masters, and who, without ever having been in Italy, copied their works from etchings and engravings. In this respect, Castillo was a follower of his contemporary, Juan de Ruelas, who must be considered as the founder of the national Sevillian art of the seventeenth century. It is evident, from the earliest extant works by Murillo, that the young artist, like many of his contem- poraries, had been an earnest student of the paintings by Ruelas; 5 more especially during the years following 1639, when Castillo had left Seville to take up his residence in Cadiz. Without his parents to help him, and without the sympathetic teaching and companionship of his master, Murillo, in 1639, was thrown on his own resources. He was very poor, practically penni- less, and could not, however much he may have desired it, afford the expense of attending the School of Zurbaran, the chief painter of his native town. He turned, therefore, for a living to the making of pictures for selling at the “ ferria ” or public fairs in Seville. These fairs were a market for everything that was cheap and shoddy, more especially for daubs by street painters who here readily disposed, for very small sums, of their wretched pictures of saints and Madonnas which were sent to South America and Mexico to be bought there by the new converts to Christianity. Murillo offered his wares with the rest, and managed in this way to make a scant livelihood. In 1642, however, moved by the improvement he had seen in the work of a brother-artist, Pedro de Moya, who had returned from a visit to the Netherlands, Murillo made up his mind to do likewise, and to go to Flanders or Italy for further study. With this purpose in mind, he purchased a quantity of canvas, cut it up into pieces of various sizes, and covered them with paintings. Armed with these he went to the various dealers and disposed of them for such sums as he could obtain. In this manner he collected what he thought would be enough money to enable him to make his journey. He set out for Madrid on foot, and called on his fellow-townsman, Velasquez, then in the height of his fame, to beg from him some letters of introduction to artists in Rome. Velasquez became greatly interested in the young aspirant, took him into his house and obtained for him permission to work in the galleries of the Spanish capital. Murillo eagerly availed himself of this privilege, and very quickly realized the value of it to him. He studied the works of Titian, Rubens and Van Dyck with all the passion of youthful enthusiasm, and it is to this study, no doubt, that Murillo owes the cultivation of his sense for color in plastic expres- sion, The influence of these great masters is very evident in many of his paintings. But the artist who made the strongest impression on the young student was Ribera, and the influence of this Spanish master is even more marked in the best work Murillo himself achieved. He remained in Madrid, copying the paintings of Ri- bera, Velasquez and Van Dyck, for two years. The outcome of these drudging, apprenticeship days, may be seen in the first large 6 com- positions of his own which he executed for the little monastery of St. Francis, on his return to Seville in 1645 and 1646. The eleven canvases, depicting the legends of St. Francis, were so carefully treasured by the monks of the place that they were shown only on festival days, and then from between hanging draperies. These paintings are all now scattered in the public and private galleries of Europe and America. The first of these paintings to be com- pleted was, probably, “ The Vision of St. Francis,” now in the Acad- emy of Madrid. The “ Angel-Kitchen,” in the Louvre, which testi- fies both to Murillo’s power for narrative and his dexterity as a painter of “ still life,” was strongly influenced by the work of Rue- las. The famous representations of the lives of the holy monks — “ St. Gil before Pope Gregory IX ” and “ St. Diego before the Crucifix” — are closely related to the style and manner of Zurbaran. But of all these paintings the most interesting and also the most per- sonal is the “ St. Diego feeding the Poor.” Murillo never surpassed the healthy freshness and the fine, natural humor of the saint who is here shown as receiving the thanks of the poor people for his charity. Three other paintings belong to this series: “The Monk robbed by a Brigand” (in the possession of M. Ch. Baudet in Le Havre), “ The Return of St. Philip ” (sold in 1867 at the Soult Sale to a M. de Guitant), and “The Exorcising of the Plague” (in the possession of Duke di Pozzo di Borgo, in Paris). Of these we are unable, unfortunately, to give reproductions in this volume. The monks of the monastery of St. Francis, when they com- missioned Murillo to decorate the walls of their cloister, chose him out of their necessity. They were a poor brotherhood and could not afford to employ the better-known masters of the day. Alurillo also was poor, and when he offered his services, there is no doubt he was ready and even eagerly willing to accept any compensation, provided an opportunity was given him to make a bid for fame. What the money reward was we can guess, but the fame was more than Murillo could possibly have anticipated. From that time on the rich of Seville were lavish in their patronage as well as their praise; and the beginning of Murillo’s great popularity really dates from the time of the completion of these eleven paintings for the lit- tle Franciscan monastery. In May, 1646, Murillo married Dona Beatriz de Cabrera y Sotomayer, who, in 1648, bore him a daughter, Isabel Francesca, who later entered the Dominican Convent of the Holy Mother. At the baptism of his eldest son, Gabriel Esteban, the distinguished Sevillian and famous knight of Calatrava, Don 7 Miguel de Mahara, stood as godfather. In years to come, this Don Miguel was one of Murillo’s most munificent patrons. In 1 66 1 was born Murillo’s second son, Gaspar Esteban, who later emigrated to America and died there. Between 1650 and 1660 Murillo executed several of his master- pieces which evince his genius as a colorist, and display his accom- plished ability in composition. Among these are to be specially noted the “ St. Isidor ” and the “ St. Leander,” a commission from the Archdeacon of Carmona, Don Juan Federigui, for the Cathedral of Seville, where they still hang. “The Nativity of the Virgin,” also painted during this period for the Chapter of the Cathedral, is considered to be one of the most pleasing examples of Murillo’s so-called “warm” style. In March, 1656, the authorities of the Chapter of the Cathedral gave out that they desired a great altar- piece for the Chapel of St. Anthony, to be painted by “ the best artist of the city.” There was but one man who could lay claim to such a title, and that man was Murillo. He was given the order by general consent, and on the 21st of November of the same year his gigantic canvas was hung. For this tremendous work Murillo received the sum of 10,000 reals, about $520. It is one of his most widely known paintings, and may still be seen in the Baptistry of the Cathedral of Seville. Murillo, at this time, interested himself keenly in founding an Academy of Arts for his native town. He succeeded in his efforts, and the institution was opened in 1660. Murillo’s great reputation and wide popularity assured him of the presidency of the organ- ization; but he held the office for one year only. Owing to the jeal- ousy and malevolence of his rival, Valdes Leal, he withdrew his name for re-election. But this did not prevent him from continuing to give the school the benefit of his counsel and instruction. In 1665 Murillo undertook to complete a series of paintings designed by his friend and patron, Canon Don justino de Neve, for the decoration of the Church of S. Maria la Blanca, the building of which had been finished in 1659. The fourth of these paintings, an allegory of youth, is now in the possession of Mr. Lyne Stephens, of Lynford Hall, Norfolk, England. All these works are among the artist’s happiest and most impressive creations. The two which tell the history of the Festival of Our Lady of the Snow, are now in Madrid, but they found their way there only after many vicissi- tudes of fortune. Marshal Soult, who carried away with him the paintings in the little monastery of St. Francis, robbed the Church of S. Maria la Blanca of its treasures also. “ The Virgin of the Conception,” another of this series, is now in the Louvre. The years 1667 and 1668 were the most industrious years of Murillo’s life, so far as his work for the Cathedral of Seville was concerned. He restored the allegorical paintings which Pablo de Cespedo of Cordova had some eighty years before executed. He decorated the Chapter Hall with a distinguished “Conception” and with medallion portraits of the patron Saints Leander, Isidor, Her- mengild, Pius, Laureanus, Ferdinand, Justa and Rufina. At this time, also, he painted the “ Baptism of Christ,” which is to be seen over his famous great St. Anthony painting in the Baptistry of the Cathedral. With Juan de Valdes Leal he was employed on the dec- oration of the Cathedral, in 1671, for the occasion of the canoniza- tion of the saintly King Ferdinand III. For this same occasion he painted the portrait of the King, which is now in the Elkins Col- lection in New York. On April 12, 1665, Murillo’s name had been before the Chapter as a candidate for membership in the most select and distinguished Brotherhood of Seville, the Hermandad de la Caridad. He was elected on June 4, in the same year. Of this pious Brotherhood or Guild, Don Miguel de Manara, the knight who had stood godfather to the artist’s eldest son, was also a member. This noble gentleman had, in 1661, retired from the world to give himself up to a life of holiness and charity, by way of atonement for his previous life of profligacy. Don Miguel determined to restore the buildings of the Hospital or Hermandad de la Caridad, and, with this purpose in view, he went about collecting funds. He succeeded in obtaining sufficient money to warrant him in giving Murillo the commission for painting eleven pictures for the decoration of the Chapel of the Brotherhood. On this commission the artist worked industriously during the years between 1671 and 1674. These eleven paintings are among the best-known of Murillo’s works. For this great labor Murillo received the sum of $4,000 — a large amount of money when compared with the $520 he had been paid for the St. Francis paint- ings. The series picture scenes from the Old and New Testaments, with the intent of furnishing special examples of deeds of charity and beneficence. Eight of these eleven are now considered to be the masterpieces of Murillo. These are: “Moses Striking the Rock,” the “ Miracle of the Loaves and Fishes,” both of which are still in the church; the “St. Peter released from Prison,” which is in the Hermitage at St. Petersburg; the “ Healing of the Sick,” now 9 in the Orwell Park Collection, England; “ St. Elizabeth of Hun- gary,” in the Prado; “The Return of the Prodigal Son,” in Staf- ford House, Eondon ; and the “ Tobias,” which is now lost. The other three, namely, the “ Annunciation,” “ Infant Jesus ” and “ In- fant fohn ” hang over the altars of the church. Murillo also deco- rated the facade of the Hospital with five large tiles which were made from designs furnished by him. Murillo had no sooner finished the work for the Hospital de la Caridad, than he accepted a still more important commission. This was for the execution of eighteen paintings for the High Altar of the Church and the smaller altars of the Chapels of the Convent of the Capuchins. Most of these to-day decorate the walls of the Museum of Seville. The great altar-piece is now in the Walraff- Richartz Museum in Cologne. The “ St. Michael ” is lost, but there exists a copy of it in the monastery of the Capuchins in Cadiz, from the hand of Meneses Osorio, which gives a good idea of the original. The painting known as the “ Charity of St. Thomas of Villanueva ” is said to be the one for which Murillo had a special affection — he called it “ his own.” The little painting known as the “ Virgin of the Napkin,” is believed to have been painted on a serviette and pre- sented to the cook of the Capuchinian Convent by Murillo as a me- morial of himself. It is a charming work. These were the most prolific years of the artist’s remarkable life and career. His aboundingly rich fancy and creative genius seemed as if they grew in fecundity and power with the increase in the demands made on them. When the end did come, it came sud- denly and quite unexpectedly and fortuitously. To the year 1678 belong the series of paintings Murillo executed for the Augustinian Monastery of the Hospital of the Brotherhood of the Venerable Eloly Ones. Among these is the famous “ Mystery of the Immacu- late Conception,” known as the “ Soult Conception,” and now in the Louvre. He also undertook a great altar-piece for the Capuchin Church of Cadiz. It was while engaged on the painting of the “ Espousal of St. Catherine ” for this church that Murillo slipped from the scaffolding and fell, injuring himself so severely that he never recovered from the accident. He died at five o’clock of the evening of the third of April, 1682, in the arms of his friend and pupil, the Chevalier Padro Nunez de Villavicencio. His body was placed on the following day in the chapel of the Church of S. Cruz, which belonged to the family of Hernando de Jaen. Over the altar in this chapel hung at that time the “ Crucifixion ” by Pedro de 10 Campana, a work for which Murillo had always shown a profound admiration. It is related that he was once found standing before this painting in silent and reverent contemplation. When he was asked what he was doing he answered: “ I am waiting until the saints have brought down the body of our Lord.” Murillo was a Sevillano of Sevillanos. He was that in the whole outlook of his mind, and in his religious sentiments, as both these are seen expressed in the forms of his art. In Seville, more than in any other part of Andalusia, the people crowd and jostle each other in dra- matic play. It is this drama of the common folk which is to be seen in Murillo’s works. His paintings picture the natural gaiety of the natives and their delight in mere living. They reveal the sweet kind- ness and liveliness of their character, and give it a truly lyrical ex- pression. Murillo’s own nature was of this quality, and it is revealed to us not only in his genre paintings, but in his masterpieces of re- ligious sentiment which but seldom portray the suffering of the Sa- viour. The subjects most dear to Murillo are those which tell of the joy of parents in the family life, the motherly love of the Ma- donna, the sweet charity of the bread-giving St. Thomas of Villa- nueva, the heavenly mildness and pious faith of the “ Christ on the Cross,” where St. Francis is seen embracing the Crucifix and ac- cepting it as his most precious possession. Here, in these appealing works, we find Murillo the lover of humanity. In his visions of the Saints and in his many “ Conceptions ” we meet with Murillo, the knight and the man of chivalry, who has here embodied the noblest reaches of his mind as an expression of his homage to woman. This man’s religion was not composed of dogmas or doctrines. This artist is no theologian. He is simply a man of loving-kindness, for whom religion is the expression of his own pious and beneficent spirit. In every one of his works Murillo, the Sevillano, is giving expression to himself. His Madonnas, his Child Christ, his saints, were taken direct from the people of his native city. He met them in his walks along the shadow-painted streets and in the sunny squares. He knew them and took them to be as good and as kind as he was himself. The Madonna in the Corsini Gallery at Rome, known as the “ Gipsy Ma donna”; “The Ascension” and “ Conception” in the Hermit- age at St. Petersburg, the “ Conception ” in the Chapter Hall of the Cathedral at Seville, the delicate types of the old mendicant monks in his portraits of St. Francis of Paula and St. Felix of Cantalico, all the men and women of these paintings might he seen any day in Murillo’s time, and even any day in our own time, walking the streets of Seville. It is this that is so appealing and drawing in Murillo’s art. Murillo’s paintings have been classified, according to their styles, into the cold, the warm, and the misty or vapory. Each of these styles probably represents a period of development in the art- ist’s growth; but all his paintings are more or less characterized by one or a combination of all of these styles. All evince a masterly accomplishment in technique and a remarkable ability in composi- tion — especially in the composition of groups of figures. His sub- jects are either taken from real life or he found the material in the Bible. The realism of his scenes from life, while they are filled with a natural atmosphere, are yet devoid of a profound spiritual appre- ciation of the life depicted. It is a superficial relationship that is expressed in them. And this limitation is also evident in his religious paintings where the idealism embodied is of a commonplace char- acter and often degraded by a cheap sentiment. Yet both idealism and sentiment are almost always raised in our appreciation by a lyr- ical quality which is delightful and charming. Here are the qualities which account for Murillo’s popularity. He appeals immediately, without the necessity for an interpreter. His art evinces no mystery, no strangeness, no untowardness. The artist has had no visions, and has no revelations to make. He has tales to tell, and as a teller of tales he has few, if any, to equal him in these his almost ravishing stories. It is well to remember that Murillo came of ordinary stock — - his parents were poor working people close to the hard and harsh conditions of life. He himself had known poverty and grinding want and, fortunately both for the man and his art, had never waxed fat enough with wealth to kick — Providence and fortune remained always deities to be revered. To such a man the highest reaches of the imagination take forms such as are pleasing, comforting and kindly. The opposite of an ugly and hard world is a beautiful heaven where compassionate and beneficent saints solicit God’s grace on behalf of the poor and distressed. The world is cruel, unkind and filled with the misery of poverty. Murillo’s paintings in the Dulwich Gallery realize how keenly the artist felt this. The scenes of low life there pictured are redolent of nothing but sordid wretch- edness and squalor. But over against this kind of a world is the heaven of which religion speaks to us. Right to the other extreme, then, swings the pendulum of the artist’s temper, and here he sees everything that is lovely, charming, delight-giving and radiant with 12 sensuous beauty. Here also he shows us the deeply religious nature of the man for whom his faith in Catholicism was an abiding com- fort and stay. Murillo was not only a painter by profession, but he was also a painter by conviction. His art was to him almost a religion. He fully understood its value as a means of speech to the people, and its influence as an inspiring voice. It was this that urged him so enthu- siastically to found the Academy where poor artists could be taught without charge. He himself taught in it and took no remuneration for his services; and it was his enthusiasm which kept the institution alive, for it died with his death. With all his shortcomings, Murillo was a great plastic artist — - one among the greatest. As a colorist he has had few equals. If, at times, his works smack of insipidity and sentimentality, at times more often, they breathe a spirit that is tenderly touching with, occa- sionally, a strength that is almost stunning. It is scarcely to be won- dered at that his paintings should have appealed so deeply to his own people; for they speak a language all could understand. Nor need we be surprised that the people of Spain should esteem them so high- ly as to treasure them as though they were sacred relics. 13 ABBREVIATIONS AND EXPLANATIONS H.= Height B. = Width Auf HoLz = on wood Auf Leinwand = on canvas Auf ScHiEFER = on slate The figures giving the sizes of the paintings stand for metres MURILLO I. RELIGIOSE GEMALDE RELIGIOUS PAINTINGS TABLEAUX RELIGIEUX Murillo 1 i: Cambridge, Fitzwilliam-Museum Auf Leinvvand Fray Lauterio vor der Madonna, St. Franziskus und St. Dominikus Fray Lauterio before the Madonna, Vor 1642 Fray Lauterio devant la Madone, St. Francis and St. Dominic Saint Francois et Saint Dominique 3 * Sevilla, Museum Madonna of the Mercenarios Die Mercenarier-Madonna Um 1641 Auf Leinwand, H. 1,66, B. 1,07 Madone des Mercenaires 4 Miinchen, Galerie Heinemann The Holy Family Die Heilige Familie Vor 1642 ,a Sainte Familie 5 Genua, Palazzo Bianco Vision of St. Francis Vision Auf Leinwand des heiligen Um 1645 Franziskus Vision de Saint Francois 6 * Madrid, Akodemie Auf Leinwand, H. 1,70, B. 1,86 Vision des heiligen Franziskus von Assisi Vision of St. Francis of Assisi 1645 Vision de Saint Francois d'Assise 7 Madrid, Akademie , . „ . Auf Leinwand Die Armenspeisung des heiligen Diego von Alcala St. Diego feeds the Poor 1645 Saint Diego d'Alcala distribuant des Aumones *Friiher: Philip W. S. Miles, Kings Weston, Gloucestershire Auf Leinwand St. Gil vor Gregor IX. St. Gil before Pope Gregory IX. 1645—1646 Saint Gil devant Gregoire IX Toulouse, Museum Auf Leinwand, H. 1,69, B. 1,81 Der heilige Diego von Alcala vom Kardinalbiscliof von Pamplona in Ekstase angetroffen St. Diego of Alcala and the Saint Diego d'Alcala ravi en extase devant Cardinal-Bishop of Pamplona 1646 le Cardinal-Eveque de Pampelniie London, M. Ford Two Monks Zwei Monche Auf Leinwand Deux Moines 10 Auf Leinwand * New York, Charles B. Curtis Das Rosenwunder des The Miracle of Roses of St. Diego of Alcala heiligen Diego von Alcala 1646 Le Miracle des Roses de Saint Diego d’Alcala 12 The „ Angel-Kitchen" of St. Diego of Alcala 1646 La .Cuisine des Anges" de Saint Diego d’Alcala 13 Der Heimgang der heiligen Klara The Death of St. Claire 1645—1646 La Mort de Sainte Claire Genua, Palazzo Bianco Auf Leinwand The Flight to Egypt Die Flucht nach Agypten 1648 La Fuite en Egypte 14 Genua, Palazzo Bianco Auf Leimvand Die Flucht nach Agypten The Flight to Egypt (Ausschnitt) La Fuite en Egypte (Detail) 1648 (Detail) 15 16 Madrid, Prado Auf Leinwand, H. Die Heilige Familie mit dem Voglein The Holy Family with the Bird 1645—1650 La Sainte Familie h l’Oiseau Sevilla, Museum Auf I.eiriwand, H. 2,18, B. 1,55 Der heilige Pedro Nolasco vor der Virgen de la Merced St. Pedro Nolasco belore the Virgen de la Merced Ura 1648—1656 St. Pedro Nolasco devant la Virgen de la Merced Murillo 2 17 Raby Castle, Lord Barnard Auf Leinwand St. Agnes Heilige Agnes 1645—1650 Sainte Agnes 18 London, Herzog von Wellington Die heilige Katharina Auf Leinwand St. Catherine 1646—1660 Sainte Catherine 19 Dresden, Gemiildegalerie St. Rodriguez Der heilige Rodriguez 1646—1655 Auf Leinwand, H. 2,05, B. 1,23 Saint Rodrigue 20 21 Die Verkiindigung The Annunciation 1648—1655 L'Annonciation 22 Madrid, Prado Auf Lein Die Anbetung der Hirten The Adoration of the Shepherds 1645-1660 L’Adoration des Bergers 23 Berlin, Kaiser-Friedrich-Museum Auf Leinw Die Anbetung der Hirten The Adoration of the Shepherds 1650-1660 L’Adoration des Bergers Miinchen, Galerie Heinemann Auf Leinwand, H. 1,73, B. 1,22 Madonna of Mount Die Madonna vom Berge Karmel Carmel Um 1646—1648 Madone du Mont Carmel 24 Auf Leiinvand, H. 1,66, B. 1,25 Vierge au Rosaire Paris, Louvre Rosenkranzmadonna Madonna of the Rosary Uni 1645-1650 25 London, Sir William Eden Madonna with the Apple Die Madonna mit dem Apfel (La Virgen de la Manzana) 1646—1655 Auf Lein wan Madone a la Pomme 26 27 ' Fruher Galerie Aguado Auf Leinwand, H. 1,11, B. 0,86 *Wlndlestone Hall, Sir W. Eden Auf Leinwand Madonna mit dem Apfel Die Madonna mit dem Rosenkranz der beschuhten Karmeliter Madonna 1650—1660 Madone Madonna of the Rosary 1645—1650 Vierge au Rosaire with the Apple a la Pomme of the Carmen Calzado des Carmes Florenz, Palazzo Pitti Madonna of the Rosary Rosenkranzmadonna Um 1650 Auf Leinwand, H. 1,65, B. 1,09 Vierge au Rosaire 28 Madrid, Prado Die Rosenkranzmadonna aus deni Eskorial The Madonna of the Rosary from the F.scorial 1650—1660 Vierge an Rosaire de I'F.scurial 29 Madrid, Prado Auf Leinwand, H. 1,51, B. 1,03 Madonna mit sitzendem Christkind Madonna with the Infant sitting 1655—1665 La Vierge et l’Enfant 30 London, Gaston Linden MaUr Dolorosa Mother of Sorrow 1(65 — 1672 Auf Lei invalid La Vierge ties Douleurs 31 Florenz, Palazzo Pitti Auf Leinwand, H. 1,55, B. 1,05 Madonna mit stehendem Christkind The Virgin with the Infant Christ standing 1650—1660 La Vierge et l’Enfant debout 32 * Budapest, M. von Nemes The Kinnaird Madonna Die Madonna Kinnaird 1650—1660 Auf Leimvand, II. 1,69, B. 1,10 Madone Kinnaird Murillo 3 33 * Haag, Mauritshuis Madonna in (he Clouds Auf Leinwand, H. 1,90, B. 1,37 Madonna in den Wolken 1655—1660 La Vierge et l’Enfant sur les Nues 34 Madrid, Prado Auf Leinwand, H. 1,3-1, B. 1,07 Saint James the Greater Der Apostel Jacobus major 1650-1660 Saint Jacques Apotre 35 * Madrid, Prado Die reuige Magdalena St. Mary Magdalen 1650—1665 Auf Leinwand, H. 1,25, B. 1,06 Marie-Madeleine 36 Auf Leinwand, H. 1,88, B. 1,60 Der lieilige Leander 1655 Saint Leandre * Sevilla, Kathedrale: Hauptsakristei St. Leander 37 Sevilla, Kathedrale: Hauptsakristei Auf Leinwand, St. Isidor Der heilige Isidor 1655 Saint Isidore 38 39 Die Geburt Maria The Birth of the Virgin 1655 La Naissance de la Vierge Sevilla, Kathedrale: Taufkapelle Auf Leinwand,' H. 5,50, B. 3,30 Die Vision des heiligen Antonius The Vision of St. Anthony 1656 La Vision de Saint Antoine 40 Madrid, Akademie Auf Leinwa Resurrection of Christ Auferstehung Christi 1650—1660 Resurrection 41 Liitzschena, Sammlung Speck von Sternburg The Annunciation Auf Leinwand Die Verktindigung L'Annonciation 42 43 St. Petersburg, Ermitage Auf Leinwand, H. 1,38, B. 1,11 The Annunciation Die Verkundigung 1655—1665 L'Annonciation 44 Madrid, Prado Auf Leimvand, H. Die Verkiindigung The Annunciation 1655 — 1665 L’Annonciation 45 Amsterdam, Museum Auf Leimvand, H. 0,96, B. 0,99 The Annunciation Die Verkiindigung 1668—1675 L'Annonciation 46 47 New York, L. Ehrich Galleries 48 Die Anbetung der Hirten The Adoration of the Shepherds 1665—1670 L Adoration des Bergers Murillo 4 49 London, Earl of Northbrook Auf Leinwand Das Christkind (aus einer Anbetung der Hirten) Infant Christ (Fragment of an Adoration of the Shepherds) 1665—1672 L’Enfant Jesus (Fragment d’une Adoration des Bergers) * Woburn Abbey, Herzog von Bedford Auf Leimvand Madonna Madonna della Sedia 1660—1675 La Vierge et l’Enfant 51 Die Ruhe auf der Flucht nach Agypten Rest on the Flight 1655-1670 Repos pendant la Fuite en Egypte Budapest, Museum Auf Leinwand, H. 1,56, B. 1,26 Flight to Egypt Die Flucht nach Agypten 1660—1670 Fuite en Egypte 52 Budapest, Museum Auf Leinwand, H. 1,56, B. 1,26 Die heilige Familie mit dem Johannesknaben (Die Kreuzbinder) Holy Family will] the Infant St. John 1660- 1670 Sainte Familie avec Jean Baptiste Enfant 53 London, Earl of Northbrook Auf Leintvand, H. 0,29, B. 0,23 Die heilige Familie in der Schreinerwerkstatt Holy Family in the Carpenter’s Shop 1660—1680 Sainte Familie dans l’Atelier 54 Ch.itsworth, Herzog von Devonshire Holy Family A nf Lei invalid Heilige Familie Sainle Familie 55 * St. Petersburg, Ermitage Holy Family Auf Leinwand, H. 0,23, B. 0,18 Die heilige Familie 1660—1675 Sainte Familie 56 57 Die heilige Jungfrau mit dem Christkind und der heiligen Anna Virgin, Child and St. Anna 1665—1670 La Vierge, l'Enfant et Sainte Anne 58 Auf Le imvand Rom, Vatikan Die Verlobung der heiligen Katharina Mystic Wedding of St. Catherine 1665-1675 Manage mystique de Sainte Catherine Madrid, Prado Auf Lcinwand, H. 3,11, B. 2,49 Die Vision des heiligen Bernhard Vision of St. Bernard 1665-1670 Vision de Saint Bernard 59 Madrid, Prado Auf Leinwand Die Vision des heiligen Bernhard (Ausschnilt) Vision of St. Bernard (Detail) 1665—1675 Vision de Saint Bernard (Detail) 60 Auf Leinwand Sainte Famille Heytesbury House, Margaret Lady Heytesbury Holy Family Heilige Familie 1665-1670 61 Budapest, Museum Auf Leinxvand, H. 1,37, B. 1,12 Madonna, das Christkind wickelnd (La Virgen de la faja) The Virgin swaddling the Infant Christ 1665—1670 La Vierge emmaillotant l'Enfant 62 * London, Wallace-Kollektion Auf Leinwand Die heilige Familie mit dem Johannesknaben Holy Family with the Infant St. John 1660—1670 Sainte Familie avec Jean Baptiste Enfant 63 Paris, ehemals Sammlung Kann Auf Leinwand Die heilige Familie mit dem Johannesknaben The Holy Family with the Infant St.John 1668—1675 Sainte Familie avec Saint Jean 64 ! London, Lady Wantage The Santiago Madonna Die Madonna aus dem Haus Santiago 1668—1682 La Vierge de la Maison Santiago Murillo 5 65 * Dresden, Gemaldegalerie Madonna Leganes Die Madonna Leganes 1665—1675 Auf Leinwand, H. 1,66, B. 1,45 Madone Leganes 66 La Virgen de Sevilla Gegen 1670 :i: Paris, Louvre The Virgin of Sevilla Auf Leinwand, H. 2,40, B. 1,90 La Vierge de Seville 67 68 Woburn Abbey, Herzog von Bedford Auf I.einwand Blumenstretiende Engel Angels with Flowers 1655—1670 Anges semant des Fleurs i: Sevilla, Museum Auf Leinwand, H. 3,92, B. 2,75 Die Concepcion der Franziskaner The “Concepcion” of the Franciscans 1652—1665 Immaculee Conception des Franciscains 69 "Berlin, G. v. Mallmann Immaculate Conception Auf Leinwand Die unbefleckte Empfangnis 1655—1665 Immaculee Conception -'* : n 70 Madrid, Prado Auf Lelinvand, H. 2,22, B. 1,18 Die „Concepcion“ aus Aranjuez The “Concepcion” of Aranjuez 1655—1665 Immaculee Conception d’Aranjuez 71 ' Madrid, Prado AUI LCJ I J \\ cl 1 1U, Die .Concepcion” mit der grofien Mondsichel ‘Concepcion” with the Crescent 1660—1670 Immaculee Conception au grand Croissant 72 ’ St. Petersburg, Frmitage Die The “Concepcion Esquilache” Auf Leinwand, H. 2,30, .Concepcion Esquilache” 1660—1670 Immaculee Conception Esquilache 73 * Madrid, Prado Auf Leinwand, H. 2,06, B. 1,44 Die Concepcion aus S. Ildefonso “Concepcion from S. Ildefonso 1665—1670 Immaculee Conception de Saint Ildefonse 74 Bowood House, Lord Lansdowne The little "Concepcion' Auf Leinwnnd, H. 0,35, B. 0,26 Die kleine „Concepcion‘ 1665—1675 L;i petite „Concepcion“ 75 76 La Purisima mit verehrenden Glaubigen La Purisima with Worshippers Um 1665 La Purisima avec des Adorateurs 77 DerTraum des romischen Patriziers Dream of the Roman Patrician Um 1665 Songe du Patricien 78 Die Grundung von Sa. Maria Maggiore in Rom: Der romische Patrizier vor dem Papst Foundation of S. Maria Maggiore in Rome: Uni 16(55 Fondation de Ste. Marie Majeure: The Roman Patrician before the Pope Revelation du Songe Sevilla, Kathedrale: Kapitelsaal Immaculate Conception Die unbefleckte Empfangnis 1668 Immaculee Conception 79 ■■ Sevilla, Kathedrale: Taufkapelle Baptism of Christ Auf Leinwand Die Taufe Christi 1668 Bapteme du Christ 80 Murillo 6 81 London, Herzog von Westminster Auf Leinwand, M. 0,20, B. 0,3 Schlafender Jesusknabe The Infant Christ sleeping 1660—1670 Enfant Jesus endormi * London, Baron Rothschild Auf Leinwand, H. 1,52, B. 1,09 The good Shepherd Der gute Hirte 1660—1670 Le bon Berger 82 New York, Hisp. Society Auf Leinwand, H. 0,56, B. 0,41 The good Shepherd Der gule Hirte 1660-1670 Le bon Berger 83 Seeon. Herzog von Leuchtenberg Auf Leinwand Der gute Hirte 1665—1672 The good Shepherd Le bon Pasteur * London, Nationalgalerie Auf Holz, H. 1,52, B. 1,09 Der Johannesknabe mit dem Lamm St. John with the Lamb 1660-1665 Saint Jean et l’Agneau 85 * Madrid, Prado Der gottliche Schafer The divine Shepherd 1660—1670 Auf Leinwand, H. 1,23, B. 1,01 Le divin Berger 86 ■ Madrid, Prado Auf Leinwand, H. 1,21, B. 0,99 Der Joliannesknabe mit deni Lamm The Infant St. John with the Lamb 1660—1670 Saint Jean et I'Agneau 87 Dublin, Nationalgalerie Auf Leinwand Der Johannesknabe mit dem Lamm The Infant St. John with the Lamb 1660—1670 Saint Jean et TAgneau 89 * Madrid, Prado Auf Leinwand, H. 1,04, Das Christkind labt den Johannesknaben (Los ninos de la concha) The Infant Child and the Baptist Urn 1670 Le Christ et Jean Baptiste Enfants 90 Glasgow, Unlversltiit Auf Lclnwand Der gute Hirte The good Shepherd 1665—1670 Le bon Berger London, Earl of Wemiss Auf Leinwand Der lieilige Franziskus von Paula und das Christkind St. Francis and the Christchild 1660—1670 Saint Francois avec l'Enfant Jesus 91 Madrid, Prado Auf Leinwand, H. 0,52, B. 0,41 Ecce Homo Ecce Homo 1655—1670 Ecce Homo 92 Madrid, Prado Auf Leimvand, H. 0,52, B. 0,41 Mater dolorosa Mother of Sorrow 1655-1670 La Vierge des Douleurs 93 94 Cliristus nach der Geifielung Christ after the Flagellation 1650—1670 Le Christ apres la Flagellation Wien, Gnlerie Czernin Auf Lein wand Der Kreuzestod Crucifixion 1660-1670 Le Christ en Croix Madrid, Prado Auf Leinwand, H. 0,50, B. 0,77 Kopf Johannis d. T. Head of St. John 1665—1675 Tete de Jean Baptiste Madrid, Prado Auf Leinwand, H. 0,50, B. 0,77 Kopf des Apostels Paulus Head of St. Paul 1665—1675 Tete de Saint Paul 96 * Madrid, Prado Der heilige Franziskus in der Porciuncula The Roses of St. Francis 1667—1675 Auf Leinwand, H. 2,06, B. 1,46 La Portioncule Murillo 7 97 i: St. Petersburg, Ermitage Auf Leinwand, H. 2,92, B. 2,06 Der Tod des heiligen Pedro Arbues Martyrdom of St. Peter Arbues 166C— 1670 Mort de l’lnquisiteur Pierre Arbuez 98 Rom, Vatikan Auf Leinwand Der Tod des heiligen Pedro Arbues Martyrdom of St. Peter Arbues 1665—1675 Mort de l’lnquisiteur Pierre Arbuez 99 "Munchen, Sammlung Carstanjen St. Mary Magdalen Die reuige Magdalena 1665 — 1675 Auf Leinwand, H. 1,37, B. 1,16 Marie-Madeleine 100 * Madrid, Prado Auf Leinwand, H. 1,04, B. 1,00 St. Francis of Paula Der heilige Franz von Paula 1665—1675 Saint Francois de Paule 101 Madrid, Prado Auf Leinwand, H. 1,11, B. 0,83 St. Francis of Paula Der heilige Franz von Paula 1670-16S0 Saint Francois de Paule 102 103 Rebekka und Elieser Rebeccah and Eleazar 1655—1670 Rebecca el Eleazar 104 Wien, Graf Harrach Auf Leinwand Esau verkauft seine Erstgeburt Esau sells his Birth-Right 1650—1670 Esau vend son Droit d’Ainesse 105 Isaak segnet Jakob Isaac blesses Jacob 1665-1670 Isaac benissant Jacob 106 Jakobs Traum von der Himmelsleiter The Dream of Jacob 1665-1670 Songe de Jacob 107 London, Herzog von Westminster Auf Leinwand, H. 2,45, B. 3,58 Laban sucht die gestohlenen Hausgdtter Laban searching for his stolen House-gods 1665—1670 Laban a la recherche de ses Dieux doinestiques cS QJ O CO 108 109 Der verlorene Sohn erhalt seinen Anteil The prodigal Son 1(560-1680 L'Enfant prodigue no Auszug des verlorenen Solines Departure of the prodigal Son 1660-1680 La Sortie de l’Enfant prodigue Ill Der verlorene Sohn The prodigal Son 1660—1680 Le Banquet de 1’Enfant prodigue — C a s o t: 11 >. c3 £ 112 Murillo 8 113 Der verlorene Solin unter den Schweinen The prodigal Son 1660—1680 L’Enfant prodigue gardant les Pourceaux 114 Der verlorene Sohn als Schweinelr'rt The prodigal Son 1670-1680 L’Enfant prodigue gardand les Pourceaux 115 Die Rtickkehr des verlorenen^Sohnes Return of the prodigal Son 1660—1680 Le Retour de l’Enfant prodigue London, Bridgewater House . Auf Leinwand Der arme Lazarus Lazarus and the rich Man 166E— 1682 Le pauvre Lazare 116 New York, M. Elkins Aui Lelnwnncl Der heilige Ferdinand St. Ferdinand 1671 Saint Ferdinand 117 Sevilla, Kathedrale Auf Leinwand Der heilige Ferdinand St. Ferdinand Um 1671 Saint Ferdinand 118 119 The Multiplication of the Bread and the Fish Um 1671—1674 La Multiplication des Pains 120 Sevilla, Carldad Das Brot- und Fischwunder The Multiplication of the Bread and the Fish (Ausschnitt) La Multiplication des Pains (Detail) (Detail) 121 Moses brings Water out of the Rock Um 1671—1674 Mo'ise faisant jaillir l'Eau du Rocher Sevilla, Caridad Das Wunder Mosis am Felsenquell Moses brings Water out of the Rock (Ausschnitt) Molse faisant jaillir l’Eau du Rocher (Detail) (Detail) 122 Der heilige Juan de Dios Um 1671—1674 * Sevilla, Caridad St Juan de Dios Auf Leinwand, H. 3,25, B. 2,45 Saint Juan de Dios 123 * Madrid, Prado Auf Leinwand, H. 3,25, B. 2,45 Die Krankenpflege der heiligen Elisabeth (EI Tinoso) St. Elisabeth nursing the Sick Um 1671—1674 Sainte Elisabeth soignant les Teigneux 124 125 St. Petersburg, Ermitage Au( Leinwand> H . 2,36, B. 2,60 Die Befreiung Petri Liberation of St. Peter Um 1671—1674 Delivrance de Saint Pierre Orwell-Park, G. Tomline Auf Leinwand Die Heilung des Gichtbriichigen Healing of the Paralytic La Guerison du Paralytique London, Herzog von Sutherland Auf Leinwand Die Heimkehr des verlorenen Sohnes Return of the prodigal Son Um 1671—1674 Retour de l’Enfant prodigue Sevilla, Cnridad Aid Leinwnnd Der junge Johannes der Tauter Young St.John the Baptist Urn 1671 Saint Jean Baptiste Enfant 127 Sevilla, Caridad Das Christkind als Salvator Mundi The Infant Christ as Salvator Mundi Um 1671 Auf Leinwand Salvator Mundi 128 K81n, Wallraf-Richartz-Museum The Roses of St. Francis La Portiuncula Urn 1674 — 1676 Le Miracle de la Rortionculc Murillo 9 129 Sevilla, Museum Auf Leinwand, H. 2,80, B. 1,92 „La Immaculada Concepcion mit Gottvater" der Kapuziner Um 1672—1676 The “Immaculala Conceptio” of the Capuchines L’„Immaculee Conception" des Capucins 130 *Sevilla, Museum Auf Lelnwnnd, II. 1,89, 13. 1,20 Der heilige Felix von Cantalicio mit dein Christkind St. Felix of Cantalicio with the Infant Christ Um 1674—1676 Saint Felix de Cantalice et l'linfant Jesus 131 Sevilla, Museum Auf Leinwand, H. 1,99, B. 1,22 Der heilige Antonius von Padua St. Anthony of Padua with the Infant Christ Um 1674—1676 mit dem Christkind Saint Antoine de Padoue et l’Enfant Jesus 132 Sevilla, Museum Der heilige Antonins von Padua mit dem Christkind St. Anthony of Padua with the Infant Christ (Ausschnitt) Saint Antoine de Padoue et l’Enfant Jesus (Detail) (Detail) 133 Sevilla, Museum Auf Leinwand, H. 2,26, B. 1,25 Der „heilige Joseph mit dem Christkind“ der Kapuziner ‘St. Joseph with the Infant Christ” Um 1674—1676 „Saint Joseph et l’Enfant Jesus" of the Capuchines des Capucins Sevilla, Museum Der „heilige Joseph mit dern Christkind “ der Kapuziner “St. Josepli with the Infant Christ” (Ausschnitt) , .Saint Josepli et l'Enfant Jesus' of file Capuchines des Capucins (Detail) (Detail) 135 Sevilla, Museum Der „heilige Johannes der Taufer“ der Kapuziner Um 1674—1676 ' . „St. John the Baptist” of the Capuchines .Saint Jean Baptiste des Capueins 136 Sevilla, Museum Auf Leinwand,v;H. 2,05, B. 1,79 Die Heiligen Leander und Bonaventura The Saints Leander and Bonaventura Saint Leandre et Saint Bonaventure 137 Sevilla, Museum Auf Leinwand, H. 2,07, B. 1,78 The Saints Justa and Rufina Sa. Justa und Sa. Rufina Um 1672—1676 Sainte Juste et Sainte Rufine 138 Sevilla, Museum St. Rufina (Detail) Sa. Rufina (Ausschnitt) Sainte Rufine (Detail) 139 Sevilla, Kathedrale The Guardian Angel Der Schutzengel Urn 1674—1676 Auf Leinwand, H. 1,70, B. 1,13 L’Ange gardien 140 Sevilla, Museum Auf Lei invalid, 11.2,95, B. 1,95 Vision des heiligen Felix von Cantalicio Vision of St. Felix of Cantalicio Um 1672—1676 Vision de Saint Felix de Cantalice 141 Sevilla, Museum Vision des heiligen Felix von Cantalicio Vision of St. Felix of Cantalicio (Ausschnitt) Vision de Saint Felix de Canfalice (Detail) (Detail) 142 Sevilla, Museum Vision des heiligen Felix von Cantalicio Vision of St. Felix of Cantalicio (Ausschnitt) Vision de Saint Felix de Cantalice (Detail) (Detail) 143 * Sevilla, Museum Auf Leinwand, H. 2,90, B. 1,92 Die Almosenspende des heiligen Thomas von Villanueva St. Thomas of Villanueva spending Alms Um 1674— 1676 Saint Thomas de Villeneuve faisant l'Aumone 144 ♦Sevilla, Museum Die Kapuzinermadonna “Madonna” of the Capuchines Um 1674—1676 Auf Leimvand, H. 1,18, B. 0,97 Madone des Capucins Murillo 10 145 Sevilla, Museum Auf Leinwand, H. 3,20, B. 2, IS Die „ Verkiindigung" der Kapuziner The ‘‘Annunciation" of the Capuchines Um 1672—1676 L’Annonciation des Capucins 146 Sevilla, Museum Die Anbetung der Hirten The Adoration of the Shepherds Um 1674—1676 Auf Lelnwniul, II. 2,77, B. 1,81 L'Adoration des Bergers 147 Sevilla, Museum Auf Leinwand, H. 2,87, B. 1,90 Der heilige Antonius von Padua mit deni Christkind St. Anthony of Padua with the Infant Christ Saint Antoine de Padoue et l’Enfant Jesus Um 1672—1676 148 149 Beweinung Christi Pieta Um 1672—1676 Pieta Sevilla, Museum Auf Leinwand, H. 2,77, B. 1,81 Die Weltentsagung des heiligen Franziskus von Assisi St. Francis of Assisi takes the Crucifix Um 1674—1676 Saint Frangois d’ Assise for his only Properly renonce au Monde 150 Sevilla, Museum Die Weltentsagung ties heiligen St. Francis of Assisi takes the Crucifix (Ausschnitt) for his only Property (Detail) Franziskus von Assisi Saint Francois d’Assise renonce au Monde (Detail) 151 * New York, Museum der Hispanic Society Der heilige Franz, den Kruzifixus umarmend St. F ancis of Assisi lakes the Crucifix 1675—1680 Saint Francois d’Assise for his only Property renonce au Monde 152 * Sevilla, Museum Auf Leinwand, H. 2,24, Die The “Purisima” of the Capuchines „Purisima“ der Kapuziner Um 1674-1676 La Purfsim Sevilla, Museum Die „Purisima“ der Kapuziner The “Purisima” of the Capuchines (Ausschnitt) (Detail) La „Purisima“ (Detail) 154 Sevilla, Museum Auf Leinwand, H. 0,GG, B. 0,70 La Virgen de la Serviletta Madonna Um 1674—1676 La Vierge et l’Enfant 155 156 i: London, Stafford House Auf Leinwand * London, Stafford House Auf Leinwand Die heilige Justa Die heilige Rufina St. Justa Sainte Juste St. Rufina Sainte Rufine Auf Leinwand, H. 2,49, B. 1,32 * Madrid, Prado Vision of St. Augustin Die Vision des heiligen Augustin Um 1678 Vision de Saint Augustin 157 * Sevilla Museum Auf Leinwand, H. 2,50, B. 1,32 Der heilige Augustin vor der Madonna mit dem Jesusknaben St. Augustin before the Madonna La Vierge et l'Enfant avec Saint Augustin Um 1678 Sevilla, Museum Der heilige Augustin vor der Madonna mit dem Jesusknaben St. Augustin before the Madonna (Ausschnitt) La Vierge et l’Enfant avec Saint Augustin (Detail) (Detail) 159 Sevilla, Museum Auf Leinwand, H. 2,49, B. 1,32 Die Vision des heiligen Augustin Vision of St. Augustin Um 1678 Vision de Saint Augustin M: Mii lichen, Altc Pinakothek Auf Lclnwancl, H. 2,22, B. 1,4«X Der lieilige Thomas von Villanueva lieilt einen Lalimen St. Thomas of Villanueva Um 1678 Saint Thomas de Villanueva healing a Cripple guerit un Estropi6 Murillo 11 161 London, Wallace-Kollektion Auf Leinwand Die Almosenspende des heiligen St. Thomas of Villanueva giving 1670—1682 Alms to the Poor Thomas von Villanueva Saint Thomas de Villanueva distribuant des Aumones 162 * London, Herzog von Northbrook Auf Leinwand Die Almosenspende des heiligen Thomas von Villanueva St. Thomas of Villanueva giving Urn 1678 Saint Thomas de Villanueva Alms to the Poor distribuant des Aumones * Budapest, Museum Auf Leinwand, H. 2,15, B. 1,82 Madonna and giving Bread Madonna mit Christkind, an Pilger Brot austeilend the Infant Christ Um 1678 to the Pilgrims L'Enfant Jesus distribuant du Pain aux Pelerins 164 * London, Earl of Northbrook Auf Lelnwnnd Die Concepcion mit dem Spiegel Immaculate Conception with the Mirror 1660—1678 Immacul^e Conception au Miroir 165 '•'Paris, Louvre The Soult “Concepcion" Die „Concepcion Soult“ Um 1678 Auf Leinwand, H. 2,7-1, B. 1,90 Immaculee Conception Soult 166 Himmelfahrt Maria“ 1670-1680 Aul Lelnwimd, II. 1,97, II. 1,.}, 13. 0,-1 1 The poor Nigger-Boy Der arme Negerjunge (Selbstessen macht fett) 1660—1670 Le pauvre Negre Murillo 14 209 London, Dorchester-House Auf Leinwand Madchen am Fenster Girl at the Window 1665—1675 Jeune Fille a la^Fenetre 210 Philadelphia, Sa mm lung Widener Die lockende Sclione (,Las Gallegas" Qallegas at the Window 1665—1675 Auf Leinvvanc am Fenster) Gailegas ft la Fenetre Dulwich, Galerie Auf Leinwand The Flower-Girl Das Blumenmadchen 1660—1670 Jeune Fille offrant des Fleurs 212 Munchen, Alte Pinnkothek Die Wiirfelspieler The Dice-Players 1660—1680 Auf Lclnwand, H. 1,46, B. 1,08 Le Jen de Des 213 Munchen, Alte Pinakothek Auf Leinwand, H. 1,23, B. 1,02 Die Pastetenesser Street-Boys 1670—1682 Jeunes Qargons mangeant des Pates 214 Miinchen, Alte Pinnkothek Die geldzahlenden Obstverkaufer Fruit-Sellers counting Money 1670—1682 Les Enfants aux Pieces d’Argent Munchen, Alte Pinakothek Toilet-making Hausliche Toilette 1670-1682 Auf Leinwand, H. 1,48, B. 1,13 Toilette familiere 216 Amsterdam, Sammlung Dr. Lanz Genre-scene Auf Leinwand Genreszene 1670—1680 Mere et les Enfants avec des Moutons 217 III. BILDNISSE PORTRAITS PORTRAITS Madrid, A, dc Beruete Allf i.eimvnnd Der Sanliagoritter Enriquez Don Enriquez, Knight of the Uni 1645 Don Enriquez, Chevalier Order of Santiago de Saint Jacques 221 Don Andres de Andrady y Col 1650-1660 v London, Lord Northbrook Auf Leinwand, H. 0,78, B. 0,46 * London, Herzog von Wellington Portrait of a Man Auf Lcinwnnd Mannliches Bikinis 1650 — 16R0 Portrait d'Homme 223 Bowood-House, Lord Lansdowne Auf Leinwand Der Kanonikus D. Justino de The Canon D. Justino de Neve y Yebenes 1655—1665 Neve y Yebenes Le Chanoine D. Justino de Neve y Yebenes 224 Mallorca, Marquesa tie la Cenia „E1 JlicHo" Auf Leinwand The Jew 1660-1682 Le Juif Murillo 15 225 Paris, Trotti Auf Leinwand Der Mann mit dcm Schlapphut The Man with the soft Hat 1660-1670 Portrait d'Homme 226 * Paris, Louvre Portrait of a Gentleman Auf Leinwand, Durchmesser 0,29 Bildnis eines Edelmanns 1660—1670 Portrait de Gentilhomme 227 * Nantes, Museum Portrait of a Lady Auf Leinwand Weibliches Bildnis 1660—1670 Portrait d’une Dame 228 Montreal, Sir W. van Horne Auf I Bildnis eines Edelmanns Portrait of a Gentleman Gegen 1670 Portrait de Gentilhomme 229 Budapest, Museum Auf Leinwand Portrait of a Man Bildnis eines Unbekannten 1665—1675 Portrait d’Homme 230 * Philadelphia, Sammlung Johnson Portrait of a Lady (Dona Juana Eminente?) Damenportrat (Dona Juana Eminente?) 1055—1675 Auf Leinwnnd Portrait de Femme (Dona Juana Eminente?) 231 * Sevilla, Kathedrale Auf Leinwand Madre Francisca Dorotea Villalda Mother Francisca Dorotea Villalda 1674 Mere Francisca Dorotea Villalda 232 ladrid, Herzog von Alba (Palacio tie L-lrla) D. Gabriel Esteban Murillo 233 IV. ZWEIFELHAFTE UND ZU UNRECHT MURILLO ZUGESCHRIEBENE GEMALDE DOUBTFUL PAINTINGS AND PAINTINGS UNJUSTLY ASCRIBED TO MURILLO CEUVRES DOUTEUSES OU FAUSSEMENT ATTRIBUES A MURILLO 237 *Cadiz, Kapuzinerkirche Auf Leinwand Der Erzengel Michael Der Erzengel Gabriel St. Michael Saint Michel St. Gabriel Saint Gabriel 238 Cadiz, Kapuzinerkirche Auf Leinwand * Cadiz, Kapuzinerkirche Auf Leinwand Der heilige Franziskus Der heilige Joseph mit Christkind St. Francis Saint Francois St. Joseph with the Infant Christ Saint Joseph avec l’Enfant Jesus Cadiz, Kapuzinerkirclie Auf Lcinwand Stigmatisation des heiligen Franz St. Francis receiving the Stigmata Saint Francois recevant les Stigmates 239 ;: Munchen, Alte Pinakothek Auf Leinwand Die Hokerfrau The Huckstress La Revendeuse 240 *Friiher: Paris, Galerie Aguado Auf Leinwand, H. 0,4S, B. 0,65 Jakob ringt mit dem Engel Jacob struggling with the Angel Jacob lutte avec l'Ange Friihcr: Paris, Galerie Aguado Auf Leinwand, II. 1,0.1, B. 1,59 Jacob and Laban Jakob und Laban Jacob et Laban Murillo 16 241 * New York, Metropolitan-Museum Auf Leinwand Der Evangelist Johannes auf Patmos St. John the Evangelist on the Island of Patmos Saint Jean 242 243 Engelstudien Studies of Angels Heads Etudes d’Anges 244 * Madrid, Prado Auf Leinwand, H. 0,47, B. 0,25 * Sevilla, Museum Auf Leinwand, H. 0,62, B. 0,48 Die Erziehung der heiligen Jungfrau Die „Concepcion“ aus dem Colegio Maese Rodrigo Education of the Virgin L’Education de la Vierge “Concepcion” from the Colegio L’Assomption du Colegio Maese Rodrigo Maese Rodrigo * London, Dorchester-House Immaculate Conception Unbefleckte Empfangnis Immaculee Conception 245 * Aachen, Stadt. Suermondt-Museum Auf Leinwand, H. I,a9, b. i,u» Madonna Madonna La Vierge et l’Enfant 246 Genua, Palazzo Bianco Madonna Madonna Auf Lelnwand La Vierge et l’Enfant 247 248 Madonna mit Christkind Madonna with the Infant Christ La Vierge et 1 Enfant 249 Schlafender Jesusknabe 250 Madrid, Prado Auf Leinwand, H. 0,63, B. 0,88 Das Christkind auf dem Kreuz schlatend The Infant Christ sleeping on the Cross J6sus endormi sur la Croix * Heytesbury-House, Margaret Lady Heytesbury Auf Lelmvand The good Shepherd Der gute Hirte Le bon Pasteur London, Herzog von Westminster Auf Le inwand Der Johannesknabe mit dem Lamm The Boy Baptist with the Lamb Saint Jean et l'Agneau 252 * St. Petersburg, Ermitage Auf Loiinvaiul Der jugendliche Johannes der Taufer Young St. John the Baptist Saint Jean Baptiste Enfant 253 Glasgow, Museum Auf Leinwand Die Heilige Familie in der Zimmermannswerkstatt The Holy Family in the Carpenter’s Shop La Sainte Familie dans l'Atelier 254 Paris, Louvre Auf Leimvand Christus am Olberg Christ on the Mount of Olives Le Christ an Mont des Oliviers 255 : Paris, Louvre Auf Leinwand Der reuige Petrus an der Martersaule vor Christus St. Peter before Christ at the Column Le Repentir de Saint Pierre 256 ■ New York, The Ehrlch Galleries Ecce Homo Ecce Homo Ecce Homo Murillo 17 257 ^Madrid, Prado Auf Leinwand Der heilige Franz von Paula St. Francis of Paula Saint Francois de Paule Turin, Pinakothek Auf Lei invalid Sludie zu einem Apostel Study of an Apostle’s Head Etude d’Apotre 259 Madrid, Prado Auf Leinwand Der heilige Hieronymus St. Jerome Saint Jerome 260 Genua, Palazzo Bianco Der heilige Franzisluis Auf I.elnwand St. Francis Saint Francois 261 Parma, Pinakothek Auf Leinwand Hiob Job 262 Madrid, Prado St. Mary Magdalen Auf Leinwand Die biiBende Magdalena Le Repentir de Sainle Madeleine Auf Leinwand New York, The Ehrich Galleries Der heilige Stephanus St. Stephen Saint Etienne 264 ’ Budapest, Museum Der heilige Joseph mit dem Jesusknaben St. Joseph with the Christ-child Saint Joseph et l’Enfant Jesus An! I. ci invalid 265 Friiher: Paris, Charles Sedelmayer St. Mary Magdalen Auf Lein wand Die reuige Magdalena Le Repentir de Sainte Madeleine 266 Munched, A. S. Drcv Spielende Kinder Playing Children Enfants jouant Chantilly, Museum Cond6 Auf Leinwand, H. 0,22, B. 0,17 Der heilige Joseph mit dem Christkind St. Joseph with the Infant Christ Saint Joseph et I'Enfant Jesus 267 268 Friiher: Paris, Galerie Aguado Auf Lein wand Friiher: Paris, Galerie Aguado Auf Leinwand Madchen mit Friichten Junge mit Friichten Girl with Fruits Jeune Fille aux Fruits Boy with Fruits Jeune Ganjon aux Fruits Turin, Pinakothek Girl in Thought Auf Leiuwand Madchcn in Gedankcn Jeune P'ille reflechissante 269 270 Celestina mit ihrer Tochter im Gefangnis Madrid, Prado Auf Leinwand, H. 0,56, B. 0,38 Der heilige Ferdinand St. Ferdinand Saint Ferdinand 271 * Richmond, Sammlung Cook Angebliches Selbstbildnis Selfportrait of the Artist Auf Leinwand Portrait de 1' Artiste 272 * London, Herzog von Wellington Selbstbildnis Auf Lclmvand Portrait of the Artist Portrait de 1' Artiste Murillo 18 273 * Madrid, Prado Auf Leinwand, H. 0,76, B. 0,62 Pater Cavanillas Father Cavanillas Dom Cavanillas 274 Portratstudie *Haag, Mauritshuis Study for a Portrait Etude de Portrait Auf Lei nwaud 275 'j.SWrofe 276 Samrtiiung D. Pablo Boscli, Madrid Au( Leinwand Montpellier, Museum Auf Leiinvand Mannliches Bildnis Mannliches Bildnis Portrait of a Man Portrait d’Homme Portrait of a Man Portrait d’Homme Wien, Galerie Czernin Portrait of a Boy Auf Leinwand Knabenbildnis Portrait d'Enfanl 277 :i: Budapest, Museum der bildenden Kiinste Auf Leinwand Portrat eines Malers Portrait of a Painter Portrait d’un Peintre 278 Stuttgart, Museum tier bildenden Klinste Jii n gling s p° r t r at Auf Leluwnnd Portrait of a Boy Portrait de jeune Homme 279 GETTY CENTER LIBRARY MAIN NO 813 M88 M35 8KS c. 1 Murillo, Bartolome E The work of Murillo reproduced In 287 11 3 3125 00249 3019