THE GETTY CENTER LIBRARY 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/velazquezmurilloOOcurt 
 
Velaz<iuez ' VELAZQUEZ 
 
AND MURILLO 
 
 A DESCRIPTIVE AND HISTORICAL CATALOGUE 
 OF THE WORKS OF DON DIEGO DE SUVA 
 VELAZQUEZ AND BARTOLOME ESTEBAN 
 MURILLO, COMPRISING A CLASSIFIED LIST 
 OF THEIR PAINTINGS, WITH DESCRIPTIONS; 
 THEIR HISTORY FROM THE EARLIEST 
 KNOWN DATES, NAMES OF THE PRESENT 
 AND FORMER OWNERS, SALES IN WHICH 
 THEY HAVE APPEARED, AND ENGRAVINGS 
 AFTER THEM. ALSO, LISTS OF LOST OR UN- 
 IDENTIFIED PICTURES, A BRIEF ACCOUNT 
 OF THE LIVES AND WORKS OF THE DISCI- 
 PLES OF THESE ARTISTS, A BIBLIOGRAPHY, 
 AND A COMPLETE INDEX. WITH ORIGINAL 
 ETCHINGS. BY CHARLES B. CURTIS, M. A. 
 
 LONDON, SAMPSON LOW, MARSTON, SEARLE, 
 AND RIVING TON. NEW-YORK, J. W. BOUTON 
 MDCCCLXXXIII. 
 
 ALL RIGHTS RESERVED. 
 
THE GETTY CENTER 
 LIBRARY 
 
PREFACE. 
 
 THIS volume, like many better and some worse ones, was 
 in its origin wholly accidental. It happened that many 
 years ago, in search of a new sensation, I turned my steps 
 towards Spain. I found myself carried back in a day to the 
 middle of the seventeenth century. I discovered a country 
 that had preserved almost unchanged the habits, customs 
 and traditions of a long-buried age. Wandering beside the 
 dusty Manzanares it seemed as if I might at any moment 
 encounter Philip the Fourth, surrounded by his courtiers, 
 ambling with his accustomed gravity to the chase in the 
 Pardo ; or I might even meet the Knight of La Mancha, 
 attended by his trusty squire, setting forth in search of 
 wrongs to be righted and injuries to be avenged. The 
 Moors, it is true, were gone, but they had left behind them 
 a land filled with romantic legends, that tinged every peak 
 and valley with colors as brilliant and as harmonious as those 
 that made the Hall of the Abencerrages a wonder and a 
 delight. 
 
 That winter in Spain was very short, but it was long 
 enough to inspire a love for Spanish scenery, for Spanish life, 
 and above all for Spanish art. The galleries, churches, and 
 private houses of that bric-a-brac, unprogressive land, so 
 redolent of the past, so proudly standing aloof from the spirit 
 of the present age, made an impression that time and repe- 
 tition have but served to deepen. 
 
vi 
 
 Among other pastimes I then began the study of the works 
 of the Spanish painters, and as auxiliary thereto, the search 
 for engravings and photographs of the pictures that most 
 interested me. This pursuit was taken up without any serious 
 purpose, and the engravings were sought, partly to assist my 
 studies, but more, I fear, to gratify an idle taste for collecting. 
 Becoming interested in the subject, I followed it with con- 
 siderable zeal, and it has been a motive for subsequent jour- 
 neys, not to Spain alone, but to other countries where Spanish 
 paintings are to be observed, as far away as St. Petersburg in 
 the East and Naples in the South. 
 
 The collection of engravings then begun, has been in- 
 creased as opportunities have offered, and it now includes 
 photographs and drawings, many of them specially made, 
 where they did not already exist. As a working collection it 
 is doubtless the best ever formed. 
 
 In cataloguing the contents of my portfolios it became 
 interesting to ascertain the ownership of the pictures, to trace 
 their history, and to note their correspondence with, or 
 variance from, other works similar in subject or composition. 
 These comparisons were greatly aided by the photographs, 
 drawings, etc., which made it possible to detect differences or 
 resemblances, too slight to be carried in the eye or stored 
 in the memory. 
 
 After a time, greatly to my surprise, I found that I had 
 made tolerably complete catalogues of the works of some of 
 the more important Spanish masters, — at least I had the 
 materials for such catalogues. All that was needed was to 
 arrange these materials, and to write out the notes in proper 
 form for publication. This I have done, with the hope of 
 adding something to the existing knowledge on the subject, 
 and the further hope of encouraging some more capable person 
 to do well what I have done but imperfectly. 
 
 To remove all cause for disappointment, it will be well to 
 say at the outset, what the reader may have discovered from 
 the title-page, that this is a historical and descriptive, not a 
 
vii 
 
 critical catalogue. In fact, it would have been better to entitle 
 it Materials for a Catalogue, since it does not claim to be a 
 complete and finished work. 
 
 Many readers will be disappointed in finding only dry 
 facts, with no effort to enliven them by the use of the imagi- 
 nation. The first idea was to give critical notes, and to pass 
 judgment on the pictures described, but the difficulties in the 
 way of this course soon became evident, and that feature had 
 to be abandoned as unnecessary or impracticable, — unneces- 
 sary as to pictures of recognized merit in public collections, 
 impracticable as to the rest. It is needless to say that free- 
 dom of criticism is impossible, respecting paintings belonging 
 to private individuals, and which have never been exhibited. 
 One must praise them or be silent. It is impossible to avoid 
 feeling a certain delicacy or bias in speaking of what one has 
 seen in houses where he has been hospitably received and 
 entertained ; but even if it were otherwise, it is difficult to 
 decide as to the merit of pictures seen in private collections 
 under ordinary conditions. The position, or light, is often 
 such that no accurate opinion can be formed. 
 
 The very competent and judicious author of the Catalogue 
 Raisonne, of the works of the . . Dutch, Flemish, and French 
 Painters, began by criticising freely, giving often his estimate 
 of the money value of the paintings he described. In the last 
 four volumes of the work his plan was changed, and criticisms 
 were rarely given. Notwithstanding the high character and 
 great experience of that author, his volumes have often been 
 assailed for the judgments pronounced. The same fate has 
 overtaken Passavant, Waagen, and Stirling, and profiting by 
 their experience, I decided to abjure criticism in most cases; 
 giving, instead, occasional references to other writers whose 
 remarks may be of service to the reader, without wishing, 
 however, to be held responsible for their opinions. 
 
 The plan of this book is, so far as I am aware, original. I 
 have long had a theory as to what a catalogue ought to con- 
 tain, and have endeavored to develop the idea in this volume. 
 B 
 
viii 
 
 Although the execution of the task falls far short of the design, 
 it may at least suggest what I think such a work should be. 
 
 The pictures of each artist have been classified as closely 
 as possible, having a certain reference to a chronological 
 system, especially for the religious-historical works. This 
 arrangement is, however, occasionally interrupted in order that 
 all that relates to a particular matter or personage may be 
 brought together. Of the pictures in which the Virgin is 
 represented, the precedence has been given to the Immaculate 
 Conception, not because of the date of that mystery, but 
 because of the extent, and importance, pictorially speaking, 
 of the subject. It will also be found that the works in which 
 the Virgin is presented alone, as a single figure, are exhausted 
 before proceeding to those in which she is seen accompanied 
 by other figures. Therefore the Mater Dolorosa is given before 
 the Virgin and Child. 
 
 When a legend is depicted, wherein the Virgin, or the 
 infant Saviour, appears in a vision, the Saint is considered 
 the leading figure, and the picture is classed among the 
 Saints, who are alphabetically placed. 
 
 An arrangement according to the dates when the paintings 
 were executed, such as Passavant has undertaken to give in 
 his list of the works of Raphael, would doubtless be very 
 desirable if it were practicable ; but the data are lacking. Spain, 
 at the time with which we have to do, did not abound in biog- 
 raphers, or chroniclers, except of religious annals; and con- 
 temporaneous records concerning the artists are almost wholly 
 wanting. During the life-time of Murillo, his name was men- 
 tioned in but two printed books, by Ortiz de Zuniga, and by 
 F. de la Torre Farfan. Velazquez fared even worse, for he was 
 mentioned by only one author, his father-in-law, Pacheco. 
 
 Nor are there probably more than half a score of contem- 
 poraneous documents in existence in which Velazquez and 
 Murillo are named as artists. There are in all about ten 
 documents containing the name of the former, and about 
 
ix 
 
 fifty with the name of the latter ; but they are, with few 
 exceptions, religious or official papers, useful to the biogra- 
 pher, but casting no light on the dates of their pictures. 
 
 With such materials, the effort to fix the time of the exe- 
 cution of these artists' works would result in a series of con- 
 jectures, and when it comes to guessing the reader may as well 
 do that for himself. Most readers will find the present 
 arrangement by subjects convenient for reference, and it is a 
 book of reference, not a history, that I have attempted to 
 produce. Whoever has undertaken, for example, to consult 
 Passavant's Raphael knows how inconvenient a chronological 
 system is. The Data hereafter given (pages 109 and 305), 
 will supply the means of fixing the time of execution of nearly 
 all the paintings whose period we are able to determine. 
 
 When the ownership of a picture has recently changed, by 
 sale, or otherwise, efforts have been made to learn the name 
 of the present possessor, by application to the persons most 
 likely to be informed. It is to be regretted that this pursuit 
 has not always been fruitful of results, although the owners of 
 pictures have almost invariably given courteous attention to 
 my inquiries. 
 
 Great care has been taken in the descriptions. They 
 have been made uniform in method, so plain and accurate as 
 to exclude errors and confusion, and concise, I regret to say, 
 even to dryness. And yet there are instances in which it has 
 been found necessary to be minute rather than concise. The 
 compositions of these artists are occasionally so closely allied 
 that it is difficult to distinguish them from each other. Often 
 the value of a description will appear only when it is read in 
 the presence of a somewhat similar picture, when the reasons 
 for such precision will be manifest. There are, for example, 
 in this catalogue, thirty-three pictures of the Immaculate Con- 
 ception, by Murillo, besides the unauthenticated ones. It is 
 evident, therefore, that only by close and careful descriptions, 
 even to the positions of the fingers, will the reader be able to 
 
X 
 
 discriminate between them. As I now look back on what is 
 already printed, my regret is that, in many cases, the descrip- 
 tions are too brief. 
 
 The notes to each picture are intended to comprise every- 
 thing that is definitely known as to its origin and subsequent 
 history. In general, it may be said that nothing is given at 
 second hand. Every book mentioned in this volume, with 
 two or three exceptions, has been carefully examined and the 
 references compared. 
 
 The principal sources of the knowledge we possess 
 respecting Spanish art and painters are Palomino, Ponz, 
 and Cean Bermudez. These mines have been patiently 
 explored and the ore extracted. The search has been minute 
 and laborious, for it has been necessary to go through the 
 volumes page by page. No Spaniard ever yet learned to make 
 an index. 
 
 The intention has been in every case to examine the 
 earliest author, whether Spanish or foreign, by whom a 
 picture has been mentioned, to give, if necessary, a quotation 
 of the author's words, and to refer to the volume and page 
 of the work cited. It is a pleasure to know that this labor 
 has not been fruitless, for it has sometimes resulted in tracing 
 pictures far beyond the time of their known history, or in 
 fixing and making certain what was before only a shadowy 
 tradition. 
 
 Much labor might have been avoided by simply referring 
 to Stirling's Annals, where the leading facts have been care- 
 fully digested, and artistically brought together; but it has 
 been thought best to go invariably to the oldest writer, 
 correcting his errors when discovered, as has sometimes 
 happened. This plan has been more strictly pursued, and 
 the quotations and references have been more minute and 
 extended, in respect to works whose location or owner- 
 ship has changed, especially where they have passed into 
 the possession of private individuals, for pictures in private 
 
xi 
 
 collections have more need of a pedigree than those in public 
 galleries. 
 
 The list of engravings following the account of each pict- 
 ure, includes such prints as exist in my own collection, or 
 have come under my personal notice, a rule to which there 
 are but few exceptions. The measurements are usually given, 
 except where the prints were originally published in books that 
 are well known and readily accessible. It has not been 
 thought necessary to notice every engraving that has been 
 made, since many of them, especially of the more popular 
 religious pictures by Murillo, are lithographs, made for devo- 
 tional use, and of indifferent merit. Doubtless many engrav- 
 ings have been mentioned that might better have been 
 omitted, but this is a fault the collector will readily over- 
 look.* 
 
 The art of photography has of late made such advances 
 that it could not be ignored in a book like this. Therefore, 
 photographs have been included to some extent, but they 
 have been omitted where the engravings are numerous or 
 easily found. The reader will not need to be reminded that 
 excellent photographs exist of nearly all the best pictures in 
 the public and some of the private galleries. 
 
 The most important of the photographers of the works 
 of Velazquez and Murillo is J. Laurent, whose catalogue 
 enumerates more than a hundred and fifty paintings of these 
 artists, including all the best specimens in the Museo del 
 Prado, and the Academy of S. Fernando, at Madrid ; the 
 Museum, the Cathedral, the Hospital of La Caridad, and the 
 palace of the Duke of Montpensier, at Seville ; the Museum 
 and the Capuchin Church, at Cadiz. t 
 
 * Spain offers but few attractions for the collector of prints. The Calcografia 
 Nacional is the only establishment where they are to be found in any quantity, and 
 its stock consists only of those engravings of which it controls the plates. See the 
 note to No. 230, Velazquez Catalogue. 
 
 t M. Laurent has a house in Paris, where his publications are sold at 3 francs 
 50 c. each. 
 
xii 
 
 Messrs. Ad. Braun & Cie. publish photographs of pict- 
 ures in the Louvre, the Vatican, the Museum of La Haye, 
 and some private collections. They have recently added to 
 their list a series of reproductions of paintings in the Museo 
 del Prado, in Madrid.* 
 
 The Berlin Photographic Company (Photographische 
 Gesellschaft) publishes some of the pictures in the museum 
 at Berlin, and in that at Dresden. The Dresden gallery is also 
 photographed by Franz Hanfstaengl ; and that at Munich 
 by Piloty and Lohle. H. O. Miethke reproduces the pict- 
 ures in the Belvedere, at Vienna ; Alinari, those in the galleries 
 and some private collections in Italy ; and Karl Rottger 
 (H. Schmitzdorf) those in the Hermitage at St. Petersburg. 
 Caldesi & Co. have an excellent series of reproductions of 
 many of the best paintings exhibited at Manchester in 1857. 
 They have also photographed for the publishers (Virtue & 
 Co.) an extensive series of about three hundred and sixty of 
 the pictures in the National Gallery, at London, but these 
 photographs are not sold separately. 
 
 The labor of preparing this catalogue would have been 
 greatly abridged if it had been confined to an account of 
 the genuine works of the masters. This plan, however, 
 would have been unsatisfactory to many readers, and would 
 have fulfilled but imperfectly the task I set out to perform. 
 There have been added, therefore, in smaller type, in double 
 columns and with subordinate numbers, several hundred notes, 
 which will fall mainly under one or more of the following 
 heads : 
 
 (1.) There are many pictures by these painters, well known 
 in the history of art, whose genuineness cannot be disproved, 
 but concerning which doubts are permissible ; such for ex- 
 ample as the Death of St. Joseph in the Hermitage (Velazquez 
 Catalogue No. 19a), and the Virgin and Child of the Leuch- 
 
 *The catalogue of Messrs. Braun & Cie., No. 43 Avenue de 1'OpeVa, Paris, 
 includes about one hundred and forty subjects after Velazquez and Murillo, which 
 are sold, with few exceptions, at fifteen francs each. 
 
xiii 
 
 tenberg gallery (Murillo Catalogue No. 112a). The omission 
 of such pictures from a work like this would be unpardonable. 
 The collector of engravings, at least, would be disappointed 
 not to find them mentioned. 
 
 (2.) Pictures that have formed part of some famous collection 
 now dispersed, such as that of the Countess of Verrue, Calonne, 
 Henry Hope, etc., have disappeared, and it is very desirable 
 that they should be recovered. Others have been in the 
 Aguado, or the Louis Philippe galleries. These last are of in- 
 terest, if for no other reason, because they have been included 
 by Stirling in the catalogues given in the third volume of the 
 Annals of the Artists of Spain. Whenever these pictures ap- 
 pear in sales, reference is sure to be made to their former 
 ownership, and Stirling is made a sponsor for them. It there- 
 fore seems proper that all the pictures mentioned by Stirling 
 or that have existed in important collections should be noticed, 
 their prices given if sold, and their history traced as far as 
 practicable. Besides the sales above named, many others of 
 more or less importance have included paintings that are 
 undoubtedly genuine, or that have been at some time con- 
 sidered so. A selection of these notes has been given 
 which may occasionally serve a useful purpose. The number 
 might have been trebled, but I have given all I thought worth 
 preserving. 
 
 (3.) Waagen, Burger, Tubino, and other writers of repute 
 have mentioned and described paintings, some further account 
 of which, or at least a record of them, will naturally be looked 
 for here. 
 
 (4.) A number of compositions that have become known 
 through engravings have disappeared. The names of the en- 
 gravers alone, such as Valentine Green, Woollett, Alegre, 
 Bracquemond, etc., are sufficient to justify their claim to a place 
 in this book. 
 
 (5.) Far more important than either, or all, the above, are 
 paintings that have been mentioned by Palomino, Ponz, Cean 
 Bermudez, or other writers, as having formerly existed in the 
 
xiv 
 
 churches, convents, royal palaces, or private houses of the 
 Peninsula, many of which works disappeared in the stormy 
 days that ushered in the present century. The writings of 
 these authors and many others have been diligently examined, 
 and it is believed that every picture named by them has been 
 noted in its proper place, with references to the volume and 
 page in which it has been mentioned. The value of this labor, 
 the student cannot fail to appreciate, for it may save him a 
 weary search, and it is not unlikely that these notes may 
 result in bringing to light some paintings that have disap- 
 peared. It would be manifestly improper to omit such 
 pictures, and it would be equally improper to class them with 
 the authentic and identified works. The plan of giving such 
 matter in small type, and double columns, it is hoped will prove 
 satisfactory to all. Those who wish to learn only as to the 
 genuine and known works of the masters, will see at a glance 
 what to omit. 
 
 It has often been found difficult to decide in which of the 
 two classes a certain painting should be placed, and each list 
 contains works that ought, perhaps, to be transferred to the 
 other. New discoveries or more intelligent criticism modify 
 opinions, and I have observed some things even now, when 
 this book is not yet completely printed, that might be 
 changed with advantage. And therefore it is well to say, that 
 the large type does not necessarily imply that the work described 
 is .absolutely genuine, nor does small type assert the contrary. 
 The latter in many cases means no more than that the picture 
 has for the time disappeared, and I have no means of forming 
 an opinion respecting it. 
 
 There will be found, later on in this volume, a Bibliography 
 of the books consulted, not always with profit. Some of these 
 are antiquated, and many of them worthless. Others find a 
 place in the list solely because they contain engravings by 
 Velazquez or Murillo. There are other works on Spanish 
 art, but I have enumerated those most necessary in the study 
 
XV 
 
 of these two masters. Besides the books named, I have ex- 
 amined a vast number of gallery and sale catalogues, thousands, 
 perhaps, of all dates from the middle of the eighteenth century 
 to the present time. From some of these I have obtained im- 
 portant assistance, but it is to be regretted that these catalogues 
 have often been prepared in so slovenly a manner that they 
 furnish but little useful information. 
 
 It is a matter of the greatest surprise that the owners of 
 valuable pictures should consent to send them to an auction- 
 room, imperfectly catalogued, for sale simply on their 'merits. 
 Purchasers are usually men of wealth and taste, but they 
 are not necessarily experts in the knowledge of paintings. 
 They know, to use a common expression, " what pleases 
 them," but are not sure that their taste would be approved 
 by competent judges. They often rely more on the judg- 
 ment of others than on their own, and look to the name of 
 the collection, or to the names of former owners, as a guaranty 
 of value. 
 
 There is another class of buyers who regard a picture as 
 they would an autograph of a famous man, not so much for 
 the beauty of the thing itself as because it is a true work of 
 the person to whom it is attributed. They prefer a poor 
 picture by Raphael to a good one by Giulio Romano. They 
 demand an undisputed specimen of the master, because there- 
 in he reveals himself to them in one of his moods, if not in his 
 best mood. They prize even a single hair of Titian's brush 
 above an entire canvas of Schiavone. The slightest doubt 
 destroys all value in their eyes. Without faith a piece of 
 the true cross is but a bit of wood. 
 
 Sale catalogues, however, such as they are, form an 
 important part of the materials required in making such 
 a work as the present. It may, therefore, be interesting to 
 know where these materials may be found. Undoubtedly 
 the best library of such books is that of Messrs. Christie, 
 Manson and Woods, in London. This great house, which 
 C 
 
xvi 
 
 was founded in 1767, still preserves files of all its catalogues, 
 from the earliest date. Probably a million paintings have 
 passed under its hammer, some of them several times. 
 
 The South Kensington Museum, at London, has the 
 largest number of sale catalogues, as well as other books on 
 art, to be found anywhere in Europe. The library of the late 
 Sir Charles L. Eastlake, now belonging to the National 
 Gallery, in London, has a fair collection, and some few are to 
 be seen in the British Museum, by one who knows how 
 to look for them. The Bibliotheque Nationale, at Paris, 
 preserves in the Departement des Estampes a number of 
 volumes chiefly of the sales of the latter part of the last 
 century. 
 
 The largest collection of engravings from the works of 
 Velazquez and Murillo, after my own, is that formed by the 
 late Sir William Stirling-Maxwell, and still belonging to his 
 heirs. Next in importance, is that in the Bibliotheque Natio- 
 nale, at Paris, and that in the British Museum. The former 
 collection is the greatest in extent, but the latter excels it in 
 quality. The museum at Munich, and the library at Vienna, 
 have a good number, but both are surpassed by the Alber- 
 tina, at Vienna. 
 
 The Biblioteca Nacional, at Madrid, a few years ago, came 
 into possession of a valuable cabinet of prints, acquired from 
 the late Don Valentin Carderera, whose recent death is a 
 serious loss to Spanish art and literature. There are but 
 few works of modern engravers, but many important speci- 
 mens of the old masters of the art. The classification, by 
 names of the engravers, instead of by painters, is inconvenient, 
 since most of the names of Spanish engravers are but little 
 known in Spain, and almost unheard of, out of that country. 
 There are, however, several engravings to be found in that 
 library, which do not exist in any other cabinet in Europe. 
 
 Perhaps nothing in this book will be of more practical 
 use, or more generally appreciated, than the index. I fully 
 
xvii 
 
 agree with that wit who said the index of a book should be 
 made by the author himself, any one can do the rest. Especial 
 care has been taken to make this feature as full and accurate 
 as possible, for I have had frequent occasion to lament the 
 want of such an appendage to the works I have consulted. 
 There is much wisdom in the proposition of Lord Campbell, 
 that no book without an index should be entitled to a copy- 
 right. 
 
 The index in the present volume refers not only to every 
 name and matter contained in the body of the work, but it sup- 
 plies a topography, so to speak, of the pictures, for under every 
 city, town, county, or country, is given a reference to all the 
 paintings to be found therein. # 
 
 Most persons will be surprised to learn that there are 
 nearly as many of these pictures in London as in all Spain, 
 and that almost one-half of the entire number of authentic 
 works enumerated in this catalogue may be found in Great 
 Britain. 
 
 * The geographical distribution is as follows: There are in 
 
 VELAZQUEZ. MURILLO. 
 
 London 66 105 
 
 Elsewhere in England 44 99 
 
 Scotland 10 16 
 
 Ireland 1 
 
 Madrid 69 61 
 
 Seville 2 59 
 
 Elsewhere in Spain 4 8 
 
 Paris 12 21 
 
 Elsewhere in France 1 7 
 
 Russia 7 24 
 
 Austria-Hungary 12 6 
 
 Italy 10 6 
 
 United States 7 7 
 
 Bavaria 1 7 
 
 S ax ony 3 3 
 
 Holland 2 3 
 
 Sweden 2 2 
 
 Present location unknown 21 47 
 
 274 481 
 
xviii 
 
 It will be observed that the name of Velazquez, as it ap- 
 pears on the title-page of this volume, differs slightly from 
 that usually given to the artist. Diego Velazquez de Silva, as 
 he is called by Palomino, and after him by Cean Bermudez, is 
 objected to by Stirling as incorrect, and therefore that writer 
 constructs for the artist an entirely new name, Diego Rodriguez 
 de Silva y Velazquez, a name which was never used by the 
 man himself, or by his friends, or by any Spanish writer, so 
 far as is now remembered. The theory of Mr. Stirling is that, as 
 the artist was the son of Juan Rodriguez de Silva, he must be 
 called Rodriguez de Silva in spite of himself. One need not 
 go out of England to learn that it is no uncommon thing for 
 a man to assume a name for himself, of which that of his father 
 need not necessarily form any part. 
 
 Great laxity prevailed in the seventeenth century in Spain 
 in such matters, and even now prevails. The first document 
 relating to the artist is his baptismal certificate, in which he is 
 named " Diego hijo de Juan Rodriguez de Silva y de Dona 
 Geroninia Velazquez." We might, therefore, expect him to be 
 called Rodriguez ; but Spanish custom permitted the use of 
 the mother's instead of the father's name, and the artist availed 
 himself of this privilege, since we find he dropped Rodriguez 
 altogether, and that at an early age, for in the registry of 
 the baptism of his first child he is styled simply Diego 
 Velazquez. 
 
 One of the most important pieces of evidence on this 
 point is the pamphlet which his pupil and friend, Juan de 
 Alfaro, caused to be printed in 1658.* On the title-page 
 of this memorial the name is given as Diego de Sylva Velaz- 
 quez. 
 
 Not less important and conclusive is the testimony pro- 
 
 * Memoria de las Pintvras, que la Magestad Catholica del Rey nuestro Senor 
 Don Philipe IV., embia al Monasterio del San Laurencio del Escurial, este ano 
 de MDC. LVI. Descriplas, y colocadas, por Diego de Sylva Velazqvez. La ofrece> 
 dedica y consagra a la Posteridad, D. Ivan de Alfaro. 
 
xix 
 
 duced by Don Manuel Zarco del Valle, # who has published 
 upwards of forty papers, mostly from the originals in the 
 royal archives. In these the artist is usually called simply 
 Diego Velazquez, but in the more formal documents the name 
 is invariably given as Diego de Silva Velazquez. This form 
 occurs fifteen times, of which four are signatures, one of them 
 being in fac-simile. This fac-simile is reproduced on the pro- 
 title of the present volume. Senor Zarco del Valle adds in a 
 note that, " He so signed himself, and so he was called by his 
 father in law Pacheco, and by his comrades." 
 
 The name of Murillo, like that of Velazquez, was not 
 always uniform in his lifetime. His baptismal certificate 
 describes him as Bartolome, hijo de Gaspar Esteban, but this 
 is the only document in which that name appears. Cean 
 Bermudez, however, has chosen to place his biography in the 
 Diccionario de las Bellas Artes, under the name Esteban, in- 
 stead of under that of Murillo. 
 
 The artist appears to have early assumed the name Murillo, 
 by which, or by that of Morillo, he was invariably known and 
 styled by his contemporaries, the latter form being the most 
 common. He is named Morillo in the register of the parish 
 of Santa Cruz, and in the legal document by which he 
 surrendered the lease of the houses in the parish of Santa 
 Maria Magdalena (see Chronological Data, p. 308). By this 
 name he is also repeatedly spoken of by Ortiz de Zuniga in 
 the Annales de Sevilla. 
 
 In the papers of the Academy of Seville, and in the 
 documents appended to his Will, he was called Bartolome 
 Murillo. 
 
 But the highest authorities on this subject are his own 
 signature to his application for admission to the Brother- 
 hood of La Caridad, and his Will. In the former paper 
 the name appears Bar me este n Murillo. At the commence- 
 
 * Documentos inedilos para la historia de las Bellas Artes en Espana, 8vo, 
 Madrid, 1870. 
 
XX 
 
 ment of his Will he is formally described as Bartolome Este- 
 ban Murillo, and further on, his sons are named in full as 
 Caspar Esteban Murillo, and Gabriel Murillo, in the latter 
 case the name Esteban being dropped entirely. These contem- 
 poraneous documents are sufficient to show that the artist him- 
 self recognized as his full name Bartolome Esteban Murillo, 
 although on most occasions the middle name was dropped, as 
 often happens in our own days. The fac-simile of this artist's 
 name on the pro-title of this volume is after that given in Blanc, 
 Peintres. It is not stated where that signature is found, but 
 it is probably on the picture in the Louvre, No. 156 of this 
 Catalogue. 
 
 That there may be doubts as to the authenticity of a num- 
 ber of the pictures classed as originals in this catalogue may as 
 well be confessed. There are some that I would not on my 
 own judgment purchase or recommend, but they have been 
 approved by competent critics and connoisseurs, who have 
 examined them under more favorable circumstances than I 
 have done, and I dare not set up my opinion in opposition. 
 
 A considerable number of the pictures I refer to are 
 repetitions of well-known compositions. Velazquez being Court 
 Painter, and especially occupied in making portraits of the 
 royal family, is quite likely to have executed many repetitions 
 of those of Philip IV., his wives and his children. These the 
 King would require as presents for his relatives or favorites, 
 and as he would find it irksome to sit to the artist for each, 
 we may reasonably suppose that repetitions would often be 
 made to serve his purpose. And Velazquez, rather than 
 another, would be called upon to execute them, since he was 
 already paid for the work, under the terms of the royal order, 
 which expressly declares that the pensions and allowances 
 therein named were to be in payment for portraits made and 
 to be made. The number of these is not so great but that 
 Velazquez might easily have executed them all. It is likewise 
 to be observed that there are hardly any repetitions of his 
 
xxi 
 
 pictures to be found, except the portraits of the royal family, 
 Olivares and Innocent X., subjects that might naturally be 
 called for many times, by courtiers, or others desirous of 
 gaining the favor of the personages represented. There is, 
 therefore, no presumption against the genuineness of identical 
 portraits by Velazquez. 
 
 The case as to Murillo, however, is not quite the same. 
 The subjects he chose were agreeable and popular. His 
 paintings were mostly religious, for which class of works the 
 demand was constant and unlimited, not only as works of art, 
 but to adorn churches and convents, or to inflame devotion in 
 private oratories. As Murillo was constantly occupied, it is 
 probable that, to meet the popular want, he often entrusted 
 the copying of his works to such of his pupils or assistants as 
 he considered competent. Doubtless some of these copies 
 were executed in his own studio, and they may have received 
 their finishing touches from his own hand. 
 
 We are, in fact, told on good authority that Murillo did 
 sometimes retouch the works of his scholars, as in the paint- 
 ings by Marquez and Gutierrez, formerly in the Trinitarios 
 Descalzos at Seville. (See post, page 141, No. 54m) It 
 might, therefore, sometimes be difficult to decide which 
 should be considered the original and which the copy, or 
 repetition. All must stand on their merits. 
 
 The chances in favor of the genuineness of a picture 
 attributed to Velazquez or Murillo are not greatly strength- 
 ened by the presence of a signature. The custom of signing 
 pictures was not common in that age. There are not more 
 than five or six paintings by either of the artists whose works 
 are described in this volume, the signatures to which can 
 be considered as absolutely authentic ; consequently it is not 
 safe to rely on such an appendage. 
 
 It is much the fashion now-a-days with a certain class, to 
 exalt Velazquez and decry Murillo. With such critics I have 
 little sympathy. I find no difficulty in admiring both these 
 
xxii 
 
 artists. Each has his merits ; perhaps I ought to be frank 
 enough to admit that each has his defects. Both were great, 
 but in a diverse way. The difference between them is largely 
 due to their temperaments and surroundings. Velazquez was 
 worldly ; Murillo, religious. Velazquez labored for artists and 
 critics ; Murillo for mankind. Velazquez painted kings, and 
 knights, and dwarfs, things of earth; Murillo painted virgins, and 
 saints, and angels, things of heaven. The one consorted with 
 courtiers; the other with monks. The one belonged to an order 
 that might honor princes ; the other to a brotherhood whose 
 office it was to visit the sick and to bury the dead. The one 
 had pensions and honors and lived in the king's house ; the 
 other painted for mendicants, and dying left scarcely more 
 than would suffice for his burial. 
 
 Not only was there a contrast between the artists them- 
 selves, but there is a difference in those who observe and judge 
 their works. Velazquez appeals to the critical and intellectual ; 
 Murillo to the sympathetic and spiritual. One fires the brain ; 
 the other touches the heart. Each has his work and performs 
 it with surpassing skill. There is room in the world for 
 both. 
 
 It will not do to depreciate Murillo, for if we admit that the 
 province of art is to please, he will, measured by that standard, 
 stand before Velazquez. More men can understand and 
 admire him, and in a public gallery more eyes will seek and 
 rest upon his pictures. 
 
 For upwards of two centuries, Murillo has ranked as the 
 first painter of Spain. A few admired Velazquez, but all loved 
 Murillo. It was even so during the lifetime of the artists. 
 From the day when Murillo finished his great pictures for 
 the small cloister of the convent of San Francisco, he was fa- 
 mous, and the rank he then achieved he has continued to 
 hold. 
 
 It is a curious fact that Joachim Sandrat in the Accidentia 
 Nobilissimce Artis Pictorice, published at Nuremberg in 1683, 
 
xxiii 
 
 the year after the death of Murillo, and twenty-three years 
 after the death of Velazquez, gives an account of the life of 
 the former artist, praising him highly. Velazquez is not 
 named in that work, nor any other Spanish artist, unless 
 Ribera be so classed, who did not see Spain after he left it 
 as a boy. What makes the silence of Sandrat the more sur- 
 prising is that he and Velazquez were personally acquainted 
 with each other in Rome, and that Sandrat was one of the 
 twelve painters employed by Velazquez to execute pictures 
 for Philip IV., the subject chosen by him being the Death of 
 Seneca. 
 
 When it comes to the hard test of gold, whose works will 
 bring the highest price ? Taking the world as it exists, and 
 the market as the standard, the best pictures of Murillo have 
 sold, and will sell, for more than those of any artist except 
 Raphael. Until about thirty years ago, no work by Velazquez 
 had ever sold for more than four hundred guineas. It is 
 nearly half a century since the Marquis of Stafford and Colonel 
 Tomline purchased paintings by Murillo from Marshal Soult 
 at 150,000 to 200,000 francs each.* 
 
 * The following list will show the highest recorded sales of pictures by Velaz- 
 quez and Murillo. For convenience of comparison, the prices are given in francs. 
 
 VELAZQUEZ. 
 
 FRANCS. 
 
 1 Lot Orleans sale 1 199- Lord Northwick. ... 13,125 
 
 2 Moses " " " . .Earl of Carlisle I 3> 12 5 
 
 34 Venus and Cupid . . .Buchanan 1813 . R. Morritt 12,500 
 
 138 Baltasar Carlos Sir G. Warrenden. . 1837. Duke of Abercorn . . . 10,050 
 
 265 A Lady Aguado 1843. .Sir R. Wallace 12,750 
 
 37 Boar Hunt Lord Cowley 1846.. London Nat. Gal... 55,000 
 
 136 Baltasar Carlos Redleaf 1848.. Sir R. Wallace 17,050 
 
 1 72 £el V ' } Kin S of Holland.. 1850. Hermitage 7 7>6 3 o 
 
 8 Adoration of S Louis Philippe... . 1853 .. London Nat. Gal... 51.250 
 
 135 Baltasar Carlos .... Standish " .. Sir R. Wallace 42,000 
 
 133 " " S. Rogers 1856.. " " 31,750 
 
 163 Haro Lord Northwick . . . 1859. .Baron J. Rothschild. 24,150 
 
 109 Philip IV Mundler 1862 . Louvre 23,000 
 
 26 Dead Warrior Pourtales 1865.. London Nat. Gal... 37,000 
 
 D 
 
xxiv 
 
 Doubtless, this style of argument will be received with 
 a shout of derision by some critics who scorn the thought that 
 the merits of an artist can be measured in coin, or that there 
 should be the slightest relation between the intrinsic and the 
 commercial value of a work of art. Admitting that the pub- 
 lic is not always wise, I may nevertheless say, that the many 
 are right as often as the few, and, as the result of my observa- 
 tion and experience, I am prepared to maintain that, in the 
 long run, a man passes for what he is worth, that there is no 
 
 16 St. Clara Salamanca 1867. .Earl of Dudley 38.000 
 
 119 Philip IV « " . . L. Stephens 71,000 
 
 268 A Lady " " . . " 51,000 
 
 153 Borgia " " ..Frankfort 27,100 
 
 156 A Cardinal " " 19,300 
 
 117 Philip IV Duke of Hamilton. .1882. .London Nat. Gal. . . 157,500 
 
 Total for 21 pictures (37,345 f. each) 784,280 
 
 MURILLO. 
 
 FRANCS. 
 
 130 Repose Gaignat 1768. .Hermitage 1 7,535 
 
 54 Assumption Houghton 1779 .. " 17,500 
 
 122 Adoration of S " i: . . " 15,000 
 
 426 Flower-Girl Calonne 1795 . .Dulwich . : 16,800 
 
 10 Jacob and Laban . . .Buchanan 1808. .Grosvenor House. . . 75,000 
 
 470 Neve W. Taylor 1823. .M. of Lansdowne . . . 12,600 
 
 179 Marriage in Cana. . . Hibbert 1829. .M. of Ailesbury .... 20,475 
 
 1 Abraham Soult 1835. .Stafford House 200,000 
 
 193 Prodigal Son " " . , " " 200.000 
 
 167 Good Shepherd Sir S. Clarke 1840. .Baron Rothschild . . . 76,125 
 
 323 St. John " " . .London Nat. Gal 52,500 
 
 1 16 Virgin and Child Aguado 1843 .. Sir R. Wallace 1 7,900 
 
 1 82 Paralytic Soult 1 846 . G. Tomline 1 60,000 
 
 123 Adoration of S Saltmarshe " .. Sir R. Wallace 75,4^5 
 
 399 St. Thomas of V Redleaf 1848. . " 74,800 
 
 88 Virgin and Child. . . .W. Hope 1849. . " J 5, 22 5 
 
 152 Holy Family « " . . " 20,475 
 
 462 Murillo Ashburnham 1850.. Earl Spencer 20,725 
 
 29 Conception. Soult 1852. .Louvre 615,300 
 
 55 Birth of Virgin " " .. " 150,000 
 
 126 Flight " « . . Due de Galliera 51,500 
 
 272 St. Diego " « . .D. de Pozzo diBorgo 20,000 
 
XXV 
 
 test of merit so safe and decisive as success, none from which 
 it is so hopeless to appeal. We may be certain that in the 
 time of those now living, the verdict of the world, as to 
 Murillo, will not be set aside. 
 
 I say these things, not to depreciate Velazquez, whose 
 fame needs no vindication, but simply to show that Murillo 
 always has possessed, as without doubt he always will possess, 
 the public esteem. 
 
 378 
 285 
 247 
 20 
 50 
 
 IOI 
 
 177 
 
 260 
 
 382 
 
 457 
 465 
 13 
 34 
 155 
 269 
 
 9^ 
 9 
 40 
 107 
 
 183 
 185 
 
 187 
 189 
 324 
 449 
 169 
 268 
 3^7 
 4i 
 102 
 
 323 
 
 1852. 
 
 1853. 
 
 St. Peter. Soult 
 
 St. Francis Madrazo 
 
 St. Antony and C . . . . Laneuville . . . 
 
 Conception Woodburn . . . 
 
 " Louis Philippe. ... " 
 
 Virgin and Child .... " " " 
 
 Baptism of J. C ... . " " " 
 
 St. Augustine " " " 
 
 Magdalen " " .... " 
 
 Andradae " " " 
 
 Murillo " " " . 
 
 Joseph and Breth'n. .W. Cave 1854. 
 
 Conception. King of Holland . .1857. 
 
 Holy Family T. B. Owen " . 
 
 St. Diego Soult ........ 
 
 Virgin and Child . . . H. Bailhe . . . 
 
 Jacob North wick ... 
 
 Conception 1861 
 
 Virgin and Child. . . .Salamanca 1867 
 
 Prodigal Son " " 
 
 1858. 
 <« 
 
 1859. 
 
 St. John " " . 
 
 Woman and Boy. ... " " 
 
 Good Shepherd Guizot 1874. 
 
 St. Clara Salamanca ^75 
 
 St. Rose " " . 
 
 Conception . .Wynn Ellis 1876. 
 
 Virgin and Child. . . . R. VV. Billings " . 
 
 Infant Jesus Hamilton 1882 , 
 
 FRANCS. 
 
 .Hermitage 151,000 
 
 . D. Sebastian 22,500 
 
 . Hermitage 30.000 
 
 . S. Sandars 26,250 
 
 20,500 
 
 . D. of Montpensier. . 37.500 
 
 16,500 
 
 J. T. Mills 17,000 
 
 . W. Wells 21,000 
 
 .Lord Northbrook. . . 25,500 
 
 .Baron Seilliere 10,500 
 
 .Sir R. Wallace 44,100 
 
 . Aspinwall 40,000 
 
 London Nat. Gal . . . 100,000 
 
 . Louvre 90,000 
 
 .Sir R. Wallace 39>375 
 
 .Sir J. Hardy . 37,000 
 
 . R. L. Lloyd 1 5,475 
 
 . H. Mason 20,000 
 
 . Earl of Dudley. .. 28,500 
 
 " " ... 32,000 
 
 ... 73,000 
 
 " " • • • 35>ooo 
 
 . " " ... 30,500 
 
 ... 85,000 
 
 . H. de Greffuhle 120,000 
 
 .Earl of Dudley 95,ooo 
 
 20,000 
 
 .Graves 10,750 
 
 .W. H. Smith 32,800 
 
 .M. H. Arnot 60,375 
 
 Total for 53 pictures (62,491 f. each) 3,312,010 
 
xxvi 
 
 Both Velazquez and Murillo had their pupils and follow- 
 ers, and they may be said to have founded schools. That 
 of Velazquez was small, its duration transient, and it exer- 
 cised no important or permanent influence on the taste of 
 the age. The manner of this artist was peculiar to himself, 
 and it was not more easy to impart it than to transmit his 
 wonderful genius. To paint the air as in the Meninas, or the 
 soul as in his portraits, and to do this with a few bold, 
 masterly strokes of the brush, is a thing that is born in an 
 artist, not transplanted into him. 
 
 It may be observed as a general rule that the great por- 
 traitists have not been noted as founders of schools. Titian, 
 Van Dyck, and Reynolds were strong in this department, and 
 the first two were also distinguished in other ways. In his- 
 torical or religious painting they had their followers, but 
 who has successfully imitated them in delineating the human 
 face ? 
 
 The skill that was born with Velazquez died with him. 
 Mazo and Carreno carried on for a time the art with tolerable 
 success, preserving and putting in practice the traditions they 
 had received from the hand and lips of their great teacher ; but 
 their light was only a pale reflection of that which had shone 
 upon them, and when these men in turn were gone, it may 
 safely be said no imitators of Velazquez remained. 
 
 With Murillo the case was different. He founded a 
 school, and left followers whose power was deeply felt 
 during the succeeding ages. His imitators might be num- 
 bered almost by hundreds, and they were to be found in 
 Seville even during the present century. Murillo's style was 
 much more easily imitated than that of Velazquez. His 
 merit was in representing familiar objects, or religious sub- 
 jects, in a traditional manner. His Virgins and Saints were of 
 a recognized type, and with Pacheco as a guide, there was no 
 great scope for invention. What could be done, however, 
 Murillo did. For the rigidity, and severe asceticism of the 
 
xxvii 
 
 previous age, he substituted freedom in drawing, ease and 
 grace in composition, unexampled richness and harmony of 
 coloring, and a religious elevation that no artist has surpassed. 
 His coloring was not so difficult to imitate, and in this his 
 disciples achieved their success, such as it was. The color- 
 ing of the School of Seville is what arrests the eye of the 
 observer at once. It fixes itself in the mind, and charms the 
 imagination. But the composition, and especially the draw- 
 ing, are things for careful observation and study. And here 
 is the stumbling-block of all the followers of Murillo. Al- 
 though many have succeeded in imitating his colors with 
 tolerable success, yet all have failed in drawing ; by which 
 test we may often detect the true from the false pictures. 
 
 This work would not be complete without some notice of 
 those artists who have achieved a reputation, more or less 
 extended, as pupils, disciples, or copyists of the masters 
 whose works are here described. It has therefore been thought 
 best to give a brief account of them, not aiming to supply an 
 exhaustive history, for I may have more to say on this subject 
 some future day, but only to notice them so far as may be 
 useful in connection with the general subject with which this 
 volume is concerned. It may sometimes be useful to know 
 where to look for the works of these imitators, in order to 
 compare their manner with that of their masters, and thus per- 
 haps aid in detecting doubtful or spurious pictures. 
 
 I would gratefully acknowledge my indebtedness for assis- 
 tance in preparing this catalogue, to the owners of the pict- 
 ures named in it, some of whom have courteously supplied me 
 with private memoranda containing information not otherwise 
 attainable. Thanks are also due to J. C. Robinson, Esq., Her 
 Majesty's Surveyor of Pictures ; to Dr. J. P. Richter; to Messrs. 
 Christy, Manson and Woods, of London ; to M. Paul Lefort, 
 of Paris; to Dr. Oskar Berggruen, of Vienna; to Don Fede- 
 rico de Madrazo, Director of the Museo del Prado ; Don Fran- 
 cisco M. Tubino, Madrid; and to Don Jose Maria Asencio, 
 of Seville. 
 
xxviii 
 
 I must ask indulgence for the errors that, despite all my 
 efforts, have crept into this volume. I have already discovered 
 some, and the critics will find more. They are usually due to 
 carelessness in transcribing, or to inattention in proof-reading. 
 When the character of the matter is considered, the numerous 
 proper names, mostly foreign, the different languages from 
 which the materials are drawn, and the nature of the matter 
 itself, I hope the reader will be tolerant toward such imper- 
 fections as he may observe. 
 
 No. 9 East Fifty-Fourth Street, New- York. 
 
The dimensions of paintings are given usually in the meas- 
 ures of the country, preferably in centimetres, that scale being 
 the most definite and generally known. 
 
 Measurements of engravings are given in inches and tenths 
 of an inch, exclusive of margins and inscriptions. 
 
 The height of a picture or engraving always precedes the 
 breadth. 
 
 Right and left refer to the spectator and not to the picture, 
 unless otherwise expressed. There may, however, be excep- 
 tions to this rule, since some of the descriptions have, for con- 
 venience, been written out from engravings, instead of from the 
 picture. Front signifies facing the spectator. 
 
 Pictures are usually full length unless otherwise expressed. 
 
THE WORKS OF VELAZQUEZ. 
 
 OLD TESTAMENT. 
 
 i. Lot and His Daughters. Lord Northwick, North wick 
 Park, Worcestershire. Lot lies asleep on the ground with his head in 
 the lap of one of his daughters, who points to Sodom in flames on the 
 left ; the other daughter is seated at her father's feet with her back 
 turned ; on the right is a large rock. Three figures, full length. 54 
 inches high, 70 inches wide. 
 
 From the Orleans Gallery. Sold in 1799 to Mr. Hope for ^525. H. Hope 
 sale, June 27, 1816. Lord Northwick sale, July 26, etc., 1859, No. 1686, ^147, to 
 the present Lord Northwick. Mentioned in Buchanan, Memoirs of Painting, i. 
 146. In the Lebrun sale, April 11, 1 791, was a repetition, 9X12.5 inches. 
 
 Engraved by Ph. Triere, line, 4.6x5.8 inches, in Couche, Galerie du 
 Palais Royal, Paris, 1 786-1808, 3 volumes, folio. 
 
 [The two galleries, one at Thirlestane House, Cheltenham, the other at North- 
 wick Park, were formed by the second Lord Northwick. On his death, in 1859, 
 the property descended to his nephew, by whom the collections were dispersed. The 
 sale was conducted by Mr. Phillips, at Thirlestane House, and lasted 21 days. 
 Besides furniture, gems, etc., the catalogue included about 1,506 paintings, which 
 realized nearly ^100,000, being, with the Fesch and the Soult sales, the largest of 
 the century. Many of the pictures are praised rather than described in Hours in 
 Lord Northwick' 1 s Picture Gallery, Cheltenham, 8vo (1843). Incomplete lists are 
 given in Waagen, iii. 195; Art Union, 1846; and in W. Hazlitt, Criticisms on Art. 
 Some copies of the sale catalogue contain printed lists of prices and purchasers' 
 names.] 
 
2 
 
 VELAZQUEZ. 
 
 2. The Finding of Moses. Earl of Carlisle, Castle Howard, 
 Yorkshire. A kneeling maiden holds up before the daughter of 
 Pharaoh the infant Moses, who lies naked on a basket ; other 
 maidens stand around. Ten figures, full length, life-size. 96X120 
 inches. 
 
 Selected by the Earl of Carlisle in the partition of the Orleans Gallery, at 
 500 guineas. Buchanan, Memoirs, i. 146. The authenticity of this and the preced- 
 ing picture is doubtful. Dr. Waagen attributes the present work to Gerard 
 Honthorst. Treasures of Art, iii. 319. 
 
 De Launay le jeune, line, 6.1 X8.2, in Couche, Gal. du Palais Royal. 
 
 3. Joseph's Coat. Escorial, Sala Vicarial 341. La Tunica de 
 
 Josef. Jacob, in blue robe and brown mantle, sits on the right, in 
 
 the shadow of his house ; before him, on a pavement of black and 
 
 white marble, stand five of his sons, two of whom hold the brown 
 
 robe of their brother, the white lining of which is stained with blood ; 
 
 another son on the left is tearing his hair ; on the rug at Jacob's 
 
 feet stands a white dog barking. Six figures, life-size. 
 
 This picture and the Forge of Vulcan were executed by Velazquez during his 
 first journey to Rome, in 1629-31, and both were evidently painted from the same 
 models. They were brought by the artist to Spain and presented to the king, 
 who esteemed them highly and placed them in the palace of Buen Retiro, but this 
 one was afterwards sent to the Escorial. See Palomino, Museo Pictorico, iii. 330. 
 It appears from an entry in the accounts of D. Francisco de Rioja, Prothonotary of 
 Aragon, that in 1634 Velazquez was paid 1,000 ducats (11,000 reals, about 2,750 
 francs) for eighteen pictures, fifteen of which were by himself. Among them were 
 the Tunica de Josef, the Forge of Vulcan, a portrait of D. Baltasar Carlos (prob- 
 ably one of those belonging to Sir Richard Wallace, No. 135 or No. 136), five 
 flower-pieces, four small landscapes, and two bodegones ; also a Danae by Titian, 
 Susannah by Luca Cambiaso, and a work by Bassano. Zarco del Valle, Doc. 
 Ine'dit., p. 621. 
 
 This work has always been greatly esteemed, but has never been engraved. 
 El Padre F. de los Santos (Descripcion del Real Monasterio de S. Lorenzo del Es- 
 corial, Madrid, 1681, folio) devotes more than two pages to an account of it. An 
 English translation of Padre de los Santos' book, by George Thompson, was pub- 
 lished at London in 1 760, with plates copied from those in the original volume. 
 
 J. Laurent, photograph, No. 15 10, Madrid. 
 
 3a. The Cartuxa de Xeres. In the ing with his friends. Cean Bermudez, 
 Sacristy of this convent was formerly a Diccionario, v. 180; doubted by Ponz, 
 picture of Job on the dunghill, convers- Viage, xvii., 279. 
 
NEW TESTAMENT. 
 
 3 
 
 4. Immaculate Conception. Bartle Frere, Esq., London. 
 The Virgin, in violet robe and blue mantle, with joined hands and 
 long hair falling on her shoulders, stands on a transparent globe, 
 around and through which are seen a temple, ship, trees, fountain, 
 etc.; twelve stars surround her head ; she looks down. The face is 
 plain, and has the air of a portrait. Earliest manner. 54x40 in. 
 
 This and St. John (No. 19) are from the Convent of Carmelitas Calzados, at 
 Seville. They were purchased in 1809 by Mr. Frere, H. B. M. Minister to Spain, 
 from Dean Lopez Cepero. Mentioned by Cean Bermudez, Die. v. 1 79 ; Stirling, 
 iii. 1450 ; Jameson, Madonna, 49. 
 
 [Don Manuel Lopez Cepero, Dean of Seville and President of the Academy of 
 Fine Arts, was a munificent and discriminating lover of art, to whose labors and 
 enthusiasm is chiefly due the formation of the Museo Provincial of Seville, the 
 second in importance in Spain. His house, No. 7, in the street now known, after 
 several changes in the French fashion, as Plaza de Alfaro, was long the home of 
 the distinguished Alfaro family, but it is interesting to the lover of art as being 
 the one which it is commonly believed Murillo occupied during the later years of 
 his life and at the time of his death. Here Dean Cepero brought together a vast 
 collection of works of art, many of which still belong to his heirs. After his death 
 a catalogue was issued, in i860, comprising 878 numbers, and the pictures were 
 offered for sale at fixed prices. Fifty of them were sent to Paris, where a sale 
 was held Feb. 14, 1868, but most of the works were bought in.] 
 
 5. Coronation of the Virgin. Museo del Prado, 1,056, 
 Madrid. The Father bearing a globe, and the Son bearing a 
 sceptre, both hold with their right hands a crown over the head of 
 the Virgin ; all are seated on clouds ; above is the Dove ; beneath are 
 four winged heads, and two cherubs holding up the Virgin's robe. 
 Latest manner. 1.76x1-34. 
 
 Painted for the oratory of the Queen in the palace at Madrid. Palomino (iii. 
 335) and Cean Bermudez (Die. v. 168) think it was painted before, but D. Pedro 
 de Madrazo (Calalogo Mies. Prado) believes it was executed after the artist's 
 second journey to Italy. It is perhaps the best of his religious pictures ; but Mrs. 
 Jameson objects to the bald head of the Padre Etemo as " a gross fault in taste and 
 propriety ; because, though the loose beard and flowing white hair may serve to 
 typify the ' Ancient of Days,' baldness expresses not merely age, but the infirmity 
 of age." Madonna 23. 
 
 Massard, line, 16x12, at the Calcografia Nacional, Madrid. Nargeot, line, 
 5.5X4, one of the cherubs omitted. A. Jameson, etch., in the early editions 
 of the Madonna, facing p. 26. F. Facho, etch., in Alabern, Galleria. J. 
 Vallejo, etch., in El Arte en Espana, Vol. 1, 1862. Galvan, etch., in Grabador 
 al Agua Fuerte. Outline in Reveil, Muse'e de Peinture, xiv. 955. P. L. Feillet, 
 
4 
 
 VELAZQUEZ. 
 
 litho., in Coleccion Litografica. Llanta, litho., 20.6x15.9. Llanta, litho., 
 10.6x7.5. Chevalier, litho., 9.8x7.6. E. C. Cos, litho., in Gal. Esp. del 
 Bello Arte. 
 
 6. The Virgin. Sir Philip Miles, Bart., Leigh Court, Glou- 
 cestershire. She kneels, three-quarters left, with outspread arms, as if 
 receiving the Annunciation. Full length, no accessories. 56.5x66 
 inches. 
 
 Exhibited at the British Institution, 1875. 
 Etched in the Miles Gallery. 
 
 6a. The Cataneo Palace, Genoa, of the Artists of Spain, iii. 1393, and by 
 contains a picture of the Virgin and J. Dafforne in the Art Journal, 1849, 
 Child. Mentioned in Stirling, Annals p. 16. 
 
 7. The Angels Appearing to the Shepherds. 1.80x1.25. 
 
 Standish sale, No. 219 (No. 153 of the catalogue of the Standish Gallery in 
 the Louvre), May 27, 1853, ^"399. W. Davenport Bromley sale, June 12, 
 1863, ^225 15J. The Davenport Bromley catalogue says this is an early work, and 
 that it was purchased by Baron Taylor for King Louis Philippe from the Count 
 de Aguila (?). Stirling, iii. 1393; Waagen, iii. 380. 
 
 8. Adoration of Shepherds. National Gallery, 232, Lon- 
 don. The Virgin kneels on our left, supporting the infant Jesus, 
 who lies on a crib ; St. Joseph stands beyond, holding a staff; three 
 shepherds kneel before the Child; the one on the right, with his left 
 hand on the handle of a basket, holds up a fowl with his right hand ; 
 behind the shepherd is an old woman, bending forward ; a girl enters 
 a door on the right, with a basket on her head ; in the foreground lie 
 two sheep. Nine figures, full length. 91 x 66 inches. 
 
 Purchased about 1832 for ^4,800 by Baron Taylor from the Conde del Aguila, 
 in whose house in Seville it had remained since the time it was painted. King 
 Louis Philippe sale, May 6, 1853, ^2,050, to the National Gallery. 
 
 There have been some doubts as to the genuineness of this painting. Sir E. 
 Head (Penny Cyclopedia, art. Velazqtiez) thinks it may be a copy after Ribera ; 
 and, in fact, it is a close imitation of the style of that artist. M. Viardot says it 
 should be restored to Zurbaran, Musees d ' Angleterre, ed. i860, p. 50. There is, 
 however, no reason to doubt that it is an early work by Velazquez. Mentioned in 
 Quilliet, Die. des Peintres Esp., 369; Standish, Seville, 186. 
 
 E. Lingee, outline, 11.6x9. On wood in Illustrated London News, Dec. 23, 
 1854; E Univers Ilhistre, Dec. 19, 1 86 1. 
 
 [King Louis Philippe possessed a collection of paintings by the old Spanish 
 masters which was perhaps the largest ever brought together, as well as one of the 
 
NEW TESTAMENT. 5 
 
 most important. Besides the specimens of other schools, it included six hundred 
 and fifty-six Spanish paintings, being one hundred and forty more of that school 
 than are to be found in the famous Museo del Prado at Madrid. The collection 
 consisted of two parts. That known as the Galerie Espagnole was begun about 
 1835. The time was favorable for the work, political disturbances and the suppres- 
 sion of the religious orders having thrown vast numbers of paintings on the mar- 
 ket. The principal agents and advisers of the king were Baron Taylor and M. 
 Dauzats, the painter, and although they made many mistakes, their task was on the 
 whole well executed. 
 
 The Slandish Gallery was formed by Frank Hall Standish, of Duxbury Hall, 
 Lincolnshire, an enthusiastic lover of Spanish art, who resided a long time in Spain, 
 and wrote an agreeable and useful book, entitled Seville and its Vicinity (London, 
 1840, 8vo). His collection of drawings, which included that formerly owned by the 
 Conde del Aguila, was probably the most extensive and valuable ever brought to- 
 gether, unless we may except that which was once in the possession of Cean Ber- 
 mudez. Mr. Standish, dying in 1841, bequeathed to King Louis Philippe all his 
 books, pictures, etc., "as a testimony of my esteem for a generous and polite nation, 
 which is always ready to welcome travellers, and which I have always visited with 
 pleasure and quitted with regret." There was a story that Mr. Standish had once 
 offered to give his books to the British Museum and his pictures to the London 
 National Gallery, accompanying the offer with a hint that the revival.of a baronetcy 
 which had once been in his family would be acceptable, and it was said that he left 
 the property to the king of the French through pique at the manner in which Lord 
 Melbourne, the then minister, received the suggestion. 
 
 Rooms were assigned for the exhibition of these two collections in the Louvre, 
 the Galerie Espagnole being opened to the public in 1838, and the Standish Gallery 
 in 1842. After the Revolution of 1848, the ex-king claimed the collections as his pri- 
 vate property, and at the end of five years his claim was allowed. The pictures were 
 hastily and carelessly packed, their surfaces pasted over with newspapers, and they 
 were consigned to Messrs. Christie, Manson & Woods, of London. They arrived 
 in an injured state ; some were damaged by sea- water, many were without frames or 
 with only narrow strips of gilt wood. They were badly catalogued, the circumstances 
 and the times were unfavorable, and at the sale few of the objects realized their full 
 value. The Galerie Espagnole was sold May 6, 7, 13, 14, 20, and 21, 1853, when 
 501 pictures produced ^27,812 \ds. 6d. At the Standish sale, May 27 and 28, 
 1853, the 244 pictures brought ,£9,859 19^. The drawings comprised 368 num- 
 bers, and were sold with the books of the ex-king at Paris, Dec. 6, etc., 1852. 
 
 There was another sale at Paris, April 28, etc., 185 1, comprising mod- 
 ern pictures belonging to King Louis Philippe, from the Palais Royal and Neuilly.] 
 
 8a. Emile and Isaac Pereire. Ad- Gallery, which was purchased entire at 
 oration of Shepherds. A large painting Madrid. Burger, Velazquez, 290. This 
 in the first manner. From the Urquaiz picture was not in the Pereire sale, 1872. 
 
 9. Adoration of Kings. Museo del Prado, 1,054. The 
 
 Virgin, wearing a red robe, blue mantle, and white scarf covering her 
 head and neck, sits on a raised platform on our right, holding with 
 
6 
 
 VELAZQUEZ. 
 
 both hands the Child seated on her lap, heavily draped ; before them 
 on the left are two kings kneeling, and one, an Ethiopian, standing, 
 all with golden vases ; on the right is St. Joseph, on the left a servant. 
 The date " 1619 " is inscribed on the stone beneath the Virgin's feet. 
 Seven figures, full length. First manner. 2.04x1.25. 
 
 This is one of the earliest works of the artist, painted when he was but twenty 
 years of age. It is not mentioned in any of the royal inventories, and nothing is 
 known as to its history. Can it be the picture formerly in the possession of D. Fran- 
 cisco de Bruna, and described as the "Adoration of the Three Kings, who are 
 painted as large as life, together with St. Joseph, la Virgen, el Nino, and a servant ; 
 the Child in swaddling-clothes ; the background is obscure, and the shadows very 
 strong; one of Velazquez's best pieces "(?) R. Twiss, Travels in Portugal and 
 Spain, London, 1775, 4I0, p. 308. 
 
 Cayetano Palmaroli, litho., in Col. Lito. E. C. Cos, litho., in Gal. Esp. 
 
 ga. Don Aniceto Bravo. Adora- 
 tion of Kings ; and Nativity, eight 
 figures. Companions, somewhat less 
 than life-size. Sevilla Pintoresca, 416. 
 
 [Don Antonio Bravo was a tradesman 
 of Seville. Sir David Wilkie calls him a 
 linen-draper. He combined with a love 
 of trade a passion for art, and was so fort- 
 unate as to live at an unusually favor- 
 able period for the exercise of his tastes. 
 The invasion of the French and the sup- 
 pression of convents in Spain threw into 
 the market great numbers of authentic 
 and valuable pictures, and Don Antonio 
 was always ready to increase his stores. 
 He collected with such diligence and suc- 
 cess that when he died he had in his 
 house, No. 40 Calle de los Catalanes, 
 more than 840 specimens, of which 377 
 were of the school of Seville. He had 
 also during his lifetime sold many to 
 English and other amateurs. His gal- 
 lery passed to his nephew, Don Aniceto 
 Bravo, whose widow dispersed it after 
 her husband's death, about 1853.] 
 
 gb. Giovanni Lozano, Archbishop of 
 Palermo, purchased from Prince Phili- 
 bert, at Palermo, a Nativity, which he 
 presented to the Cathedral of Plasencia 
 when he became bishop there. It was 
 
 destroyed by a fire in the Chapter House 
 in 1832. Ponz, vii. no; Ford, Hand- 
 book, i. 485. 
 
 gc. Baron V. Denon. Holy Fam- 
 ily. The Virgin is on the right; the 
 Child, seated in her lap, with a bouquet 
 in his left hand, looks front ; St. Eliza- 
 beth, kneeling on the left, supports St. 
 John ; St. Joseph stands behind. Land- 
 scape background. Five figures. 60X48 
 inches. Doubtful. It was not in the 
 Denon sale, 1826. 
 
 Mauzaisse, litho., in Denon, Monu- 
 ments des Arts, iii. 326. Villain, litho., 
 reversed, in Chabert, Gal. des Peintres. 
 
 gd. Chapel of the Barefooted Fri- 
 ars, Lima. The Holy Family, life-size. 
 
 One of his finest religious pictures. 
 Nagler, Kiinst. Lex. 
 
 ge. D. Julian Williams formerly 
 owned a Holy Family from the collec- 
 tion of Torrado. It afterwards passed to 
 Russia. Standish, Seville, 186. 
 
 The painter, D. Antonio Torrado, is 
 mentioned by Cean Bermudez as having a 
 collection of pictures by the best artists of 
 Andalusia and other schools. Dic.i. xxii. 
 
 gf. Hospital de los Desemparados, 
 Lima. St. Joseph and the infant Jesus. 
 Admirable. Nagler, Kiinst. Lex. 
 
 \ 
 
NEW TESTAMENT. 
 
 7 
 
 10. Christ After Flagellation. Sir John Savile Lum- 
 
 ley, H. B. M. Minister at Brussels. The Saviour is seated on the 
 ground with his wrists attached by a long cord to a column on our 
 left ; a ray of light proceeds from his head to the heart of a child, who 
 kneels behind him, attended by an angel ; instruments of the passion 
 lie on the ground. Three figures, full length, life-size. 
 
 Purchased by Sir John, then Mr. Lumley, in Madrid, and brought to England 
 about i860, in which year it was exhibited at the British Institution. Praised in 
 Jameson, Our Lord, and in Burger, Velazquez, 277. 
 
 E. J. P. [oynter], etch., in Jameson, Our Lord. 
 
 11. Christ at Emmaus. Earl of Breadalbane, Perthshire. 
 
 The Saviour is seated with the two Disciples at a table. Three 
 
 figures, full length, life-size. 1.20x1.58. 
 
 King Louis Philippe sale, No. 251, purchased from a canon at Seville, 
 ^235. Praised by Ford in The Athenceum, May, 1853, p. 653, and by Stirling, 
 Velazquez, p. 192, Paris ed. Doubted by Burger, ibi. p. 276. 
 
 12. Christ on the Cross. Museo del Prado, 1,055. The 
 
 Saviour is fastened with four nails to the cross; his feet rest on a 
 
 billet of wood; his head falls on his right shoulder. Above is the 
 
 trilingual inscription. Dark background, no accessories. Second 
 
 manner. 2.48x1.69. 
 
 " At this time (1638) he painted a celebrated picture of Christ on the Cross, life- 
 size, which is in the cloister of the convent of San Placido, in this city." Palomino, 
 iii. 331. By some means this work came into the possession of the Countess of 
 Chinchon, and adorned her oratory in the palace of Boadilla. It was sent by her to 
 Paris, and was with other pictures advertised for sale in August, 1826. Through 
 the exertions of the Duque de Villahermosa, the Spanish ambassador, and the 
 Duque de Hijar, director of the Museum at Madrid, it was finally purchased in 
 1828 for 30,000 reals, it having been appraised in Paris at 20,000 francs. The 
 Countess, however, died before the transaction was concluded, and her heirs refused 
 to ratify the sale ; whereupon the Duque de San Fernando, brother-in-law of the 
 Countess, and one of her heirs, ended the controversy that had arisen by choosing 
 the picture as part of his inheritance, and then ceding it to the king. While it was 
 in the palace of Boadilla it was lengthened, in order to adapt it to the place it occu- 
 pied in the oratory, and a skull and serpent were added at the bottom, which have 
 since been removed. Quilliet ( Dictionnaire, 374) says that Le Brun, whom he 
 accompanied on his journey to Spain, authorized him to offer the monks of San 
 Placido 20,000 francs for this work. M. Burger thinks the idea of this composition 
 
8 
 
 VELAZQUEZ. 
 
 is taken from a picture by Luis Tristan in the Salamanca gallery. See Blanc, 
 Peintres, Life of Tristan. An old copy is in the Capuchin Church, Madrid, and a 
 modern one by Pairon in the Ecole des Beaux Arts, Paris. 
 
 Murguia, line, io.i X6.5, with skull and serpent beneath, and inri above. 
 J. A. S. Carmona, line, 11.2x7.4, with skull, etc., at Calcografia Nacional. 
 M. S. Carmona, line, 5X3.3. J. Ballester, line, 12.4X7.6, 1776, with serpent, 
 etc. Allegre y Gorriz, line, 60X40 cm., at Calco. Nac. B. Maura, etch., in 
 Grabador al Agua Fuerte. E. J. P [oynter], etch., in Jameson, Our Lord. R. C. 
 Bell, etch., half-length, in Stirling, Annals. F. Taylor, litho., in Col. Lito. 
 E. C. Cos, litho., in Gal. Esp. 
 
 [The infant Don Luis Antonio de Borbon, son of Philip V., and brother of 
 Charles III., was born in 1727. He became Archbishop of Toledo and Primate 
 of Spain. In 1735 he was created a Cardinal, but resigned all his ecclesiastical 
 dignities in 1746. He was married in 1776 to Dona Theresa Vallebriga, a lady of 
 quality, by whom he had three children. I. Luis Maria, born 1777, who became 
 Archbishop of Seville and of Toledo, and Cardinal in 1800. II: Maria Theresa, 
 born 1782, married, in 1797, to Manuel Godoy, Prince of the Peace. III. Louisa, 
 married to the Duque de San Fernando. The infant Don Luis obtained by pur- 
 chase the Chinchon estates and titles which descended to his daughter, the wife of 
 the Prince of the Peace, who became Condesa de Chinchon. It was this lady who 
 in 18 1 2 presented to Lord Wellington the rich collar of the Golden Fleece which 
 had been worn by her father. ] 
 
 12a. J. P. Weyer, of Cologne. Christ 44. The Resurrection. Christ ascends 
 
 on the Cross. 51.5X40 inches. Collec- amidst cherubs bearing a banner ; beneath 
 
 tion sold 1862. is the closed tomb. A sketch for an 
 
 12b. Desenfans Catalogue, 1802, No. altar piece. 
 
 13. St. Anthony the Abbot, and St. Paul the Hermit. 
 Museo del Prado, 1,057. St. Paul in brown and St. Anthony in 
 white robe, seated before a grotto, raise their eyes and hands in 
 thankfulness for the food which a raven is bringing them. On the 
 left is seen another incident in their history; two lions are making a 
 grave, while St. Anthony is praying over the dead body of his com- 
 panion ; a high rock fills the right of the picture ; a broken landscape 
 and a river in the background. Latest manner. 2.57x1.88. 
 
 One of the latest and most important of the religious works of the master. It 
 was painted in 1659 for the Hermitage of San Antonio at Buen Retiro, and was 
 valued at 300 doubloons in the inventory made at the death of Carlos III. in the 
 year 1700. 
 
 F. Blanchar, litho., in Col. Lito. E. C. Cos, litho., in Gal. Esp. Photo- 
 graphs by J. Laurent and by A. Braun. 
 
SAINTS. 
 
 9 
 
 14. St. Anthony the Abbot, and St. Paul the Hermit. An 
 
 original sketch of the above. . 68 x. 54. 
 
 King Louis Philippe sale, No. 408, from a private gallery in Madrid, ^25. 
 Mentioned in Stirling, Annals, ii. 678. 
 
 14a. General John Meade sale, at 
 Christie's, June 26, 1847. Grand land- 
 scape, with St. Peter (?) and St. Paul, the 
 hermits, beneath some rocks in the fore- 
 ground. £3 1 or. 
 
 [General Meade was for many years 
 H. B. M. consul-general at Madrid, 
 where he died in 1849. His cabinet 
 contained some genuine and valuable 
 specimens of the Spanish masters; but 
 owing to the jealousy with which he had 
 always guarded them, they were but little 
 known, and sold for insignificant prices. ] 
 
 14b. Lebrun sale, 1810. A repetition 
 of No. 13, but without the secondary 
 scene of the burial of St. Paul. 24. 5 X 20. 5 
 in. Called £lie et Elise'e. 192 francs. 
 
 Engraved in Lebrun, Recueil, 129. 
 
 14c. Thomas Kibble, Esq., Lon- 
 don, had a landscape with St. Peter and 
 St. Paul, the hermits, 3X2 feet. From 
 Baron d'Este collection, Paris. 
 
 146I. National Gallery, Dublin. St. 
 Anthony of Padua, robed as a monk, 
 holds in one hand a plate of shell-fish, 
 and in the other a fish, which he is about 
 to place in a tub of water where other 
 fishes are swimming; opposite stands a 
 young prince, with his hands raised in 
 astonishment. Full length. 61X48 in. 
 
 Purchased in 1869 from James What- 
 man, who obtained it in 1 85 1 from Mr. 
 Anthony, a picture-dealer in London. 
 British Institution, 1852, 1862. Man- 
 chester, 1857. Burger, Velazquez, 279. 
 
 14c Aguado sale, March 20, 1843, 
 No. 152. St. Apollonia attached to a 
 stake, awaiting martyrdom. Nine fig- 
 ures. .28^X.2i cm. 500 francs. 
 
 [M. Aguado, having realized a fortune 
 by his enterprise in commercial affairs, 
 2 
 
 received the title of Marquis de las 
 Marismas in acknowledgment of his ser- 
 vices in draining the marshes that 
 bordered the Guadalquivir. Among his 
 possessions was the chateau Margaux, 
 and at his villa of Gros-CEuvre Rossini 
 composed the Barbiere. He died in 1842. 
 
 This gentlemen patronized art with 
 more liberality than taste or discretion, 
 and was greatly imposed upon by dealers, 
 who sold him, with many good things, a 
 far greater quantity of trash. The extent 
 to which he was deceived as to the value 
 of his purchases may be judged from 
 the fact that when, in 1839, he wished 
 to insure the property contained in his 
 Paris hotel, he made an inventory, in 
 which he estimated the value of his works 
 of art at 3,330,950 francs. Four years 
 later they sold, with those purchased in 
 the meantime, for 501,644 francs. The 
 following are specimens of his mistakes : 
 Raphael, St. John and St. Louis, valued 
 at 25,000 francs ; sold for 852 francs. Do. 
 Two Young Persons, valued at 30,000 
 francs ; sold for 805 francs. Do., St. 
 Michael, 100,000 francs ; sold for 3,500 
 francs. Correggio, Massacre of the In- 
 nocents, 50,000 francs; sold for 1,000 
 francs. Do., Deposition, 25,000 francs ; 
 sold for 470 francs. Leonardo da Vinci, 
 Two Children, 50,000 francs ; sold for 
 4,000 francs. Titian, Queen of Sheba, 
 40,000 francs ; sold for 750 francs. Do- 
 jnenichino, Holy Family, 60,000 francs; 
 sold for 1,250 francs. Do., Galatea, 
 25,000 francs ; sold for 580 francs. Velaz- 
 quez, Death of Seneca, 40,000 francs; 
 sold for 460 francs. Do., Woman and 
 Negro, 30,000 francs; sold for 1,200 
 francs. A. Cano, Christ and St. Peter, 
 
IO 
 
 VELAZQUEZ. 
 
 50,000 francs ; sold for 525 francs. Ru- 
 bens, Diana, 100,000 francs; sold for 
 7,400 francs. Rembrandt, Two Beggars, 
 24,000 francs; sold for 1,300 francs. 
 
 The Marquis gave to the world, under 
 the title of the Galerie Aguado, a series 
 of engravings of some of his treasures. 
 The work was intended to comprise 240 
 prints, but only 36 were published. The 
 plates were subsequently sold, and 
 probably fell into the hands of Virtue & 
 Co. of London. Several of them were 
 used in W. B. Scott, Murillo, London, 
 1873,410. 
 
 There were six sales of the Aguado 
 pictures, of which the following is a list : 
 
 1841, April 22. Pictures, etc., from the 
 Chateau de Petit Bourg. The pictures 
 brought 84,261 f. ; marbles, 35,000 f. 
 
 1843, March 20-28, at his hotel, No. 6 
 Rue Grange Bateliere. 395 pictures 
 and 50 marbles sold for 501,644 f. A 
 list of the numbers and prices is given 
 in Cabinet de V Amateur, 1843, and in 
 Bulletin des Arts, vol. 1. 
 
 1843, April 18. Second part of the collec- 
 tion. The sale produced 58,014 f. 
 
 1845, Dec. 19-20. Succession of Mar- 
 quis de Las Marismas. 
 
 1865, April 10. Succession of M. Aguado; 
 nine pictures brought 84,325 f. 
 
 1873, May 27. Vicomte Aguado sale.] 
 
 15. St. Carlo Borromeo. Stafford House, Duke of Suth- 
 erland, London. The saint appears to be presiding over a religious 
 assemblage in an arched apartment. A sketch, with eight figures. 
 22.5x28.5 inches. 
 
 British Institution, 1838. 
 
 16. St. Clara. Earl of Dudley, London. The saint, about six 
 years of age, stands three-quarters right, with a palm in her right hand 
 and a cup and saucer in her left; a blue drapery covers her dark 
 robe; her hair is adorned with a crown of jewels; gray background. 
 Half-length, life-size. 30x25 in. 
 
 This is probably the picture sold, No. 35, Salamanca sale, June 3, 1867, 
 "from the gallery of Don Sebastian Martinez," 76x62 cm., 38,000 francs. It is 
 thought to be a portrait of Francisca, daughter of Velazquez, who was born in 
 1619, and who afterwards married J. B. Mazo. See Burger, in Blanc, Peintres, Life 
 of Mazo; P. Lefort, in Gaz. B. Arts, November, 1879. 
 
 [Don Sebastian Martinez, of Cadiz, Treasurer-General of Spain, possessed 
 in the last century the finest private gallery in the Peninsula. He was a great 
 friend of Ponz, who says he surpassed all others in the extent and choiceness of his 
 collection, which comprised more than 300 pictures, including works of Titian, 
 Leonardo da Vinci, Velazquez, Murillo, Cano, and others. Besides these, he had 
 many drawings, rare engravings, books of the fine arts, statues, etc., all of which he 
 liberally threw open to the amateur and student. It would seem that his collection 
 included part or all of that which had belonged to D. Antonio Murcia, who was the 
 first to bring together in Cadiz originals by Murillo, Cano, Luis de Vargas, Ribera, 
 Tristan, Orrente, and others. These works appear to have passed to the Marques 
 de la Canada, of Puerto de Santa Maria, and after his death to another person, 
 
SAINTS. 
 
 from whom they came into the possession of Senor Martinez, whose heirs disposed 
 of them to D. Manuel de Leyra. They afterwards came to England, where doubt- 
 less they still remain, though few of them can be identified. See Ponz, Viage, 
 xviii. 20, etc.; Cean Bermudez, Die. i. xxi. note; Conca, Descrizione della Spagna, 
 iii. 320; Twiss, Travels in Spain; Davies, Murillo, lxxxiv., note, etc. 
 
 The Marques de Salamanca, having acquired a great fortune by railway and 
 other speculations, turned his attention to the fine arts, which he patronized liberally 
 and with taste. In the magnificent palace which he built on the Prado in Madrid, 
 and in his country house of Vista Alegre, he brought together a large and valuable 
 collection of works, chiefly of the Spanish school. His most important acquisition 
 was the gallery of D. Jose de Madrazo, the catalogue of which (Madrid, 1856, 8vo) 
 enumerates 696 specimens. The Marques fell into difficulties. His stately man- 
 sion is now occupied by a bank, and his pictures are dispersed. The first sale 
 took place at Paris, June 3 to 6, 1867, when 233 pictures realized 1,632,000 francs. 
 The second sale, Jan. 23, 1875, included, among others, many works which had 
 been unsuccessfully offered at the first sale. ] 
 
 17. St. Francis Borgia. Stafford House. In a handsome 
 white dress, with his plumed hat in his hand, he presents himself rev- 
 erently before St. Ignatius Loyola, who, in black dress, advances to 
 receive him; behind St. Francis, on the left, two attendants and the 
 head of his black horse are seen; behind St. Ignatius stand three 
 priests in a doorway, which discloses a landscape; architecture on the 
 left. Eight figures, life-size. About 70x50 in. 
 
 This picture was captured in Spain by Soult, who sold it in 1835, with Abra- 
 ham and the Angels and the Prodigal Son, both by Murillo, to the Duke of Suther- 
 land for 500,000 francs. (See Murillo, No. I.) Stirling praises it highly, and 
 suggests that it may have been executed by order of the Cardinal Archbishop 
 Borgia, or at the request of Pacheco for his friends, the Jesuits of Seville. Annals, ii. 
 678. The scene represents the arrival of St. Francis Borgia at the Jesuits' Col- 
 lege in Rome. Mrs. Jameson suggests that one of the companions of St. Francis 
 is Laynez. A copy is in the chapel of St. Francis Borgia, in the collegiate church 
 of Logrono. 
 
 17a. St. Francis de Paul crossing the 17c. Louis Philippe sale, 1853, No. 
 sea. Formerly in the Carmelitas Des- 490 (288). St. Isidore, the laborer, 
 calzos, Madrid. Considered by some to From a private collection in Madrid, 
 be an early Velazquez. Ponz, v. 251. .87X.73. £1$ 10s. 
 
 17b. St. Francis de Paul with a crook, i7d. Don A. Bravo. St. Jerome, 
 holding with both hands a paper, in- half-length, in prayer, contemplating a 
 scribed, "Caritas." Bust, oval. Doubt- skull which he holds in his hands, and 
 ful. J. G. DE Navia, line, 5.6x4.2, at turning his head to listen to a trumpet. 
 Calco. Nacional. Sevilla Pinlo. 416. 
 
12 
 
 VELAZQUEZ. 
 
 17c Walsh Porter sale, March 22, lyg. Lord Northwick sale, No. 1,092. 
 
 1803, St. Jerome, ^31 10s. (Jennings). Head of St. John Baptist in a charger, 
 
 [There were three Walsh Porter sales, ^22 is. (Lord Lindsay). Attributed to 
 
 viz., March 22, 1803; April 14, 1810; Zurbaran by Waagen, Treasures of Art, 
 
 May 6, 1826 — all at Christie's.] iii. 204, and to an excellent Spanish painter 
 
 171". Due d'Aumont had a St. Jerome, by Mrs. Jameson, History of Our Lord, 
 
 Very beautiful. Chabert, Gal. des Peint. i. 301. 
 
 18. St. John Seated in the Desert. 1.40x1.06. 
 
 Standish sale, 1853, No. 93, attributed to the " School of Murillo," ^79 
 ioj. (Anthony). Purchased from Julian Williams. Standish, Seville, 186. Praised 
 by Head in Foreign Quarterly, xxvi. 257, and by Stirling, Velazquez, Paris 
 ed., 192. Both these authors consider this to be a genuine early work by Velaz- 
 quez. " It is Velazquez's well-known rustic model converted into St. John. The 
 picture was considered, when in Seville, older than the Nativity. The landscape in 
 which the saint is seated is admirable. Its originality cannot be doubted." Richard 
 Ford, in the Athenaum, May, 1853. 
 
 A St. John, " from the Standish collection," was exhibited at Manchester, 1857, 
 No. 795, by R. P. Nichols. 
 
 18a. Louis Philippe sale, 407, St. From a private collection in Seville, 
 John, half-length, life-size, .97X.68. ^35 (Hickman). 
 
 19. St. John the Evangelist. Bartle Frere, Esq. He is 
 
 seated, in white robe and violet drapery, writing the Apocalypse ; an 
 eagle on his right ; the Virgin is dimly seen in a small glory above. 
 54x40 in. 
 
 Companion to the Immaculate Conception, No. 4, which see. 
 
 19a. Death of St. Joseph, Her- 
 mitage, St. Petersburg. The saint lies 
 on a couch, strongly foreshortened, his 
 feet front ; he turns his head toward the 
 Saviour, who stands by his side; the Vir- 
 gin is on the other side, resting her head 
 on the pillow ; four winged heads above. 
 Three figures, half-length. 39X58 in. 
 
 From Houghton Gallery. Apprais- 
 ed by West and Cipriani at £200. It is 
 not by Velazquez, and has been with- 
 drawn from the gallery and placed in 
 the Chancellerie of the Hermitage. In 
 the Louvre (Dessins No. 685) is a draw- 
 
 ing for this picture, attributed to Velaz- 
 quez, drawn with a pen, and washed 
 with bistre ; round top, . 12 X .20. It was 
 bought, with two other drawings, for 60 
 livres, at Mariette sale, 1775. 
 
 Alex. Bannermann, line, 9X14, in 
 Houghton Gallery. Michel, line, 4x6, 
 in some copies of the Houghton Gallery. 
 Podolinski, outline, in Camille de 
 Geneve, Galerie de V Hermitage. Hip. 
 Robillard, litho., in Gal. Imp. de V 
 Ermitage. Madame Soyer, outline, in 
 Journal des Artistes, No. vi., Paris, 
 1 841. 
 
 20. St. Peter Delivered. Francis Cook, Esq., Richmond 
 Hill, Surrey. On the right the saint, in yellow drapery, is being raised 
 
COMPOSITIONS. 
 
 13 
 
 from the ground by an angel, who enters the prison clad in white robe 
 and red mantle ; on the left three guards lie asleep ; a staircase leads 
 to a door in the background. 55x74 in. 
 An early work, in the manner of Alonzo Cano. 
 
 20a. Louis Philippe sale, 202. St. 
 Peter. Half-length, life-size, .95X.84. 
 From a private collection in Madrid. 
 £\ ioj. 
 
 20b. Louis Philippe sale, 406. St. 
 Peter's Repentance. Half-length, life- 
 size, .95 X • 84. From a private collection 
 in Madrid. £\\. (Drax.) 
 
 20c. Viscount Powerscourt. St. 
 Peter Denying Christ. British Institu- 
 tion, 1837. 
 
 2od. Stockholm Museum, 766. St. 
 Roch seated, with a staff in one hand 
 and his hat in the other; near him is 
 seen the head of a dog. .42X.34. A 
 fine sketch, but not by Velazquez. 
 
 20c Marquis de Santa Maria, 
 Lima. St. Sebastian. Nagler, Kiinst. Lex. 
 
 2of. J. S. W. S. Erle-Drax, Esq. 
 
 St. Stephen Stoned. Presented by the 
 Queen of Naples' to her secretary, Mr. 
 Oates, who sold it to Charles O'Neil, 
 from whom Mr. Drax purchased it. 
 
 20g. Salamanca Gallery, Madrid. A 
 female saint, with a palm. Burger, Ve- 
 lazquez, 265. 
 
 2oh. Wynn Ellis exhibited "A 
 Saint," at British Institution, 1859. 
 " St. Faustina " sold at his sale, June 
 17, 1876,^99^. 
 
 20k. Prince of the Peace, Rome. 
 A martyr, in a red dress. One of 
 the finest pictures in the collection; 
 the tone and execution most superb. 
 Sir D. Wilkie. Life by Cunningham, 
 ii.257. 
 
 21. The Maids of Honor. Las Meninas. Museo del 
 Prado, 1062. In the studio of the artist, a chamber in the Old 
 Palace or Alcazar at Madrid, Velazquez stands on the left before an 
 easel, painting the united portraits of Philip IV. and his wife Mariana, 
 which are seen reflected in a mirror; he holds a palette and brushes, 
 and suspends his work, while he turns his face to the spectator; the 
 infanta Margarita Maria, a child four or five years of age, afterwards 
 wife of the Emperor Leopold, is listening to Dona Isabel de Velasco, 
 daughter of D. Bernardino Lopez de Ayala y Velasco, Conde de Fuen- 
 salida, and is receiving a glass of water which is handed to her on a 
 salver by Dona Maria Agustina, daughter of Don Diego Sarmiento; 
 two dwarfs, Nicolasito Pertusano and Maria Barbola on the right, are 
 playing with a dog; Dona Marcela de Ulloa, habited as a nun, is 
 conversing with a guarda damas ; Jose Nieto, Aposentador de la 
 
14 
 
 VELAZQUEZ. 
 
 Reyna, is entering the chamber by a flight of steps seen through an 
 open door in the rear. Among the pictures which adorn the wall of 
 the chamber is Apollo and Pan, by Rubens. Nine figures, less than 
 life-size. Latest manner. 3.18X2.76. 
 
 This work, one of the most perfect fac-similes of nature that art has ever pro- 
 duced, and which Giordano called la teologia de la pintura, is among the latest produc- 
 tions of the artist. It was painted in 1656, and is described at length by Palomino 
 (iii. 342), to whom we are indebted for the names of the persons represented. It 
 is unglazed, and is executed in a broad, bold style, so that we can follow almost 
 every sweep of the brush. The lighting of the scene by four windows on the 
 right, and a door in the rear, presented unusual difficulties over which the painter 
 has triumphed with remarkable genius. There is a pretty tale that the red cross of 
 Santiago on the breast of the artist was painted by the King himself. The story is 
 mentioned by Palomino, who, however, asserts that the cross was placed there by 
 command of the King after the death of Velazquez. It was not until 1659, three 
 years after the picture was painted and the year before his death, that Velazquez 
 was made a Knight of Santiago. The portrait here given is the most authentic we 
 have of the artist, and it has been etched by M. Saint Raymond for this catalogue. 
 In the inventory made at the death of Carlos II., in 1700, this canvas was valued 
 at 10,000 doubloons. It was slightly injured by the fire which destroyed the Alcazar 
 in 1734, and was restored by Juan de Miranda. D. Jose" Nieto, whose portrait 
 appears in this picture, was a competitor with Velazquez for the post of Aposentador 
 de Falacio, as appears from a document dated February 16, 1652, published in Zarco 
 del Valle, Doc. Jnedit., 402. 
 
 F. Goya, etch., 14.4X12.3. Only five impressions are known: I. In the 
 Royal Collection at Berlin, said to be from Cean Bermudez ; a double impres- 
 sion, red on one side and black on the other. II. In the Biblioteca Nacional, Mad- 
 rid, from D. V. Carderera. III. Belonged to Lord Cowley. IV. Sir W. Stirling- 
 Maxwell; purchased at Charles Morse sale, July 4, 1873, for £10. V. In the 
 British Museum, purchased from Colnaghi in i860 for £21. According to Senor 
 Carderera, Goya destroyed the copper, it having been injured by leaving too long 
 in the acid in the endeavor to strengthen the tones by rebiting. He adds that he 
 saw in the possession of General Meade the only impression made after rebiting. 
 Goya's drawing in red crayon, made for this etching, belonged to Cean Bermudez. 
 Die. v. 172. B. Maura, etch., 9.4x7.9, in Grabador al Ag. Fuerte. P. Audouin, 
 line, 18.2X 15.4, 1799, at Calco. Nacional. C. Nanteuil, lith., in Joyas Pint. E. C. 
 Cos, litho., in Gal. Esp. Juan Martinez, litho., about 12 X 10. Outline in Reveil, 
 Muse'e de Feint, xiv. 971. On wood in La Illustracion Esp. y Amer. March 30, 
 1877. 
 
 22. The Maids of Honor. Walter Ralph Bankes, Esq. 
 
 Kingston Lacy, Dorset. An original sketch of the above, with varia- 
 tions. The head of the artist himself is reflected in the mirror, and 
 the King is seen in the doorway. 56X48 inches. 
 
COMPOSITIONS. 
 
 IS 
 
 Purchased by J. W. Bankes about the beginning of this century, from the heirs 
 of Jovellanos. Mentioned by Cean Bermudez, Die. i. xxiv. and v. 172. British 
 Institution, 1823, 1864 ; Royal Academy, 1870. 
 
 El Artista (i. 14) asserts that the heirs of Jovellanos still had in 1835 the 
 sketch mentioned by Cean Bermudez. (?) 
 
 23. The Spinners. Las Hilanderas. Museo del Prado, 
 1 061. The scene passes in the Royal Tapestry Manufactory of Santa 
 Isabel, at Madrid. In the foreground an old woman at her spinning- 
 wheel turns her head to speak to a girl behind her, who is drawing 
 back a red curtain ; a girl in the centre, carding wool, suspends her 
 work to observe a cat sleeping at her side ; another, on the right, 
 winds yarn from a reel ; behind her is one entering the chamber with 
 a basket ; in an alcove in the background are three ladies examining a 
 piece of tapestry. Eight figures. Latest manner. 2.20x2.89. 
 
 This masterpiece of Velazquez was painted about 1656 and was formerly in the 
 palace of Buen Retire " Parece no tuvo parte la mano en la execucion, sino que se 
 pinto con sola la voluntad," Raphael Mengs, Carta al Autor, in Ponz, Viage vi. 
 225. A copy by Collier is in the Ecole des Beaux Arts, Paris. 
 
 Milius, etch., 9X12.1 in IS Art, 1874, t. iv. Gaujean, etch., in Gaz. B. Arts, 
 January, 1880. Galvan, etch., 8.2x11, 1875, in Grabador al Ag. Fuerte. B. 
 Maura, etch., 12X16, 1870, at Calco. Nacional. E. C. Cos, litho., in Gal. Esp. 
 Outline in Reveil, Musee de Peint. On wood in Blanc, Peintres, and in Scott, Murillo. 
 
 23a. E. and I. Pereire, Paris, had a duced in place of the cat. From Urquaiz 
 
 repetition of the above with changes, gallery, Madrid. Burger, Velazquez, 290. 
 
 Two of the heads are seen front instead According to M. P. Lefort, this is a 
 
 of in profile; the arms and hands have not modern fabrication by Eugenio Lucas, 
 
 the same movement ; there are more fig- Gazette des Beaux Arts, Nov. 1881, p. 
 
 ures in the background ; a vase is intro- 406. 
 
 24. The Family of Velazquez. Belvedere S. VII., No. 14. 
 
 Vienna. In a well-lighted chamber are seen twelve figures which are 
 commonly said to represent the family of Velazquez. Juana, his wife, 
 is seated in the foreground with two children standing at her knee ; on 
 the left is her daughter Francisca with three other children ; Juan 
 Bautista Martinez del Mazo, the husband of Francisca, stands on the 
 extreme left with a young man who is called a younger brother of 
 Juana ; a green curtain behind them bears a coat of arms consisting 
 of an arm holding a mallet ; Velazquez, in an alcove in the rear, with 
 
i6 
 
 VELAZQ UEZ. 
 
 his back to the spectator, is painting a portrait of a lady ; a servant 
 approaches him with a child. Figures two-thirds life-size. 1.50x1.71. 
 J. Kovatsch, line, in Haas, Gal. de Vienne. W. Unger, etch., 8.3X10 in 
 
 Gemalde Gal. in Wien. 
 
 Stirling (Annals, ii. 671) considers this the most important work of the 
 master out of Spain, and upon it he founds the conjecture that Velazquez had at the 
 time it was painted four sons and two daughters. The writer, however, is unable 
 to concur in this opinion, and he confesses that he cannot recognize in the picture 
 either the hand or the family of Velazquez. 
 
 Juana, the wife of our artist, is represented as about thirty years of age, and the 
 mother of six children, of whom the eldest is not less than twenty years old. The 
 records that have come down to us concerning the kindred of Velazquez are scanty, 
 but the following facts are well authenticated. His marriage took place the 23d day 
 of April, 1618, and the fruits of this union were two children: Francisca, who was 
 born May 18, 16 19, and Ignatia who was baptized January 29, 1621, in extremis. 
 That the latter died young is certain, since Francisca, at the time of her marriage 
 with Mazo, in 1634, was styled the only daughter of Velazquez. There is neither 
 record nor tradition of any other children than these. Pacheco is not known to have 
 had any other child than Juana, who married Velazquez. See Asencio, Pacheco, 27. 
 Zarco del Valle, Doc. Ine'dit, 401, 410. Mazo had several children, muchos hijos, 
 but Cean Bermudez mentions the names of only two, Gaspar and Baltasar. 
 His wife Francisca died in 1658 or earlier. 
 
 The artist whom we see at his easel shows us only his back, and it is difficult 
 to recognize the figure of Velazquez, who, judging from his portrait in the Meninas, 
 was not so tall or thin as the person shown in the above picture. The face of the 
 young man called Mazo does not in the least correspond with the portrait of him 
 by Esteban March in the Museo del Prado, No. 779, which is engraved in part in 
 Blanc, Peintres, art. Mazo, and which shows him to have been a thin, spare man. 
 Nor does the portrait of Juana resemble that in the Museo del Prado, which com- 
 monly passes for the wife of Velazquez. See post No. 261. After careful considera- 
 tion, the writer is inclined to believe that the coat of arms displayed in the above 
 painting is the punning signature of the painter, Mazo, whose name signifies a mace 
 or mallet ; that the artist standing before the easel is Mazo himself, and that the scene 
 depicts the family, not of Velazquez, but of his son-in-law with his ?nuchos hijos, or 
 possibly the family of some friend or patron of Mazo ; and this opinion is 
 strengthened by the fact that the style of the work recalls the pupil rather than 
 the great master. 
 
 25. Meeting of Artists. Louvre, 554, Paris. Thirteen persons 
 in picturesque costume, divided into three groups, stand in varied atti- 
 tudes, engaged in animated conversation ; among them, it is thought, 
 the portraits of Velazquez and Murillo may be recognized. .47x«77- 
 
 This picture, known as the Conversation of Velazquez, was presented to the 
 Duchess of Alba, by Don Gabriel, son of King Carlos III., whose mark is on the 
 canvas. After the death of the Duchess in 1801, her pictures were sold, and this 
 
CLASSICAL SUBJECTS. 
 
 *7 
 
 one fell into the hands of a refugee, from whom it was purchased in 1827 by the 
 Marquis de Forbin-Janson, at whose sale, May 2, 1842, it was withdrawn at 
 5,800 f. It was purchased from M. Laneuville in 1 851, for 6,500 f. 
 
 Ed. Manet, etch., 9.6X 15, reversed. G. W. Thornley, litho., 10x16, 1879. 
 On wood, in Blanc, Peintres ; Art Journal, 1852, p. 364; Scott, Murillo; Gaz. B. 
 Arts, Sept. 1879; J- F. Robinson, Great Painters. 
 
 26. A Dead Warrior. Called Orlando Muerto. National 
 Gallery, 741, London. The paladin Roland, invulnerable to the 
 sword, was squeezed to death at the battle of Roncesvalles, by Ber- 
 nardo del Carpio. His body lies extended across the canvas, the 
 right hand on his breast, the left at his side ; a brass lamp hangs 
 suspended from a branch growing from the rock above ; a skull and 
 bones near his feet. 41X65 inches. 
 
 Purchased at the Pourtales sale, March 27, 1865, for 37,000 f. The catalogue 
 of that sale says it was formerly in one of the royal palaces of Spain, but it is not 
 mentioned by any of the old authors, nor in any of the royal inventories. However 
 striking and admirable the picture may be, its authenticity must be considered 
 doubtful. In the collection of M. Cremer, at Brussels, is an old copy which was 
 bought at a sale in Paris as an original. F. Reiset, in Gazette Beaux Arts, June, 
 1877. Stirling, Annals, 680. 
 
 Flameng, etch., in Gaz. B. Arts, 1865. 
 
 26a. Lord Northwick sale, 1859, and his brother. In the copy, Velazquez 
 
 No. 258. Four Philosophers, a copy of is substituted for Rubens' brother. From 
 
 the picture by Rubens in the Pitti Gal- the Urquijo Gallery, Madrid ; brought to 
 
 lery, No. 85. The original contains England by the Duke of San Carlos, 
 
 the portraits of Lypsius, Grotius, Rubens, ^37 6s. (Capt. Ridgway). 
 
 27. Bacchus. Los Borrachos, or Los Bebcdores. Museo del 
 Prado, 1,058. The half-naked Bacchus, crowned with vine-leaves, 
 sits enthroned on a cask, and smiles as he places a leafy crown on the 
 head of a young soldier who kneels before him; on the left is a 
 peasant seated, and another, naked and crowned, reclining on a bank 
 with a cup in his hand ; on the right, five jovial peasants, one of them 
 laughing, observe with interest the comical ceremony. Landscape 
 background. First manner. 1.65X2.25. 
 
 Stirling assigns this work to the year 1624, founding his opinion on the signa- 
 ture to the sketch owned by Lord Heytesbury. But the authenticity of that signa- 
 ture may be questioned, since it was not customary for Velazquez to sign even his 
 3 
 
I 8 
 
 VELAZQUEZ. 
 
 finished works, much less his sketches. Moreover, it is certain that the payment of 
 ioo ducats (275 francs) for the above painting was not made until five years later 
 than that date, as appears from a document still preserved in the Royal Archives of 
 Spain, dated July 22, 1629. " Diego Velazquez pintor. Cargo de quatrocientos 
 ducados en plata, Los trescientos a cuenta de sus obras, y los ciento por la de una 
 pintura de Baco que hizo para servicio de S. M. " Gaz. B. Arts, Nov. 1879, p. 421. 
 According to M. Quilliet, the picture was taken to Paris by the French. Diction- 
 naire, 369. An old copy is in the Museum at Naples. 
 
 The subject, style, and coloring offer some resemblance to the celebrated 
 picture of Silenus in the Naples Gallery, painted by Ribera in 1626. The scene is 
 irresistibly comical, and the success of the artist in seizing a laugh and fixing it on 
 the canvas, without converting it into a grimace, is an unparalleled triumph of skill. 
 
 Velazquez (?), etch., 11X14. Signed Diego Velazquez, ft. 7 figs. only. 
 Mentioned in Nagler, Kiinst. Lex., and in Andressen, Handbuch. F. Goya, etch., 
 ii.5Xi5-4j 1778; rare; the copper is lost. H. Adlard, etch., after Goya in Stir- 
 ling, Annals. Alabern y Fatjo, etch., 5.1x7. Pineda, etch., in Grab, al Ag. 
 Fuerte. A. Masson, etch, in Gaz. B. Arts, Sept. 1879. M. S. Carmona, line, 
 14.1X20.3, at Calco. Nacional. A. Blanco, litho., in Col. Lito. C. Nauteuil, 
 litho. in Joyas Pint. D. Valdivieso, litho., 10.8X14.5. E. C. Cos, litho., in 
 Gal. Esp. Juan Martinez, litho., 10x14. Outline in Reveil, Musee de Feint. 
 On wood in Blanc, Peintres; Scott, Murillo ; Art Journal, Dec. 1852; Viardot 
 Hist, of Painting ; Wurzbach, Klassiker der Malerei. 
 
 28. Bacchus. Lord Hey tesbury, Wilts. A sketch of the above 
 somewhat varied; there are but six figures; among them a negro; 
 the kneeling figure is fully draped. Signed " Diego Velazquez, 1624." 
 32x39 inches. 
 
 Purchased from Simone, a picture dealer at Naples. Waagen, iv. 387. 
 Stirling, 597. 
 
 29. Two Peasants. Robert S. Holford, Esq., London. A 
 peasant holding a bowl in his hands, and another peasant looking over 
 the left shoulder of the first. Sketch of two figures in the picture 
 of Bacchus, No. 27. Oval, 27x33 inches. 
 
 , Purchased from L. Viardot. Mentioned in Annuaire des Artistes, 1861, p. 135. 
 
 30. Esop. Museo del Prado, 1,100. An old man with a 
 coarse gray garment fastened about his middle, stands front, with a 
 parchment folio in his right hand ; his left is thrust into the bosom 
 of his dress ; on the ground is a tub. Full length. Latest manner. 
 1.79X.94. 
 
 This picture and its companion, Menippus, No. 32, were probably painted by 
 command of Philip IV. for the royal palace. Though greatly celebrated, especially 
 
CLASSICAL SUBJECTS. 
 
 19 
 
 through engravings, they are not of the highest quality. Mr. Ford says Esop looks 
 more like a shirtless cobbler than a philosopher. Handbook ii. 689. A copy by 
 Prevost is in the Ecole des Beaux Arts, Paris. 
 
 F. Goya, etch., 11.8x8.5, 1778, at Calco. Nacional. There exist, I. Proofs 
 before letter. An impression with the etching of D. Baltasar Carlos on the back, 
 sold at His de la Salle sale, 1856, for 45 f., and is now in the collection of Sir W. 
 Stirling-Maxwell. II. Inscribed Esopo el fabulator, etc., with the names of the 
 artists. A copy is in the Biblioteca Nacional, Madrid. III. Prints inscribed 
 Sacada, etc. The modern impressions of all Goya's etchings after Velazquez may 
 be distinguished by their being on very white vellum paper. Sir W. Stirling-Max- 
 well bought Goya's drawing for this etching at Charles Morse sale, July 4, 1873, 
 for ^"2.5. C. Alabern, etch., in Alabern, Galleria. Laguillermie, etch. 
 (11.3X6.3). Galvan, etch., in Arte en Espana, vol. ii., and in Grab, al Ag. 
 Fuerte. Franch, etch., unpublished. M. Esquivel, directed by F. Muntaner, 
 line, 19X9.5 at Calco. Nacional. Soulange Tessier, litho., in Joyas de la Pint. 
 E. C. Cos, litho., in Gal. Esp. On wood in L'Art, Dec. 1878, and in Illustration 
 Esp., Sept. 16, 1873. 
 
 31. Mars. Museo del Prado, 1,102. A naked figure seated 
 with blue drapery covering his middle, and red drapery at his side ; a 
 helmet on his head, and pieces of armor at his feet ; his chin rests 
 on his right hand ; light brown background. Latest manner. i.79X-95« 
 
 Probably painted after the second journey of Velazquez to Italy. It is first 
 mentioned in the royal inventory in 1772. A drawing in red chalk, formerly in the 
 Jovellanos collection, is in the Royal Institution at Gijon. 
 
 J. Vallejo, etch., 8.2X4.5, reversed, in El Arte en Espana, vol. i. Pineda, 
 etch., in Grab. Ag. Fuerte. G. R. Le Villain, line, 17x9.1, 1797, at Calco. Nac. 
 Madrid. V. Loutrel, litho., in Joyas Pint. E. C. Cos, litho., in Gal. Esp. 
 
 32. Menippus. Museo del Prado, 1,101. An old man stands 
 turned to the right, looking front, wearing tattered garments, and a 
 cloak which he holds to his breast with his left hand ; a jar, book, 
 and roll of parchment are on the ground before him ; behind him an 
 open folio. Companion to No. 30. Latest manner. i.79x-94- 
 
 Fortuny made a large copy of the bust of this picture, which hung in his studio 
 for many years. A copy by Prevost is in the Ecole des Beaux Arts, Paris. 
 
 F. Goya, etch., 11.9x8.6, 1778, at Calco. Nacional. There exist, I. Proofs 
 before letter. An impression was in Paul Lefort sale, January 28, 1869. II. 
 Inscribed Menippo filosofo, etc., with artists' names. III. Inscribed Sacada, etc. 
 Laguillermie, etch. (11.4x6.3). V. Lhuillier, etch., 12.2x6.3, in VArt, 
 t. xii. 1878. B. Maura, etch., in Grab, al Ag. Fuerte. Franch, etch., unpub- 
 lished. M. Esquivel, directed by F. Muntaner, line, 19X9.5, at Calco. Nacional. 
 Soulange Tessier, litho., in Joyas Pint. E. C. Cos, litho., in Gal. Esp. On 
 wood in Gaz. B. Arts, Aug. 1880. 
 
20 
 
 VELAZQUEZ. 
 
 33. Mercury and Argos. Museo del Prado, 1,063. Argos 
 reclines against a rock on the right, asleep ; Mercury, bearing a sword, 
 approaches stealthily on his knees, and is about to dispatch the 
 slumberer; Io lies behind them in the form of a cow. Latest manner. 
 1.27x2.48. The height was formerly only .83 cm. 
 
 This picture, and a companion representing Apollo flaying Marsyas, now lost, 
 are mentioned in the inventories of the old palace at Madrid. 
 
 Jose Vallejo, etch., 3.6X 10, in El Arte en Espana, 1862. Galvan, etch., in 
 Grab, al Ag. Fuerte. E. C. Cos, litho., in Gal. Esp. 
 
 34. Venus and Cupid. Robert Morrit, Esq., Rokeby Park, 
 Yorkshire. The Goddess, entirely naked, reclines at full length on a 
 purple couch ; her back is turned to the spectator; her head is slightly 
 raised, and we see her face reflected in a mirror held by Cupid, who 
 kneels on the couch near her feet; behind her hangs a green and 
 crimson drapery. Full length, life-size. Latest manner. 
 
 This is one of the very few representations of the undraped form produced 
 in Spain, where the Inquisition, as Palomino informs us, decreed a penalty of 1,500 
 ducats besides excommunication and a year's exile against the painter of an immodest 
 picture. The style indicates that it was executed in the last years of the life of 
 Velazquez. We know that he painted two pictures of this character, Venus and 
 Adonis, and Psyche and Cupid, both of which, iXij^ varas in size, were inven- 
 toried in the Alcazar at Madrid, Salon de los Espejos, in 1666, 1686, and 1700. 
 
 After that date they disappeared, and doubtless both were in the Palace when 
 it was destroyed by fire on Christmas night, 1734. The Venus and Adonis must 
 have perished in the flames, for we hear nothing of it after that time. The Psyche 
 and Cupid was probably saved. In support of the supposition that it was the 
 picture above described, it may be observed that the canvas is black near the head 
 of Cupid, an effect that may be attributed to the action of great heat. After the fire, 
 as Charles III. had but little love for art, especially for the school of Velazquez, it 
 is not difficult to believe that he parted with this painting to the Duke of Alva, in 
 whose possession it was first noticed by Ponz in 1776. " Entre algunos quadros de 
 Velazquez es muy celebrada la Venus eschada de espaldas, cuya cara se ve en un 
 espejo, que se finge acia donde mira la figura." Ponz, Viage v. 302. It is also 
 mentioned by Conca, Descrizione delta Spagna, Parma, 1797, 4 vols. 8vo, vol. ii. 
 236, and in Cean Bermudez, Diccionario, i. xxiii. This picture and a companion, A 
 Sleeping Nymph, by Titian, were bought by Mr. Wallis from the Prince of the Peace 
 in 1813, and were in Mr Buchanan's hands for sale. Mr. Morrit purchased the 
 Venus and Cupid on the recommendation of Sir Joshua Reynolds for ^"500. The 
 Titian is said to have been returned to Spain. See Buchanan, Memoirs, ii. 243 ; 
 also a long and interesting account by D. Pedro de Madrazo in La Illustracion 
 Esp. y Amer., Nov. 8, 1874. Exhibited at Manchester, 1857. 
 
 Engraved on wood in La Illust. Esp. y Amer., Nov. 8, 1874. 
 
HISTORICAL SUBJECTS. 
 
 21 
 
 35. The Forge of Vulcan. Museo del Prado, 1,059. 
 Apollo, whose nakedness is only partly covered by a yellow mantle, 
 enters the smithy of Vulcan and narrates to him the infidelity of 
 Venus ; the injured husband suspends his work at the anvil to receive 
 the astounding news ; four Cyclops on the right cease their labors to 
 listen to the scandal. Greyish background ; six figures. Second 
 manner. 2.23x2.90. 
 
 Painted in Italy in 1629-31. It is evidently after the same models as La 
 Ttmica de Josef, No. 3, which see. 
 
 Glairon, line, 15.2X20.8, 1798. Enriquez, line, 16x21, at Calco.Nacional. 
 Alabern y Fatjo, etch., 5x6.6. J. Jollivet, litho., in Col. Lito. E. C. Cos, 
 litho., in Gal. Esp. D. Valdivieso, litho., 11.5X14.6. Outline in Reveil Muse'e. 
 
 35a. Arthur H. Smith-Barry, Esq., 
 
 Marbury Hall, Cheshire. Cupid in the 
 open air with small, dead birds; near 
 him are two ducks; in the foreground, 
 cabbages and a melon. Waagen, iv. 410. 
 J. Smith-Barry, Esq., exhibited at Man- 
 chester in 1857, Cupid seated on a wall 
 surrounded by game; attributed to 
 Preti. 
 
 35b. Comte Maison, Paris. Cupid 
 overturning a statue and an altar dedi- 
 cated to Pan ; the flowers which adorned 
 it are scattered on the ground. Blanc, 
 Peintres, Life of Velazquez, p. 15. Annu- 
 aire des Artistes, 1861, p. 132. 
 
 35c. In the Choiseul, Prince de 
 Conti, and Menageot sales were a 
 Danae and a Mars and Venus. See Blanc, 
 
 Tresor. They were probably not by 
 Velazquez, and have disappeared. 
 
 35d. Calonne sale, March 22, 1795. 
 Satyrs, with a tigress and her young. 
 Sold as a Murillo for ^"157 iar. Resold 
 April 27, 1795. Sold as a Velazquez at 
 Bryan sale, May 17, 1798. ^168. At 
 Edward Coxe sale, April 23, 1807, it 
 sold as a Velazquez for ^99 15^. Bu- 
 chanan, Memoirs, i. 240, 285. 
 
 35c Aguado sale, 1843. The Death 
 of Seneca. A physician and a slave place 
 the philosopher in the bath into which 
 another slave pours water ; secretaries 
 occupy themselves in writing his last 
 words. Seven figures, 1.48x2.32, 460 
 francs. Valued at 40,000 francs. See 
 No. 14c note. 
 
 36. Surrender of Breda. Las Lanzas. Museo del Prado, 
 1,060. The Marques de Spinola accompanied by his officers, in the 
 presence of the Flemish and Spanish armies, advances to receive the 
 keys of the City of Breda from the Governor-General, Justin of 
 Nassau (June 5, 1625). The Conqueror holds his hat in his left hand, 
 and places his right on the shoulder of his vanquished foe, who, 
 bending forward, offers the keys ; in the foreground, on the right, is 
 a horse, beyond which are soldiers bearing lances, which give the 
 
22 
 
 VELAZQUEZ. 
 
 picture its name; on the extreme right is a soldier wearing a grey 
 
 habit, a wide falling collar, and a hat with white feathers, said to be 
 
 the artist himself; in the background a camp and fortifications are 
 
 seen. Second manner. 3.07x3.67. 
 
 Painted about 1647 for the Palace of Buen Retiro, Palomino iii. 335. The 
 artist took unusual pains with this work out of respect to the memory of Spinola, 
 who was his friend and traveling companion on his first journey to Italy. It is one 
 of the finest historical pictures in the world. There is an appearance of immensity ; 
 there are no more than twenty figures in sight, and yet we have the idea of an army. 
 In the background we see miles and miles of low, flat country, here and there 
 dotted with fortifications, and then the sea. A picture, purporting to be the original 
 sketch for this composition, with some variations, was offered for sale at Paris, 
 Dec. 27, 1859, at an upset price of 25,000 francs. It was returned unsold to Spain, and 
 may be now in the possession of Senor Rosales, in Granada. See Notice sur la 
 magnifique esquisse de Velazquez, etc. Paris, 1859, 8vo, 16 pp.; also Burger, in 
 Gaz. B. Arts, xvi., 207. M. Thore (Revue de Paris, 1835) mentions a partial 
 sketch which belonged to Soult, but it was not in his sale. A copy, begun by 
 Henri Regnault, but finished by another hand, is in the Ecole des Beaux Arts, Paris. 
 In the Louvre (Dessins, 459) is a drawing in crayon of a horse seen from behind, 
 with many figures standing in the background ; among them a personage placing 
 his hand on the shoulder of another; .239 mil. X. 190 mil. From the collection of 
 P. J. Mariette. 
 
 Laguillermie, etch., 13.4x16. B. Maura, etch., 12.9X 16, 1871, at Calco. 
 Nacional. F. De Craene, litho., in Col. Lito. E. C. Cos, litho., in Gal. Esp. 
 Bachillier, outline, 1850. Outline in Reveil, Musee. 
 
 36a. Altamira sale, June 21, 1827. 36b. Expulsion of the Moors from 
 
 Valencia del Po attacked by the French Spain. Painted in 1627, in competition 
 
 and defended by the Spaniards, ^39 iSs. with V. Carducho, Caxes, and Nardi. A 
 
 Resold May 24, 1828. This is perhaps full description is given in Palomino iii. 
 
 the picture formerly in Buen Retiro, 327, and Stirling, ii. 599. It was prob- 
 
 painted by Juan de la Corte, a pupil of ably burned in the fire which destroyed 
 
 Velazquez, who died in 1660. The the old palace or Alcazar at Madrid in 
 
 head of D. Carlos Coloma is by Velaz- 1734. As a reward of his success in this 
 
 quez himself. Ponz, Viage, vi. 129. contest, Velazquez was appointed Ugier 
 
 Cean Bermudez, Die. i. 364. Conca, i. 68. de Camera. 
 
 [The present Conde de Altamira is also 36c. Aguado sale, No. 141, Marche 
 
 Marques de Leganes and Duque de San de Cavaliers. Some horsemen in armor 
 
 Lucar, which titles, with the San Lucar are moving towards the declivity of a hill, 
 
 estates, were derived by descent in the on which they are seen. Nine figures, 
 
 female line from Olivares. See No. 166. ] .65 X .83. 650 francs. 
 
HUNTING SCENES. 
 
 23 
 
 37. The Boar Hunt. National Gallery, 197, London. 
 Philip IV. and numerous courtiers are hunting wild boars in the Pardo, 
 a royal hunting seat on the Manzanares, two leagues from Madrid. 
 Within an arena inclosed by canvas walls two boars are pursued by 
 the royal party, among whom it is thought possible to recognize the 
 King, with Olivares near him on a bay horse ; the Cardinal Infant, 
 Don Fernando, behind him on a white horse ; and Juan Mateos, the 
 royal huntsman, an old man, on a white horse with long mane ; out- 
 side the arena are many spectators mounted and on foot, besides 
 ladies in carriages. Queen Isabel is in the second carriage. Back- 
 ground, wooded hills. 6 feet 2 inches by 10 feet 3 inches. 
 
 In the Royal Palace at Madrid, in the sala grande, or pieza de comer, was " Una 
 diversion de casa en el Pardo, en que hay figuras chicas de mucha naturalidad y 
 gusto." Ponz, Viage, vi. 54. Cean Bermudez, Die. v. 179. It was presented by 
 Ferdinand VII. about 1820 to Sir Henry Wellesley, afterwards Lord Cowley, Min- 
 ister to Spain, 1810-13, who in 1846 sold it to the National Gallery for ^"2,200. 
 All the hunting scenes were executed before the first visit of Velazquez to Italy. 
 
 Photograph in Virtue, National Gallery, 4 vols., 4to. 
 
 [The purchase of this painting was the occasion of much unfavorable comment 
 at the time ; and the charge having been made that the canvas had suffered greatly 
 by repainting, the matter was inquired into by a Parliamentary Committee. Consid- 
 erable testimony was taken, and the opinions elicited as to the value of the work 
 were, as might have been expected, conflicting. Among the witnesses examined 
 was Mr. George Lance, who testified in substance that, about 1833, Lord Cowley 
 having commissioned Mr. Thane to clean and reline the picture, the person 
 employed for that purpose had carelessly blistered it with hot irons. Mr. Thane 
 was greatly distressed, and engaged Mr. Lance to repair the mischief. According 
 to the statement of this witness, portions of the work were entirely gone, leaving 
 only the bare canvas ; whole groups of figures and a portion of the foreground had 
 disappeared; of the group on the right the outlines were utterly effaced; the 
 whole of the centre was destroyed, with slight indications here and there of men; a 
 portion of the landscape as large as a sheet of foolscap was laid bare ; he repainted 
 nearly all the foreground without any other guide than his own imagination ; he 
 was engaged six weeks on the work, and his brush went over more than one- 
 half the canvas. The witness acknowledged, however, that he had recently seen 
 the picture, and that most of his work had disappeared. See Report from the 
 Select Committee on the National Gallery, p. 346, etc. Parliamentary Papers, 1853. 
 Mr. Lance reiterates his statements in a letter published in The Atheneeum, April 7, 
 1855, p. 407. In the same journal, September 20, 1856, p. 1,165, Mr. William Stir- 
 ling replies. He states that he has procured a tracing from the copy in the Madrid 
 Gallery, made by Goya about 1820, and inasmuch as the restored picture and the 
 tracing agree, with only inconsiderable variations, it is very evident that the work of 
 Mr. Lance was not so extensive or important as he claimed. The controversy 
 
2 4 
 
 VELAZQUEZ. 
 
 attracted so much attention at the time, that this account of it may not be without 
 interest. The writer would add that although the picture does in its present state 
 show in one spot traces of heat, yet there are no signs of such repairs as were 
 alleged to have been made. ] 
 
 38. The Boar Hunt. Sir Richard Wallace, Bart., London. 
 A sketch of the above, but most of the figures in the foreground are 
 wanting. About 24x42 inches. 
 
 Lord Northwick sale, No. 1,096, ^325 iar. to the Marquis of Hertford, who 
 bequeathed his inestimable collection of works of art to Sir Richard Wallace. It 
 is probably the picture which was brought to England in 1826, by Sir Lionel Hervey, 
 formerly Minister to Spain, and exhibited by him at the British Institution, 1835. 
 
 39. A Group of Figures. Countess Cowper. The men in 
 
 red and grey, the priest between them, and some of the other figures 
 
 that are seen in the Boar Hunt, No. 37, with an arch and buildings 
 
 in the background. 30^ x 37 inches. 
 
 Brought to England by Lord Grantham, who was H. B. M. Minister to 
 Spain, 1771-83. It passed by descent to Earl De Grey, and to the present owner. 
 British Institution, 1852. Noticed by Head, Handbook, 159 note, and by W. Stirling, 
 letter in The Athenceum, September 20, 1856, p. 1,165, who states that Lady De 
 Dustanville has a copy by Gainsborough. 
 
 40. The Stag Hunt. Lord Ashburton, London. Philip IV. 
 and his courtiers are hunting stags in the Pardo, in an amphitheatre 
 inclosed with canvas walls, having at the end raised seats filled with 
 spectators. Among the personages represented may be distinguished 
 the King, Queen Isabel, Olivares, Velazquez standing uncovered in 
 the foreground, and Alonso de Espinar, Aide to Don Baltasar Carlos ; 
 the same who is mentioned at No. 142c and 164. 72x96 inches. 
 
 Purchased by Mr. Baring from the ex- King, Joseph Bonaparte, who took it 
 from the Royal Palace at Madrid. It was painted before 1629, and is described in 
 the royal inventories as " Caceria de Felipe IV., en que estaba la Reyna ocupando 
 con sus damas un tabladillo." In 1 714 il wa s in the Alcazar, Torre de la Parada; in 
 1772 it was in the new palace, antecamera de la Princesa. Catalogo Mus. Prado, 
 p. 591, and No. 1,105. British Institution, 1840. Royal Academy, 1871. 
 
 41. A Hunting Scene. The Escorial is seen in the distance illu- 
 mined by the setting sun; broken landscape. 2.45x2.15. 
 
 Louis Philippe sale, No. 491. ^410 (to Pearce). Mentioned and praised 
 by Stirling, Annals of the Artists of Spain, ii. 683. 
 
LANDSCAPES. 
 
 25 
 
 41a. D. Jose' de Madrazo. Cata- 
 logo, No. 437. Landscape. In the fore- 
 ground are several dogs looking at a deer 
 which has been killed by the hunter who 
 accompanies them. A sketch. .44X.93. 
 From Iriarte Gallery. 
 
 [D. Bernardo Iriarte, Vice-Protector 
 of the Real Academia de San Fernando, 
 was at the end of the last century a noted 
 amateur and collector. He is favorably 
 noticed by Cean Bermudez, Carta, 105 
 and Die. i. xxiv. ] 
 
 41b. Jorge Diez Martinez. A 
 hunter apparently just leaving his house ; 
 probably a sketch for a large picture. 
 Sevilla Pinto. 488. 
 
 41c. A Boar Hunt in the Pardo, of 
 different dimensions from that in the 
 
 National Gallery, is mentioned in the 
 Royal inventories in 1637, 1686, 1772. 
 Cat. Mas. Prado, p. 591. In the inven- 
 tory of Charles II. was a hunting scene 
 in which Philip IV. and his brothers, D. 
 Carlos and D. Fernando, pursue a boar 
 on horseback. It was perhaps destroyed 
 by fire with the Royal Palace in 1734. 
 P. Lefort, in Gaz. B. Arts, September, 
 1879, p. 236. 
 
 4id. An old Shepherd, with a dead fox 
 at his feet, was enumerated among the 
 effects of the Prince of the Peace, which 
 were sequestrated in 1813. The picture 
 was returned to the Countess of Chinchon 
 as her private property, and sent to Paris 
 for sale in 1826. Catalogo Museo del 
 Prado, p. 683. 
 
 42. Landscape. Museo del Prado, 1,106. Garden of the 
 Villa Medici at Rome. Stretching across the canvas is a wall or 
 terrace surmounted by a balustrade, and pierced with an arched open- 
 ing which is closed with planks; in the foreground are three men 
 conversing, and beyond the terrace a thick grove of cypress. A 
 sketch. .44X.40. 
 
 This and No. 43 were painted in 1630, when the artist, during his first visit to 
 Rome, occupied for two months the Villa Medici. The villa is now the home of 
 the French Academy. 
 
 C. Aurajo, litho., 8.9X7.5, in El Arte en Espana, torn. i. 1862. On wood in 
 Gaz. B. Arts, February, 1880. 
 
 43. Landscape. Museo del Prado, 1,107. Garden of the 
 Villa Medici. A vine-covered portico having three openings, through 
 which trees and buildings are seen; two men in the foreground. 
 Companion to the above. .44 x.38. 
 
 Wood engraving in Gaz. B. Arts, February, 1880. 
 
 44. Landscape. Museo del Prado, 1,108. Arch of Titus, at 
 Rome. On the right is an archway through which buildings are seen, 
 and beneath which stand two men conversing ; a wall extends from 
 
 4 
 
26 
 
 VELAZQUEZ. 
 
 the arch to a lofty structure on the left ; a shepherd is seated in the 
 foreground on the right piping to his flock. 1.46x1-11. 
 
 Probably painted at Madrid from a sketch made at Rome. 
 
 Asselinau, litho. , in Col. Lito. 
 
 45. Landscape. Museo del Prado, 1,113. A Roman temple 
 on the left, a river on the right ; Mercury flying through the air, and 
 several figures beneath. 1 .48 x 1 • 1 1 • 
 
 46. Landscape. Museo del Prado, 1,114. A large ruin 
 overgrown by foliage, through which clouds are seen; a man and 
 woman walking. 1.48x1.11. 
 
 47. Landscape. Museo del Prado, 1,112. A garden scene. 
 In the foreground are statues ; in the background on the right is a 
 castle behind a group of trees. Perhaps this is a view of the garden 
 of the old Alcazar or Palace at Madrid. 1.48x1.11. 
 
 48. Landscape. Museo del Prado, 1,109. Fountain of the 
 Tritons, Aranjuez. An imposing fountain adorned with Caryatides 
 and Tritons, in a basin surrounded by ivy-covered trees ; in the fore- 
 ground are eight figures; among them a gentleman offering a rose to 
 a lady seated at the foot of a tree. 2.48x2.23. 
 
 This and the following picture were probably painted, or at least sketched, in 
 1642, when Velazquez accompanied the king in his journey to Zaragoza. The 
 fountain is said to have been constructed by Berruguete. 
 
 P. de Leopol, litho., in Col. Lito. On wood in Stirling, Annals, ii. 626. 
 
 49. Landscape. Museo del Prado, 1,110. Avenue of the 
 Queen, Aranjuez. On the right is a spacious avenue flanked by lofty 
 trees ; on the left a river with high banks ; in the foreground various 
 groups of people watching a procession issuing from the palace. 
 Second manner. 2.45x2.02. 
 
 P. de Leopol, litho., in Col. Lito. 
 
 50. Landscape. Museo del Prado, 1,1 11. Gardens of Buen 
 Retiro. In front is a terrace ; on the right a statue ; on the left a 
 man and woman walking; the palace in the background. 1.47 x 1. 14. 
 
LANDSCAPES. 
 
 27 
 
 51. Landscape. Museo del Prado, 788. View of Zaragoza 
 from the opposite side of the river Ebro. The numerous figures in 
 the foreground are by Velazquez ; the landscape by Mazo. 1.81 X3.31. 
 
 Painted in 1647. 
 
 Lithograph in Col. Lito. On wood in Blanc, Peintres, Vie de Mazo. 
 
 52. Landscape. Stafford House, London. In the centre are 
 
 a woman and two children on a brown horse, and a man on a white 
 
 horse, pointing and asking the way of a lame beggar ; on the left is 
 
 a man in red dress seated ; all before a great rock and a clump of 
 
 trees. About 20x30 inches. 
 
 This and the three following landscapes are said to have been formerly in the 
 Royal Palace, Madrid. They were brought to England about 18 14 by Mr. Bourke, 
 Danish Minister to Spain. Stirling, iii. 1408. Two of them were exhibited by Mr. 
 Bourke at the British Institution, 181 6. They do not appear in the royal inventories. 
 
 53. Landscape. Marquis of Lansdowne, Bowood, Wilts. 
 Two cavaliers, meeting on the road, seem to inquire their way of a 
 peasant who is standing; two persons are seated behind; in the 
 distance, on the right, is a grove, and beyond a high cape stretching 
 into the sea. 
 
 See No. 52. British Institution, 1835. Waagen,iii. 164. 
 
 54. Landscape. Marquis of Lansdowne. In front is a 
 group of three cavaliers, two ladies, and two dwarfs ; beyond is 
 another group near some trees ; in the background sunlit water and 
 hills. Companion to the above. 
 
 See No. 52. British Institution, 1835. Waagen, iii. 164. 
 
 55. Landscape, with figures. Lord Ashburton. The Grange, 
 Hants. 
 
 Brought to England about 1814 by Mr. Bourke. See No. 52. 
 
 56. Landscape. Earl of Strafford, Wrotham Park, Herts. A 
 stately chateau in a garden, with various figures, among them a 
 priest in a litter drawn by two horses, with a horseman and a gentle- 
 man on foot ; in the garden are two bronze statues ; on the left, water 
 and a vessel, and hills behind it. 31x30 inches. 
 
 Mentioned by Waagen, Treasures of Art in Great Britain, iv. 321. 
 
28 
 
 VELAZQUEZ. 
 
 57. Landscape. Sir William Gregory, London. A duel in 
 the Pardo. In the foreground are five figures standing beside a bay- 
 horse ; in the middle distance are nine figures, one of them on horse- 
 back ; the landscape is sketchily treated. 35x49 inches. 
 
 J. W. Brett sale, April 18, 1864. ^28 7^. Royal Academy, 1880. 
 
 58. Landscape. Earl of Clarendon, London. View in the 
 Park of Pardo. Philip IV., wearing a white hat and hunting costume, 
 is shooting at a stag; three or four more stags in the background. 
 74X60 inches. 
 
 This and the following picture are supposed to have been purchased by the 
 late Lord Clarendon, when Minister to Spain, 1833-39. Stirling, Annals, ii. 683. 
 
 59. Landscape. Earl of Clarendon. The old Alameda, or 
 public walk in Seville, with the columns of Hercules, and many per- 
 sons walking ; in the distance the Palace of the Inquisition ; in the 
 foreground a representation of the Spanish duello. 47x34 inches. 
 
 Mentioned by Stirling, Annals of the Artists of Spain , ii. 682. 
 
 60. Landscape. A repetition of the above, with some variations 
 
 in the figures. 1.05x1.60. 
 
 King Louis Philippe sale, 492 (290), purchased from a canon in Seville. £66. 
 G. A. Hoskins sale, June 11, 1864, ^65 2s. (Kibble). Stirling, Annals,'\\. 682. 
 
 61. Landscape. Duke of Wellington. A festival near a 
 fortress. A procession is moving toward the gateway of the town; 
 near it is a group of dancers ; in the background a valley surrounded 
 by hills and mountains ; above are cherubs holding a coat of arms. 
 About 18X24 inches. 
 
 62. Landscape. Duke of Wellington. A market with for- 
 tune tellers, groups of personages, horses, and sheep before the walls 
 of a town. Companion to the above. 
 
 63. Landscape. Sir William Stirling -Maxwell, Bart, Keir, 
 Perthshire. Landscape with a man and woman seated, apparently 
 making love. Also, 
 
 64. Companion to the above. The same persons are seen, with 
 another woman, whose back is turned. About 6 inches high. 
 
LANDSCAPES. 
 
 2 9 
 
 Manchester Exhibition, 1857, Nos. 624,625. From the collection of Gen. 
 Meade. Burger, Tresors d'Art, 124. 
 
 Apparently these pictures were not in the Gen. John Meade sale, June 26, 
 1847, which included only the following landscapes by Velazquez : 
 
 (a) Rocky landscape, with a waterfall 
 and two figures in the foreground. £1 14^. 
 
 (b) Birdseye view of an extensive 
 country, with a palace and figures in the 
 foreground. £4. 6s. 
 
 (c) Open landscape, with a group of 
 five figures in the foreground. £S $s. 
 
 (d) Grand landscape, with St. Peter 
 
 and St. Paul, the hermits, beneath some 
 rocks in the foreground. ^3 10s. 
 
 (e) Romantic landscape, with St. 
 John baptizing Christ. ^4 16s. 
 
 (f) An angel appearing to St. Jerome 
 in a rocky landscape. ^31 5-r. 
 
 (g) Gardens of a monastery, with 
 monks. ^3 5^. 
 
 65. Landscape. Hague Museum, 258 (211). View from an 
 
 elevated point ; a group of hunters, with game beneath three tall trees ; 
 
 at a little distance a child and a woman carrying fish in a pannier ; on 
 
 the right a city and the sea. 1.04X.82. 
 
 Purchased at Paris about 181 7, by King William I. It was formerly attrib- 
 uted to " Unknown" but now to Velazquez, on the authority of Burger, Musees 
 de la Hollande, 308. 
 
 65g. Real Casa de Boadilla, resi- 
 dence of the Infant Don Luis de Bourbon. 
 Ruins with small figures. Ponz, v. 165. 
 
 65b:. " Una mancha de perspectiva del 
 Salon Dorado de Palacio, por acabar, de 
 \]/ z varas de alto y 2.y z de ancho, maltrada 
 y sin marco." Royal inventory, 1694. 
 Zarco del Valle, Doc. Ine'dit, 439. 
 
 6si. " Retablo y templo del Escorial; 
 una perspectiva." Cat. Prado, p. 683. 
 
 65k. " Un pais con un pelicano y uno 
 criado y unos livianos. " Inventory of Buen 
 Retiro, in 1 700. Cat. Prado, p. 592. 
 
 65I. "Una Cabana." In the Audiencia 
 Territorial, Seville. G. de Leon, i. 68. 
 
 65m. Lord Northwick sale, No. 412. 
 A grand landscape, with a group of fig- 
 ures in a boat. £60 18s. (Madame Garcia. 
 Afterwards belonged to William Heath- 
 cote, Hyde Park Gate.) 
 
 6sn. Lord Northwick sale, No. 
 1,856. A landscape, with river scenery and 
 numerous figures. £2"]6s. (T. W. Smart.) 
 
 65p. W. W. Burdon sale, June 28, 
 1862. A landscape, with a carriage and 
 
 65a. A. Bravo. A view of Seville 
 from Triana. Sevilla Pinto. 416. 
 
 65b. A. Bravo. A landscape with 
 robbers. Ib., 415. 
 
 65c. A. Bravo. La Cruz del Campo, 
 near Seville, visited by the faithful on 
 Good Friday. Ib., 415. 
 
 6sd. Comte de Gessler, Paris, 
 formerly Russian Consul-General in 
 Spain. A landscape. Burger, Velazquez, 
 292. The collection of M. Gessler was 
 sold at Paris, March 9, 1866. 
 
 65c E. Higginson. A mounted 
 muleteer driving two loaded mules, and 
 conversing with a shepherd at his side ; 
 on the right is a shepherd with his flock, 
 and a man near a hut; mountains in 
 the background. 75x88 inches. This 
 was not in the Saltmarshe sale. 
 
 65f. Bartle Frere, Esq. A garden 
 scene, with a sculptured marble fountain, 
 and some dogs and peacocks in the fore- 
 ground; behind are trim parterres, 
 bounded by high, clipped hedges. 28 j£ 
 X3i}4 inches. Stirling, Annals,m. 1450. 
 
30 
 
 VELAZQUEZ. 
 
 four horses attended by cavaliers. Signed 
 and dated 1647. ^3 5j-. (Flack.) 
 
 65q. Mr. Wilkin sale, April 30, 1813. 
 A landscape. ^28 *]s. 
 
 6sr. H. A. J. Munro sale, May 18, 
 1867. View in a town, with a group of 
 beggars at the stall of a woman selling 
 bread and aguadiente. ^157 iox. 
 (Bourne.) 
 
 65s. Wynn Ellis sale, June 17, 1876. 
 
 Temple of the Winds. ^30 gs. ( Foster. ) 
 Also, a grand landscape, with castle, 
 ruins, and figures. I or. (Walters.) 
 See Waagen, ii. 294. 
 
 65t. Admiral Manners sale, June 
 27, 1870. The Vintage. A grand 
 mountainous view, with women bearing 
 grapes, men treading them and washing 
 casks. From Lady Stepney's collection. 
 ^•53 1 If. (Dr. Beggi.) 
 
 66. El Bobo de Coria. Museo del Prado, 1,099. A clown 
 about forty years of age, with bare head, green dress, and linen collar 
 and cuffs with scolloped edges, is seated on the floor of a chamber 
 looking front, with his mouth half open, and a smiling, foolish expres- 
 sion of countenance; his left foot is behind the right, and partly 
 beneath his body ; his hands rest on his right knee ; beside him are two 
 gourds and an earthen cup. 1.06X.83. 
 
 Most of the pictures of this class are in the second manner of the artist, 
 and were painted, as Palomino informs us (iii. 335), in the period between the first 
 and second journeys of Velazquez to Italy. Nearly all were executed for the king, 
 and are mentioned in the royal inventories. 
 
 L. Croutelle, line, 11.7x8.9, 1797, at Calco. Nacional. Laguillermie, 
 etch., 11. X8.7, in The Portfolio, 1873. V. Loutrel, litho., in Joyas Pint. 
 
 67. El Nino de Vallecas. Museo del Prado, 1,098. A 
 
 clown about eighteen years of age, with bare head, wearing a green 
 
 garment with gray sleeves, and green stockings, is seated front beside 
 
 a rock, holding in his hands a piece of bread (?); landscape and. sky 
 
 on the right. 1.07X.83. 
 
 Goya, etch., 1778, rare. Laguillermie, etch. B. Maura, etch. Pineda, 
 etch., in Grab. Ag. Fuerte. B. Vasquez, line, 11.5X9, 1792, at Calco. Nacional. 
 A. Lemoine, litho., in Joyas Pint. On wood, in Stirling, Annals, iii. 1391. 
 
 68. Sebastian de Morra, or The Bearded Dwarf. Museo del 
 Prado, 1,096. A man with coarse features and sinister expression, 
 with bare head, heavy black hair and beard, wearing a cloak and fall- 
 
DWARFS AND BUFFOONS. 
 
 31 
 
 ing linen collar, sits on the ground front, his legs strongly foreshortened, 
 his fists on his thighs. 1.06X.81. 
 
 Appraised in the inventory made at the death of Charles II. at 40 doubloons. 
 
 F. Goya, etch., 8.1x5.8, 1798. I. Proofs before letter. In the collection of 
 Sir William Stirling-Maxwell is an impression with the lettering, written by Cean 
 Bermudez. II. With artists' names. III. Inscribed Pintura D. D. Diego Velaz- 
 quez, etc. IV. Inscribed Sacada y grabada, etc. Goya's drawing for this etching 
 was in P. Lefort sale, Paris, Jan. 28, 1869. Laguillermie, etch., — X — . 
 B. Maura, etch., 7.6x5.6, 1869, at Calco. Nacional. H. Guerard, etch., 5.4X4, 
 Paris, 1880. F. Ribera, line, 11.6x8.9, 1798, at Calco. Nacional. On wood, in 
 Blanc, Peintres; Scott, Murillo ; Art Journal, 1852; Gaz. B. Arts, August, 1880. 
 Photo, in Reid, Velazquez. 
 
 68a. Salamanca sale, 1875, No. 37. the infant Don Luis de Borbon. 2,750 
 A Dwarf. A Repetition of the above francs. Mentioned by Burger, Velaz- 
 picture. 1.03 X. 82. From the gallery of quez, Paris edition, p. 265. 
 
 69. El Primo, or El Escribafio. Museo del Prado, 1,095. 
 
 A dwarf, in black dress and wide-brimmed hat, seated on a stone, turned 
 to our right, looking front, turns the leaves of a book which he holds 
 on his lap; other books and an inkstand are on the ground in front ; 
 landscape background . 1 . o 7 x . 8 2 . 
 
 This is supposed to be the picture mentioned in several documents as having 
 been painted in 1644, at Fraga, when Velazquez accompanied the king on his expe- 
 dition to Lerida. It was appraised in the inventory made at the death of Charles II. 
 at 40 doubloons. A copy by Guignet is in the Ecole des Beaux Arts, Paris. 
 
 F. Goya, etch., 8.5x6.2, 1778, at Calco. Nacional. An impression before let- 
 ter, sold in His de la Salle sale, 1856, probably the one now in Sir W. Stirling-Max- 
 well's collection. Goya's drawing was in P. Lefort sale, 1869. Laguillermie, 
 etch., 8.4X6.6, 1869, in The Portfolio, 1873, and in Examples of Modern Etc h 'ing, 
 London, 1876. B. Maura, etch., 7.5x5.9, 1870, at Calco. Nacional. Pineda, 
 etch. Pirie, etch., in Grab, al Ag. Fuerte. H. Guerard, etch., 5X4, Paris, 1880. 
 F. Muntaner, line, 11.8x9, I 77^, at Calco. Nacional. A. LEMOiNE,litho.,m7<?y0.r 
 Pint. On wood, in La Illustracion Esp. y Amer., January, 188 1. Photo, in Reid, 
 Velazquez. 
 
 70. Barbarosa, or Pernia. Museo del Prado, 1,093. A man 
 
 forty years old wearing Venetian costume, consisting of a red coat 
 with long skirts, white cloak, and cap trimmed with fur, stands looking 
 to his right ; in his right hand is a naked sword, the scabbard is in his 
 left. Unfinished. Latest manner. 1.98x1.21. 
 
32 
 
 VELAZQUEZ. 
 
 This picture, commonly known as the portrait of Barbarosa, is now identified 
 as the portrait of Pernia, an actor of the time of Philip IV., mentioned in the 
 inventory of Buen Retiro in 1700, and valued at 25 doubloons. It was trans- 
 ferred in 18 16 from the Palace to the Academy of San Fernando, and in 1827 
 to the Museum. The Marques de Legan£s had in 1655 a portrait of Pernia, but it 
 is not known if it was painted by Velazquez. 
 
 F. Goya, etch., 10.2x5.5 a ^ Calco. Nacional. I. Proofs before aqua tint, and 
 before all letters. In the Biblioteca Nacional, Madrid, are two copies ; one with the 
 etching of No. 72 on the back. II. With aqua tint, but before inscription. 
 III. With letters. C. Alabern, etch., 6.5x3.9. L. Croutelle, line, 18x11, 
 1 799, at Calco. Nacional. Photo, in Reid, Velazquez. 
 
 71. Pablillos de Valladolid, or The Actor. Museo del 
 
 Prado, 1,092. A buffoon about thirty-five years old, dressed in black, 
 
 stands with his legs spread apart, his left hand holding his cloak, the 
 
 right extended, as if declaiming. 2.09x1.23. 
 
 This picture, which has until recently passed for a portrait of a celebrated 
 actor, is now supposed to be the one described in the inventories of Buen Retiro as 
 the portrait of a buffoon called " Pablillos, el de Valladolid," and valued in 1 700 at 25 
 doubloons. The Marques de Leganes had in 1665 another portrait of Pablillos by 
 Velazquez. 
 
 B. Maura, etch., 7.8X4.6, at Calco. Nacional. H. Guerard, etch., in Gaz. 
 B. Arts, August, 1880. 
 
 72. Don Juan de Austria, or The Artillerist. Museo del 
 Prado, 1,094. A buffoon about fifty-five years old stands turned 
 to our right, looking front; he wears a low-crowned black hat sur- 
 mounted with a red feather; a black jacket, a cloak, short baggy 
 breeches, long red stockings, and low shoes ; an iron key is thrust in 
 his girdle; the ground is strewn with weapons and armor ; through a 
 doorway on the right is seen the sea and a burning ship. Latest 
 style. 2.10x1.23. 
 
 Inventoried among the pictures at Buen Retiro, in 1700, as the portrait of a 
 buffoon called Don Juan de Austria, and valued at 25 doubloons. In the inventory 
 of Charles III. it was called a Portrait of an Artillerist, by which name it has been 
 usually known. 
 
 F. Goya, etch., 10x5.8, very rare. Two copies are in the Biblioteca Nacional, 
 Madrid, and one in the British Museum. B. Maura, etch., 9.7x5.7, 1874, in 
 Grab, al Ag. Fuerte. RAjON,etch., in Gaz. B. Arts, February, 1880. Fosseyeux, 
 line, 17.9x10.8, 1798. E. C. Cos, litho., in Gal. Esp. 
 
 Engraved as a portrait of Femand Cortes by E. Lingee, outline, 17.7XH.2. 
 Allais, line, 2.8x1.7, bust. Langlume, litho., 4.6x3.8, bust. 
 
DWARFS AND BUFFOONS. 
 
 33 
 
 73. Don Antonio el Ingles. Museo del Prado, 1,097. A 
 
 dwarf with long hair, rich brown costume, and wide lace collar stands 
 
 beside a large black and white mastiff, on whose collar he places his 
 
 left hand ; his right falling at his side holds his plumed hat. Latest 
 
 manner. 1.42x1.07. 
 
 B. Maura, etch., 8x5.9, 1869, at Calco. Nacional. B. Maura, etch., 8x6.1, 
 1877, in Grab, al Ag. Fuerte. Laguillermie, etch., — X — . E. C. Cos, 
 litho., in Gal. Esp. 
 
 74. A Dwarf. Lord Ashburton. The Grange, Hants. A 
 
 male dwarf, with a parrot and a lap-dog. About 48x36 inches. 
 
 Formerly in the Royal Palace, Madrid. Purchased from the ex-King, Joseph 
 Bonaparte. Stirling, Annals, iii. 1404. 
 
 75. A Clown. Maurice Cottier, Paris. A laughing youth 
 about twelve years of age, in black velvet costume, with wide breeches 
 and falling collar, holds in his right hand a miniature of a lady, and in 
 his left a paper windmill at the end of a stick ; behind him is a leather- 
 covered chair ; architecture in the background. Full-length, life-size. 
 
 Due de Persigny sale, April 4, 1872, 1,600 francs. Exposition Retrospective, 
 i860. This seems to agree with the " Retrato de otro bufon llamado Calabacillas, 
 con un retrato en una mano y un billete en la otra," mentioned in the inventory of 
 Buen Retiro, in 1700. Cat Mus. Prado, p. 591. Also " El bufon divertido con un 
 molinillo de papel, del gusto de Velazquez." Ponz, vi. 133. 
 
 75a. Francisco de Bazan. Mu- Baron Taylor by Esquivel, the Court 
 
 seo del Prado, 6g2. A buffoon of the Painter. The picture now belongs to 
 
 Court of Charles II., in black dress and Count Raczynski, Berlin, who attributes 
 
 falling linen collar, humbly presenting a it to Van Kessel. 
 
 memorial; full-length, 2X1.01. Called 75c. A portrait of Maria de Barbola, 
 Un Pretendiente. Formerly attributed to represented naked as Silenus, is men- 
 Velazquez, but now to Carreno, to whom tioned as being in a private collection in 
 it was ascribed in the royal inventory of Madrid. Widdrington, Spain in 1843, ii. 
 1686. It is probably the picture which 19. Stirling, ii. 623. This is doubtless 
 Cean Bermudez (Die. v. 178) and Ponz the picture by Carreno, belonging to the 
 (vi. 34) call a portrait of the Alcalde heirs of the infant Don Sebastian at Pau. 
 Ronquillo by Velazquez. She is shown as a gross, fat woman 
 
 F. Goya, etch., 10.9X4.5, very scarce, standing naked, with a glass in one hand 
 
 An impression is in the Biblioteca and grapes in the other. The same 
 
 Nacional, at Madrid. woman, clothed, is seen in the picture by 
 
 75b. Louis Philippe sale, 319. Por- Carreno, in the Museo del Prado, No. 
 
 trait of two dwarfs of Philip IV., aged 691. The girl's name was Eugenia 
 
 eighteen and twenty, leading a dog by a Mentinez Vallejo, and she weighed at 
 
 cord. 1.38x2.18. £190. Sold to the age of 16, when her portrait was 
 
 5 
 
34 
 
 VELAZQUEZ. 
 
 painted, 5 arrobas, 21 libras=i48 pounds. 
 She is mentioned by Palomino, iii. 419; 
 and by Zarco del Valle, Documentos Ine- 
 ditos, p. 440. 
 
 75d. A portrait of Juan de Cardenas y 
 Calabazas belonged in 1655 to the Mar- 
 ques de Leganes. Cat. Mus. Prado, p. 627. 
 
 75c A portrait of a buffoon called Car- 
 
 denas el Torreador, with his hat in his 
 hand, in the first manner of Velazquez, 
 is mentioned in the inventory of Buen 
 Retiro, in 1 700. Also, 
 
 75f. A portrait of Ochoa, portero de 
 corte, con unos memoriales. Mentioned 
 in Catalogo del Museo del Prado, p. 591, 
 edition 1872. 
 
 76. A Peasant Boy. Belvedere, S. 7, No. 40, Vienna. A boy 
 with bare head and short hair, clad in a ragged jacket which partly 
 displays his breast, his body three-quarters left, his left hand flat on 
 his breast, holds up a flower in his right hand, and looks to the 
 spectator with his mouth half open, laughing. Half-length. 32x24 
 inches. 
 
 Pacheco, the master and father-in-law of Velazquez, informs us that his pupil 
 " kept a peasant boy as an apprentice, who served him as a model in various actions 
 and postures, weeping, laughing, stopping at no difficulty. He made after this 
 model many studies in charcoal and chalk on blue paper, and many others com- 
 pletely colored, by which means he acquired facility in portraiture." Arte de la Pin- 
 tura, 101. There is reason to believe that this is one of the studies to which Pacheco 
 refers. 
 
 Unger, etch., 3.7X3, in Gemalde Gal. in Wien. On wood, in Gaz. B. Arts, 
 May, 1879. Miethke, Photo. 47. 
 
 77. A Peasant Boy. M. Paul Lefort, Paris. A boy with fall- 
 ing linen collar and long hair, pointing to the spectator. A sketch 
 apparently from the same model as No. 76. Bust. .55X.40. 
 
 From D. Pedro Jimenes de Haro. 
 
 The gallery of D. Pedro Jimenes de Haro, containing pictures by Velazquez 
 and Murillo, is mentioned among the important collections of Madrid. P. Madoz, 
 Diccionario Geografico Estadistico Historico de Espaiia. 16 vols. Madrid, 1847-50, 
 art. Madrid. 
 
 78. A Peasant Boy. Edward A. Leatham, Esq., London. 
 
 He lies at full length on his belly, asleep ; his head is on his hands, 
 
 which rest on a white pillow ; on the right is a black and white dog, 
 
 and red drapery. Life-size. 21x39 inches. 
 
 From the collection of M. Dumergue. Bought from Mr. Rutley in 1866. 
 Leeds Exhibition, 1868. 
 
PEASANTS, BODEGONES, ETC. 
 
 35 
 
 79. A Peasant Boy, with brown skin, thick, curling black hair, 
 
 bright eyes and short nose, eating hot soup from a dish. 
 
 V. Pelequer, Spanish engraver, sale, Paris, 1867, 2,930 francs. Presented by 
 Queen Maria Louisa to Goya. Catalogo Mas. Prado, p. 592. Gaz. B. Arts, May, 
 1879, 426. Arte en Espatla, 1868. 
 
 80. A Young Peasant. Hermitage, 423. He wears a gray 
 cassock, and is turned to the left, laughing. Bust. .27X.22. 
 
 Purchased from Mr. Coesvelt in 1814. 
 
 81. An Old Peasant. Francis Cook, Esq., Richmond Hill, 
 
 Surrey. A man in ragged dress stands front, leaning on a crutch ; 
 
 his right hand, holding an earthen flask, rests on a large crystal globe, 
 
 on which is painted a landscape with peasants dancing before a 
 
 bodega. On the frame is inscribed Viva el vino, leche de los viejos. 
 
 Half-length, life-size. About 56x48 inches. 
 
 Purchased about 18 18, by an English officer, from Gen. Caulaincour t, who 
 brought it from the Peninsula. 
 
 81a. A Shepherd. Dr. Brockhaus, 8id. Samuel Rogers sale, April 28, 
 
 Leipsic. A man fifty years of age in his 1856, No. 690. The Hidalgo, or country 
 
 shirt sleeves, with curling hair falling on squire in a yellow dress, smoking a pipe, 
 
 his shoulders, and a sheepskin wallet slung From the Orleans Gallery (?). ^32 lis. 
 
 behind his back ; his body left, face front, (L. Dawson Darner.) 
 
 carrying a spade over his right shoulder, 8ie. A ragged boy, wearing a cap, 
 
 and pointing down. Landscape back- counts money on a table ; behind him a 
 
 ground. Half-length, life-size. Doubtful, dog watches some fish; on the left are 
 
 L. Gruner, line, 8.7x7.2, Mailand, two tables with fish, bread, and earthen 
 
 1826. Some early impressions have dishes. Signed. Mentioned by Palo- 
 
 Dankbarkent instead of Dankbarkeit in mino, iii., 322. 
 
 the inscription. This engraving pro- 8if. A ragged boy wearing a coif, with 
 
 cured for the artist the notice of the a jar in his hand, guards a table on which 
 
 Dresden Academy, with a pecuniary are kitchen utensils, vegetables, etc. ; a 
 
 reward, to enable him to continue his basket hangs on the wall. Ib., in. 323. 
 
 studies. F. Knolle, line, 3.6X3, 8ig. Hon. H. Clive. A drummer. 
 
 Milano, 1834. Exhibited at British Institution, 1819. 
 
 81b. Salamanca sale, January 23, Perhaps this is the " Drummer beating his 
 
 1875. Blind men playing the violin and drum, formerly in the possession of 
 
 guitar. .88x1.18. From the gallery of Viola," mentioned in Davies, Murillo, 
 
 Don Celestino. 1,600 francs. lxxxiv., note. 
 
 81c. Standish sale, 221 (155). A 8ih. Earl Spencer. A Bagpiper, 
 
 boy eating a pie. 83X63. £31 \os. Bust. From Sunderland collection. 
 
 (Laurent.) Doubted by Stirling, ii. 582. Stirling, 1405. Aedes Althorpianae,\. 19. 
 
36 
 
 VELAZQUEZ. 
 
 8ii. Due d'Aumont, Paris. A vio- 
 lin player. Mentioned in Chabert, Gal. 
 des Peint. 
 
 8ik. E. Higginson. An African 
 slave seated, in a red jacket, smoking; 
 before him is bread, cheese, and dried 
 fish ; in the background a galley. 
 35X71 inches. 
 
 81I. Earl of Yarborough. A Spanish 
 shepherd. British Institution, 1850. 
 
 81m. Miss Clara Montalba. A 
 man with a black cloak thrown over his 
 shoulder, playing a flute. Half-length, 
 life-size. 27x20^ inches. Royal Acad- 
 emy, 1 88 1. 
 
 8in. Lord Overstone, London. An 
 Armenian girl. The head and shoulders 
 are enveloped in white drapery, over 
 which is a brown cap ; her right hand is 
 raised to her shoulder, the left holds a 
 fold of her dress. Bust. 14^ X n inches. 
 From the Ceritari Gallery, Florence. 
 Purchased in 1838. 
 
 810. Duke of Bedford, London. A 
 woman in red dress and blue petticoat 
 pours water from a pitcher on a wine- 
 glass to cleanse it ; on a table, at her left, is 
 another glass, and on the ground a large 
 brass pan. Full-length. 37^X27^ in. 
 
 8ip. Reginald Cholmondely, Esq., 
 London. Living and dead birds, fishes, 
 and a hare, in a kitchen ; on the right a 
 woman looking out of a window near a 
 fireplace. 89X63 inches. Exhibited at 
 Wrexham, 1876. Royal Academy, 1879. 
 
 8iq. Earl of Yarborough. A Span- 
 ish peasant girl. British Institution, 
 1850. Art Journal, i860, p. 207. 
 
 8ir. Count Raczynski, Berlin. A 
 blind woman. 17X12 inches. A present 
 from King Francisco de Asis. 
 
 81s. Aguado sale, 151. A boy rest- 
 ing on an anchor; an allegorical subject. 
 .18X.16. 82 francs. 
 
 8it. Aguado sale, 142. A pretty lit- 
 tle girl with blonde and frizzled hair, 
 holding a black and white rabbit in her 
 arms. Half-length. .59X.48. 350 f. 
 
 8iu. Aguado sale, 145. A gypsy 
 girl leaning on a basket of flowers. 
 Bust. .48X.46. 840 f. This was valued 
 in the inventory of M. Aguado at 15,000 f. 
 
 8iv. Aguado sale, 148. A Bohemian 
 girl wearing a chemise open in front ; a 
 coarse wool drapery falls from her 
 shoulders. Half-length. .75X.67. 590 f. 
 
 8iw. Sir J. M. Brackenbury sale, 
 1848. La Recove'ra. £8. (Sir E. B.) 
 
 8ix. A Nobleman from Peru sale, 
 February 13, 1848. A lady making lace, 
 with many accessories. Signed on the cur- 
 tain over the lady's head. From the Mar- 
 ques de Santa Maria. £46 4s. ( Lindsay. ) 
 
 8iy. H. A. J. Munro sale, May 18, 
 1867. A girl cooking chestnuts, ^ioioj. 
 (Hulse.) 
 
 8iz. D. Manuel Saenz y Tejada, 
 
 Cadiz. Two heads, very beautiful; 
 apparently studies from nature. Rac- 
 zynski, Arts en Portugal, 518. 
 
 82. Two Peasants. Valladolid Museum. A man and a 
 
 woman, half-length, conversing in a tavern ; before them on a table is 
 a confused mass of melons, onions, and other vegetables, meat, game, 
 dishes, and utensils. 1.60x2.25. 
 J. Laurent, Photo. 
 
 83. A Peasant and a Child. George Salting, Esq., Lon- 
 don. They are seated behind a table on which are chestnuts on a 
 flat metal dish. Half-length. 29x23 inches. 
 
PEASANTS, 
 
 BODEGONES, ETC. 
 
 37 
 
 A study from life; unfinished. Purchased from J. C. Robinson, Esq., who 
 bought it at Earl of Clare sale, January 17, 1864, for ^34 13s. See J. C. Robin- 
 son, Memoranda on fifty pictures, selected from a collection of Works of the Ancient 
 Masters. 80 pp., 8vo. n. d., privately printed. 
 
 84. Two Peasants. Francis Cook, Esq., Richmond Hill. 
 
 On the right sits an old woman seen in profile, her head and shoulders 
 
 covered by a white kerchief, with an egg in her left hand and a 
 
 spoon in her right, engaged in preparing an omelet in an earthen 
 
 pan ; on the left a boy with a melon under his right arm offers her 
 
 a bottle of wine; in front are a jar, mortar and pestle, knife, and 
 
 brass pan; a basket hangs on the wall. Half-length. 39X46 inches. 
 
 Royal Academy, 1873. G. De Buzareingues, Paris, had in 1876 a picture 
 similar to this, about the same size. 
 
 85. Two Boys. Duke of Wellington. The boy on the right 
 in buff jacket drinks from a bowl ; the other observes him ; on the 
 left is a table laden with dishes, and an orange on the top of a jar. 
 Three-quarters length. About 30x50 inches. 
 
 85a. Hon. and Rev. Charles 8sd. Standish sale, 220 (154). A 
 
 Digby. A woman seated on a parapet, male and a female servant, with kitchen 
 
 with a hawk and a basket of grapes ; on utensils and vegetables. I.80X2.25. 
 
 her left is a boy with a flute. Three- ^64 is. Doubtful, Stirling, ii. 580. 
 
 quarters length. Engraved by Simmons, Athenmwi, May, 1853. 
 
 in O'Neil Die. of Sp. Painters. The 85c Brussels Museum, 339. Two 
 
 Digby collection was probably sold in girls stand on a staircase holding each 
 
 June, 1846. other by the hand. 1.52x1.33. 
 
 85b. Aguado sale, 139. A girl 85f. Two peasants eating at a table on 
 
 standing near a table, playing with a dog, which are various earthen jars, oranges, 
 
 and a boy seated on a cushion, playing bread, etc. All executed with wonderful 
 
 with a bird. 1. 43X1. 11. 520 francs. fidelity. Palomino, hi., 332. 
 
 85c. Aguado sale, 138. A young 85g. Royal Palace, Madrid. In- 
 
 woman in a park near a handsome ventory in 1772. A bodegone with two 
 
 monument, washes the face of a negro ; boys, half-length, seated at a table on 
 
 behind them a slave holds a parasol over which are a pitcher and dishes, eating 
 
 their heads. 1.81X1.24. 1,200 francs, and drinking. From the Ensenada 
 
 Valued in the inventory of M. Aguado Gallery. Ponz, vi. 38. Cean Bermudez, 
 
 at 30,000 francs. Die. v. 1 78. 
 
 86. The Water Carrier. El Aguador de Sevilla. Duke of 
 Wellington. A man in tattered brown doublet turned to our left, 
 with his left hand on a large earthen jar, hands a glass of water to a 
 
VELAZQUEZ. 
 
 boy who stands beside a table on which is a smaller jar ; another boy 
 drinks from a pot. Three figures, three-quarters length, standing. 
 40x30 inches. 
 
 This is the earliest picture by Velazquez of which we have any authentic record. 
 It was painted about 1620, at Seville, before the artist went to Madrid. "Among 
 his most esteemed works we should not omit to mention the picture called the 
 Aguador, in which is seen a poorly dressed old man clad in a coarse and ragged 
 jacket which displays his breast, giving drink to an urchin. It is still preserved in 
 the Palace of Buen Retiro." Palomino, iii. 322. In the inventory of Buen Retiro 
 in 1700, it is called El Corzo, Aquador de Sevilla. D'Argenville tells a doubtful 
 tale, that this picture, when finished, made so much sensation that the king sent for 
 it and ordered it to be placed in the Palace of Buen Retiro. Abre'ge, ii. 241. In 
 1780 it was in the Alcazar, Quarto del Rey. Ponz, Viage, vi. 34. King Joseph 
 Bonaparte took it with him in his flight from Madrid, but it was captured in his 
 carriage with a quantity of plate and jewels at the rout of Vittoria, and was after- 
 wards presented by Ferdinand VII. to the Duke of Wellington. British Institution, 
 1828, 1847. 
 
 Blas Amettler, directed by M. S. Carmona, line, 13.1x10.7, at Calco. 
 Nacional. E. Lingee, outline, 10.2x8. On wood, in Blanc, Peintres ; Scott, 
 Murillo ; Art Journal, November, 1852; Robinson, Great Painters; Viardot, 
 Illust. Hist, of Painters ; Wurzbach, Die Klassiker der Malerei ; Gaz. Beaux Arts, 
 September, 1879. Photo, in Reid, Velazquez. 
 
 86a. Perhaps the three following may peigne, Esq., of Gosford. Sold, London, 
 
 have been copies of No. 86. March 11, 1865. £16 $s. (Tooth.) 
 
 A Spanish Oil Merchant. Sold May A Wine-seller. From the collection 
 
 13, 1815, £210. of the Marquis de la Ensenada; brought 
 
 A Street Wine-seller of Cadiz. 40 X to England two years ago. Mr. Wil- 
 
 50 inches. For one hundred and twenty kin sale, by Phillips, London, April 30, 
 
 years in the family of the late D. Com- 1813. ^43 2s. 
 
 87. Interior of a Posada, with two men and a woman seated 
 at a table covered with a white cloth. The woman faces the spectator, 
 holding a spoon in her right hand, and a dish in her left ; on her right 
 is a bearded man with bare head ; on her left an old man wearing a 
 hat, and holding a pot with both hands ; two pieces of bread, a knife, 
 and vases are on the table ; joints of meat and sausages hang on the 
 wall. Half-length. 1.23x1.47. 
 
 Salamanca sale, January 25, 1875. "From the gallery of Don Serafin Mar- 
 tinez, Cadiz. Noticed by Ponz, xviii. ch. 42, p. 20." 4,950 francs. 
 
 [Three bodegones are mentioned by Ponz among the three hundred pictures 
 composing the gallery of his friend, D. Sebastian Martinez, as follows : 
 
PEASANTS, BODEGONES, ETC. 39 
 
 In one are three figures seated at a table covered with food, consisting of fish 
 of different kinds ; other fish, such as eels, cod, etc., hang on the wall. 
 
 In another are four figures, also seated, eating ; two of them have the same 
 features as are seen in the picture of Bacchus. The table is spread with meats, and 
 there are seen suspended, as in the first, birds, game, etc. 
 
 The third shows three figures seated, with food suspended, consisting of onions, 
 sausages of different kinds, ribs, etc. These pictures are oblong, one and a half 
 varas high by two varas long (50x66 inches). Ponz, Viage xviii. 21. Conca, iii. 
 320.] 
 
 87a. Lord Northwick. A sleeping by Waagen, Treasures of Art, iii. 204. 
 man, a girl pointing to the distance, and This picture was not in the Lord North- 
 a youth with his back turned. Mentioned wick sale, July 26, 1859. 
 
 88. Group of Peasants. Earl of Listowell, London. A 
 woman, seated on the ground, holds on her knees a child who plays 
 with a bunch of grapes; near her, with his hands on the ground, is 
 an old man with brown beard, laughing ; on the right another peasant 
 reaches toward the grapes. First manner. Life-size. About 50x80 
 inches. 
 
 Exhibited at Manchester, 1857. Burger, Tresors oVArt; Waagen, ii. 311. 
 
 89. Group of Peasants. Earl of Southesk, Kinnaird Castle, 
 Forfarshire, N. B. Seven peasants with festive garments leading 
 an ox. 
 
 Earl of Dunmore sale, May 13, 1870. ^52 iar. Purchased by the Earl 
 of Dunmore early in the present century. Manchester Exhibition, 1857. Waagen, 
 iv.,455- 
 
 89a. Lopez Cepero sale, Paris, Feb- 
 ruary 14, 1868. Four personages stand 
 under an arcade, conversing; a gentleman 
 with rose-colored mantle and falling lace 
 collar, broad-brimmed hat and soft boots, 
 seen in profile, and behind him his horse 
 in shadow ; the same person is seen in 
 the Boar Hunt in the National Gallery ; 
 the second person is a churchman in 
 black ; the third wears a hat with white 
 plumes, and a gray mantle, and has his 
 back to the spectator; the fourth is in 
 shadow ; through the opening a land- 
 scape is seen. .64X.82. 820 francs. 
 
 89b. Aguado sale, No. 153. Five 
 beggars eating and reposing near a hut. 
 Half-length. .94X1.14. 1,210 francs. 
 
 89c. Charles O'Neil sale, May 24, 
 1834. An old woman spinning, and 
 watching four boys quarreling for grapes, 
 and a female drawing water from a foun- 
 tain. 82X49 inches. £73 l0s - 
 
 8gd. Six small pictures representing 
 the various Spanish dances. Brought 
 from Spain by Mr. Wallis. Valued at 
 1,000 guineas, and sold in different col- 
 lections in England ; principally domestic 
 subjects. Half life-size. Buchanan, 
 
4Q 
 
 VELAZQUEZ. 
 
 Memoirs, ii., 234, 243. These pictures 
 are said to have been formerly in the 
 Royal Palace at Madrid, but they 
 are not mentioned in any of the royal 
 inventories. 
 
 8ge. Fourteen heads in eight small 
 
 pictures. Mentioned in the inventory of 
 the Alcazar, Madrid, in 1700. Cat. 
 Mus. Prado, p. 591. 
 
 8gf. Lord Holland. A Study of 
 Heads. Exhibited at the British Insti- 
 tution in 1829. 
 
 90. Still Life. Sir W. Stirling- Maxwell, Bart. Fish hang- 
 ing by a string, grapes and citrons on branches, and a basket of apples. 
 25x33 inches. 
 
 Mentioned by Stirling, Annals of the Artists of Spain, iii. 1410. 
 
 91. Still Life. Metropolitan Museum of Art, New- 
 York. Melons, grapes, oranges, apples, pomegranates, and figs heaped 
 on a rock; a lizard in front. 25x29 inches. 
 
 An etching of this picture was promised in the second volume of the series of 
 etchings by Jacquemart, after the paintings in this museum; a work which the artist 
 did not live to complete. 
 
 91a. San Donato sale, Paris, March 
 3, 1870. Fruits and flowers, long 
 branches of vine with grapes attached, 
 a basket of strawberries, bouquets of 
 orange blossoms, and a rose on the 
 ground. .43X.56. Purchased from 
 M. Mundler in 1841 ; about 4,350 francs. 
 
 91b. Aguado sale, No. 147. Red 
 fish on a table; a study. .30X.35. 
 200 francs. Also, 
 
 No. 149. Pieces of meat suspended on 
 a wall, and No. 250. A turkey and par- 
 tridges suspended on a wall; two pen- 
 dants, each 1.05 X .81. 235 francs. 
 
 91c. E. and I. Pereire, Paris. Fish. 
 From Urquaiz Gallery, Madrid. Burger, 
 Velazquez, 290. This was not in Pereire 
 sale, 1872. 
 
 gid. Comte Maison, Paris. A pan- 
 nier bound, with a cock tied to the handle. 
 Also, 
 
 91c A pannier with pigeons and a hare 
 tied to the handle. Companions. On 
 the canvas covering the panniers is the 
 
 address of Don Mariano Nazzi. Burger, 
 Velazquez, 291. Annuaire des Artistes, 
 1861, p. 132 ; Blanc, Peintres, Life of 
 Velazquez, 15. 
 
 gif. Comte BloudofF. A pie, 
 bread, sausage, bottle of wine, and cup 
 on a table. Exhibited at Brussels, 1873. 
 Praised in Gaz. B. Arts, t. vii. 544. 
 
 gig. A. Bravo. Kitchen Utensils, 
 copper pans, melons, vegetables, and 
 fish. About 36x60 inches. Stirling, 
 iii. 1410. Sevilla Pinto, 416. 
 
 gih. Sir Thomas Baring. A 
 group of fish. British Institution, 1845. 
 
 gii. Juan Govantes, Seville. ACardo 
 cut ready for the table. Stirling ii. 580. 
 
 gik. Sir W. Stirling-Maxwell. Chal- 
 ices and other vessels with fruit. Doubt- 
 ful. 25x33 inches. 
 
 91I. Fitzwilliam Museum. Cam- 
 bridge. An emblem of mortality. On 
 a gray marble slab lies a cross inscribed 
 I N R I. On the cross is a skull and 
 a sponge. From Moseman collection. 
 
ROYAL PORTRAITS. 
 
 41 
 
 92. Two Dogs Quarreling. Earl of Carlisle, Castle Howard, 
 Yorkshire. One of the dogs, mounted on the flayed skull of an ox, 
 is threatened by the other. Life-size. 
 
 Purchased by Mr. Wallis in Spain, and imported in 1809. Buchanan, Memoirs, 
 ii. 235; Athenczum, September 30, 1876. 
 
 93. A Dog. Earl of Elgin, Fifeshire. A white poodle smelling 
 a bone. 
 
 Mentioned by Stirling, Annals of the Artists of Spain, iii. 1410. 
 
 g4. A Dog. Edmund M. Blood, Esq., Rickmansworth, Herts. 
 Head of a dog. 
 
 Leeds Exhibition, 1868. Praised in Art Journal, 1868, p. 138. 
 
 95. A Dog. Count Raczynski, Berlin. 15x20 inches. 
 A present from King Francisco de A sis in 1804. 
 
 95a. Salamanca sale, 1867. A from a basket 
 black and white dog lies on a carpet, 
 feeding its whelp. .38X.50. 3,900 f. 
 
 95b. Louis Philippe sale, 225. A 
 dog sleeping. Attributed to Zurbaran. 
 .46X.62. ^35. Mr. P^ord (Athenceum, 
 May, 1853) thinks it is by Velazquez. 
 It was sold again at Philip Hinds sale, 
 June 11, 1870. ^50. Cean Bermudez 
 mentions a picture by Velazquez, for- 
 merly in Buen Retiro, " un perro sobre 
 una almohada." Diccionario, v. 179. 
 
 g5c. Desenfans Catalogue, 1802, No. 
 43. A mastiff chained in a court-yard 
 makes vain efforts to seize some meat 
 in a dish placed just beyond his reach. 
 
 95d. Lord Gwydir sale, 1829. A 
 study of mules' heads. ^14 14s. 
 
 g5e. Lopez Cepero sale, Paris, 1868. 
 Three rabbits and three guinea-pigs. 
 .48X.35. 346 francs. 
 
 g5f. Comte Maison, Paris. A 
 monkey scattering fruits and flowers 
 
 Mentioned by Burger, 
 Velazquez, 291 ; Blanc, Peintres, Velaz- 
 quez, 15 ; Horsin Deon, in Annuaire 
 des Artistes, 1861, p. 132. 
 
 g5g. In the Real Casa de Villaviciosa, 
 a villa appertaining to the Counts of Chin- 
 chon, and belonging to Don Luis de 
 Bourbon, was a picture in which was an 
 owl and several pieces of dead game, 
 attributed to Velazquez. Ponz, vi. 170. 
 
 g5h. The following pictures are men- 
 tioned in the old inventories of the Real 
 Alcazar at Madrid, Cat. Mus. Prado, p. 
 59i: 
 
 Two paintings with two horses, a bay 
 and a chestnut, companions to two 
 others by Ribera. 
 
 Two unfinished sketches, with two 
 horses and two horsemen, companions 
 to others by Ribera. 
 
 The head of a stag that was killed by 
 Philip IV. in 1626; with an inscription. 
 
 Another stag's head ; injured. 
 
 The portraits by Velazquez of the different members of the Royal Family are 
 so numerous and important, and the confusion as to their identity is so great, that it 
 has been thought the following genealogical table might interest the reader. The 
 6 
 
42 
 
 VELAZQUEZ. 
 
 list is believed to include every member of the royal family who was living in Spain 
 between the date of the first visit of Velazquez to Madrid in 1622, and that of his 
 death in 1660, except, perhaps, the illegitimate children, who were numerous, but 
 who for obvious reasons cannot always be accurately named. There are many por- 
 traits by Velazquez of unknown gentlemen and ladies who have passed for princes 
 and infantas. This list will assist in distinguishing those that can justly claim these 
 titles. The principal authorities consulted are : Flores (Fr. Henrique), Memorias 
 de las Reynas Catholicas, etc., Madrid, 1770, 2 vols., 8vo, 2d ed. Ortiz y Sans 
 (D. Joseph), Compendio cronologico de la historia de Espana, Madrid, 1 795-1800, 
 8 vols. 8vo, including 1 vol. of portraits. Berni y Catala (Joseph), Creacion, 
 antiguedad, y pHvile'gios de los titulos de Castilla. Valencia, 1 769, fol. 
 
 PHILIP III., son of Philip II. and Ana, daughter of Maximilian II., Emperor of 
 Germany, born 1578, succeeded his father 1598, died 1621. Married in 1599, to 
 Margarita, daughter of Archduke Charles, born at Gratz, 1584, died 161 1. 
 Issue: 
 
 1. Ana of Austria, b. 1601, m. 1615 to Louis XIII. of France, who d. 
 
 1643. She d. 1666. 
 
 2. Maria, b. 1602 ; d. aged two months. 
 
 3. Philip IV., b. 1605. 
 
 4. Maria, b. 1606, betrothed (desposose) 1623, to Charles, Prince of 
 
 Wales; m. 1631 to Fernando III., King of Hungary; d. 1646. 
 
 5. Carlos, b. 1607, d. 1632. 
 
 6. Fernando, b. 1609, created cardinal by Paul V. 1619 ; d. 1641. Fer- 
 
 nando had a natural daughter. 
 
 Mariana of Austria, who entered the convent of Descalzos Reales, 
 at Madrid. 
 
 PHILIP IV., b. April 8, 1605, succeeded his father 1621 ; d. 1665. He married, 
 I. Isabel of Bourbon, daughter of Henry IV. of France and Marie de 
 Medicis, b. 1603, m. 1615, d. 1644. Issue : 
 
 1. Margarita Maria, b. August 1 4, 162 1, lived twenty-nine hours. 
 
 2. Margarita Maria Catalina, b. November 25, 1623, d. December 22, 
 
 1623. 
 
 3. Maria Eugenia, b. November 21, 1625, d. July 21, 1627. 
 
 4. Isabel Maria Theresa, b. October 30, 1627, lived twenty-four hours. 
 
 5. Baltasar Carlos, b. October 17, 1629, betrothed to the Archduchess 
 
 Maria, d. October 9, 1646. 
 
 6. Maria Antonia Dominica Jacinia, b. January 17, 1635, d. December 5, 
 
 1636. 
 
 7. Maria Teresa, b. September 20, 1638, m. June 9, 1660, to Louis XIV. 
 
 of France, d. 1683. 
 
 II. Maria de Austria, his niece, daughter of Ferdinand III. and Maria, 
 sister of Philip IV., b. 1635. She was betrothed to the infant Baltasar 
 Carlos, but after the death of that Prince she married his father, in 1649 ; 
 d. 1696. Issue: 
 
 1. Margarita Maria, b. July 12, 1651, m. December 12, 1666, to the 
 Emperor Leopold I., d. March 13, 1673. 
 
ROYAL PORTRAITS. 
 
 43 
 
 2. Maria Ambrosia, b. December 7, 1655, lived fifteen days. 
 
 3. Philip Prosper, b. November 20, 1657, d. November I, 1661. 
 
 4. Fernando Thomas, b. December 21, 1658, d. October 23, 1659. 
 
 5. Carlos II, b. November 6, 1661. 
 Natural sons of Philip IV. : 
 
 1. Francisco Fernando, b. 1626, d. 1634. 
 
 2. Ana Margarita, b. 1638. In 1650 she entered the Augustin convent 
 
 of La Encarnacion, of which she became Superior: d. 1664. 
 
 3. Juan Joseph de Austria, b. April 7, 1629, son of Maria Calderona, 
 
 an actress. He was acknowledged by his father, who recom- 
 mended him to his successor; was Governor of Sicily, Catalonia, 
 Flanders, Aragon, General of the Armada, etc., d. at the Palace 
 in Madrid, September 17, 1679. He never married, but had 
 several natural children, viz. : 
 
 1. Margarita de Austria, b. 1650, entered the Convent of Des- 
 
 calzas Reales, 1656, professed 1666. 
 
 2. Ana Maria Jacinta Ambrosia Vicentela, b. 1663. 
 
 3. Catalina, b. 1661. 
 
 4. Alfonso, became Bishop of Malaga. 
 
 5. Carlos. 
 
 6. Fernando, called Valdes, Governor of Novara, d. 1702. 
 
 7. Alfonso Antonia de S. Martin, successively Bishop of Oviedo and 
 
 Cuenca, son of Thomassa Aldana, Dama de la Reyna. 
 
 8. Juan, took orders as F. Juan del Sacramento, and wrote a life of 
 
 S. Vincent de Paul. 
 Philip IV. was reputed to be the father of about thirty-two illegiti- 
 mate children. (D'Aulnoy, Memoirs, 101 note.) The above 
 list, from Flores, probably includes all whom the king cared to 
 acknowledge. 
 
 96. Philip III. Museo del Prado, 1,064. The king is 
 
 mounted on a spirited horse, which gallops, three-quarters right, on 
 
 the sea-shore; he wears steel armor, a low-crowned black hat with 
 
 plumes, a ruff, and a crimson scarf which floats behind from his 
 
 shoulder ; he holds in his left hand the baton of command, and looks 
 
 front. Second manner. 3.00x3.14. 
 
 This, and the companion portrait of Queen Margarita, No. 230, were appar- 
 ently executed about 1644. As the king and queen were both dead before Velaz- 
 quez visited Madrid, the artist was indebted for the features of these personages to 
 some contemporary portraits ; probably for the king's to the picture by Bartolome 
 Gonzalez, in the Museo Nacional, Madrid ; for the queen's to the half-length por- 
 trait by Gonzalez, in the Museo del Prado, No. 729, or the one by Juan Pantoja de 
 la Cruz, in the same museum, No. 926. 
 
44 
 
 VELAZQUEZ. 
 
 F. Goya, etch., 14.2X12, at Calco. Nacional. In the collection of Sir W. 
 Stirling-Maxwell is an impression with the lettering written by Goya. Fatcho, 
 etch., in Alabern, Galleria. J. Jollivet, litho. in Col. Lito. E. C. Cos, litho. in 
 Gal. Esp. 
 
 97. Philip IV. on horseback. Museo del Prado, 1,066. The 
 
 king about forty years of age, mounted on a bay horse with four 
 white legs, gallops to our right ; he wears armor of steel inlaid with 
 gold, a goliila, or narrow linen collar which projects horizontally, a 
 plumed chapeau with pointed brim, and a crimson scarf which crosses 
 his body and floats behind from his waist ; he carries a baton, and both 
 rider and horse are seen in profile. Background, a broken landscape. 
 Second manner. Companion to No. 231. 3.00x3.14. 
 
 This portrait can be traced in the royal inventories since the death of Charles 
 II. An old copy, formerly in the Lamberg Gallery, is in the Vienna Academy. 
 In the Albertina at Vienna is a drawing attributed to Velazquez, which has been 
 photographed by A. Braun. 
 
 F. Goya, etch., 14.7x12.2, at Calco. Nacional. In the collection of Sir W. 
 Stirling-Maxwell is an impression with the lettering written by Goya. Alabern 
 y Fatjo, etch., in Alabern, Galleria. J. Jollivet, litho. in Col Lito. E. C. Cos, 
 litho. in Gal. Esp. Outline inXiibke, Denkmaler der Kunst. 
 
 Velazquez is known to have painted the following equestrian portraits of 
 Philip IV. : 
 
 I. He was commanded to paint the portrait of the infant Don Fernando, but 
 he found it more convenient to make that of His Majesty first, which, however, on 
 account of his numerous engagements, he was unable to complete before the 30th 
 of August, 1623. The king was represented life-size, armed, and mounted on a 
 beautiful horse, in a landscape. All who saw it said he had never been painted 
 before. The picture was exhibited for the admiration of the public in the Calle 
 Mayor, before the Convent of San Felipe. Pacheco, 102. This account is repeated 
 by Palomino, iii. 325-6. The king rewarded the artist for this work by the appoint- 
 ment of court painter, with a monthly salary of 20 ducats. The order to this effect is 
 dated the 6th of October, 1623 (not April, as stated by Cean Bermudez and Stirling). 
 This portrait, executed when Philip was eighteen years of age, has disappeared. It 
 is probably the one mentioned in the inventory of 1686, as being in the Casa del 
 Tesoro"un Retrato del Rey Felipe IV. moso a caballo ; " the dimensions are 
 given as equivalent to 4. 15X2.91. Doubtless it perished in the fire that swept 
 away the royal palace in 1 734, as it is not mentioned after that date. Cean Bermu- 
 dez and Stirling are mistaken in supposing the picture in the Museo del Prado to be 
 the one painted in 1623, as the age of the king clearly testifies. 
 
 II. In 1638, to assist Tacca in modeling the statue of the king, Velazquez 
 painted an equestrian portrait, as well as another at half-length. Ponz, vi. 109; 
 Cean Bermudez, Die. v. 166. The first of these is probably the one now in the 
 Umzi Gallery at Florence. 
 
PHILIP IV. 
 
 45 
 
 III. It appears by the accounts of the Furriera of the journey to Aragon in 
 1644, that Velazquez executed a portrait of the king at Fraga, in three sittings, in 
 the month of July of that year. Archives of the Palace, quoted in Cat. Mus. Prado, 
 p. 608. It does not appear that the work so hastily executed was an equestrian 
 portrait, although D. Pedro de Madrazo thinks it may be the one now in the Prado. 
 Whether or not this is the same picture described by Palomino is uncertain. That 
 author mentions a portrait which Velazquez painted during the journey to Aragon 
 in 1645 to send to Madrid, in which the king was represented as he entered Lerida 
 on the 7th of August in that year. He was at full-length, in crimson dress, holding 
 a baton. Museo Pict. hi. 352. This description does not correspond with the por- 
 trait in the Prado, concerning which, Palomino, being a court painter, ought not to 
 be mistaken, careless as he often was. 
 
 IV. He painted a portrait which he destroyed in consequence of the criticisms 
 it provoked. Palomino, iii. 333. 
 
 98. Philip IV. Earl of Northbrook, London. A repetition of 
 
 No. 97. 23x17 inches. 
 
 S. Rogers sale, April 28, 1856, No. 693, ^"215 $s, to Thomas Baring, Esq., who 
 bequeathed his choice collection of pictures to his nephew, Lord Northbrook. The 
 Rogers Catalogue says this is the finished sketch of the great picture under which 
 it used to hang in the palace of Buen Retire 
 
 99. Philip IV. Sir Philip Miles, Bart. A small repetition of 
 the above picture No. 97. 18x16 inches. 
 
 Royal Academy, 1870. Etched in the Miles Gallery, 56. 
 
 100. Philip IV. Due de Montpensier, Seville. A small repe- 
 tition of No. 97. .46X.39. 
 
 Companion to No. 167. These two pictures were presented to the duchess 
 by her sister, Queen Isabella II., who purchased them from the Marquis de 
 Salamanca. 
 
 J. Laurent, photo., No. 1010. 
 
 101. Philip IV. Pitti Gallery, 243, Florence. A repetition of 
 No. 97. 1.26X.91. 
 
 This picture was formerly attributed to Rubens, and the catalogue asserts that 
 it is the one which was painted for the use of Tacca. 
 
 Perhaps it is the portrait referred to by Baldinucci, who says Philip sent " una 
 Tela di braccio e mezzo in circa, nella quale per mano dello stesso Rubens era fig- 
 urato il Cavallo colla persona del Re ritratta al naturale." Nolizie de' professori del 
 Disegno, &c. Firenze, 1762-73, sm. 4to, vol. xii. p. 172. 
 
 L. Errani, line in Bardi, Gal. Pitti. 
 
4 6 
 
 VELAZQUEZ. 
 
 102. Philip IV. Sir Richard Wallace, Bart. A repetition 
 probably of No. 97. About 24x24 inches. 
 
 103. Philip IV. Uffizi Gallery, 210, Florence. The king in 
 armor, and wearing a sword, is seen three-quarters left, his head turned 
 front ; mounted on a prancing horse ; a baton in his right hand is 
 held over his horse's head; behind him are two boy angels, and a 
 negro bearing a helmet ; in the air above are two female figures, one 
 with a cross and olive wreath, the other with a thunderbolt ; a land- 
 scape and building compose the background. 3.39x2.67. 
 
 There is little doubt that this is the portrait which Velazquez painted in 1638, 
 and which was sent to Florence to assist Tacca in modeling the statue of the king. 
 Perhaps it is the one in which Philip was so much interested that he sat to the 
 artist at one time three hours continuously. Pacheco, 105. The allegorical figures 
 are supposed to be by another hand. 
 
 [November 21, 1638, the Duke of Modena wrote to Fulvio Testa, his ambas- 
 sador at Madrid : " If the equestrian portrait [of the king] is a success, we wish 
 to have a copy made by the artist." The letter is preserved in the archives of 
 Modena, and has been communicated by Signor Venturi, the obliging inspector of 
 the Royal Gallery of Modena, to the author of this catalogue. 
 
 The statue of Philip IV., by Pedro Tacca, pupil of Giovanni da Bologna, is one 
 of the noblest that modern art has produced. Ponz (vi. 108, etc.) fills eight pages 
 with an account of it, and of the negotiations and studies that preceded its construc- 
 tion. He states that it weighed 18,000 pounds, was valued at 40,000 ducats, and 
 that Galileo suggested the means by which the horse maintains his equilibrium, 
 supported on his hind legs. It was finished in 1640, and erected in the gardens of 
 Buen Retiro, where it remained until 1844, when it was removed to the Plaza del 
 Oriente, before the royal palace. ] 
 
 Cosimus Mogalli, line, 23X14.2, reversed. A photograph of this engraving 
 is in Reid, Velazquez. Smith, Catalogue Raisonne, ii. 133, under the title of Rubens, 
 gives a description of this print, which is ascribed to an anonymous engraver. 
 
 104. Philip IV. Stockholm Museum, 762. The king, young 
 
 and beardless, with bare head, wearing a black dress and yellow boots, 
 
 holds his hat in his right hand against his side. His white horse, 
 
 whose long mane is tied with knots of red ribbon, is in profile, and 
 
 walks to the left ; the saddle is of purple velvet, embroidered with 
 
 gold. Background only a wall and a column. 1.95x1.67. 
 
 Presented to Queen Christina by the Spanish Minister, Pimentel. Formerly 
 in the Gripsholm Palace. . . Stirling praises this portrait highly, and thinks it 
 
PHILIP IV. 
 
 47 
 
 may be a small repetition of the one painted in 1623 (Stirling, Velazquez, p. ix. 
 Paris Ed. ), but according to Palomino that portrait represented the king armed and 
 in a landscape. See No. 97 note. 
 
 104a. Balbi Palace, Genoa. Philip 
 IV., called in the catalogue Philip II., 
 wearing a projecting linen collar, and 
 holding out in his right hand a felt hat, 
 is mounted on a white horse which walks 
 three-quarters right ; landscape back- 
 ground ; life-size. The head is said to 
 have been painted by Velazquez over 
 that of a member of the Balbi family by 
 Vandyck, in order to save the picture 
 from destruction after Balbi's banishment. 
 
 104b. Dubois sale, Paris, December 
 7, 1842. Philip IV. on horseback. 
 
 2.04X1.58. 215 francs. The descrip- 
 tion resembles that of No. 97. 
 
 104c. Sale London, 1833. The 
 king of Spain on horseback. ^"152 10s. 
 
 i04d. T. Hamlet. Philip IV. on 
 horseback. Exhibited at the British In- 
 stitution, 1840. 
 
 104c John Bulteel. Philip IV. on 
 horseback. At British Institution, 1864. 
 
 I04f. Lord Cowley. Equestrian por- 
 trait of Philip IV. A small study. Men- 
 tioned by Bryan, Dictionary of Painters, 
 Velazquez. 
 
 105. Philip IV. Museo del Prado, 1,070 (258). The king, 
 full-length, about eighteen years old, standing ; his body three-quarters 
 right, face front, with bare head, and wide, projecting collar; his silk 
 habit, his cloak, stockings, and shoes, all are black ; his right hand, 
 falling naturally, holds a folded paper ; his left is on a table covered 
 with crimson tapestry, on which is his hat. First manner. 2.01x1.02. 
 
 This is the earliest known portrait by Velazquez, and was painted soon after he 
 went to Madrid, about 1623. 
 
 On wood in Eugene Poitou, Voyage en Espagne, Tours, 1869, 8vo. J. 
 Laurent, photo. 65. 
 
 106. Philip IV. Duque de Villahermosa, Madrid. He is 
 represented at full-length, about eighteen years of age, standing three- 
 quarters right, wearing a black dress and cloak, a golilla, or wide, pro- 
 jecting linen collar, and the order of the Golden Fleece ; sl small 
 paper is held in his right hand, his left is on his sword ; his hat lies on 
 a chest of drawers, covered with red velvet. Life-size. 
 
 Companion to a portrait of Olivares, No. 173. Both are from the collection of 
 the Duque de Narros. 
 
 107. Philip IV. Robert S. Holford, Esq. He is seen at full 
 length, about twenty-five years of age, standing turned to our right, 
 his face three-quarters right, with bare head, wearing a short buff 
 
4 8 
 
 VELAZQUEZ. 
 
 doublet over a coat of chain armor, leather gauntlets, long hose, and 
 spurs; over his right shoulder and breast is a crimson scarf with 
 embroidered ends falling behind ; his right hand holds a baton, the 
 left is on his sword; a plumed hat lies on a table before him. 82x48 
 inches. 
 
 Purchased from Mr. Nieuwenhuys. It is perhaps the picture which Mr. 
 Nieuwenhuys bought for ,£129 3s. at Alton Towers sale, 1857, No. 152. Praised 
 by Passavant, Tour of a German Artist, ii. 180. 
 
 108. Philip IV. Museo del Prado, 1,074. The king, full 
 length, in hunting costume, about thirty years of age, wearing a buff 
 jacket, cap, and gloves, stands near a tree, holding in his right hand a 
 gun which is pointed downward ; his left hand is on his side ; a dog 
 sits behind him. Landscape background. Second manner. Com- 
 panion to Don Fernando, No. 145. 1.91x1.26. 
 
 Palomino says (iii. 332) under date of 1644, that Velazquez painted the portraits 
 of Philip IV. and his brother, Don Fernando, full length, life-size, in hunting dress, 
 with guns in their hands, and dogs held in leash, resting. They were in the Torre 
 de la Parada. Judging from the age of the persons represented, and the style of 
 execution, these portraits must have been executed earlier than that date, which is 
 three years after the death of Don Fernando. 
 
 Several repaints are observable, especially the legs, which were originally 
 placed further forward. Burger, Velazquez, 257. In the Berlin Museum, No. 413 B, 
 is a copy, perhaps by Mazo, from the Suermondt Gallery. 
 
 B. Maura, etch., 9.5x5.7, 1870, at Calco. Nacional. I. Rosell, etch., 
 Madrid. J. Burnet, etch., in Burnet, Portrait Painting. J. A. Lopez, litho. in 
 Col. Lito. Photo, in Reid, Velazquez. 
 
 109. Philip IV. Louvre, 552. A repetition of No. 108, except 
 that in this picture the cap is transferred from the king's head to his 
 left hand. 2.00x1.20. 
 
 Purchased in 1862 from M. Mundler for 23,000 francs. It is probably a copy 
 by Mazo. 
 
 W. Hausouillier, etch., in Gaz. B. Arts, July, 1863, and in Stothert, French 
 and Spanish Painters. Ed. Manet, etch., 12.6x7.8, reversed. 
 
 no. Philip IV. A repetition of No. 108. 1.93x1.06. 
 H. Baillie sale, May 15, 1858. "This and the companion portrait of Don 
 Fernando [No. 146] were formerly panels in the armory at Madrid." ^152 5.5-. 
 Not sold. The same in Schneider sale, Paris, April 16, 1876. 6,000 francs. Man- 
 chester Exhibition, 1857. 
 
PHILIP IV. 
 
 49 
 
 noa. Lapeyriere sale, Paris, April which is introduced a large dog, was 
 
 19, 1825. Philip IV. A repetition of purchased in Paris about two years ago 
 
 No. 108. 74X45 inches. 7,500 francs. [1822?] as companion to a fine picture 
 
 Again, A. Delahante sale, by Phillips, by Murillo of a Moorish prince." Bu- 
 
 London, July 9, 1828. chanan, Memoirs, i. 146. 
 
 nob. " A capital picture, as large as Can either of the above notes refer to 
 
 nature, of Philip IV. going to the chase, the picture No. 109, now in the gallery 
 
 with a splendid background landscape, in of the Louvre ? 
 
 in. Philip IV. Museo del Prado, 1,081. Full length; about 
 forty-five years of age, in black dress, turned partly to our right; kneeling 
 behind a desk covered with rich orange and pearl-colored tapestry, on 
 which his hands rest ; his left hand holds his hat ; above is a curtain 
 similar to the covering of the desk. Latest manner. 2.09x1.47. 
 
 Companion to a portrait of Queen Marianna, No. 235. Two small pictures, 
 now lost, perhaps sketches for these, are mentioned in the Catalogo de los cuadros 
 del Escorial, por D. Vicente Polero, p. 189. 
 
 Photographed by J. Laurent and by A. Braun. 
 
 112. Philip IV. Museo del Prado, 1,077. The king is at 
 
 full-length, about fifty years of age, standing in armor, with a scarf 
 
 around his waist ; his gloved right hand holds a baton, his mailed 
 
 left hand is on his sword ; his casque and a gauntlet are on a table at 
 
 the left; behind him lies a lion seen in profile; above is a crimson 
 
 curtain. Latest manner. 2.31x1.31. 
 
 Companion to a portrait of Queen Mariana, No. 237. Neither of these por- 
 traits was in the old catalogue of the Museum. 
 
 Galvan, etch., 9.2x5.2, in Grab. Ag. Fuerte. J. Laurent, photo. 49. 
 
 113. Philip IV. Hampton Court. A portrait resembling the 
 above, with some variations. Instead of the table is a pedestal, on 
 which is carved the mask of a lion ; a crown and a plumed helmet 
 lie on the pedestal. 82x40 inches. 
 
 Companion to Isabel of Bourbon, No. 233. There is a tradition that both 
 these pictures were left unfinished, and that they were completed by another hand 
 under the direction of Rubens. They had been largely repainted, but have been 
 recently restored. Royal Academy, 1875. 
 
 These are probably the pictures described as " The now King of Spain at 
 length," and "The now Queen of Spain at length," sold by the Commonwealth, 
 October 29, 1651, for £40, to Mr. Jackson. Harleian MS., No. 4,798. There is 
 in Buckingham Palace a portrait of Don Baltasar Carlos (see No. 140) which is 
 
 7 
 
5o 
 
 VELAZQUEZ. 
 
 traditionally said to have been presented by Philip IV. to King Charles I. It is 
 perhaps the picture which was sold at the sale in 1651 of pictures belonging to the 
 Commonwealth, as "A Prince of Spain," for 10 shillings. It is not improbable that 
 these three portraits came to England at the same time, and naturally the date 
 would be in the lifetime of the personages represented. They must therefore have 
 been sent prior to the death of Queen Isabel in 1644. Indeed, the age would indi- 
 cate that the portrait of the prince was executed at least five years earlier than that 
 date. If these conjectures are well founded, these are among the first works of 
 Velazquez that are known to have passed out of Spain. In any event they appear 
 to be the first that were ever sold, and the catalogue above quoted is the earliest 
 notice of the artist yet discovered in England, or for that matter, on the Continent, 
 except in Spain or Italy. 
 
 114. Philip IV. Mrs. Henry Huth. Wykehurst, Surrey. 
 The king, about fifty years of age, stands three-quarters right, wearing 
 a black dress and the order of the Golden Fleece; his cloak is 
 thrown back from his shoulders; his left hand, which rests on his 
 sword, holds his hat; in his right hand is a paper inscribed Senor ; 
 both hands are gloved ; behind him is a table covered with red cloth ; 
 the background is red drapery ; on the right, through an open door, 
 is seen an inner chamber at the end of which is a pyx on a table. 
 Full length. Companion to Isabel of Bourbon, No. 232. 8i}4 X 
 48^ inches. 
 
 Louis Philippe sale, No. 78 (292), from a private collection in Madrid, ^250, 
 to Henry Farrar, who exhibited it at Manchester in 1857, and sold it in 1863 to Mr. 
 Huth. It is identical with and may be the original of the portrait in the Museo 
 del Prado, 1,117 (°ld No. 142), formerly ascribed to Velazquez, but in the catalogue 
 of 1872 attributed to the School of Velazquez. M. Burger (Blanc, Peintres, Vie de 
 Pareja) considers the Madrid picture to be by Juan de Pareja, though it seems 
 rather to resemble the style of Mazo. It is engraved on wood in Blanc, Peintres, 
 Vie de Pareja, and is photographed by J. Laurent, No. 66. 
 
 114a. Salamanca sale, January 23, background. First thought for the 
 
 1875. Philip IV., full length, in black grand portrait in Madrid. .20X.14. 
 
 costume, with the order of the Golden From the gallery of D. Serafin de la 
 
 Fleece ; a paper in his right hand, his Huerta. 4,400 francs. This is probably 
 
 hat in his left; a reddish curtain in the a repetition of No. 114. 
 
 115. Philip IV. Hermitage, 419. The king, full length, 
 stands in a chamber opening on a balcony, wearing a black dress, and 
 the order of the Golden Fleece suspended by a black ribbon from his 
 neck ; his right hand holds a letter, his left is on his sword ; near him 
 
PHILIP IV, 51 
 
 is a chair in red velvet, and a table on which is his hat ; a red curtain 
 
 on the left. 2.10x1.20. 
 
 King of Holland sale, August 12, 1850; sold with the companion portrait of 
 Olivares, No. 1 72, for 38,815 florins. It was in A. Delahante sale, London, May 30, 
 181 7, No. 199. ■ Lapeyriere sale, April 19, 1825, No. 62, 7,920 francs. According 
 to Nagler (Kiinst. Lex.) these two portraits were in the Erard cabinet, and were 
 sold with two pictures by Vandyck for 60,000 francs. 
 
 116. Philip IV. Walter R. Bankes, Esq., Kingston Lacy, 
 
 Dorset. A repetition, probably, of No. 114. In the lower corner 
 
 are the letters R. P H E. Full length, life-size. 92x58 inches. 
 
 Altamira sale. London, June r, 1827, ^29 18s. Painted for the first Marques 
 de Leganes, ancestor of the Counts of Altamira, from whose palace in Madrid the 
 picture was taken by the French, and restored by decree of Louis XVIII. Stirling, 
 hi. 1397. Waagen, iv. 382. Bryan Dictionary. The Marques de Leganes was of 
 the family of Guzman, and a cousin of Olivares. 
 
 117. Philip IV. Duke of Hamilton, Hamilton Castle, Lan- 
 ark, N. B. The king stands at full length in black dress trimmed with 
 silver, holding in his hand a paper inscribed with the name of Velaz- 
 quez. Life-size. 
 
 Taken from the Royal Palace at Madrid, by General Desolle, whose daughter 
 sold it to Mr. Woodburn. Stirling, iii. 1397. Waagen, iii. 297. Probably sold in 
 the Duke of Hamilton sale, June 17, etc., 1882. 
 
 118. Philip IV. Earl of Ellesmere, Bridgewater House, 
 London. A small, full-length portrait. 
 
 Stirling, iii. 1397. Jameson, Private Galleries. 
 
 i ig. Philip IV., three-quarters length. Mrs. Lyne Stephens, 
 Lynford Hall, Norfolk. He is about twenty-one years of age and is 
 seen three-quarters left, his face turned front. His rich costume con- 
 sists of a buff waistcoat, over which is a scarlet doublet embroidered 
 with silver, and having loose-hanging sleeves; a broad linen collar 
 with scolloped edge falls on his shoulders ; the tops of his boots are 
 trimmed with lace ; he wears a sword attached to a broad embroid- 
 ered baldric which crosses his breast ; an ivory baton is in his right 
 hand, his hat in his left. 1. 36 x. 99 cm. 
 
 Salamanca sale, 1867, 71,000 francs. "From the gallery of Don Sebastian 
 Martinez, Cadiz." At Alsace Lorraine Exhibition, 1874. 
 
52 
 
 VELAZQUEZ. 
 
 Philip sent to Tacca to assist him in modeling the equestrian statue, un quadro 
 de mano de D. Diego Velazquez con el Rey d caballo, y d mas de esto, otro retrato de 
 medio cuerpo, que el mismo Velazquez hizo del Rey. Ponz, Viage vi. 109. As no 
 half-length portrait of the king by this artist is known, perhaps one of the three- 
 quarter lengths may be the picture referred to by Ponz. 
 
 H. Guerard, etch., 16.7x11.9. A. Braun, photo. 
 
 120. Philip IV. Dulwich Gallery, 309. A repetition of the 
 above, except that this is about three inches shorter at the bottom. 
 5°/4x37 3 A inch es. 
 
 This picture is minutely and accurately described in a manuscript catalogue in 
 the possession of the writer, dated 1765, of the cabinet of M. Francois Tronchin, 
 Conseiller d'Etat de Geneve, and it is said to have come from the cabinet of M. 
 Bouchardon. The collection of Bouchardon, sculpteur du roi, was dispersed by 
 Basan in November, 1762, when this picture appears to have been sold for 175 livres. 
 There were two Tronchin sales, one by Paillet in 1 780 ; the other, 2 Germinal, an 
 ix. (1801), at which time this portrait was doubtless purchased by M. Desenfans. 
 The canvas has been injured by cleaning. 
 
 121. Philip IV. Belvedere, S. 7, No. 8, Vienna. The king, 
 about thirty years of age, wearing a black silk dress, golilla, and linen 
 wristbands, stands three-quarters right, with his left hand on his sword, 
 and a paper in his right. 48x32 inches. 
 
 MlETHKE, photo. 
 
 [The golilla was a wide, stiff, linen collar, projecting horizontally from the neck. 
 It was first introduced by Philip IV., who was so much pleased with the happy- 
 idea, that he celebrated the invention by a feast, when the king and court went in 
 procession to the Chapel of the Guardian Angel to render thanks to God for the 
 blessing. Mme. D'Aulnoy, Voyage d'Espagne, Ed. 1874, p. 196, note.] 
 
 121a. Cean Bermudez (Die, v. 179) ana, formerly in the Real Academia de 
 mentions the half-length portraits of San Fernando, Madrid. Their present 
 Philip IV. and of his wife Dona Mari- location is unknown. 
 
 122. Philip IV., Bust. Museo del Prado, 1,071. He is 
 
 about twenty years of age, turned partly to our right, face front ; with 
 short hair and beardless ; he wears a golilla and a red scarf over his 
 steel-plate armor. The head is in the first, but the costume appar- 
 ently in the second manner. .57x44. 
 
 In the inventory of Buen Retiro, on the death of Charles II. in 1 700, is men- 
 tioned a portrait of Philip IV., young, in the first manner of Velazquez, 2.y 2 varas 
 high [2.08 cm.]. D. Pedro de Madrazo thinks the above picture may be the one 
 
PHILIP iv. 53 
 
 mentioned in the inventory, cut down, and that it may be the study for the first 
 equestrian portrait of the king. 
 
 Pineda, etch., 6.6X4-9, i n Grab, Ag. Fuerte. Photos, by J. Laurent and 
 A. Braun. 
 
 123. Philip IV. National Gallery, London, 745. A Bust. 
 About fifty years of age, wearing a close-fitting black silk habit, a 
 golilla or wide projecting linen collar, and the chain of the order of 
 the Golden Fleece j his long, waving hair falls on his collar ; the ends 
 of his long moustache are turned up. Latest manner. 25x20^ in. 
 
 Painted about 1655. This picture formerly belonged to Prince Demidoff. It 
 was purchased in 1865, at Paris, from M. Sano, with a landscape by Ruysdael for 
 ^1200. A copy by Carreno, from this or a similar portrait, is in the Academy of 
 San Fernando at Madrid. 
 
 Rajon, etch., 6.8x5.6, in The Portfolio, June, 1874, and in Etchings from the 
 National Gallery, with notes, by R. N. Wornum, London, 1876, fol. 
 
 The above picture is a type or model of all the bust portraits of Philip IV. by 
 Velazquez. From a similar picture the following line engravings were made : 
 
 Emanl Rodrigs, 9.5x7, oval, in a square border. Pedro Perete, 
 7X5.1, Madrid, 1633, somewhat like the last. Petrus de Villafranca, 
 Sculptor Regis, 10.2x6.8, Madrid, 1657; above are two cherubs supporting a 
 shield on which is a crown inscribed, Fine Coronal, etc., in F. de los Santos Descrip- 
 tion del Real Monasterio del Escorial. Madrid, 1681, fol. Also in Luis de Santa 
 Maria, Centenario del S. Lorenzo del Escorial. Madrid, 1657, fol. PETRUS DE 
 Villafranca, 10.5x6.9, in an oval frame which rests on a pedestal inscribed 
 Philippvs IV., Magnvs Hispaniarvm, etc. , in Diffiniciones de la orden . . de Calairava. 
 Madrid, 1661, fol. Petrus de Villafranca, 11.1x7.4, in a frame supported by 
 two monks, in Difiniciones de la orden . . de Alcantara. Madrid, 1662, fol. Petrus 
 de Villafranca, 11.3x7.1, Madrid, 1661; in armor, inscribed Perpetvitas, etc.; 
 Petrus a Villafranca, 7.2x4.9, with scrolls inscribed Aeternae Foedera Pads, 
 etc. in L. de Castillo Viage de Filipe IV., Madrid, 1667. Petrus a Villafranca, 
 12x8.3, in armor, in P. de Rodriguez de Monforte, Descripcion de las Honras de 
 Philippe IV, Madrid, 1666, 4to. Unknown, perhaps by H. Panneels, 7.4x5.2, in 
 armor, with two figures supporting a crown. Inscribed beneath, Ex archetypo Velaz- 
 quez, Matriti, 1638, in Tapia y Robles, Renombre de Grande, Madrid, 1638, sm. fol. 
 
 124. Philip IV. Robert S. Holford, Esq., London. Bust. 
 A repetition of No. 123. 31X24 inches. 
 
 Purchased many years ago through Mr. Buchanan. 
 
 125. Philip IV. Hermitage, 420. A Bust. Repetition of No. 
 123. .67X.53. 
 
 Purchased in 1814 from Mr. Coesvelt. 
 Photograph by Rottger, St. Petersburg. 
 
54 
 
 VELAZQUEZ. 
 
 126. Philip IV. Belvedere, S. 7, No. 18, Vienna. Bust. A 
 repetition of No. 123, but a trifle shorter. 17x13 inches. 
 
 MlETHKE, photO. No. 200. 
 
 127. Philip IV. Louvre, La Caze Collection, 38. Bust. 
 A repetition of No. 123. .42X.35. 
 
 128. Philip IV. Museo del Prado, 1,080. Bust. A repe- 
 tition of No. 123, but without the chain. .69X.56. 
 
 B. Maura, etch., 1875, in Grab, al Ag. Fuerte. F. Garzoli, lith. 11.6X9.6. 
 A photograph of this print is in Reid, Velazquez, called a Spanish Gentleman. 
 J. Laurent, photo. 190. 
 
 129. Philip IV. Turin Gallery, 240. A Bust. Similar to 
 No. 122, except that this is shorter, and is clad in plate armor. 
 .41X.36. 
 
 Presented to the gallery in 1834, by King Carlo Alberto. 
 
 Cesare Ferreri, line, 6.2x5, in D'Azeglio, Gal. de Torino, without the 
 engraver's name. 
 
 130. Philip IV. Earl of Ashburton. Bust, life-size, in black 
 dress. 23x18 inches. 
 
 Stirling, Annals, iii. 1398. 
 
 130a. Baron James de Roths- 
 child, Paris. Philip IV. Formerly be- 
 longed to M. Reiset. Burger, Velaz- 
 quez, 291 ; Cabinet des Amateurs, 1861. 
 
 130b. Lionel Hervey. Philip IV. 
 Exhibited at the British Institution, 1823 
 and 1835. Perhaps also by Fulton 
 Hervey in 1846. 
 
 130c. Lord Fitzgerald and Vesey 
 sale, July 17, 1843. Philip IV. Small. 
 
 i3od. Wynn Ellis sale, June 17, 
 1876. Philip IV. £\2 I2j. (Partington.) 
 
 130c Sir Simon H. Clarke sale, 
 May 8, 1840. Philip IV. in black dress, 
 with the order of the Golden Fleece. 
 ^82. (Nieuwenhuys.) 
 
 i3of. Collot sale, 1855. Philip IV. 
 1,750 francs. 
 
 I30g. F. J. Gsell sale, Vienna, March 
 14,1872. Philip IV. Repetition of No. 
 
 122. .65X.55. Bought about 1850 from 
 Count Feztetits. 3,550 florins. Litho. by 
 F. Getasch, in sale catalogue. 
 
 130I1. Lapeyriere sale, April 14, 
 181 7. Philip IV. Bust, in black dress, 
 with the order of the Golden Fleece. 
 21 X 18 in. 2,450 francs, to Delahante. 
 
 i3oi. A. Delahante sale, July 9, 1828. 
 Philip IV. Bust. From Prince Talley- 
 rand. 
 
 130k. Marquis de Forbin-Janson 
 
 sale, May 2, 1842. Philip IV. Bust, 
 in black silk dress, with the chain of the 
 Golden Fleece. .68X.52. 5,700 francs. 
 (Nieuwenhuys.) 
 
 130I. Louis Philippe sale, 1853, No. 
 248 (293). Head of Philip IV. A study. 
 .38X.30. ££>o. (Lord St. Leonards.) 
 
 130m. Casimir Perier sale, London, 
 May, 1848. Philip IV. in armor. 
 
DON BALTASAR CARLOS. 
 
 13011. Charles Birch sale, by Christie, 
 Feb. 15, 1828. Philip IV. From the 
 Convent of Gongora,at Madrid. ^54 12s. 
 
 i3op. Thomas Emmerson sale, 
 1829. Philip IV. From the Royal Col- 
 lection, Madrid. ^35 . 
 
 i3oq. Lord Northwick sale, 1859, No. 
 1,125. Philip IV. £15 iSj. to Colnaghi. 
 
 55 
 
 i3or. Pourtales sale, 1865, No. 206. 
 Philip IV. seen three-quarters face, wear- 
 ing a small ruff, and a black velvet doub- 
 let embroidered with silver, over which 
 is the order of the Golden Fleece. From 
 Lebrun sale, 1809. .59X.51. 7,200 f. 
 The same in Salamanca sale, 1867, No. 
 38. 5,300 francs. 
 
 131. The Infant Don Baltasar Carlos, eldest son of Philip 
 IV. and Isabel de Bourbon. Museo del Prado, 1,068. A grace- 
 ful, fearless boy about six years of age, mounted on a chestnut horse, 
 is galloping, three-quarters left ; he wears a plumed hat, armor, and a 
 crimson scarf, which crosses his breast and floats behind; a baton is 
 held in his right hand over his horse's neck. Landscape background. 
 Second manner. 2.09x1.73. 
 
 Painted about 1635. Palomino (hi. 332), after describing the equestrian por- 
 trait of Queen Isabel, painted in 1644, and which hung in the Salon Dorado in the 
 Palace of Buen Retiro, says that above it was the portrait of Baltasar Carlos on 
 horseback, galloping, with a marshal's baton in his hand. Hastily reading Palo- 
 mino, Stirling (Annals, 633) and Cean Bermudez (Die. v. 167) assign this portrait 
 to the year 1644, at which time the prince was sixteen instead of six years of age, as 
 here represented. 
 
 An old copy is in the Dulwich Gallery, No. 194. Another is in the Hermi- 
 tage, No. 426. Can this last be the copy by Sanchez Coello which Comte Raczynski 
 saw in the possession of M. de Gessler, Russian Consul at Cadiz ? Arts en Portu- 
 gal, 517. 
 
 F. Goya, etch., 8.9X6.4, 1778, at Calco. Nacional. Sir W. Stirling- Maxwell 
 has an impression with Goya's etching of Esop on the back, probably the one sold 
 at His de la Salle sale, 1856. Milius, etch., 5.8x6.9. J. Burnet, etch., in 
 Burnet, Portrait Painting. R. Earlom, Mezzo, 15. IX 12.9, 1775. J. Jollivet, 
 litho., in Col. Lito. E. C. Cos, litho., in Gal. Esp. On wood, in Blanc, Peintres ; 
 Scott, Muri llo ; Art Journal, 1852, p. 563; Becker , Kunst und Kiinstler ; La Ilus- 
 tracion Esp., January 8, 1876. Photo, in Reid, Velazquez. 
 
 132. Don Baltasar Carlos. A repetition of the above picture, 
 
 somewhat smaller. 1.27x97. 
 
 Salamanca sale, 1867. From the gallery of Don Luis de Bourbon. 14,700 
 francs. The writer is informed by M. P. Lefort that this picture now belongs to the 
 Duque de Fernan Nunes, Madrid. 
 
 132a. H. Artaria sale, by Phillips, los. A repetition of No. 131. ^"105. 
 London, April, 1850. D. Baltasar Car- Mentioned in Burnet, Portrait Painting. 
 
56 
 
 VELAZQUEZ. 
 
 133. Don Baltasar Carlos. Sir Richard Wallace, Bart. 
 
 A child about four years of age, in black and white dress, with a crim- 
 son scarf, his hand on his hip, is mounted on a black horse, attended 
 by a cavalier and other persons, among whom is a dwarf. The back- 
 ground, consisting of a blank wall with the end of a pigeon-house, is 
 unfinished, without, however, impairing the harmony of the picture. 
 51x40 inches. 
 
 Purchased in Spain about 1827 by Mr. Woodburn, on the recommendation ot 
 Sir David Wilkie, for Mr. Rogers. Sold at Samuel Rogers sale, May 2, 1856, 
 for £1270 10s. Stirling, ii. 630 note. Head, Handbook, 159. British Institution, 
 1838, 1855. Manchester Exhibition, 1857. This is probably the picture which Sir 
 D. Wilkie saw in the possession of D. Jose de Madrazo. Cunningham, Life of 
 Wilkie, ii. 469. 
 
 134. Don Baltasar Carlos. Grosvenor House, London. 
 
 A boy about twelve years of age, wearing a costume enriched with 
 silver and gold, a crimson scarf and a plumed black hat, is mounted 
 on a prancing pony, in a court of the palace, attended by several offi- 
 cers, among whom is Olivares receiving a lance from an attendant ; 
 the King and Queen Isabel are seen at a balcony of the building, 
 probably the royal mews, which serves for a background. 57x83 
 inches. 
 
 From the Welbore Ellis Agar Collection. 
 
 " He painted another picture with the portrait of D. Baltasar, who is being 
 instructed in horsemanship by Don Gaspar de Gusman, master of the horse. The 
 picture is now in the possession of the Marques de Liche [Heliche], nephew of 
 Olivares, where it is greatly esteemed." Palomino, hi. 332. There can be no 
 doubt that the picture in Grosvenor House is the one to which Palomino refers ; and 
 judging from the age of the prince it was painted about i64i,*only two years before 
 the fall of Olivares. British Institution, 1819. Royal Academy, 1870. Stirling, ii. 630. 
 
 Etched in J. Young, Grosvenor Gallery. 
 
 135. Don Baltasar Carlos. Sir Richard Wallace, Bart., 
 
 London. The child full-length, about three years of age, stands three- 
 quarters left, wearing a gray silk frock ; his left hand is on his sword, 
 which is attached to a violet scarf crossing his breast ; in his right 
 hand is a general's baton, which he uses as a walking-stick; his 
 plumed hat lies on a cushion ; a dark curtain is in the background. 
 46x37^ inches. 
 
DON BALTASAR CARLOS. 57 
 
 Standish sale, 1853, No. 222 (156). ^1,680. One of the most important pict- 
 ures in the Standish collection. Manchester Exhibition, 1857. Royal Academy, 1872. 
 This may be one of the eighteen pictures mentioned in the accounts of Francisco de 
 Rioja, Prothonotary of Aragon, for which Velazquez was paid 1000 ducats in 1634. 
 See-ante, No. 3. Praised by Mr. Ford in The Athenceum, June, 1853, p. 710. 
 
 Engraved on wood in Art Journal, December, 1852. Caldesi, photo, in 
 The Hertford Gallery. 
 
 136. Don Baltasar Carlos. Sir Richard Wallace, Bart., 
 
 London. The young prince full length, standing, in rich dress of 
 
 black velvet adorned with laces, and slashed ; behind him is a chest 
 
 covered with crimson velvet adorned with gold. 36^x27 inches. 
 
 William Wells, of Redleaf, sale, May 12, 1848, by Christie, ^"682 ioj\, to the 
 Marquis of Hertford. British Institution, 1828, 1837. Manchester, 1857. Royal 
 Academy, 1872. Stirling, ii. 633. 
 
 137. Don Baltasar Carlos. Museo del Prado, 1,076. A 
 
 jaunty looking boy, full length, in hunting dress, stands beside a tree 
 holding with his right hand a gun, the breech of which rests on the 
 ground ; on each side is a dog ; landscape and mountains in the back- 
 ground ; inscribed beneath, on the left, Anno cetatis suce, vi. Second 
 manner. 1.91x1.10. 
 
 Painted, as appears by the inscription, in 1 635. 
 
 E. Lemus, etch., in Grab. Ag. Fuerle. C. Alabern, etch., 9.3X5.9. A. 
 Blanco, litho., in Col. Lito. E. C. Cos, litho., in Gal. Esp. Outline in Lubke, 
 Denkmaler der Kunst. On wood in Gaz. B. Arts, February, 1881. Photo, in 
 Reid, Velazquez. 
 
 138. Don Baltasar Carlos. Duke of Abercorn, London. 
 A boy, full length, about seven years old, wearing a black plumed hat, 
 black dress embroidered with gold, a falling lace collar, long black 
 hose, shoes, and gauntlets, standing in a piazza three-quarters left, 
 holding with his right hand the muzzle of a gun, the breech of which 
 rests on the pavement ; a large dog lies on the left, and two grey- 
 hounds sit on the right ; his left hand is on his sword, which hangs by 
 an embroidered baldric ; a crimson curtain above ; landscape and sky 
 in the background. 62^X42^ inches. 
 
 Sir George Warrender sale, 1837,^410. Exhibited by Sir George Warren- 
 der at the British Institution, 181 8, and by the present owner at the National Gal- 
 lery, Edinburgh, and at the Royal Academy, 1873. Query: Is this No. 143d? 
 8 
 
58 
 
 VELAZQUEZ. 
 
 139. Don Baltasar Carlos. Hague Museum, 357. He is 
 
 seen at full length, about ten years of age, standing three-quarters left, 
 
 with a baton in his right hand, his left on his sword; his head is 
 
 bare ; he wears armor enriched with gold, a falling lace collar, a red 
 
 scarf, red embroidered breeches, and gauntlets of mail ; at his right is 
 
 a red velvet chair, at his left a table covered with red velvet on which 
 
 is his casque; a curtain behind. 1.48x1.11. 
 
 Painted about 1639. Purchased with the Rainer Collection in 1821. 
 Outline in Les Principaux Tableaux du Musee a la Haye, La Haye, 1826, 8vo. 
 A. Gerkens, litho., in Kunst Kronijk, 1847. A. Braun, photo. 
 
 140. Don Baltasar Carlos. Buckingham Palace, London. 
 A repetition of the above. 39x22*^ inches. 
 
 This portrait is in a private room in Buckingham Palace, and not often seen by 
 visitors. It is said to have been presented by Philip IV. to King Charles I., and 
 has only recently been brought from a store-room at Windsor, where it had been 
 forgotten. See Philip IV., No. 113. 
 
 At the sale in 1651 of pictures belonging to the Commonwealth, "A Prince of 
 Spain " sold for iar. 
 
 141. Don Baltasar Carlos. Belvedere, S. 7, No. 6, Vienna. 
 The young prince, full length, about ten years of age, stands with bare 
 head, three-quarters left, wearing a black velvet dress richly embroid- 
 ered, a golilla or stiff horizontal collar, and a scarf across his breast ; 
 his left hand is on his sword, the right on a chair ; the hands ungloved ; 
 behind him on the right is a window. 48X38 inches. 
 
 Painted about 1639. Resembles No. 139 somewhat. 
 Miethke, photo. No. 96. 
 
 B. Moncornet, line, 5.5X4.2. Half-length in an oval. The head and bust 
 seem to be after the above picture, but the lower part is changed. P. de Jode, 
 line, 6.2X4-4, similar to Moncornet. 
 
 142. Don Baltasar Carlos. Museo del Prado, 1,083. He 
 
 is seen at full length, about sixteen years of age, standing, in black 
 dress, short cloak, and silk stockings, wearing a sword, and the order 
 of the Golden Fleece suspended by a gold chain from his neck; his 
 left hand is on the back of a chair, which is partly hidden by a red 
 curtain; his gloved right hand holds his hat. 2.09x1.44. 
 
DON BALTASAR CARLOS. 59 
 
 Painted about 1645. This is the last portrait which Velazquez made of the 
 Prince. It was transferred in 18 16 from the Royal Palace to the Academy of San 
 Fernando, and thence to the Museum in 1827. 
 
 A. Braun, photo. 
 
 143. Don Baltasar Carlos. A repetition of the bust of the 
 portrait No. 141. Life-size. 
 
 H. Baillie sale, May 15, 1868, ^194 5s. (to Bale). Charles Sackville 
 
 Bale sale, May 13, 1881, ^871. It was probably sold at Christies, June 9, 1827, 
 " Portrait of the Infant Baltasar, head only, ^27 Ss. to Baillie." See No. 143I1. 
 
 143a, Museo del Prado, 1,118. Don 
 
 Baltasar Carlos, full length, eight years 
 of age, standing three-quarters left, in a 
 balcony on a tessellated pavement, wear- 
 ing a dark green velvet costume enriched 
 with gold ; his left hand on his sword, 
 the right on the muzzle of a carbine 
 that rests on the floor ; his plumed hat 
 lies on a cushion before him ; a curtain 
 above ; landscape seen through an open- 
 ing on the left. 1.58x1.13. 
 
 This portrait was ascribed in the old 
 catalogue to Velazquez, but since 1872 
 to the "School of Velazquez." A repe- 
 tition or copy is in Buckingham Palace, 
 London. 
 
 B. Maura, etch., 9.2x6.6, 1874, in 
 Grab. Ag. Fuerte. J. A. Lopez, litho., 
 in Col. Lito. 
 
 143b. D. Baltasar Carlos (?). A boy, 
 full length, ten years of age, about to 
 insert the ramrod into his gun; land- 
 scape background. 53X40 inches. 
 
 Lebrun sale, 1810, No. 131, 722 
 francs. The same in Lapeyriere sale, 
 1825, 1,000 francs. 
 
 Outline reversed in Lebrun, Reciteil, 
 131. Judging from the engraving, this 
 portrait is by the same artist who painted 
 No. 143a, as there is a strong resem- 
 blance in features, costume, and position. 
 
 143c. Don Baltasar Carlos, full length, 
 nine years of age, stands beside a monu- 
 mental slab which bears a long inscrip- 
 tion in Latin, beginning Posteritati 
 
 Sacrum. Serenisimvs Princeps Bal- 
 thasar Carolvs, and setting forth that 
 the prince when nine years old shot a 
 boar in the Pardo, and afterwards shot a 
 bull in the bull ring. He is handing his 
 gun to his valet, D. Alonso Martinez de 
 Espinar, the same person whose features 
 it is thought may be recognized in Lord 
 Ashburton's picture of the Stag Hunt, 
 No. 40. Lying in front are the bull and 
 the boar which the boy has slain ; on the 
 right are two dogs in leash, and an 
 attendant holding up the royal arms 
 emblazoned on a lion's skin. The por- 
 traits are thought to be after Velazquez. 
 
 C. Galle, line, 18x12.8, Bruxellae, 
 1642. 
 
 143d. Rose Campbell sale, July 9, 
 1 814. D. Baltasar Carlos in hunting 
 dress with a gun and dogs; mountains 
 in the background. Brought by Mr. 
 Campbell from Spain. ^315, to Sir 
 F. G. Beaumont. 
 
 143c Amsterdam Museum, 341. 
 Don Baltasar Carlos. A copy perhaps 
 of No. 143, .31 X. 24. On panel. Bought 
 at auction in Amsterdam in 1828 for 31 
 florins. A portrait of Don Baltasar 
 which was bought September, 1821, by 
 William I. in the Rainer Collection, was 
 withdrawn from the Museum of La 
 Haye, and sold at Amsterdam in 1828. 
 
 I43f. Mr. Cox. Portrait of Don 
 Baltasar Carlos. Exhibited at the 
 British Institution, 1821. 
 
6o 
 
 VELAZQUEZ. 
 
 I43g. A portrait of Don Baltasar Car- 143I1. Altamira sale, London, June I, 
 
 los, cuadro de sobreventano, is mentioned 1827. Don Baltasar. £\\ \\s. 
 
 in the inventory of Buen Retiro in 1700. 143!. W. W. Burdon, of Newcastle, 
 
 It was different from any now known, sale by Christie, June 28, 1862. Head 
 
 Catalogo Mus. Prado,p.$gi. See No. 148. ofD. Baltasar. £8 15^. 
 
 144. Infant Don Carlos, second son of Philip III. and brother 
 of Philip IV., born 1607, died 1632. Museo del Prado, 1,073. 
 He is about twenty years of age, full length, standing, nearly front, in 
 black dress embroidered with silk, black cloak, stockings, and shoes, 
 and a golilla ; a heavy chain of gold hangs from his neck ; his left hand 
 holds his hat against his side; his right holds a glove by the end. 
 First manner. 2.09x1.25. 
 
 Painted about 1627. It cannot be identified among the pictures enumerated in 
 the royal inventories. 
 
 J. J. Martinez de Espinosa, etch., in Grab. Ag. Fuerte. Guerard, etch., 
 6-5X3-7, Paris, 1880. 
 
 145. Infant Don Fernando, third son of Philip III. and brother 
 of Philip IV., born 1609, died 1641. Museo del Prado, 1,075. 
 Full length, about nineteen years of age, standing, in hunting costume, 
 holding with both hands a gun pointed upward ; a dog is seated 
 before him ; landscape background. Second manner. 1.91x1.07. 
 
 Palomino (iii. 332) seems to say that this portrait and its companion, Philip IV., 
 No. 108, were painted about 1644. Cean Bermudez repeats the statement, which is 
 manifestly erroneous, as the prince had then been dead three years. Judging from the 
 age of the person represented, and from the style and execution of the picture, it 
 would appear to have been begun in 1628 and finished about 1635. 
 
 F. Goya, etch., 10.1x5.6, inscribed " Un Infante de Espana," etc. There are 
 I. Proofs before the aqua tint and inscription. II. With aqua tint, but before the 
 inscription. III. With inscription. B. Maura, etch., 9.6x5.4, 1870, at Calco. 
 Naciotial. J. J. Martinez, etch., in Grab, al Ag. Fuerte. C. Alabern, etch., in 
 Alabern Galleria. Guerard, etch., 13.3X6.3, 1880. J. Burnet, etch., in Burnet, 
 Portrait Painting, reversed, wrongly called Philip IV. J. A. Lopez, litho., in Col. 
 Lito., i. 45. E. C. Cos, litho., in Gal. Esp. On wood in Art Journal, 1852, p. 
 335, wrongly called Don Carlos Baltasar; Blanc, Peintres ; Scott, Murillo. 
 Photo, in Reid, Velazquez. 
 
 146. Infant Don Fernando. A repetition of the above. Com- 
 panion to No. no, which see. 
 
 Colonel Hugh Baillie sale, 1858, ^477 \$s. Not sold. Schneider sale, 
 Paris, 1876, 6,000 francs. Manchester Exhibition, 1857. 
 
DON PHILIP PROSPER. 
 
 6l 
 
 Caldesi, photo, in Manchester Art Treasures, wrongly called the Cardinal 
 Don John of Austria. 
 
 146a. Sir Robert Price. A Brother 146b. Dubois sale, Paris, Dec. 7, 1840. 
 of Philip IV. Exhibited at the British A Brother of Philip IV. Sold for 5,150 
 Institution, 1838. francs. 
 
 147. Infant Don Philip Prosper, eldest son of Philip IV. 
 
 and Maria of Austria his second wife, born November 28, 1657, died 
 
 November 1, 1661. Belvedere, S. 7, No. 13, Vienna. The child 
 
 is about two years old, standing, three-quarters left, wearing a dark 
 
 frock and white apron which extends from his neck to the floor; his 
 
 right hand is on the back of an arm-chair, on which lies a small white 
 
 dog ; three baubles are suspended from his waist, one of which is held 
 
 in his left hand ; a heavy curtain falls over the back of the chair ; on 
 
 the right is seen an open window, and the child's cap lying on a table. 
 
 Full length. Called in the catalogue Margarita Theresa. 1.28x1.00. 
 
 This is one of the latest, most interesting, and most authentic of the portraits by- 
 Velazquez, but owing to an error of Palomino, its identity, though suspected, has 
 never been positively asserted. Palomino (iii. 349) says : " In the year 1659 Velaz- 
 quez executed two portraits which his Majesty wished to send to Germany to the 
 Emperor. One was the Prince of Asturias, Don Phelipe Prospero, who was born 
 on Wednesday the 28th day of November, 1651 [sic], at half-past eleven o'clock in 
 the morning — one of the best of his works when we consider its difficulty on account 
 of the vivacity of the child. He is at full length in a dress appropriate to his years ; 
 his cap with a white feather is on a silk tabaret ; on the other side is a crimson 
 chair on which his right hand rests ; above is a curtain, in the background an open 
 door; all with extreme grace and art in the grand manner of the artist. On the 
 chair was a dog which seemed alive, painted after one which Velazquez greatly 
 admired, etc., etc." The other portrait was that of the Infanta Dona Margarita 
 Maria of Austria (No. 253). From this account we would naturally look for a 
 portrait of a child eight years old. Accordingly, Cean Bermudez, following Palo- 
 mino's error, says (Die. v. 173) that "in 1659 Velazquez painted the portrait of 
 D. Felipe Prosper, eight years of age." The fact is, however, that the child was 
 born in 1657, and was only two years old when painted. See the Genealogy, 
 page 42. 
 
 W. Unger, etch., 10x6, called " Kinderportrat " in Die K. K. Gemalde-Gal- 
 erie in Wien. Miethke, photo. 50. 
 
 148. Don Philip Prosper(?). Marquis of Lansdowne, London. 
 An infant lying in a cradle, covered with rich drapery ; only his little 
 face is seen. Life-size. 40X76^ inches. 
 
62 
 
 VELAZQUEZ. 
 
 Stirling iii. 1339. A picture called An Infant Sleeping was sold at a sale, 
 London, 1802, ^"68 <>s. and again in the Marquis of Lansdowne sale, March 20, 
 1806, ^44 2s., to the second Marquis. British Institution, 1837. See No. I43g. 
 
 148a. Sir David Wilkie sale, April 
 25, 1842. D. Baltasar Prospero, in a 
 rich dress; said to be the last picture 
 painted by Velazquez ; minutely de- 
 scribed by Palomino. Sold for ^44 2s. 
 to Norton. 
 
 148b. Don John of Austria, nat- 
 ural son of Philip IV. and Maria Cal- 
 derona, an actress, born 1629, died 1679. 
 J. Bankes Stanhope, Esq. Exhibited 
 at Leeds, 1868. 
 
 148c. Lord Northwick sale, 1859, 
 No. 1,499. Don Juan of Austria, full 
 length, in armor, wearing a hat with a 
 red plume ; the right hand is extended 
 pointing to the lines of the enemy, against 
 whom the army under the orders of Don 
 Juan is seen in the middle distance carry- 
 ing on offensive operations ; the left 
 hand rests upon the hip near the hilt of 
 the sword. ^"136 10s., to J. S. W. S. 
 Erle-Drax, Esq. 
 
 149. Prince of Parma and his Dwarf. Earl of Carlisle, 
 
 Castle Howard. A child with fair hair and dark eyes, in black velvet 
 
 petticoats embroidered with gold, a scarf crossing his breast, a sword 
 
 in one hand and a staff in the other, is chasing a dwarf who runs 
 
 away with a silver bauble and an apple ; a black velvet hat with a 
 
 white feather lies on a red velvet cushion. Full length, life-size. 
 
 Formerly ascribed to Correggio. Stirling, 1402. Waagen, iii. 332. Athe- 
 nceum, September 30, 1876. 
 
 150. A Spanish Prince. Count Harrach, Vienna. A boy 
 about four years old, full length, dressed in the robes of a cardinal, 
 standing beside a table covered with tapestry, on which is his right 
 hand holding a book ; a vase of flowers is on the table ; a cap in his 
 left hand ; a fat pug dog on the floor, and a landscape seen through 
 an open window. 72x55 inches. 
 
 150a. Ferdinand II. and his Wife 
 Vittoria della Rovere, formerly in 
 the National Gallery, London. He 
 holds a baton which rests on a table ; 
 she has a fan in one hand and a rose in 
 the other; three-quarters length. 56 X 
 50 inches. 
 
 Purchased from Mr. Angerstein in 
 1824. In features, dress, and pose this 
 lady bears a strong resemblance to Vit- 
 toria della Rovere as represented by 
 
 Sustermans in the portrait in the Turin 
 Gallery, and the execution recalls that 
 artist rather than Velazquez. 
 
 Starling, etch., 3.7x3.2. W. Holl, 
 line, in Jones, National Gallery. Schu- 
 ler, line, 4.2x3.1- H. F. Rose, etch., 
 in Angerstein Catalogue, 1823, called 
 "Philip IV. and Mariana." 
 
 150b. Francis I., Duke of Modena, 
 born 1610, died 1658. "Among the 
 most noted portraits which Velazquez 
 
PRINCE O 
 
 painted at this time is that of Don Fran- 
 cisco Tercero (?) de este nombre, Duke 
 of Modena, who, being in Madrid in 1638 
 to assist as sponsor at the baptism of 
 the Infanta Maria Teresa, caused Velaz- 
 quez to paint his portrait, for which he 
 rewarded the artist liberally, giving him, 
 among other things, a rich chain of gold, 
 which Velazquez wore on state occasions 
 at the palace." Palomino, hi. 330. This 
 portrait has disappeared, for that which 
 is now shown in the Ducal Palace is a 
 different work. The following interest- 
 ing notes from the Archives of Modena 
 have been furnished by Signor Adolfo 
 Venturi, Ispettore della R. Galleria de 
 Modena. 
 
 Fulvio Testa, a celebrated poet of 
 Modena, then Ambassador to Spain, 
 writes from Madrid, March 12, 1639: 
 " Velazquez is making an admirable por- 
 trait of your Majesty; he has, however, 
 the defects of other great men : he never 
 finishes and never tells the truth. I have 
 given him one hundred and fifty pieces of 
 8 buen conio, and the price has been fixed 
 by the Marchese Virginio (Malvezi) at 
 10 doubloons. He is dear, but paints 
 well, and, in fact, I consider his portraits 
 not inferior to those of the most renowned 
 among ancients or moderns." 
 
 This portrait was certainly sent to 
 Modena, for when Velazquez visited 
 that city in 1649, "he was favorably 
 received by the Duke, who showed him 
 the palace and the many curious and valu- 
 able things it contained, among them the 
 portrait which Velazquez painted of the 
 Duke in Madrid." Palomino, iii. 336. 
 The portrait is mentioned by Gherardi 
 in a MS. description of the pictures of 
 the gallery in 1 744. 
 
 A letter of Geronimo Poggi to the 
 Duke, dated December 12, 1650, men- 
 tions the fact that Velazquez made a 
 second visit to Modena, this time to pur- 
 chase pictures ; but Poggi, who was 
 
 ? WALES. 63 
 
 the Duke's secretary, viewing his object 
 with disfavor, avoided showing the gal- 
 lery, saying the key was mislaid. Velaz- 
 quez returned to Spain, taking with him 
 Michele Colonna and Agostino Mitelli to 
 paint frescos. 
 
 The portrait by Velazquez is mentioned 
 in 1685 in the Raccolta di Cataloghi ed 
 inventari inediti per il Marchese Giuseppe 
 Campori, which gives the size about 
 2^X2 braccio. On the 18th of May, 
 1686, the Duke pledged un ritratto del 
 Duca del Velaschi, with Count Ugolotto 
 Vigarani, as security for a loan, since 
 which time all trace of it has been lost. 
 
 The portrait of Francis I., life-size, 
 . 67 X. 5 1 cm., now in the palace, was 
 bought in 1843 from Count Lorenzotti 
 as a Vandyck, but it is now considered 
 to be by Velazquez. It is hoped the 
 above notes may assist in tracing the 
 lost portrait. 
 
 150c. The Prince of Wales, after- 
 wards Charles I. John Snare, Esq., 
 New- York. A knee-piece, in armor, 
 with the order of St. George; his right 
 arm rests on a globe, his left holds a 
 baton ; a yellow drapery with red stripes 
 is behind the figure and partly covers 
 the globe ; in the background is a 
 besieged fortress. 56X44 inches. 
 
 Purchased by Mr. Snare, who was at 
 the time a bookseller of Reading, Octo- 
 ber 28, 1845, at the sale at Radley Hall, 
 near Oxford, then kept as an Academy 
 by Mr. Kent, for ^8. 
 
 That Velazquez made a portrait of 
 Charles is undoubted. Pacheco, the 
 father-in-law of our artist, whose account 
 was printed eleven years before Velaz- 
 quez died, informs us that Hizo tambien 
 de camino tin bosquexo del Principe de 
 Gales que le dio cien escudos. Pacheco, Arte 
 de la Pintnra, 102. The words de ca initio 
 mean by the roadside, but they also mean 
 among other occupations, or at the same 
 lime, in which sense they seem to have 
 
6 4 
 
 VELAZQUEZ. 
 
 been used in this case, since it is added 
 that the prince rewarded the painter with 
 ioo crowns, and bestowed on him many 
 marks of esteem. As the price was 
 much greater than Philip IV. paid the 
 artist for the famous picture of Bacchus, 
 it is reasonable to suppose that the por- 
 trait referred to was something more than 
 a wayside sketch. Mr. Snare's theory 
 is that after the unfortunate issue of his 
 courtship, the subject not being an agree- 
 able one, Charles doubtless did not care 
 to preserve this memento of his failure, 
 and it may be supposed he gave the pict- 
 ure to Buckingham, who, being chagrined 
 at his share in the enterprise, did not 
 prize the canvas more highly than his 
 master. A portrait of Prince Charles by 
 Velazquez is mentioned by Pennant as 
 belonging to the Earl of Fife at White- 
 hall, and the catalogue of the gallery of 
 that nobleman, privately printed, says 
 that it was from the Duke of Bucking- 
 ham's collection. The Earl of Fife died 
 in 1809, and in 181 7 his pictures were 
 sent to John Marshall for storage. How 
 the portrait of Charles passed from the 
 Fife Collection does not appear, but there 
 seems to be no reason to doubt that it 
 did by some means turn up in the Rad- 
 ley Hall sale. Satisfied of the authentic- 
 ity and value of the portrait, Mr. Snare 
 exhibited it publicly in London and else- 
 where. While it was on exhibition in 
 Edinburgh, January 31, 1849, the trustees 
 of the Earl of Fife, aroused by the sensa- 
 tion the picture created, and the lofty 
 claims of its owner, seized it by process 
 of law, and detained it until March 17, 
 when it was restored. Mr. Snare brought 
 an action for trespass, and on trial it was 
 shown that his picture had belonged to the 
 Earl of Fife, and there was no evidence 
 that the Earl had ever sold it. Experts 
 and amateurs of the highest considera- 
 tion testified as to its value, their esti- 
 mates varying from ^10,000 to ^5. In 
 
 the end Mr. Snare was awarded ^1,000 
 as damages for the detention, and the 
 judgment was confirmed on appeal. The 
 picture was afterwards exhibited in 
 America, but in view of the annoyance to 
 which he had been subjected, the owner 
 has withdrawn it from the public view. 
 
 The critics do not place as high an 
 estimate on this work as the owner. 
 Ford considers it a daub, and doubts if it 
 is by a Spanish master. Stirling and 
 Head think the subject too old for 
 Charles at that date, and that the picture 
 is finished instead of being a bosquexo or 
 sketch. See Proofs of the authenticity of 
 the portrait of Charles I. by Velazquez, 
 by John Snare, 1848, 8vo. History and 
 pedigree of the portrait of Prince Charles, 
 etc., Reading, 1847, 8vo. Report of the 
 Trial by jury, Snare vs. trustees of the 
 Earl of Fife, Edinburgh, 1849, 8vo. 
 Pacheco, Arte de la Pintura, 102. 
 Ford, Handbook, ii. 689. Stirling, An- 
 nals of the Artists of Spain, and Velaz- 
 quez, Paris ed., p. 75, note. Head, 
 Handbook, 142, note. 
 
 i5od. Lebrun sale, 1814, No. 168. A 
 young prince in black dress, standing, 
 with a letter in one hand and his hat in 
 the other. 76x46 inches. 
 
 150c Paul Perier sale, December 
 19, 1846, No. 36. A prince of the 
 House of Austria, 6,800 francs. From 
 the first sale of M. Dubois (December 7, 
 1840.) 
 
 i5of. Paul Perier sale, December 19, 
 1846, No. 37. A young prince. From 
 Marshal Maison, 1,960 francs. 
 
 There were three Perier sales, viz. : 
 
 Casimir Perier, April 18, 1838. 
 
 Paul Perier, March 16, 1843. 
 
 Paul Perier, December 19, 1846. 
 
 i5og. Wynn Ellis sale, June 17, 
 1876. A young Spanish prince in red 
 dress. Full length. Purchased in Bel- 
 gium. Exhibited at Leeds, 1868. ^32 1 is. 
 (to Grays tone.) 
 
MALE PORTRAITS — 
 
 CARDINALS. 
 
 65 
 
 151. Field-marshal Alessandro del Borro. Berlin Mu- 
 seum, 413A. A corpulent man wearing a mantle, doublet, long hose, 
 and shoes, all completely black, stands on a stone portico, his body 
 three-quarters right, his face front; his bare head is covered with 
 bushy hair ; beneath his feet is a flag striped with red and white, and 
 spotted with gold bees, the emblem of the Barberini family ; his right 
 hand holds his mantle, his left is on his rapier ; the point of sight is on 
 a line with his feet. Full length. 2.03x1.21. 
 
 Formerly in the Villa Passerini, near Arezzo, where Borro was born. Pur- 
 chased in Florence in 1873. 
 
 Photographed by the Berlin Photo. Co. 
 
 151a. Berlin Museum, 413. Car- A. H. Payne, line, in Payne, Dresden 
 
 dinal Dezio Azzolini, full length, seated Gallery. 
 
 in an arm-chair. This portrait has been 151b. Portraits of a Captain and his 
 
 ascribed to Velazquez and to Murillo, but Wife, members of the Baldeschi family, 
 
 in the catalogue of 1878 it is assigned to are mentioned as existing in the Baldes- 
 
 Ferdinand Vouet, it having been recently chi Palace at Perugia. Mariano Guarda- 
 
 discovered that it is ascribed to that artist, bassi, Indice Guida di Momimenti, etc., 
 
 and included in a series of portraits of the nella Provincia delV Umbria. Perugia, 
 
 Cardinals engraved by Rossi. 1872, 8vo. 
 
 152. Alonso Cano (?). Museo del Prado, 1,091. A man 
 
 about 60 years old, standing, turned to our right, with his left hand on 
 a bust which he is modeling ; his right hand holds a modeling stick ; 
 he wears a cloak and a dark habit bound with a thong. Half length. 
 Latest manner. 1.09X.87. 
 
 There is much doubt as to the person represented in this portrait. The features 
 do not resemble those of Alonso Cano as seen in the portrait in the Seville Museum, 
 painted after his death, nor those of the portrait formerly in the Louis Philippe Gal- 
 lery, engraved in Stirling's Annals. The bust on which the hand rests is said to be 
 copied from that of Adam, by Cano, formerly in the Cathedral at Granada. Pas sa- 
 vant, Christ. Kunst, 49. 
 
 B. Maura, etch., 5.9x4.4, at Calco. Nacional, without the bust. E. C. Cos, 
 litho., in Gal. Esp. J. Laurent, photo. 
 
 153. Cardinal Gaspar de Borgia, son of Francisco de Borgia, 
 Duke of Gandia, born 1584, died 1645. Archbishop of Seville and 
 Toledo, Viceroy of Naples, and Cardinal. Stadel Kunst-Institut, 
 51, Frankfort. A Cardinal about forty-five years of age, three-quarters 
 
 9 
 
66 
 
 VELAZQUEZ. 
 
 left, with gray hair and thin whiskers, wearing a red cap and cape. 
 Bust, without hands. .62x49. 
 
 Salamanca sale, 1867, No. 42, "cited by Cean Bermudez. From the gallery 
 of Cean Bermudez," 27,100 francs. 
 
 Joh. Eissenhardt, etch., in Die StadeVsche Galerie, &c. Leipzig, 1876 
 (E. A. Seemans). 
 
 [The Salamanca sales included pictures from the following collections among 
 others. From D. Jose de Madrazo 41 ; the infant D. Luis de Bourbon 13 ; Con- 
 desa de Chinchon 13; Duque de San Fernando 1 ; Marques de Leganes 28 ; Conde 
 de Altamira 8 ; Sebastian Martinez 7 ; Jorge Dies Martinez 1 ; Marques de Remisa 
 6; Goya 9; Iriarte 3; Serafin de la Huerta 13, etc.] 
 
 154. Cardinal Gaspar de Borgia. Walter Ralph Bankes, 
 
 Esq. He is represented in black dress. Bust, life-size. 41x38 
 inches. 
 
 Presented to an ancestor of Mr. Bankes by the Duchess of Gandia. Exhib- 
 ited at the British Institution 1816, 1821. 
 
 " He painted also a portrait of D. Gaspar de Borgia, Cardinal of Santa Cruz in 
 Jerusalem, Archbishop of Seville and Toledo, President of the Royal Council. It 
 is now in the Palace of the Duke of Gandia." Palomino iii. 333. Also Ponz, iv. 
 265. Conca, Descrizione della Sfiagna, iv. 363. Cean Bermudez, Die, v. 168, 180. 
 
 155. Cardinal Rospigliosi, afterward Clement IX., born 1600, 
 
 became Cardinal 1657, Pope 1667, died 1669. Munich Gallery, 
 
 S. 367. He is about 55 years of age, with long face and nose, and 
 
 prominent chin. 20x17 inches. 
 
 Purchased in 1808, from Artaria. The picture has been cut down from its 
 original dimensions. It may have been painted at Madrid, where the Cardinal 
 resided for eleven years as Papal Nuncio. 
 
 PlLOTY AND LOHLE, photo. 
 
 156. A Cardinal Majordomo. A man with grayish hair and 
 mustache, black toque, white sleeves, and blue surplice lined with 
 red ; his left hand is on the arm of the red chair in which he is seated ; 
 in his right hand is a paper inscribed Alia Sant ia di Nro. Sig re Inno- 
 cenzio X° Mons. Maggiordomo ne parti, a S. S ta Per Diego d. Silva 
 Velasqu. e Pietro Martire Neri. Three-quarters length. 1.14x92. 
 
 Salamanca sale, 1875, No. 35, 19,300 francs. 
 
 Palomino mentions a portrait of Monsenor Mayordomo de su Santidad, painted 
 at Rome in 1649. Mus. Pict., iii. 337. 
 
MALE PORTAITS — CORRAL. 67 
 
 157. A Cardinal. Edward A. Leatham, Esq., London. He 
 has a square cap in his right hand, and papers in his left. Bust. 28^ 
 X24 inches. 
 
 Purchased about i860 from Mr. Walesby. Exhibited at Leeds 1868. 
 
 158. A Cardinal. Duke of Wellington, London. A bust. 
 
 158a. W. W. Burdon sale, 1862. A 
 Cardinal, full length, in crimson dress, 
 seated in an arm-chair. Small. £4 14s. 
 (James.) Manchester, 1857. Waagen, 
 iv. 476. 
 
 158b. J. Dennistoun sale, June 14, 
 1855. A Cardinal holding a book, seated 
 in an arm-chair ornamented with shields 
 of arms. From Fesch Gallery. £4 4s. 
 
 158c. Wynn Ellis sale, 1876. A 
 youthful Cardinal, called Cardinal Frivoli. 
 ^30 gs. Waagen, ii. 294. 
 
 i58d. Lord Cowley. A Cardinal, 
 small, full length. British Institution, 
 1836. 
 
 158c Camille Marcille sale, March 
 6, 1876. A Cardinal. 530 francs. Gaz. 
 B. Arts, xiii. 432. 
 
 i58f. Lebrun sale, 181 1, No. 51. A 
 
 Cardinal with mustache, wearing a cape, 
 rolling collar, and square cap. 27X22 
 in. 301 francs. The same in Lapey- 
 riere sale, 181 7, 450 francs. Mentioned 
 in Gault de Saint Germain, Guide, 338. 
 
 Outline in Lebrun Recueil No. 133 
 reversed, wrongly called " Philip IV." 
 [There were the following Lebrun sales : 
 
 June 19, 1764; December 20, &c, 1773; 
 
 September 22, 1774; January 19, 1778; 
 December 10, 1778; December 11, 1780; 
 April 2, 1788; April 11, &c, 1791; April 
 I5,&c.,l8n; January, 1813; May23,&c, 
 1814; December 27, &c, 1814.] 
 
 I58g. Wynn Ellis sale, 1876. D. 
 Antonio de Cardenas. A portrait. ^30 9^. 
 
 158I1. Sir Arthur Aston sale, August 
 12, 1862. Marques de Castel Rodrigo. 
 Full length, life size. Stirling, Annals 
 of the Artists of Spain, \\\. 1400. 
 
 158k. Prince Pio, of Savoy. Count 
 of Castel Rodrigo, Knight of Calatrava. 
 Milan Exhibition, 1872. 
 
 158I. Cervantes. Bust, about forty- 
 five years old, nearly front, with thick, 
 loose hair, mustache, and chin whiskers ; 
 a very wide linen collar falls over his 
 slashed doublet ; a cloak partly covers 
 his breast. 
 
 As Cervantes died when Velazquez 
 was only seventeen years of age, the 
 authenticity of this portrait may be 
 doubted. 
 
 C. Bouvier, line, after the picture in 
 the possession of M. Brieve at Geneva. 
 Pascal, line, 9.4x7.5. Leisnier, line, 
 11.9X9-5- 
 
 159. A Son of Don Christoval del Corral. Duque de Villa- 
 hermosa, Madrid. A gentleman about fifty years old, full length, 
 standing, dressed in black, with his doublet closely buttoned, and 
 with cordons and agraffes of diamonds ; his stockings are fastened at 
 the knees with black ribbons ; in one hand is a folded letter, the other 
 rests on a table covered with red velvet. Latest manner. 2.05x1.15. 
 
68 
 
 VELAZQUEZ. 
 
 This and the companion portrait of the wife of Don Christoval (No. 259) 
 remained in the Chateau de Narros, from the time of Velazquez until 1850, when 
 they passed to the present owner, a cousin of the Condesa de Narros. 
 
 160. Fiamingo the Sculptor. Fitzwilliam Museum, Cambridge. 
 He is seen nearly front, wearing a black hat with wide brim, and a 
 collar edged with lace; his right hand holds before his breast a 
 statuette, the left hand not seen. Bust. About 30x22 inches. 
 
 160a. Don Juan Fonseca y Fig- 
 ueroa, Sumiller de Cortina de Su Majes- 
 tad, Maestro escuela, y Canonigo de 
 Sevilla, was a painter and a man of letters 
 as well as a courtier. He showed Velaz- 
 quez particular attention when the artist 
 visited Madrid in April, 1622. On his 
 second visit, the following year, Velaz- 
 quez lodged in Fonseca's house and 
 painted his portrait, which, being carried 
 to the Palace by a son of the Conde del 
 Penaranda, Chamberlain to the Cardinal 
 Infant, gave such satisfaction that the 
 young artist was commanded to paint 
 the Infant and the King. Pacheco (102), 
 Cean Bermudez (v. 160), and Stirling 
 (589) are doubtless mistaken in suppos- 
 ing that it was the portrait of Fonseca 
 that caused the king to receive Velazquez 
 
 into his service with a monthly salary of 
 20 ducats. The order to that effect was 
 dated October (not April) 6, 1623, and 
 evidently had reference to the equestrian 
 portrait of the king which was finished 
 on the 30th of the preceding August. 
 The king's order is published accurately 
 by Zarco del Valle. Doc. Inedit, p. 393. 
 
 160b. Count Gondomar, full length, 
 standing near a chest of drawers on 
 which is his plumed hat. Stowe sale, 
 1848, No. 396. ^53 iij-., to J. H. Gur- 
 ney. Engraved by R. Cooper, line, 17.2 
 XH. 3. Unknown, line, 8.4x6.4. This 
 portrait is no longer ascribed to Velaz- 
 quez. A portrait of Gondomar, attribu- 
 ted to Velazquez, once belonged to F. 
 W. Wentworth. Jones, Views of the 
 Seats ) &c, 1829. 
 
 161. Luis de Gongora y Argote. Museo del Prado, 1,085. 
 
 The poet is represented as about sixty years of age, wearing a dark habit 
 
 and a small linen collar. First manner. .59X.46. 
 
 This is probably the portrait which Velazquez painted at the request of his 
 father-in-law on his first visit to Madrid, as mentioned in Pacheco, 102, and in Palo- 
 mino, iii. 325. 
 
 M. S. Carmona, line, 5X3.2, in an oval with a lyre, mask, etc., beneath, in 
 Parnasso Espanol,v\\. 171. Blas Amettler, directed by Carmona, line, 11. 6x 
 7.2, lengthened to a half length, holding a book and pen, at Calco. Nacional, in 
 Espanoles Ilustres. J. Laurent, photo., 216. 
 
 162. Henry de Halmale. T. P. Smyth, Esq. A gentleman 
 standing, front, wearing a large black felt hat with red plumes, large 
 soft boots, and a dark doublet enriched with gold, silver, and pearls ; 
 
MALE PORTRAITS — MOSCOSO. 69 
 
 a staff in his right hand ; on the left a servant holds a white horse. 
 Landscape background. Full length. 90X62 inches. 
 
 T. Purves sale, June 9, 1849. £9% 14-r- Purchased in Flanders by Mr. 
 Purves of Lincoln's Inn, from a descendant of the person represented. The owner 
 would not part with the portrait until he had cut out the coat of arms in the lower 
 left corner, which was afterward bought for a trifle from the vendor's servant, and 
 replaced. Exhibited at Manchester, 1857. 
 
 Halmale was a distinguished Burgomaster of Antwerp, 1 596-1 679. His por- 
 trait by Pierre Thys is in the Antwerp Museum No. 394, and the catalogue of the 
 Gallery gives his biography, from which it does not appear that he was ever out of 
 the Low Countries. 
 
 163. Don Luis de Haro. Baron James de Rothschild, 
 
 Paris. A nobleman on horseback with an attendant on foot. Full 
 length, life size. 
 
 Lord Northwick sale, 1859, No. 1009, £966. British Institution, 1846. 
 
 [Don Luis Mendez de Haro, Marques del Carpio and Marques de Heliche, was 
 a son of Olivares' sister Francisca. After the disgrace of the Conde Duque, D. Luis 
 succeeded him as prime minister, and on the death of Olivares, inherited the title of 
 Conde Duque de Olivares, together with the Guzman estates. See No. 166, note.] 
 
 164. Alonso Martinez de Espinar. Museo del Prado, 
 
 1,105. A man about forty-five years of age, with plain features, 
 
 brown hair, whiskers, and mustache turned up, wearing a black dress 
 
 and golilla. Bust. .74x44. 
 
 From San Ildefonso. This person was valet to D. Baltasar Carlos, and was 
 the author of El Arte de Ballesteria y Monteria, escrita por D. Alonso Martinez de 
 Espinar, que da el arquebuz a su majestad. Madrid, 1644, 4to. He is seen in the 
 Stag Hunt No. 40, and in the engraving by C. Galle, No. 143c. 
 
 165. Don Pedro Moscoso de Altamira (?). Louvre, 553. 
 A smooth-faced ecclesiastic, with bald head, three-quarters left, wear- 
 ing a black habit, with his right hand on his breast, holding a small 
 book in his left. Inscribed beneath, "JET 54 1633." Half length, 
 .92X.73. 
 
 Presented about 1690 by the Archbishop of Toledo to the Marques de Guardia 
 Real of Grenada, in whose family it remained until it was sold in 1846 to M. Cou- 
 turier. It was purchased in 1849 from M. Callery for the Louvre. 
 
 There is some uncertainty as to the person represented in this picture. He is 
 described in the catalogue as " Pedro Moscoso de Altamira, Dean of the Chapel 
 Royal of Toledo, and afterward Cardinal." It does not appear that there was ever 
 
7o 
 
 VELAZQUEZ. 
 
 a person bearing those names and titles. Don Baltasar de Moscoso y Sandoval, 
 born in 1589, became Dean of the Cathedral of Toledo, Archbishop of that diocese, 
 and was created a Cardinal in 161 5. Philip IV. by will appointed him one of the 
 guardians of his infant son Carlos II., but the appointment did not take effect, as 
 the prelate died on the same day as the king, September 17, 1665. Don Baltasar 
 was a son of the Conde de Altamira, and was called by his father's name Moscoso, 
 to which was added according to the custom in Spain, that of his mother, Sandoval. 
 Altamira was the name of a title, not of a family. It is also to be observed that 
 Don Baltasar was only forty-four years of age in 1633, not fifty-four, as the inscrip- 
 tion on the picture states. See J. W. Imhoff, Genealogiae viginti ilhistrium 
 familiarum, etc. Lipsiae, MDCCXII., fol. p. 222. Ortiz y Sanz, Compend. cronol. 
 de Espaiia, vi. 491. A portrait of the Cardinal Moscoso, painted by Francisco Rizi 
 in 1666 for the sala capitular of the Cathedral of Toledo, was engraved by Pedro 
 de Villafranca. 
 
 As to the execution of the picture in the Louvre, it seems too tame for Velaz- 
 quez. It has been attributed to Carreno, but as that artist was only nineteen years 
 of age in 1633, it can hardly be ascribed to him. 
 
 A. Braun, photo. 
 
 166. Conde de Olivares. Museo del Prado, 1,069. He is 
 
 seated far forward on a chestnut horse galloping to the left, his head 
 turned front ; he wears a steel cuirass, sombrero, crimson scarf, and 
 long boots ; with a baton in his hand he points to a battle raging in 
 the background. 3.13X2.39. 
 
 This portrait was painted about 1640. It passed from the house of Guzman to 
 the Marques de la Ensenada, from whom it was purchased by Charles III. It is 
 described at great length, and warmly praised by Palomino, iii. 332. 
 
 F. Goya, etch., 14.7x12.4, 1776, at Calco. Nacional. In the collection of Sir 
 W. Stirling- Maxwell is an impression with the letters written by Goya. B. Maura, 
 etch., 9.8x7.4, 1875, in Grab. Ag. Fuerte. J. Jollivet, litho., in Col. Lito. 
 E. C. Cos, litho., in Gal. Esp. On wood in Gaz. B. Arts, June, 1880. Photo, in 
 Reid, Velazquez. 
 
 [Don Gaspar de Guzman, Conde Duque de Olivares, Conde de San Lucar la 
 Mayor, was born in Rome in 1587. He married in 1607 his cousin, Agnes de 
 Zuniga, daughter of the Conde de Monterey, became first Minister of Philip IV. in 
 1621, fell from power in 1643, and died in exile July 22, 1645. He was succeeded 
 in office by his nephew Don Luis de Haro, Marques del Carpio, who, as Olivares 
 left no descendants, inherited the Guzman family titles and estates. These 
 descended to the prodigal and profligate Marques de Heliche, who dispersed the 
 noble library that Olivares had accumulated. The morals of this nobleman may be 
 judged from his saying, quoted by Madame D'Aulnoy {Voyage, 401, Paris, 1874), 
 that he would be the happiest of men if he could only find a mistress as charming 
 as his wife. The Duke of Alva now bears the family name of Haro with the 
 titles of Olivares, Heliche, Monterey, etc. 
 
MALE PORTRAITS — OLIVARES. 71 
 
 The title of Duque de San Lucar and its estates were bestowed by Olivares on 
 his adopted son Julian (see No. 194), but this reprobate having died childless, the 
 title was, at the end of a long lawsuit, awarded to the Marques de Leganes, the third 
 Marques of that name having married a cousin of the Count Duke. This title sub- 
 sequently passed by descent to the Conde de Altamira. The Marques de Leganes 
 was in his day a noted lover of art, and he founded a noble gallery of pictures 
 which remained in the family of his descendants until the present century, when 
 it was dispersed. Two portions of the gallery were consigned to London for sale. 
 The first sale of the Altamira pictures was by Mr. Stanley, June 1, 1827, the second 
 portion was sold June 29, 1833. But these sales did not exhaust the treasures of 
 the collection, for 161 pictures, including a full-length portrait of the Marques de 
 Leganes by Van Dyck, passed into the possession of Don Jose de Madrazo, and 
 eight of the pictures afterward belonged to the Marques de Salamanca. See Nos. 
 153 and 177a.] 
 
 167. Olivares. Duque de Montpensier, Seville. A sketch 
 
 for the above. .46X.39. 
 
 Companion to No. 100, which see. 
 J. Laurent, photo., No. 1,011. 
 
 168. Olivares. Earl of Elgin, Broom Hall, Fife. A repeti- 
 tion of No. 166, except that the horse is white. 49x40 inches. 
 
 Manchester Exhibition, 1857. Royal Academy, 1876. Stirling, ii. 618. 
 Waagen, iv. 444. 
 
 169. Olivares. Sir Richard Wallace, Bart. Apparently a 
 sketch for No. 166. 
 
 170. Olivares. Mrs. Henry Huth, Wykehurst, Surrey. The 
 Count is represented at full length, standing three-quarters left, with 
 bare head, wearing a richly embroidered black dress, over which is a 
 short cloak bearing the green cross of Alcantara, a projecting linen 
 collar, short breeches, long hose, low shoes, and a broad gold chain 
 across his breast; his right hand holding a wand, the badge of his 
 office as Master of the Horse, rests on a table covered with red cloth ; 
 his left hand is on his sword; red drapery in the background. 81x43 
 inches. 
 
 Louis Philippe sale, 151. From a private collection in Madrid, ^325 10s. 
 to Henry Farrar, who sold it in 1863 to Mr. Huth. Manchester Exhibition, 1857. 
 British Institution, 1864. 
 
 Engraved on wood in Illustrated London News, May 21, 1853. 
 
72 
 
 VELAZQUEZ. 
 
 171. Olivares. Robert S. Holford, Esq., London. A repe- 
 tition of the above, inscribed El Conde Duque in the lower left corner. 
 85x51 inches. 
 
 Hugh Baillie sale, May 15, 1858, "believed to be from the Altamira Gallery." 
 ^598 ioj-. Charles Scarisbrick sale, May 10, 1861. ^262 ioj-. British Insti- 
 tution, 1855. 
 
 172. Olivares. Hermitage, 421. A repetition of the above. 
 
 Companion to Philip IV. No. 115. 2.06X1.25. 
 
 A. Delahante sale, by Phillips, London, May 30, 181 7, No. 200. Lapey- 
 riere sale, Paris, April 19, 1825, No. 63, 11,520 francs. King of Holland sale, 
 1850, with its companion No. 115, 38,815 florins. 
 
 173. Olivares. Duque de Villahermosa, Madrid. He is 
 seen at full length, standing nearly front, wearing a black dress and 
 cloak, horizontal linen collar, the order of the Golden Fleece, the red 
 cross of Santiago, and a sword ; his right hand rests on a table on 
 which is his casque ; his left falls at his side ; a key is thrust in his 
 girdle. Life-size. 
 
 Companion to No. 106, which see. 
 
 The cross of Santiago in this picture is a puzzle to Antiquaries. Olivares was 
 a Knight of Alcantara, and for that reason could not have worn the order of Santi- 
 ago, as both these orders were never conferred on the same person. Some have 
 therefore thought the individual here represented must have been a brother of the 
 Count Duke, although the features are those of Olivares himself. 
 
 174. Olivares. Dresden Gallery, 622. Bust, three-quarters 
 left, wearing a golilla or stiff linen collar, and a black dress over which 
 is a cloak partly concealing the green cross of Alcantara on his breast ; 
 a folded letter is in his right hand; the left hand not seen. 43X39 
 inches. 
 
 Purchased with the Modena Gallery in 1746. It may have been executed for 
 Francis I., Duke of Modena, whose portrait Velazquez painted at Madrid in 1638, 
 and who might naturally have wished to compliment the powerful minister by order- 
 ing this picture. He appears to have complimented the King by a similar order. 
 See No. 103 note. 
 
 Photographed by the Berlin Photo. Co. 
 
 This or some similar portrait is the type or model of all the portraits of Oli- 
 vares, and of the following engravings. 
 
 Herman Panneels, line, 7.3X5.2, bust reversed, in an oval border decorated 
 with olive branches, shields, etc., inscribed above, Sicvt Oliva Frvctifera, in 
 
MALE PORTRAITS — OLIVARES. 73 
 
 Tapia y Robles, Renombre de Grande, Madrid, 1638. Paul Pontius, line, 23 X 
 17.2, bust without hands, in armor, a scarf over his shoulder; in an oval wreath, 
 standing on a pedestal between two winged figures; inscribed Boetis Oliviferae, 
 etc., and Ex Archetypo Velazquez P. P. Rubenius ornavit et dedicavit. L. M. Pau- 
 lus Pontius sculpsit. This engraving is of especial interest as combining the labors 
 of Velazquez and Rubens. Cor. Gallaeus, line 10.7x6.8. A copy of the above 
 reversed. Smith (Cat. Raisonne, ii. Rubens, No. 1 151 ) asserts that the engravings 
 last mentioned were made from a beautiful picture in grisaille, evidently for 
 the purpose of engraving, in the possession of the Duke of Hamilton. Fran'co 
 Na(va)rro, line, 7.1 X5.2, full length, in armor, piercing a dragon with his sword, 
 in Exiremos y Grandezas de Constantinopla, por Rabi Moysen Almosnino, Madrid, 
 1638, 4to. M. Merian, line, 6.5 X 4.8, perhaps after Velazquez, in an edition of 
 Petronii Arbitri, Satiricon by J. A. Gonzali de Salas, Francoforti 1629, 4to. P. de 
 Iode, line, 6.3X4.5, half length, in an oval, with a paper in his left hand, both arms 
 seen. Moncornet, line, 5.4X4.1, same as de lode's, reversed. L. Noseret, line, 
 11.5x7.3, half length, with two letters in his left hand, at Calco. Nacional, in 
 Espanoles /lustres. 
 
 175. Olivares. Hermitage, 422. A repetition of No. 174, but 
 a shorter bust and without hands. .67X.54. 
 
 Purchased in 1814 from Mr. Coesvelt. 
 
 176. Olivares. Marquis of Lansdowne, London. A repe- 
 tition of No. 175. 26X20 inches. 
 
 From the Gallery of the Prince of the Peace. Brought from Spain in 1813, 
 and sold by Mr. Buchanan to the Marquis of Lansdowne. Buchanan, Memoirs, i. 
 146, ii. 244-247. British Institution, 1867. Royal Academy, 1877. 
 
 177. Olivares. Francis Clare Ford, Esq., London. A rep- 
 etition of No. 175. 26^X22^ inches. 
 
 Purchased from General Meade. 
 
 177a. Lord Northwick sale, 1859, 
 No. 1804. Olivares. £14. 14s. to Sir 
 Thomas Phillipps. 
 
 177b. Sir Robert Price. Olivares. 
 Exhibited at the British Institution, 1838. 
 
 177c. Jose de Madrafco, Catalogo 
 443. Olivares, bust, wearing a rich black 
 dress, a gold chain on his breast, and 
 another on his right shoulder. .54X.46. 
 
 I77d. Jose de Madrazo, Catalogo 
 436. Olivares, bust, in armor, with a 
 buff sash, and whiskers, perilla, and 
 10 
 
 chestnut hair. Life-size. .48X.42. From 
 the Altamira Gallery. 
 
 [The gallery of Don Jose de Madrazo, 
 court painter and director of the Real 
 Museo del Prado, was in its day one of 
 the most important in Spain. The cata- 
 logue (Madrid, 1856, 8vo) comprised 696 
 numbers, including the Italian, Spanish, 
 French, German, and Dutch schools. 
 These paintings were gathered from the 
 most noted galleries formerly existing in 
 the Peninsula. There were from the 
 
74 
 
 VELAZQUEZ. 
 
 Altamira Gallery 161 specimens ; from Jose died in 1859, and his pictures were 
 
 that of D. Bernardo Iriarte, 51 ; Bor- dispersed. Forty-one of them fell into 
 
 ghese, Rome, 10; Raphael Mengs, 9; the possession of the Marquis of Sala- 
 
 Charles I. of England, 1 ; Vitali, 12 ; manca, and were sold in his sales. See 
 
 Onate, 6; Peral, 20; Alba, 2, etc. Don No. 153.] 
 
 178. Don Adrian Pulido Pareja. Earl of Radnor. Long- 
 ford Castle, Wilts. He is seen at full length, turned to the right, with 
 thick black hair, wearing a black velvet dress with sleeves of flowered 
 satin, a broad lace collar, and a sword suspended by a white belt ; a 
 baton is in his right hand ; his hat in his left ; brown background ; 
 no accessories. 81X44 inches. Inscribed 
 
 Did : Velasq : 
 Philip IV. a 
 Cubiculo eiusq. 
 pictor 1639. 
 ADRIAN 
 PULIDOPAREJA 
 
 Royal Academy, 1873. This portrait is believed to have been purchased by 
 the grandfather of the present owner some time before the year 1828. Stirling, ii. 
 621. Waagen, hi. 141. 
 
 " In 1639 Velazquez made the portrait of Don Adrian Pulido Pareja, a native 
 of Madrid, Knight of the Order of Santiago, Captain General of the Armada and 
 of the fleet of Nueva Espana. The portrait is life size, and one of the most cele- 
 brated works of the artist ; executed with brushes of unusual length, which he used 
 that he might paint at a distance and with greater force, so that observing it closely 
 it is not easily comprehended ; but far off it is marvelous. It is signed Didacus 
 Velazquez fecit, Philip IV. a cubiculo, eiusque Pictor, anno 1639. The king one day 
 paying his accustomed visit to the painter, mistook the portrait for the admiral him- 
 self, and reproached him for remaining in Madrid when he had been ordered away. 
 Discovering his mistake he turned to Velazquez and said, ' I assure you I was 
 deceived.' The portrait now belongs to the Duque de Arcos." Palomino, iii. 331. 
 
 Notwithstanding the slight discrepancy in the inscription, there is every reason 
 to believe that the picture now at Longford Castle is the one referred to by Palo- 
 mino. Is it not the one sold in the Altamira sale ? See No. 179b. 
 
 179. Don Adrian Pulido Pareja. Duke of Bedford, 
 
 Woburn Abbey, Bedfordshire. A brown, hard-featured man, with dark 
 hair and mustache and heavy eyebrows, wearing a black dress with 
 white sleeves, collarette, and the red cross of Santiago, standing, with a 
 
MALE PORTRAITS 
 
 — PIMENTEL. 
 
 75 
 
 baton in his right hand, and his hat in his left ; a red curtain behind 
 
 his head, and a vessel under sail on the right ; inscribed Adria?i Pulido 
 
 Pareja, Capitan General de la Armada y Jlota de Nueva Espana, fallecio 
 
 en la cindad de Nueva Vera Cruz, 1664. Full length, 77^X42^ in. 
 
 British Institution, 1818, 1846. Manchester 1857. Stirling, ii. 622. Waagen, 
 iii. 465 . 
 
 179a. Aston Hall sale, August 6, 1862. 179b. Altamira sale, June 29, 1833. 
 
 Admiral Pareja, full length, life-size. Don Pulido Pareja, Captain General of 
 
 79X46 inches. Also its companion, a Spain under Philip IV. Full length, 
 
 portrait of his wife. ^336. [Sir Arthur [For a notice of the pictures in the 
 
 Aston was minister to Spain, 1840-43. ] Altamira gallery see the note to No. 166. ] 
 
 180. Juan de Pareja. Earl of Radnor. Bust of a mulatto 
 in dark green doublet with white falling collar. 30X25 inches. 
 
 Royal Academy, 1873. Stirling, ii, 642, 709. Waagen, iv. 361. 
 
 Is this the picture of the " Moorish slave who was in the service of Velazquez 
 and became a great painter ? From the Baranello Collection at Naples." Sold at 
 Sir William Hamilton sale, March 27, 1801. 39gs. Buchanan, Memoirs, ii. 76. 
 
 Velazquez, on his second visit to Rome, before painting the portrait of Innocent 
 X., tried his hand on that of his own slave Pareja. This half-length, life-size picture 
 was exhibited on the festival of St. Joseph in the Rotunda, and was so much 
 applauded that in 1650 the artist was made a member of the Academy of St. Luke. 
 Palomino, iii. 337. Cean Bermudez, iv. 51. 
 
 181. Juan de Pareja. Earl of Carlisle, Castle Howard. 
 
 Bust of a mulatto, with broad white collar falling over a gray doublet. 
 
 Stirling, ii. 710. Waagen, iii. 325. Perhaps this may be the portrait men- 
 tioned by Palomino. See No. 180. 
 
 Photograph in Lord Ronald Gower, Great Historic Galleries. 
 
 181a. Stockholm Museum, 765. mantle; a baton is in his right hand ; his 
 Octave Piccolomini. He wears a raff casque in the left. Half length. .92 X 
 and a cuirass over which is a scarlet . 78. Doubtful. Style of Vandyck. 
 
 182. Don Antonio Alonso Pimentel, Conde de Benavente. 
 Museo del Prado, 1,090 (289). He is about fifty years old, in 
 armor, standing three-quarters left, face front, his left hand on his 
 sword, his right on a hemlet which lies on a table covered with red 
 cloth ; a curtain in the background. Half length. Second manner. 
 1.09X.88. 
 
 From the Palace of San Ildefonso. 
 
 B. Maura, etch., 6.8x5. 1, 1875, in Grab. Ag. Fuerte. J. Laurent, photo., 48. 
 
;6 
 
 VELAZQUEZ. 
 
 183. Pope Innocent X. (Pamphili). Born 1574, elected pope 
 1644, died 1655. Doria Palace, Rome. A red-faced man turned 
 partly to our right, wearing a white linen robe scallopped at the bot- 
 tom, white sleeves trimmed with lace, a rolling linen collar, red velvet 
 cap and cape, seated in a crimson chair with square posts, enriched 
 with gold and surmounted by vase-shaped ornaments ; his arms rest 
 on the arms of the chair ; in his left hand is a paper inscribed Alia 
 Sa?it° Intiocencio X. per Diego de Silva Velazquez. Background a red 
 curtain. Three-quarters length. 1.40x1.20. 
 
 " The principal work of Velazquez at Rome in 1649 was the portrait of His 
 Holiness Innocent X., by whom he was greatly distinguished. Recognizing the 
 virtue and merit of the artist, the Holy Father rewarded him with a gold medal 
 bearing his own likeness in relief, attached to a gold chain. Velazquez took a copy 
 of the portrait to Spain. It is related that when the work was finished and placed 
 in a chamber of the palace, a chamberlain entered the room, and seeing, as he 
 thought, the Pope himself, he retired hastily, and cautioned his companions in the 
 antechamber to speak low, for His Holiness was within." Palomino, iii. 337. 
 Notwithstanding the assertion of Palomino, Stirling and other writers, it is 
 doubtful if Velazquez ever made a repetition or copy of this portrait as a whole, 
 although there exist numerous repetitions of the head. 
 
 This is a complete symphony in red ; the face, the cap, cape, and chair are all 
 presented with a red curtain for background, and yet with such unpromising mate- 
 rials the artist has produced a marvel of portraiture. Sir Joshua Reynolds pro- 
 nounced it the finest picture in Rome. This and the St. Michael by Guido are the only 
 ones he condescended to copy. Lord John Russell, Memoirs of Thomas Moore, iii. 62. 
 
 A. Lalauze, etch., for this catalogue, after a copy by Ternante in the Museum 
 at Versailles, No. 4248. The wood-cut in Armengaud, Galeries Publiques de V Eu- 
 rope, Rome, p. 285, professes to be, but is not, from the Doria picture. It appears 
 to be copied from an old print about the same size as the wood-cut, which bears 
 the name of neither painter nor engraver. 
 
 184. Pope Innocent X. Marquis of Bute, London. A rep- 
 etition nearly of the above. The paper is inscribed Alia Sant ad Nro. 
 Sig re Innocericio X. Per Pero Marti Jesi. Three-quarters length, life- 
 size. 
 
 Purchased by the first Marquis of Bute about the end of the last century. 
 
 185. Pope Innocent X. Duke of Devonshire, Chiswick. 
 The Pope in red cap and cape, both edged with ermine, and an 
 embroidered stole, is seated three-quarters right, in a red velvet chair, 
 
MALE PORTRAITS 
 
 — INNOCENT X. 
 
 77 
 
 the square posts of which are surmounted by mitres and crossed keys ; 
 his right hand is raised before his left shoulder in benediction ; a red 
 curtain behind. 32X28 inches. 
 
 This portrait is mentioned in a manuscript catalogue of the pictures at Chis- 
 wick House belonging to the third Earl of Burlington, who died in 1753. 
 
 J. Fittler, line, 11.8x9.7, in E. Forster, British Gallery of Engravings, 
 1807, fol. C. Warren, line, 7.1x6.2. 
 
 186. Pope Innocent X. Hermitage, 418. Bust, turned slightly 
 left, wearing a red cap and cape, and a rolling linen collar. .49X.41. 
 
 From the Houghton collection. Appraised by West and Cipriani at £bo. 
 In Aedes Walpolianae, p. 67, is told the pretty tale that " when the Pope sent his 
 chamberlain to pay the artist, he would not receive the money, saying the king, his 
 master, always paid him with his own hand. The pope humor'd him." A copy is 
 in the Academy of San Fernando at Madrid. 
 
 Valentine Green, mezzo, reversed in Houghton Gallery. Rottger, photo. 
 
 187. Pope Innocent X. Duke of Wellington. Bust, life- 
 size. A repetition of No. 186. 
 
 British Institution, 1828. This is perhaps the picture 26x21 inches, sold in 
 Lebrun sale, 18 10, for 1,050 francs. M. Lebrun purchased from the heir of Chev- 
 alier d'Azara, former Minister at Rome under Charles III., more than half his valu- 
 able collection of works of art. Ponz praises this amateur highly, and notes 
 especially among his pictures one which was considered to be the first which Velaz- 
 quez painted for the famous portrait of Leo (Innocent) X. in the Pamphili Gallery 
 at Rome. Ponz, Viage, xiv. 56. 
 
 Lebrun, outline in Lebrun Recueil. The text informs us that only the head is 
 by Velazquez, the rest by Camail. 
 
 188. Pope Innocent X. Marquis of Lansdowne, London. 
 Bust. A repetition of No. 186, except that the cap and cape have an 
 edging of narrow white fur. 25^ x 19^ inches. 
 
 Possibly this may be the portrait No. ic)od. 
 
 189. Pope Innocent X. Alfred Semour, Esq., Knoyle, Wilts. 
 Bust. A repetition of No. 186. 
 
 Mentioned by Waagen, Art Treasures in Great Britain, ii. 242. 
 
 190. Pope Innocent X. Mrs. C. Stirling, Cawdor House, 
 Lanarkshire. Bust, in red cap and cape. 25^X18^ inches. 
 
 Mentioned by Stirling, Annals of the Artists of Spain, iii. 1402. 
 
78 
 
 VELAZQUEZ. 
 
 190a. Corsini Palace, Rome. Inno- 
 cent X., wearing a red cap and a cape 
 edged with ermine over a white robe, the 
 sleeves of which are seen. Long bust, 
 about 45 X35 inches. Different from any 
 of the above, and doubtful. 
 
 190b. Bracciano Palace, Rome. In- 
 nocent X. Stirling, iii. 1402. 
 
 190c. T. B. Bulkley-Owen sale, 
 April 30, 1868. Innocent X. seated in 
 his pontifical robes in an arm-chair. 
 Bought in 1831 from Alexander Gordon, 
 of Edinburgh. £19 \gs. (to Davenport.) 
 
 " One of the most striking and brilliant 
 of Velazquez' pictures, as well for its 
 strong character as its clear and powerful 
 execution. Purchased by Mr. Irvine in 
 Rome about 1801 for Mr. Gordon." 
 Buchanan, Memoirs, ii. 84, 92. "The 
 most striking picture I have seen in 
 Edinburgh is Mr. Gordon's Velazquez. 
 The head and hands of this are very fine, 
 more complete, and having more tone 
 than the same picture in the Doria." 
 Wilkie, in Life by Cunningham, iii. 24. 
 
 igod. Le Bailli de Breteuil, for- 
 mer Ambassador to Rome, sale, by Le- 
 brun, January 16, 1786. Innocent X. 
 seen three-quarters face, wearing a red 
 velvet cap and cape bordered with ermine 
 and a white collar. 
 
 igoe. " A collection of fine pictures 
 brought from abroad by Mr. Andrew 
 Hagwill, to be sold at auction at Mr. 
 Cocks new auction rooms in Poland St., 
 February 19, 1725." No. 37. Innocent 
 X., by Velazquez. This is the first 
 auction sale of a picture by our artist 
 known to the writer, in England or else- 
 where. 
 
 igof. George Watson Taylor sale, 
 by Christie, June 13, 1823. Innocent X. 
 
 igog. Hon. Mr. Vernon sale, 1831. 
 Innocent X. ^32 iar. 
 
 igoh. Jose Mazaredo sale, Paris, 
 1837. Innocent X. ioX7X mcnes - 
 
 igoi. Lord Northwick sale, 1859, 
 No. 1604. Innocent X. ^35 14J., to 
 Thomas Barber. Thomas Barber sale, 
 May 5, 1862, from Northwick collection. 
 j£3 y. H. A. J. Munro sale, May 18, 
 1867. £\\. The catalogue of the Munro 
 collection by Frost and Reeve says this 
 portrait was bought at Northwick sale, 
 and gives the size 28^x22 inches. 
 
 190k. A Portrait of a Pope, half length, 
 was in the new palace at Madrid. Cean 
 Bermudez, Die. v. 1 79. 
 
 190I. Lord Methuen had a portrait 
 of Innocent X., 26x19 inches. Men- 
 tioned in Neale, Views of Seats, 1820. It 
 was sold in 1842. 
 
 190m. Academy of St. Luke, 
 Rome. Pope Innocent XI. ? Bust, with 
 thin face, gray mustache and chin whis- 
 kers ; he wears a red cap and cape 
 trimmed with ermine and a rolling linen 
 collar. Life-size. 
 
 Innocent XI. (Odescalchi) ascended 
 the papal throne in 1676, sixteen years 
 after the death of Velazquez. 
 
 igon. Alexander VII. (Chigi, succeeded 
 Innocent X. in 1655). His portrait after 
 Velazquez, engraved by G. N. Bertinot, 
 is mentioned in Andressen Handbuch. 
 
 igop. Stockholm Museum, 763. 
 Innocent XII. (1691-1700). Bust. .65 
 X.49. A good picture, but it cannot be 
 attributed to Velazquez. 
 
 191. Don Francisco de Quevedo Villegas. 1 580-1645. 
 Duke of Wellington. Bust, with abundant grayish, frizzled hair, 
 a narrow linen collar, a huge pair of lunettes on his nose, and the 
 cross of Santiago on his breast. Life-size. 
 
MALE PORTRAITS — 
 
 RONQUILLO. 
 
 79 
 
 Formerly belonged to Don Francisco Bruna, at Seville. Mentioned in 
 R. Twiss, Travels through Spain, &>c., London, 1775, 4to, p. 308. This is doubt- 
 less the portrait spoken of by Palomino (iii. 333) in which the poet is represented 
 with glasses which he was accustomed to wear. 
 
 M. S. Carmona, line, 5.1X3.2, with lyre, mask, book, etc., beneath, in Par- 
 nasso Espanol,'\v. 186. M. Brandi, line, 11.8x7.2, three-quarters length, holding 
 a book. The engraving is lengthened to suit the fancy of the engraver ; at Calco. 
 Nacional, in Espanoles Ilustres. See also No. 22C;bbb. 
 
 192. Don Francisco de Ribas. J. C. Robinson, Esq., Lon- 
 don. A gentleman of the court of Philip IV., three-quarters length, 
 turned partly left, nearly full face, with long black hair, black cloak, 
 sword, and the Order of Santiago ; a letter in one hand, his gloves in 
 the other ; a, pedestal on the right bears the names and titles of the 
 person represented, with the addition Aeta is Suae 49. Only the head 
 is by Velazquez. 45X36 inches. 
 
 Exhibited by Mr. Robinson at the Royal Academy, 1880. A sculptor named 
 Francisco de Ribas was much employed in decorating the cathedral and other 
 churches in Seville. He was living in 1669. Cean Bermudez, Die. iv. 182. There 
 is a portrait of a person of that name by an unknown artist of the school of Ribaita 
 in the Museum at Valencia, No. 1000. 
 
 193. The Alcalde Ronquillo, standing on a tiled floor, three- 
 quarters right, with black dress, short cloak, golilla, and sword ; his hat 
 in his right hand, his left on the top of his staff ; a pedestal and 
 column on the left, a red curtain above. Full-length, life-size. 
 
 Purchased by Sir David Wilkie from D. Jose de Madrazo. Life of IVilkie, by 
 Cunningham, ii. 496. Sold Sir D. Wilkie sale, April 25, 1842, " from the Alta- 
 mira Gallery," £26 $s. James Hall sale, April 18, 1855, ^157 10s. G. A. 
 Hoskins sale, June 18, 1864, ^"50 8s. G. R. Burnet sale, March 16, 1872, ^1 16 
 Ilf. British Institution, 1844. Manchester, 1857. Stirling, Velazquez, Paris Ed. 
 185. 
 
 According to the Hoskins catalogue this Alcalde was a fighting Judge of the 
 time of Charles V. , who hung the Bishop of Lanoza, and whose maxim was that all 
 criminals ought to be hung, the old for what they had done, the young for what 
 they might do. 
 
 The old man wearing a golilla, called the Alcalde Ronquillo, which was etched 
 by Goya, and which is mentioned by Cean Bermudez as being in the royal palace, is 
 probably No. 75a. 
 
 193a. Munich Gallery S. 375. plumed cap ; his mailed right hand rests 
 Tilly (?) Bust, in armor, wearing a on his staff. 31X19 inches. Doubtful. 
 
8o 
 
 VELAZQUEZ. 
 
 Lorenz Quaglio, litho. , in K. Baier- founder of the Carmelites at Boadilla. 
 
 ischer Gemalde Saal, Munich, 1817-36. 44 X 35 inches. 1,800 francs. 
 
 Photograph by Hanfstangl. 193c. Earl of Clarendon. Tor- 
 
 193b. Chevalier Erard sale, 1832. quemada (?) Bust, in dark dress. 
 
 D. Diego Rodriquez de Citray, Stirling, iii. 1404. 
 
 194. Julian Valcarcel. Earl of Ellesmere. A youth of 
 eighteen years, dressed in a brown coat, red scarf, and breeches, hold- 
 in his left hand his hat adorned with white and blue plumes, in his 
 right the Order of Alcantara. Full length, life-size. Only the upper 
 part of the picture is finished. 
 
 Altamira sale, June 1, 1827. ^37 i6.r. British Institution, 1838. This por- 
 trait is in a private room in Bridgewater House, and is not generally shown to 
 visitors. 
 
 [Julian was the son of Dona Isabel de Anversa, a noted courtesan of Madrid. 
 In Gil Bias c. xii.,her name is given as Isabel Margherita Spinola. When the 
 youth was about eighteen years of age, Olivares, who was ranked among the 
 numerous admirers of the mother, compelled D. Francisco Valcarcel to acknowl- 
 edge the boy as his son. Twelve years later Julian married a woman of the same 
 profession as his mother ; but about this time the Count Duke, his only daughter 
 having died [in 1626], resolved to give the scrapegrace the benefit of a doubt, and 
 recognized him as his own son, bestowed upon him the name of Henrique Philipe 
 de Guzman, made him his heir, created him Duque de San Lucar, induced the Pope 
 to annul his marriage, and forced the Duque de Frias, hereditary Constable of Castile, 
 to give his daughter to the upstart. [1642.] The following year Olivares fell from 
 power. Julian was also banished and, his only child having died, the Duque de 
 Frias sent for his daughter and placed her in a convent. Julian died before the 
 year 1650, and the title of Duque de San Lucar passed to the Duque de Medina de 
 las Torres, who had married the only daughter of Olivares, and through him 
 descended to the Marques de Leganes. J. Dunlop, Memoirs of Spain, i. 345. 
 J. W. Imhoff, Genealogies viginti illastrium in Hispani Familiarum. Lipsiae, 
 1 712, fol. p. no.] 
 
 195. Velazquez. Uffizi Gallery, Sala de' Pittori, 217, Florence. 
 
 The painter, sixty years of age, half length, standing three-quarters 
 
 right, face front, with bushy black hair, chin whiskers, and mustache 
 
 turned up, wearing a black coat and cloak, a golilla or stiff horizontal 
 
 collar, and a sword ; a medal with the cross of Santiago is suspended 
 
 at his breast ; his left hand rests on a table, his right partly conceals a 
 
 key that is thrust in his girdle. 1.00X.81. 
 
 Velazquez was installed as a Knight of Santiago on the 28th day of November, 
 1659, and died on the 7th day of August in the following year. The badge of that 
 
MALE PORTRAITS 
 
 — VELAZQUEZ. 
 
 8 1 
 
 order seen in this portrait would indicate that the picture was painted during the 
 last year of his life. 
 
 Francesco Cecchini, line, 10.2x7.9, Romae. Calamatta direxit, Del- 
 boete sc. Bruxelles, 1847, in Imp. e Real Gal. di Firenze. Firenze, 1847, &c, in 
 progress. Blas Amettler, line, 11 X7.3, holding a palette, brush, etc., at Calco. 
 Nacional, in Espanoles Ilustres ; the changes from the above portrait were made 
 to suit the fancy of the engraver. H. Adlard, line, after Amettler, in Stirling, 
 Annals. Lasinio figlio, outline, in Real Gal. di Firenze, Firenze, 1817-33, 4 vols., 
 8vo. John Bromley, outline, in O'Neil, Die. of Spanish Painters. C. Nan- 
 TEUIL, litho., 10.3X8. Photo, in Reid, Velazquez. 
 
 The following are similar to the above, but busts only ; Jean Minguet, line, 
 9.8x7.2. Mauzaisse, litho., in Chabert, Gal. des Peintres. Fo Mo, [Federico de 
 Madrazo], litho., in El Artista, after a picture belonging to D. Jose de Madrazo. 
 On wood in Blanc, Peintres; Scott, Murillo ; Stirling, Velazquez, Paris Ed; 
 Becker, Kunst tind Kiinstler ; Gaz. B. Arts, May, 1879. This last is reversed and 
 varied. 
 
 [The key thrust in the artist's girdle was his badge as an officer of the royal 
 household, and Velazquez was probably entitled to bear it when he was appointed 
 Ugier de Camera, an office which was conferred on him in 1627, and which he sur- 
 rendered to Mazo his son-in-law in 1634. Similar keys were worn by the gentlemen 
 of the chamber, and even by the valets, etc. (see Nos. 72 and 173), but in case of the 
 higher officers the handles were gilt. They were constantly carried, even when the 
 wearer was out of Spain, and they locked the doors of all the royal palaces in the 
 kingdom. Should a key chance to be lost, all the locks and keys were at once 
 changed at the cost of the careless loser, the expense amounting to as much as 
 10,000 crowns. The keys were of two sorts, one for show, and the other for use by 
 the officers on actual duty. Memoirs of Saint Simon, iii. 1 17.] 
 
 196. Velazquez. Uffizi Gallery, Sala de' Pittori, 216. Bust, 
 
 without hands, three-quarters right, face front, with mustache, and 
 
 long hair falling on his shoulders, wearing a small skull cap on the 
 
 back of his head, and a very wide linen collar with square corners, 
 
 which falls over his dark habit. .70X.58. 
 
 GlROLAMO Rossi, line, in Serie di Ritratti degli eccellenti Pittori dipinti di 
 propria mano. Firenze, 1748, 4 vols., fol. C. Colombini, line in Serie degli 
 Uomini i pin illustri nella piltura, Firenze, 1769, 13 vols., 4to. Lasinio figlio, 
 outline, in Real Gal. di Firenze, 1817-33, 4 v °l s -> 8vo. Unknown, line, reversed, 
 with a stiff narrow collar, in D'Argenville, Vie des Peintres, Paris, 1762, 4 vols., 8vo. 
 On wood, in Sir W. Stirling-Maxwell, Catalogue of Prints. 
 
 197. Velazquez. Portrait in the picture of the Meninas. The 
 artist, fifty-seven years of age, stands nearly front, holding a palette 
 
 1 1 
 
82 
 
 VELAZQUEZ. 
 
 and a brush. On his breast is the red cross of the Order of Santiago. 
 See ante No. 21. 
 
 This portrait is the best and the most authentic that exists of Velazquez, and 
 the only one whose history can be traced back to the time of the artist. 
 
 E. Saint Raymond, etch. Etched for this catalogue. Fed. Navarrete, 
 line, 8.6x6. 1, oval, at Calco. Nacional. Aug. Esteve, line, 6.1X4.6 oval, bust, 
 without hands. 
 
 198. Velazquez. Valencia Museum, 684. A short bust; 
 turned partly to the right. Almost identical with the bust of No. 195. 
 Less than life-size. 
 
 "Among other occupations, he made in Rome [1629-31] a famous portrait of 
 himself, which is now in my possession." Pacheco, 105. The fate of the portrait 
 mentioned by Pacheco, painted when the artist was thirty to thirty-two years of age, 
 is unknown. Baron Davillier suggests that it may be the one at Valencia, but the 
 face there represented seems too old for a man of thirty years. 
 
 Fortuny, etch., 4.6x3.9, inscribed Al B* Ch. Davillier su amigo Fortuny, 
 with a fac-simile of the signature of Velazquez. This plate was etched as a labor 
 of love, and presented by the distinguished artist to his friend, who made use of it 
 to adorn an interesting reprint of the Memoire de Velazquez sur quarante et un 
 tableaux renvoyes par Philippe IV. a VEscorial. Reimpression de Pexemplaire unique 
 ( 1658), avec une introduction par le Baron Ch. Davillier, Paris, 1874, 8vo. Only two 
 hundred and fifty copies printed. There are four proof impressions of this etching 
 on parchment before the fac-simile of the signature of Velazquez. Of these one 
 belonged to M. Fortuny, two to M. Davillier, and one is in the collection of the 
 author of this Catalogue. Fortuny etched five plates before he was satisfied with 
 his work, all of which he gave to M. Davillier. Only a few trial impressions have 
 been made from each. Specimens may be seen in the Biblioteca Nacional, Madrid, 
 and in the Bibliotheque de l'Ecole des Beaux Arts, Paris. A wood engraving of 
 the Valencia portrait lengthened is in La Ilustracion Esp. y Amer., Madrid, Jan- 
 uary 8, 1876, and in Abnanaque de la Ilustracion, 1879. 
 
 199. Velazquez. Sir William Stirling- Maxwell, Bart. A 
 
 head, somewhat like that of No. 195. A miniature. 
 
 Sir J. M. Brackenbury sale, 1848, £0 i8j. Leeds Exhibition, 1868. 
 Engraved on wood in Stirling, Velazquez, London, 1855, i2mo. 
 
 200. Velazquez. Earl of Ellesmere. A head. 
 
 Purchased from H. Farrar. British Institution, 1843. Stirling, ii. 675. 
 
 201. Velazquez. Marquis of Lansdowne, London. Bust, 
 about thirty-five years old, three-quarters left, with black hair, dark 
 habit, and narrow linen collar • grayish background. 26^X20^ in. 
 
MALE PORTRAITS. 
 
 83 
 
 From one of the royal palaces of Spain ; purchased from the Prince of the Peace ; 
 brought to London by Mr. Buchanan, who sold it in 1814 to the Marquis of Lans- 
 downe. Buchanan, Memoirs, ii. 244, 247. British Institution, 1867. Royal Acad- 
 emy, 1877. This picture is different from any other known to the writer. The 
 features, however, seem to resemble those of Velazquez. 
 
 202. Velazquez. Palazzo Ducale, Modena. Bust, in an oval, 
 three-quarters right, face front, wearing a cap, dark habit, linen collar 
 turned down, gold chain, and mustache ; his left hand holding a palette 
 and brushes is partly seen. 
 
 Described in Raccolta di Caialoghi ed inventari inediti, of the pictures of Prince 
 Ignazio d'Este, by the Marchese Giuseppe Campori, 1685, p. 311. " Ritratto di 
 Monsieur Velasco con cornice a cordone dorata, qual figura ha le mani solo abboz- 
 zata, di altezza braccia 2*4, e di larghezza br. 1 e oncie 4 circa." Mentioned also 
 in a catalogue at the end of the XVII. century by Cesare Cavazza. 
 
 203. Velazquez ? Capitol, Rome. Bust, about fifty years of 
 age, nearly front, with bare head, wearing a rolling linen collar, mus- 
 tache, and chin whiskers. Life-size. 
 
 The features seem to resemble those of Velazquez. The portrait may have been 
 painted by him when he was in Italy in 1650. 
 Photographed by Alinari. 
 
 203a. Munich Gallery, 336. Velaz- 
 quez, bust, with pointed beard, mustache, 
 long black hair, and collar turned down. 
 On canvas mounted on wood, 19X15 in. 
 This is said to be a copy, but it does not 
 resemble any known portrait of Velaz- 
 quez. It is engraved in Gal. Elect, de 
 Dusseldorf, Basel, 1776, PI. 8, No. 92. 
 
 203b. Samuel Woodburn, deceased, 
 sale by Christie, London, May 15, 1854. 
 Velazquez, £1 7. Also a head of Velaz- 
 quez, £20. 
 
 203c. W. Y. Ottley sale, 181 1. 
 Velazquez, $s. 
 
 203d. In the Gallery of Versailles, No. 
 1059, is a copy of a picture by C. Lebrun 
 and Vandermeulen representing the inter- 
 view between Philip IV. and Louis XIV. 
 at the He de Faisans. Among the 
 Spanish portraits are those of Philip IV., 
 Velazquez, and D. Alonzo de Pimentel. 
 There is an engraving of the picture by 
 Jeanrot, published at the Calcographie 
 du Louvre, No. 733. 
 
 204. A Spanish Nobleman. Earl of Stanhope, London. Half 
 length, about forty-five years old, in black dress, with long brown 
 hair, mustache, and chin tuft ; his right hand holds his watch guard, 
 his left falls at his side ; dark background. Signed Diego Velazquez. 
 39% x 3 oJ /2 inches. 
 
8 4 
 
 VELAZQUEZ. 
 
 This portrait, formerly supposed to represent Olivares, belonged to Count 
 Lecchi of Brescia, and was bought by Lord Mahon, afterward Earl of Stanhope, in 
 November, 1845. Manchester, 1857. British Institution, 1861, Leeds, 1868. 
 
 A portrait 39X31 inches, from Count Lecchi Collection, purchased by Mr. 
 Irvine from Sir William Forbes, was sold at London June 2, 1842, for ^74 IU. 
 
 205. A Spanish Nobleman. W. F. B. Massey-Mainwar- 
 
 ing, Esq., London. Bust, three-quarters right, with chin whiskers, and 
 
 mustache turned up, bare head, short hair, and very wide falling linen 
 
 collar edged with lace. Life-size. 
 
 Lord Northwick sale, 1859, No. 1763. ^52 iay. Exhibited at the Bethnal 
 Green Museum, 1877. 
 
 206. A Spanish Nobleman. Lord Kinnaird, Rossie Priory, 
 Perthshire. He is represented as entering a door-way at which hangs 
 a partly drawn curtain ; in his hand is a paper inscribed Velazquez. 
 50X38 inches. 
 
 [At Lord Kinnaird sale, March 4, 1813, was a portrait of a Spanish Noble- 
 man, different from this, ascribed to Velazquez, which was bought in at ^380, and 
 is now at Rossie. It has been found to be a work of Rubens, whose private mark 
 it bears, and is supposed to be a portrait of a General Velazquez, painted in 
 Spain. ] 
 
 207. A Young Man. Duque de Montpensier, Seville. Bust, 
 three-quarters left, with smiling face and bushy hair, wearing a wide 
 falling collar edged with lace. .43X.35. 
 
 Louis Philippe sale, 330, ^140. Purchased by Baron Taylor from J. F. 
 Lewis, a painter at Seville. This picture, now called a Cadallero, was formerly con- 
 sidered to be a portrait of Velazquez, and is so called in the following engravings. 
 It is probably neither a portrait of Velazquez, nor by him. 
 
 Pannier, line, 5.7x4.5, Paris, 1846, in Gal. Hist, de Versailles, Supplement 
 T. V., series 10, sec. v, A. Masson, line, Paris, 1843, in V Artiste. S. B. Male- 
 ziEUX,litho., 18.4X 16.2, reversed. Jullien, litho., 8.7x6.5, in Journal V Album. 
 On wood in J. F. Robinson, Great Painters. 
 
 208. A Young Man. Grosvenor House, London, 129. Bust, 
 wearing a fur cape, a cap adorned with crimson ribbons, and an orange- 
 colored coat, looking front over his right shoulder. On panel. 22 x 
 17 inches. 
 
MALE PORTRAITS. 
 
 85 
 
 This picture, incorrectly called a portrait of Velazquez, is from the Wellbore 
 Ellis Agar Gallery, which was purchased entire in 1806 for 30,000 guineas. 
 Etched in J. Young, Grosvenor Gallery. 
 
 209. A Man, incorrectly called Velazquez. Duke of Welling- 
 ton, 159. Bust, in black dress and narrow linen collar, with mus- 
 tache and whiskers, his body left, face nearly front. Life-size. 
 
 Exhibited at the British Institution, 1855. 
 
 210. A Man. Earl of Wemyss, Gosford Hall, East Lothian. 
 A middle-aged man in black dress, with white collar, standing, with a 
 letter in his right hand, and holding his dress with the left. Half 
 length. 
 
 Mentioned by Waagen, Art Treasures of Great Britain, iv. 438. 
 
 211. A Young Man. Edward A. Leatham, Esq., London. 
 
 Bust, in a gray cloak. 27X22 inches. 
 
 W. Anthony sale, February 4, 1871, £\2. In the same sale was also a Gen- 
 tleman, in black dress, ^13 (Gray). 
 
 212. A Man. Earl of Dudley. A head, 13^X11^ inches. 
 
 Royal Academy, 1871. Is this the picture from Marques de Leganes Gallery, 
 sold No. 43 Salamanca sale, 1867, for 2,000 francs ? 
 
 213. A Man. Lord Leconfield, Petworth, Sussex. Bust, 
 wearing a white collar. 
 
 Mentioned by Waagen, Art Treasures of Great Britain, iii. 42. 
 
 214. A Man. Lord Arundel of Wardour, Wiltshire. A head. 
 
 Mentioned by Waagen, Art Treasures of Great Britain, iv. 393. 
 
 215. A Man. Fitzwilliam Museum, 48, Cambridge. A Man, 
 with bare head, rich gray and red dress, and wide falling linen col- 
 lar ; his right hand before his breast, his left arm resting on a table 
 covered with red cloth; more than half length. About 10X8 inches. 
 Doubtful. 
 
 216. A Gentleman. Charles Brinsley Marlay, Esq., Mul- 
 lingar, Ireland. Three-quarters length, about thirty-five years old, 
 
86 
 
 VELAZQUEZ. 
 
 with dark hair, mustache, and beard, wearing a black doublet, ruff, lace 
 cuffs, and sword; one hand is on his waist, the other on a guitar 
 which rests on a table covered with crimson cloth ; a column and cur- 
 tain in the background. 45X37 inches. 
 
 This picture, which is thought to be a portrait of Pareja, was purchased from Mr. 
 Kellogg, an American artist, who bought it in Florence. British Institution, 1862. 
 
 217. An Alcalde. Sir John Neeld, Bart., Grittleton, Wilts. 
 A Man, standing, with black dress, mantle, and sword; his hands 
 crossed, the right holding a letter, his hat in his left ; three-quarters 
 length. 53^X41 inches. 
 
 Exhibited at the Royal Academy, 1878. Waagen, ii. 245. 
 
 218. An Ecclesiastic. Walter R. Bankes, Esq., Kings- 
 ton Lacy, Dorset. A Bust. 26X23 inches. 
 
 Purchased in Italy. Mentioned by Stirling, Annals, iii. 1404. 
 
 219. A Grandee. Leuchtenberg Gallery, St. Petersburg. 
 A Man, with long hair falling on his left shoulder, wearing a cloak, an 
 embroidered habit, stiff horizontal collar, and a sword ; his right hand 
 is on his breast, the left not seen. Half length, oval. 35X33 inches. 
 
 The Due de Leuchtenberg having in 1839 married the Grand Duchess Marie, 
 his collection of pictures was transferred from Munich to St. Petersburg. 
 
 N. Muxel, etch., in Leuchtenberg Gallery, Frankfort, 185 1, 4to. I. A. Mayr, 
 litho., 16.2X12.3. 
 
 220. A Cavalier. Pesth Gallery, 695. A Man, seen in profile, 
 
 mounted on a white horse. Small. 
 
 Formerly in the Esterhazy Gallery at Vienna, which was sold in 1870 to the 
 Hungarian Government for 1,300,000 florins. 
 
 221. A Nobleman. Yale College, New Haven, U. S. A. 
 
 Jarves Collection, 135. He is represented at full length in armor. 
 
 Life-size. 75X49 inches. 
 
 The background and outline of the hand bear marks of changes and alterations 
 in the progress of painting. 
 
 222. A Man. Museo del Prado, 1,104 (139)- Bust, about 
 fifty years old, with thin face, swarthy complexion, homely features, 
 
MALE PORTRAITS. 
 
 87 
 
 and short black hair, wearing a plain black dress and golilla. Second 
 manner. .56X.39. 
 
 Supposed to be from the collection of the Duchess del Arco. 
 
 J. Laurent, photo., 191. 
 
 223. A Man. Museo del Prado, 1,103 (228). Bust, about 
 thirty-five years of age, with yellowish complexion, dark whiskers and 
 mustache streaked with white, short hair, plain black dress, and large 
 ruff. First manner. .40 X. 36. 
 
 From the palace of San Ildefonso, where it was attributed to Tintoretto. 
 
 224. A Man. Berlin Gallery, 508C. A Gentleman, seen three- 
 quarters left, looking front, with thick black hair, small mustache, fall- 
 ing collar, flowered black silk coat, wide red scarf, sword suspended 
 from a baldric embroidered with silver, and collar of Santiago; his 
 left hand on his hip ; in his right is a staff with a silver knob. In- 
 scribed above, Aet. jp an° 1630. Kneepiece. 1.17X.85. Doubtful. 
 
 From Suermondt Gallery, 1874. M. Burger thinks this portrait was painted 
 by Velazquez in Italy, and that it represents perhaps the Spanish Minister to Venice, 
 or the Viceroy of Naples. Gaz. B. Arts, January, 1869, p. 30. 
 
 Photographed by the Berlin Photographic Company. 
 
 225. A Man. Dresden Gallery, 624. A Gentleman, about fifty 
 years old, standing, with dark dress, narrow linen collar, and a cloak 
 which falls from his left shoulder and is held by his right hand ; his 
 left hand on his sword. Half length. 52X37 inches. 
 
 Bought as a Rubens in the Modena collection in 1746. From 1826 to 1846 it 
 was attributed to Titian, but now to Velazquez. 
 
 Ernst Mohn, line, in Galerie de Dresde, 3 vols., fol. 1 780-1874, vol. iii. pi. 41. 
 Photographed by the Berlm Photographic Company. 
 
 226. A Man. Dresden Gallery, 423. Bust, with gray hair, 
 mustache, and chin whiskers, dark dress, and a gold chain. 28^ X 
 24 inches. 
 
 Bought in the Modena Collection as a Rubens, and so classed in Smith Cata- 
 logue Raisonne P. IX., p. 281, No. 140. Since 1828 it has been ascribed to 
 Velazquez. 
 
 Zucchi, line, in Gal. de Dresde, ii. 45. Attributed to Rubens. 
 
88 
 
 VELAZQUEZ. 
 
 227. A Man. Pitti Gallery, 329. Bust, wearing a ruff, his body 
 turned to the right, face front, with short curling hair, mustache, and 
 chin whiskers. .58X44. 
 
 G. Guadignini, line, in Bardi, Gal. Pitti, inscribed " Ignoto No. I." 
 
 228. A Man. Pitti Gallery, 198. Half length, with bare head, 
 wearing over his habit a collar edged with lace. A cloak falls from 
 his shoulder, and is wrapped around his waist ; his right hand is on 
 his hip, his left on his sword. 1. 14 x. 86. 
 
 V. Della Bruna, line, in Bardi, Gal. Pitti, inscribed "Ignoto No. II." 
 
 229. A Young Man. Stockholm Museum, 764. Bust of a 
 young man wearing a ruff, and a buff doublet with slashed sleeves. 
 .63X46. Doubtful. 
 
 229a. Geronimo Bibaldo, painted at 
 Rome in 1649. Mentioned by Palomino 
 iii- 337- 
 
 229b. Ferdinando Brandano, Oficial 
 Mayor de la Secretaria del Papa. Palo- 
 mino, iii. 337. 
 
 229c. Cardinal Pamphili, nephew of 
 Innocent X. Ib. 
 
 22gd. Monsenor Camilo Maximo, 
 Camarero de su Santidad Insigne Pin- 
 tor. Ib. 
 
 229c Monsenor Abad Hypolito, Cam- 
 arero del Papa. Ib. 
 
 22gf. Monsenor Mayordomo de su 
 Santidad. Ib. 
 
 22gg. Monsenor Michael Angelo, 
 Barbero del Papa. Ib. 
 
 229I1. Don Nicolas de Cardona Lu- 
 signiano, Maestro de Camara del Rey. 
 Ib.,iii. 333. 
 
 229L Es muy celebrado el retrato de 
 Pereyra, del Abito de Christo, tambien 
 maestro de la Camara. Ib. 
 
 229J*. Fernando de Fonseca Ruiz de 
 Contreras, Marques de la Lapilla, Ca- 
 vallero de la Orden de Santiago. Ib. 
 
 229k. Fr. Simon de Roxas, estando 
 difunto. Ib. iii. 335. 
 
 229I. Juan de Cardenas y Calabazas. 
 Formerly belonged to the Marques de 
 Legan£s. Cat. Mus. Prado, p. 627. 
 
 229m. Berlin Gallery, 408 A. An 
 Old Man seated, with gloves in his right 
 hand ; his arms on the arms of the chair. 
 Half length. .86X.69. Bought as a 
 Velazquez in i860, but it is probably by 
 an Italian painter. 
 
 22911. Museo del Prado, 1,115 (119). 
 Head of an old man with white, unkempt 
 hair and beard, seen in profile. . 39 X • 3 1 . 
 Formerly attributed to Velazquez, but 
 now considered doubtful. 
 
 Pineda, etch., in Grab. Ag. Fuerte. 
 
 22gp. R. S. Holford, Esq. An 
 officer in armor, full length, standing, 
 wearing soft boots and long hose; his 
 left hand on his helmet, which lies on a 
 rock, his right holds a staff. 82X50 
 inches. 
 
 Lebrun sale, 1810, No. 130. With- 
 drawn at 6,500 francs, and afterward sold 
 to T. Baring. Buchanan, Memoirs, ii. 255. 
 British Institution, 1839, 185 1. This 
 picture has long been attributed to Velaz- 
 quez, but it is more in the style of Van- 
 dyck. 
 
MALE PORTRAITS. 
 
 8 9 
 
 Outline, reversed, in Lebrun Recueil. 
 The text absurdly suggests that it is a 
 portrait of Cromwell. 
 
 22gq. Rev. J. S. Ogle, Kirkley Hall, 
 Northumberland. A Gentleman. Bust. 
 28^x21 inches. Royal Academy, 1876. 
 Stirling, iii. 1404. 
 
 22gr. Manfrini Palace, Venice. A 
 Man. Stirling, iii. 1403. 
 
 229s. Ambrosian Library, Milan. 
 A Man. Stirling, iii. 1403. 
 
 22gt. Brera, Milan. Head of a sleep- 
 ing monk ; life-size. Stirling, iii. 1402. 
 
 229U. Colonel the Hon. C. S. 
 Vereker. A Cavalier. Leeds Exhibition, 
 1868. 
 
 229V. Marquis of Exeter, Bur- 
 leigh House, Rutlandshire. A Man. 
 Jones, Views of Seats, 1829. Stirling, iii. 
 1404. 
 
 229W. Marquis of Exeter. A Boy. 
 Stirling, iii. 1405. 
 
 229X. Dulwich Gallery, 222. Bust 
 of a Boy about five years old, profile left ; 
 his long black hair falls on his white col- 
 lar and brown doublet. 20^x10^ in. 
 Formerly ascribed to Velazquez, but now 
 to Juan de Pareja. 
 
 229V. Darmstadt Gallery, 534. A 
 Child. 51x35 inches. 
 
 229Z. Darmstadt Gallery. A Knight 
 in red robes, with white collar. 27x21 
 inches. 
 
 22gaa. A Man on horseback galloping 
 right, his hand outstretched. 
 
 J. C. Loedel, fac-simile of a drawing 
 in Recueil de dessins de V Acade'mie a 
 Dusseldorf, 1 781, fol. Also in Hand- 
 zeichnungen aus der Weigelschen Kunst- 
 sammlung, 1854-61, Heft iv, No. 12. 
 
 22gbb, Munich Gallery, 380. 
 " Spanish School." A Man with his right 
 hand on his hip, his left on his sword. 
 Half length. 
 
 Perhaps this is the picture engraved in 
 Gal. Elect, de Dusseldorf, Basle, 1776, 
 PI. 15, No. 196; attributed to Velazquez. 
 12 
 
 229CC. A Man with thin face, short, 
 thin hair, mustache, and chin whiskers, 
 wearing a loose linen collar, seen in pro- 
 file, right. Bust. 
 
 Val. Green, mezzo, 12x9.3, J an - '» 
 1773. From a picture belonging to Mr. 
 Reid. 
 
 22gdd. Lord Cowley. Portrait of a 
 Man. British Institution, 1836. 
 
 22gee. William Goldsmid. Por- 
 trait of a Gentleman. British Institution, 
 1862. 
 
 22gff. South Kensington Muse- 
 um, Dyce Collection, 86. Head of a 
 Gentleman wearing a small ruff. Minia- 
 ture in oil on copper. 
 
 22ggg. Comte A. de Stroganoff, 
 St. Petersburg, catalogue, dated 1800, 
 No. 31. Bust of an old man with long 
 hair, white beard, and brown drapery, 
 seen three-quarters face. 30X22 inches. 
 From L. M. Vanloo sale, 1772. Ran- 
 don de Boisset sale, 1777, No. 13, 
 850 francs. 
 
 22ghh. Siebel d'Elberfelt sale, 
 Paris, May 19, 1852. Full-length por- 
 trait of a nobleman, standing with his 
 right hand on his hip, wearing a gray felt 
 hat with feathers, a silk doublet enriched 
 with gold, soft boots, and a sword ; gloves 
 in his left hand. 2.00X 1. 12. 
 
 22gii. Lebrun sale, December 10, 
 1778. Bust of a Man with bald forehead, 
 wearing a black cloak and cravat. 24 X 
 15 inches. 
 
 22gkk. Lebrun sale, April, 181 1, No. 
 90. Portrait of a youth with hair falling 
 over a lace collar, slashed sleeves, gloves 
 in his left hand; his right falls naturally. 
 Kneepiece. 399 francs. 
 
 229II. Marquis de * * * [Montes- 
 quiou] sale, by Lebrun, December 9, 
 1 788. Head of a man seen three-quarters, 
 with chapeau and dark cloak. 26x19 
 inches. 
 
 229mm. Marquis de Belville sale, 
 June 10, 1825. Portrait of a boy. From 
 
90 
 
 VELAZQUEZ. 
 
 Lord Charles Townsend's collection. 
 
 22gnn. Schamp d'Aveschoot sale, 
 September 14, 1840. A Young Philoso- 
 pher, half length, resting his hand on 
 some books. 27x20^ inches. 140 
 florins. 
 
 229pp. M. M. Zachary sale, May 30, 
 1838. A noble Spanish youth in hat and 
 feathers, slashed sleeves, and fallingcollar. 
 
 22gqq. Aguado sale, 1843, No. 146. 
 A Magistrate. Un Corregidor. Full 
 length, head uncovered, and seen full 
 face, in complete black costume and 
 cloak, white collar turned down, handker- 
 chief and white sleeves, buckskin gloves, 
 girded with a sword. 1.96x1.02. 1,600 
 francs. This was probably sold as a 
 Murillo at Joseph Parkes' sale, May 8, 
 1858, 90 gs. Again at a sale July 13, 
 i860, to Graves. Sold again July 14, 
 1863, £64 is. 
 
 22grr. Sir D. Wilkie sale, 1842. An 
 Abbot. ^13 2s. 
 
 229SS. W. W. Burdon sale, 1862. 
 An Abbot. ^3 \2s. 
 
 22gtt. Louis Philippe sale, No. 77. 
 Head of an Inquisitor. A study. .54X 
 
 •43- £ l °- 
 
 229UU. Earl of Bessborough sale, 
 1 80 1. A Priest at the altar. ^35 14^. 
 
 229W. Lady Stuart sale, May 15, 
 1 84 1. An Advocate in black dress with 
 spectacles. £49 Js. Also, Portrait of a 
 noble child with a hawk in its hand. 
 £iS iSs. 
 
 229WW. Gaetano Faccioli sale, 
 London, June 19, 1852. A Burgomaster, 
 from Grimani collection. ^27 6s. 
 
 229XX. Alton Towers sale, 1857, 
 No. 148. Portrait of an Artist standing 
 before his easel. £8 Ss (Southeran). 
 
 Also No. 72. A Gentleman in black with 
 slashed dress, seated, writing. £$ i$s. 
 (Rhodes.) 
 
 22gyy. Marquis of Lansdowne 
 sale, 1806. Portrait of a Knight of 
 Malta. £194 Ss. 
 
 22QZZ. Dr. Rinecker, Professor in 
 the University at Wurzburg, sale, Paris, 
 March 30, 1868. Portrait of a young 
 man, his head turned right, his hand 
 raised to his neck, with black hair, mus- 
 tache, and lace collar, wearing gray silk 
 pourpoint; light background. From the 
 royal gallery at Schleissheim. 57X42 
 inches. 
 
 22gaaa. Erard sale, 1832, No. 52. 
 A General galloping on a piebald horse, 
 holding a baton in his right hand. He 
 is followed by a trumpeter, to whom he 
 gives orders. In the background are 
 two armies fighting. 118x74 inches. 
 1,600 francs. 
 
 22gbbb. Jose de Madrazo Catalogo 
 No. 444. A Knight of Santiago, " Style 
 of Velazquez," with black hair, chin 
 whiskers and mustache, lunettes, and the 
 cross of Santiago. -56X-37. From the 
 Iriarte gallery. Perhaps the following 
 engravings are after this picture. Vi- 
 cente Camaron, lith. 9.4X7.2, at 
 Real Est. Lite, Madrid, " from a picture 
 belonging to D. J. de Madrazo." R. 
 Hancock, line, 5.1x3.1, inscribed D. 
 Francisco Qitevedo. 
 
 229CCC James Whatman, Esq. 
 Bust of a man with long, curling black 
 hair, sallow complexion, mustache, white 
 collar, dark dress, soft hat and feather, 
 looking front. 20X15% inches. 
 
 British Institution, 1858. Mr. What- 
 man's pictures were sold at Christie's, 
 February 20, 1882. 
 
 230. Queen Margarita of Austria, wife of Philip III., Museo 
 del Prado, 1,065. She is about twenty-five years of age, mounted 
 
FEMALE PORTRAITS — QUEEN ISABEL. 91 
 
 on a chestnut and white horse, which walks three-quarters left ; she 
 wears a ruff and a black dress with open sleeves; her red hair is 
 drawn back from her face, and is surmounted by a white plume ; on 
 her breast is a large jeweled brooch; the bridle and breastplate of the 
 horse are adorned with gold, and on his forehead is a white rosette ; 
 his housings are richly embroidered, and fall nearly to the ground; 
 the Queen's right hand touches the neck of the horse, only three of 
 whose feet are seen. Background, a broken landscape with scattered 
 bushes. The costume of the Queen, and the trappings of the horse are 
 evidently not by the hand of Velazquez himself. 2.97X3.09. 
 Companion to No. 96, which see. 
 
 F. Goya, etch., 14.6x12.2, 1778, at Calco. Nacional. In the collection of Sir 
 W. Stirling- Maxwell is an impression with the letters written by Goya. Photo- 
 graphed by J. Laurent and by A. Braun. 
 
 [The Calcografia Nacional, No. 1 1 Calle de Alcala, Madrid, is a Government 
 institution similar to those at Paris and Rome. Its last catalogue, 1880, enumerates 
 forty-one engravings and etchings after Velazquez and eighteen after Murillo. 
 Among its publications is the work known as Retratos de Espanoles Ilustres, com- 
 prising one hundred and fourteen portraits, which are sold separately at 1.50 pese- 
 tas each. These portraits are half length, having been lengthened or shortened by 
 the engraver to secure uniformity. The coppers of El Grabador al Agita Fuerte, 
 one hundred and thirty-one in number, have also passed into the possession of this 
 establishment, and the impressions are sold at 2 pesetas each, or 131 ps. for the 
 entire collection. 
 
 Beside the above there are engravings of the paintings by Raphael, Ribera, and 
 others, in the royal collection, Devotional pictures, Costumes, Plants, Sports, 
 Views, etc. Nearly all the engravings now published in Spain are printed here. 
 
 In 1803 the Prince of the Peace, on behalf of the State, purchased from Goya's son 
 the plates of the Caprichos and some other etchings, including probably all those by 
 Goya after Velazquez, except three of which the coppers are lost. The considera- 
 tion for this sale was a pension of 12,000 reals. The plates were deposited in the 
 Calcografia Nacional, where they are still worked, although the modern impres- 
 sions are of no great value. They may be distinguished from the old ones by 
 being on very white paper. ] 
 
 231. Queen Isabel of Bourbon, first wife of Philip IV. Mu- 
 seo del Prado, 1,067. She is about twenty-five years of age, 
 mounted on a white horse, which walks profile left ; her costume and 
 the trappings of the horse greatly resemble those seen in the above 
 picture of Queen Margarita. The chief differences are that the dress 
 of Queen Isabel is brown, her hair is black, and is not surmounted by 
 
92 
 
 VELAZQUEZ. 
 
 a tuft of feathers, her hand does not touch the horse's neck, and all of 
 the animal's feet are seen. Background a broken landscape. The 
 costume, etc., as in No. 230, are apparently by a pupil of Velazquez. 
 3.01X3; 14. 
 
 Probably painted in 1644. Companion to No. 97, which see. Mentioned by 
 Palomino, iii. 332. 
 
 F. Goya, etch., 14.6X 12.4, 1778, at Calco. Nacional. A proof before letter is 
 in the Biblioteca Nacional, Madrid. A photograph of this etching is in Reid's 
 Velazquez. The picture is photographed by J. Laurent and by A. Braun. 
 
 232. Queen Isabel of Bourbon. Mrs. Henry Huth. She 
 is seen at full length, standing, three-quarters left, wearing a black 
 head-dress with a white feather, white ruff, close-fitting undersleeves, 
 and a black hooped dress enriched with a border of leaves of gold, 
 which runs around the bottom and up the front; a similar border 
 adorns her bodice and long, open sleeves ; the inside of her collar is of 
 white brocaded silk ; her left hand, falling naturally, holds a fan, her 
 right is on the back of a chair. Background, pink drapery. Com- 
 panion to Philip IV. No. 114. 79X44 inches. 
 
 Louis Philippe sale, No. 249 (295), ^"300, to H. Farrar, who exhibited it in 
 1857 at Manchester, and sold it m 1863 to Mr. Huth. British Institution, 1864. 
 Nos. 233 and 234 are repetitions of this picture, slightly varied. See also No. 245. 
 Praised by Mr. Ford in the Athen<zw?i, May 21, 1862, p. 623. 
 
 233. Queen Isabel of Bourbon. Hampton Court, 91. A 
 
 repetition of No. 232, but somewhat varied; the trimming of her 
 dress is arranged in stripes ; she wears pearl bracelets, and a ring on 
 her right thumb ; a black and white spaniel stands on a rug at her 
 feet ; architecture on the right, with an opening through which a land- 
 scape is seen. 99X58 inches. 
 
 Companion to Philip IV. No. 113, which see. The canvas has been enlarged. 
 
 2 34» Queen Isabel of Bourbon. Francis Clare Ford, 
 Esq., London. She is about twenty-one years of age, and is seen 
 three-quarters left, wearing a black embroidered dress and ruff, ribbons 
 in her hair, and a rope of pearls crossing her breast and shoulders. 
 Bust. 25X19 inches. 
 
 Painted about 1624. Exhibited at the Royal Academy, 1873. 
 
FEMALE PORTRAITS — 
 
 QUEEN MARIANA. 
 
 93 
 
 The writer is informed that on the back of this canvas is a note in the hand- 
 writing of Mr. Richard Ford, certifying that the portrait " was bought by me out of 
 the Madrid collection of General Meade in May, 1853 " (?). General Meade's pict- 
 ures were sold at Christie's in 1847, and the General died in 1849. See No. 14a. 
 Also 234c 
 
 234a. Rose Campbell sale, July 9, Isabel of Bourbon, half length. .65X.49. 
 1814. Isabel of Bourbon. ^76 13s. Purchased at Madrid from M. Cordova, 
 
 234b. A. Delahante sale, May 30, a painter. £46. Messrs. Christie's cata- 
 1817. Isabel of Bourbon, £10. logue gives the name of the purchaser of 
 
 234c. Altamira sale, June 1, 1827. this picture as Mr. Richard Ford. The 
 Isabel of Bourbon. ^13 13J. statement is repeated in an article writ- 
 
 234d. Thomas Emmerson sale, ten by Mr. Ford himself in The Athe- 
 1829. Isabel of Bourbon, from the nceum, May 14, 1853, p. 594. The pict- 
 royal collection at Madrid. ^29 Ss. ure, however, does not seem to be in Mr. 
 
 234c Louis Philippe sale, 149. Ford's collection. See No. 234. 
 
 2 35» Queen Mariana of Austria, second wife of Philip IV. 
 Museo del Prado, 1,082. The Queen is represented at full length, 
 kneeling in prayer behind a desk covered with rich tapestry. In her 
 hands is a small Book of Hours, a curtain above. The head and 
 bust in this picture are precisely the same as in No. 236, which see. 
 Latest manner. 2.09X1.47. 
 
 Companion to Philip IV. No. 1 1 1 . In the Catalogo de los cuadros del Escorial t 
 de D. Vicente Polero, p. 189, mention is made of a small portrait of Dona Mariana 
 praying ; perhaps a sketch for the above. 
 
 Photographed by J. Laurent, No. 54. 
 
 236. Queen Mariana of Austria. Museo del Prado, 1,078. 
 Full length, about twenty-four years of age, dressed in court mourning 
 consisting of a black silk dress and basque, the borders of which are 
 trimmed with silver stripes; she wears immense hoops, and stands 
 three-quarters left, with her right hand on the back of a chair ; a large 
 handkerchief is displayed in her left hand, which falls naturally ; her 
 face is profusely rouged ; her red hair is arranged in ringlets which fall 
 over one another regularly, each tied at the end with red ribbon, the 
 whole forming a broad mass, the base of which forms a horizontal 
 straight line even with her chin ; a long white feather falls over the hair 
 on her left ; she wears a scalloped collarette and a rich gold chain, the 
 end of which passes from the round rosette on her breast over her left 
 
94 
 
 VELAZQUEZ. 
 
 arm ; above the collarette is seen a bertha of gathered tulle ; behind 
 her is a bronze clock on a table; above is a red curtain. Latest 
 manner. 2.09X1.25. 
 
 The costume would suggest that this portrait was painted in 1659, at which 
 time the court was in mourning for the infant Fernando Thomas. The dress is 
 described with unusual minuteness, because the bust has been often repeated. 
 
 Photographed by J. Laurent, No. 40. 
 
 [ Rouge was used to such an excess about the time this portrait was painted, 
 that ladies put it on the cheeks, chin, under the nose, on the eyelids, ends of the ears, 
 on the hands, fingers, and shoulders ; and this they did as well on retiring as on 
 rising. Even the statues of women in the royal palace were rouged on the cheeks 
 and shoulders. Mme. d'Aulnoy, Voyage (PEspagne, 249, 236.] 
 
 237. Queen Mariana of Austria. Museo del Prado, 1,079. 
 
 A repetition of the above, except that the figure is placed lower on 
 the canvas, and more curtain is displayed above. 2.31X1.31. 
 Photographed by J. Laurent, No. 50. 
 
 238. Queen Mariana of Austria. Hercules B. Brabazon, 
 
 Esq., Battle, Sussex. Bust. A repetition of the bust in No. 236. 
 28X23 inches. 
 
 Hugh Baillie sale, 1858, ^241 \os. Manchester Exhibition, 1857. Royal 
 Academy, 1875. This portrait is supposed to be from the Altamira Gallery. There 
 was no portrait of Mariana in the Altamira sale, 1827, but there was a portrait 
 called Isabel of Bourbon. See No. 234c. 
 
 Photographed by Caldesi, No. 75. 
 
 The following engravings are from the above or a similar picture : F. Bout- 
 tats, scu. Anterpiae aput I. Meyssens, line, 6.1X4.5. Insc. Anna Maria 
 Hispaniarum et Indiarum Regina. Unknown, line, 6.8x4.7, i n Memorias de 
 las Reynas Catholicas, por Fr. Henrique Flores, Madrid, 1770, 2 vols., fol. 
 
 239. Queen Mariana of Austria. Earl of Carlisle, Castle 
 Howard. A Head. Probably a repetition of the bust of No. 236. 
 
 Mentioned by Stirling, iii. 1406, and in The Athenceum> September 30, 1876. 
 
 240. Queen Mariana of Austria. Bryan Gallery, No. 385, 
 
 New York. A repetition of the bust of No. 236. About 27X23 in. 
 
 Purchased from Richard W. Meade, who was a merchant and United States 
 Navy Agent at Cadiz, 1805-16. 
 
FEMALE PORTRAITS — QUEEN MARIANA. 95 
 
 241. Queen Mariana of Austria. Francis Clare Ford, 
 
 Esq., London. She is seen three-quarters length, standing ; her 
 
 right hand on a chair, a curtain above, and a bronze clock on a table 
 
 on the right. This is nearly a replica of a part of No. 236, except that 
 
 the head and neck are differently dressed ; a double row of pearls 
 
 crosses from shoulder to shoulder, and her hair is in concentric rolls, 
 
 and not in pendent ringlets. 57X44 inches. 
 
 Gen. John Meade sale, June 26, 1847, ^£13 13^., to Mr. Beauclerc, from 
 whom it was purchased by Richard Ford. This admirable portrait was given by 
 Ferdinand VII. to Canon Lopez Cepero in exchange for the two Zurbarans repre- 
 senting visions of St. Peter Nolasco, now in the Museo del Prado, Nos. 1,120, 1,121. 
 When Dean Cepero was in trouble on account of his political opinions, this canvas 
 passed into the possession of Senor Rodenas, whose widow sold it to Gen. Meade. 
 Sir Edmund Head gives a long and interesting account of this portrait, and laments 
 the want of taste and discernment in the British public in failing to recognize its 
 merits. Handbook of Sp. Art, p. ix. British Institution, 1852. Royal Academy, 
 1873. This is probably one of the two pictures formerly in the Academia de San 
 Fernando, described as Los retratos de medio cuerpo de Felipe IV. y de su Muger 
 D a Mariana de Austria. Cean Bermudez Die. v. 179. 
 
 242. Queen Mariana of Austria. Don Nicolas Gato de 
 Lema, Madrid. Bust, somewhat like No. 236, but the hair is 
 arranged in rolls like No. 241, and not in pendent ringlets. There are 
 three bands of diamond-shaped trimming down her waist. 
 
 J. Laurent, photo. No. 1293. 
 
 A copy by Carreno is in the Academy of San Fernando, at Madrid. 
 
 There is a curious portrait of Queen Mariana, in the Gallery of Versailles, No. 
 3361. It is precisely like the above, but she is seen to the knees, with a fan in her 
 left hand, and with a landscape background. Her brown dress has the same dia- 
 mond-shaped trimming on the waist and down the skirt. The portrait was formerly 
 oval, and is one of a series of portraits of the Spanish royal family that adorned the 
 apartments of Queen Anne of Austria, wife of Louis XIII., who was Mariana's 
 aunt. These portraits are mentioned by D'Argenville, who attributes them to 
 Velazquez, Vie des Peintres, ii. 249. 
 
 243. Queen Mariana of Austria. Francis Cook, Esq. 
 Bust, about sixteen years of age, three-quarters left, wearing a dark 
 green dress with large, puffed sleeves, a gauze collarette trimmed with 
 narrow ribbon, and having a large rosette in front ; her hair, which 
 falls low on both shoulders, is smooth on the top, but wide and loose 
 at the sides, and is adorned with a rosette of brown ribbons. 26X22 in. 
 
9 6 
 
 VELAZQUEZ. 
 
 243a. Count Harrach, Vienna. 
 Queen Mariana of Austria, standing, in 
 widow's dress, with her right hand on a 
 chair; on her left is a bronze clock on 
 a table. The clock, table, and chair are 
 precisely the same as those seen in No. 
 236 and No. 241. Full length. 89x63 
 inches. 
 
 This picture, attributed to Velazquez, 
 is sometimes called A Nun, and some- 
 times A Spanish Princess. It is undoubt- 
 edly a portrait of Mariana by Carreno de 
 Miranda, painted after the Queen became 
 a widow in 1665. The features and cos- 
 tume are precisely the same as those in 
 the portrait of Mariana by Carreno in the 
 Museo del Prado, No. 689, an engraving 
 of which picture is given in Blanc, Pein- 
 tres, Carreno. In the royal collection at 
 Buen Retiro, in the time of Charles III. 
 (1772), were two portraits of Mariana by 
 Carreno, one of which is supposed to be 
 now in the Prado, No. 689. The other 
 
 is probably the picture above described. 
 Two Counts Harrach, father and son, 
 were successively Austrian ambassadors 
 to Spain in the latter part of the last 
 century, and this portrait may have been 
 acquired from the royal collection at that 
 time. 
 
 Photographed by Jaegermeyer. 
 
 243b. King Louis Philippe sale, 
 No. 150. Queen Mariana of Austria. 
 .68X.54. Purchased from M. Cordova, 
 a painter at Madrid, ;£ 1 85 . ( Rutley . ) 
 
 243c. Lecurieux sale, 1862. Mari- 
 ana of Austria, 855 francs. 
 
 243d. E. G. sale, Paris, April 20, 1876. 
 Queen Mariana. A bust, similar to No. 
 242. .66X.56. H. Lefort, etch., in 
 the sale catalogue incorrectly inscribed 
 Marguerite Therese. 
 
 243c Salamanca sale, 1876, No. 39. 
 Mariana of Austria. A finished sketch 
 of No. 236. From the gallery of D. 
 Sebastian Martinez. .20X.14. 3,050 f. 
 
 244. The Infanta Maria, or Mariana, daughter of Philip III., 
 and sister of Philip IV., born 1606, married in 1631 to Ferdinand III., 
 King of Hungary, died 1646. This Princess was the object of the 
 romantic expedition of the Prince of Wales to Madrid in 1623. 
 Museo del Prado, 1,072. Bust, about twenty-five years of age, 
 with delicate complexion, regular features, prominent lower lip and 
 chin, gray eyes, reddish hair frizzled and raised high on the forehead ; 
 she wears a ruff, a dress with lapels and plaited sleeves, and a small 
 black cap on the top of her head. .58X.44. 
 
 There is some doubt as to the person represented in this portrait, and the doubt 
 is increased by the fact that the picture is not mentioned in any of the royal 
 inventories. The features appear to be different, but as to position, costume, and 
 parure, this is identical with the busts which are seen in the full-length portrait of 
 Dona Maria No. 245, and those of Queen Isabel, Nos. 232 and 233. It would there- 
 fore seem that the modistes of the Spanish Court were so deficient in enterprise and 
 skill, that two royal princesses were obliged to wear the same or similar dresses. 
 
 Palomino informs us that Velazquez painted a portrait of Dona Maria in 1631 
 for the King, possibly the one above described. Mus. Pict. iii. 330. In the inven- 
 tory made September 29, 1 661, of the effects of Diego Velazquez, late Aposentador 
 
FEMALE PORTRAITS — INFANTAS. 
 
 97 
 
 de Palacio, which were contained in the Quarto del Principe in the royal palace, is 
 mentioned " Un Retrato de la Sra Infanta Reyna de Ungria." The name of the 
 painter is not given, and it may or may not be this picture. Zarco del Valle. Colec- 
 cion de documentos ineditos, p. 421. 
 
 E. Saint Raymond, etch., in Gazette Beaux Arts, Nov., 1879. Pineda, etch., 
 in Grab. Ag. Fuerte. 
 
 245. Berlin Gallery, 413 C. The Infanta Maria, full length, 
 standing. Similar to No. 232, except that she holds a handkerchief 
 instead of a fan, and the dress, which is otherwise the same, instead of 
 a border of gold leaves, has a border consisting of eight narrow 
 stripes of gold. 2.00X1.06. 
 
 This has always passed for a portrait of Isabel of Bourbon, but a comparison 
 of the features with those which are seen in the known portraits of Maria and those 
 of Isabel, shows that the portrait is that of the former princess. Consequently the 
 name has been changed in the last catalogue of the Berlin Gallery. 
 
 From the Suermondt Collection, which was purchased in 1874. The Suer- 
 mondt catalogue says the picture was in the Royal Collection of Spain until 1820, 
 when it was bought by Colonel von Schepeler, Prussian Minister at Madrid. 
 
 In the Copenhagen Gallery is a portrait of Isabel of Bourbon, by an unknown 
 Spanish artist. It is an exact repetition of the above picture, except that she holds 
 a fan, and the features appear to be those of Isabel instead of Maria. 
 
 Flameng, etch., in Gaz. Beaux Arts, January, 1874, and in Zeitschrift fiir 
 Bildende Kunst, 1874, called Isabel of Bourbon. 
 
 245a. D. Jos6 de Madrazo. Cata- plaited collar, and violet dress enriched 
 logo No. 439. Maria, daughter of Philip with gold and silver. .58X.42. From 
 III. Bust, life-size, with reddish hair, Iriarte Gallery. 
 
 246. The Infanta Maria Teresa, daughter of Philip IV. and 
 Isabel of Bourbon, born 1638, married 1660 to Louis XIV. of France, 
 died 1683. Museo del Prado, 1,084. She is full length, about 
 ten years of age, standing nearly front ; her red hair, adorned with 
 red ribbons, is dressed wide, but not in ringlets, and falls loosely as 
 low as her shoulders ; the center of her corsage is adorned with a 
 large rosette, and crossed by a massive gold chain ; her rose-colored 
 dress is distended by enormous hoops, on which rest her hands, the 
 right displaying a handkerchief, the left holding a rose ; on her right 
 the folds of a crimson brocade curtain partly hide a large chair. 2.12 
 X1.47. 
 
 r 3 
 
9 8 
 
 VELAZQUEZ. 
 
 Two styles are distinctly observable in this picture, the face being in the second, 
 and the remainder in the last manner of the artist, whence it would appear that the 
 work was begun before the second journey of Velazquez to Italy, and finished some 
 ten years later. It will be remembered that the preparations for the marriage of 
 this Princess were the last labors of Velazquez. 
 
 This is the Queen whose bereaved husband made at her death the touching 
 eulogium, "J'ai perdu une femme admirable, qui ne m'a jamais donne d'autre 
 chagrin que celui de sa mort." 
 
 J. Laurent, photograph, No. 46. 
 
 247. The Infanta Maria Teresa. Belvedere, S. 7, No. 47, 
 
 Vienna. Three-quarters length, about sixteen years of age, standing 
 slightly left, her right hand on a table, her left, resting on her wide hoops, 
 holds a handkerchief; her hair is dressed wide, the ends tied with red 
 ribbon, and over it, on her left, falls a long white feather ; she wears a 
 bertha of tulle with perpendicular red stripes ; below this and over her 
 corsage is a plain collarette with scalloped edges, ornamented in the 
 center with a rosette ; a row of pearls crosses from shoulder to shoulder, 
 and beneath this a triple row of pearls extends from the rosette on her 
 breast to another on her left shoulder; two watches are suspended 
 from her waist. 48X38 inches. 
 Miethke, photograph, No. 48. 
 
 248. The Infanta Maria Teresa. Eudoxe Marcille, Paris. 
 Bust, three-quarters left; her hair is dressed wide with a white rosette 
 on the left; her corsage and sleeves have perpendicular stripes of 
 black lace ; two rows of pearls extend across her breast, and two other 
 rows extend from the bow in the middle to her left shoulder. .62X.56. 
 
 249. The Infanta Maria Teresa (?). M. Ledieu, Paris. About 
 
 fifteen years old, three-quarters left, looking front ; her wide mass of 
 
 hair is adorned with semicircular bows of ribbons. A Head. 
 
 Exhibited at the Alsace-Lorraine Exhibition, 1874. 
 Photographed by A. Braun, No. 357. 
 
 250. The Infanta Maria Teresa. Louvre, La Caze Col- 
 lection, No. 37. Bust. The same as the bust of No. 247. .73X.61. 
 
FEMALE PORTRAITS — INFANTAS. 
 
 99 
 
 Louis Viardot sale, Paris, April I, 1863. 5,000 francs. [There was another 
 sale of pictures by the Old Masters, belonging to Mr. X . . . (L Viardot). March 
 27, 1857.] 
 
 Guerard, etch., 8.6x7. Paris > l8 79- 
 
 251. The Infanta Maria Teresa. South Kensington 
 Museum, London. Bust. The same as No. 250. Life-size. 
 
 Bequeathed to the Museum by George Mitchell, Esq. 
 
 252. The Infanta Maria Teresa. Colonel William E. G. 
 
 Bulwer, East Dereham, Norfolk. A bust, resembling No. 250. 
 Painted in oil, on paper. 18X15 inches. 
 
 Exhibited by Colonel Bulwer at the British Institution, 1861. 
 
 252a. " La infanta Dona Maria Teresa 
 reina de Francia," a different picture 
 from the one now in the Museo del Prado, 
 is mentioned in the royal inventories of 
 1686 and 1772. Catdlogo Mus. Prado, 
 P- 59' • 
 
 252b. Lapeyriere sale, 1825. No. 65. 
 A Young Princess. 56x43 inches. 120 
 francs. Doubtless a copy of No. 247. 
 
 252c. A Scotch Baronet sale, by 
 Christie, London, June 18, 1859. The 
 Infanta Maria Teresa, daughter of Philip 
 IV. £282 1 or. 
 
 252d. Due de Morny sale, 1865, No. 
 128. Maria Theresa. Bust. .65X.54. 
 6,200 francs. 
 
 252c A. Lefebvre sale, Paris, April 
 17,1882. Maria Teresa. 3,000 francs. 
 
 253. The Infanta Margarita Maria, or Margarita Teresa, 
 
 daughter of Philip IV. and Mariana of Austria, born 1651, married 
 
 1666 to Leopold I. Emperor of Germany. This Princess was the 
 
 heroine of the Meninas. Belvedere S. 7, No. 15. Full length, 
 
 about three years of age, turned slightly to our left, holding a fan in 
 
 her left hand, her right resting on a table on which is a glass vase 
 
 filled with flowers ; she wears a necklace and a white dress trimmed 
 
 with scalloped black lace ; her long hair falls loosely on her shoulders, 
 
 and is adorned with a knot of red ribbons ; a heavy gold chain passes 
 
 from her left shoulder over her breast. 48X38 inches. 
 
 Palomino informs us {Mus. PicL iii. 349) that in 1659 Velazquez executed 
 two portraits which His Majesty wished to send to the Emperor of Germany. One 
 was that of Don Philip Prosper (see No. 147), " the other was that of the Infanta 
 Dona Margarita Maria of Austria. On a table at her right was an ebony clock with 
 figures and animals in bronze; in a circle was painted the Chariot of the Sun, and 
 within this circle a smaller one showing the Hours." Notwithstanding the 
 absence of the clock, there is reason for believing the Belvedere portrait to be the 
 
100 
 
 VELAZQUEZ. 
 
 one referred to by Palomino. It agrees with that of Philip Prosper in size, treat- 
 ment, and execution, and the two portraits were evidently designed for companions, 
 though they may not have been painted the same year. No picture is known with 
 such a clock as is described above, and as Palomino could never have seen the por- 
 trait, he may have erred in the description, as he often did. 
 
 F. A. Milius, etch., 10. 1X7-9, Paris, 1878, perhaps after the above picture. 
 Photographed by H. O. Miethke, Vienna, No. 49. 
 
 254. The Infanta Margarita Maria. Duque de Alba, 
 Madrid. A repetition of the above. 1.15X.91. 
 
 Offered in the Due de Berwick et Albe sale, at Paris, April 9, 1877, and 
 bought in at 45,000 francs. 
 
 Etched by "X" (Lalauze) in the sale catalogue. 
 
 255. The Infanta Margarita Maria. Louvre, 551. Half 
 
 length. A repetition of No. 253, except that her right hand rests on 
 
 the seat of a chair, and her left holds her gloves. Inscribed above, 
 
 I? Infante Margverite. .70X.59. 
 
 Conquy, line, in Gal. Hist, de Versailles, PI. 2371. Waltner, etch., 18x15, 
 1876 (Goupil). Hans Meyer, etch., Berlin, 1870. Milius, etch., 6.7x5.5, in 
 Gaz. B. Arts, May, 1879. Luderitz, mezzo., 6.4X5.3, Berlin, 1852. Coltier, 
 litho. , 6. 5 X 4. 7- Varied. 
 
 256. The Infanta Margarita Maria. Heirs of the Infant 
 Don Sebastian, Pau, No. 593. Nearly half length. .76X.62. 
 
 This picture is called, in the catalogue of the gallery of the late Infant Don 
 Sebastian, a portrait of the Infanta Margarita, but it appears to be identical in 
 features and costume with No. 246, and it is evidently a half-length repetition of that 
 picture. Purchased from Senor Lopez, Court Painter. 
 
 " I am in search, as you requested, for a Velazquez. Recollecting a most 
 pleasing specimen, a head in a court dress of an Infanta, a daughter of Philip IV., 
 which Senor Lopez, painter to the King, showed me as a purchase he had made for 
 20 louis, I sent to offer him an advance in price for his bargain, but his answer 
 was that he had bought it for the Infant Don Sebastian." Sir D. Wilkie, letter to 
 Sir Robert Peel, dated Madrid, January 28, 1828, in Cunningham, Life of Wilkie, 
 ii. 495. 
 
 257. The Infanta Margarita Maria. Stadel Kunst Insti- 
 tut, Frankfort, 430. Full length, about four years old, standing three- 
 quarters left, in gray silk robe with ribbons on the corsage, shoulders, 
 
FEMALE PORTRAITS. 
 
 IOI 
 
 and wrists ; her hands rest on her wide hoops ; her black curling hair 
 falls on both shoulders; on the right is a table and a red curtain. 
 1.37 X 1.04. 
 
 Pereire sale, March 6, 1872. From Urquais gallery. 10,700 francs. 
 Bracquemond, etch., in sale catalogue. 
 
 258. An Infanta (?) Sir Richard Wallace, Bart. Half length, 
 about six years of age, standing front, with fair hair, wearing a white 
 dress trimmed with red ornaments. Dark background. Life-size. 
 About 36X36 inches. 
 
 258a. Baron James de Roths- 
 child, Paris. Two portraits of Infantas. 
 Mentioned in Burger, Velazquez, 291. 
 
 258b. Schneider sale, Paris, 1876, 
 No. 52. An Infanta, half length, with 
 blonde hair crimped and tied with red 
 bows, and adorned with a plume that 
 falls at the side; she wears large pan- 
 niers and a lace collar over her embroid- 
 ered corsage. .73X.50. 3,000 francs. 
 
 258c. Marquis du Blaisel sale, 
 London, May 17, 1872. An Infanta in 
 black dress, with white collar and sleeves. 
 From the Prince of the Peace. ^36 15^. 
 
 258d. Marquis du Blaisel sale, 
 1872. An Infanta holding a sword. 
 From the Prince of the Peace. ^45 3^. 
 
 Besides the sale at London, May 17, 
 1872, there have been three sales at Paris 
 of pictures of the Marquis du Blaisel, 
 viz. : May 25, 1868; March 16, 1870; and 
 May 9, 1873. Also two sales of the 
 Marquise du Blaisel, both at Paris, viz : 
 March 28, 1850 ; and March 27, 1882. 
 
 258c Aguado sale, 1843, No. 143. 
 The Infanta Countess of Neubourg, in 
 court dress, half length, a curtain and a 
 table behind. . 94 X 1 • 1 1 . 1 ,080 francs. 
 
 [Charles II. married a Countess of 
 Neubourg, but this lady was born seven 
 
 years after the death of Velazquez. Leo- 
 pold I. married for his second wife a 
 Countess of Neubourg after the death of 
 Margarita Maria in 1673.] 
 
 258f. Aguado sale, 144. An Infanta 
 called the Countess of Neubourg, in 
 black hooped dress enriched with silver. 
 Bust. .75X.59. 920 francs. 
 
 258g. Comte Adolphe Thibeau- 
 deau sale, February 20, 1858. An In- 
 fanta. From the Poushkin gallery, St. 
 Petersburg. 378 francs. 
 
 258I1. Merighi sale, 1858. An In- 
 fanta. 1.25X.95. 1,650 francs. 
 
 258i. Barroilhet sale, April 2, i860. 
 An Infanta. .87x69. 500 francs. 
 
 [There was another Barroilhet sale, 
 March 15, 1872.] 
 
 258k. X sale, 1861. An Infanta. .66 
 X.60. 4,000 francs. 
 
 258I. C. Tarral sale, by Christie, June 
 11,1847. An Infanta, half length. 30 X 
 24 inches. ^47 $s. 
 
 258m. Wynn Ellis sale, June 17, 
 1876. An Infanta. ^57 15^ (M. Col- 
 uaghi. ) 
 
 258n. Mailand sale, Paris, May 2, 
 1 88 1. An Infanta. 6,000 francs. 
 
 258P. H. A. J. Munro sale, 1867. 
 The Infanta Margarita. ^63. 
 
 259. The Wife of Don Christoval de Corral. Duque de 
 Villahermosa, Madrid. She is about fifty years old, standing, in 
 
102 
 
 VELAZQUEZ. 
 
 black dress with wide petticoats, holding with her right hand a 
 band attached to a pretty boy of three years, handsomely dressed. 
 Full length. Companion to No. 159, which see. 2.05X1.15. 
 
 Some suppose this child to be Don Baltasar Carlos, whom the portrait appears 
 to resemble. The ladies or nurses who watched over the royal children of Spain 
 were not permitted to take their hands. 
 
 260. Dona Antonia de Haro. Duque de Alba, Madrid. 
 She is eighteen years of age, standing in a landscape, wearing a 
 plumed hat, a cassock with bouffant gauze sleeves, and a red petti- 
 coat embroidered with horizontal stripes ; her fluffy hair, tied with red 
 ribbons, falls on her shoulders ; her right hand holds the muzzle of a 
 gun, the breech of which is on the ground ; a handkerchief is in her 
 left hand; on the right is an escutcheon of gray stone, bearing an 
 inscription beginning Antonia de Haro i Guzman. Full length. 
 1.99X 1.08. 
 
 Offered in Due de Berwick et Albe sale, Paris, April 9, 1877, and bid in at 
 7,200 francs. 
 
 A. Lalauze, etch., in the sale catalogue, and in Gaz. B. Arts, April, 1877. 
 [This lady was a daughter of Don Luis de Haro, who was a nephew of Olivares. 
 
 She married the Conde de Niebla, eldest son of the Duque de Medina Sidonia, but, 
 dying without issue, her titles and estates passed, after some interval, to the Duque 
 de Alva. See No. 166.] 
 
 261. Dona Juana Pacheco, wife of Velazquez. Museo del 
 Prado, 1,086. She is about twenty-four years of age, seated profile 
 right, holding a tablet or portfolio ; she wears a yellow mantle and a 
 pearl necklace ; her dark hair is arranged in a roll in front, and fast- 
 ened with yellow ribbons, the ends of which hang down behind her 
 back. Nearly half length. First manner. .62X.50. 
 
 Formerly in the collection of Queen Isabel Farnese. 
 
 B. Maura, etch., 4.5x3.4, Madrid, 1870. H. Blanco, litho., in Col. Lito. 
 On wood in Liibke, Hist, of Art, ii. 386. 
 
 262. Dona Juana Pacheco. Earl of Dudley, London. Half 
 length, about twenty years of age, wearing a robe with high neck and 
 green sleeves, enriched with gold, a gold chain, pearl necklace, and 
 earrings, a fan in her pendent left hand, her right hand on the back of 
 a red chair. Half length. 1 .37X1.00. 
 
FEMALE PORTRAITS. 
 
 103 
 
 Salamanca sale, 1867, No. 32. Sold as a " Portrait of a Lady. From the 
 gallery of D. Sebastian Martinez, Cadiz." 98,000 francs. Leeds Exhibition, 1868. 
 Royal Academy, 1871. 
 
 On the back of this canvas is written in old writing Juana de Miranda. The 
 wife of Velazquez was Juana de Miranda, hija de Francisco Pacheco, as we see by 
 the marriage register, a copy of which is given by Senor Asensio, Francisco Pacheco, 
 p. 28. There is reason to believe that this is a true portrait of the wife of our 
 artist, painted perhaps the year of her marriage. 
 
 263. Francisca, daughter of Velazquez. Museo del Prado, 
 1,087. A girl about seven years of age, turned slightly to our right, 
 in grayish costume with slashed sleeves and a bow of red and white 
 ribbon on her breast ; she holds a bunch of flowers on a white cloth, 
 her hands touching each other. Half length. .58X.46. 
 
 The identity of the persons represented in this and the following portrait is 
 not established, but there seems to be good reason for believing them to be the child 
 or children of Velazquez. Francisca, the eldest, was baptized May 18, 1619. She 
 was married to J. B. del Mazo in 1634, at which time she was styled, in a document 
 recently discovered in the archives of the palace, the only daughter of Velazquez. 
 Cat. Mus. Prado, p. 443. It would therefore appear that her sister Ignacia must 
 have died young. It is even probable that she may have survived her birth only a 
 few days, for the records of the church of San Miguel at Seville show that on the 
 29th of January, 1621, she received the sacred chrism, having been previously bap- 
 tized at home. The official records of these events are published in Pacheco, sus 
 obras artisticos y literarios, por J. M. Asensio, Sevilla, 1876, sm. 8vo, p. 35. See 
 also ante No. 24. M. P. Lefort (Gaz. B. Arts, November, 1879) considers this the 
 finished picture, and the following one only a sketch, and that both represent the 
 elder daughter of the artist. 
 
 B. MAURA, etch., 1874, in Grab. Ag. Fuerle. Photo in Reid Velazquez. 
 Photos by J. Laurent and by A. Braun. 
 
 264. A Daughter of Velazquez. Museo del Prado, 1,088. 
 
 A portrait resembling the above, except that in this the hands do not 
 touch, and the bow of ribbons is red. .58X.46. 
 Photographed by J. Laurent, No. 188. 
 
 265. A Lady. Sir Richard Wallace, Bart. A handsome 
 woman, about thirty years of age, stands, turned partly to her right, 
 looking front, wearing a brown silk dress, which displays her beauti- 
 ful neck and bosom ; her left hand holds the mantilla that covers her 
 head and shoulders ; a rosary hangs from her left wrist ; her right 
 hand holds an open fan. Half length. About 46X37 inches. 
 
104 
 
 VELAZQUEZ. 
 
 Lucien Bonaparte sale, 1816, ^31. Aguado sale, 1843, I2 >75° francs, to 
 the Marquis of Hertford. 
 
 Retrato tambien en este tiempo [about 1647] Velazquez con superior acierto 
 vna Dama de singular perfeccion ; a cuyo assumpto escribio Don Gabriel Bocangel 
 este Epigramma, que no me ha parecido omitir, por su mucha agudeza en tan pocos 
 numeros, para lisongear con ellos el gusto de los Lectores. 
 
 Llegaste los soberanos Ofendiste su belleza, 
 
 Ojos de Lisi a imitar, Silvio, a todas desigual 
 
 Tal, que pudiste enganar Porque tu la diste igual 
 
 Nuestros ojos, nuestras manos. Y no la naturaleza. 
 
 Palomino, iii. 334. 
 
 Pistrucci, outline in Gal. Lucien Bonaparte. Leroux, line, 12.8x9.7, in 
 Gal. Aguado, and in Art Journal, 1864. 
 
 [This mischievous face and coquettish attire remind us of the decree of that vir- 
 tuous King Philip IV., dated April 13, 1639, by which it was " ordered that no woman 
 should appear with her face covered, but that she should leave it exposed so that 
 she might be recognized by her husband, relatives, etc., for the veils then worn con- 
 cealed infinite wickedness, as we see in the comedies of that age. Farthingales 
 were also prohibited for a like reason." Ortiz y Sanz, Compend. cronol. de Espana, 
 iii. 398.] 
 
 266. A Lady. Duke of Devonshire, Chatsworth. A repetition 
 of the above. 28X18^ inches. 
 
 British Institution, 1852. Royal Academy, 1876. This picture is mentioned 
 in a manuscript catalogue of the collection at Chiswick House, belonging to the 
 third Earl of Burlington, who died in 1753. 
 
 267. A Young Lady, called An Infanta. Sir Richard Wal- 
 lace, Bart. Full length, life-size, standing, in black dress with white 
 sleeves, her right hand resting on a table covered with red cloth; 
 curtains and a bit of landscape in the background. 36^X27 inches. 
 
 Royal Academy, 1872. Dr. Waagen (iv. 81) says this portrait is from the 
 Higginson collection; but it was not in the Saltmarshe sale in 1846, nor is it men- 
 tioned in the catalogue of that gallery, privately printed, in 1842. 
 
 268. A Young Lady, called an Infanta. Mrs. Lyne Stephens, 
 Norfolk. Full length, standing, with blonde crimped hair inclosed 
 behind in a red net ; she wears a lace collar and a black velvet dress 
 distended with hoops ; her right hand rests on a little dog lying on an 
 arm-chair, her left, falling naturally, holds a cord and tassel; gray 
 background with a red curtain on the right. 1.49 x 1.02. 
 
FEMALE PORTRAITS. 
 
 105 
 
 Due de Morny sale, May 31, 1867, No. 127, 51,000 francs. Alsace-Lorraine 
 Exhibition, 1874. A picture similarly described was sold in Bonnemaison sale, 
 1827, No. 44, called Maria Theresa of Austria, for 1,500 francs. 
 
 Engraved on wood in Gaz. B. Arts, May 1863, reversed. A. Braun, photo. 
 
 269. A Lady. Akademie der Bildende Kunst, Vienna. 
 Bust, three-quarters left, looking front, wearing a rich black dress and 
 a wide ruff ; a locket suspended from her neck by a gold chain, hangs 
 on her breast ; her brown, curled hair is fastened with a high comb. 
 The background is a reddish brown tapestry. .82X.64. 
 
 Formerly called Queen Mariana. 
 
 J. Klaus, etch., in Zeitschrift fur Bildende Kunst, March, 1876. 
 
 270. A Lady of the Court of Philip IV., standing, in rich 
 black dress, with slashed sleeves, lace cuffs, and jeweled bracelets ; a 
 brown net with white fringe and gold ornaments covers her head ; her 
 right hand is on the back of a chair, her left holds a handkerchief ; a 
 gold chain hangs at her girdle; the watch that has been detached 
 from it lies on a table at her left. Three-quarters length. 1.30X.99. 
 
 Salamanca sale, 1875, No. 36. From the gallery of the Marques de Legan£s, 
 17,000 francs. Mme. B. sale, Paris, 1877, 13,000 francs. Mentioned by Burger, 
 Velazquez, p. 264; P. Lefort, in Gaz. B. Arts, April, 1877. 
 
 Milius, etch., in Mme. B. sale catalogue. 
 
 271. An Old Woman. Museo del Prado, 1,089. Half-length, 
 sixty years of age, in black dress and Flemish cap and veil ; a crimped 
 scarf covers her breast, a prayer-book is in her hands j background a 
 green curtain with gold fringe. 1.06X.77. Doubtful. 
 
 A. Braun, photo. No. 1089. 
 
 272. A Young Lady. Louvre, La Caze Collection, No. 39. 
 
 Bust, three-quarters left, with blonde bouffante hair, which is parted 
 on the right side, and falls to her shoulders ; she wears a white dress 
 with broad black perpendicular stripes, a linen collar, and a pearl 
 neck-lace. Oval. .82X.63. 
 A. Braun, photograph. 
 
 273. A Young Lady with light hair, wearing a rich dress of green 
 satin, a broad lace collar, bracelets, and necklace, stands, with her 
 
 14 
 
io6 
 
 VELAZQUEZ. 
 
 right hand on a chair ; in her left hand is a fan of ostrich feathers. 
 Full length. 1.18X.77 cm. 
 
 King of Holland sale, 1850, No. 123, 775 florins. J. W. Brett sale, April 
 18, 1864, /189. Manchester Exhibition, 1857. 
 
 Caldesi, photo., in Manchester Art Treasures. 
 
 274. A Spanish Lady. 
 Bart., Keir, Perthshire. 
 Leeds Exhibition, 1868. 
 
 Sir William Stirling -Maxwell, 
 
 274a. Turin Gallery, 509. Maria 
 Colonna, wife of Paolo Spinola, Doge of 
 Genoa, about fifty years old, seated in a 
 black robe with puffed sleeves, and a sort 
 of white collarette ; a fluted column and 
 a curtain in the background. Half 
 length, life-size. 
 
 274b. Jose de Madrazo, Catalogo 
 No. 442. Condesa de Monterey, full 
 length, life-size, standing ; her right hand 
 on the back of a chair. 1.97x1.11. 
 Painted at Rome while the Count was 
 Ambassador there. From Altamira gal- 
 lery. [Olivares married a sister of the 
 Count of Monterey, and Velazquez re- 
 sided in the Ambassador's house when 
 he visited Rome in 1630.] 
 
 274c. Countess Guzman Olivares. An 
 etching by Velazquez (?) of a portrait of 
 this lady, 5.2x3.3, was sold for 7 thalers, 
 18 gr., in Specterschen Auktien. Nagler, 
 Kiinstler Lexicon. [The wife of Oli- 
 vares, daughter of the Conde de Mon- 
 terey, was a woman of mean and abject 
 presence, crooked and deformed. Dun- 
 lap Memoirs, i. 342. ] 
 
 274d. Dona Olympia, sister-in-law of 
 Innocent X. ; and Flaminia Triunfi, " ex- 
 cellente pintora," were painted by Velaz- 
 quez at Rome. Palomino, iii. 337. 
 
 274c Admiral Lord Radstock sale, 
 1826. Duchess of Osuna, ^257 ioj. 
 Lord Orford, Wolterton, sale, June 28, 
 1856. Duchess of Osuna in black dress, 
 hood, and broad white collar fastened 
 
 with bows of ribbon, and holding a fan. 
 From Lord Radstock sale, ^1 78. 
 
 274f. Marie de Rohan, Duchesse de 
 Chevreuse. Painted about 1637. See 
 P. Lefort in Gaz. B. Arts, January, 1880, 
 P- 532. 
 
 274g. Aston Hall sale. The wife of 
 Admiral Pareja. Full length. 79X46 
 inches. See No. 179a. 
 
 274I1. Duque de Medina Celi, 
 
 Madrid. A Woman. Mentioned in 
 O'Shea, Spain, 302; Joanne, Guide. 
 
 2741. A. Bravo. A Lady. Also an 
 Old Woman, called the Cook of Velaz- 
 quez. Sevilla Pinto, 416, 417. 
 
 274k. Vna cabeza de vna ynglesa de 
 Diego Velazquez. Mentioned in the 
 Inventory of D. Diego Velazquez, late 
 Aposentador de Palacio, dated September 
 29, 1 66 1. Zarco del Valle. Doc. Ine'dit, 
 424. 
 
 274I. Comtesse d'Espagnac, Paris. 
 A Young Lady, half length, about twenty- 
 five years old, standing, in a red dress 
 richly embroidered, with curling hair, 
 lace collar, and cuffs, playing with a 
 small dog on a table. The dog resembles 
 that in the portrait of D. Philip Prosper 
 No. 147. 1. 00 X. 82. Bought in Italy 
 about 1815. 
 
 274m. Baldeschi Palace, Perugia. 
 Portrait of a Lady. See ante No. 151b. 
 
 274n. Thomas Purves sale, June 1, 
 1849. A Lady. Kneepiece, less than 
 life-size, in green dress embroidered with 
 
FEMALE PORTRAITS. 
 
 107 
 
 gold, a fan in her right hand, her left 
 playing with flowers in a gold dish. 46 
 X38 inches. ^22 is. Incorrectly de- 
 scribed in Stirling, iii. 1407. 
 
 274P. D. Jose de Madrazo Cata- 
 logue 441. A Lady in hunting costume, 
 with broad-brimmed sombrero, leather 
 gloves, embroidered collar and hoops ; a 
 gun in her right hand, her left holds two 
 dogs by a cord ; landscape. From Alta- 
 mira gallery. 1 . 46 X 1 . 06. 
 
 274q. Salamanca sale, 1867. Bust 
 of a woman with low-necked dress and 
 pearl necklace ; her hair falling on her 
 shoulders. .38X.30. 2,150 francs (Lyne 
 Stephens). 
 
 274r. King of Holland sale, 1850. A 
 
 Woman in the costume of the period, 
 wearing a collar of pearls. Kneepiece. 
 •93X.74. 575 florins. 
 
 274s. Schamp d'Aveschoot sale, 
 1840. A young and pretty woman, with 
 pearl necklace and long waving hair fall- 
 ing on her shoulders. 24X20 inches. 
 160 fl. 
 
 274t. Lethieres sale, November 24, 
 1829. Head of a Nun. From the 
 Aldobrandini-Borghese gallery. 
 
 27411. Fonthill sale, 1823, 24th day, 
 No. 41. Portrait of a Lady. " A beau- 
 tiful portrait by Velazquez was in the 
 Fonthill sale, which was afterward again 
 acquired by Mr. Beckford. Buchanan, 
 Memoirs, i. 147. 
 
CHRONOLOGICAL DATA 
 
 CONCERNING THE 
 
 LIFE AND WORKS OF VELAZQUEZ. 
 
 1 599. June 6. Diego, son of Juan Rodriguez de Silva, and of Dona Geronima 
 Velazquez, his wife, was baptized in the parish church of San Pedro at 
 Seville. He was probably born the preceding day in Calle de Gorgoja, 
 No. 8. Guia de Sevilla, 1880, p. 128. 
 
 1612 ? Studies under Francisco Herrera the elder. 
 
 1613 ? Enters the school of Francisco Pacheco, with whom he remains five years. 
 
 He is occupied in painting bodegones, birds, fishes, market scenes, land- 
 scapes, figures, food, fruits, furniture, etc. 
 
 16 18. April 23. In the parish church of San Miguel at Seville, he marries Juana 
 de Miranda, daughter of Francisco Pacheco and of Dona Maria del Paramo. 
 
 1619. May 18. Francisca, his daughter, is baptized in the Church of San Miguel. 
 She married, in 1634, Juan Bautista del Mazo. The date of her death is 
 unknown, but she probably outlived her father. After her death Mazo 
 took another wife, who was living when he died in 1667. 
 
 162 1. January 29. Ignatia, his second daughter, having been baptized at home, 
 receives the rites of exorcism and chrism in the Church of San Miguel. 
 
 Period of the Aguador (No. 86), Adoration of Shepherds, in the National 
 Gallery, London (No. 8), and Adoration of Kings in the Museo del Prado 
 (No. 9). 
 
 1622. April. He makes his first visit to Madrid, accompanied only by a servant. 
 
 1623. He makes his second journey to Madrid at the invitation of Don Juan de 
 Fonseca, Olivares having supplied him with 50 ducats to defray the expenses 
 of the journey. He is accompanied by his father-in law Pacheco, and by 
 his slave Juan Pareja. 
 
 March 17. The Prince of Wales, afterwards Charles I., arrives in Madrid, 
 where he remains until the 12th day of September. 
 
 October 6. As a reward for the equestrian portrait of Philip IV., which 
 was finished on the 30th of August, Velazquez is received into the service of 
 the King, with a salary of 20 ducats per month, besides medical attendance, 
 lodgings, and payment for the pictures he may paint. 
 
 He is ordered to bring his family to Madrid, and receives 300 ducats 
 from the King to defray the expenses of the removal. 
 1627. Having triumphed over Carducho, Nardi, and Caxes in a trial of skill, he is 
 rewarded with the prize of the appointment of Ugier de Camara (see No. 
 36b). 
 
no 
 
 VELAZQUEZ. 
 
 1628. August 9. Rubens arrives at Madrid, where he remains until June 15, 
 1629. The two artists had exchanged letters before they met, and they were 
 companions in visiting the Escorial and other churches and palaces. 
 
 Period of the Hunting Scenes (No. 37, etc.). 
 September 18. Velazquez is allowed by the King a ration of the value of 
 12 reals a day, the same as that of the court barbers, to which is added 
 90 ducats a year for clothing. 
 
 1629. February 9. An order is entered explaining that the pensions and allow- 
 ances that had previously been made, were to be in payment for the pictures 
 which Velazquez had painted or might thereafter paint, including such por- 
 traits as he might be commanded to execute. 
 
 June 22. He is paid by the King 100 ducats for the picture of Bacchus 
 (No. 27). 
 
 June 28. The King gives Velazquez permission to go to Italy, without 
 loss of salaries, and makes him a present of 400 ducats for his expenses, to 
 which sum Olivares adds a present of 200 ducats. He sails from Barcelona 
 on the 10th of August in company with the Marques de Spinola. 
 
 In Venice he makes copies of the Crucifixion and the Last Supper by 
 Tintoretto, which he sends to the King. In Rome he copies many parts of 
 Michael Angelo's Last Judgment, and the Prophet and Sybils, Parnassus, 
 Disputa, and other frescoes by Raphael. 
 
 He lodges in the Villa Medici at Rome, where he contracts a fever that 
 compels him to remove into the city. 
 
 He paints the Forge of Vulcan (No. 35), the Tunica de Joseph (No. 3), 
 Views in the Gardens of Villa Medici (Nos. 42, 43), and a portrait of him- 
 self, which he sends to his father-in-law, Pacheco. 
 1 63 1. Velazquez is in Naples, where he associates with Ribera, and paints the por- 
 trait of the Infanta Maria, sister of Philip IV. He returns to Madrid in 
 the beginning of the year. 
 
 He paints a portrait of the Infant Don Baltasar Carlos, and an equestrian 
 portrait which is to serve as a model for Tacca's statue of the king. 
 
 1633. June 6. The King bestows on him the Vara de Alguazil, the staff of bailiff, 
 in recompense for pictures executed and to be executed. 
 
 1634. January 30. The King consents that the artist may surrender his place of 
 Ugier de Camara to Juan Bautista del Mazo, who has married Francisca, 
 the only daughter of Velazquez. This office Mazo continued to exercise 
 until October 8, 1658, when, with the consent of the King, it was transferred 
 to his son Gaspar del Mazo, one of the many children of his parents, and 
 grandson of Velazquez. 
 
 Velazquez is named to the office of Ayuda de Guardaropa, without being 
 obliged to discharge the duties of the position. 
 
 1639. Period of the Christ on the Cross (No. 12), portrait of Admiral Pareja 
 (No. 178), and of the Dwarfs and Buffoons (No. 66, etc.). 
 
 1640. February 27. The King awards to Velazquez a pension of 500 ducats 
 a year, payable monthly, which pension is in 1648 increased to 700 
 ducats. 
 
CHRONOLOGICAL DATA. 
 
 1 1 I 
 
 1642. In the spring he accompanies the King on his journey to Aragon, spending 
 some time at Aranjuez and at Zaragoza, and returning to Madrid on the 6th 
 of December. 
 
 Murillo arrives in Madrid, where he remains three years, studying under 
 the counsel and direction of Velazquez. 
 
 1643. Fall of Olivares. Velazquez is charged with the supervision of the works 
 in progress at the Alcazar. He enters upon the discharge of his duties as 
 Ayuda de Guardaropa. The sinecure appointment of Ayuda de Camara is 
 bestowed upon him. 
 
 1644. He accompanies the King on his second journey to Aragon, remaining for 
 some time at Zaragoza and at Fraga. The King enters Lerida on the 7th of 
 August. 
 
 Period of the surrender of Breda (No. 36), the equestrian portraits of 
 Philip III. and Philip IV., and their Queens (Nos. 96, 97, 230, 231). 
 
 1646. He is charged with the duties of his office of Ayuda de Camara. 
 
 1647. March 7. Velazquez is appointed Inspector of the Works at the Alcazar, 
 etc. 
 
 1645. November 10. Velazquez departs from Madrid on his second journey to 
 Italy, accompanied by his slave Pareja. 
 
 1649. January 2. He sails from Malaga with the Duque de Naxera. 
 February 11. He lands at Genoa. Visits Milan, Padua, Venice, Florence, 
 Rome, and Naples. 
 
 Paints the portraits of Pope Innocent X. (No. 183), and of Pareja 
 (No. 181). 
 
 1650. He becomes a member of the Academy of St. Luke, at Rome. 
 
 1651. June. He lands at Barcelona on his return from Italy, bringing with him 
 pictures and three hundred pieces of statuary, etc., which he has pur- 
 chased for the King during his absence. 
 
 1652. February 16. He is appointed Aposentador del Rey, the duties of which 
 office, together with the superintendence of the works going on at the 
 Alcazar and the Escorial, chiefly occupy him from this time forward, so that 
 that during the last years of his life he paints but little. 
 
 Period of the Meninas (No. 21), and the Hilanderas (No. 23). 
 
 1659. November 28. Velazquez is made a Knight of Santiago. 
 
 Paints St. Anthony and St. Paul (No. 13). 
 
 1660. March. He accompanies the King to the frontier, where he superintends 
 the preparations for the marriage of the Infanta Maria Theresa with Louis 
 XIV. The ceremony takes place June 9, in the Casa de la Conferencia, in 
 the Isla de los Faisans. 
 
 June 26. He returns to Madrid, where, on the 31st day of July, he is 
 attacked by a fever. 
 
 August 6, Friday, at two o'clock in the afternoon, his life is brought to a 
 close. He is buried in the church of San Juan, at Madrid, which was 
 destroyed by the French in 1810. 
 
 August 14. Juana Pacheco, his wife, also dies, and is buried in the same 
 tomb with the husband. 
 
112 
 
 VELAZQUEZ. 
 
 Velazquez, during his life, was in the receipt of the following emoluments and 
 
 salaries, which were bestowed on him by the King : 
 1623. October 6. The King orders him to be paid 20 ducats per 
 month besides medical attendance, apothecaries' bills, and 
 
 lodgings, being, per year 240 ducats. 
 
 He is also allowed for expenses of removing his family to 
 Madrid, 300 ducats. 
 
 1626. He receives a second pension, for which a dispensation from 
 
 the Pope is required 300 " 
 
 He is assigned apartments in the Treasury buildings ; 
 estimated value 200 " 
 
 1627. He is appointed Ugier de Camara, with a salary of 12 reals 
 
 per day, being, per year, about 400 " 
 
 This office he surrendered in 1634 to Mazo. 
 
 He is allowed for dress 90 " 
 
 1640. He receives another pension of 500 ducats, which in 1648 is 
 
 increased to 700 " 
 
 1652. He is appointed Aposentador del Rey, with a salary of 3,000 " 
 
 His salary as Superintendent of the Public Works was. . . 720 " 
 He was also appointed Alguazil de la Corte (Bailiff), an 
 
 office worth 4,000 " 
 
 Ayuda de Costa 50 " 
 
 Escrivano (Notary) 6,000 " 
 
 The value of the ducat at that time was 1 1 reals, about 
 
 2 francs 75 c. 
 
 It does not appear whether the three last named offices were worth the sums 
 specified annually, or in gross. 
 
 Besides the above he was in receipt of sundry presents from the King, from 
 Olivares, and from others. His son-in-law, Mazo, and his grandchildren also 
 received favors from the King, and three appointments, worth 3,000 ducats, were 
 bestowed on his father. 
 
 It would seem that Velazquez filled the posts of Alguazil de la Corte, Ayuda de 
 Guardaropa, Ayuda de Camara, Superintendent of the works of the royal palaces, 
 Aposentador del Rey, and Notary, besides that of Ugier de Camara, which he sur- 
 rendered to his son-in-law Mazo. If there were duties appertaining to all these 
 offices, as we know there were to some of them, we need not wonder that he had so 
 little time for the easel, and that he left so few authentic pictures. 
 
MURILLO. 
 
 !5 
 
THE WORKS OF MURILLO. 
 
 OLD TESTAMENT. 
 
 i. Abraham and the Three Angels. Duke of Sutherland, 
 Stafford House, London. On the left three angels advance hab- 
 ited as pilgrims, and bearing staves ; the turbaned Patriarch, kneel- 
 ing before them, with both hands points to his house behind him on 
 the right, which he invites them to enter. Landscape on the left. 
 Companion to St. Peter in Prison, No. 378. Size, 93 inches high by 
 102 inches wide. 
 
 About 166 1 the Hospital of San Jorge, called La Caridad, at Seville, having 
 fallen into decay, Don Miguel de Maiiara Vicentelo de Leca, Knight of the order of 
 Calatrava, devoted himself to the work of restoring and decorating it, and up to the 
 time of his death in 1674, he had raised and expended for that purpose a sum 
 exceeding 500,000 ducats. Murillo became a member of the Brotherhood of the 
 Hospital on the fourteenth day of June, 1665 (Tubino, p. 90, note), and he was soon 
 afterwards called upon to adorn the walls of its church with eight large pictures 
 which he executed between the years 1670 and 1674. These works of the riper 
 years of the artist have always been esteemed as among his noblest efforts ; and for 
 
n6 
 
 MURILLO. 
 
 grandeur of style, harmony of color, and grace of composition, it would be difficult 
 to name an equal number of pictures by any artist that could surpass them. They 
 were arranged on the walls of the church in the following order : 
 
 On the Gospel side : On the Epistle side : 
 
 Moses Striking the Rock. 
 
 Still in the Caridad (No. 14). 
 The Prodigal Son's Return. 
 
 Stafford House (No. 193). 
 Abraham and the Angels. 
 
 Stafford House (No. 1). 
 San Juan de Dios. 
 
 In the Caridad (No. 339). 
 
 Miracle of the Loaves and Fishes. 
 
 Still in the Caridad (No. 180). 
 Christ Healing the Paralytic. 
 
 George Tomline, Esq. (No. 182). 
 St. Peter in Prison. 
 
 Hermitage (No. 378). 
 St. Elizabeth of Hungary. 
 
 Academy of S. Fernando (No. 274). 
 
 Besides these he painted three smaller pictures that still adorn the altars of that 
 church. 
 
 The Annunciation (No. 63). 
 The Infant Jesus (No. 164). 
 The Infant St. John (No. 317). 
 
 For the eight large pictures Murillo received in 1674 as follows : for the Moses, 
 13,300 reals; for the Loaves and Fishes, 15,975 reals; for the Prodigal, Abraham, 
 the Paralytic, and St. Peter, 32,000 reals ; for the San Juan de Dios and St. Eliza- 
 beth, 16,840 reals, making in all, 78,115 reals vetton, or a little less than 20,000 
 francs. The "admirable pictures by Murillo " in the Caridad were mentioned in the 
 life-time of the artist by Ortiz de Zuniga, Annates de Sevilla, Madrid, 1677, fol. 
 p. 767. A long and interesting account of them is given by Cean Bermudez, Carta, 
 pp. 74-88, which has been followed by Stirling, Annals, 852, etc. See also Palo- 
 mino, Mitseo Pictorico, iii. 422, and Ponz, Viage, ix. 147. A lithograph in Stirling's 
 Annats, p. 855, shows the interior of the church with the San Juan de Dios and the 
 Moses in position. 
 
 Five of these masterpieces were " conveyed " by Marshal Soult, who was so 
 keen a man of business that he was always able to defend his title to them, and 
 none of the pictures found in his possession at the Peace were restored to Spain. 
 
 In 1823 the Marshal consulted Mr. Buchanan with reference to the sale of his 
 entire gallery of paintings. The difficulty of finding a purchaser for so valuable a 
 collection in one lot was set before him, and the suggestion was made that eight of 
 the principal works by Murillo might be sold if a separate value were fixed upon 
 them. To this, after some hesitation, the Marshal consented, and the proposition 
 was communicated to the British Government and to a few amateurs, but without 
 result. These eight pictures were the Prodigal, the Paralytic, Abraham, and St. 
 Peter, above mentioned, with the Immaculate Conception (No. 29, now in the 
 Louvre), the Virgin and Child (No. 79, Lord Overstone), the Birth of the Virgin 
 (No. 55, now in the Louvre), and St. Augustine, then called St. Isidore (No. 258, 
 George Tomline, Esq. ). For the first four of these an English amateur made an 
 offer of 400,000 francs, which was declined. Buchanan, Memoirs, i. 43, 346, etc. 
 
OLD TESTAMENT. 
 
 117 
 
 In 1830 M. Soult was on the point of selling to King Louis Philippe the 
 Immaculate Conception, Abraham, and the Prodigal, together with St. Francis Bor- 
 gia (see Velazquez No. 17), for 500,000 francs; the negotiation was, however, 
 broken off, and in 1835 the Duke of Sutherland purchased the three pictures last 
 named for that sum. See V Illustration, May 31, 1852. 
 
 The paintings in the Caridad, on account of their position on the walls of the 
 church, were somewhat inaccessible, and copies are very rare ; but an old copy of 
 this work, perhaps that which was formerly in the convent of St. Augustine, at 
 Seville (see No. 254), was sold at the Marquis of Lansdowne sale, March 20, 1806. 
 
 Exhibited at the British Institution, London, 1836. 
 
 Engraved in outline in Reveil, Musee de Peinture, iv. 271. 
 
 2. Abraham and the Three Angels. Duke of Norfolk, 
 London. Beside a table covered with a cloth are three angels, two 
 of whom are seated, and one standing, all habited as pilgrims, and 
 bearing staves. Abraham approaches them, bearing in both hands a 
 smoking dish of meat ; behind him is Sarah at the door of their house, 
 and Hagar and Ishmael in the background. Landscape on the left. 
 76X97 inches. 
 
 G. S. and J. G. Facius, mezzo., 20X24.3 inches, 1781, published by Boydell. 
 G. E. Price, line, oval. W. Holl, in Kitto, Gallery of Scripture Engravings. 
 
 2a. Rev. Pryce Owen. Abraham 
 and the Angels. The patriarch bends 
 forward welcoming the angels, who stand 
 grouped on the right, wearing red and 
 green drapery ; a building on the left, 
 sky in the background. Half length, 
 life-size. Exhibited at the South Ken- 
 sington Museum, 1879. 
 
 2b. Colonel Edwyn Burnaby, Lei- 
 cestershire. Abraham Entertaining the 
 
 Angels. 76x105 inches. Royal Acad- 
 emy, 1871. 
 
 2C. Abraham Darby, Monmouth- 
 shire, exhibited at Manchester in 1857. 
 Abraham and the Angels. Abraham 
 bears a quarter of lamb. 8x5 feet. 
 Burger, Tresors oV Art, 129. 
 
 2d. Sale at Christie's, June 8, 1867. 
 Abraham Entertaining the Angels, " ex- 
 hibited at Manchester." ^52. 
 
 3. Abraham about to Sacrifice Isaac. William C. Cart- 
 wright, Esq., Aynhoe, Northamptonshire. Abraham, wearing a 
 white turban, blue coat, and red mantle, has a brazier of live coals in 
 his right hand, his left, holding his mantle, rests on his sword; Isaac, 
 in red and blue garments, walks before his father, carrying wood on 
 his left shoulder. Background, a rocky landscape. 33X43 inches. 
 
 Exhibited at the British Institution, 1822 and 1839. The Murillos at Aynhoe 
 were brought from Spain about 1 760 by the celebrated collector John Blackwood 
 
n8 
 
 MURILLO. 
 
 [see No. 139], whose widow left them to her niece, the wife of William Ralph 
 Cartwright, grandfather of the present owner. 
 
 " Mr. Cartwright is in possession of some very fine paintings by Murillo ; their 
 derivation I know to be good, notwithstanding I have not seen them." Davies, 
 Murillo, xcii. 
 
 3a. Marquis du Blaisel sale, Lon- is said to have been sold in Dutartre 
 don, May 17, 1872. The Destruction of sale, March 19, 1804, 4,640 f. Lebrun 
 Sodom, with Lot's family in the fore- sale, 1810, 7,280 f. Faviers sale, 1837, 
 ground. Signed. ^36 15 s. This picture 9,100 f. Lejeune, Guide des Amateurs. 
 
 4. Rebecca and Eliezer. Museo del Prado, Madrid, 855. 
 
 Eliezer drinks from a copper kettle held by Rebecca, who, with three 
 other maidens bearing jars, surround a broken circular well on the 
 right. Landscape with mountains in the distance ; on the left, in the 
 middle distance are men and camels. Five principal figures. Second 
 manner. 1.07X1.51. 
 
 Purchased at Seville by Philip V. when he and his Queen Isabel Farnese 
 resided in that city in 1729. 
 
 F. Decraene, litho., in Col. Lito. C. Mugica, litho., 12.7X14.8, Madrid. 
 E. Buxo, etch., in Alabern, Galleria. Outline in Re veil, Muse'e. On wood in 
 Dohme, Kunst und Kiinstler. 
 
 5. Isaac Blessing Jacob. Duke of Wellington, London. 
 Isaac, seated in bed under a tent-shaped canopy, blesses Jacob, who 
 kneels before him ; Rebecca stands on the left ; near the centre a girl 
 approaches with a basket of linen ; pigeons flutter around her; beyond 
 is a valley and ruined castle. About 42X60 inches. 
 
 6. Isaac Blessing Jacob. Hermitage, St. Petersburg, 360. 
 
 Before an archway, which is nearly filled by a red curtain, Isaac, seated 
 in bed, blesses Jacob, who kneels and is presented to his father by- 
 Rebecca ; beside the bed is a table with a dish of game, a spoon, and 
 bread; opposite is a landscape and a well; a maiden enters with a 
 jar; in the background Esau approaches with a dog. 2.45X3.58. 
 
 Purchased at Paris in 1811, for the Hermitage, by Baron V. Denon, with its 
 companion No. 7. These are doubtless two of the pictures formerly belonging to 
 the Marques de Santiago, Madrid. See No. 10. 
 
 7. Jacob's Dream. Hermitage, St. Petersburg, 359. Jacob, 
 in red doublet and yellow mantle, lies asleep with his head on a stone ; 
 
OLD TESTAMENT. 
 
 119 
 
 his staff lies near him on a cruse ; at the left stands an angel pointing 
 up to the ladder, on which are two angels ascending and three 
 descending. 2.45X3.58. 
 
 One of the pictures from the Marques de Santiago. Companion to No. 6. 
 
 8. Jacob's Dream. The Patriarch reclines on the ground, holding 
 his staff with both hands ; beside him are his pack, cruse, and hat ; 
 six angels, in two ranks, are seen on the ladder ascending and descend- 
 ing ; in the centre of the landscape are large trees ; on the left a 
 ruined hut. 1. 03X1.59. 
 
 Aguado sale, Paris, March 20 to March 28, 1853, No. 51, 520 francs. 
 Kernot, line, in Galerie Aguado, and in Scott, Murillo. 
 
 8a. Dulwich Gallery, near London, 
 No. 294. Meeting of Jacob and Rachel. 
 Kneeling in the midst of their flocks, 
 they embrace and kiss. Jacob wears a 
 skin garment and red drapery; Rachel 
 has a white garment, over which is a blue 
 robe and an orange mantle; her gauze 
 veil floats behind her in the breeze. 
 35 K X48 inches. 
 
 This is doubtless the picture sold in 
 Benjamin Vandergucht sale, March 
 IT, 1796, £bo i8j\, and in Earl of 
 Bessborough sale, February 5, 1801, 
 ^£66 3j\ It has always been attributed 
 to Murillo, but in the catalogue of 1880 
 it is properly ascribed to the Spanish 
 School. 
 
 R. COCKBURN, colored lithe, in Dul- 
 wich Gallery Gems, 18 18. 
 
 [Gerard Vandergucht was an engraver, 
 and Benjamin, his thirty-second child, 
 was a portrait painter. Both lived in 
 London when they were dealers in, as 
 well as makers of pictures. The latter 
 
 had a gallery which was open to the pub- 
 lic on payment of an admission fee ot 
 one shilling. He was a friend of Sir 
 Joshua Reynolds, who painted the por- 
 traits of his two children as the Children 
 in the Wood. The picture by Sir 
 Joshua now belongs to Brodie A. Will- 
 cox, Esq., and was exhibited at the 
 Royal Academy, 1880.] 
 
 8b. Rose Campbell sale, by Chris- 
 tie, July 9, 1814, of pictures collected by 
 him during a residence of twenty years 
 in Spain. Jacob and Rachel at the 
 Well. From the Santiago Palace. £$1. 
 
 8c. Alexis Delahante sale, by 
 Phillips, May 30, 181 7. A grand land- 
 scape, with the meeting of Jacob and 
 Rachel. " A capital picture, painted for 
 the Marques de Santiago, in whose 
 palace it remained until the Revolution, 
 when it was purchased with others ot 
 the same size, relative to the history of 
 Jacob, one of which sold for 2,500 
 guineas." 
 
 9. Jacob with the Flocks of Laban. Sir John Hardy, 
 Bart., Dunstall Hall, Staffordshire. Jacob on the right, in red and 
 gray garments, steps down into the pool and lays peeled rods before 
 the sheep of Laban, which are gathered on the left ; behind him lies 
 his dog asleep ; on the left is a sheepfold ; on the right a servant lead- 
 
120 MURILLO. 
 
 ing a mule is driving flocks away; a rock in the centre divides the 
 landscape. 7 feet by 1 1 feet 9 inches. 
 
 Lord Northwick sale, July 26, 1859, No. 456,^1,480. This is doubtless 
 one of the Santiago pictures. See No. 10. 
 
 ga. Rose Campbell sale, 1814. Jacob gc. King Louis Philippe sale, May 
 laying rods in the drinking troughs. 6, 1852, No. 161. Jacob placing branches 
 From the Santiago Palace, £3$. See in the fountain. Figures life-size, 1.68 X 
 No. 8b. 2.26. From a nunnery. ;£i6o. The 
 
 gb. David Baillie sale, London, same picture "from the Spanish Gallery " 
 May 23, 1839. Jacob placing striped was probably sold again at Christie's, 
 rods before the sheep, etc. "One of the March 12, 1859, ^57 15^, to Drax. 
 set of which the Marquis of Westminster According to Stirling, this is a repetition 
 has one, and three are in Russia. A of a painting by Ribera in the Escorial. 
 large gallery picture." £86 2s. Annals, ii. 754. 
 
 10. Meeting of Jacob and Laban. Duke of Westminster, 
 Grosvenor House, London. In the centre are Jacob and 
 Laban in animated conversation ; the family of the former is grouped 
 before two tents on the left ; on the right are horses and men ; trees 
 and mountains close in the large landscape. 96X121 inches. 
 
 The Marques de Villa- Manrique, Protector of the Academy which Murillo 
 founded at Seville, determined to have a series of historical paintings illustrating the 
 life of David by Murillo, of which the landscapes should be by Ignacio Iriarte, who 
 excelled in that branch of Art. Murillo wished Ignacio to paint the landscapes, 
 when he would put in the figures, but the other insisted that Murillo should paint the 
 figures first. Wearied with the dispute, Murillo said that if Iriarte thought his 
 assistance necessary in the landscapes he was mistaken, and so he painted the pict- 
 ures alone, — landscapes as well as histories, — a remarkable thing for him. The 
 Marques took these pictures to Madrid. Palomino, Mus. Pict., iii. 424. To this 
 story Cumberland adds that Murillo substituted the life of Jacob for that of David, 
 and that the series, consisting of five grand compositions, the finest he has ever 
 seen of Murillo, then belonged to the Marquis of Santiago. He praises them 
 warmly, and says he would prefer them before any canvases he had ever seen, 
 except the Venus of Titian. Anecdotes, ii. 101, 124. 
 
 According to the Grosvenor House catalogue these paintings were selected by 
 General Sebastiani as part of the contributions levied when the French army occu- 
 pied Madrid. But Mr. Buchanan's account is that the Santiago pictures, includ- 
 ing, besides the series above mentioned, the Virgin and Child, now belonging to 
 Lord Overstone (No. 95), and a Holy Family (146a) were bought for him by G. 
 Augustus Wallis in Madrid, in 1808. This canvas was valued at 3,000 guineas, and 
 was sold to the Marquis of Westminster for two Claudes, a Poussin, and £1,200 in 
 money. Buchanan, Memoirs, ii. 221, 228. 
 
OLD TESTAMENT. 121 
 
 The five Santiago pictures cannot be satisfactorily identified, but it is probable 
 that one of them is in Grosvenor House, two in Hermitage (Nos. 6 and 7), and one 
 belongs to Sir John Hardy (No. 9). 
 
 Engraved by John Young in the Grosvenor House Catalogue, Plate No. 69. 
 
 11. Jacob and Laban. Laban, reclining on the ground, receives 
 Jacob, who approaches, leaning on his staff ; Rachel stands between 
 them, holding her child on her arm ; on the right are a boy and a 
 girl surrounded by flocks ; on the left a hilly landscape and a river. 
 1.03X1.59- 
 
 Aguado sale, 1843, No. 50, 1,050 francs. Stirling, Annals, ii. 923. 
 J. Kernot, line, in Galerie Aguado, and in Scott, Murillo. 
 In the sale of Gen. Sir Phineas Riall, November 23, 1869. Jacob and 
 Rachel, engraved, sold for ^40 igs. to Patrick. 
 
 12. Jacob Wrestling with the Angel. In the centre the angel, 
 
 with outspread wings, is contending with Jacob. A moonlight scene, 
 
 with a wooded and rocky landscape and the sea. .48X.65. 
 
 Aguado sale, 1843, No. 58, 710 francs. Stirling, Annals, ii. 923. 
 
 Louise Pannier, line, in Galerie Aguado ; the figures were engraved by Goitte. 
 
 12a. Re vil sale, Paris (1845 ?). Jacob 12c. Richard Westall sale, by 
 
 Wrestling with the Angel. .48X.65. Phillips, April 14, 1832. Jacob Wrest- 
 
 420 francs. Perhaps this was the picture, ling with the Angel. 
 
 No. 12, with which it agrees in size. I2d. Rose Campbell sale, 1814. 
 
 12b. Aguado sale, No. 61. Jacob Jacob and Esau; their meeting and 
 
 Wrestling with the Angel. .37X.32. reconciliation. From the Santiago Pal- 
 
 285 francs. ace. £2$ 4s. 
 
 13. Joseph and his Brethren. Sir Richard Wallace, Bart., 
 London. In the centre is a group of four figures, among them 
 Joseph in a scanty white garment, who is borne in the arms of two of 
 his brethren to the mouth of the pit, into which they prepare to let him 
 down by a rope ; three other brothers are on the left, and a group of 
 four others and a dog on the right. Eleven figures, full-length. 
 About 5X7 feet. 
 
 W. Cave sale, by Christie, June 29, 1854, ^1,764, to the Marquis of Hertford, 
 who bequeathed his collection of pictures, with other property, to Sir Richard Wal- 
 lace. Exhibited at Manchester 1857. 
 
 In 1803-6 Mr. Irvine bought from the Capuchin Convent, at Genoa, for Mr. 
 Buchanan six pictures, viz. : 
 16 
 
122 
 
 MURILLO. 
 
 I. The Charity of St. Thomas of Villanueva, which was sold to W. Wells of 
 Redleaf for ^1,000, and which now belongs to Sir Richard Wallace (No. 399). 
 
 II. The Flight, or Repose in Egypt, with angels ; companion to the above, 
 about 4 by 5 feet. Sold to Walsh Porter for ^"800. It perhaps now belongs to 
 the Earl of Strafford (No. 134). 
 
 III. Adoration of Shepherds, somewhat larger and finer than the last. Chosen 
 by Mr. Champernowne for his private collection, and valued at ^800. Probably the 
 one now belonging to Sir Richard Wallace (No. 123). 
 
 IV. Joseph and his Brethren. Companion to the last; valued at ^800, and 
 sold to John Cave. Now belongs to Sir Richard Wallace. 
 
 V. A Penitent Magdalen in the Desert with Angels. About 5 feet high or 
 less ; valued at ^500, and for some time in the possession of Walsh Porter. Prob- 
 ably now belongs to A. Carstansen (No. 368). 
 
 IV. The Immaculate Conception, or the Virgin surrounded by angels standing 
 on a new moon. Companion to the last ; valued at ^800, and sold to Walsh Por- 
 ter. (See No. 52). Buchanan, Memoirs, ii. 144, 171. 
 
 Caldesi, photograph, in The Hertford Gallery, Manchester Exhibition. 
 
 13a. Duke of Devonshire, London, (iii. 108) it is attributed to Vandyck, but 
 
 The Finding of Moses. The child, lying this also is doubtful. British Institution, 
 
 in a crib, stretches forth his hand towards 1837, Royal Academy, 1873. 
 
 the daughter of Pharoah whose head L. Gruner, line, 12.2X9.4. P. Roth- 
 
 appears, with that of her maid ser- well, line, 6.7X4.2, 1809. McArdell, 
 
 vant, above the rushes in the upper mezzo., 20. 1X14. On wood in Kitto's 
 
 corner. 59X42^ inches. This picture Family Bible. 
 
 is not by Murillo, though it has been 13b. Sir Woodbine Parish. The 
 
 engraved and is still exhibited as by Finding of Moses. Exhibited at the 
 
 him. In Smith's Catalogue Raisonne British Institution, 1835. 
 
 14. Moses Striking the Rock. La Sed. Hospital of La 
 Caridad, Seville. In the centre rises a great rock, around which 
 is gathered a throng of Israelites eagerly rilling their jars and quench- 
 ing their thirst with the water that has burst forth. Moses and Aaron 
 stand in front, giving thanks to God for the miracle. The boy on a 
 mule, and the girl who holds up a jar to be filled, are said to be por- 
 traits of the children of the artist. Near them is a woman drinking, 
 with an infant in her arms which eagerly claims its share. The canvas 
 is crowded with people and animals, n feet 6 inches by 18 feet. 
 
 For the history of this work see ante No. 1. Like its companion, the Loaves 
 and Fishes (No. 180), it is colossal in size, and painted in a sketchy manner, calcu- 
 lated for its height and distance from the spectator. 
 
 Sir William Stirling-Maxwell exhibited at Manchester a study for the woman 
 drinking with the child. (No. 451.) 
 
OLD TESTAMENT, 
 
 123 
 
 P. Lefort has a study of the boy on a mule, .70X.94, recently purchased in 
 Cadiz. 
 
 The idea of this composition is said to have been taken from a work by Guer- 
 cino, called La Calabaza, formerly in Seville, and afterwards in the possession of 
 Cardinal de Molina. Tubino, Murillo, 1 70. A sketch formerly belonging to Mar- 
 shal Soult is spoken of by Thore, Revue de Paris, 1835, xxi. 50, and by Stirling, 
 Annals, ii. 859. The only picture of this subject in the Soult catalogue was by 
 Herrera the younger, perhaps the painting formerly in the Archbishop's palace at 
 Seville. 
 
 R. Esteve, line, 17X35.4, 1839. Boilly, mezzo., 13.9X23.6. The centre 
 portion only, is engraved by J. Rogers, Blanchard, F. Girard, and Sartain. 
 
 15. Moses Striking the Rock. Earl of Normanton, Som- 
 erly, Hants. A sketch for the above. 
 
 Exhibited at the British Institution, 1850. Mentioned by Waagen, iv. 365. 
 
 15a. Lopez Cepero sale, Paris, Feb- 
 ruary 14, 1868. A first thought for the 
 above. .27X.51. 1,420 francs. Not 
 sold. This picture still belonged, in 188 1, 
 to the heirs of Senor Lopez Cepero, at 
 Seville. 
 
 15b. Salamanca sale, 1875, No « 20 « 
 Moses on Mount Sinai. An old man in 
 red mantle kneeling on the left, receives 
 from the Almighty the tables of the law ; 
 on the right many people are assembled 
 worshiping the golden calf ; one-third 
 life-size. An early work. .85x1.23. 
 1,200 francs. 
 
 This picture, and its five companions, 
 Nos. 15c, I5e, I5f, I5g, and 358U were 
 from Los Cinco Gremios Mayores at 
 Madrid, and were purchased at public 
 sale by D. Jose de Madrazo. According 
 to Davies {Murillo, lxxix.), Ponz men- 
 tions in the Gremios twelve subjects 
 from Genesis, in the first style of Murillo. 
 The writer does not find the passage in 
 his copy of Ponz. 
 
 15c. Salamanca sale, 1875, No. 19, 
 Job and his Wife. Seated on a dung- 
 hill, covered by a tattered mantle, Job 
 looks up to heaven; one hand is on 
 his breast, the other holds a piece of 
 bread; his wife holds up her finger re- 
 
 provingly, and points with the other 
 hand to their house. Landscape back- 
 ground. .85X1.23. 2,000 francs. See 
 No. 15b. 
 
 I5d. Pinacoteca, Parma. Job, or 
 St. Jerome, old and naked, sits looking 
 up ; his right hand is on his breast, the 
 left holds a piece of black bread. Three- 
 quarters length. 
 
 Naya, photo., 1 030. 
 
 15c Salamanca sale, 1875, No. 23. 
 Daniel in the Lions' Den. With arms 
 outstretched, he raises his eyes to heaven 
 in gratitude. Four lions lie in the 
 shadow of the cavern. .85x1.23. 1,000 
 francs. See No. 15b. 
 
 i5f. Salamanca sale, 1875, No. 22. 
 Susannah at the Bath. She is seated 
 at the edge of a marble basin with her 
 limbs in the water, her arms are crossed 
 on her breast, which she endeavors to 
 conceal, while she lifts her eyes to 
 heaven imploring aid; two old men 
 partly in shadow, observe her amo- 
 rously ; a building on the right. .85X 
 1.32. 5,100 francs. See No. 15b. 
 
 I5g. Salamanca sale, 1875, No. 21. 
 Tobias and the Angel. The child, wear- 
 ing a green robe, yellow mantle, and 
 violet cap, carrying a fish by the gills, is 
 
124 
 
 MURILLO. 
 
 conducted along a shady road by an Tobias and the Angel. The angel, 
 
 angel in black robe, yellow scarf, and red standing front, with outspread wings, 
 
 mantle, who points the way with his fin- points up with the right hand, and places 
 
 ger ; both carry staves, and they are the left on the head of the child, who 
 
 followed by a handsome dog. .85X1.23. kneels with joined hands. Full length, 
 
 7,000 francs. See ante No. 15b. Alsace-Lorraine Exhibition, Paris, 1874. 
 
 15b.. M. de la Rosiere, Paris. A. Braun, photo., 253. 
 
 16. Tobias and the Angel. William C. Cartwright, Esq., 
 
 Aynhoe, Northamptonshire. The angel in a plum-colored robe, 
 and Tobias in a yellowish cloak, with a fish in his left hand, both 
 bearing staves, are walking in a rocky country beside a river; a dog 
 looks up at the angel. 33X43 inches. 
 
 Exhibited by W. R. Cartwright at the British Institution, 1822 and 1839. 
 
 16a. Sir Woodbine Parish. Tobias the Sacristy, on the top of the tabula de 
 
 and the Angel. British Institution, 1835. difuntos, or the tablet whereon the names 
 
 16b. Richard Westall sale, by of the dead who are to be prayed for are 
 
 Phillips, April 14, 1832. Tobias and inscribed. Tobit Burying the Strangled 
 
 the Angel. Man. A Sketch; about 6x12 inches. 
 
 16c. Hospital of La Caridad, in Mentioned by Stirling, iii. 1416. 
 
 17. Ruth and Naomi. Earl of Radnor, Longford Castle, 
 Wiltshire. They are leaving Moab; in the background is Orpah 
 returning to the city; with the text, Populus Urns popidus mens et 
 Deus tuus Deus metis. Full length. 68x80 inches. 
 
 Royal Academy, 1873. Waagen, iv. 358. Stirling, iii. 1416. 
 
 17a. Aguado sale, No. 34. Elijah angel points to a vase of water at his 
 reposing under trees in the desert; an feet. 2.91X2.40. 1,000 francs. 
 
 18. Immaculate Conception. Seville Museum, 93. The 
 
 Virgin, looking up, stands in the hollow of a crescent with two horns ; 
 her right hand covers the thumb and tip of the forefinger of her left 
 hand on her breast ; on each side are three cherubs and some heads ; 
 above is the Father Eternal with arms outspread; beneath is the 
 dragon on a section of the globe. Round top. 2.80X1.92. 
 Photographed by J. Laurent, Madrid, No. 1069. 
 
 The Capuchin Convent, outside the Cordova Gate, at Seville, was considered, 
 on account of the paintings by Murillo which it contained, the richest and most 
 highly adorned of any temple of that order. These pictures were executed not later 
 than 1676, as Diego Ortiz de Zuniga mentions the admirable pictures del famoso 
 
IMMACULATE CONCEPTION. 
 
 125 
 
 Morillo in that convent. Annales de Sevilla, Madrid, 1677, P« 733- As they are 
 in the latest and best manner of the artist, they could not have been painted much 
 earlier than that date. They remained in the convent until 1810, when, on the 
 approach of the French, they were transferred to the Chapter of the Cathedral, at 
 whose cost they were packed up and sent for safety to Gibraltar. There they 
 remained until they were returned to Seville in 1813. In payment for the expenses 
 incurred on their behalf, the friars presented to the Cathedral the Guardian Angel, 
 which is now in the Metropolitan Church. The St. Michael and the Sania Faz have 
 disappeared ; in what manner, is not known. The remaining pictures, except the 
 Porciunculo, were in the convent until its suppression in 1835, when they were 
 again transferred to the Cathedral, and subsequently, in 1840, were deposited in the 
 Museo Provincial, which was opened in that year in the suppressed convent of 
 Nuestra Seiiora de la Merced. 
 
 Ten pictures composed the retablo of the high altar, a vast structure about 
 thirty feet high, and about twenty-five feet broad, which completely filled the end 
 of the nave. The disposition of these paintings was as follows : See Ponz, Viage, 
 ix. 138. Cean Bermudez, Carta, 88. Gonzalez de Leon, ii. 258. 
 
 In the choir, behind the high altar, was 
 The Immaculate Conception, No. 19. 
 
 The retablo of the high altar was composed as follows : 
 St. Antony, No. 241. St. Felix, No. 277. 
 
 St. John the Baptist, r~ ~ St. Joseph and the Infant 
 
 J St. Francis, j 
 
 No. 333. or the Jesus, No. 341. 
 
 SS. Justaand Rufina, Porciunculo, gg 4 Leandro and Buena- 
 
 No. 362. N °- 28 5- VENTURA, No. 366. 
 
 La Santa Faz, No. 203. 
 Virgin and Child, No. 112. 
 A Crucifix. 
 
 At the ends of the lateral aisles of the church were 
 St. Michael, No. 373m The Guardian Angel, No. 233. 
 
 The eight chapels in the nave of the church contained the following altar pieces : 
 Annunciation, on the chancel wall, No. 61, Pieta, on the chancel wall, No. 225. 
 St. Antony, No. 240. Nativity, No. 118. 
 
 Conception, No. 18. St. Felix, No. 276. 
 
 St. Francis, No. 288. St. Thomas, No. 395. 
 
 The Convent also contained 
 
 The Virgen de Belen No. 98, and several Crucifixes which stood on the 
 different altars. 
 
126 
 
 MURILLO. 
 
 ig. Immaculate Conception. Seville Museum, 55. The 
 
 Virgin, standing in the hollow of a crescent with two horns, looks up 
 
 to her right ; the palm of her right hand covers the back of her left 
 
 hand before her left shoulder ; her mantle crosses her body from the 
 
 left shoulder to the right side; beneath, on her right, are three heads 
 
 and four cherubs, two of whom hold a round mirror ; a third, looking 
 
 up, balances across his breast a long palm branch which he grasps 
 
 with both hands near together ; on her left, beneath, is a cherub with 
 
 roses ; on her right, above, are five heads ; opposite these is a group 
 
 of three cherubs with a scarf which is identical with the group in 
 
 No. 29. 2.24X1.78. 
 
 From the Capuchin Church. See No. 18. It is probably the " graceful 
 and beautiful Conception, remarkable for the loveliness of the angels that sustain 
 the Virgin, in the choir behind the high altar " of the church. Cean Bermudez, 
 Carta, 93. 
 
 Photographed by J. Laurent, Madrid, No. 793. 
 
 20. Immaculate Conception. Samuel Sandars, Esq., Tun- 
 bridge, Wells, Kent. An excellent repetition of the above, with 
 trifling variations. 80X64^ inches. 
 
 This picture belonged to the Infant Don Gabriel, son of Carlos III., after 
 whose death it is supposed to have passed to the Church of San Lorenzo, at Madrid, 
 whence it was taken to Paris by the French, and sold to Mr. Woodburn. At his 
 sale, June 25, 1853, at Christie's, it was purchased for ^1,050, by George Faulkner, 
 whose widow bequeathed it to the father of the present owner. Royal Academy, 
 1882. 
 
 21. Immaculate Conception. Seville Museum, 68. The 
 
 Virgin, standing on a globe, looks front and down ; the palms of her 
 hands touch, and are higher than her left shoulder ; her mantle floats 
 out to her right, higher than her head ; a narrow scarf crosses her 
 body, and floats to her right ; one cherub on her right, and three on 
 her left, below, none of whom hold flowers, etc. The Virgin is colos- 
 sal in size. 3.92X2.75. 
 
 Formerly over the principal arch in the Church of the Franciscan Convent. 
 Cean, Carta, 97. G. de Leon, i. 52. See No. 268. M. Quilliet (Dictionnaire, 99) 
 has a story that when this work was completed, the monks, dissatisfied with its 
 coarse and unfinished appearance, refused to accept it. The painter, however, 
 requested permission to place it in the position it was to occupy over the arch of the 
 
IMMACULATE CONCEPTION. 127 
 
 church, remote from the spectator, when its beauty was so evident that they were 
 glad to retain it, even at a higher price than that they had before promised. 
 
 J. M. Martin, line, 12.2x8.6, Seville, 1832. A. Jameson, etch., in the later 
 editions of Legends of the Madonna, replacing an etching which was suppressed. 
 See No. 36. G. Weinhold, lith., 20X14. Dresden. J. Laurent, photo., 1068. 
 
 22. Immaculate Conception. Seville Museum, 116. The 
 
 Virgin, standing in the hollow of a crescent with one horn, looks up 
 
 to her right ; the palms of her hands touch before her left shoulder, 
 
 the fingers interlacing; above her head is a circle of stars; three 
 
 heads beneath her feet, and three in each corner above. .62x48. 
 
 From the Colegio de Maese Rodrigo, at Seville. 
 Photographed by J. Laurent, Madrid, No. 1070. 
 
 23. Immaculate Conception. Seville Cathedral, Chapter 
 
 Room. The Virgin, standing in the hollow of a crescent with two 
 
 horns, looks down to her right ; the palms of her hands touch before 
 
 her left breast ; her robe crosses her body, and falls over the crescent 
 
 on her right ; on her left it floats out ; beneath are three heads and 
 
 three cherubs with roses and palm ; above these are two cherubs on 
 
 each side, and still higher, eight heads. Life-size. On panel. 
 
 Painted about 1668. One of the earliest occasions on which the name of 
 Murillo appears in print is in connection with this picture. F. de la Torre Farfan 
 says that from its beauty, if we did not know it was painted by our great Murillo in 
 Seville, we might suppose it was made in heaven. Fiestas de la S. Iglesia de 
 Sevilla, Sevilla, 1672, fol. The picture has never been engraved or photographed. 
 
 24. Immaculate Conception. Church of San Felipe Neri, 
 
 Cadiz. The Virgin, standing on clouds, looks up to her right ; the 
 
 palms of her hands touch before her left breast; about fourteen 
 
 cherubs and six heads in all, some with palm, flowers, etc. ; one of 
 
 them looks up to her; two others above her head extend their hands 
 
 as if about to crown her. Full length, life-size. 
 
 " He painted for Cadiz many pictures, especially of the Conception. The most 
 famous is that above the high altar of the Church of San Felipe Neri, 2^ varas 
 high, for which he received 100 doubloons." Palomino, iii. 422. The picture has 
 never been engraved or photographed. 
 
 25. Immaculate Conception. Capuchin Church, Cadiz. 
 The Virgin, turned slightly to her right, stands in the hollow of a 
 
128 
 
 MURILLO. 
 
 crescent with two horns, looking up ; above her head is a circle of 
 stars ; her right wrist covers the tips of the fingers of her left hand on 
 her breast ; beneath are seven cherubs in three groups, with lilies, 
 palms, etc. ; five heads on the left, and three on the right above. 
 82X64 inches. 
 
 Mentioned by D. Antonio Ponz, Viage de Espana, t. xvii. p. 340. 
 Photographed by J. Laurent, Madrid, No. 1814. 
 
 26. Immaculate Conception. Museo del Prado, Madrid, 878 
 
 (229). The Virgin stands, looking front, in the hollow of a crescent 
 with one horn; the palms of the hands touch before her left shoulder; 
 her mantle on her left descends to her feet, and falls over the cres- 
 cent ; on her right it floats out boldly ; beneath are four cherubs, all 
 holding flowers, etc. ; the one on the right is on his back, and in his 
 hands, which are spread apart, he holds a long palm branch balanced 
 across his body; four heads in each corner above. 2.06X1.44. 
 
 From the palace of S. Ildefonso. This is one of the very finest representations 
 of the subject. D. Luis de Madrazo has a drawing by Murillo for this picture 
 which has been reproduced in fac-simile by J. J. Martinez in Grabador al Ag. 
 Fuerte. 
 
 F. de Craene, litho., in Col. Li to. A. Lemoine, litho., 16.9X10.6, in Joyas 
 Pint. A. Lemoine, litho., 23.5X17.5, 1861, reversed. H. Raunheim, litho., 
 17.3x13.3, 1844. E. Lasalle, litho., 23.5x16, varied. Domingo Martinez, 
 stipple mezzo., 12.3x8.6, 1855. On wood, in Becker, Kunst und Kiinstler ; 
 Dohme, Kunst und Kiinstler. J. Laurent, photo., 15. 
 
 27. Immaculate Conception. Museo del Prado, 880 (65). 
 The Virgin, standing in the hollow of a crescent with two horns, looks 
 up to her left ; her hands are crossed on her breast, the right wrist 
 concealing all of her left hand except the first two fingers; her mantle 
 crosses her body, and floats out to her right, the end turned up ; five 
 cherubs are compactly grouped at her feet, of whom one has lilies and 
 roses ; another has palm and olive branches. 2 . 2 2 X 1 . 1 8. 
 
 Brought to Madrid, in 18 16, from the Royal Palace of Aranjuez. 
 Bart. Vazquez, line, 20.7x12.5, Madrid, 1778. J. Ballin, mezzo., 11x8.2, 
 Paris, 1859 (Goupil). J. Laurent, photo., 16. 
 
 28. Immaculate Conception. Museo del Prado, 877 (219). 
 The Virgin stands on a crescent with joined hands, and eyes 
 
IMMACULATE CONCEPTION. 
 
 129 
 
 raised ; at her feet is a group of three cherubs, one of whom holds her 
 flowing mantle; the others have palms and roses; two cherubs on 
 her left hold a mirror; many heads above. .96X.64. 
 
 Isabel Farnese collection. The canvas has been reduced in size. 
 
 Photographed by A. Braun & Co., Paris, No. 877. 
 
 29. Immaculate Conception. Louvre, Paris, 539. The Vir- 
 gin, standing in the hollow of a crescent with two horns, looks up to 
 her left ; her right hand covers the thumb and first two fingers of the 
 left hand on her breast ; her mantle falls full on her left, but only a 
 small portion is seen on her right, where it is held up by a cherub at 
 her feet. About twenty-one cherubs and ten heads are seen, none 
 of whom have flowers, etc. ; the group of three cherubs in the right 
 upper corner, one of whom holds a scarf, is repeated in No. 19. 
 2.74X 1.90. 
 
 The close friendship existing between Murillo and Don Justino Neve, a canon 
 of the Cathedral, and a zealous agent in the construction and embellishment of the 
 Hospital de los Venerables Sacerdotes, led to the employment of the artist in 1678, to 
 paint for that Hospital three excellent pictures. In the first retablo on the right on 
 entering, was St. Peter Weeping, wherein Ribera was outdone in suavity and ten- 
 derness (No. 376). Near the door of the sacristy was a Conception, superior to 
 anything by his hand in Seville for color and claro-obscuro. In the refectory was 
 the Virgin seated on a transparent cloud with her divine Son, who is distributing 
 rolls of bread which are supplied to him from a basket by youthful angels to three 
 priests seen at half length (No. 113). In the ante-refectory was a portrait of Canon 
 Neve with a dog, which seemed alive (No. 470). Cean, Carta, 93; Ponz, ix. 123. 
 Mentioned also in Palomino, iii. 422. 
 
 The first two, and probably the third of these canvases, were acquired by Mar- 
 shal Soult, and their history is not less interesting as objects of commerce than as 
 works of art. The Conception was one of the eight works which M. Soult employed 
 Mr. Buchanan to try to sell in 1823, at which time it was valued at 250,000 francs. 
 Again, in 1830, the owner was on the point of selling it with others to the Louvre. 
 See ante No. 1. In 1835 it was with the St. Peter in Prison (378^), and Christ 
 Healing the Paralytic (182), actually sold to the government for 500,000 francs, but 
 the sale was cancelled, and the pictures, which had been removed to the Louvre, 
 were returned to their owner. 
 
 At last came the day which placed this canvas on the pinnacle of fame. At the 
 Soult sale, May 19, 21, 22, 1852, it achieved the glory of selling for a higher price 
 than was ever realized for a work of art before or since. The competitors were at 
 first the Emperor of Russia, the Queen of Spain, and the Marquis of Hertford. The 
 National Gallery of London could hardly be counted in the race, for, although the 
 trustees had authorized Mr. Woodburn to purchase it if he found it in good con- 
 
 17 
 
130 
 
 MURILLO. 
 
 dition, yet they limited their price to ^"5,000. When the biddings reached 500,000 
 francs, the French government took part in the contest, and finally carried off the 
 prize at the unprecedented figure of 586,000 francs, or 615,300 francs including the 
 government tax of five per cent. 
 
 The Countess of Roseberry is said to have a study, signed and dated 1664. It 
 was brought from Spain by Baron Taylor, and sold at his sale by Sotheby and Wil- 
 kinson, June 17, 1853, to the present owner, who exhibited it at the Grosvenor 
 Gallery in 1877, No. 1143. A copy of the picture by Clemente de Torres is in the 
 Cathedral at Cadiz, but many of the cherubs are omitted. 
 
 A. Lefevre, line, 25.5x18, 1859. Burdet, line, 17x12. L. Massard, line, 
 12.7x8.8. Cousin, line, 7.6x5.6. W. French, line, 23 X 16. Regnault, line, 
 6.8x4.5, bust onl y- H - Eichens, mezzo., 20.3x14.5, 1854. Cornillet, mezzo., 
 35.7x25. Cornillet, mezzo., 25x19. Cornillet, mezzo., about 20x14. 
 Cottin, mezzo., 19.5x14.8. Llanta, litho., 23.6x16.6. Geoffroy, litho., 14X9. 
 Pingot, litho., 15.3x10. Graille, litho., 15.5x12. Jacott, litho., 13.5X9.5. 
 M. Lavigne, litho., 19x14, and many others. On wood in Blanc, Peintres ; Gaz. 
 B. Arts, April, 1875, etc. 
 
 Variations by Gilbert, Pingot, Jullien, Maurice, Massard, etc. 
 
 30. Immaculate Conception. Louvre, Paris, 538. The 
 
 Virgin stands in the hollow of a crescent with one horn, looking down 
 and front ; the tips of her fingers touch before her left breast ; beneath, 
 on the left, are six half-length figures of worshipers, one of whom 
 points to the Virgin ; on the right two cherubs bear a scroll inscribed 
 In principio dilexit earn ; three heads each side above. 1.72x2.85. 
 
 This is one of the pictures taken by Marshal Soult from the church of Santa 
 Maria la Blanca at Seville. By some means it came into the possession of M. Lom, 
 from whom it was purchased for the Louvre in 181 7 for 6,000 francs. It was 
 originally like all the rest of the S. M. la Blanca pictures, except the Last Supper, 
 semicircular, but it has been enlarged, and is now rectangular. 
 
 The church of Santa Maria de las Nieves, commonly known as Santa Maria la 
 Blanca, being finished in 1656, Don Justino Neve y Yevenes, prebendary of the 
 Cathedral, and a great friend of Murillo, employed the artist to paint for that church 
 four semicircular pictures, two for the nave, and two for the aisles. The first two 
 relate to the Dream of the Roman Senator and his Wife (Nos. 229, 230). That on 
 the wall of the nave on the Gospel side was the Conception with some priests at 
 half length at the Virgin's feet. On the Epistle side was Faith holding the 
 Eucharist, which several persons, also at half length, are adoring (231). To this 
 epoch also belong Una Do/o?vsa y un San Juan Evangelista in the chapel of the 
 sagrario (227c). Cean Bermudez, Carta, 62. The pictures by Murillo in this church 
 were mentioned in the life-time of the artist by Ortiz de Zuniga, Annales, p. 871, 
 Madrid, 1677, fol. Another work, not mentioned by Cean, is the Last Supper 
 (No. 194), at the end of the nave on the Gospel side. 
 
IMMACULATE CONCEPTION. 
 
 Cean Bermudez, in the Carta, p. 62, gives 1656 as the date of the completion 
 of the church of S. M. la Blanca. In the Diccionario, ii. 52, he says these pictures 
 were executed in 1665. Gonzalez de Leon (i. 102) says the church was finished 
 in 1659. 
 
 Engraved by Migneret, in Filhol, Muse'e Napoleon, xi. 43. 
 
 31. Immaculate Conception. Louvre, Paris, 541. The 
 Virgin, about twelve years of age, stands on a globe looking down to 
 the front; the tips of her fingers touch before her left shoulder ; on 
 the left are three cherubs, and three heads ; on the right, two cherubs 
 and five heads ; buildings are faintly seen below on the right. 
 .35X.26. 
 
 Purchased in 1855 from Jose de Mazarredo. In the catalogue of the Mazar- 
 redo sale, 1837, this picture is said to represent Murillo's daughter, who died at the 
 age of eight years (?). 
 
 Llanta, litho., 9.4X 7-5, inscribed La Soeur des Anges. A. Braun, photo. 
 
 32. Immaculate Conception. Earl of Northbrook, London. 
 The Virgin, standing in the hollow of a crescent, her head surrounded 
 by rays, looks down to her right ; the tips of her fingers touch before 
 her left shoulder ; beneath are ten cherubs with a long palm, flowers, 
 and a square mirror; six heads each side above. 75X57 inches. 
 
 Formerly in the Convent of Carmelitas Descalzos at Madrid. It was brought 
 from Spain by Lebrun, at whose sale, in 18 10, it was bid in, and afterward sent 
 to Mr. Harris, who sold it to Mr. Baring. Buchanan, Memoirs, ii. 255. It is men- 
 tioned by Cean Bermudez, Diccionario, ii. 63 ; also by Ponz, who describes it as 
 " La Concepcion sobre trono de nubes y angeles." Viage, v. 248. 
 
 M. S. Carmona, line, 19.7x14.1, Madrid, 1802. R. Graves, line, 20x15, 
 1864. Outline, reversed, in Lebrun, Recueil, plate, 134. 
 
 33. Immaculate Conception. William C. Cartwright, Esq., 
 Aynhoe, Northamptonshire. The Virgin, standing in the hollow of a 
 crescent with two horns, looks up front ; her right hand covers all but 
 the first two fingers of the left hand, which rests on the blue mantle 
 that partly covers her breast ; the mantle floats out on her right, but 
 falls close to her body on her left ; at her feet are five cherubs, one of 
 whom holds a palm in his left hand, and stretches his right hand 
 upwards ; two other cherubs hold roses and lilies ; four heads in each 
 corner above. 66X42 inches. 
 
 From John Blackwood. See No. 3. British Institution, 1839. 
 
132 
 
 MURILLO. 
 
 McArdell, mezzo., 20x14. "From the original belonging to John Black- 
 wood, Esq." Lafosse, litho., 28.5x20.4, one of the cherubs, and all the heads 
 omitted. Coombs, mezzo., 10x7.6, London, 1839, only half length, and all the 
 heads omitted. 
 
 34. Immaculate Conception. Mrs. William H. Aspinwall, 
 
 New-York. The Virgin, standing in the hollow of a crescent with 
 one horn, looks up to her left ; the right wrist covers the thumb and 
 tip of the forefinger of the left hand on her breast ; her mantle floats 
 out on her left in a heavy fold ; four cherubs, on each side beneath, 
 hold palm, lily, and olive branch; five heads each side above. 
 1. 98X1.35 centimetres. 
 
 Taken from the royal palace, Madrid, by Gen. Desolle, whose daughter sold it 
 to Mr. Woodburn, from whom the King of Holland purchased it for about 
 ^4,000. At his sale, August 12, 1850, it was bought in at 36,000 florins, besides 
 the government tax of seven and a half per cent., and afterwards sold in 1857, to 
 Mr. Aspinwall. Stirling, iii. 1418. 
 
 A wood engraving is in Harper's Weekly ', June 30, 1858. 
 
 35. Immaculate Conception. Lord Overstone, London. A 
 
 repetition of No. 34, arched top. 15X10X inches. 
 
 Purchased in 1844, from Sir J. M. Brackenbury. British Institution, 1835, 
 1844. Waagen, iv. 144. Jameson, Madonna, 50. 
 
 36. Immaculate Conception. A repetition of No. 34, but 
 smaller; some of the cherubs and heads are omitted. .46X.35. 
 
 Louis Philippe sale, 164 (149), .46X.35. From the Countess de la Torre, 
 ^270. 
 
 Bridoux, line, 18.3 X 13.9, 1845, the size of the original. Epreuves de remarque, 
 with a white lily in the cherub's hand. C. Clement, line, 5.4X4. Ch. Carey, 
 line, 6.9x5. W. Ridgeway, line, 6x4.6. C. Chamouin, litho., 13.5x10. 
 S. Tessier, litho., i8xi4-5> reversed. On Wood in Stirling, Annals, 1413; Liibke, 
 Denkmaler der Kunst. 
 
 Variations by A. Maurin, Dopter, Massard, Ducollet, Pincon, etc. 
 Llanta, litho., 19.4 X 15, the cherubs omitted, and a serpent and globe added beneath. 
 An etching after this lithograph is in Jameson's Madonna, first edition. In the later 
 editions it is replaced by an etching of No. 21. 
 
 37. Immaculate Conception. Mrs. George Perkins, Lon- 
 don. The Virgin stands on the round globe, looking front ; the tips 
 of her fingers touch before her waist ; above her head is a circle of 
 
IMMACULATE CONCEPTION. 
 
 133 
 
 stars ; her mantle crosses her body in front, and floats to her right ; at 
 her feet, on the right, three cherubs hold a scroll inscribed Non pro te 
 sed pro omnibus haec lex constitua est ; on the left, in the folds of her 
 mantle, are three heads. 98x71 inches. 
 
 Altamira sale, June 1, 1827, ^315. W. G. Coesvelt sale, June 13, 1840, 
 £27$. British Institution, 1863. Royal Academy, 1871. Praised by Passavant, 
 Tour of a German Artist, i. 186. 
 
 F. Joubert, outline in Coesvelt Gallery, London, 1835, 4to, plate No. 32. 
 
 38. Immaculate Conception. Marquis of Lansdowne, 
 
 London. The Virgin, standing in the hollow of a crescent with two 
 
 horns, looks down; her hands, on her left breast, are placed on the 
 
 mantle which descends on her right and falls over the crescent; ten 
 
 cherubs in all ; the two in the upper right corner have a scarf; none 
 
 have flowers. 54X46 inches. 
 
 M. M. Zachary sale, by Christie, May 30, 1838, £$2 10s. Jameson, Madonna, 
 50; Waagen, ii. 152. 
 
 39. Immaculate Conception. Earl of Caledon, London. 
 The Virgin, standing in the hollow of a crescent with two horns, looks 
 down ; the tips of her fingers touch before her left shoulder ; her man- 
 tle falls behind the crescent on the right ; three heads on the right, 
 six on the left above, and three near her left elbow ; ten cherubs at 
 her feet with mirror, roses, etc. Life-size. 78^X48 inches. 
 
 Purchased at the sale of Lady Harriet Daly, Dublin, between 1820 and 1827. 
 Exhibited at the British Institution, 1855. 
 
 40. Immaculate Conception. Robert Lewis Lloyd, Esq., 
 
 Beckenham, Kent. The Virgin, standing in the hollow of a crescent 
 with two horns, looks up front ; above, on her right, is a cherub hold- 
 ing lilies ; opposite is one holding roses ; beneath are seven cherubs, 
 one of whom bears palm and olive branches ; another bears on his 
 shoulder a square mirror ; many heads in the air above. Life-size. 
 
 Presented in the seventeenth century by D. Juan Palafox y Mendoza, Arch- 
 bishop of Mexico, to a Carmelite convent in that city. In 18 12 it was taken to 
 Spain by Archbishop Martinez, and after his death was sold to Archbishop Vazquez, 
 from whom, in 1853, it passed into the possession of Herr Dick of Offenbach. 
 Art Journal, 1855. It was sold at Christie's, June I, 1861, for £619. 
 
134 
 
 MURILLO. 
 
 41. Immaculate Conception. Messrs. Henry Graves and 
 Company, London. The Virgin, standing in the hollow of a crescent 
 with two horns, looks up ; the fingers of her right hand cover those 
 of her left, which are placed on the mantle on her breast ; she is sur- 
 rounded by about nine heads and thirteen cherubs holding palms, 
 mirror, etc. ; signed B. E. Micrillo fecit, 1681. Life-size. 
 
 Sent from Lima about 1850 to Messrs. Anthony Gibbs & Sons, accompanied 
 by documents showing that it was painted for an Archbishop of Lima, a monk, after 
 whose death it became the subject of a protracted and expensive lawsuit between 
 his monastery and the cathedral chapter. It was sold at Christie's, June 30, 1850, 
 for ^451 ioj-. The sale catalogue says it was painted for the Marques de Santa 
 Maria. Again, Wynn Ellis sale, July 15, 1876, ^430 10s. 
 
 42. Immaculate Conception. South Kensington Museum, 
 
 London. Size 35^X25 inches. 
 
 Sold in 1871 by Captain A. C. Tupper for ^350 to John Jones, Esq., who, 
 dying in 1882, bequeathed it with a large collection of Works of Art to the South 
 Kensington Museum. Exhibited at the British Institution, 1841, by Martin Tupper ; 
 at the Royal Academy, 1870, by Captain A. C. Tupper. 
 
 43. Immaculate Conception. George Vivian, Esq., Claver- 
 ton Manor, Somerset. Across the Virgin's bosom is a yellow scarf; at 
 her feet four cherubs bearing palms, lilies, and olive branches. On 
 copper, 11^x8 inches. 
 
 British Institution, 1828, 1838. Mentioned by Stirling, Annals, iii. 1419. 
 
 44. Immaculate Conception. Hermitage, St. Petersburg, 
 
 362. The Virgin, standing on the outside of a crescent with two 
 horns, looks up nearly front ; the tips of her fingers touch before her 
 left shoulder ; her mantle falls behind, passes around her right side, is 
 gathered in her left arm, and floats out to her left ; beneath her feet 
 are four heads ; on the right of these a cherub, and on the left four 
 other cherubs, three of whom hold flowers, palm, and olive ; in the 
 left upper corner are five heads ; opposite these are two cherubs with 
 a scarf, one of them holding up lilies. 2.36X1.96. 
 
 Brought from Spain to Venice by the Marques de Esquilache, Ambassador to 
 the Venetian Republic. It became the property of the Cardinal Gregorio, whose 
 mother presented it to Pope Pius VI. (Braschi). It was purchased from Duke 
 Braschi in 1842 for the Hermitage. 
 
IMMACULATE CONCEPTION. 
 
 135 
 
 "Accompanied Mr. Weston to the Braschi Palace to see the Antinous and the 
 Assumption of the Virgin by Murillo. It is not a first rate, though a true picture 
 * *. Signor Camuccini says it is a known picture and came from Sicily, but has 
 been touched upon." Sir D. Wilkie, in Cunningham, Life of Wilkie, ii. 248, 257. 
 
 Photographed by Rottger, St. Petersburg. 
 
 45. Mrs. Culling- Hanbury, Hertfordshire. A repetition of the 
 above, but the cherub in the lower right corner, and the heads in the 
 upper left corner are omitted, giving an oblique character to the com- 
 position. 91X80 inches. 
 
 Mentioned in The English Connoisseur (i. 14) as being in 1766 in the gallery of 
 Sir Sampson Gideon, afterwards Lord Eardley, at Belvedere, Kent. It passed by 
 inheritance to Lord Say and Sele, to Sir Culling Eardley, and to the present owner. 
 At Sir Culling Eardley sale, June 30, i860, it was bought in at ^9,000. Praised in 
 JEdes Walpoliance, p. 56. British Institution, 1845, 1862. Manchester, 1857. 
 Royal Academy, 1871. 
 
 Professor Knolle, line, 20x17-5, 1861. Epreuves de remarqne, with a white 
 point to the crescent. 
 
 46. Immaculate Conception. D. Manuel Lopez Cepero, 
 
 Seville. The Virgin stands on a globe, turned three-quarters to her 
 
 left, looking front ; her hands touch before her left shoulder ; beneath 
 
 her feet are five heads ; two cherubs on the left, and one on the right ; 
 
 four heads each side above. 8X5 feet. 
 
 From the gallery of Don Joaquin Saenz y Saenz at Seville. 
 Engraved on wood in Miranda, Glorias de Sevilla, facing p. 158. 
 
 47. Immaculate Conception. Museo del Prado, Madrid, 
 
 879 (275). The Virgin is seen at half length behind a crescent, look- 
 ing up to her right, with her hands crossed on the mantle which 
 covers her breast; above, each side, are three heads. .91X.70. 
 
 From the collection of Queen Isabel Farnese, in the Palace of San Ildefonso. 
 
 H. Garnier, mezzo., 17.4X13.3. J. M. Baussac, litho., 11.5X9. Thielly, 
 litho., 15.6x11.2. E. Mendel, chromo-litho., 34.5x24.5. Acevedo, chromo- 
 litho., in Museo Espafwl de Antiguedades, Tomo, vii. Madrid, 1877. 
 
 48. Immaculate Conception. W. F. B. Massey-Mainwar- 
 ing, Esq., London. The Virgin is seen at half length, her hands on 
 her breast, but not crossed ; six heads each side above ; the mantle 
 
136 
 
 MURILLO. 
 
 falls over the crescent, which cuts off the lower part of the figure. 
 41X31 inches. 
 
 Purchased in 1848 from the Commander of the French Artillery for ^146. 
 
 49. Immaculate Conception. The Virgin on a crescent, with 
 hands joined, surrounded by angels holding palms, olive branches, and 
 flowers. 1. 64X1.08. 
 
 Schneider sale, Paris, April 6, 1876. From Sebastiani and E. Gray of Arri- 
 guey House, Var, 22,000 francs. Some of the following notes may relate to this 
 picture : 
 
 Richard Sanderson sale, London, March 20, 1858. Assumption. At the 
 Virgin's feet is a group of four infant angels bearing palms and flowers ; her hands 
 clasped on her breast. From Sebastiani Collection. Brought from Spain by 
 Lebrun, and afterwards in E. Gray Collection, ^736, to Nieuwenhuys. Stirling, 
 iii. 1419. 
 
 Lebrun sale, January, 1813. Conception. The Virgin looks up, with joined 
 hands ; a glory of eleven cherubim above, four little angels beneath ; one holds a 
 palm, one an olive branch; a third has lilies and roses. 61X40 inches. 10,000 
 francs. Again, in the late J. B. P. Lebrun sale, May 23, 1814, 2,600 francs. 
 Gault de Saint Germain, Guide, 341. 
 
 Mr. Buchanan mentions a small Assumption in Mr. Gray's Collection, 
 brought from Spain by Lebrun, and purchased by Mr. Buchanan in Paris. Memoirs , 
 ii. 392. 
 
 Lord Ashburton had a Conception, the Virgin on a crescent, looking up, 
 with hands joined, and angels at her feet. 29 X 19 inches. Presented by the King (of 
 Spain ?) to General Sebastiani; formerly in the collection of Queen Elizabeth (Isabel 
 Farnese?). This canvas was destroyed by a fire at Bath House, January 31, 1873. 
 It is perhaps the one which Gen. Sebastiani sent for sale in 1814 or 1815 to Mr. 
 Buchanan. Memoirs, ii. 265. See also No. 50b. 
 
 50. Immaculate Conception. 2.07X1.24. 
 
 Louis Philippe sale, 1853, No. 163 (148). From a convent in Cordova. 
 ^810. Noticed by Head, Handbook, 177. Palomino (iii. 422) mentions a Concep- 
 tion in the convent of La Victoria in Cordova, but he doubts if it be by Murillo. 
 
 In W. Cave, of Bristol, sale, June 29, 1854, was an Assumption, the hands 
 clasped on the breast, a choir of infant angels beneath ; one of the chief attractions 
 of the Louis Philippe Gallery. ^745 \os. 
 
 50a. Convent of San Francisco. It was in very bad condition when I 
 
 " The first public work with which I am published the life of Murillo in the Dic- 
 
 acquainted at Seville, painted in his cionario, and it then appeared to be in 
 
 second manner, is a Conception with a his earliest manner, but having been put 
 
 religioso at her feet writing upon this in order, it is a different thing. In the 
 
 mystery, placed in an angle of the great archives of the brotherhood of Vera Cruz, 
 
 cloister of the Convent of San Francisco, for whom it was painted, is preserved an 
 
IMMACULATE CONCEPTION. 1 37 
 
 order for 2,500 reals, given in 1652 in 
 favor of Bartolome, with the receipt of 
 Don Josef Veitia Linage, who was 
 authorized to receive the money." Cean, 
 Carta 57, and Die. 49, 59. Ponz, ix. 99. 
 
 On the same wall with the Death of 
 Sta. Clara in the small cloister of the Con- 
 vent of San Francisco was " a small canvas 
 representing the Conception ; companion 
 to another which is over the gate lead- 
 ing to the principal staircase, with the 
 emblems of the Franciscan religion, but 
 both are of inferior merit." Cean, Carta 
 51. See also post No. 268. 
 
 50b. Carthusian Monastery at 
 Granada. A small Conception, in the 
 Prior's cell is mentioned by Palomino, 
 iii. 422, and by Cean Bermudez, Die. ii. 
 63. As Granada was the scene of Sebas- 
 tiani's exploits, perhaps this picture 
 may be mentioned at No. 49. 
 
 50c. Convent of S. Geronimo de 
 Buena Vista, Seville. A beautiful 
 small Conception. Mentioned by Cean 
 Bermudez, Die. ii. 62 ; by Ponz, ix. 146, 
 and by Arana de Varflora, i. 46. 
 
 5od. Capuchin Church of Sta. 
 Justa and Sta. Rufina, Seville. A Con- 
 ception. Arana de Varflora, i. 54. 
 
 50c Jose Larrazabal, Seville. Im- 
 maculate Conception, surrounded by a 
 choir of cherubs. Tubino, 183. 
 
 5of. Jorge Diez Martinez, Calle de 
 S. Isidoro, Seville. Conception, full 
 length, life-size, with cherubs and heads. 
 From A. Bravo. G. de Leon, ii. 160. 
 Tubino, 185, 6. Sevilla Pinto. 414, 486. 
 
 5og. Julian Williams, Seville. 
 Conception, small. Stirling, iii. 1419. 
 Tubino, 182. 
 
 5oh. Immaculate Conception. The 
 Virgin, standing on a crescent with one 
 horn turned down, looks up to her right ; 
 her right wrist covers the tips of the fin- 
 gers of her left hand on her breast ; eight 
 cherubs and five heads beneath ; five 
 heads each side above. 
 18 
 
 G. Patterson, line, 9x5.8, in S. C. 
 Hall, Gems of A rt. J. C. Armytage, line, 
 in Scott, Murillo. The following litho- 
 graphs are variations of the above : 
 Weber, 10.2x7.8. Weber, 13.7x10.2. 
 M. Lavigne, Maggi, Ricaud, Turgis. 
 A. Maurin, bust. Lafosse, half length. 
 Bequet, Schiller, Llanta, with a 
 globe and a serpent beneath. 
 
 The original picture from which the 
 above engravings are made is un- 
 known. Sir W. Stirling-Maxwell ( Cat- 
 alogue, 62) and W. B. Scott ( Murillo, 
 101) are mistaken in saying it is in the 
 Dulwich Gallery. See No. 50U. The 
 engraving by Patterson is inscribed 
 " The original in the Gallery of the 
 Louvre." Query: Can it be No. 50? 
 
 5oi. The Virgin, standing in the hol- 
 low of a crescent with two horns, looks 
 up to her right ; her head is surrounded 
 by a circle of stars ; her hands are 
 crossed on her breast ; on her right are 
 three cherubs and four heads, and on 
 her left three cherubs and three heads, 
 none of them with flowers. 
 
 Fran'co de Paula Marti, line, 13.3 
 X9.8, 1794. From the original of the 
 same size belonging to D. Juan Vilar 
 Diamantista, Madrid. 
 
 50k. The Virgin stands on a globe, 
 looking down ; her head is surrounded 
 by rays ; the palms of her hands touch 
 before her left breast; four heads be- 
 neath her feet, and four in each corner 
 above ; on the left are two cherubs with 
 a round mirror and a lily ; opposite are 
 two others with flowers. 
 
 The picture is unknown. The engrav- 
 ing strongly recalls the manner of 
 Alonzo Cano, and it may be after a 
 painting by that artist in Stafford House. 
 
 E. Lingee, outline, 13X8, inscribed 
 MORILLOS I. 
 
 50I. Lieut. -Gen. Thornton exhibi- 
 tion at the British Institution, 1840. " The 
 Virgin of the Crescent." Around her 
 
138 
 
 M U R I L L O . 
 
 head is a circle of stars; beneath the 
 crescent a section of the globe, with a 
 serpent biting an apple. Spurious. 
 
 C. Turner, mezzo., 10.8 x 8. 
 
 50m. The Virgin standing in a cres- 
 cent ; a coiled snake beneath. Spurious. 
 
 P. Wulleman, mezzo., 22 X 14. Pub- 
 lished by Dusacq, whose catalogue 
 untruly asserts that the original is in the 
 Musee d'Anvers. 
 
 5on. J. Osmaston, Esq. The Vir- 
 gin stands on a crescent, her hands clasped 
 on her breast ; above her head are stars 
 in the form of a crescent with the points 
 turned up ; four cherubs beneath. 84 X 54 
 inches. 
 
 Exhibited at the Royal Academy, Lon- 
 don, 1879. 
 
 This may be the picture offered 
 but not sold in Mme. B. sale, Paris, 
 April 16, 1877, of which an etching by 
 Damman is in the sale catalogue. See 
 Gazette B. Arts, April, 1877. Mr. 
 Brooks, now of Bedford Square, formerly 
 had a picture of this subject which is 
 said to have been presented by Philip 
 V. to D. Feliciano Mateos, whose 
 descendant, Count Castilleja, gave it to 
 D. Jose Guel y Rente. See Illust. Lon- 
 don News, March 13, 1875, p. 255. 
 
 5op. Sir J. M. Brackenbury exhib- 
 ited, at the British Institution, in 1835, 
 the Virgin, and the Virgin of the Con- 
 ception ; in 1836, the Virgin of the 
 Assumption ; in 1837, the Virgin of the 
 crescent; in 1844, the Immaculate Con- 
 ception. Of these the only one sold at 
 his sale in 1848 was the Virgin of the 
 Assumption ascending into heaven, borne 
 by angels, two of whom are in the act of 
 adoration. ^892 10s. (to Marquis of 
 Hertford?). 
 
 5oq. Duke of Newcastle, Clumber 
 Park, Notts. The Virgin on a crescent, 
 surrounded by seven angels ; a large 
 landscape beneath. Doubted by Waagen, 
 iv. 511. 
 
 5or. Rev. J. G. Beresford. Immac- 
 ulate Conception. Exhibited at Leeds, 
 1868. It has been sold recently; present 
 owner unknown. 
 
 50s. D. Jose 1 de Madrazo, Catalogo 
 No. 379. Immaculate Conception. The 
 Virgin turned slightly to her left, and 
 looking up. Bust, without hands. .44 
 X-34- 
 
 Vicente Palmaroli, litho., 10.5 x 
 8.3. 
 
 50t. Due d'Alberg. The Virgin 
 stands in the hollow of a crescent with 
 two horns ; around her head is a circle 
 of stars, and beneath her feet a serpent. 
 Described from an outline engraving, 
 4.3X2.9, in the Royal Library at Wind- 
 sor Castle, the inscription on which 
 asserts that the original belonged to the 
 Due d'Alberg. There were no Spanish 
 pictures in the Due d'Alberg sale by 
 Christie, June 13, 181 7. 
 
 50U. Dulwich Gallery, 341. Im- 
 maculate Conception. The Virgin stands 
 on clouds with her hands crossed on her 
 breast, and her eyes downcast ; thirteen 
 cherubs and heads in all; one cherub 
 has a palm, another holds up the Virgin's 
 robe. 14KXI1K inches. Formerly 
 ascribed to Murillo, but in the catalogue 
 of 1880 it is classed as " After Murillo." 
 No such original is known. 
 
 50V. Graf Orloff Davidoff, St. Peters- 
 burg, Russia. Immaculate Conception, 
 life-size, first manner. Also another of 
 the same subject. Waagen, Gemalde- 
 sammlung . . St. Petersburg, p. 428. 
 
 50W. Emanuel Narischkine, St. 
 Petersburg. Immaculate Conception, 
 Doubted by Waagen, lb., 402. 
 
 There have been the following sales, all 
 at Paris : M. Narischkine, Objects of Art, 
 May 20, 21, 1867. Ch. Mannheim, ex- 
 pert; M. B. Narischkine, Ancient and 
 Modern Pictures, May 4, 1868. F. Petit, 
 expert ; S. E. M. E. Demetry Narisch- 
 kine, Ancient Pictures of the Italian, 
 
IMMACULATE 
 
 CONCEPTION. 
 
 139 
 
 Dutch, Flemish, Spanish, and French 
 schools, May 24, 25, 1872. A. Mannheim, 
 expert. 
 
 50X. M. Bryan sale, May 17, 1798, 
 second day, No. 2. The Virgin in the 
 Clouds. £4 4s. Buchanan, Memoirs, i. 280, 
 
 5oy. Bonnemaison sale, Paris, 1827. 
 The Virgin, standing on a crescent with 
 a crown of stars around her head, sur- 
 rounded by angels holding branches of 
 palm and olive ; a sketch. Called The 
 Assumption. 27x18 inches. 
 
 50Z. Chevalier Erard sale, Paris, 
 April 23, etc., 1832. Conception. The 
 Virgin stands on a crescent around which 
 are sporting five angels holding roses, 
 lilies, and a palm ; other angels in the 
 clouds. 77X44 inches. 10,000 francs. 
 
 This collection was formed by M. Qua- 
 tre-Sols Delahante, son-in-law of the 
 Chevalier Erard, and formerly commis- 
 saire-expert for the Royal Museums of 
 France. The sale produced 736,633 f. 
 
 5oaa. Aguado sale, 1843, No. 56. 
 Conception. The Virgin standing on 
 clouds, with her hands crossed on her 
 breast, her eyes raised, her head sur- 
 rounded by a starry aureola. 1.05 X. 86. 
 2,000 francs. 
 
 5obb. Aguado sale, No. 38. The 
 Virgin, standing on a crescent, with 
 joined hands, looking up; sixteen cherubs 
 and heads, some bearing flowers. 1.63 
 X 3c (sic ). 1 1 50 francs. 
 
 50CC. Due de Morny sale, May 31, 
 1865. The Virgin, standing on a cres- 
 cent, looking up, with her hands crossed 
 on her breast, surrounded by a glory of 
 angels. .30X.23. On copper. 
 
 5odd. Salamanca sale, 1867, No. 19. 
 Immaculate Conception. The Virgin 
 stands with hands crossed on her breast, 
 eyes raised; her thick blonde hair falls in 
 long tresses on her shoulders over her 
 ample white robe ; a long blue drapery 
 falls behind in large folds ; three angels 
 beneath, and three cherubs in the clouds 
 on the left. .86X.66. Painted in oil 
 on glass. 9,700 francs. 
 
 5oee. Lopez Cepero sale, 1868, No. 
 20. Immaculate Conception. The Vir- 
 gin on clouds, with her eyes raised and 
 hands joined; angels in the air, two of 
 whom bear a scroll inscribed Honora 
 pairem et matrem tuum vitis longce. .66 
 X.55. 3,120 francs. 
 
 5off. Marquis du Blaisel sale, Lon- 
 don, May 17, 1872. The Virgin, with 
 floating hair, eyes raised, and hands 
 joined, stands on a crescent, surrounded 
 by a halo, and supported by three angels ; 
 in the foreground are two other angels, 
 one holding roses, another a palm and 
 lilies. . 45 X. 3 1 cm. ^1515^ 
 
 50gg. R. Napier sale, April 13, 1877. 
 Immaculate Conception. ^"79. 
 
 5ohh. Colonel Hugh Baillie. Im- 
 maculate Conception. Bust, life-size. 
 Stirling, iii. 1,419. 
 
 In Hugh Baillie sale, by Christie, May 
 15, 1858, was a picture of the Virgin in 
 white dress and blue and yellow drapery, 
 with her hands crossed on her breast, 
 and her eyes raised in adoration. £16 
 $s. 6d. 
 
 Note. — For other pictures of this sub- 
 ject see under the head of The Assump- 
 tion, No. 54a, etc. 
 
 51. Assumption of the Virgin. Earl of Northbrook, Lon- 
 don. The Virgin is upborne on clouds ; the twelve Apostles and two 
 Marys surround the open tomb. Octagon. 13X13 inches. 
 
 Mentioned by Stirling, iii. 1419. Waagen, ii. 181. British Institution, 1840. 
 
140 
 
 MURILLO. 
 
 52. Assumption of the Virgin. Alfred Fletcher, Esq., 
 Allerton Hall, Liverpool. The dark-haired Virgin soars upward in 
 lively action, looking up to her right, with her left hand raised ; six 
 cherubs at her feet, and many heads above ; seven Apostles surround 
 the sarcophagus, which contains a white rose. 96X64 inches. 
 
 Mr. Fletcher informs the writer that this picture was formerly in the Capuchin 
 Convent at Genoa, and that it was purchased by his uncle, through Mr. Buchanan, 
 from the executors of Walsh Porter. See No. 13. 
 
 In Walsh Porter sale, by Christie, April 14, 18 10, the Assumption of the 
 Virgin surrounded by infant angels, sold for ,£730, probably bought in. A picture 
 similarly described was sold in a sale by Mr. Hermon, April 13, 1813, for £388 10s. 
 
 53. Assumption of the Virgin. Sir Richard Wallace, 
 
 Bart., London. The Virgin, seated on clouds, surrounded by 
 
 about fifteen cherubs, looks up ; the palms of her hands touch 
 
 before her left shoulder ; beneath is the sarcophagus, and behind it 
 
 the three Marys kneeling ; five Apostles on the left, and seven on the 
 
 right. About 30X24 inches. 
 
 From Stowe. Is it "The Conception with Infant Angels" Stowe sale, 
 1848, 23d day, No. 390, ^58 16s., to Mawson for the Marquis of Hertford? See 
 No. 1 66k. 
 
 54. Assumption of the Virgin. Hermitage, St. Petersburg, 
 
 371. The Virgin stands on clouds, looking up to her right ; her right 
 hand is outstretched, a girdle is tied around her waist; ten heads 
 above, and thirteen cherubs below, none of whom have flowers. 1.97 
 xi.45. 
 
 From Houghton Gallery. Appraised by Benjamin West and G. B. Cipriani, 
 when Lord Orford's pictures were sold to the Empress of Russia, at ^"700. 
 
 Val. Green, mezzo., 18.3X14,1776, in Houghton Gallery. Huot, litho., 
 13.4X10.3, in Gal. Imp. de VErmitage. Rottger, photo. 
 
 54a. Joseph T. Mills, Esq., Rug- breast, is borne upward by six cherubs ; 
 
 by, Warwickshire. Assumption. The rays of silver light surround her head. 
 
 Virgin stands on clouds, surrounded by Life-size. Waagen, iv. 328. 
 twenty-three heads, her hands crossed 54c. Formerly Richard Foster, 
 
 on her breast, looking up. &i}4X47/4 Esq. Assumption. The Virgin, with 
 
 inches. eyes upturned and folded hands, is borne 
 
 54b. Sir Thomas Sebright, Herts, up, accompanied by nine cherubs ; above, 
 
 Assumption. The Virgin, looking up to on each side, are three cherubs; below 
 
 the left with her hands folded on her is the tomb, twelve apostles, and two 
 
ASSUMPTION. 
 
 I 4 I 
 
 holy women. Waagen, iv. 287. Sold 
 several years ago. Present owner 
 unknown. 
 
 54d. Due de Padoue, Chateau de 
 Courson, Seine et Oise. Assumption. 
 Signed. 2.00x1.40. 
 
 54c Count Montrichard. Assump- 
 tion. Exhibited at Wrexham, 1876. 
 
 54f. Eyre Coote, Esq. Assumption. 
 British Institution, 1856. 
 
 54g. T. Hamlet. Assumption. Brit- 
 ish Institution, 1819. Collection sold 
 1834. 
 
 54I1. Bryan sale, May 17, 1798, first 
 day, No. 33. " Assumption. A fine 
 sketch for the celebrated picture in the 
 cathedral at Seville." ^63. Buchanan, 
 Memoirs, i. 277. 
 
 54L Bryan sale, third day, No, 48. 
 Assumption, with cherubs. ^70 7-r. 
 Praised by Buchanan. Ib. i. 293. 
 
 54k. Bryan sale, third day, No. 44. 
 Assumption. A cabinet picture. Finest 
 manner. ^50 8s. Ib. i. 292. 
 
 54I. Earl of Bessborough sale, 
 1801. Assumption. ^81 i8j-. 
 
 54m. Sale, June ii, 1808. Assump- 
 tion, with the angels in the clouds. A 
 cabinet picture. ^200. 
 
 54n. Sale, London, June 16, 1810, of 
 eight pictures by Murillo, from the con- 
 vent of La Trinidad, at Seville. 
 
 The Assuniption. The Trinity hold- 
 ing a crown over the head of the kneel- 
 ing Virgin ; children in the clouds be- 
 neath. ^140. 
 
 Birth of the Virgin. ^240. 
 
 Marriage of the Virgin. Three infants 
 hold up the Virgin's train. ^550. 
 
 Annunciation. The angel on one 
 knee points up to the Dove. ^380. (68f). 
 
 Descent from the Cross. The Virgin 
 supports the body of Christ ; two infant 
 angels, one of whom having removed the 
 crown of thorns from the head of the 
 Saviour, directs attention to the body of 
 the Lord. £110. (22 7f.) 
 
 Death of the Virgin. Surrounded by 
 St. Joseph and the twelve Apostles ; her 
 eyes raised to the Saviour, who appears 
 above. ^850. (No. 77c.) 
 
 Triunfo de la Religion Mercenaria. The 
 Virgin, holding the Child in her lap, pre- 
 sents scapularies to a kneeling friar and 
 to a royal personage in the habit of the 
 order, with a crown and a sceptre at his 
 feet; one of the infants in the clouds 
 bears a sceptre. 
 
 The Virgin assisting at Matins in the 
 Convent of Ciervofrio, attended by St. 
 Felix de Valois, and numerous female 
 saints ; a choir of angels in front. ^55. 
 
 [" In the cloister of Trinitarios Des- 
 calzos are pictures by Simon Gutierrez 
 and Esteban Marquez, disciples of 
 Murillo. The Christ Dead,a.nd the Mar- 
 riage of the Virgin are considered to be 
 by the Mulato [Gomez]. Nnestra Senora 
 con los Redentores d los pies is very beau- 
 tiful. Some of these paintings are 
 known to have been retouched by 
 Murillo." Ponz, ix. 105. Arana de 
 Varflora, i. 53.] 
 
 54p. Sale, April 15, 1813, of cabinet 
 pictures from the palace of Buen 
 Retiro, taken by the French, and inter- 
 cepted near Vittoria by the famous guer- 
 illa chief. Assumption of the Virgin; 
 on copper ; the two women are portraits 
 of the artist's wife and daughter. ^63. 
 
 54q. Marquis of Bute sale, 1822. 
 Assumption, on marble ; small. £20. 
 
 54r. Sale, London, 1833. Assump- 
 tion. ^472 iar. Also another, ^283 
 \os. 
 
 54s. Baron Mathieu de Faviers 
 
 sale, April 8, 1837. Assumption. The 
 Virgin on clouds, surrounded by angels ; 
 octagon on copper. 26x20 inches. 
 8,300 francs. Bought in, and afterwards 
 sold in London for 60,000 francs. Blanc, 
 Tre'sor, ii. 429. 
 
 54t. Steyaert de Bruges sale, Paris, 
 March 14, 1843. Assumption. The 
 
142 
 
 MURILLO. 
 
 Virgin surrounded by angels, her feet on 
 a globe, four choirs of angels in the cor- 
 ners. 8iX59 inches. Withdrawn at 
 2,000 francs. 
 
 5411. Gen. John Meade sale, at 
 at Christie's, June 26, 1847. Assumption, 
 with angels. ^35 14s. 6d. 
 
 54V. Louis Philippe sale, 1853, No. 
 245 (160). " Queen of the Angels," from 
 a convent in Carmona. .86X.81. ^35, 
 to Drax. 
 
 54W. Earl of Suffolk sale, June 16, 
 1855. Assumption, with the Apostles 
 beneath in adoration. From Troward 
 collection. ^252. A sketch. Waagen, 
 iii. 170. British Institution, 1853. 
 
 54X. R. P. Nichols sale, April 30, 
 1874. Assumption, known as St. Ger- 
 maine's picture ; formerly belonged to 
 Mr. Napier of Glasgow. 61 X41 inches. 
 Not sold. Waagen (iv. 240) calls it a 
 Conception. 
 
 54y. Wynn Ellis sale, 1876, No. 34. 
 Assumption. £29 Ss. 
 
 54Z. Wynn Ellis sale, 1876. Cor- 
 onation of the Virgin. A large upright 
 picture with a glory of cherubs and heads 
 above. A study. Exhibited at Leeds, 
 1868. £52 10s. 
 
 54aa. Earl of Suffolk sale, 1855. 
 Coronation of the Virgin. £126. Waag- 
 en, iii. 170. 
 
 55. Birth of the Virgin. Louvre, 540. In the centre of a 
 chamber, grouped around a copper vessel in which they prepare to 
 bathe the new-born babe, are two angels and four female attendants, 
 one of whom holds the infant while another brings linen ; to the left 
 of these are two cherubs standing beside a basket of linen, one of 
 them playing with a dog ; on the extreme left St. Anne sits in bed 
 under a red canopy, receiving the visit of St. Joachim and others, who 
 are seen in half light ; on the right two women are drying linen at a 
 fireplace; above are four cherubs in a glory. Second manner. 
 1.84X3.60. 
 
 Painted in 1655, for the Cathedral of Seville. " It is one of the most graceful of 
 Murillo's paintings, and displays all the softness and delicacy of his second manner. 
 The bare left arm of a woman in front excited the jealousy of the Sevillian women by 
 its roundness, beauty of shape, and rosy complexion." Cean, Carta 59. 
 
 On the arrival of Soult at Seville this painting and the Flight (?) were con- 
 cealed by the Chapter, but a traitor informed the Marshal, who sent to beg them as a 
 present, hinting that if refused he would take them by force. (Toreno, xx.). The 
 worthy Marshal, one day showing Col. Gurwood his collection at Paris, stopped 
 opposite a Murillo and said, " I very much value that specimen, as it saved the lives 
 of two estimable persons." An aide-de-camp whispered, " He threatened to have 
 both shot on the spot unless they gave up the picture." ¥ox& y Handbook, 180. The 
 anecdote probably refers to this canvas. 
 
 This is one of the eight pictures which Mr. Buchanan endeavored to sell in 
 England in 1823. See ante No. 1. It was offered in the Soult sale, 1852, and 
 bid in at 90,000 francs. After the Marshal's death, in order to liquidate his accounts 
 with the state, the following works were tranferred to the Government at the prices 
 
MARRIAGE OF THE VIRGIN. 
 
 143 
 
 named: Birth of the Virgin, 150,000 francs; St. Diego (No. 269), 80,000 francs; 
 St. Peter Nolasco, and St. Raymond of Penaforte by Zurbaran, 25,000 francs 
 (bid in at the Soult sale at 19,500 francs) ; Obsequies of a Bishop, also by Zur- 
 baran, 25,000 francs (bid in at 5,000 francs); St. Basil, by Herrera the elder, 20,000 
 francs (bid in at 1,200 f. ). The paintings by Mui-illo were in bad condition, or had 
 been badly restored. The repaints have since been removed. V Illustration, May 
 31, 1852. 
 
 A. Martinet, line, 1 1.3x20.3, at Chalcographie du Louvre, 1863. A. Masson, 
 stipple mezzo., 10.4X19.5, 1859. L. Massard, line, 8.8x15.2. Damman, etch., 
 1879. Outline in Reveil Musce. On wood, in Gaz. B. Arts, February, 1875, and 
 in A. Von Wurzbach, Die Klassiker der Malerei, Stuttgart, 1878. 
 
 56. Education of the Virgin. Museo del Prado, 872. 
 
 St. Anne, seated on a bench with an open book in her lap, teaches 
 the Virgin, who stands on her left heavily draped; two cherubs in 
 the air are about to crown the Child with a wreath of flowers ; on the 
 left is a marble column and a basket of linen ; in the background a 
 balustrade. 2.19X1.65. 
 
 Painted about 1674. Isabel Farnese collection. The figures are thought to 
 be portraits of the wife and daughter of the artist. 
 
 F. Decraene, litho., in Col. Lito. H. Eichens, litho., 20.5x15.7, 1843. 
 Prat, litho., 11.5x8.2, reversed. Jacott, litho., 15. 6x 11. 6. Jendelle; Vogt; 
 L. Maurin, three-quarter length. On wood in Gaz. B. Arts, April, 1875. 
 
 57. Education of the Virgin. Museo del Prado, 873. A 
 first thought for the above with differences. St. Anne embraces the 
 Virgin j the positions, the arrangement, and the color of the garments 
 are somewhat changed ; the cherubs hold no crown. .47X.25. 
 
 Photographed by A. Braun, Paris, No. 873. 
 
 58. Education of the Virgin. Edward A. Leatham, Esq., 
 London. A small finished sketch of No. 56. 
 
 Purchased at the Bishop of Ely sale, April 14, 1864. £j8. 
 
 58a. Count Rossi sale, London, July had two pictures of St. Anne teaching 
 
 10, 1858. St. Anne teaching the Virgin, the Virgin. In one of them the Dove 
 
 with a glory of angels ; an easel picture ; is seen above, surrounded by six cherubs, 
 
 from Count Wolkonski. ^"105. Mentioned in Sevilla Pinto. 411-414. 
 
 58b. Don A. Bravo, Seville, formerly Tubino, 190. 
 
 59. Marriage of the Virgin. Sir Richard Wallace, Bart., 
 
 London. The Virgin and St. Joseph, holding each other by the hand 
 
144 
 
 MURILLO. 
 
 and accompanied by five male and three female attendants, stand in 
 
 the centre before the High Priest ; the Dove is seen in a glory above; 
 
 architecture and a crimson curtain in the background. 29X22 inches. 
 
 A small picture of this subject, formerly in the Royal Palace at Madrid, is men- 
 tioned by Ponz, vi. 34, and by Cean Bermudez, Die. ii. 63. It is praised by Raphael 
 Mengs as displaying the sweetness that characterizes the second manner of the 
 master. Ponz, vi. 226. That picture is now lost, unless it be the one above 
 described. 
 
 60. Marriage of the Virgin. Earl of Listowell, London. 
 
 The Virgin and St. Joseph are accompanied by several spectators ; 
 angels in the air above. Full length, life-size. 
 
 An early work. Waagen, ii. 311. Manchester Exhibition, 1857. G. B. Caval- 
 caselle attributes it to Tobar. 
 
 61. Annunciation. Seville Museum, 96. The Virgin on the 
 
 left, and nearly in profile, kneels before a desk on which are her hands 
 
 and an open book ; she looks up to the angel who kneels on clouds, 
 
 holding lilies in his left hand, and pointing with his right to the Dove ; 
 
 four cherubs and six heads above ; a basket of linen in the centre 
 
 foreground; arched top. 3.20X2.18. 
 
 One of the altar-pieces painted for the Capuchin Church. See ante No. 18. 
 Photographed by J. Laurent, Madrid, No. 1081. 
 
 62. Annunciation. Philip W. S. Miles, Esq., King's Weston, 
 Gloucestershire. A repetition of the above. 52X40 inches. 
 
 This picture, with its companion, a Pieta, No. 226, were brought to England 
 by Mr. Vaughan of Bristol, who purchased them from the family for whom they 
 were painted. They afterwards belonged to Sir Philip Miles, father of the present 
 owner. 
 
 Engraved in the Miles Gallery by J. Young, London, 1822, 4to. 
 
 63. Annunciation. Hospital of La Caridad, Seville. The 
 Virgin on our left, with her hands on her breast, kneels front beside a 
 desk on which is a book ; she looks down to her left ; on the right 
 the angel in red robes kneels on his right knee, pointing with his right 
 hand to the Dove ; his left hand, holding lilies, rests on his left knee ; 
 on the floor before the desk is a basket containing linen and scissors ; 
 
ANNUNCIATION. 
 
 H5 
 
 above the Virgin are three cherubs' and two heads ; above the angel, 
 two cherubs and three heads. 66X50 inches. 
 
 Painted about 1674 for the Hospital of the Caridad. See No. 1. 
 
 64. Annunciation. Amsterdam Museum, 215. A repetition 
 
 of the picture No. 63, but somewhat smaller. .96X.99. 
 
 Purchased in 1809. Formerly attributed to Rubens and ascribed to him in 
 Smith, Catalogue Raisonne, ii. No. 385. 
 
 Photographed by A. Braun & Co., Paris. 
 
 65. Annunciation. Museo del Prado, 856. The Virgin 
 kneels beside a desk on the right, facing front, and looking down, with 
 her hands crossed on her breast ; the angel on the left kneeling on the 
 floor on his left knee, points to the Dove with his right hand, holding 
 lilies in his left ; between them is seen a basket of linen and a chair ; 
 two cherubs and seven heads above; a column on each side. 
 Second manner. 1.85X2.25. 
 
 Formerly in the Academy of San Fernando. A picture about the size of this, 
 called La Encarnacion, was bought by Carlos III. from the Quely Collection. 
 Auguste Guglielmi, litho., in Col. Lito. J. Laurent, photo., No. 5. 
 
 66. Annunciation. Museo del Prado, 867. The Virgin kneels 
 on the right, facing front, and looking down, with her hands crossed 
 on her breast ; her left arm rests on a desk on which is a book and a 
 vase of lilies ; on the left the angel, kneeling on his right knee on the 
 marble pavement, extends towards the Virgin his right hand, which 
 does not hold lilies ; his left points to the Dove ; about fourteen 
 cherubs and three heads above ; in front of the desk is a basket of 
 linen. 1.25X1.03. 
 
 Purchased by Philip V. in Seville in 1729. Isabel Farnese collection. 
 Marin Lavigne, litho., 20.3 X 15.5. F. Decraene, litho., in Col. Lito. 
 
 67. Annunciation. Hermitage, St. Petersburg, 361. A rep- 
 etition of the above. 1.38X1.11. 
 
 Purchased from Mr. Coesvelt at Amsterdam in 181 4. 
 
 Huot, litho., in Gal. Imp. de PErmitage. Photographed by Rottger. 
 
 68. Annunciation. Sir Richard Wallace, Bart., London. 
 The Virgin on the left kneels three-quarters right, looking down ; her 
 
 J 9 
 
146 
 
 MURILLO 
 
 hands are crossed on her breast ; her left arm rests on a desk whereon 
 is an open book : on the right the angel, kneeling on clouds, holds 
 lilies in his left hand, and points to the Dove with his right; five 
 cherubs above. 1.78x1.29 cm. 
 
 Brought from Spain by M. Rayneval, formerly French Ambassador to Mad- 
 rid, and sold at his sale, April 16, 1838, for 15,000 francs. Aguado sale, 1843, 
 27,000 francs to the Marquis of Hertford. 
 
 A. Lefevre, line, in Gal. Aguado. J. Rogers, line, 7x5.3. W. Hulland 
 line, varied. Andre, litho., 15.5 X 12. Lafosse, litho., 20.5 X 15.5. Blummer, 
 litho., 14X9.5. Caldesi, photo., in Manchester Art Treasures. 
 
 68a. M. Sedelmeyer, Paris. An- 
 nunciation. The Virgin, kneeling with 
 her hands crossed on her breast, rests 
 her right arm on a desk ; on the left the 
 angel, holding lilies, stands on clouds 
 pointing up ; no Dove or cherubs. .45 X 
 •37- 
 
 E. Boilvin, etch., in the catalogue of 
 the Sedelmeyer sale, Vienna, December 
 20, 1872, where the picture was offered, 
 but not sold. 
 
 68b. D. Joaquin Saenz y Saenz. 
 Annunciation. Less than life-size. "Sim- 
 ilar to one of those in the Museo del 
 Prado. " Formerly belonged to A. Bravo. 
 Tubino, 183. Sevilla Pinto, 412. 
 
 68c. Wynn Ellis. Annunciation. 
 Half length. Waagen, ii. 295. 
 
 68d. John Webb sale, 1821. The 
 Announcing Angel. £60 lSs. 
 
 68e. Louis Philippe sale, 1853, No. 
 162. The Annunciation. From a con- 
 vent in Madrid. .35X.47. ^38, to 
 Drax. Praised in Kunstblatt, 1838, p. 
 382. Noticed in Head, Handbook, 177. 
 
 68f. Charles Scarisbrick sale, by 
 Christie, May 10, 1861. Annunciation. 
 The Virgin in crimson and blue drapery, 
 her hands clasped on her breast, the 
 angel kneeling and pointing to a glory of 
 angels above ; the Dove in the centre. 
 A grand altar-piece from the convent of 
 La Trinidad. £222. See No. 54m 
 
 68g. Sale, June 17, 1864, at Chris- 
 tie's. Annunciation. From Lady Beres- 
 ford's Collection. ^89. 
 
 69. Mater Dolorosa. Museo del Prado, 896. The Virgin 
 wears a red dress, and a white scarf which covers her head and is 
 wound about her neck ; over the scarf is a black mantle ; her head is 
 turned to her right, and inclined forward. Bust, without hands. 
 .52X.41. 
 
 Companion to an Ecce Homo, No. 202. From Isabel Farnese collection. 
 Photographed by J. Laurent, Madrid, No. 24. 
 
 70. Mater Dolorosa. Duque de Villahermosa, Madrid. 
 A repetition of the above picture, about the same size. 
 
 Companion to an Ecce Homo, No. 207. 
 
MATER DOLOROSA. 
 
 147 
 
 71. Mater Dolorosa. Mrs. William Gibbs, Tyntesfield, 
 
 Somerset. The Virgin is turned three-quarters to her right ; her head 
 
 is inclined in the same direction, and is covered by a black mantle, 
 
 beneath which is a white scarf, the end of which falls over her left 
 
 arm ; her right hand holds the scarf, and partly covers the fingers of 
 
 the left hand, which is flat on her breast. Bust. 25X21 inches. 
 
 Bought in 1853 by Mr. Gibbs from D. Francisco Balmaseda, Seville. British 
 Institution, 1856. 
 
 G. Weinhold, litho., 11.9x10, Berlin. G. Barry, litho., 21.2x18, oval, 
 1864. (Goupil). 
 
 72. Mater Dolorosa. William C. Cartwright, Esq., Ayn- 
 hoe. The Virgin is seen front, looking up ; a white scarf covers her 
 head and neck ; over this is a black mantle ; her hands are crossed on 
 her breast, the left holding the scarf; the red sleeves of her robe are 
 seen. Half length. i3/4 x 9}4 inches. 
 
 From John Blackwood. See No. 3. British Institution, 1839. 
 
 73. Mater Dolorosa. The Virgin, nearly half length, stands 
 front, her face turned three-quarters right ; her head is covered with a 
 white scarf which falls to her waist, where it is concealed by the black 
 mantle that covers her body ; her hands are raised apart. .81X.61. 
 
 Soult sale, 1852, 10,600 francs (to Mr. Townend?). A copy is behind the 
 high altar in the Seville Cathedral. Stirling (Annals, iii. 1420) suggests that this 
 may be the picture formerly in the church of S. M. la Blanca, which Cean praised 
 for the beauty of the hands ; but it is not clear whether the painting in that church 
 was a Dolorosa or a Pieta. See No. 227c. 
 
 Cousin, line, 15. 4X 12.5, 1844. Blanchard, line, i6x 13.3. 
 
 73a. Carmelitas Descalzos, Mad- right hand clasps the left before her 
 
 rid. This church formerly contained neck. 
 
 Una Dolorosa. Ponz, v. 253. Cean Ber- Manuel Alegre, line, 8.5x6.5, Mad- 
 
 mudez, Die. ii. 63. rid, 1792. The picture has disappeared, 
 
 73b. Dean Lopez Cepero. Mater but there is a copy in the Sacristia Mayor 
 
 Dolorosa. Sevilla Pinto. 451. Hoskins, of the Seville Cathedral. 
 
 Spain, ii. 27. 73c Mater Dolorosa. Half length, 
 
 73c. A. Bravo. Mater Dolorosa, without hands, body front ; a mantle and 
 
 Tubino, 185. Sevilla Pinto. 415. scarf cover her head; the scarf is also 
 
 73d. Mater Dolorosa. Bust, three- wound around her neck ; a girdle about 
 
 quarters left, looking down to her right ; her waist. Doubtful. Engraved on wood 
 
 a scarf and mantle cover her head; her in Jameson, Madonna, p. 36. 
 
148 
 
 MURILLO. 
 
 73f. Mater Dolorosa. Full length, 73I1. Mater Dolorosa. The Virgin, full 
 
 seated with clasped hands ; a sword in length, seated, with clasped hands, and 
 
 her breast ; two angels standing at her a sword in her breast. Spurious. Lith- 
 
 feet hold a crown of thorns, etc. ; six ographed by Laujol. 
 
 heads above. Spinous. 73L Due de Tallard sale, 1756. 
 
 Lithographs by M. Lavigne ; Cuisi- Christ crowned with thorns, and " La 
 
 NIER; Lafosse; A. Bry; L. Maurin. Vierge de Douleurs en regard"; two 
 
 Mezzo, by Varin. pictures, busts, on copper. 16x13 in. 
 
 73g. Mater Dolorosa. The Virgin, 302 liv. to Remy. 
 
 three-quarters length, with a sword in her 73k. Fonthill sale, by Phillips, Sep- 
 
 breast; no accessories. Spurious. Litho- tember 9 to October 31, 1823, No. 124, 
 
 graphed by Geoffroy. 25th day. Mater Dolorosa. 
 
 74. The Virgin. Francis Cook, Esq., Richmond Hill, Sur- 
 rey. She is seen profile left, her hands on her breast, which is nearly 
 covered with her blue mantle ; a yellow scarf on her head and shoul- 
 ders. Bust ; apparently a study for an Annunciation. 28X24 in. 
 
 Wynn Ellis sale, June 17, 1876, from Joseph Bonaparte collection. ^200. 
 
 75. The Virgin. Marquis of Lansdowne, London. She 
 kneels, turned partly to our left, her head inclined forward, her hands 
 clasped before her waist; a crown of thorns and three nails lie before 
 her on a white cloth ; dark background, with a rock on the right. 
 Full length. 19X14 inches. 
 
 Purchased about 1840. Mentioned by Stirling, Annals, hi. 1420. 
 
 76. The Virgin. Robert S. Holford, Esq., Weston Birt, Tet- 
 bury, Gloucestershire. The Virgin looking up, with her hands clasped 
 on her breast. Bust. 27X20 inches. 
 
 British Institution, 185 1. Mentioned by Mrs. Jameson, Madonna, 52. 
 
 77. The Virgin. Robert S. Holford, Esq., Weston Birt. The 
 Virgin praying, with a circle of stars around her head. Half length. 
 35X27 inches. 
 
 Brought to England by Sir J. M. Brackenbury, who exhibited it at the British 
 Institution, 1835. Mentioned by Waagen, ii. 199. 
 
 77a. Baron Speck, Leipsic. The From the collection of Prince Kaunitz, 
 
 Virgin with clasped hands, seated near a who was Minister to Spain in 1780. 
 
 table, looking up to the Dove ; a basket 77b. The Royal Palace, Madrid, 
 
 of linen at her feet. 45X36 inches. formerly contained Nuestra Senora,y el 
 
VIRGIN AND CHILD. 
 
 149 
 
 Salvador, medio cuerpo. Ponz, vi. 260. 22. Head of the Virgin in blue and 
 
 Cean, Die. ii. 64. yellow drapery ; her hands joined in 
 
 77c. La Trinidad sale, London, June prayer. £\oo \bs. 
 
 16, 1810. Death of the Virgin. See 77c R. Napier sale, London, April 
 
 ante No. 54m 13, 1877. The Virgin as the Good 
 
 77d. Alton Towers sale, 1857, No. Shepherdess. ^63. 
 
 78. Virgin and Child in clouds. Dulwich Gallery, 347. 
 
 The Virgin, seated on clouds, holds her son, seated on her left knee ; 
 his right hand is raised to his shoulder ; his left is placed against his 
 hip, and both hands hold a rosary which the Virgin also holds with 
 her right hand in his lap ; her left hand is seen beneath the Child's 
 left arm ; both look front ; four cherubs beneath. Full length. 
 77X50 inches. 
 
 Purchased by Mr. Desenfans from Alleyne Fitzherbert, afterwards Lord St. 
 Helens, who brought it, about 1 790, from Spain, where he was Ambassador. 
 
 W. Say, mezzo., 26x16.4, 1814. Robert Graves, line, 21x14, 1851. 
 Eprenves de remarque, with a white rosary. This plate was begun by E. Smith, 
 altered by T. Vernon, and finished by R. Graves. M. Lavigne, lifho., 20X15. 
 Maggi, litho., 14.2x11. Prat, litho., 12x8, reversed. 
 
 The following are three-quarter lengths without the cherubs : J. Somerville, 
 line, 13 X 10.5, in Engravings after the Best Masters. R. Graves, line, 9X9.5. J. 
 Rogers, line. A. Feart, line. H. B. Hall, New-York, line. Lecouturier, 
 line. Cottrel, line, varied. Prat, litho., 14.2 X 11. W. Read, litho., etc. 
 
 79. Virgin and Child in clouds. Lord Overstone, Lockinge, 
 Berkshire. The Virgin, wearing a crimson robe, a blue mantle, and a 
 light blue veil on her head, stands on clouds, surrounded by a multi- 
 tude of cherubs in a glory ; the Child is seated on her right arm, his 
 back supported by her left hand; many heads above, and eleven 
 cherubs beneath, some of whom uphold the Virgin's mantle. Round 
 top. 91X64 inches. 
 
 Formerly an altar-piece in a church in Seville, whence it was taken by Marshal 
 Soult. While yet in Spain, thieves gained access to the place where it was stored, 
 but not being able to remove the picture entire, they cut out and carried away the 
 centre portion, about 40x30 inches in size, containing the half-length figure of the 
 Virgin with the Child. This fragment found its way to England, and was pur- 
 chased by Mr. Gray of Harringhay House, from whom Lord Overstone acquired it. 
 The mutilated remainder of the canvas was taken by Soult to Paris, where the stolen 
 part was replaced by a copy by Lejeune. This artist afterwards visited England 
 with instructions from the Marshal to find the stolen fragment and to purchase it, if 
 
MURILLO. 
 
 possible, but Lord Overstone was unwilling to part with it. At the Soult sale, 1852, 
 the picture, then called La Vierge Coupee, was bid in at 5,000 francs. Three years 
 later it was purchased from the Marshal's heirs by the present owner through the 
 agency of Sir Charles Eastlake, and the two portions were skillfully reunited after a 
 separation of more than forty years. This is one of the eight pictures which Mar- 
 shal Soult endeavored to dispose of in England through Mr. Buchanan. See No. 1. 
 British Institution, 1863. Mr. Wornum considers it perhaps the most beautiful of 
 all Murillo's pictures of this class. Epochs of Painting, 393. 
 
 Leroux, line, 25.4X19.5, 1845. Maggi, litho., 14.2X11.7, reversed. 
 
 80. Virgin and Child, in clouds. Lord Overstone, London. 
 A study for the above. 15X10^ inches. 
 
 From the collection of Edward Gray of Harringhay House. 
 
 81. Virgin and Child, in clouds. Lord Methuen, Corsham 
 Court, Wiltshire. The Virgin appears seated, with her Son on her 
 knee, and angels at her feet. 23X18 inches. 
 
 Brought from Spain by Sir Paul Methuen, Ambassador to Madrid about 1 700. 
 Mentioned in The English Connoisseur, 1766, ii. 24. British Institution, 1857. 
 
 82. Virgin and Child, in clouds. Hague Museum, 255. The 
 
 Virgin is seated on clouds with a white veil on her head and around 
 her neck ; her hands, holding the linen drapery, support the Child, 
 who stands on her left knee; both look front. Full length. 
 1.90X1.37. 
 
 Formerly in a monastery at Ypres. Purchased by William I. at Antwerp. 
 Victorine Peemans, litho., 17.5x14, reversed. F. B. Waanders, litho., 
 in Kunstkronijk, 1847. Outline in Muse'e Royal a la Haye, 1826-30, 8vo. 
 
 82a. Infant Don Sebastian, Pau, This picture was destroyed by a fire at 
 
 No. 563. La Vierge du Mont Carmel Bath House, January 31, 1873. 
 
 in white mantle, seated on clouds, hold- 82d. " La Vierge a la Croix." The 
 
 ing the Child. Full length. 1.73XI.24. Virgin, standing on clouds, holds the 
 
 From the Due d'Abrantes. Child, who is about to pierce the dragon 
 
 82b. Earl of Bessborough sale, with a spear. Spurious. Mlle. Nol- 
 
 February 5, 1801. Virgin and Child in let, litho. 
 
 clouds, surrounded by groups of angels; 82c "N. D. de Mont Carmel." The 
 
 a cabinet picture. ^32. Again in Ed- Virgin on clouds, with her head sur- 
 
 ward Coxe sale, by Peter Coxe, Lon- rounded by stars, and the Child on her 
 
 don, April 23, 1807. £%o *js. arm. Spurious. Geoffroy, mezzo. 
 
 82c. Lord Ashburton. Virgin and 82f. " Notre Dame de Carmen." The 
 
 Child in clouds. From the Prince of Virgin on clouds, with the Child on her 
 
 the Peace and Sebastiani collections, arm. Spurious. Schultz, litho. 
 
VIRGIN AND CHILD. 
 
 83. Virgin and Child, with rosary. Louvre, Paris, 542. 
 The Virgin is seated on a stone bench, on the end of which is a ball, 
 with the Child seated on her lap, holding a rosary ; her left hand, 
 which does not hold the rosary, touches the Child's left foot ; a cushion 
 and tassel are seen behind her on the bench ; both look front. Full 
 length. 1.66X1.25. 
 
 Randon de Boisset sale, February 27, 1777. "The Sieur Langlois, a Nea- 
 politan, brought it from Spain where he acquired it at a great price." 10,999 hV* I 9 S « 
 Comte de Vaudreuil sale, by Lebrun, Nov. 24, 1784, 9,001 liv. to the King. 
 " La meme composition avait ete achetee, 3,151 francs pour le roi de Pologne a la 
 vente de M. Pasquier No. 3 de son catalogue, annee 1755. Mais ce tableau est si 
 mal indique dans les catalogues, qu'on ne sait si celui de la collection n'est pas un 
 des deux cites." Gault de Saint Germain, Guide, 341. There was another sale, 
 November 26, 1787, by Le Brun, of pictures from the cabinet of M * * * (de 
 Vaudreuil). M. Viardot considers this a flagrant imitation, or a copy by one of 
 Murillo's scholars ; but it is probably an early work of the master. 
 
 Henriques, line, 11.5X9 in Muse'e Franfais. J. Ballin, mezzo., 11x8.4, 
 reversed. Outline in Landon, Annates du Muse'e, xvi. 65. M. Lavigne, litho., 
 20x15. Ch. Vallet, litho., 15x10. Weber, litho., 11x8. Variations by 
 Llanta, P. Blanzat, Bequet Freres, J. Prat. A. Maurin, Lafosse, 
 
 FORQUEMIN, etc. 
 
 84. Virgin and Child, with rosary. Dresden Gallery, 634. 
 The Virgin sits front, looking up, on a stone bench, at the end of 
 which is a ball ; the naked Child is seated on her lap, turned to our left, 
 looking front, his head resting on his hand, which is on her breast ; 
 her left arm supports his back ; the fingers of her right hand touch his 
 wrist. Full length. 70X48 inches. 
 
 There is a tradition that the Virgin is a portrait of Dona Maria de Legan£s, an 
 ancestress of the Counts of Altamira. See Velazquez, No. 166, note. 
 
 A. Semmler, line, in Clauss, Dresden Gal. D. J. Pound, line, in Payne, 
 Dresden Gal. F. Seiffert, line, in Bilder Brevier, 1858. Hanfstaengl, litho., 
 in Hanfstaengl, Dresden Gal. Outline in Iconographic Encyclopedia. 
 
 85. Virgin and Child, with rosary. Pitti Gallery, Florence, 
 No. 56. The Virgin sits on a stone bench, on which, at her left, is a 
 ball, with the Child seated on her lap holding a rosary with both hands ; 
 her right hand also holds the rosary, and touches the Child's right 
 knee. Full length. 1. 65X1. 09. 
 
152 
 
 MURILLO. 
 
 Purchased by Ferdinand III. for 900 crowns from the painter Fedele Acciaj, 
 who had it from Cartoni, a picture dealer at Rome. 
 
 P. Mancion, line, in Bardi, Galleria Pitti. Photographed by Alinari, 
 Florence. 
 
 86. Virgin and Child, with rosary. Museo del Prado, 870. 
 
 The Virgin, wearing a yellow veil which falls to her waist, sits on a 
 stone bench embracing the Child, who stands naked, with one foot on 
 the bench and the other in her lap ; his hands are on her neck, his 
 cheek touches hers ; both look front, and both hold a rosary with 
 their right hands. Full length. Second manner. 1. 64X1. 10. 
 
 From the Escorial. No. 92 is a repetition, but without the rosary. 
 
 B. Maura, etch., in Grab, al Ag. Fuerte. J. Laurent, photo., 18. 
 
 87. Virgin and Child, with rosary. Sir William Eden, 
 Bart., Windlestone House, Durham. The Virgin holds the Child in 
 her lap ; both are seated, and both hold the rosary. Full length 
 65X42 inches. 
 
 Formerly in the convent of the Shod Carmelites at Seville. Purchased from 
 Julian Williams in 1834. " An excellent Virgen del Rosario, full length, life-size, 
 seated with the Child in her arms, is in an altar of the sacristy of the Carmen Calzado." 
 Cean, Carta 98. Ponz, ix. 103. " One of the most beautiful of Murillo's pictures." 
 G. de Leon Not. Art. i. 199. The Athenceum, August 18, 1877. 
 
 88. Virgin and Child, with rosary. Sir Richard Wallace, 
 Bart., London. The Virgin, in dark red dress, is seated on a bench 
 holding the Child, who stands with his right foot on the bench, his 
 left in her lap ; her right hand supports his hip, her left, holding linen, 
 covers his middle ; both hold the rosary with their right hands ; his 
 left hand rests on her wrist. Three-quarters length, life-size. 
 
 Perhaps this may be the picture sold in W. Hope sale, June 1849, ,£609. 
 
 88a. Leipsic Museum, 154. The A Chromo, 29x22. Lithograph by 
 
 Virgin, seated and looking front, holds J. Hassel, 23.5x21, bust, with hands, 
 
 the naked Child standing on her lap ; Both published by W. Seitz. 
 
 her right hand is on his left side, her left, 88b. Virgin and Child, with rosary, 
 
 holding linen, supports his hip ; his head The Virgin sits on a bench, front, the 
 
 touches her cheek ; his left hand, before Child stands on her left knee, his body 
 
 her breast, holds a rosary. Three-quar- three-quarters to our left ; both look 
 
 ters length. front ; his left hand rests on her right ; 
 
VIRGIN AND CHILD. 
 
 153 
 
 a rosary is suspended from her wrist. 
 Full length. 59X40 inches. 
 
 Purchased by Lebrun from the col- 
 lection of Chevalier d'Azara, Minister to 
 Rome under Carlos III. It was sent by 
 Lebrun to Mr. Harris for sale, and is 
 probably now in England. Buchanan, 
 Memoirs, ii. 256. Ponz (xiv. 55) speaks 
 highly of Chevalier d'Azara, who was, 
 when he wrote, residing at Barcelona, 
 and describes this picture which, he says, 
 was purchased from the famous Farinelo 
 collection at Bologna. 
 
 Outline reversed in Lebrun, Peeueil, 
 135- 
 
 88c. Rt. Hon. Edward Ellice sale, 
 June 1 7, 1 864. The Virgin, in crimson and 
 blue dress, is seated ; the Child stands in 
 her lap, and holds a rosary. 42X32 in. 
 Bought at the sale of Mr. Carr, London, 
 about 1840, ^92. Stirling, iii. 142 1. 
 
 88d. John Allnutt, of Clapham 
 
 Manor, sale, June 18, 1863. The Virgin, 
 seated with the Infant Saviour on her 
 knees, holding a rosary. ^766 iar. Ex- 
 hibited at the British Institution, 1861. 
 
 88e. Baron Massias sale, December 
 13, 1825. The Virgin is seated on a 
 bench, turned partly to our left; the 
 Child sits on her knee in lively action ; 
 his left hand rests on her wrist ; both 
 hold a rosary ; six heads above. Full 
 length, life-size. 66x37 inches. 10,000 
 francs. 
 
 F. Soyer, outline in Landon, Annales 
 du Musee, Gal. Massias. 
 
 88f. D. Jorge Diez Martinez, Vir- 
 gen del Rosario. Tubino, 186. Virgen 
 de Belen, with her Son standing in her 
 lap. Sevilla Pinto. 486. 
 
 88g. D. Jose de Madrazo. The 
 Virgin, with the Child in her lap, hold- 
 a rosary. Full length, life-size. Stirling, 
 iii. 1 42 1. 
 
 89. Virgin and Child. Pitti Gallery, Florence, No. 40. 
 
 The Virgin, seated on a stone bench, holds the Child standing with 
 both feet in her lap ; his left arm is placed on her right arm, his right 
 arm is on her breast ; her left hand, holding linen, supports his hips. 
 Full length. 1. 55X1. 05. 
 
 The catalogue of the Hague Museum says the Ypres Convent formerly con- 
 tained two Madonnas by Murillo, one of which is now in that museum ; the other 
 was sold to the Grand Duke of Tuscany. Is this the picture referred to? 
 
 G. Ballero, line, in Bardi, Gal. Pitti. L. Martelli, line, 9.9x6.8. A. Per- 
 fetti, line, 13.4 Xi o. M. Steinla, line, 4X3. Prat, litho., 15. 7X 11. 8. Nap. 
 Thomas, litho., 12x8.3. 
 
 go. Virgin and Child. Corsini Palace, Rome. The Virgin, 
 seated on a stone bench beside a broken wall, holds the Child seated 
 on her lap ; his right leg extends across her lap ; the left hangs down 
 in front; his left hand is on her right wrist, which is on his lap; both 
 look front. Full length. 1.64X1.08. 
 
 " A first-rate, rich, and beautiful picture, but a little touched and stippled upon, 
 but the head of the Virgin and the Child are most luxuriously painted." Sir D. Wilkie, 
 in Cunningham, Life of Wilkie, ii. 257. Stirling, ii. 910. 
 20 
 
154 
 
 MURILLO. 
 
 A wood engraving is in Armengaud. Rome: Art Journal, November, 1862; 
 Scott, Murillo, title page ; Robinson, Great Painters. Photographed by Alinari. 
 
 91. Virgin and Child. Museo del Prado, 862. The Child 
 is seated on the right knee of his mother, on a white cloth which 
 passes over her arm ; a greenish blue mantle falling from her shoulders 
 covers her knees. Full length. Second manner. 1.51X1.03. 
 
 Photographed by A. Braun, Paris, No. 862. 
 
 92. Virgin and Child. Sir Richard Wallace, Bart., Lon- 
 don. A repetition of No. 86, but without the rosary. About 
 60X40 inches. 
 
 Hugh Baillie sale, May 15, 1858, "from the Altamira Gallery," ^1,575 to 
 the Marquis of Hertford. British Institution, 1823, by Colonel Baillie. 
 
 Esteban Boix, line, 16X 10.5, executed about the end of the last century from 
 the picture belonging to the Conde de Trastamara. This engraving is after the 
 above or a similar composition. 
 
 93. Virgin and Child. Seville Museum, 65. The Virgin, 
 
 seated on a stone bench, holds the naked Child seated on her lap ; 
 
 both front; her left hand holds his left; her right, holding linen, 
 
 supports his body beneath his right arm, which falls naturally. Full 
 
 length. Second manner. Arched top. 1.66X1.07. 
 
 One of Murillo's earliest works ; painted about 1641. From the convent of 
 Mercenarias Descalzos de San Jose. 
 
 A. Boilly, mezzo., 13X9.5. Photographed by J. Laurent, No. 1083. 
 
 94. Virgin and Child. Berlin Gallery, 410A. A repetition 
 
 or copy of the above. 1. 59X1.04. 
 
 Purchased in 1875 from M. Suermondt, who obtained it in 185 1 from Herr 
 Von Schepeler, Prussian Minister to Spain. Burger, Gal. Suermondt. 
 
 95. Virgin and Child. Lord Overstone, London. The 
 Virgin, seated on a stone bench, three-quarters right, regards tenderly 
 the Child who is seated on her lap, looking front, with his limbs 
 spread apart; he seizes with both hands the neck of his mother's 
 dress; her left hand supports his back, her right falls at her side. 
 Full length. 64X43 inches. 
 
VIRGIN AND CHILD. 
 
 155 
 
 This picture, formerly an altar-piece in the house of the Marques de Santiago, 
 was considered the finest small picture by the Master in Madrid. It was purchased 
 by Mr. Wallis, and brought to England in 1809, when it was immediately sold to 
 Lord Berwick for ,£2,500. Buchanan, Memoirs, ii. 221. See No. 10. It was sold 
 at Lord Berwick sale by Phillips, June 7, 1825. The present owner purchased it 
 through Mr. Buchanan in 1832. 
 
 " A most beautiful picture of the Virgin with her most holy Son in her lap, full 
 length, life-size, belongs to the Marques de Santiago, and is enchanting for its 
 sweetness and beauty." Palomino, iii. 421. 
 
 Caldesi, photo., in Manchester Art Treasures. 
 
 96. Virgin and Child. The Virgin, heavily draped, is seated on 
 a stone bench, with the naked Child in her lap, partly standing, and 
 partly seated on her left hand ; his left hand rests on her right, which 
 holds a linen drapery against his abdomen ; his right hand seizes the 
 scarf that covers her right shoulder ; both look front. Full length. 
 5 2 ^ x 37 inches. 
 
 Brought from Spain by an English merchant, who transferred it to Mr. Harris 
 of Bond street. From him it passed to Mr. Buchanan, who sold it to Lord 
 Kinnaird. At Lord Kinnaird sale, March 4, 1813, it was sold for ^"820, but it 
 disappeared before it could be delivered to the purchaser, and is believed to have 
 been stolen. 
 
 C. Turner, mezzo., 17.6X12.8, in The Kinnaird Collection, London, 1809, 
 fol., a work of which twelve plates were published. 
 
 97. Virgin and Child. Sir William Eden, Bart., Windle- 
 
 stone House, Durham. La Virgen de la Manzana, or the Virgin with 
 
 the apple. The Virgin holds the Child seated on her knee ; he has 
 
 an apple in one hand, and with the other clasps one of her fingers. 
 
 Full length. Second manner. 60X39 inches. 
 
 Purchased in 1834 from Julian Williams. Mentioned in The Athenaum, 
 August 18, 1877. 
 
 98. Virgin and Child. Seville Museum, 72. La Virgen de 
 
 Belen. The Virgin, seated, holds the Child, who lies across her lap 
 
 on a white cloth ; with his right hand he seizes the neck of her dress 
 
 his left hangs down in front. Three-quarters length. 1.18X.97. 
 
 From the Capuchin Convent at Seville. See No. 18. 
 Photographed by J. Laurent, Madrid, No. 1073. 
 
156 
 
 MURILLO. 
 
 99. Virgin and Child. Academy of San Fernando, Mad- 
 rid. The Virgin, turned partly to our left, holds the Child on her lap ; 
 both seated, and looking front ; his face is serious and old ; his right 
 hand is on her breast, his left is on her left arm, which rests on the 
 linen that covers his middle. Knee-piece. Life-size. An early work. 
 
 Photographed by J. Laurent, Madrid, No. 525. 
 
 100. Virgin and Child. Heirs of the Infant Don Sebas- 
 tian, Pau, No. 579. A repetition of the above, very slightly changed 
 in costume and position. 1.03 X. 83. 
 
 The Infant Don Sebastian, who died in 1875, was a son of Don Pedro, and 
 grandson of Don Gabriel, who was a son of Charles III. 
 
 101. Virgin and Child. Due de Montpensier, Seville, No. 
 170. Virgen de la Faja, or La Vierge a la Ceintare. The Virgin, 
 seated on a stone bench, holds the Child lying on her lap while she 
 binds him with linen ; on each side is an angel, one playing a guitar 
 and the other a violin ; six heads above. Knee-piece. Second man- 
 ner. 1. 37X1. 12. 
 
 This picture had been exposed for sale in the open street opposite the Cathe- 
 dral. The Marques del Aguila saw it, purchased it instantly, and made it an heir- 
 loom. Davies, Murillo, 96. When entails were done away with, the son of the 
 Marquis sold it for 60,000 francs to King Louis Philippe, at whose sale, No. 72, 
 it was purchased by the present owner for ^"1,500. It was exhibited at Boston, 
 U. S., with other Spanish pictures of the Duke, 1875-80. A copy by Tobar is in 
 the Cadiz Museum, No. 53. 
 
 M. Lavigne, litho., 20.3x15.3. Geoffroy, litho., 14.7x11.6. Coquardon, 
 litho., 10x8. Prat, litho., 10.3x8.3. Ricaud, litho, 11.3X9. Lafosse, litho., 
 7.6x5.9. Laujol, litho., 11.4x8.5. Everwyn, litho., 11.2x9. Vayron, litho., 
 24. 4 X 18. On wood in Blanc, Peintres. 
 
 102. Virgin and Child. William H. Smith, Esq., Green- 
 lands, Henley-on-Thames, Buckinghamshire. A repetition of the 
 above. 54X41 inches. 
 
 R. W. Billings sale, by Christie, June 3, 1876. " Brought from Spain by a 
 Birmingham merchant, who purchased it from a nunnery for 1,000 guineas during 
 the Peninsular War. " ^"1,312. Royal Academy, 1 871. 
 
 103. Virgin and Child. The Virgin holds on her lap the partly 
 draped Child, who has an apple in his hands, and rests his head 
 
VIRGIN AND CHILD. 
 
 157 
 
 against her left shoulder; she holds with both hands the linen drapery 
 
 on which the Child is seated ; both look front. Three-quarters 
 
 length. 1. 1 1 X. 86. 
 
 Aguado sale, Paris, March 20-28, 1843, No. 36, 2,790 francs. 
 
 Lefevre, line, in Gal. Aguado. Outline in Liibke, Denkmaler der Kunst. 
 
 104. Virgin and Child. The Virgin, wearing a lilac robe, a 
 blue mantle, and a brown scarf that falls from her head on her shoul- 
 der, turned three-quarters right, embraces the naked Child, who is 
 seated on her lap ; her cheek touches his head, which rests on her 
 left shoulder; her right hand is on the drapery that covers his hip; 
 her left encircles his back; his left hand is in the bosom of her dress; 
 both look front. Knee-piece. .46X.36. 
 
 Aguado sale, Paris, March 20-28, 1843, No. 60, 2,460 francs. 
 DlEN, line, in Galerie Aguado. Leroux, line, 12X9.5. " From the picture in 
 the Musee Royal " (?) Llanta, litho., 7.2x6, reversed and shortened. 
 
 105. Virgin and Child. Duke of Bedford, London. A rep- 
 etition of the above picture, 39X29 inches. 
 
 Calonne sale, by Skinner and Dyke, London, March 22, etc., 1795, third day, 
 No. 80, 205 guineas. Bryan sale, 1798, 3d day, No. 55, ^304, to H. Hope. 
 Buchanan, Memoirs, i. 240, 294. An old copy is in the church of S. Isidoro, Seville. 
 
 [There was a sale by Le Brun, at Paris, April 21, 1788, of pictures of the Italian, 
 Flemish, Dutch, and French schools, from the cabinet of M * * * [de Calonne]. 
 The catalogue is very rare. A copy, with prices, sold in M. Reiset sale, 1879, 
 for 150 francs.] 
 
 106. Virgin and Child. Comtesse Robert de Pourtales, 
 
 Paris. A repetition of the above picture. 1.03X.78. 
 
 Faviers sale, April 8, 1837. Purchased from an amateur in Seville, 10,100 
 francs. Pourtales sale, March 27, 1865, 18,000 francs to Comte Robert de Pour- 
 tales. 
 
 Photographed by Goupil, in Souvenirs de la Galerie Pourtales. 
 
 107. Virgin and Child. Henry Mason, Esq., New- York. 
 
 A repetition of the above, framed as an oval. .93X.78 centimetres. 
 
 Salamanca sale, 1867, No. 24, from the gallery of Mme. Cordova, 20,000 
 francs. Exhibited at the Metropolitan Museum of Art, New-York, 1882. 
 
 107a. Virgin and Child, somewhat are only half length; the Virgin's chin 
 like the above, except that the figures touches the top of the Child's head, 
 
i 5 8 
 
 MURILLO. 
 
 which rests on his right hand on her from a picture belonging to D. Tibur- 
 
 breast; her right hand is on his left side, cio Aguirre y Ayanz de Navarra. Juez, 
 
 M. S. Carmona, line, 9.2x7.1, 1763, line, 4.3X3.3. Both engravings are 
 
 " Ymagen de la Saniis'ma Vn Maria" very rare. 
 
 108. Virgin and Child. Madame A. Thiers, Paris. The 
 
 naked Child, standing on the lap of the Virgin, with his left hand 
 
 grasps the forefinger of her left hand which, holding linen, supports 
 
 his left hip from behind; he seizes with his right hand the scarf that 
 
 covers her right shoulder ; his right foot is in her right hand ; both 
 
 look front. Knee-piece. 
 
 Perhaps this is one of the Works of Art which Madame Thiers has bequeathed 
 to the Louvre. Senor Lopez Cepero, of Seville, has a repetition or a very old copy. 
 E. Flamet, line, 11x8.8, 1851. Tire du cabinet de M. 'Thiers. 
 
 109. Virgin and Child. Sir Richard Wallace, Bart., Lon- 
 don. The Virgin, seated, holds the Child kneeling or sitting on his 
 right leg ; her left hand supports his body behind, her right supports 
 his breast ; both her hands hold the linen drapery ; his left hand is 
 on his breast, his right embraces her neck; both look front. Oval. 
 Three-quarters length. About 42X36 inches. 
 
 From Casimir Perier collection. Waagen, iv. 82. It was not in the C. Perier 
 sale, April 18, 1838. 
 
 no. Virgin and Child. Francis Clare Ford, Esq., Lon- 
 don. The Virgin, seated nearly front, regards tenderly the Child, who 
 reclines on a white cloth on her lap ; his back is supported by her left 
 hand, which holds the drapery ; with the right hand she bares her 
 breast and offers it to the Infant, who turns his face towards the spec- 
 tator. Three-quarters length. 41X31 inches. 
 
 Standish sale, 1843, No. 5 (179), attributed to an unknown artist, ^55 i^s. to 
 Richard Ford, author of the Handbook of Spain, and father of the present owner. 
 Royal Academy, 1873. 
 
 This picture is unfinished, and may be the one mentioned in Murillo's will. 
 " Item : I declare that a weaver, whose name I do not remember, but who works 
 in the Alameda, has ordered of me tin lienzo de medio cuerpo de nuestra Seiiora que 
 esta en bosquejo, and has given me nine varas of satin ; not being able to deliver the 
 picture, I direct that he be paid the price of the nine varas of satin." The picture 
 described in the will is not mentioned in the unfinished inventory of Murillo's 
 effects, made the next day after the will was executed. The will and the inventory 
 
VIRGIN AND CHILD. 
 
 159 
 
 are given in Spanish in Tubino, Murillo, p. Ill, and in Stirling, Annals, ii. 891, 
 Translations of the will without the inventory are in French in V Artiste, 1864. 
 vol. ii. p. 77; in German, in Stromer, Murillo, 55. See No. H2kk. 
 
 in. Virgin and Child. Baron Speck, Leipsic. The Child, 
 standing on the Virgin's knee, holds the third finger of her left hand, 
 which is on his hip ; his right hand is extended in benediction. Knee- 
 piece. 52X44^ inches. 
 
 H. Frank, litho., in Speckschen Gemdlde Sammlung. Leipsic, 1827, fol. 
 
 112. Virgin and Child. Seville Museum, 52. La Virgen 
 
 de la Servilleta. The Virgin holds the Child on her left arm, his 
 
 left side supported by her right hand, his right hand on her breast, 
 
 his left on her wrist ; he is in lively action, and seems to struggle out 
 
 of her arms ; both look front. Half length. .66x. 70. 
 
 Painted for the altar of the Capuchin Church. See No. 18. There is a popular 
 tradition that while Murillo was employed in the convent he formed a friendship with 
 a lay brother who served him as cook. At the conclusion of the artist's labors this 
 friar begged for some trifling memorial of his art. The painter replied that he had no 
 canvas remaining, whereupon the ready cook offered him the napkin, servilleta,he 
 had used at dinner, which before evening was covered with this charming picture. 
 The story is doubtful; a similar one is told concerning a Head of Christ, in Davies. 
 Murillo, 35, note. 
 
 [Captain Davies says he purchased from D. Manuel de Leyra a Virgin and 
 Child, now in the possession of Mr. Ball, but which had been for many years in the 
 family of a General Officer of Artillery. The subject is the same as the above, but 
 it is painted considerably below the knees. Murillo, lxxxv. This note may inter- 
 est such persons in England as may have in their possession pictures of the Virgin 
 and Child three-quarters length. ] 
 
 Blas Amettler, line, 7.7x8, at Calco. Nacional. A. Boilly, mezzo., 8.2X 
 7.4. L. Maurin, litho. On wood in Stirling, Annals, ii. 879. 
 
 112a. Virgin and Child. Leuch- 
 tenberg Gallery, St. Petersburg. The 
 Virgin embraces with her right arm the 
 Child who sits on her lap ; his right foot 
 is on her left wrist, his hands are crossed 
 on his breast ; they look at each other. 
 Three-quarters length. 34X24 inches. 
 
 On the marriage of the Due de Leuch- 
 tenberg with the Grand Duchess Marie, 
 his collection of Works of Art was trans- 
 ferred from Munich to St. Petersburg. 
 
 Beautiful and popular as this picture is, 
 it cannot be attributed to Murillo. 
 
 Montmorillon, line, 16.5x12.7, 
 1840. C. Gonzenbach, line, 10x8.7 
 Andre-Geiger, mezzo., 17X13, Vienna, 
 1836. Cottin, mezzo., 19.5X14.7, oval. 
 Rynolds, mezzo., 15.3X11.6, Philadel- 
 phia. N. Mux el, outline, in Leuch- 
 tenberg Galerie. Lithographs by Hanf- 
 staengl, Dragendorf, Steffan, 
 Lancedelli, Llanta (3), Geoffroy, 
 
i6o 
 
 MURILLO. 
 
 H. Eichens, Selbe, Grand, Engel- 
 mann, Hurter, etc. On wood in 
 Jameson, Madonna, 130. 
 
 112b. Palazzo Rosso, Genoa. The 
 Child reclines on the lap of the Virgin, 
 with his head on her arm ; on the left 
 are two children, one of whom crowns 
 the infant Saviour with roses. Three- 
 quarters length. About 36x30 inches. 
 
 The Palazzo Rosso or Brignole-Sale 
 was, about 1875, presented, with its con- 
 tents, by the Due de Galliera to the City 
 of Genoa. 
 
 112c. Heirs of the Infant Don 
 Sebastian, Pau. La Vierge du Car- 
 mel. The Virgin, seated on clouds, 
 crowned, and wearing a brown robe, 
 holds the naked Child on her lap; his 
 right hand is extended in benediction; 
 both look front ; three cherubs uphold the 
 Virgin's robe. Full length. 1. 73X1.22. 
 
 ii2d. D. Francisco de Herrera. Vir- 
 gin and Child. More than half length ; 
 a charming picture. Mentioned by Palo- 
 mino, iii. 421. 
 
 ii2e. D. Juan Bautista Olabarieta. 
 Virgin and Child, half length, life-size. 
 Ib. 
 
 ii2f. Archbishop's Palace, Seville. 
 
 Virgin and Child. Painted in 1673 for 
 the Archbishop Ambrosio Spinola, who 
 paid 1,000 ducats for it. Cean Bermu- 
 dez, Die. ii. 62. 
 
 ii2g. Church of St. Augustin, Cor- 
 dova. Una nuestra Senora, signed. 
 Ib. ii. 63. Ponz, xvii. 53. 
 
 ii2h. Condesa de la Mejorada. 
 Virgen de Belen, on panel ; of the best 
 time of Murillo. G. de Leon, ii. 202. 
 
 ii2i. Church of La Cruz, Medina 
 del Rioseco. Nuestra Senora; attrib- 
 uted to Murillo. Ponz, xii. 122. 
 
 112k. Earl of Listowell, London. 
 Virgin and Child with two kneeling 
 saints and other persons, and several 
 angels. Less than life-size. Doubted 
 by Waagen, ii. 312. 
 
 112I. The Virgin, with the Child 
 seated on her lap ; his hands are on her 
 neck and breast ; her right hand touches 
 his left wrist. Knee-piece. 
 
 An etching of this composition, signed 
 Bartolome Moryllo fecit, is in the Biblio- 
 teca Nacional, Madrid, formerly in the 
 Carderera Collection. A fac-simile, 5 X 
 4. 5, is given in Museo Espanol de Anligue- 
 dddes, iv. 95. 
 
 112m. Thomas Kibble. Virgin and 
 Child. British Institution, 1861. 
 
 H2n. Jose Saenz. La Serrana, full 
 length, life-size. Tubino, 189. 
 
 ii2p. Duke of Buccleugh. Vir- 
 gin and Child. British Institution, 1829. 
 
 ii2q. Sir Watkin W. Wynn. Vir- 
 gin and Child. British Institution, 1842. 
 
 ii2r. Benjamin Oliviera. Virgin 
 and Child. British Institution, 1857. 
 
 112s. Houghton Gallery. The Vir- 
 gin, with the Child in her arms, on a 
 block of marble. Presented to Sir Rob- 
 ert Walpole by Benjamin Keene, Am- 
 bassador at Madrid. Appraised by 
 West and Cipriani at £&o. This picture 
 is not in the Hermitage. 
 
 ii2t. C. H. Francolet sale, Brussels, 
 September 10, 1764. The Virgin with 
 the Child in her arms. 69X45^ inches. 
 
 ii2u. Due de Tallard sale, 1756, 
 No. 125. Virgin and Child, half length. 
 24X20 inches, 660 liv. to " Remy pour 
 Angleterre." 
 
 ii2v. B. Vandergucht sale, March 
 11, 1796. Virgin and Child. ^22 2s. 
 
 H2w. Bryan sale, May 17, 1798, first 
 day, No. 35. Virgin and Child. ^32 1 is. 
 Buchanan, Memoirs, i. 277. 
 
 H2x. Dutartre sale, March 19, 1804. 
 The Virgin, seated, holds the Child who 
 stands naked. Life-size. 55x40 inches. 
 6,500 francs, to Paillet. 
 
 H2y. Sale, London, April 28, 1807. 
 Virgin and Child, life-size. ^525. 
 
 ii2z. W. Buchanan, January 5,1815. 
 Catalogue of pictures at private sale, pur- 
 
VIRGIN AND CHILD. 
 
 161 
 
 chased in Spain in 1809-10. Virgin and 
 Child. From the palace of Aranjuez. 
 
 ii2aa. Lord Courtney sale, April 
 27, 18 1 6. Virgin and Child. A well- 
 known chef-d'oeuvre. 
 
 ii2bb. Henry Hope sale, June 27, 
 1 81 6. The Virgin teaching the Child to 
 read. £16 $s. 6d. 
 
 ii2cc. Lord Gwydir sale, May 8, 
 1829. The Virgin clasps her hands 
 around the Child, who is seated on her 
 lap, and springs forward with outstretched 
 arms. £69 6s. Spurious. 
 
 J. Caldwell, line. 1793. The in- 
 scription asserts that the picture belonged 
 to Charles L, and was presented by his 
 Queen to Lady St. Albans, from whom 
 it was purchased by Sir Peter Burrell 
 (an ancestor of Lord Gwydir). R. 
 Houston, mezzo., attributed to Raphael. 
 
 ii2dd. Baron Mathieu de Faviers 
 sale, April 8, 1837. The Virgin, with 
 the Child resting on her knees. 36 X 
 27^ inches. A present from King 
 Joseph Bonaparte, who accompanied it 
 with a flattering letter. 2,600 francs. 
 
 ii2ee. Marquis de Forbin-Janson 
 sale, May 2, 1842. The Infant Jesus 
 sleeping on the lap of the Virgin, 
 Brought from Spain in 1827. On wood. 
 •55X-45- 7>95°> to Patureau. 
 
 ii2ff. B. Hick sale, February 21, 
 1843. Virgin and Child. ^73 I or. 
 
 H2gg. Aguado sale, 1843, No. 82. 
 The Child seated in the lap of the Virgin 
 with a bird in his right hand; oval. 
 I.12X.90. 1,560 francs. 
 
 ii2hh. Cardinal Fesch sale, March 
 17, 1845, No - 7 2 3- Virgin and Child. 
 11X9 inches. 122 crowns. Also No. 
 610. Virgin and Child. 9x7 inches. 
 A night scene. The first of these was in 
 Claudius Tarral sale, June II, 1847, 
 " engraved," ^53. 
 
 [Cardinal Fesch, uncle of Napoleon I., 
 was in 1796 a commissaire of the armies 
 in Italy, when he began to collect works 
 21 
 
 of art, many of which were presented to 
 him by the reigning houses of the Pen- 
 insula, in the hope of securing the favor 
 of the young general who was then com- 
 mencing his meteor-like career. At the 
 time of the abdication of the Emperor, in 
 1 8 14, the Cardinal's house, in rue de la 
 Chaussee d'Antin, Paris, contained 1,600 
 paintings, besides marbles, bronzes, etc. 
 Some of the pictures, and most of the 
 other objects were sold at the sale of 
 M * * * (Fesch), at Paris, June 17, 
 1816, and following days. The greater 
 part of the paintings were from time to 
 time removed to Rome, where the work 
 of collecting was prosecuted with such 
 zeal, that his Eminence was reported to 
 have died possessed of 14,000 pictures, 
 besides those called his gallery. Allow- 
 ing a wide margin for exaggeration, it is 
 beyond doubt that his collection was by 
 far the largest ever owned by one man. 
 Unfortunately its quality did not corre- 
 spond with its extent, for, although its 
 owner valued it at 20,000,000 francs, and 
 had been offered 5,000,000 francs for it, 
 yet, when it came to be sold, it realized 
 only 2,000,000 francs. It was said that the 
 Cardinal gave orders to his steward to 
 purchase every painting that was offered 
 at 2 pauls or less — about 1 franc 80 c. 
 
 Some of the pictures passed into the 
 possession of Lucien Bonaparte, Prince 
 of Canino ; others were inherited by 
 Joseph Bonaparte, the Cardinal's legatee, 
 who gave some 700 to form a public gal- 
 lery at Ajaccio, Corsica. The remainder 
 were dispersed in several sales held at 
 the palace of the Cardinal in Rome, after 
 his death, under the superintendence of 
 M. George, the well-known expert from 
 Paris. A catalogue was printed in 1841, 
 4to, before the owner's death. It is a 
 French translation of that prepared by 
 Camuccini and others, and enumerates 
 3,332 pictures, with the sizes in feet and 
 inches. The following sales have been 
 
MURILLO. 
 
 held. Price-lists of some of these may 
 be found in the Cabinet de V Amateur, 
 1845-6, and in Bulletin des Arts, vol. ii. 
 iv. and v. 
 
 1843, April 17, etc., George, expert. 
 i re partie. The sale comprised 229 num- 
 bers, besides 450 Italian pictures not cata- 
 logued. 
 
 1844, March 26, etc., second sale. 
 Italian, Flemish, Dutch, and French 
 schools. 829 pictures. 
 
 1844, May. A sale. Third part? 
 
 1845, March 17, and two following 
 months. Fourth and last sale, compris- 
 ing 1,836 numbers, viz. : 325 Flemish, 
 Dutch, and German schools; 153 French, 
 and 1,357 Italian schools. This sale 
 comprised nearly all the valuable part of 
 the collection. 
 
 Besides the above there were : 
 
 1853, March 12, sale by Christie, Lon- 
 don, of pictures belonging to the Prince 
 of Canino. All but four of these pict- 
 ures were from the Fesch collection. 
 
 1857, February 12, Paris. Pictures be- 
 longing to M. Moret, from the gallery 
 of Cardinal Fesch. The sale produced 
 112,000 francs. Some of these pictures 
 were resold April 28, 29, 1859. 
 
 ii2ii. Louis Philippe sale, 1853, 
 No. 166(151). Virgin and Child. From 
 the Constantinople Convent in Madrid. 
 .80X.59. £180. 
 
 ii2kk. Standish sale, No. 113 (no). 
 The Virgin, with the Child at her breast ; 
 a sketch. Improperly called a Nativity 
 in the catalogue. .73X.60. ^42. Stir- 
 ling (iii. 1422) suggests that this may be 
 the picture mentioned by Murillo in his 
 will. See No. no. 
 
 112II. Alton Towers sale, 1857, No. 
 207. The Virgin, in purple robe and 
 blue drapery, holding the Child in her 
 arms. ^216 6s. 
 
 112mm. Theodore Patureau sale, 
 April 20, 1857. The Virgin kneels with 
 joined hands before the Child who lies 
 
 naked, asleep on his couch. .3i^X.4l. 
 From Forbin-Janson sale, 1842, 41,500 
 francs. The Patureau sale realized 846, 
 650 francs. Many of the important 
 pictures in the Van Saceghem de Gand sale, 
 Brussels, June 2 and 3, 185 1, were here 
 sold again. 
 
 ii2nn. Lord Northwick sale, 1859, 
 No. 1 75 1. Virgin and Child. £21, to 
 Whitcombe. 
 
 112pp. Lord Northwick sale, No. 
 1758. Virgin and Child. From Joseph 
 Bonaparte Gallery. ^210, to C. J. Nieu- 
 wenhuys. Sold again at Christie's, May 
 2, 1874. £283 1 Of. 
 
 H2qq. Henry Cruger Price sale, 
 March 21, 1859. The Virgin, in yellow 
 and crimson drapery, holding the Child, 
 who is fully enveloped in white drapery. 
 
 112m Rev. Frederick Leicester 
 
 sale, May 18, i860. Virgin and Child. 
 From Joseph Bonaparte collection. 
 ^231, to Owen. British Institution, 
 1853. 
 
 ii2ss. Sir Arthur Aston, Aston 
 Hall, sale, August 6, 1862, by Churton 
 and Whitechurch. Virgin and Child. 
 40X30 inches. ^105. Stirling, iii. 1422. 
 
 ii2tt. Mr. Brooks' sale, May, 1871. 
 Virgin and Child. ^96 12s. 
 
 112UU. Sir W. H. Feilden sale, 
 March 3, 1877. Virgin and Child. 
 £39 i8j- 
 
 ii2vv. Viscount Stratford de Red- 
 clyffe sale, June 29, 1878. Virgin and 
 Child. Brought from Spain in 1832. 
 
 ii2ww. John Heugh sale, May n, 
 1878, by Christie. Virgin and Child. 
 20^X16 inches. From Prince Bona- 
 parte. £525. 
 
 ii2xx. Earl of Bessborough sale, 
 February 5, 1801. The Virgin and 
 Child in the clouds, surrounded by groups 
 of angels ; a cabinet picture. ^32. The 
 same in Edward Coxe sale, by Peter 
 Coxe, April 23, 1807. £80 Js. 
 
VIRGIN AND CHILD. 163 
 
 113. Virgin and Child and Priests. Pesth Gallery, 68g. 
 The Virgin, seated on clouds, supports the Child who, standing on 
 the clouds before her, takes rolls of bread from a basket held by an 
 angel, and gives them to three aged priests seen at half length below ; 
 one of the priests has a book, another has a pilgrim's staff; seven 
 heads in the air above. Life-size. 
 
 Painted in 1678 for the refectory of the Hospital de los Venerables Sacerdotes. 
 See No. 29. See also Ponz, ix. 124. Cean Bermudez, Carta, 94, and Die. ii. 53. 
 The picture was carried off by Marshal Soult, and found its way into the possession 
 of Pririce Esterhazy, whose gallery was sold in 1870 for 1,300,000 florins to the 
 Kingdom of Hungary. 
 
 A copy is in the Cadiz Museum, No. 170. Another is in the Hospital del 
 Sangre, at Seville. Another belonged to Dean Lopez Cepero, 27x22 inches. 
 Doubtless another was sold in the sale of Mr. Barrett of Lee Priory, May 28, 1859, 
 by Christie, for ^52 \os. 
 
 J. Ballin, line and mezzo., 20.3X15.8. J. Axmann, line, 5.7X4.1. Fol- 
 GER, litho., 19X15.6. An etching is promised in the Gemalde Galerie in Budapest, 
 now in course of publication. 
 
 114. Virgin and Child and St. Rosalie. Duke of Rutland, 
 Belvoir Castle, Leicestershire. St. Rosalie in Franciscan habit, kneel- 
 ing, offers roses to the infant Jesus, who is seated on the lap of the 
 Virgin ; on the left are four maidens in white with palms, on the right 
 a street scene with a friar preaching ; four cherubs and seven heads 
 above; seven figures. About 6X5 feet. 
 
 The Murillos belonging to the Duke of Rutland were brought to England by 
 Mr. Stanhope, afterward Lord Harrington, on returning from his embassy to Mad- 
 rid in 1 729. Davies, Murillo, xci. Waagen, iii. 398. 
 
 A drawing for this composition, attributed to Murillo, is in the Royal Collection 
 at Turin. It is photographed by Manville, Paris. 
 
 115. Virgin and Child and St. Rosalie. Sir Richard 
 Wallace, Bart., London. The Virgin, seated, holds the Infant 
 Jesus seated on her lap ; on the left, a plain looking girl, probably St. 
 Rosalie, in green dress, offers two roses to the child. Half length, 
 less than life-size. 
 
 116. Virgin and Child and Saints. Sir Richard Wallace, 
 Bart., London. The Virgin, with the Child on her left arm, is seated 
 on clouds, surrounded by a multitude of youthful angels, cherubs, and 
 
MURILLO. 
 
 heads ; beneath are St. John Baptist standing, and SS. Justa, Rufina, 
 and Francis kneeling, all looking up. .70X.51 centimetres. 
 
 Aguado sale, Paris, March 20 to 28, 1843, No 39. 17,900 francs. 
 
 Nargeot, line, in Galerie Aguado; in Scott, Murillo; and in Art Journal, 
 1875. The figures of SS. Justa and Rufina are engraved on wood in Jameson, 
 S. and L. Art ; and in Clement, L. and M. Art. 
 
 117. Virgin and Child and Saints. Fitzwilliam Museum. 
 
 Cambridge. The Virgin, surrounded by cherubs and accompanied 
 by St. Francis and St. Thomas Aquinas, appears to a Franciscan *nonk 
 who has been reading the theology of St. Thomas. She hands to each 
 of the saints a crown, while St. Francis admonishes the monk to fol- 
 low the doctrine he has just read. Arched top. 85X67 inches. 
 
 This is one of the earliest works of Murillo, and was painted not later than 
 1639, when the artist was only twenty-one years of age, and still in the school of 
 Castillo. It was placed in an angle of the cloister of the Dominican Convent of 
 La Regina Angelorum, where it remained until the early part of this century, when 
 it was acquired by Canon Pereyra, in whose possession it was seen in 1833, by 
 Head. Handbook, 162. Mentioned also by Ponz, ix. 93, Cean Bermudez, Carta, 
 34, and Die. ii. 49, 58. Arana de Varflora, i. 48. About 1852 it was purchased by 
 W. G. Clarke, whose representatives presented it to the Museum at Cambridge. 
 See G. W. Clark, Gazpacho, second Ed., London, 1852, p. 239. 
 
 117a. Nuestra Senora del Rosario ac- 
 companied by St. Peter and St. Paul 
 standing, and St. Dominic kneeling, and 
 some angels; figures full length, life- 
 size. Signed Bar™"* Murillo. This is 
 one of the earliest works of Murillo, 
 painted about 1639 for the convent of 
 Regina Angelorum. Ponz, ix. 93. Var- 
 flora, i. 48. It would seem that about 
 
 the beginning of the present century it 
 was removed to the College of St. 
 Thomas. Cean, Die. ii. 49, 58, and 
 Carta, 35. Head, 163. In the Life of 
 Juan del Castillo, Cean attributes this 
 picture to that artist. Die. i. 288. 
 
 At a sale in London, May 9, 1807, 
 St. Dominic receiving the rosary from 
 the Virgin and Child, sold for £^2 \os. 
 
 118. Adoration of Shepherds. Seville Museum, 86. The 
 
 Virgin, seated on our right, holds on her left arm the head of the 
 Child, who lies on a box filled with straw ; she raises the linen and 
 shows him to the kneeling shepherds, one of whom, in front, rests one 
 hand on the shoulders of a lamb that lies at the Virgin's feet ; the 
 other hand is extended towards the Child ; beyond this shepherd is 
 another, partly bald, with his hands crossed on his breast ; behind these, 
 on the left, a young woman with a basket of eggs thrusts a child for- 
 
ADORATION OF SHEPHERDS. 
 
 I6 5 
 
 ward into the scene ; in the centre, behind the crib, St. Joseph stands, 
 with his hands crossed on the top of his staff ; two cherubs in the cen- 
 tre above. Seven figures, life-size. 2.77X1.81. 
 
 One of the altar-pieces painted for the Capuchin Church. See No. 18, 
 Photographed by J. Laurent, Madrid, No. 792. 
 
 119. Adoration of Shepherds. Vatican, Rome. A repeti- 
 tion of the above, reversed. The composition is spread out in width, 
 and shortened at the top, where the cherubs are omitted. Life-size. 
 
 Photographed by Alinari, Florence, and by A. Braun, Paris. 
 
 120. Adoration of Shepherds. Duke of Sutherland, Staf- 
 ford House, London. A sketch, somewhat resembling No. 118. 
 7X5 inches. 
 
 121. Adoration of Shepherds. Museo del Prado, Madrid, 
 
 859. The Virgin, kneeling on the left behind the crib, holds the head 
 
 of the Child Jesus on her right arm, and raises with her left hand the 
 
 linen that covers him ; St. Joseph stands behind in the centre, with his 
 
 hands crossed on the top of his staff; in front a shepherd kneels on both 
 
 knees, joining his hands before his breast in adoration ; two fowls lie 
 
 on the ground before him ; on the right is a woman with a basket of 
 
 eggs, and a man leading forward a lamb by a rope ; ruins of a temple 
 
 in the background. Five figures. Second manner. 1.87X2.28. 
 
 This may be the Nacimiento del Cristo, which was purchased by Carlos III. in 
 the Quelly collection. It was taken to Paris by the French, restored in 18 16, and 
 placed in the Academy of San Fernando, whence, in 1829, it was transferred to the 
 Museum. One of the Shepherds is from the same model as one of the beggars in 
 No. 273. 
 
 Huvert, line, 16.8x20.6, at Calco. Nacional. P. F. Feillet, litho.,in Col. 
 Lilo. J. Laurent, photograph, No. 7. 
 
 122. Adoration of Shepherds. Hermitage, St. Petersburg, 
 
 363. On the extreme left the Child lies naked on a crib ; the Virgin, 
 at his feet, holds up the linen that covers him ; behind her, in the cen- 
 tre of the composition, stands St. Joseph with his right hand on his 
 breast ; in the foreground is a kneeling shepherd, whose left hand 
 nearly touches a lamb that lies before him j behind and beyond him is 
 
1 66 
 
 MURILLO. 
 
 an old woman with her hands crossed on her breast; behind the 
 woman, on the right, are two shepherds, one of them with a staff; 
 above the Child's head the heads of an ox and an ass are seen. 
 Seven figures. First manner. 1.96X1.47. 
 
 From the Houghton Gallery. Appraised by West and Cipriani at ^"600. 
 
 Val. Green, mezzo., 1 7.8 X 13.9, 1 775, in the Houghton Gallery, vol. i. plate 24. 
 
 123. Adoration of Shepherds. Sir Richard Wallace, 
 Bart., London. In the centre, on a square crib, of which the corner 
 is seen in front, lies the naked Child with his head towards the Virgin, 
 who kneels, holding the linen with both hands; behind and above 
 her St. Joseph bends forward with a staff in one hand, the other is 
 extended towards the Child ; opposite to them a shepherd kneels, 
 with clasped hands ; another stands, leaning on a staff ; and a third, in 
 the foreground, kneels, with his hand on the back of a sheep which 
 lies with its legs tied ; a woman comes forward on the right, with a 
 basket of doves; in the corner is the head of a dog; two cherubs 
 above. 58X85 inches. 
 
 From the Boursault collection, which was purchased in 1839 by Mr. Artaria 
 for Edmund Higginson. Sold in Saltmarshe sale, June 4, 1846, for ^3,018 15^., 
 to the Marquis of Hertford. Manchester Exhibition, 1857. 
 
 This is probably one of the pictures brought by Mr. Irvine from the Capuchin 
 Convent at Genoa. See No. 13. It was valued at ^800, and was retained by Mr. 
 Champernowne, who exhibited it at the British Institution in 1819. The Champer- 
 nowne Collection was sold in 1820. 
 
 124. Adoration of Shepherds. Hermitage, St. Peters- 
 burg, 364. Probably a sketch for the above. .43X.61. 
 
 Purchased in 1834, at Cadiz, by M. de Gessler, Consul-General to Spain. 
 
 124a. Dr. De Mey. Adoration of of whom kneels, with his hands crossed 
 
 Shepherds. Exhibited at Leeds, 1868. on his breast in adoration; another, also 
 
 124b. M. Dupille sale, by Remy, kneeling, offers a lamb which lies at his 
 
 Paris, 1780. Adoration of Shepherds, side ; a third bends forward with respect; 
 
 5°X73 inches. a woman bringing two doves leads 
 
 124c. Bonnemaison sale, April 25, forward a young girl ; angels above. 
 
 1827. The Virgin, kneeling at the foot 54X78 inches. 20,800 francs, 
 of a crib on which the Child lies on a I24d. Aguado sale, 1843, No. 75. 
 
 little straw, raises the linen and shows Adoration of Shepherds. Eight figures, 
 
 him to St. Joseph and the shepherds, one Style of Ribera. .32X.40. 690 francs. 
 
FLIGHT INTO EGYPT. 
 
 124c Aguado sale. No. 79. Adora- 
 tion of Shepherds. Thirteen figures, 
 including cherubs. .60X.44- I >7°5 f 
 
 I24f. W. Buchanan sale, 1846. 
 Adoration of Shepherds. ^252. The 
 auctioneer said 2,000 guineas had been 
 offered for this picture and refused. 
 
 i24g. Gen. John Meade sale, 1847. 
 Adoration of Shepherds. £*] ijs. 6d., 
 to Sudlow. 
 
 124I1. J. W. Brett sale, April 18, 
 1864, at Christie's. Adoration of Shep- 
 herds. £11, to Sir J. C. 
 
 124L Marquis de Saint Clou sale, 
 April 11 and 12, 1864. Feral, expert. 
 Adoration of Shepherds. 720 francs. 
 
 124k. Adoration of Shepherds. "From 
 Brackenbury collection." Sold at 
 Christie's, June 3, 1871. ^32 iu.,toEv- 
 erard. 
 
 125. Adoration of Kings. Duke of Rutland, Belvoir Castle, 
 Leicestershire. The Virgin, nearly full length, standing on our right, 
 holds the Child on a box which is supported on trestles; St. Joseph 
 stands behind her; in the centre foreground kneels one of the kings, 
 whose yellow mantle is held by two pages ; beyond is another in 
 white robes, holding vases ; on his right is a third in white turban, and 
 two children. Eleven figures, life-size. An early work. About 6X5 
 feet. 
 
 125a. Dulwich Gallery, 312. Ador- 
 ation of Kings. The Virgin, seated, 
 holds the Child on her lap, fully draped ; 
 before her are two kings bearing vases ; 
 behind her stands St. Joseph. 13X10 
 inches. Formerly attributed to Murillo, 
 but now to the School of Murillo. 
 
 125b. Viscount Stratford de Red- 
 clyffe sale, June 29, 1878. Adoration of 
 the Magi. 
 
 125c. Church of Sta Maria, Medi- 
 na del Rioseco. Nativity. A large 
 oblong picture, possibly by Tobar. Dirty, 
 and badly placed. Ford, Handbook, 559. 
 Ponz, xii. 122. 
 
 i25d. Comte Romre. Nativity; 
 small. Brussels Exhibition, 1873. 
 
 I25e. Sale, March 14, 1791. Nativ- 
 ity. Purchased from a convent in Spain 
 by Mr. Strubing. ^"418 19^. 
 
 I25f. Sale, April 13, 1813, by Mr. 
 Hermon. Nativity. A grand compo- 
 sition with figures rather smaller than 
 life. iar. Also Presentation in 
 
 the Temple. Companion to the above. 
 17*. 
 
 I25g. Sale, June 3, 1815. Nativity. 
 £67 4s. 
 
 125I1. Chevalier Sebastian Erard 
 
 sale, London, 1833. The Virgin, kneel- 
 ing in the stable, holds the Child in her 
 arms ; St. Joseph advances from the rear 
 with a lantern ; three angels above the 
 Child, and a fourth above the landscape. 
 77X44 inches. ^158 11 s. 
 
 1251. Louis Philippe sale, 1853, No. 
 165 (150). Nativity. .59X.80. ^21. 
 (Drax). Stirling, iii. 1427. See also 
 No. H2kk, for another picture of this 
 subject in the same collection. 
 
 126. Flight into Egypt. Duchesse de Galliera, Paris. The 
 Virgin, mounted on an ass which walks to the right, regards tenderly 
 the Child, who lies on her lap with his head on her right arm ; St. 
 
MURILLO. 
 
 Joseph, wearing a broad-brimmed hat and a mantle, walks, assisted by 
 his staff, at the head of the ass and guides the animal by a rope; a 
 pack is bound to the saddle behind the Virgin ; a night scene. The 
 landscape discloses an arid country with a tree on the left. First 
 manner. 2. 12 X 1.66. 
 
 Painted about 1648 for the convent of La Merced Calzada, now the museum at 
 Seville. Cean Bermudez, Carta, 55, and Die. ii. 59. Ponz, ix. 107. The picture 
 was captured by Soult and sold at his sale for 51,500 francs. It is understood that 
 the Duchesse de Galliera proposes to present her choice collection of paintings to the 
 city of Paris. 
 
 Outline in Reveil Muse'e, and in Musee Religieux. 
 
 127. Flight into Egypt. Mrs. Culling- Hanbury, Bedwell 
 Park, Herts. The Virgin, seated on an ass, looks tenderly on the 
 sleeping Child whom she holds on her lap, wrapped in swaddling 
 clothes ; St. Joseph, in a brownish yellow cloak, guides the ass with 
 his right hand, holding his star! over his shoulder with the left. 
 82X64 inches. 
 
 For the history of this work see No. 45. Mentioned in The English Con- 
 noisseur, 1766, vol. i. p. 14. British Institution, 1821, 1845, 1862. Manchester 
 Exhibition, 1857. Royal Academy, 1871. 
 
 128. Flight into Egypt. Pesth Gallery, Hungary, 692. 
 
 The Virgin, seated on an ass which walks to our right, regards ten- 
 derly the Child who sits on her left hand, his breast supported by her 
 right hand ; St. Joseph, with a wallet on his back, walks beside the 
 ass on the left, clasping his cloak to his breast with his left hand, and 
 bearing a staff in his right ; above are two cherubs on the right. The 
 background is a broken landscape with a tree on the left. Half life- 
 size. First manner. 
 
 Formerly in the gallery of Prince Esterhazy, at Vienna. 
 
 C. Rauscher, etch., in Landes Gemalde Galerie in Budapest. 
 
 129. Flight into Egypt. Hermitage, St. Petersburg, 368. 
 
 A repetition of the above, with slight differences. The Child is in a 
 reclining position, with his head on the arm of the Virgin ; the cherubs 
 are on the left, instead of on the right, above, and the canvas is nar- 
 rower. .99X.61. 
 
REPOSE IN EGYPT. 
 
 169 
 
 From the Houghton collection. Appraised by West and Cipriani at £300. 
 SPILLSBURY, mezzo., 11.5x7, in the Houghton Gallery, London, 1788, vol. i. 
 plate 45. 
 
 i2ga. Sedelmeyer sale, Vienna, i2gc. Earl of Mulgrave sale, April 
 
 December 20, 1872. The Virgin, wear- 7, 1838, at Christie's. The Flight, 
 
 ing a broad-brimmed hat, white robe, with a choir of angels in a grand land- 
 
 and blue mantle, with a staff in her right scape. ^42. There was another Earl 
 
 hand, holds one hand of the Child, who of Mulgrave sale, May 12, 1832. 
 
 extends his other hand towards St. Jo- i2gd. Sir J. M, Brackenbury sale, 
 
 seph; behind is a troop of five maidens 1848. The Flight. Companion to 
 
 in white; all walk to the left. .50X.64. Christ and his Disciples walking to 
 
 8,600 francs. Emmaus. These pictures were sold for 
 
 E. Boilvin, etch., 3.8x5, in the Sedel- ^5 10s. each to Sir E. B. 
 
 meyer sale catalogue. 129c Marquis Du Blaisel sale, 
 
 129b. Sale, April 13, 1813, by Her- May 17, 1872. The Flight. On cop- 
 
 mon. The Flight. Nearly life size. ^63. per. £6 6s. 
 
 130. Repose in Egypt. Hermitage, St. Petersburg, 367. 
 
 The Virgin, seated before a tree in the centre, watches the Child, who 
 sleeps on a rock by her side ; St. Joseph stands on the right, holding 
 the bridle of the ass ; beside the Virgin, on the left, stand two cherubs ; 
 in the foreground, on the right, are a bottle, a pack, and a broad- 
 brimmed hat. Landscape background. 1.36X1.79. 
 
 Gaignat sate, 1768, by Remy, 17,535 liv. In the Munich Gallery is a similar 
 picture by Tobar, which has been lithographed by Piloty. 
 
 J. Walker, mezzo., 18x23, inscribed in Russian and English. Sanders, 
 outline in Description de V Hermitage, 2 vols. 4to, 1805. 
 
 131. Repose in Egypt. Earl of Northbrook, London. A 
 
 repetition of the above. About 38X48 inches. 
 
 From T. Baring. This is believed to be the picture sold in the Lucien Bona- 
 parte sale, May 14, 1816, for £&o. Mentioned in Buchanan, Memoirs, ii. 281. 
 Ghigi, etch., in Galerie de Lucien Bonaparte, London, 1812, plate No. 109. 
 
 132. Repose in Egypt. Sir Philip Miles, Bart., Leigh 
 
 Court, Somerset. A repetition of the above. 50X67 inches. 
 
 Exhibited at the British Institution, London, 1821. 
 
 John Young, etch., in the Miles Gallery Catalogue, plate No. 12. 
 
 133. Repose in Egypt. Glasgow Museum. A repetition of 
 the above. 37^2X48^ inches. 
 
 Presented in 1855 by A. McClellan, the founder of the Museum. 
 22 
 
170 
 
 MURILLO. 
 
 134. Repose in Egypt. Earl of Strafford, Wrotham Park, 
 Middlesex. The Virgin, seated in the centre, adores the Child, who 
 looks up to her from her lap ; on the left, St. Joseph, holding the ass, 
 is also adoring ; on the ground, between the Virgin and St. Joseph, 
 are a gourd bottle, a straw hat, and a bundle ; on the right are two 
 cherubs in adoration ; three cherubs above, one of whom is hanging a 
 curtain between two trees as a screen ; mountains in the background. 
 68x63 inches. 
 
 Mentioned by Waagen, iv. 320. Exhibited at the British Institution, 1857. 
 
 [Buchanan mentions a Repose, with angels, from the Capuchin convent at 
 Genoa, sold to Walsh Porter for ^800. See ante No. 13. At Walsh Porter 
 sale, April 14, 1810, was a Repose: two angels approaching with linen ; St. Jo- 
 seph with the ass in the foreground ; a group of young angels above bear up drapery 
 which is attached to a branch of a tree and forms a shelter for the principal figures ; 
 a mountainous distance. From the Capuchin convent, Genoa. ^'1,000. It was 
 sold again April 13, 1813, for ^590. Perhaps the same picture is referred to by 
 Davies (Murillo, p. xc.) as having been sold "a few days ago" at C. Johnson 
 sale, to Mr. Byng. A Repose was exhibited at the British Institution, 1816 and 
 1840, by G. Byng, perhaps an ancestor or relative of the Earl of Strafford. Do 
 these notes refer to the picture above described?] 
 
 134a. Carmelitas Descalzos, Mad- 134c. G. J. Cholmondely sale, 1831. 
 
 rid. Un Descanso de nuestra Senora. The Riposo. ^59 I'js. 
 
 A small sketch, which seems to be by i34d. Sir J. M. Brackenbury sale, 
 
 Murillo. Ponz, v. 252. Cean, Die. ii. 63. May 26, 1848. Repose; a sketch, £6 10s. 
 
 134b. D. Joaquin Saenz y Saenz. Again in Auldjo sale, July 14, 1859, 
 
 Repose of the Virgin, Child, St. Joseph, £$ 10s. Sir J. M. Brackenbury exhib- 
 
 and St. Joachim. From the Prince of ited a Holy Family at the British Institu- 
 
 the Peace. Tubino, Murillo, 183. tion, 1835. 
 
 135. Holy Family. National Gallery, London, 13. The 
 
 Child Jesus, standing on a pedestal in the centre, gives one hand to 
 
 the Virgin, who is seated on his right, the other to St. Joseph, who 
 
 kneels on his left holding lilies ; the Father and the Dove are seen 
 
 above, with three cherubs on each side. 114X82 inches. 
 
 " In the house of the Marques del Pedroso is a large picture of about six varas, 
 with Jesus, Mary, and Joseph ; and above, the Eternal Father and the Holy Spirit 
 with a glory; an admirable work." Palomino, iii. 422. "At the same time [i. e., 
 when he was at Cadiz, shortly before his death] he painted the celebrated picture of 
 Jesus, Mary, and Joseph of which Palomino speaks, and which is now in the house 
 of the Marques del Pedroso, in Seville. It is four varas high and three wide, and 
 was appraised in Cadiz, February 22, 1708, at 800 dollars, when it formed part of 
 
HOLY FAMILY. 
 
 I/I 
 
 the succession of the Marques D. Carlos Francisco Colarte." Cean Bermudez, Die. 
 ii. 57. Mr. Buchanan says he employed Mr. Campbell to go out to Cadiz during the 
 war in Spain [about 1810] for the purpose of acquiring some fine pictures by 
 Murillo which were at Seville, one of which, a picture of the Virgin, the Infant 
 Saviour, and St. Joseph, Mr. Campbell obtained through a relative of his in that 
 country. This capital picture was in the possession of T. B. H. Owen, Esq. 
 Memoirs, ii. 202. The painting was purchased from Mr. Owen in 1837 with 
 Rubens' Brazen Serpent for ,£7,350 for the National Gallery. Cean Bermudez 
 (Die. iv. 278) mentions an old copy formerly considered an original, belonging to 
 D. Francisco de Bruna, at Seville, painted by Josef de Rubira, one of the most skill- 
 ful of the copyists of Murillo. 
 
 In 1846 some clergymen of the Church of England requested the Trustees of 
 the National Gallery to receive a deputation for the purpose of stating their objections 
 to the representation of the Eternal Father in some of the pictures of the gallery, 
 but the trustees declined to listen to them. A petition was then prepared for pres- 
 entation to the House of Commons praying that certain pictures might be removed 
 as being " blasphemous and insulting to our holy religion, and direct breaches of 
 the second commandment." The petition was transmitted to a large number of the 
 clergy for signatures, accompanied by a wood-cut of this picture. See Edinburgh 
 Review, No. 173, p. 208. Art Union, August, 1846. 
 
 Bridoux, line, 22. 7X 16.3, 1851. There are : I. Eprenves de remargue, with 
 white lilies in the branch held by Joseph, fifty copies. II. Artist's proofs, one hun- 
 dred copies. III. With artists' names only, one hundred copies. IV. With out- 
 line letters, fifty copies. V. With open letters. VI. With finished letters. John 
 C. McRae, line, 24 X 18, New- York, the Father omitted. Marin Lavigne, litho., 
 20x15. W. Franquinet, litho., about 25x17. 
 
 135a. Marquis de Forbin Janson 135b. A highly finished sketch of the 
 
 sale, 1842. A finished sketch of the above was purchased from D. Francisco 
 
 above. 2,020 francs. The same in de la Barrera Enguidanos, and afterwards 
 
 Benjamin Delessert sale, 1869, 10,000 sold by D. Julian Williams to some 
 
 francs. English collector. Stirling, iii. 1425. 
 
 136. Holy Family, or The Trinity. Martin Colnaghi, Esq., 
 
 London. In the centre the youthful Saviour gives his right hand to 
 
 the Virgin, and his left to St. Joseph, who holds lilies ; all are heavily 
 
 draped, and stand on a tesselated pavement ; above the head of the 
 
 Saviour are seen the Father and the Dove ; above the Virgin is a 
 
 female figure adoring ; above St. Joseph an angel ; many cherubs and 
 
 heads in the clouds. Landscape background. 2.22X1.42 centimetres. 
 
 Standish sale, 1853, No. 118. La Trinitc. £89 5.$-. Praised by Sir E. Head, 
 who saw it in the possession of Don Julian Williams at Seville. Handbook, 163. 
 " Interesting as a specimen of the early style in which Murillo painted before he 
 went to Madrid, and the influence of his first master, Juan del Castillo, can be 
 traced." Stirling, iii. 1424. 
 
1/2 
 
 M U R I L L O . 
 
 Hermann Eichens, litho., 20.4 X 15, inscribed La Ste Famiglia. Prat, litho., 
 11X8. 
 
 137. Holy Family. Museo del Prado, 854. St. Joseph, 
 seated in a chamber, supports the Infant Jesus, who stands at his 
 right holding a goldfinch, with which he amuses a dog seated on the 
 floor before him ; the Virgin, on our left, observes them while she 
 winds yarn from a reel. Second manner. 1.44X1.88. 
 
 Called Sacra Familia del Fajarito, from the bird, or del Perrito, from the dog. 
 From San Ildefonso. It was taken to Paris by the French, where it was some- 
 what injured by cleaning and repainting, especially the dog and the face of the 
 Virgin. The canvas has been cut down at the top and sides. 
 
 J. A. S. Carmona, line, 12.8x15.3, at Calco. Nacional. B. Gallart, line, 
 7.6x10.7, Madrid. B. Maura, etch., at Calco. Nacional. Luis Zoellner, litho., 
 in Col. Lilo.. A. Lemoine, litho., in Joyas Pint. J. Vallejo, litho., 12.5x14.9. 
 Outline in Reveil Musee, and in Musee Religieux. 
 
 There is, in the National Library, at Madrid, a very scarce line engraving by 
 M. S. Carmona, of St. Joseph and the Child, The figures are similar to those in 
 the above picture, but the Virgin is omitted, and her place is occupied by a carpen- 
 ter's bench, plane, and saw. 
 
 138. Holy Family. Hermitage, 369. St. Joseph stands facing the 
 spectator, with the Infant Jesus in his arms ; the Child stretches both 
 arms towards his Mother, who, seated on the left on a chair which is not 
 seen, extends her arms to receive him ; a long piece of linen is in her 
 lap, the end of which falls into a basket at her right ; beyond the Vir- 
 gin is a curtain partly filling an arch ; behind St. Joseph an arch and 
 two carpenter's benches with a saw leaning against one of them ; in 
 front is a straw basket of tools ; a chair is seen between the Virgin and 
 St. Joseph. .23X.18. 
 
 Due de Tallard sale, 1776, No. 128, 802 liv., to M. de Thiers. "C'est le 
 plus joli morceau du monde; il est vigoureux de couleur et tout esprit. Quand il 
 sera remis en estat, et cela ne sera pas difficile, on m'en dira des nouvelles. On a 
 cru que la planche sur laquelle il estoit peint estoit fendue, et on ne s'est apercu 
 qu'il est peint sur une feuille de papier ; ainsi la pretendue dommage ne porte que 
 sur la planche ou il est colle." Mariette, P. J. Abecedario, iv. 24. Paris, 1857, 6 
 vols. 8vo. 
 
 This picture did not form part of the Crozat collection, which was purchased in 
 1 771 by the Empress Catherine II. , for 460,000 liv., as it was not acquired by M. 
 Crozat at the Due de Tallard sale until 1 776. 
 
 J. B. Tilliard, line, 9.3x7.2, reversed. "A Monsieur Crozat, Baron de 
 Thiers. Grave d'apres le tableau original de Morillos haute de 8 pouces 9 lignes sur 
 6 pouces 8 lignes de large qui est dans son cabinet." 
 
HOLY FAMILY. 
 
 173 
 
 [The famous Crozat Gallery was formed by M. Crozat, who died May 24, 
 1740, when his works of art descended to his nephew and heir, the Marquis du 
 Chatel. The Marquis died in 1 750, when the Crozat collections were divided into 
 three parts. 
 
 The first part, consisting of two hundred and forty specimens, appears to have 
 been sold in 1 75 1, in the sale of pictures, sculptures, etc., from the cabinet of the 
 late President Tugny, and that of M. Crozat. 
 
 The second part was bequeathed by the Marquis du Chatel to his younger 
 brother, Louis Antoine Crozat, Baron de Thiers, who died in 1 771 . His pictures 
 were sold the same year to the Empress of Russia, and many of them are now in 
 the Hermitage. 
 
 The third part was bequeathed by the Marquis du Chatel to his daughter, 
 Louise Honorine, who, after her father's death, married the Due de Choiseul. 
 These pictures were doubtless included in the Due de Choiseul sales, April 6, 
 1772; December 18, 1786; and December 10, 1787. 
 
 There were the following Crozat sales : 
 
 1 74 1. Description sommaire des dessins des grands maitres d' Italic, des Pays- 
 Bas et de France, du cabinet de fen M. Crozat. Avec des reflexions stir la maniere de 
 dessiner des principaux peintres. Par P. J. Mariette, 1741. 8vo. A copy of this 
 very rare sale catalogue, with prices and purchasers' names, sold at M. Reiset 
 sale, 1879, for 215 francs. 
 
 There was also published a description by Mariette of the Crozat Engraved 
 Gems, which were afterward sold to the Due d'Orleans for 67,000 francs. 
 
 1 750, December 14, etc. Statues, busts, vases, etc. 
 
 1 75 1, June. Pictures and sculptures from the cabinet of the late President 
 Tugny and that of M. Crozat. 
 
 1772, February. Engravings, vases, figures, etc., from the Cabinet of the late 
 M. Crozat, Baron de Thiers. By P. Remy. 
 
 In 1755 was printed a Catalogue des tableaux du cabinet de M. Crozat, Baron 
 de Thiers, comprising about three hundred and forty pictures, pastels, and drawings, 
 none of which were by Spanish masters, except one by Ribera. 
 
 In the sale of the library of M. Reiset, April 15, etc., 1879, No. 465 was a 
 manuscript inventory, made about 1742, of the pictures, drawings, engravings, 
 and bronzes of the Marquis du Chatel, by Pierre Tricher, 303 pp. folio, containing 
 a description of about four hundred and fifty pictures, with their provenance, cost, 
 and valuation. This important manuscript sold for 2,900 francs to M. Gaucher. 
 
 139. Holy Family. Rev. Thomas Staniforth, Storrs Hall, 
 Windermere, Westmoreland. St. Joseph, standing on the right, and 
 seen in profile, holds the Infant Jesus seated on his right arm ; the 
 Child stretches forth his right hand towards the Virgin, who, seated on 
 the left on a chair with square posts, extends her arms to receive him ; 
 behind St. Joseph, on the right, is an arch, carpenter's bench, and 
 
174 
 
 MURILLO. 
 
 tools ; between him and the Virgin is a basket in the background ; 
 beside the chair is a cat. 81X66 inches. 
 
 Sir Lawrence Dundas sale, by Mr. Greenwood, May 29, 1794. ^"135. Sold 
 Yt)**^ 5 ■ again, December 9, 181 1, ^"800. Mr. Staniforth's collection was formed by Mr. 
 Bolton. Waagen. 
 
 This picture was brought from Spain about 1 760, by Mr. Blackwood, of Soho 
 Square, together with a St. Francis, the Infant Jesus asleep, and St. Martin divid- 
 ing his cloak, all by Murillo. They were purchased by Sir Lawrence Dundas, 
 who placed two of them in his town house, and sent the others to Moor Park. 
 After his decease, the Earl of Ashburnham purchased the St. Francis (No. 301), 
 Mr. Agar, the Infant Jesus (No. 161), Mr. Thelluson, the Holy Family, and the 
 St. Martin came into the possession of M. Desenfans. See A descriptive catalogue 
 * * of some pictures purchased for his majesty, the late King of Poland * * by N. 
 Desenfans, London, third edition, 1802, 2 vols. 8vo. The pictures named in the 
 Desenfans catalogue were exhibited and for sale at No. 3 Berners street, but the 
 collection did not include any of the works of Velazquez or Murillo now in the Dul- 
 wich Gallery. None of the pictures above mentioned were in the sale of pictures 
 belonging to John Blackwood, by Mr. Langford, at the Great Piazza, Covent Gar- 
 den, March 19 and 20, 1760. 
 
 T. Chambers, line, 17.8x14.5, 1764, published by Boydell, from the picture 
 belonging to Sir L. Dundas. On wood in Knight, Gallery of English and For- 
 eign Portraits, vol. iv. 
 
 140. Holy Family. Metropolitan Museum of Art, New- 
 York, 182. The Virgin, seated on our right, extends her hands to 
 receive the Child ; St. Joseph stands, bending slightly towards her, 
 and holding the Infant reclining on his hands ; a white dog lies on the 
 floor at the left of the Virgin beside a basket of linen ; a curtain on 
 our left. Signed B ME Murillo f. 80X61 inches. 
 
 Purchased about 1835 from the Convent of Buena Muerte, Peru, by Joshua 
 Coit, who sold it in 1843 to Henry Brevoort, of New- York, for $1,200. It was sent 
 to London, where it was cleaned and relined, and afterwards passed into the posses- 
 sion of Mr. Brevoort's daughter, Mrs. Coolidge, whose nephew, John Jacob Astor 
 Bristed, presented it to the Museum in 1874. 
 
 141. Holy Family. Sir Philip Miles, Bart., Leigh Court, 
 Somerset. The Virgin holds with her right hand the drapery of the 
 naked Child, who lies asleep on her lap, his face front, his right hand 
 on his breast, his left on her knee ; St. Joseph stands beneath a tree on 
 the right; both look at the Child. Three-quarters length. 42X38 
 inches. 
 
HOLY FAMILY. 
 
 175 
 
 Calonne sale, by Skinner and Dyke, London, March 23, 1795, fourth day, No. 
 100, ^"535 iar. Mentioned in the catalogue of M * * * [Calonne] sale, Paris, 
 April 21, 1788. Henry Hope sale, June 27, 1816, ^320 5^. Buchanan, Memoirs, 
 i. 255. Royal Academy, 1870. 
 
 In the Henry Hope sale were two other pictures of this subject ; one sold for 
 £6%, the other for ^38 \os. 
 
 J. Heath, line, 9.1 X 7-5, in Forster, British Gallery of Engravings, London, 
 1807, fol. Etched in the Miles Gallery. 
 
 142. Holy Family. Earl of Northbrook, Stratton, Hamp- 
 shire. St. Joseph stands on our right, holding a rule and compasses ; 
 the Virgin, in violet and blue drapery, is seated on the left with the 
 Child in her arms ; at her feet is a basket of linen, and beside a 
 bench is a plane and saw ; three cherubs above ; a landscape is seen 
 through an open window. 29X23 inches. 
 
 Mentioned by Stirling, iii. 1425. Waagen, hi. 181. British Institution, 1840. 
 
 In the Lapeyriere sale, April 14, 181 7, a picture, the description of which 
 corresponds with the above, sold for 4,000 francs. 
 
 [The collections of M. Lapeyriere were sold in consequence of the demolition 
 of his hotel to give place to the street that bears his name. His gallery was formed 
 by M. Quatre-Sols Delahante, a well-known picture dealer, afterwards Commissaire- 
 Expert of the Musee Royal, who greatly aided in the formation of some of the best 
 of the London galleries. The Lapeyriere sale, April 14, 181 7, produced 31,228 
 francs. Another sale, April 19, 1825, realized 917,744 francs. 
 
 143. Holy Family. Duke of Devonshire, Chatsworth, Derby- 
 shire. St. Joseph, using an adze on a piece of wood, turns to look at 
 the Child lying in a cradle ; the Virgin, on the other side, observes 
 the Child ; four cherubs in the air. One-third life-size. 
 
 Mentioned by Waagen, iii. 351. The A thenaum, September, 1875. Exhibited 
 at the British Institution, 1837. Leeds Exhibition, 1875. 
 
 144. Holy Family. Henry G. Bohn, Esq., Twickenham, 
 Middlesex. The Virgin, on our left, and St. Joseph, on our right, hold 
 the Child by the hands, and all, with bare feet, walk front; St. Joseph 
 has a flowering staff, the end of which touches the ground ; the Child 
 inclines his head to his right, and looks up ; the Virgin points to three 
 heads in the sky. 12X9 inches. 
 
 Hon. F. Byng sale, by Christie, July 1,1871. ,£17 i"js. 
 
176 
 
 MURILLO. 
 
 145. Holy Family. Earl of Wemyss, Gosford Hall, East 
 Lothian, Perthshire. The Child, wrapped up like an Italian bambino, 
 lies asleep in the lap of the Virgin ; St. Joseph reclines, eating a crust 
 of bread. 50^x64^ inches. 
 
 Mentioned in Stirling, Annals of the Artists of Spain, iii. 1424. 
 
 146. Holy Family. Lord Heytesbury, Wiltshire. The Vir- 
 gin, with the Child in her lap, and St. Joseph standing near, is adored 
 by a kneeling prelate ; a greyhound lies asleep beneath a low arch. 
 Full length. 21X16 inches. 
 
 Stirling, iii. 1425. Purchased by the late Lord Heytesbury from a physician 
 in Lisbon, about 1825. 
 
 146a. The Virgin, young Christ, and 
 St. Joseph; or, The Virgin and Joseph 
 conducting the Infant Saviour — a picture 
 of very fine character. Purchased by 
 Mr. Wallis from the St. Jago palace; 
 brought to England in November, 1809, 
 and sold by Mr. Buchanan to Mr. Harris 
 of Bond street, for ^"2,000. Buchanan, 
 Memoirs, ii. 222, 234. 
 
 Palomino (iii. 421) describes a picture 
 which belonged to D. Jose Francisco 
 Eminente, and afterwards to D. Fran- 
 cisco Artier, representing " el glorioso 
 Patriarca San Joseph, con el nino Jesus 
 de la mano, y arriba un rompimiento 
 de gloria." Davies (Murillo, lxiii. note) 
 says the painting described by Palomino 
 was purchased from the Marques de 
 Santiago by Mr. Wallis, and sold by Mr. 
 Buchanan. Cumberland mentions " two 
 full-length pictures in the Santiago pal- 
 ace, companions in size and excellence, 
 which are superior to all the works 
 of this author in the royal collection, 
 and which no stranger of taste, who visits 
 Madrid, should fail to see ; the one, a 
 St. Joseph leading by the hand a Christ 
 of the age of eight or ten years, and 
 overhead a glory of Cherubim ; the 
 background a landscape in a grand 
 
 style, and exquisite harmony ; the other, 
 a St. Francis Xavier " [No. 308]. Anec- 
 dotes, ii. 126. The fate of the Santiago 
 picture is not known, nor is it certain 
 whether it was composed of two or 
 three figures. See No. 358 and No. 234. 
 
 146b. Carmelitas Descalzos, Car- 
 mona. St. Joseph holding the Child in 
 his arms, while the Virgin covers him 
 with linen; attributed to Murillo. Cean, 
 Die. ii. 63. 
 
 146c. Holy Family. The Infant 
 Jesus stands in the centre, robed in white, 
 with bare feet, his head surrounded by a 
 glory ; he looks up and points to a Dove 
 in the clouds above his head ; St. Joseph, 
 on our right, leaning on his staff, and 
 the Virgin, on our left, both look down, 
 kneeling; rocky landscape, with a tree 
 on our left. This picture is known only 
 through the following engravings : 
 
 Thos. Burke, mezzo., circular, 12.5 
 diam. London, 1788. Maggi, litho., 
 17X13.2, circular in a square border. 
 Gabriel, litho., 12x12.5. H. Brunet 
 et Cie., Lyon, 10X13, reversed, and 
 the Dove omitted. 
 
 Emile Lasalle, litho., Paris, 1853. 
 The head of Jesus only. A study from 
 the above. 
 
HOLY I 
 
 i46d. Holy Family. Two cherubs 
 hold a scroll inscribed Ex Egypto vocavi 
 Filium meum. Knee-piece. Spurious. 
 
 John Miller, line, 15.5 X 12. i. "Ex 
 collect: Friderici Caroli Com* Schoen- 
 born." Published by Boydell, 1773, and 
 dedicated to William Fitzherbert, Esq. 
 
 The pictures of Count Schoenborn, of 
 Pommersfelden, were sold at Paris, May 
 17, etc., 1867, but this picture did not 
 appear in the catalogue. There was 
 another sale of Comte de L * * * (Le- 
 pine), April 15, 1868, of pictures not dis- 
 posed of in the above sale. Haro, expert. 
 
 146c Copenhagen Museum. Jesus 
 learning to read. 20X 16 inches. 
 
 I46f. Stafford House, London. 
 Holy Family, with the globe, serpent, 
 and apple. Mentioned by Waagen, ii. 
 68. No such picture by Murillo is now 
 in Stafford House. 
 
 I46g. Jorge Diez Martinez, Valen- 
 cia. Holy Family. From the palace of 
 Rio Frio. Tubino, 186. 
 
 146I1. Sir H. Wellesley. St. Joseph 
 
 AMILY. 177 
 
 presenting the Child to the Virgin. Brit- 
 ish Institution, 1819. 
 
 i46i. Sir Lionel Hervey. Holy 
 Family and Angels ; on stone. British 
 Institution, 1823, 1835. 
 
 146k. Mrs. Myles Formby. Holy 
 Family. British Institution, 1855. 
 
 146I. H. Williams. Holy Family. 
 British Institution, 1862. 
 
 146m. Aguado sale, 1843, No. 52. 
 St. Joseph and the Virgin admire the 
 Child sleeping on a couch ; background, 
 a red curtain. 1. 00 X. 80. 1,050 francs. 
 
 i46n. Cardinal Fesch sale, 1845. 
 No. 722. Holy Family. 20X15 inches. 
 820 crowns. 
 
 i46p. King of Holland sale, 1850, 
 No. 1 1 8. St. Joseph stands with the 
 Child in his arms ; the Virgin, on the 
 left, observes him. 2.11X1.64. 4,450 
 florins. Not sold. 
 
 i46q. John Hardwicke sale, June 
 19, 1856. Holy Family, in a landscape ; 
 a sketch. From the royal palace at 
 Madrid. British Institution, 1840. 
 
 147. Holy Family and St. John. The Virgin, wearing a close- 
 fitting robe, a mantle that covers her right arm, and a scarf that falls 
 from her head over her left shoulder and arm, stands on the right, 
 raising the drapery that covers the Infant Jesus, who lies asleep on a 
 rock by his Mother's side, with his face turned front, his right hand on 
 his breast, and his left on the rock \ the Virgin's left hand rests on the 
 pillow beneath the Child's head ; on the left in front, stands St. John 
 clasping with both hands a reed cross to which is attached a parchment 
 band inscribed Ecce Agnus Dei ; beyond him stands St, Joseph with 
 both hands on his breast, the left holding the thick mantle that 
 envelopes his body ; all look at the Child. Landscape background, 
 with a great rock and a tree on the right. Three-quarters length. 
 
 A. L. Romanet, line, 13.3X14, Paris, 1797, at Calco. Nacional, Madrid, from 
 the original, 4 feet 1 inch wide, and 3 feet 10 inches high, which was in the Royal 
 Palace at Madrid. 
 
 23 
 
178 MURILLO. 
 
 Cean Bermudez ( Die. ii. 64) mentions two pictures of La Sacra Familia, 
 which were, when he wrote, in 1800, in the Royal Palace. One of them is now in 
 the Museo del Prado ; the other, doubtless the composition above described, has 
 disappeared. This last picture was admirably copied by Tobar, and Cean describes 
 it as la Virgen, S. Josef, el nino Dios, y S. Juanito. Diccionario, v. 50. 
 
 148. Holy Family and St. John. Lord Heytesbury, Wilts. 
 A repetition of the above, but reversed and circular. Diameter 45 
 inches. 
 
 Purchased from a picture dealer in Lisbon, who procured it from a convent in 
 Spain. British Institution, 1865. 
 
 149. Holy Family and St. John. Lord Overstone, London. 
 
 A repetition of the above, with some changes ; the Child lies on a 
 
 stone slab, and his head does not rest on a pillow; St. Joseph's hands 
 
 are joined in adoration. On wood, circular. Diameter 8^ inches. 
 
 Purchased in 1831. Mentioned by Waagen, Art Treasures of Great Britain, 
 iv. 146. 
 
 150. Holy Family and St. John. Duke of Rutland, Belvoir 
 
 Castle, Lincolnshire. On the altar in the chapel of the castle. The 
 
 Virgin, seated on our left, holds the Child, who is embraced by the 
 
 little St. John standing on the ground before them ; the figure of St. 
 
 Joseph, standing in the centre behind the group, gives a pyramidal 
 
 form to the composition ; on the right is a lamb ; landscape and sky 
 
 in the background. A grand altar-piece. Life-size. 
 
 Brought to England, about 1729, by Colonel William Stanhope, afterwards 
 Lord Harrington, on returning from his embassy to Spain. Mentioned by Davies, 
 Murillo, xci. Considered by Dr. Waagen one of the finest Murillos in all Eng- 
 land. Art Treasures, iii. 402. 
 
 151. Holy Family and St. John. Pesth Gallery, 687. The 
 
 Virgin is seated, sewing, before some buildings on the left j with her 
 needle raised, she suspends her work to observe the Infant Christ and 
 St. John, who are seated in front with a reed cross ; St. Joseph, hold- 
 ing compasses, stands at the carpenter's bench on the right ; behind 
 him is a landscape ; in front lies a saw. Half life-size. 
 
 From the Esterhazy Gallery. A copy was probably in the Aguado sale, No. 
 59. .29X.23. 350 francs. 
 
 Rauscher, etch., in Landes Gemalde Galerie in Buda-Pest. 
 
HOLY FAMILY AND ST. JOHN. 
 
 179 
 
 152. Holy Family and St. John. Sir Richard Wallace, 
 Bart., London. The Virgin, seated on the left, supports the Child, 
 who stands on the ground before her, and, who turning, offers her a 
 scroll, which is also held by the little St. John, kneeling ; St. Joseph 
 stands on the right with an open book, which rests on a rock. Land- 
 scape background. Full-length, life-size. 
 
 Perhaps this may be the picture sold at W. Hope sale, June 15, 1849, ^819. 
 Exhibited at Manchester, 1857. 
 
 Caldesi, photo., in Manchester Art Treasures. 
 
 153. Holy Family and St. John. Edmund Foster, Esq., 
 Clewer Manor, Berks. A repetition of the above. 46X43^ inches. 
 
 Exhibited by Admiral Eliab Harvey at the British Institution, 18 19. It after- 
 wards belonged successively to Lord Nugent and to Sir William Eustace, from 
 whom Mr. Foster purchased it. It was not sold in the Clewer Manor sale, 1876. 
 
 154. Holy Family and St. John. Marquis of Lansdowne, 
 London. The Child stands on the lap of the Virgin, with his right 
 foot in her right hand, and his arms around her neck; both look at 
 St. John, who stands on the left, holding a cross and scroll ; his right 
 hand resting on the rock before him ; St. Joseph stands in shadow on 
 our right ; landscape background. Full length. Octagon, on copper. 
 13X13 inches. 
 
 On the back is a paper certifying that this picture was presented, in 1809, by 
 Jovellanos, to Lord Holland. British Institution, 1821. Praised by Davies, Murillo, 
 62, note. 
 
 154a. "About 1668 he painted the fa- 
 mous picture, del descanso de la Virgen 
 en el viage a Egypto con el Nino, San 
 Josef y San Juanito, with figures the size 
 of life, which is in the sacristy of the 
 chapel of the Antigua in the Cathedral ; 
 executed, with great boldness, after the 
 first style of the pictures in the small 
 cloister of the convent of San Francisco. 
 It is supposed he painted in that manner 
 to please the Mayordomo of the fabric at 
 that time." Cean Bermudez, Carta 73, and 
 Descripcion de la Catedral, 89. The picture 
 is described by G. de Leon (ii. 92, as " La 
 
 Sma. Virgen con el Nino en los brazos. 
 S. Jose y el Bautista Nino arrodillado 
 presentandole a Jesus el Ecce Agnus 
 Dei." Stirling (Annals, ii. 852) incor- 
 rectly describes this work as being two 
 pictures — the Infant Christ and St. John, 
 and the Repose of the Virgin. 
 
 154b. Sir Lawrence Dundas sale, 
 by Mr. Greenwood, May 29, 1794. 
 Holy Family and St. John. Four half- 
 length figures. 31X37 inches. ^42. 
 The same at a sale, February 27, 1802, 
 from Dundas and Fonthill collections. 
 £99 1 5*- 
 
i8o 
 
 MURILLO. 
 
 154c. Baron M. de Faviers sale, 
 1837, No. 1. Holy Family and St. John. 
 Four figures, nearly life-size. 62X48 
 inches. Painted about 1665. 20,000 
 francs, to Durand-Duclos. 
 
 i54d. Baron M. de Faviers sale, 
 No. 16. Holy Family. The Virgin 
 
 watching the sleep of the Infant 
 Jesus, whom she is about to cover with 
 linen drapery ; St. Joseph and St. John 
 observe the Child with veneration. From 
 a palace near the Hospital of Charity, at 
 Seville. Circular, .43 in. diam. 4,605 f., 
 to JBillaudel. 
 
 155. Virgin, Child, and St. John. Sir William Stirling- 
 Maxwell, Bart., Keir, Perthshire. La Serrana. The Virgin, 
 seated on a bench, holds, with both hands, the Child seated on her 
 lap, and pointing to her with his left hand ; St. John stands on the 
 ground at her feet, with a bird in his right hand, and a reed cross in 
 his left ; the Child is wrapped in a white cloth with green and red 
 border and fringe like the Moorish stuffs still worn by the peasants in 
 Spain; background, architecture. 64X44 inches. 
 
 An altar-piece, purchased, in 1838, by J. M. Escazena, from the convent of 
 Madre de Dios, Seville, where Murillo's daughter Francisca took the veil. Exhib- 
 ited at Manchester, 1857. Tubino, 182. Waagen, iv. 449. Stirling, iii. 1423. 
 
 [The collection of Senor Escazena was once the largest in Spain, and con- 
 tained, according to Count Raczynski, 3,000 pictures. Les Arts en Portugal, 490.] 
 
 155a. Earl of Bessborough sale, 155b. Sir J. M. Brackenbury sale, 
 
 London, February 5, 1801. The Virgin at Christie's, May 26, 1848. The Virgin 
 
 with the Child and St. John. Sold for and the Saviour attended by St. John. 
 
 ^43 is. £ 100 to Stirling. 
 
 156. Virgin, Child, St. John, and St. Elizabeth. La Vierge 
 de Seville. Louvre, Paris, 543. The Virgin, seated on a hillock, holds 
 the Infant Saviour standing in her lap ; the Child receives a reed cross 
 from St. John, who stands on the ground ; St. Elizabeth, kneeling on 
 the right, supports St. John ; the Father and the Dove are seen above, 
 surrounded by seven cherubs ; a lamb lies in the foreground. Signed 
 Bartholom. de Murillo F. Hispan. 2.40X1.90. 
 
 Painted probably about 1670. Purchased by Louis XVI. Valued in the inven- 
 tory made 1816 at 60,000 francs. 
 
 Boilly, mezzo., 13.2X9.6. Allais, mezzo., 20X15.2. Lithographs by 
 Weber, 11.3x7.6. A. Lemoine, 13.5x10.5. Blot, 8.9x6.7. Kramp, 21. 5X 
 
 l6. LAUJOL, II.3X8.3. A. BRY, I7.6XI4.2. H. ROBILLARD, I7.8XI4.5. 
 
 Llanta, 7.2x5.9. A. Maurin, 14x11. Maggi, 15.2x11.4. Maggi, 10.9X 
 
THE INFANT JESUS ASLEEP. 
 
 181 
 
 8.4. Ch. Vallet, 14X10. Lafosse, 14X9.6. Geoffroy, 12x9. On wood in 
 Blanc, Peintres. Variations or studies by Rouarque, Regnier, Lemercier, 
 L. Maurin, Ricaud, Joannes, Prat, Lafosse, Llanta. 
 
 156a. W. Y. Ottley sale, May 25, 
 181 1. Virgin, Child, and St. Anne. A 
 picture cut from its straining frame with 
 a sabre, and rolled up. Soon after the 
 British gained possession of Cadiz, it was 
 brought to England by a gentleman in 
 the British service. Evidently an altar- 
 piece. ^399. 
 
 156b. Sir M. W. Ridley exhibited at 
 the British Institution, in 1832, The Pres- 
 entation in the Temple, with the portrait 
 of Murillo in the foreground. 
 
 156c. Presentation and Circumcision 
 of the Nino in the Temple. Formerly 
 in the church of St. Martin, Seville, and 
 sold to D. Juan Arrambide. G. de Leon, i. 
 107, 258 ; ii. 400. 
 
 I56d. J. M. Escazena, Seville. The 
 Virgin, and St. John the Evangelist. 
 Busts, life-size, as if standing at the foot 
 of the cross. 32X31 inches. Supposed 
 to be the picture formerly in S. M. la 
 Blanca. Stirling, iii. 1420. Tubino, 
 182. See No. 227c. 
 
 157. The Infant Jesus Asleep. Earl Howe, London. The 
 naked Child lies asleep on his right side, his face and body front, on 
 a drapery spread over a hillock which elevates the upper part of his 
 body ; beneath his head, and behind his body is a cross, on the upper 
 part of which his head rests ; his right arm is on a skull by his side, 
 his left is on the drapery that covers his left hip ; his left foot is planted 
 on the ground behind his right; in the sky, above the Child, two 
 cherubs observe the sleeper, one with his hands joined in adoration, 
 the other with his right hand raised ; a hilly landscape and sky on the 
 right. 
 
 Exhibited at the British Institution in 1824 and in 1858. This is doubtless the 
 picture mentioned in the English Connoisseur, i. 36, as being, in 1 766, in the posses- 
 sion of Charles Jennens. This gentleman, dying in 1773, left his possessions, by 
 will, to the father of the first Earl Howe. He was a cousin of William Jennens, 
 whose vast estates have from time to time been the object of such anxious longings 
 to every man and woman in the two hemispheres who could trace a pedigree back 
 to an ancestor bearing the happy name of Jennens or Jennings. The estates of 
 William Jennens also passed by succession to the family of Earl Howe, by whom 
 they are now held. 
 
 A picture similar to the above, about 20X16 inches, is in the Dyce collection, 
 No. 41, in the South Kensington Museum, London. 
 
 A drawing in red chalk, washed with bistre and heightened with white, . 17X. 13 
 centimetres, was in the Standish collection, No. 427. 
 
 M. S. Carmona, line, 7X5, 1806, scarce, after a picture similar to the above. 
 Sir W. Stirling- Maxwell incorrectly says the original of this engraving is the 
 picture in the Museo del Prado. See No. 159. 
 
182 
 
 MURILLO. 
 
 158. The Infant Jesus Asleep. Earl of Clarendon, Lon- 
 don. A repetition of No. 157, with differences. Only the upper part 
 of the cross is seen, the landscape is different, there are no cherubs, 
 and the canvas is oblong. 19X28^2 inches. 
 
 Purchased by the late Earl of Clarendon when he was Minister to Spain, 
 I833-39- 
 
 159. The Infant Jesus Asleep. Museo del Prado, 886. 
 
 The Infant Jesus, entirely naked, lies on his left side asleep on a cross, 
 his head to the right ; his left hand is on his breast, his right on a 
 skull which is behind him ; beneath him is a red drapery. Second 
 manner. .63X.88. 
 
 Purchased by the King Carlos III., from the Quelly collection. 
 
 Photographed by J. Laurent, Madrid, No. 181. 
 
 160. The Infant Jesus Asleep. D. Jose Morales y Gu- 
 tierrez, Seville. A repetition of the above, with the addition of a bit 
 of red drapery which is made to pass between the Child's limbs. 24 
 X33 inches. 
 
 161. The Infant Jesus Asleep. Duke of Westminster, 
 Grosvenor House, London. The Child lies on his right side on 
 a couch extended across the canvas, naked, except for a piece of linen 
 that covers his middle ; beneath his head is a pillow ; his right arm is 
 extended forward, his left on his side ; a red curtain is looped above 
 his head. 20X37 inches. 
 
 Brought from Spain about 1 760, by Mr. Blackwood. It passed into the posses- 
 sion of Sir Lawrence Dundas, and at his sale, May 20, 1794, was sold as a 
 Sleeping Child, for £68, to Ellis Agar, from whom it was purchased in 1806. See 
 No. 139. It is identical with a picture attributed to Antolinez, No. 397, in the 
 gallery of the Hermitage. 
 
 Etched by John Young in the Grosvenor Gallery, No. 52. 
 
 162. The Infant Jesus Asleep. Earl of Normanton, Som- 
 erby, Hampshire. The Child lies asleep on a white cloth. 
 
 Praised by Dr. Waagen, Treasures of Art in Great Britain, iv. 369. 
 
 163. The Infant Jesus Asleep. Earl of Roseberry (?) El 
 Suefw. The Child lies on his right side on a cross which is on a mar- 
 
THE INFANT JESUS ASLEEP. 
 
 183 
 
 ble slab ; his head is on a pillow, his left arm on a skull, a drapery 
 covers his middle ; at his feet is a cherub, who places his finger on his 
 lips, enjoining silence ; two cherubs above cover the Infant with dra- 
 pery. 40^X49 inches. 
 
 Exhibited at the Royal Academy, 1877, by Miss Hannah de Rothschild, now 
 Countess of Roseberry. Purchased in Cadiz, about 1876, from Don Ruiz Blasco. 
 
 In the Salamanca sale, 1867, No. 225, a picture which was perhaps a repeti- 
 tion of the above, attributed to the School of Murillo, 1.04X 1.16; from the gallery 
 of Monroy Cordova, sold for 2,300 francs. 
 
 163a. Cathedral, Seville, Sacristia 
 de las Calices. Un nino dormido. G. 
 de Leon, ii. 97. Doubtful; it is not 
 mentioned by Ponz or Cean. 
 
 163b. Mrs. John Abel Smith, Dale 
 Park, Sussex. The Infant Jesus lies 
 asleep on a cushion with the cross. 16 X 
 22 inches. Inherited by the Duchess of 
 San Fernando from her father Don Luis 
 de Borbon, and sold by her to D. Jose 
 de Salamanca, who presented it, in 1845, 
 to Mrs. Smith. Stirling, iii. 1428. Un 
 Nino Dios was formerly in the Real 
 Casa de Boadilla belonging to the Infant 
 D. Luis de Borbon. Ponz, vi. 165. 
 
 163c. Comte Czernin, Vienna. The 
 Infant Jesus on a cross. 
 
 163d. Duque de Uceda, Madrid. 
 The Infant Jesus asleep on a cross. Su- 
 perb. O'Shea, Spain, 302. 
 
 163c W. Buchanan. Catalogue of 
 a private sale, March 5, 1815, of pictures 
 purchased in Spain in 1809-10. The 
 Infant Saviour asleep. From the Prince 
 of the Peace. 
 
 Captain Davies mentions an Infant 
 Jesus sleeping, with his head on a skull ; 
 very fine ; belonging to Mr. Buchanan. 
 Murillo, xci. 
 
 i63f. Dulwich Gallery, 330. The 
 Infant Jesus lies naked on his back, with 
 his legs crossed, his left hand on his hip, 
 his right on the pillow which is beneath 
 his head; a red curtain above. 22^ X 
 32^ inches. Formerly attributed to 
 
 Murillo, but now to the School of 
 Murillo. 
 
 1635. The Infant Jesus, surrounded by 
 cherubs, reposing on a cross ; from the 
 cabinet of Prince Carignan. 25X35X 
 inches. Sold at a sale [Mr. Bertels ? ] 
 at Christie's, March 4, 1 791. ^63. Sold 
 again, London, July 27, 1832. [There 
 was also a sale at Bruxelles, January 20, 
 1779, of pictures belonging to Sieur 
 Bertels.] 
 
 163I1. Sir Simon Clarke and 
 George Hibbert sale, May 14, 1802. 
 The Infant Jesus lying on a cross. ^30 
 9-r., to Harris. 
 
 1631. Altamira sale, London, June 
 2 9> x ^33- The Infant Saviour Asleep. 
 
 163k. E. Higginson (Saltmarshe) 
 sale, June 4, 1846. The Infant Jesus 
 reclining on a cloth ; from Boursault 
 collection. 23^X26^ inches. ^74 
 I is. 
 
 1631. Gen. John Meade sale, at 
 Christie's, June 26, 1847. The Infant 
 Jesus holding a reed cross. £9 gs., to 
 Norton. 
 
 163m. E. W. Lake sale, at Chris- 
 tie's, April 7, 1848. The Infant Jesus 
 sleeping ; his hand under his head rest- 
 ing on a skull, beneath which is a cross. 
 ^19 1 9j\ Exhibited at the British Insti- 
 tution, 1838. 
 
 i63n. Louis Philippe sale, 1853, 
 No. 71. Sleep of the Infant Jesus on a 
 cross. .27X. 33. £$1, to Drax. 
 
MURILLO. 
 
 164. The Infant Saviour. Hospital de la Caridad, Seville. 
 The Child stands front, on clouds, looking up ; his left hand is on a 
 globe surmounted by a cross; his right is held forth as if in benedic- 
 tion ; a bit of linen partly covers his left arm and his middle ; three 
 heads beneath his feet. 36X24 inches. 
 
 Painted about 1661, for the Hospital of La Caridad. See ante No. I. 
 Alph. Boilly, mezzo., 10.7x7.5, 1855, round top (Goupil). Frenzel, litho. 
 Berlin, 12.5x9. 
 
 165. The Infant Saviour. Earl Somers, London. A repe- 
 tition of the above picture. About 40X30 inches. 
 
 Bequeathed to Earl Somers by the third Marquis of Lansdowne. It is said to be 
 transferred from fresco to canvas. If so, it is the only known work in fresco by Murillo. 
 
 166. The Infant Saviour. George Vivian, Esq., Claverton 
 
 Manor, Somerset. The Child is seated on clouds, with a cross in his 
 
 hand, attended by three cherubs. 38X28^ inches. 
 
 Henry Hope sale, by Christie, June 27, etc., 1816. ^10 ioj-. Mentioned 
 by Stirling, hi. 1428. 
 
 166a. Hospital del Sangre, Seville, r 
 on the door of the Tabernacle. The In- 
 fant Jesus stands front on three winged 
 heads ; his right hand is on his breast ; a 
 drapery, falling from his left shoulder, 
 covers his middle. .33X.27. Probably 
 by Tobar. 
 
 Photographed by J. Laurent, Mad- 
 rid, No. 1064. 
 
 166b. Cabinet Fleury. L'Enfant 
 Jesus a l'epine. Very fine. Lejeune, 
 Guide, iii. 310. 
 
 166c. Comte d'Hautepool, Paris. 
 The Child Jesus. Praised by L. E. 
 Faucheux in Annuaire des Artistes, i860, 
 p. 161. 
 
 i66d. Comtesse d'Espagnac, Paris. 
 Jesus, about twelve years of age, kneeling 
 beside the cross and other instruments of 
 the passion. .90X.70. 
 
 i66e. D. Jose Lerdo de Tejada, 
 Seville. Two pictures of the Infant 
 Christ. Tubino, 187. Sevilla Pinto, 481. 
 
 i66f. The Saviour, about ten years of 
 
 age, stands on a platform with his hands 
 raised, looking up to the Dove. 
 
 Caravelli, line, 12X8.4. Spurious. 
 
 i66g. Sir William Hamilton sale, 
 March 27, 1801 (Christie). The Infant 
 Christ with a cross in his left hand. ^34 
 13J., to Fowler. 
 
 i66h. Lord Kinnaird sale, March 6, 
 1813 (Christie). The Infant Christ; 
 enriched with angels. £8 10s. 6d. 
 
 i66i. Aguado sale, 1843, No. 55. The 
 Infant Jesus seated, and holding the crown 
 of thorns ; a crucifix is on a table covered 
 with red cloth. .24X.19. 85 francs. 
 
 166k. Stowe (Duke of Buckingham) 
 sale, by Christie, August 15, etc., 1848, 
 24th day, No. 391. Glorification of the 
 youthful Jesus. Companion to the Im- 
 maculate Conception. ^30 9^., to Ry- 
 man. See No. 53. 
 
 166I. Lord Northwick sale, 1859, 
 No. 994. The Infant Christ holding the 
 cross. ^22 is., to J. S. W. S. Erle- 
 Drax. 
 
CHRIST, THE GOOD SHEPHERD. 
 
 167. Christ, the Good Shepherd. Baron Rothschild, Gun- 
 nersbury, near London. The Saviour, about six years of age, wear- 
 ing a sheep-skin garment, stands front, looking up ; in his right hand is a 
 crook, and at his right side a sheep lying down ; on his left are two 
 sheep standing, his hand on the head of one of them. Landscape 
 background. 65X42 inches. 
 
 This picture and its pendant, St. John, No. 322, were sold in Comte de la 
 Guiche sale, March 4, 1771, 12,999 liv. 19^. Marquis de Presle sale, Novem- 
 ber 18, 1779. Citoyen Robit sale, May 21, 1801, " Ces deux chefs-d'oeuvre etaient 
 pour 25 annees dans le cabinet Presle. lis provenaient avant cette epoque de la 
 vente faite au palais de Lassay, ou Donjeux, le premier commerciant en tableaux de 
 son temps, les avait acquis." 1. 60X1. 07. 40,650 francs. At the Robit sale they 
 were purchased by Mr. Bryan for Sir Simon Clarke and George Hibbert, and in the 
 division of the purchases at that sale they were valued to the former gentlemen at 
 ^■4,200. At Sir Simon Clarke sale, May 18, 1840, the pictures were separated ; 
 the Good Shepherd sold for ^3,045 to Baron Rothschild ; the St. John was pur- 
 chased for ^2,100 by Lord Ashburton, who ceded it to the National Gallery. A 
 copy by Tobar is in the church of San Isidoro, Seville. 
 
 British Institution, 1816, 1838, 1862. Manchester Exhibition, 1857. Royal 
 Academy, 1870. 
 
 Thomas Major, 22. 6 X 16, 1772. [This engraving is after a picture then owned 
 by Major, supposed to be the original, but afterwards ascertained to be a copy by 
 Grimoux. The copy was sold in 1773 to the Duchess of Bridgewater, for ^400, 
 and at her sale, in 1778, sold for ^500 — perhaps bought in. Dallaway, Account 0/ 
 Pictures Exhibited at the British Institution, 1813-23. An etching after this copy 
 is in the Stafford Gallery, by J. Young, 2 vols., 4to; but the picture is not engraved 
 in the Stafford Gallery, by Ottley and Tomkins, 4 vols, folio.] Cooper, line, 15.7 
 XI 1. 2. Mlle. Duclos, line, 18x14, 1806. J. Heath, line, 8.1x5.2, 1809, in 
 British Gallery of Engravings. J. C. Armytage, line, 8.6. X 6.1. G. Virtue, 
 line, 7x5.5. R. Graves, line, 20.6x14, 1863. Also by Lhuillier, Simonel, 
 Bovinet, etc. Reynolds, mezzo., 22.7x16.8. J. R. Jackson, mezzo., 18.3x13. 
 Caldesi, photo. 
 
 [The Comte de Lassay was a gay Lothario of the last century, whose love for 
 art was only surpassed by his love for the sex. Among his conquests was that dis- 
 tinguished amateur, the Comtesse de Verrue, one of the most celebrated Aspasias 
 of that age of pleasure and easy manners, who, dying in 1736, bequeathed to her 
 lover " tous les tableaux qui, lors de mon deces, se trouveront garnir le mur entier de 
 la dite galerie [sur le terrain des Carmes] oppose a la cheminee * * d'une fenetre a 
 l'autre." The pictures so described were appraised at 46,000 liv. The Comte de Las- 
 say was also a large purchaser at the sale of the Comtesse de Verrue, March 27, 
 etc., 1737. He died in 1750, and a part of his pictures were sold in the Grande 
 Salle des Marechaux in the palace of the Tuileries, May 17, 1775, out ^is sale is 
 supposed to have included only those articles which formed the succession of 
 Madame de Lassay. The greater part of his property, including pictures, passed 
 24 
 
MURILLO. 
 
 to his kinsman, the Comte de la Guiche, in whose inventory, made about 1 771, three 
 pictures by Murillo are mentioned, valued at 15,000 liv. Two of these were doubt- 
 less the Good Shepherd and St. John, which were sold in the Comte de la Guiche 
 sale. The third was probably the Flower Girl (No. 426), now in the Dulwich Gal- 
 lery. This last is known to have been in the Verrue cabinet ; perhaps the two 
 first may also have been in that collection. A note in Forster, Brit. Gal. of Engs., 
 asserts that the two pictures above named had been presented to the Marquis de 
 Lassay when he was Ambassador at Madrid. The writer has not been able to learn 
 that this Marquis de Lassay was ever in Spain. ] 
 
 168. Christ, the Good Shepherd. Earl of Wemyss, Gos- 
 ford Hall, East Lothian, Perthshire. A repetition of the above pict- 
 ure. 64X44 inches. 
 
 Mentioned by Stirling, iii. 1429, and by Waagen, iv. 438. 
 
 168a. Dulwich Gallery, 262. The sale, April 8, 1777, from Lempereur 
 Good Shepherd. A copy of No. 167, cabinet, 1,401 liv., to Remy. Beaujon 
 formerly considered an original. 17XX sale, by Remy, April 25, 1787, from 
 12 inches. It was probably in the fol- Prince de Conti, 1,299 liv. 19s. Van- 
 lowing sales: Lempereur sale, May 24, dergucht sale, March 13, 1788, from 
 etc., 1773, 1,560 liv. Prince de Conti M. Beaujon. ^49 7^. 
 
 169. Christ, the Good Shepherd. Comte Henri de Gref- 
 fuhle, Paris. The young Saviour, walking front, rests his hand on 
 the head of one of two sheep that are on his right ; on his left is 
 another sheep, running ; a crook is in his left hand. Landscape back- 
 ground, with a tree on the left, and sky on the right. .56X.41. 
 
 Presented by Queen Isabella to M. Guizot in recognition of his services in 
 bringing about the marriage of her sister to the Due de Montpensier. Sold at 
 Paris, May 11, 1874, for 120,000 francs. Alsace-Lorraine Exhibition, 1874. 
 
 Photographed by A. Braun & Co., Paris, in Alsace-Lorraine collection. 
 
 170. Christ, the Good Shepherd. Leuchtenberg Gallery, 
 
 St. Petersburg. The youthful Saviour stands front, with a crook in 
 his right hand, looking up j his left hand is on the head of a sheep 
 which stands beside him ; on his right are two sheep lying down. 27 
 X16 inches. 
 
 M. [uxel], etch., in Galerie Leuchtenberg. R. Leiter, litho., 15 X 10. 
 
 171. Christ, the Good Shepherd. Museo del Prado, 864. 
 
 The Saviour, about seven years of age, wearing a red tunic and a 
 
CHRIST, THE GOOD SHEPHERD. 
 
 I8 7 
 
 sheep-skin garment, with his feet and left leg bare, is seated, with a 
 crook in his right hand, his left on the back of a lamb ; behind him is 
 a rock, a piece of broken cornice, and a fluted column. Transition 
 from second to third style. 1.23X1.01. 
 
 From Queen Isabel Farnese collection. Murillo is supposed to have been 
 indebted for this design to an engraving of Cupid by Delia-Bella, which is to be 
 found in an edition of the Metamorphoses of Ovid. 
 
 Waltner, etch., in Gaz. B. Arts, February, 1875. J. Abrial, litho., in Col. 
 Lito. A. Lemoine, litho., in Joyas Pint. Lafosse, litho., 17x14, 1843. 
 
 172. Christ, the Good Shepherd. D. Manuel Lopez 
 
 Cepero, Seville. A repetition of the above picture. 1.05 x.77. 
 
 From the gallery of Senor Larrazabal. Offered in Lopez Cepero sale, Paris, 
 1868, but not sold. Mentioned in Sevilla Pinto. 451. 
 
 173. Christ, the Good Shepherd. Glasgow University. 
 The Child Jesus is seated before a huge rock, surrounded by sheep, 
 holding with both hands a crown of thorns. Full length, life-size. 
 
 Bequeathed to the University by Dr. William Hunter. 
 
 R. Strange, line, 11.6x14.2. "This was the last work to which I put my 
 hand as an artist." R. Strange, in Memoirs, ii. 222. G. Virtue, line, — x — . 
 Ledoux, mezzo., 9.5x12, 1856. S. Angel, mezzo., 5x6, inscribed St. John. 
 
 173a. Convento de Religiosas del Jesus Pcsteur, Paris, 1840. Mlle. J. 
 
 Angel, Granada, en la Puerta del Grandjean, litho., 13.3 X 11, the figure 
 
 Sagrario. Un Buen Pastor Nino, cosa of Christ only, three-quarters length, 
 
 maravillosa. Palomino, iii. 422. Cean copied from the above. 
 
 Bermudez, Die. ii. 63. 173c Aguado sale, No. 81. Christ 
 
 173b. El Divin Pastor. The young bearing a lamb on his shoulders; in his 
 
 Saviour is seated on a stone with a cross hand is the legend Ego sum pastor bonus, 
 
 on his lap, and his left hand on the back of etc. 1.50XI.10. 230 francs, 
 
 a sheep whose head is almost in the Sav- i73f. M. de la Bastida. L enfant 
 
 iour's lap ; five heads above. Doubtful, au moulon. A charming sketch, valued 
 
 E. Boix, line, 14.3x10.2. at 10,000 francs. Mentioned in Lejeune, 
 
 173c. The Good Shepherd stands with Guide, ii. 239. 
 
 three sheep before a stone arch. Spurious. i73g. Jeremiah Harmann sale, 
 
 Becquet Freres, litho., 17.6x12.5. 1844. The Good Shepherd. A small 
 
 173d. Christ, a man of mature age, finished study. ^294. 
 
 stands, in a large landscape, with a lamb 173b. William Stuart. The Good 
 
 on his shoulders, which he holds with Shepherd. British Institution, 1857. 
 
 both hands by the legs; on the left are i73i. Comte A. de Stroganoff, St. 
 
 sheep before a sheepfold. P'ull length. Petersburg, Catalogue dated 1800. The 
 
 Spurious. ■ Good Shepherd. 27x18 inches. Com- 
 
 Sixdeniers, mezzo., 25.4X19, inscr. panion to No. 332b. 
 
i88 
 
 MURILLO. 
 
 174. The Infant Saviour and St. John. Los Ninos de la 
 Concha. Museo del Prado, 866. The Infant Jesus, standing on 
 our left, gives a drink of water in a shell to St. John, who kneels, 
 holding a cross in his left hand ; a lamb lies on the left ; three cherubs 
 above. Landscape background. Vaporoso manner. 1. 04X1.24. 
 
 From Queen Isabel Farnese collection. Palace of San Ildefonso. Cean, Die. 
 ii. 65. 
 
 V. Camaron, litho., in Col. Lito. Lafosse, litho., 13.9X17.1. Mlle. Asse- 
 linau, litho., 11.5x13.2. Ledoux, mezzo., 10x12. Etched by J. Pi, in Alabern, 
 Galleria. Outline in Reveil, Musee, and in Musee Religienx. On wood in Dohme 
 Kunst und Kiinstler. 
 
 174a. The Infant Saviour and 
 St. John. Hermitage, St. Peters- 
 burg, 382. The Infant Jesus, standing, 
 embraces the young St. John, who, clad 
 in a garment of skins, kneels on one 
 knee, holding a reed cross ; behind St. 
 John stands a lamb; above the Infant 
 Saviour are three cherubs ; on the ground 
 in front of him is a basket of fruit and 
 two pomegranates on a red drapery. 
 Landscape background. 1.25x1.16. 
 
 This copy of a lost painting was pur- 
 chased as an original at the sale of 
 Marshal Soult, in 1852, No. 61, for 
 63,000 francs. 
 
 M. S. Carmona, line, 12.6x14.5, 
 Madrid, 1799. Dedicated to Da. Luisa 
 Maria de Borbon. Dupressoir, litho., 
 in Galerie Imperiale de VErmitage, St. 
 Petersburg, 1844, folio. 
 
 174b. In the Royal Palace, Madrid, 
 was El Nino Dios y S. Juanito. Ponz, 
 vi. 34. Cean Bermudez, Die. ii. 64. 
 
 174c. The Infant Jesus and St. John. 
 A small oval picture, with an ebony 
 frame enriched with silver, was in the 
 chapel of the Antigua in the Cathedral of 
 Seville. G. de Leon, ii. 92. 
 
 i74d. Juan Govantes, Seville. The 
 Infants Jesus and St. John. Stirling, iii. 
 1426. 
 
 174c John Hardwicke sale, June 19, 
 
 1856. The Infants Christ and St. John, 
 with a lamb in a landscape. A sketch. 
 " From the Palace Madrid. Companion 
 to a Holy Family." Exhibited at the 
 British Institution, 1840. 
 
 I74f. The Infant Saviour with St. John. 
 " From the gallery of the Infant Don 
 Luigi of Spain." Sold, London, 1815, 
 ^68 5,. 
 
 I74g. Seville Cathedral. Sketch of 
 the head of Christ in youth. Stirling, iii. 
 1429. 
 
 174I1. Church of San Andres, Se- 
 ville, in the chapel of St. Luke, or de los 
 Pintores. El Salvador ; more than half 
 length. Cean Bermudez, Die. ii. 58, and 
 Carta, 98. 
 
 174L Cartuxa de Santa Maria de 
 las Cuevas, Seville. Un Salvador, half 
 length. Cean Bermudez, Die. ii. 62, and 
 Carta, 99. Arana de Varflora, i. 45. 
 
 174k. In the Merced Calzada, Se- 
 ville, was a Jesus Nazareno. G. de 
 Leon, i. 156. 
 
 174I. Lionel Hervey. Head of 
 Christ. British Institution, 1835. 
 
 174m. Reginald Cholmondeley. 
 Head of Christ. Exhibited at Wrex- 
 ham, 1876. 
 
 i74n. Christ, half length, seated be- 
 hind a table, holding bread. Spurious. 
 
 Llanta, litho., 9x7.4. 
 
BAPTISM OF CHRIST. 
 
 I74p. Calonne sale, 1795, 1st day, 
 No. 73. Salvator Mundi. Oval. £\2 
 
 I2S. 
 
 I74q. Altamira sale, 1833. Salvator 
 Mundi. 
 
 1741-. Charles O'Neil sale, May 24, 
 
 1834. Salvator Mundi, 48x41 inches. 
 £68 5*. 
 
 174s. Louis Philippe sale, No. 241. 
 The Saviour. Purchased from Julian 
 Williams, who acquired it from D. An- 
 tonio Bravo. £250. 
 
 175. Baptism of Christ. Seville Cathedral. The Saviour, 
 wearing only a white drapery about his loins, with his hands crossed 
 on his breast, kneels on both knees on the bank of the river, with 
 both feet in the water, and bends forward reverently to receive the 
 sacred rite ; St. John Baptist, partly clothed in a raiment of camel's 
 hair, stands on the right, holding a reed cross and pouring water from 
 a shell on the head of our Lord ; in the air, on our left, two cherubs, 
 holding the garments of Jesus, observe the ceremony with interest ; in 
 the centre above is the Holy Spirit in the form of a Dove. Back- 
 ground, a wooded landscape and sky, with the river Jordan, which 
 completely fills the left of the composition. Life-size. Round top. 
 
 This picture hangs above the St. Anthony, in the baptistery of the cathedral. 
 It was restored by Senor Cubells in 1875. 
 
 Photographed by J. Laurent, Madrid, No. 1355. 
 
 [There is a rare etching by Arteaga, 9.6x6. 7, executed in 1698, which bears no 
 name of painter, but which is evidently after a composition by Murillo. A copy 
 is in the Biblioteca Nacional, at Madrid. Sir W. Stirling-Maxwell ( Catalogue 89 ) 
 suggests that it is after the above work, but it is quite a different thing. Christ on 
 the left, nearly in profile, kneels on his left knee on a rock, with his right foot in the 
 water and the palms of his hands joined; opposite, St. John, holding a cross, 
 kneels on one knee, and pours water from a shell on the head of Christ; above is 
 the Dove with three cherubs on each side. 
 
 176. Baptism of Christ. Formerly W. W. Burdon, Esq. 
 
 St. John, seen in profile, pours water from a skull on the head of the 
 
 Saviour, who is seen three-quarters face, kneeling on one knee, with 
 
 his other leg in the water. Life-size. Signed M rlb - 
 
 W. W. Burdon sale, by Christie, June 28, 1862, 102x67 inches, ^183. 
 The catalogue says this is one of five pictures painted for the convent of San Lean- 
 dro, at Seville, two of which were purchased by Baron Taylor for King Louis 
 Philippe, and two others, of which this is one, were purchased by Nathan Wetherell. 
 Manchester Exhibition, 1857. Mentioned by Stirling, iii. 1429. Standish, Seville^ 
 283. See No. 178c. 
 
MURILLO. 
 
 It is difficult to identify accurately the five pictures referred to. The first two 
 may be No. 177 and No. 259; the third and the fourth, No. 176 and No. 334. 
 
 [Nathan Wetherell, a leather merchant of Snow Hill, London, having occasion 
 to travel in Spain to receive orders and to collect debts, was by chance thrown in the 
 way of the Conde de Floridablanca, one of 'he most enlightened of Spanish minis- 
 ters, who was desirous of encouraging manufactures in Spain, and who held out 
 strong inducements for the Englishman to establish himself in that country. He 
 was granted the use, free of rent, of the suppressed Jesuit convent of San Diego at 
 Seville, with seven acres of land besides other advantages, and there he founded, in 
 1 784, a manufactory of leather and leather goods that became one of the most 
 important industrial enterprises in the Peninsula, giving employment to more than 
 four hundred workmen. But the enterprising projector lost his powerful friend, 
 and finding himself unable to secure fair treatment, or to overcome the vis inertice 
 of the Spanish people, after a long struggle he abandoned the field. His protestant 
 bones now repose in the grounds of the old convent that was the scene of his labors, 
 adjoining the Quemadero, where heretics in the good old times were burned for the 
 good of their souls. Townsend, Joseph, A Journey through Spain, 2d edition, 
 London, 1792, 3 vols., 8vo, ii. 335. Ford, i. 208. G. de Leon, Not. Art., ii. 296. 
 
 Don Juan Wetherell, perhaps a son of the above, lived for many years opposite 
 the Carmelite church of S. Alberto in Seville, and was devoted to history and antiqui- 
 ties, chiefly Roman and Mexican. He formed a collection of objects of this class, 
 and had a catalogue of them printed in London, with lithographs of some of the 
 principal articles. This gentleman, somewhere about 1830, removed to England, 
 carrying his cabinet of curiosities with him. ] 
 
 177. Baptism of Christ. Duque de Montpensier, Chateau 
 de Randan, Puy de Dome, France. The Saviour stands on the left 
 with his hands crossed; on the opposite side of the narrow rivulet 
 stands St. John Baptist with his lower limbs bare, holding a reed cross 
 in his left hand, and pointing to the Master with his right; both are 
 heavily draped and look front ; above the Saviour is an eagle and the 
 inscription Omnes crederent per illum; above St. John is a 
 winged bull and Hie erit magnus coram Dominus. 2.68X1.80. 
 
 Louis Philippe sale, No. 74, ^660. Bought from Don A. Bravo, who pur- 
 chased it from the nuns of S. Leandro. Stirling, iii. 1429. See No. 176. Accord- 
 ing to Ch. de Bled the history of this painting is too painful to relate. Univers 
 Illustre, January 14, 1861. 
 
 Engraved on wood in Univers Illustre, January 14, 1861. Sevestre, litho., 
 16.2x12.5, 1848, without the eagle, bull, etc. The figure of St. John, half length, 
 with the hand pointing up, has been lithographed by Mlle. Hebert, by C. Andre, 
 and by Llanta. 
 
 178. Baptism of Christ. Formerly J. P. Anderdon, Esq. 
 
 St. John baptizing Jesus, who kneels on a rock at the end of the river, 
 
MIRACLE OF THE LOAVES AND FISHES. 191 
 
 in an attitude of prayer; two angels appear on the opposite bank; the 
 
 Dove and a glory of angels above. Figures life-size. 
 
 J. P. Anderdon sale, May 15, 1847, £96 12s., to Smith. " Mr. Anderdon 
 possesses a picture of the same subject, which I know to be by the hand of Murillo, 
 a painting of high class, and which excites the admiration of every one." Davies, 
 Murillo, p. cii. and 61 note. 
 
 178a. Sale, London, March 14, picture from the convent of the nuns of 
 1791. Baptism of Christ. ^141 \$s. San Leandro. ^162 154-. See No. 176. 
 
 178b. Michael Bryan's Assignee's i78d. Lord Northwick sale, 1859. 
 sale, May 25, 1810. Baptism of Christ. Baptism of Christ. ^34 13s., to H. 
 
 178c. Sale, June 9, 1827, by Chris- Whiting, Worcester, 
 tie. Baptism of Christ in the Jordan; 178c Lopez Cepero sale, Paris, 
 and St. John Baptist in the Wilderness, 1868. Baptism of Christ. A sketch for 
 the companion; a grand and beautiful No. 175. .50X.64. 45ofrancs. Notsold. 
 
 179. Marriage in Cana. Marquis of Ailesbury, Wiltshire. 
 The Saviour is seated on the left with the Virgin and five other fig- 
 ures, at a table, on which are fruits and cake, in a hall ; near him is a 
 small dog ; with his right hand he points to the wine jars which are 
 being filled by the attendants, one of whom is a negro ; other attend- 
 ants are waiting on the guests ; twenty-two figures, less than life-size. 
 Second manner. 70X90^ inches. 
 
 Julienne sale, March 30, 1767, No. 83, 6,000 liv. L'abbe Guillaume sale, 
 May 18, 1769, No. 83, 6,432 liv. Prince de Conti sale, April 8, 1777, No. 164, 
 " from Julienne sale," 9,060 liv. Boileau sale, 1779 [March 4, 1782?], 5,010 liv. 
 Robit sale, May 22, 1802, "from Julienne, Conti, and Presle cabinets," 7,310 francs. 
 George Hibbert sale, May 13, 1829, "from Presle and Robit cabinets," ^"819. 
 British Institution, 1816, 1831. Royal Academy, 1881. 
 
 A sketch, 11 in. 9 lin. X14 in. 9 lin.,was in Julienne sale, No. 84. In M * * * 
 sale, November 11, 1784, was a sketch of the well-known picture which is in the 
 cabinet of M. Presle. 10x15 inches. It would seem from the notes in Gault de 
 Saint Germain Guide, £coles Allemandes, ii. 255, and Jicole Italienne, 340) that 
 there were two pictures of this subject, one of which was in the Conti and Boileau 
 sales, the other in the Julienne and Guillaume sales ; that the Guillaume picture 
 was purchased by the King, and was in 181 7 in the Royal Collection at Paris. 
 
 [The sale of the Prince de Conti was one of the most important of the past 
 century. There was realized for pictures, 946,955 livres ; for Engraved Gems, 
 43,620 liv. ; Drawings and Miniatures, 37,508 liv. ; Clocks and Watches, 18,502 
 liv.; Jewels, 13,238 liv. ; total, 1,059,823 liv. There was another sale, March 15, 
 etc., 1779, comprising pictures, drawings, bronzes, marbles, porcelains, etc.] 
 
 180. Miracle of the Loaves and Fishes. Hospital de la 
 Caridad, Seville. Christ, seated on a rock in a hilly landscape, with 
 
192 
 
 MURILLO. 
 
 a loaf in his hands, is surrounded by the twelve Disciples, one of whom 
 places four loaves in the Saviour's lap ; a lad approaches with two fishes 
 in a basket; the multitude is seated on the right. Companion to 
 Moses striking the Rock, No. 14, which see. 11 ft. 6 in. X 18 ft. 
 Painted for the Hospital of La Caridad. See ante No 1. 
 
 According to papers in the possession of the Conde del Aguila, Murillo copied 
 a picture of this subject by Herrera, formerly in the refectory of St. Hermengild. 
 Tubino, 171. In the Soult sale, No. 87, a picture of the Multiplication of the 
 Bread, 2.49x5.84, by Herrera the younger, sold for 1,000 francs. It was quite 
 different from the above, yet M. Thore and Stirling describe it as being a repetition 
 by Murillo himself, of the above work. 
 
 In T. Purves sale was a sketch of the Apostle and the lad with the fishes. See 
 No. 401k. 
 
 J. G. Levasseur, line, 17X35, 1876. There are one hundred and four artist's 
 proofs, and fifty-one proofs before letter, besides india proofs. Boilly, mezzo., 
 13.6x23.6, 1859. J. Laurent, photo. 
 
 181. Miracle of the Loaves and Fishes. A sketch of the 
 
 above, with some differences. 13^X30 inches. 
 
 H. A. J. Munro sale, by Christie, June 1, 1878. ^315. Mentioned by 
 Stirling, ii. 860. Waagen, ii. 136. British Institution, 1832. 
 
 181a. Lopez Cepero sale, 1868. The A first thought for the above. .27X.51. 
 Multiplication of the Bread and Fishes. Companion to No. 15a. Not sold. 
 
 182. Christ Healing the Paralytic, or Christ at the Pool of 
 Bethesda. George Tomline, Esq., Orwell Park, Suffolk. Christ, 
 standing in the centre of the composition, accompanied by three Dis- 
 ciples who stand on his right, puts forth his hand to raise the Para- 
 lytic, who, stretched on the ground in the centre of the group, holds 
 forth his hands imploring aid ; in front, beside the cripple, is a crutch, 
 a jar, and a dish ; on the right a dog approaches the pool to quench 
 his thirst ; in the middle distance are many figures grouped in the 
 porch of a temple ; the angel that has troubled the waters is seen in 
 the sky ascending ; architecture and sky in the background. Five 
 principal figures. Companion to the Return of the Prodigal So?i 1 No. 
 193. 92X101 inches. 
 
 Painted for the Hospital of La Caridad. See ante No. 1. It is one of the 
 pictures which Marshal Soult sold in 1835 to the French Government, and for a few 
 days it was in the Louvre. Mr. Tomline purchased it in 1846 from the Marshal 
 
THE PRODIGAL SON. 
 
 193 
 
 for 160,000 francs. The picture has never been exhibited. An old copy, made 
 while the picture was still in the Caridad, was sold in the Marquis of Lansdowne 
 sale in 1806. This copy was probably from the Augustine Church at Seville. See 
 No. 254. "There are few productions of art that can be compared with this." 
 Mrs. Jameson, History of our Lord, i. 368. 
 
 T. Vernon, line, 22X24, London, 1872. Proofs only are published at eight 
 guineas each. The plate was executed at the cost of Colonel Tomline, who pre- 
 sented it to the Newspaper Press Fund. Outline in Reveil, Musee de Peinture, 
 and in Musee Religieux. 
 
 183. The Prodigal Son Receiving his Portion. Earl of 
 Dudley, London. The aged father, seated at the end of a table, with 
 his left hand resting on some papers, looks anxiously at his son, who 
 stands opposite grasping a bag of gold ; on the left, behind the father, 
 stand the brother and sister of the prodigal. The brother is said to 
 be a portrait of Murillo himself. 41X53 inches. 
 
 Salamanca sale, 1867, 28,500 francs. Leeds Exhibition, 1868. Royal Acad- 
 emy, 1871. This, and four others of the same series in Dudley House, belonged 
 to the Marquis de Narros, Chateau de Campo Zarana, and afterwards to D. Jose de 
 Madrazo. 
 
 184. The Prodigal Son Receiving his Portion. Museo del 
 Prado, 882. A sketch for the above. Latest manner. .27X.34. 
 
 184a. Standish sale, No. 226(116). article on the Louis Philippe sale in 
 
 The Prodigal Son receiving his portion. The Athenceitm, June II, 1853, p. 711. 
 
 .27X.37. ,£22 is. (to Hickman). " Four Probably these four pictures are the ones 
 
 small sketches of the Prodigal Son, really formerly belonging to Julian Williams, 
 
 by Murillo, and dashed off with much mentioned in Guia de Forasteros de 
 
 •spirit. The last was the best." R. Ford, Sevilla, 1832. 
 
 185. The Prodigal Son Leaving Home. Earl of Dudley. 
 Wearing a purple mantle, and mounted on a chestnut horse, with a 
 plumed hat in his hand, he salutes his father, mother, brother, and 
 sister, who stand in the door of their house ; the mother dries her 
 weeping eyes with a handkerchief; on the left, in the middle distance, 
 are loaded mules driven along a road. 41X53 inches. 
 
 Salamanca sale, 1867, 32,000 francs. Same history as No. 183. 
 
 186. The Prodigal Son Leaving Home. Museo del Prado, 
 883. A sketch for the above. Latest manner. .27X.34. 
 
 2 5 
 
194 
 
 MURILLO. 
 
 186a. Standish sale, 1853, No. 227. Probably this is one of the four pictures 
 The Prodigal Son leaving his home. A formerly owned by Mr. Williams. See 
 Sketch. .27X.37. £37 16s., to Talbot. No. 184a. 
 
 187. The Prodigal Son Feasting. Earl of Dudley. Seated 
 behind a table, wearing a red doublet and a plumed hat, he receives a 
 cup of wine, offered him by a page, on a salver ; his left hand is on 
 the shoulder of a courtesan seated beside him, who regards him 
 amorously ; on the right, at a corner of the table, another courtesan is 
 seated, behind whom is a servant with a plate ; in the foreground, on 
 the left, is a musician playing a guitar; a dog thrusts his head from 
 beneath the table cloth ; the background consists of a red curtain 
 fastened to columns; on the right is seen a landscape and the 
 entrance to a park. Six figures. 41X53 inches. 
 
 Salamanca sale, 1867, 73,000 francs. Companion to No. 183, which see. 
 
 188. The Prodigal Son Feasting. Museo del Prado, 884. 
 
 A sketch for the above. .27X.34. 
 
 188a. Standish sale, 1853, No. 228. Drax. Probably this picture was pur- 
 The Prodigal Son feasting with courte- chased from Mr. Williams. See No. 
 sans. A sketch. .27X.37. £26 $s. } to 184a. 
 
 189. The Prodigal Son Begging. Earl of Dudley. A man 
 
 with a drawn sword, two young women, one of whom wields a broom 
 and the other a stick, and an old woman with a staff, pursue the fly- 
 ing prodigal ; a dog leaps up before him, barking • a house on the 
 left, landscape and sky on the right. 41X53 inches. 
 
 . Salamanca sale, 1867, 35,000 francs. Companion to No. 183, which see. 
 
 190. The Prodigal Son Feeding Swine. Earl of Dudley. 
 He kneels half naked in the midst of a herd of black swine, and peni- 
 tently lifts his weeping eyes to heaven ; behind him is a ruined hut, a 
 river on the left, and small trees on the right ; sterile mountains in the 
 background. 41X53 inches. 
 
 Salamanca sale, 1867, 39,000 francs. Companion to No. 183, which see. 
 
 191. The Prodigal Son Feeding Swine. Museo del Prado, 
 
 885. A sketch for the above. .27X.34. 
 
THE PRODIGAL SON. 
 
 195 
 
 igia. Standish sale, No. 229. The .57X1.03. ^"i 10, to Cave. Again, W. 
 
 Prodigal Son Feeding Swine. A sketch. Cave sale, by Christie, June 29, 1854. 
 
 .27X.37. £69 6s., to Hickman. Com- ^105, to Drax. 
 
 panion to No. 184a, which see. igic. Philip Hinds sale, June 11, 
 
 191b. Louis Philippe sale, No. 75. 1870. The Prodigal herding swine. 
 
 The Prodigal kneeling among swine. £22 is., to Nieuwenhuys. 
 
 192. The Prodigal Son's Return. Earl of Dudley. Half 
 naked, he falls on his knees in die arms of his father, who is followed 
 by the mother, brother, and sister, who come forth from their house to 
 receive him. Five figures. 41X53 inches. 
 
 Presented in 1856 by Queen Isabella to Pope Pius IX., who placed it in the 
 Vatican. Lord Dudley acquired it in 1872 in exchange for a Holy Family by 
 Bonifazio, and a Virgin and Child enthroned with saints, by Fra Angelico. Royal 
 Academy, 18 71. 
 
 This picture is a pendant to the others in Dudley House. How it became sep- 
 arated from its companions is not known, but about 1850 it fell into the hands of a 
 dealer, who offered it to M. Salamanca, the owner of the rest of the series. The 
 price was, however, so extravagant that the offer was declined. Queen Isabella at 
 once paid the sum demanded, and sent the canvas to the Pope. [For this note I 
 am indebted to Charles Morse, Esq., who possessed the most extensive and valu- 
 able collection of engravings after Velazquez and Murillo in Europe. It was dis- 
 persed in 1874, to the great regret of every lover of Spanish Art. Many of the prints 
 were purchased by Sir William Stirling-Maxwell, and a large number came into 
 the possession of the author of this catalogue. ] 
 
 193. The Prodigal Son's Return. Stafford House. He 
 falls on his knees, and is embraced by his father; a little dog leaps up 
 to welcome him ; behind him a man and boy lead forward the fatted 
 calf; on the right servants bring rich garments and the ring; nine fig- 
 ures, life-size. Companion to Christ healing the Paralytic, No. 182. 
 93X102 inches. 
 
 For the history of this painting see ante No. 1. 
 
 " I know not any picture whatever which can go beyond it in heartfelt nature and 
 dramatic power ... In point of truth of expression and in execution, Raphael 
 himself never exceeded it." Jameson, Our Lord, i. 384, and Private Galleries, 168. 
 " The most beautiful of all the pictures that have come out of Spain. " Viardot, Musc'cs 
 de France. Mentioned by Ponz, ix. 148 ; Cean, Carta, 78. An old copy, perhaps 
 from the Augustine Church, was in the Marquis of Lansdowne sale, March 20, 
 1806. See No. 254. 
 
 Outline in Reveil, Musee de Peinture. On wood in Minor, Murillo. Photo, 
 in Lord Ronald Gower, Great Historic Galleries of England. 
 
196 
 
 MURILLO. 
 
 193a. C. H. Francolet sale, Brussels, the door of Dives. A Study for a large 
 September 10, 1764. The Prodigal Son work. British Institution, 1843. Stir- 
 received by his father. 4 ft. 3 in. 6 lin. ling, iii. 1432. Although the writer has 
 X5ft. 2 in. 6 lin. visited this gallery often, and inquired 
 
 193b. Earl of Ellesmere, Bridge- particularly for this painting, he has 
 
 water Gallery, London. Lazarus at never been able to find it. 
 
 194. The Last Supper. Church of Santa Maria la Blanca, 
 
 Seville. Christ and his Disciples are seated at a square table covered 
 with a white cloth, on which is a candle, but no dishes or food; a can- 
 delabrum attached to the wall in the upper left corner dimly lights the 
 scene. Round top. 2.65X2.65. 
 
 See No. 30. Mentioned by Ponz, ix. 8£. Arana de Varflora, i. 35. G. de 
 Leon, i. 104. If this picture is by Murillo it is a very early work. 
 
 194a. Last Supper. Christ is seated 
 with his Disciples at a table on which 
 are two lighted candles ; on the floor in 
 front is a large basin containing two vases. 
 80X130 inches. This is said to be an 
 early work painted for a convent in 
 Valencia, where D. Vicente Lopez found 
 a record of its origin and history. 
 
 W. H. Worthington, line, in Cun- 
 
 ningham, Cabinet Gallery, from the orig- 
 inal belonging to W. W. Sharp of Upper 
 Berkeley street. 
 
 194b. In the convent of La Merced 
 Calzada, now occupied by the Museum, 
 Seville, were two beautiful pictures — the 
 Last Supper of our Lord and the De- 
 scent of the Holy Spirit. Mentioned by 
 G. de Leon, i. 160. 
 
 195. Christ in the Garden of Olives. Louvre, Paris, 544. 
 An angel, holding a cross in his left hand, has descended on clouds, 
 and presents a chalice to the Saviour, who kneels profile left ; in the 
 background are two Disciples asleep, and beyond them a group of 
 soldiers approaching. On marble. .36X.28. 
 
 This picture and its companion, No. 196, were in the late Elector of Cologne 
 sale, by Remy, at Bonn, December 10, 1764. Again in Comte de Vaudreuil 
 sale, by Lebrun, November 27, 1784. This Elector of Cologne was doubtless 
 Clement August, son of Maximilian, Elector of Bavaria, and Theresa, daughter of 
 John, King of Poland. He died February 6, 1761. 
 
 It is difficult to recognize the hand of Murillo in these two pictures. In treat- 
 ment and execution they resemble the style of Meneses Osorio, especially a Christ 
 Praying in the Garden by that artist, in the gallery of the Duke de Montpensier at 
 Seville, No. 177. 
 
 Godefroy, etch., in Filhol, Musee Napoleon, i. 50. Outline in Landon, 
 
 Annates dti Mitsce, vi. 5. 
 
ECCE HOMO. 
 
 197 
 
 196. Christ Bound to the Column. Louvre, Paris, 545. 
 
 St. Peter, kneeling, with his left hand on his breast, looks up with 
 
 reverence to the Saviour, who is bound to a column, naked, except for 
 
 a cloth about his loins ; a book and keys lie on the ground between 
 
 them. On marble. .36X.28. 
 
 Companion to Christ in the Ga?-den of Olives, No. 195, which see. 
 Pauline Landon, outline in Landon, Annates du Muse'e, xv. 31. Sands, 
 outline, in The Historical Gallery, vol. vii. 
 
 197. Ecce Homo. Cadiz Museum, 34. Christ, crowned with 
 thorns, and standing front, looks down to his right ; the upper part of 
 his body is naked ; the lower part is enveloped in a red drapery, which 
 is drawn up from his right, crosses his body and falls over the left fore- 
 arm ; his wrists are bound before his left side ; the right hand, which 
 is uppermost and touches his left elbow, holds a short reed ; the fin- 
 gers of the left hand are partly cut off by the frame. Half length. 
 .81X.67. 
 
 Formerly in the Capuchin convent at Cadiz. Mentioned by Ponz, xvii. 339. 
 Cean, Die. ii. 62. It was presented to the convent in 1730 by Dona Catalina Rod- 
 riguez, widow of Ambrosio de los Santos, in fulfillment of the wishes of her deceased 
 husband. A short time before the suppression of convents in Spain, the monks 
 transferred it for safety to the keeping of certain friends, by whom it was, in 1852, 
 deposited in the Museum. 
 
 198. Ecce Homo. Mrs. Thomas Birchall, Preston, Lanca- 
 shire. A repetition of the above, with slight variations, and the figure 
 of the Saviour is a trifle longer. 36x28^ inches. 
 
 Manchester Exhibition, 1867. Royal Academy, 1872. The Manchester cata- 
 logue asserts that the picture is from the Standish Gallery, but it is not men- 
 tioned in the catalogue of that collection. 
 
 Caldesi, photograph, in the Manchester Exhibition series of photographs. 
 
 199. Ecce Homo. Hon. Robert Baillie-Hamilton. Lang- 
 ton House, Dunse, Berwickshire, Scotland. A repetition of No. 197 ; 
 the same length. On panel, round top. 33X29 inches. 
 
 Louis Philippe sale, No. 240, ^160, to the Marquis of Brcadalbane, from 
 whom it passed to the present owner. Exhibited at the Royal Academy in 1881. 
 
198 
 
 MURILLO. 
 
 200. Ecce Homo. William C. Cartwright, Esq., Aynhoe, 
 Northamptonshire. A picture almost identical with No. 197, but the 
 Saviour looks up instead of down, and more of the red drapery is seen. 
 Brown background. 13^X9^ inches. 
 
 Brought to England by John Blackwood. See No. 3. British Institution, 1839. 
 
 201. Ecce Homo. Francis Cook, Esq. Richmond Hill, Sur- 
 rey. Christ, crowned with thorns, stands front, looking front and 
 downwards ; the upper part of his body is naked ; the lower part is 
 enveloped in a red drapery which covers his breast and the upper part 
 of his left arm ; his wrists are bound before his left side ; his right hand, 
 holding a long reed, touches his left shoulder; his left, holding the 
 drapery, is seen within the bend of the right arm, above the elbow. 
 A long bust. 25X21 inches. 
 
 The following engraving is after this or a similar picture. 
 
 Manuel Alegre, line, 8.5 X 6.4, 1798, dedicated to the Duque de Villahermosa. 
 
 202. Ecce Homo. Museo del Prado, 895. The Saviour, 
 crowned with thorns, with heavy dark hair and beard, is seen turned 
 three-quarters right, wearing a purple robe, and looking down. Bust. 
 .52X41. 
 
 From the collection of Queen Isabella Farnese. Companion to No. 69. 
 Photographed by J. Laurent, Madrid, No. 33. 
 
 203. Ecce Homo, or The Veronica. On a napkin suspended by its 
 two upper corners, which are formed into round knots or rosettes, is 
 depicted the face of Christ, crowned with thorns, turned slightly to 
 our left, the eyes downcast, the beard short, and the hair falling below 
 the chin. 
 
 This description is from a coarse and excessively rare line engraving, 9.3X7, 
 executed by " R. O." in 1792, evidently in Spain. There is strong reason for believ- 
 ing that the engraving is after the picture called the Santa Faz, which was formerly 
 on the high altar of the Capuchin Church. See No. 18. The Santa Faz, or Holy 
 Face, is a name given in Spain to the representation of the face of our Lord on the 
 handkerchief of St. Veronica. 
 
 204. Ecce Homo. Lord Overstone, London. A work iden- 
 tical with the above, except that the napkin is but slightly indicated, 
 
ECCE HOMO. 
 
 199 
 
 and its corners and edges are not seen. Second manner. Oval. 
 19^X15 inches. 
 
 Acquired from Julian Williams by Richard Ford, who sold it to the present 
 owner in 1836. British Institution, 1851. Manchester, 1857. Mentioned in Guia 
 de Forasteros de Sevilla, 1832. Sir W. Stirling-Maxwell (Catalogue, 91) supposes 
 this to be the picture formerly in the Capuchin Church. See No. 203. 
 
 205. Ecce Homo. A. J. Beresford-Hope, Esq., London. A 
 
 picture apparently identical with No. 203, including the corners and 
 
 edges of the napkin. Life-size. 
 
 Acquired from Henry Gaily Knight, who probably brought it from Spain about 
 1810. 
 
 206. Ecce Homo. Bust, front ; the head crowned with thorns, 
 turned slightly to our right, the eyes upturned, the long, curling hair 
 falling on his shoulders ; a red drapery covers the shoulders and is tied 
 in front in a knot, with projecting ends. 
 
 Collier, line, 9X7, 1853. The inscription informs us that the original, 
 painted in 1650, was in the Mus£e Espagnole (Louis Philippe Gallery), at Paris. 
 H. Rose, line, 8.8x7, l8 53- G. Barry, litho., 21x18. (Goupil.) 
 
 According to Stirling the engraving by Collier is after the picture No. 163, in 
 the old catalogue of the Louis Philippe Gallery — probably No. 76 sale catalogue, 
 which was " withdrawn from the sale by the Queen." He also informs us that it is 
 the painting formerly in the Capilla del Pilar in the Cathedral at Seville. An- 
 nals, iii. 1430. Catalogue of Prints, etc., p. 91. 
 
 The picture, formerly in the Capilla del Pilar, was removed in 1836 to the 
 Sacristia de los Calices. In 1839, as the result of certain negotiations between 
 Baron Taylor and Dean Lopez Cepero, it was transferred to King Louis Philippe 
 in exchange for some illustrated books and a paltry portrait of Columbus painted 
 by Emile Lasalle. See Ponz, ix. 12. Cean Bermudez, Description de la Catedral 
 p. 72. Sevilla Pinto., 166, 183. 
 
 In the gallery of the Duque de Montpensier, Seville, No. 490, is a similar 
 picture, 13X10 inches, attributed to the School of Murillo. 
 
 207. Ecce Homo. Duque de Villahermosa, Madrid. A rep- 
 etition of the above. Companion to No. 70. Oval. Life-size. 
 
 208. Ecce Homo. Lord Ashburton, London. The Saviour, 
 crowned with thorns, wearing a brown robe, looking up. Bust. 31^ 
 X2$}4 inches. 
 
 Stirling, iii. 1430. Waagen, ii. 102. Purchased in 1815, from General 
 Sebastiani. 
 
200 
 
 MURILLO. 
 
 209. Ecce Homo. Lord Ashburton. The Grange, Hamp- 
 shire. Bust. About 34X24 inches. 
 
 Mentioned by Stirling, Annals of the Artists of Spain, iii. 1430. 
 
 210. Ecce Homo. Earl of Zetland, Yorkshire. 
 
 British Institution, 1865. Leeds Exhibition, 1868. " It is interesting to mark 
 a correspondence almost amounting to identity between this picture and the same 
 subject by Titian belonging to the Due d'Aumale." Art Journal, 1868, p. 137. 
 The Titian referred to is a half length, with the hands bound, wearing a red 
 garment. 
 
 210a. Carmen Calzado, Seville. 
 Ecce Homo. On an altar in the Chapel. 
 Arana de Varflora, i. 44. Cean, Die. ii. 
 59. 
 
 210b. Carmen Calzado, Madrid. 
 Ecce Homo. Cean, Die. ii. 63. 
 
 2ioc. Jos6 Larrazabal, Seville. 
 Ecce Homo. A repetition of No. 197. 
 Life-size. Tubino, 183. 
 
 2iod. Joaquin Saenz y Saenz, 
 Seville. Ecce Homo. From Juan 
 Pereyra. Ib. 183. 
 
 2ioe. Julian Williams, Seville. 
 Christ bound to the column. Ib. 182. 
 
 2iof. The heirs of Dean Lopez Cep- 
 ero have a repetition or copy of No. 203, 
 showing the corners and edges of the 
 napkin. Life-size. 
 
 2iog. Lopez Cepero. Ecce Homo. 
 A repetition of No. 197. .60X.50. 
 Offered in the sale at Paris in 1868, but 
 not sold. 
 
 2ioh. Due de Tallard sale, 1756. 
 Christ crowned with thorns. Bust, on 
 copper. 16x13 inches. Companion to 
 No. 73L 
 
 2ioi. W. Y. Ottley sale, May 25, 
 181 1. Christ crowned with thorns. Com- 
 panion to No. 2 1 2d. A small Study. 
 
 210k. Fonthill sale, by Phillips, Sep- 
 tember 9, 1823, 25th day, No. 125. Ecce 
 Homo. Companion to No. 73k. 
 
 210I. Aguado sale, 1843, No. 57. 
 Bust of Christ, front, crowned with 
 thorns, the eyes upturned; circular, .26 
 diam. 705 francs. 
 
 210m. Aguado sale, No. 63. Christ 
 an roseau, the face front, eyes downcast, 
 head crowned with thorns, hands bound. 
 •95X.79. 340 francs. 
 
 2ion. Aguado sale, No. 84. Une 
 Veroniqiie. The head of Christ, crowned 
 with thorns, impressed on a white 
 drapery, the folds of which form the bor- 
 der of the picture. -55X'47- 355 francs. 
 
 2iop. Joseph Bonaparte sale, by 
 Christie, 1846, of pictures from his palace 
 at Bordentown, U. S. A. Christ bound. 
 
 2ioq. Louis Philippe sale, 1853, 
 No. 76 (163). Christ with the crown of 
 thorns. .6oX-48. Withdrawn by the 
 Queen. See No. 206. 
 
 2ior. Rev. R. R. P. Mealey sale, 
 June 11,1870. Ecce Homo. ^136 iar., 
 to Colnaghi. 
 
 210s. Right Hon. William E. 
 Gladstone sale, by Christie, January 23, 
 1875. Christ bound to the Column. 
 £\i ws., to Noseda. 
 
 211. Flagellation of Christ. Duke of Wellington, Lon- 
 don. An executioner scourges the Saviour while another prepares the 
 
THE CRUCIFIXION. 
 
 201 
 
 crown of thorns ; a wall and a grated window in the background ; 
 three figures, full length. Companion to No. 227. About 16X10 
 inches. 
 
 212. Christ after Flagellation. Francis Cook, Esq., 
 Richmond Hill, Surrey. The Saviour, naked, but for a cloth about 
 his loins, kneels as if to take up his garments, which lie in the fore- 
 ground on the right ; two angels with outspread wings, one in white 
 and one in reddish drapery, have come to comfort him ; on the left is 
 a column with rope, rods, etc.; three figures. 58X41 inches. 
 
 An early work. Described in Noel Desenfans, Catalogue, No. 47. 
 
 212a. Seville Cathedral. Christ 212c. S. M. Mawson sale, by Chris- 
 after Flagellation, with St. Peter in the tie, May 19, 1855. Two angels appear 
 background, weeping. Mentioned by to Christ kneeling on the ground after 
 Stirling, iii. 1430. Flagellation. From the Prince of the 
 
 212b. Standish sale, 116. Christ Peace. ^26 $s. 
 
 after Flagellation, kneeling. 1.25x1.46. 2i2d. W. Y. Ottley sale, 181 1. Flag- 
 
 ^215 5^., to Hickman. ellation of Christ. Companion to No. 2 ioi. 
 
 213. Christ Sinking beneath the Cross. His right hand rests 
 on a stone; the Virgin, seen in profile, kneeling on the ground, gazes 
 on him with anguish ; a hilly landscape with buildings in the back- 
 ground ; two figures, life-size. 
 
 Earl of Orford (Wolterton) sale, by Christie, June 26, 1856, ^"724 10s., to 
 Fordham. Praised by Mrs. Jameson, Madonna, 284. Waagen, iii. 435. This 
 picture is said to have belonged to the Bishop of Taranto (Capece Latro ?) 
 
 213a. Mr. Wilkin sale, April 30, 
 1813. Christ bearing the cross. 
 
 213b. Noel Desenfans Catalogue 
 No. 48. Christ bearing his cross, beaten 
 by executioners, and attended by the 
 Virgin, St. John, and St. Veronica ; ten 
 figures. 
 
 213c. Louis Philippe sale, 241 (161). 
 The Saviour, 1.06 x • 79, ^250, to Duke 
 of Cleveland. Stirling (1430) describes 
 this as " Christ holding the cross. Bought 
 
 from Julian Williams, who purchased it 
 from Antonio Bravo." Gonzales de 
 Leon (i. 254) mentions Un Salvador, 
 half length, which was formerly in the 
 capilla de los Pintores in the church of 
 San Andres, and afterwards belonged to 
 Julian Williams, who sold it in London, 
 where it was purchased by the French 
 for the Louvre. 
 
 213d. Christ bearing the cross. A 
 lithograph by ClSNEROS. Spurious. 
 
 214. The Crucifixion. Hermitage, St. Petersburg, 370. 
 St. John and the Virgin stand on the left, at the foot of the cross, on 
 26 
 
202 
 
 MURILLO. 
 
 which the body of Christ is suspended ; St. Mary Magdalen, kneeling 
 on the right, embraces the Saviour's feet, looking front ; in the back- 
 ground are the towers of Jerusalem. .99X.60. 
 
 From the Houghton gallery. Appraised by West and Cipriani at ^150. 
 Spilsbury, mezzo., 11.5x7, reversed, in the Houghton Gallery, i. 46. 
 
 214a. Mr. Spinocchia, New-York. 
 Christ on the cross, with the Magdalen 
 at his feet. A repetition or copy of the 
 above, without the Virgin and St. John, 
 and without the city in the background. 
 About 18X 12 inches. Sold at, 
 
 N. D. Morgan sale, by Leavitt, New- 
 York, January 27, 1876, $310. "Ac- 
 quired in Madrid in 1837 through Vicente 
 Lopez, Court Painter. It afterwards 
 belonged to Cardinal Gregorio." 
 
 214b. Seville Museum. The Cru- 
 cifixion. Mentioned by Stirling, iii. 
 1 43 1, and by Tubino, 178. This picture 
 is not mentioned in the catalogue, nor 
 
 has the writer been able to find it in the 
 Museum. 
 
 214c. Comte H. de Steenhuyse 
 and Hoop van Alstein of Gand, sale, 
 Paris, March 27, i860. Christ on the 
 cross, accompanied by the Holy Women. 
 1. 70X1. 40. 8,800 francs. 
 
 2i4d. Salamanca sale, 1867. Christ 
 crucified between two thieves. The 
 Magdalen embraces his feet, the Virgin 
 and St. John stand beside the cross ; on 
 the right, in the foreground, are soldiers 
 playing at dice. 1.08x1.43. From 
 Marques de Castelar and J. de Madrazo 
 galleries. 5,900 francs. 
 
 215. Christ on the Cross. Museo del Prado, 874. The 
 
 head of the Saviour falls on his right shoulder; a linen is wound 
 
 around his loins, the end of which falls on his right; attached to the 
 
 cross above is a scroll inscribed Hie est Jesus Rex Judaeorum; 
 
 mountainous landscape, with a faint light in the horizon. One figure. 
 
 Third manner. 1. 83X1.07. 
 
 Brought to Madrid from the royal palace of Aranjuez in 1816. 
 Photographed by J. Laurent, Madrid, No. 184. 
 
 216. Christ on the Cross. Museo del Prado, 875. The 
 
 body of Christ is attached to a cross formed of the trunk of a tree ; a 
 
 bit of light is seen in the clouds near the right hand of the Saviour. 
 
 One figure. Third manner. .71X.54. 
 
 Brought from the royal palace of Aranjuez in 1816. 
 Photographed by A. Braun & Co., Paris, No. 875. 
 
 217. Christ on the Cross. Marquis de Mornay, Paris. 
 The head of the Saviour has fallen on his breast; the eyes are down- 
 cast. 1.98X1.40. 
 
A CRUCIFIX. 
 
 203 
 
 At the Soult sale, No. 62, this picture was bought in at 3,100 francs, and now 
 belongs to the grandson of the Marshal. 
 
 218. Christ on the Cross. Francis Cook, Esq., Rich- 
 mond Hill, Surrey. The head of the Saviour, surrounded with rays, 
 has fallen on his right shoulder; a linen is tied in a knot around his 
 loins ; the cross is upheld by a wooden wedge driven into the ground ; 
 a scroll inscribed I N R I extends over the top of the cross. 20 x 
 12*4 inches. 
 
 Brought to England about 1806 by Viscount Strangford, ambassador to 
 Portugal, and sold at his sale, June 17, 1864. 
 
 219. Christ on the Cross. Condesa de la Mejorada, 
 Seville. The body of the Saviour is nailed to the cross ; a long dra- 
 pery floats from his middle to the left ; above his head is an oblong 
 parchment bearing a long inscription. 78X53 inches. 
 
 The Mejorada pictures have been in the family for many years, and are referred 
 to by Cean, Carta, 100, and G. de Leon, ii. 202. 
 
 219a. Capuchin Convent of Sta. 
 Justa and Sta. Rufina, Seville. Christo 
 crucificado. Arana de Varflora, i. 54. 
 
 219b. Miss Luce, Liverpool. The 
 Crucifixion; on copper, 14X9^ inches. 
 Royal Academy, 1876. 
 
 2igc. Joaquin Saenz y Saenz. 
 Christ Crucified; on wood. Tubino, 184. 
 
 2igd. Christ nailed to a cross, which 
 is upheld by a wedge driven into the 
 ground ; his head falls back on his right 
 
 shoulder, and he looks up to his left ; 
 an oblong tablet above his head bears a 
 trilingual inscription ; a skull and bones 
 are on the ground; hilly background. 
 A night scene. One figure. 
 
 W. French, line, 20x14. (Published 
 by A. H. Payne, Leipsic. ) 
 
 219c Aguado sale, No. 78. Christ 
 on the cross. Jerusalem in the back- 
 ground. One figure. .45X.37. 230 
 francs. 
 
 220. A Crucifix. D. Manuel Lopez Cepero, Seville. The 
 crucified body of Christ painted on a small cross of black wood ; he 
 looks up to his right. 27X16 inches. 
 
 The cross on which this picture is painted is placed on a pedestal with three 
 bas-reliefs in brass, representing passages in the life of Tobias, signed by Juan de 
 Zaragoza. A brass plate on the pedestal bears an inscription certifying that the 
 Crucifix was painted for the Capuchin Convent [see No. 18], and that it was taken 
 thence by the French, from whom Dean Lopez Cepero purchased it in 181 2. 
 
 Cean Bermudez (Carta 88) mentions, " los crucifixos de algunas cruces peque- 
 nas, que estan sobre las aras de los altares," in the Capuchin Church, from which it 
 would appear that there were several of these crosses. 
 
204 
 
 MURILLO. 
 
 221. A Crucifix. Hospital de la Caridad, Seville. Christ 
 
 on the Cross ; painted on a cross of wood which is inlaid in a wooden 
 
 panel. 18X11^ inches. 
 
 This crucifix is said to have come directly from the family of Manara, the 
 restorer of the hospital. It may be the " Christ painted on a cross at the tester of 
 his bed," which Manara devised to his sister by his will. Stirling, ii. 852 note. 
 
 222. A Crucifix. Duchesse de Luynes, Paris. The figure of 
 Christ painted on a cross of wood ; the head, surrounded by rays, has 
 fallen on his breast; a scroll is nailed to the cross above. 9X7^2 
 inches. Set in blue velvet with a gold frame. 
 
 Charles Martin sale, by Christie, March 27, 1876, ^30, to Lord Ronald 
 Gower, from whom it passed to the Duke of Westminster, who presented it, in 1880, 
 to the Duchesse de Luynes. 
 
 It was probably in Sir J. M. Brackenbury sale, 1848, ^64 ia$\, and in 
 George Blamire sale, by Christie, November 6, 1863, ,£23 2s. Royal Academy, 
 1877. Sir J. M. Brackenbury exhibited a picture of this subject at the British 
 Institution, 1835, 1847. 
 
 223. A Crucifix. Condesa de la Mejorada, Seville. The 
 figure of Christ painted on a cross of wood. 20X14 inches. 
 
 Mentioned by G. de Leon, Noticia Artistica . . . de Sevilla, t. ii. p. 202. 
 
 224. A Crucifix. Sir William Stirling -Maxwell, Bart., 
 
 Keir, Perthshire. The figure of Christ painted on a cross of wood. 
 
 18^X11^ inches. 
 
 Purchased in 1845 from D. Salvador Gutierrez, a painter in Seville, and said to 
 be from the Capuchin Convent. Stirling, iii. 143 1. 
 
 224a. Capuchin Church, Seville. Canada, to D. Sebastian Martinez, and to 
 
 The figure of Christ painted on a small D. Manuel de Leyra. The collection 
 
 cross of wood. Stirling, iii. 1431. Tu- was sent to England for sale, and this 
 
 bino, 183. work was purchased by Captain Davies, 
 
 224b. Carmen Calzado, Madrid. Murillo, lxxxiv. xciv. Ponz, xviii, 22. 
 
 A Crucifix. Cean, Die. ii. 63. 224c J. M. Suarez de Urbina, 
 
 224c. Royal Palace of San Ilde- Seville. The figure of Christ on a small 
 
 fonso. A Crucifix. Ponz, x. 152. cross of wood. Painted for the Capu- 
 
 224d. A small Crucifix was in the col- chin Convent. Mentioned by Tubino, 
 
 lection which belonged successively to 187, and by Amador de los Rios in 
 
 D. Antonio Murcia, to the Marques de la Sevilla Pintoresca, 496. 
 
 225. Pieta. Seville Museum, 75. The body of Christ, lying 
 on a white sheet, is extended across the canvas ; the head is in the 
 
PIETA OR DEPOSITION. 
 
 205 
 
 lap of the Virgin, who is seated with outspread arms ; on the right 
 are two cherubs, one of whom, kneeling, holds the Saviour's left hand. 
 1.68X2. 13. 
 
 Painted about 1676, for the Capuchin Convent. See No. 18. 
 Photographed by J. Laurent, Madrid, No. 1080. 
 
 226. Pieta. Philip W. S. Miles, Esq., Kings- Weston, Glou- 
 cestershire. A repetition of the above. Companion to No. 62, which 
 see. 52X40 inches. 
 
 Etched by J. Young, in the Miles Gallery Catalogue, plate No. 71. 
 
 227. Pieta or Deposition. Duke of Wellington, London. 
 Christ is seated on the tomb, his body supported by an angel seated 
 behind him; another angel holds linen; a holy woman kisses the 
 Saviour's hand. Companion to No. 211. About 16X10 inches. 
 
 227a. Collegiate Church, Vittoria. 
 
 A grand historical picture, with figures 
 somewhat larger than life, representing 
 the Virgin with the dead Christ. Cean 
 Bermudez, Die. ii. 65. 
 
 227b. Palace of San Ildefonso. 
 Christ placed in the tomb. Ponz, x. 152. 
 
 227c. In the church of S. M. la 
 Blanca, Chapel of the Sacrament, there 
 existed at the beginning of this century : 
 Una Dolorosa y un S. Juan Evangelista 
 de medio cuerpo. Ponz, ix. 85. Cean 
 Bermudez, Die. ii. 59. It is somewhat 
 doubtfully suggested by Stirling (1420) 
 and Tubino (182) that these references 
 are to a single picture of the Virgin and 
 St. John, which afterwards belonged to 
 Senor Escazena. Neither of these authors 
 could have seen the pictures in that 
 church, but Captain Davies, who did see 
 them in 1807, informs us that in S. M. 
 la Blanca was La Piedad or Dolorosa; 
 the Virgin, with the dead body of Christ — 
 the same subject as that in the Capuchin 
 church, but smaller. Davies, Murillo, 
 xciii. See No. 30, No. 73, and No. I56d. 
 
 227d. N. Ogle. The Dead Christ. 
 British Institution, 1822. 
 
 227c Sir Simon Clarke and 
 George Hibbert sale, 1802. Descent 
 from the Cross. From Mr. Purling's 
 collection. ^294, to Deschamps. 
 
 227f. La Trinidad sale, 1810. De- 
 scent from the Cross. ;£no. See No. 54m 
 
 227g. John Knight sale, 1819, by 
 Mr. Phillips. La Piedad, or Dolorosa. 
 £120 i$s. " A beautiful picture in good 
 condition and of high value. The large 
 picture belongs to the Capuchins, and 
 the smaller one to the church of S. M. 
 la Blanca." Davies, Murillo, xciii. 
 
 In the same sale was a Dead Christ, 
 which sold for ^77 14^. 
 
 227I1. Robert Udney sale, May 15, 
 1829. Descent from the cross. 22x17 
 inches. 
 
 227L H. A. J. Munro sale, by Chris- 
 tie, June 1, 1876. Descent from the 
 Cross. The dead Saviour in the lap of 
 the Virgin, attended by two angels. 
 13X13 inches. Octagon on copper. 
 £\\o 5-r. Mentioned by Stirling, iii. 
 I43I- 
 
 227k. D. Manuel Sanz de Tejada, 
 
 Cadiz. Christ dead ; small and very beau- 
 tiful. Raczynski, Arts en Portugal, 518. 
 
206 
 
 MURILLO. 
 
 228. The Resurrection. Academy of San Fernando, Madrid. 
 
 The Saviour, leaving the tomb, ascends into the sky, bearing a red 
 
 banner in his left hand, and pointing up with his right ; guards are 
 
 sleeping below. 2.43X1.64. 
 
 Formerly in the chapel of La Espiracion in the convent of the Merced Calzada 
 at Seville. Taken by Soult to Paris, and returned to Madrid in 1814. Ponz, ix. 107. 
 Cean, Die. ii. 59. A Study in red crayon was in the Standish collection, No. 438. 
 255x167 mil. 
 
 Franch, line, 9X6, in Cuadros Selectos de la R. Acad, de S. Fernando. J. 
 Laurent, photo., 485. 
 
 228a. Christ and his Disciples at palace of San Ildefonso, are mentioned 
 Emmaus. Also another of the same by Ponz, Viage, x. 139, 145, and by Cean, 
 subject. Two pictures formerly in the Die. ii. 64, 65. 
 
 229. The Roman Senator. Academy of San Fernando, 
 
 Madrid. The Dream. The Senator, wearing a yellow doublet, is 
 
 seated in a chair asleep, with his head on his hand, which is supported 
 
 on a table covered with red cloth ; his wife sleeps on the floor beside 
 
 him ; they behold the vision of the Virgin, who appears in the upper 
 
 part of the chamber holding the Child and pointing to the site, visible 
 
 through the open door, on which she directs the founding of the 
 
 Church of Sta. Maria Maggiore. Semicircular. 2.30X5.22. 
 
 Domingo Martinez, mezzo., 12.5x25.4, 1857, at Calco. Nacional. Galvan, 
 etch., in Cuadros Selectos de la R. Acad, de S. Fernando. Mme. Soyer, outline, 9 X 
 18. Mme. Soyer, outline, 3.4X6.8, in Huard, Vie des Peintres Fspagnoles, 2 vols., 
 8vo, Paris, 1839-41. 
 
 230. The Roman Senator relating his Dream. Academy 
 of San Fernando. The Senator and his wife, kneeling, relate their 
 dream to Pope Liberius, who sits enthroned on the left, accompanied 
 by two Cardinals, one of whom wears spectacles ; on the right, in the 
 distance, is a second scene, in which a throng of people, and the Pope 
 under a canopy, assist at the founding of the new church. Semicir- 
 cular. 2.30X5.22. 
 
 D. Martinez, mezzo., 13x25.4, 1858, at Calco. Nacional. Galvan, etch., 
 4.2x9.8, in Cuad. Sel. de S. Fernando. On wood in Dohme, Kunst und Kiinstler. 
 
 The two pictures above described were painted about 1656, for the principal 
 aisle of the church of Sta. Maria la Blanca, and are among the earliest specimens of 
 the Vaporoso manner. See No. 30. According to the Biographic Universelle, Art. 
 
ANGELS. 
 
 207 
 
 Mitrillo, the city of Seville presented (?) them with the St. Elizabeth of Hungary 
 (No. 274), to Marshal Soult. At the Restoration the Marshal gave them to the 
 King, who caused the present frames to be constructed under the direction of the 
 architect Perier, and placed the paintings in the Louvre. The Peace restored them 
 to Spain, but not to Seville. Copies were in Marquis of Lansdowne sale, 1806. 
 The Lille Museum has copies by Souchon. 
 
 231. Faith presenting the Eucharist, or The Church Tri- 
 umphant. On the left, Faith, represented as a young girl, clothed in 
 white and seated on clouds, holds out a chalice surmounted by the 
 Host, for the adoration of a group consisting of a mother and child 
 and four monks, who are seen at half length ; in her left hand is a 
 book and the golden keys of the heavenly mansions ; the Doves and 
 three heads are seen above; a cherub on the left holds a scroll 
 inscribed /// finem dilexit eos. 1.62X2.65. 
 
 Painted for a semicircular space on the wall of the Epistle side of the nave of 
 the church of Sta. Maria la Blanca. Companion to the Immaculate Conception No. 
 30. It was brought from Spain by Gen. Faviers, but it was not in his sale in 
 1837. It was sold in the Pourtal&s sale, March 27, etc., 1865, for 67,500 francs 
 (to Lyne Stevens?). 
 
 Photographed by Goupil in the Galerie Ponrtales, a work comprising forty- 
 eight photographs in four livraisons. 
 
 232. Souls in Purgatory. A large composition, containing 
 twenty-one figures and seven heads ; among them are the Father, the 
 Son, the Dove, the Virgin, St. Joseph and St. Francis, all on clouds \ 
 beneath are the souls of those in purgatory. S}i x Z x A varas= 14 ft. 
 5 in. by 9 ft. 7 in. 
 
 Painted by order of the Duque de Alba for the church of Gelves. It passed 
 into the possession of Don Aniceto Bravo, and afterwards belonged to Don Jorge 
 Diez Martinez. Tubino, 184, 186. 
 
 Portole, litho., in Sevilla Pintoresca, Sevilla, 1844, 8vo. 
 
 233. The Guardian Angel. Seville Cathedral. The angel, 
 
 in dark robe, with outspread wings, points to heaven with his right 
 
 hand, and looks down to a child clad in a thin, white robe, whom he 
 
 leads with the other hand; both walk to our left. 1.70X1.13. 
 
 Painted for the Capuchin convent. See ante No. 18. During the French 
 invasion, all the pictures in this convent, together with those in the Cathedral, were 
 removed to Gibraltar for safety. In payment of the expenses incurred in this mat- 
 
208 
 
 MURILLO. 
 
 ter, the brotherhood of the convent, in 1814, transferred to the Cathedral this picture, 
 which was in 1818 placed in its present position in the altar of the chapel of the 
 Angel de la Guarda. 
 
 A sketch, 15XH inches, was in the collection of Dean Lopez Cepero, Catalogo 
 No. 861, and is noticed in Sevilla Pinto., 452. 
 
 One of the pictures composing the famous retable of the high altar of the Capu- 
 chin church at Cadiz (see the Marriage of St. Catharine, No. 264), is a Guardian 
 Angel leading a child, by Meneses Osorio, after a design by Murillo. It is iden- 
 tical with the above, except that the angel's right hand falls naturally instead of 
 pointing up, and the wings are closer to the body. 
 
 R. C. Bell, line, in Stirling, Annals. On wood in Becker, Characterbilder. 
 J. Laurent, photo., 11 20. 
 
 234. Cherubs Scattering Flowers. Duke of Bedford, 
 Woburn Abbey, Bedfordshire. Ten cherubs, mostly winged, are fly- 
 ing and scattering flowers as they fall from a basket held by three 
 cherubs in the left upper corner ; red and blue drapery in the back- 
 ground. 75X97 inches. 
 
 Purchased from Mr. Bagnols, who brought it from Spain. British Institution, 
 1822 and 185 1. Mentioned in Pennant's Tour ; AZdes Walpoliance,^. 56; Waagen, 
 iii. 465. 
 
 " Cinco Quadros, de a tres baras de largo, y dos de ancho, tiene Don Francisco 
 Artier, que fueron de Don Juan Francisco Eminente (gran protector de nuestro 
 Murillo), que cada qual es vna admiracion ! El vno es apaysado, de vna Gloria de 
 Angelitos, traveseando con varias flores en differentes attitudes, que verdadera- 
 mente es vna gloria el verlo ! El otro es a lo alto, del Glorioso Patriarca San 
 Joseph, con el Nino Jesus de la mano, y arriba vn rompimiento de Gloria. Los 
 otros tres son de San Francisco de Assis, San Francisco de Paula, y San Francisco 
 Xavier, que cada vno por su camino es vna admiracion ! " Palomino, Mus. Pict. iii. 
 421, 423. It is probable that all these pictures came to England. The description 
 of the first agrees with the painting at Woburn. For the second see No. 146a ; 
 the fourth was in the Ashburnham sale (No. 301) ; the fifth belongs to Mr. Drax 
 (No. 308.) 
 
 235. An Angel. Walter R. Bankes, Esq., Kingston Lacy, 
 Dorset. An angel, seated on a cube-shaped stone, holds a Cardinal's 
 hat over his head so that his face is thrown into shadow. 23X21 in. 
 
 Said to have been cut from an altar-piece in Seville, and used for covering a 
 knapsack which was found on the back of a dead soldier in Spain. Praised in 
 Waagen, iv. 381. Royal Academy, 1870. 
 
 236. Four Angels. Earl of Normanton, Somerly, Hamp- 
 shire. Life-size figures. 
 
 Formerly in a convent in Seville. Praised by Dr. Waagen, iv. 367. 
 
ST. ANDREW. 
 
 209 
 
 236a. Sale by Christie, June g, 
 1827. Four pictures from the church of 
 St. Augustine, at Seville, painted on 
 thick panel. The first two are rich in 
 color, and in fine condition; the others 
 have been somewhat injured by long 
 exposure to a powerful sun. 
 
 A spirited and beautiful group of two 
 infant angels on the wing, bearing up 
 the volume of the Sacred Scriptures 
 which serves as a foundation for a small 
 model of a church. ^105. 
 
 A group of two infant angels bearing 
 up a mitre and a crozier, ^57 l$s. 
 
 Four infant angels on the wing. £42. 
 
 The Companion. ^43- 
 
 These pictures were formerly in the 
 Church of St. Augustine, outside the 
 Carmona gate, at Seville, and are men- 
 tioned by Cean, who says " estan colo- 
 cados en los casetones del medio punto 
 con que remata el retablo, varios angeles 
 con atributos e insignias episcopales en 
 las manos." Cean Bermudez, Carta 96. 
 Ponz, ix. 136. G. de Leon, ii. 274. 
 Other pictures in that church are men- 
 tioned at No. 254. The church of St. 
 Augustine was destroyed long ago, and 
 the convent was converted into a prison. 
 In 1880 the property passed into private 
 hands. 
 
 236b. Juan Govantes, Seville. Two 
 angels adoring the mystical Lamb, which 
 is sleeping on a cross. A small sketch. 
 Mentioned by Stirling, iii. 1417. Tu- 
 bino, 182. 
 
 236c. A. Bravo. A group of angels 
 adoring the Lamb. Tubino, 185. Sevilla 
 Pinto., 415. 
 
 236d. An angel with a wreath of 
 flowers ; belonged successively to the 
 Prince of the Peace, to Don — Campana, 
 and to Captain Davies. Davies, Murillo, 
 lxxxiv. note. 
 
 236c Don Julian Williams. Cupid 
 peering from behind a red curtain. Also 
 Cupid with his back half turned. Stir- 
 ling, iii. 1443. 
 
 236f. Dulwich Gallery, 317. Two 
 infant angels with wings, adoring the 
 crown of thorns placed on a column. 
 8^X10)^ inches. This is called a Copy 
 after Murillo, but no such group exists 
 in any picture by Murillo known to the 
 author of this catalogue. 
 
 236g. Lady Garvah exhibited a 
 Cupid at the British Institution, 1850. 
 
 236h. Aguado sale, 1843, No. 53. 
 Three angels in clouds with palm 
 branches. .81X.62. 510 francs. 
 
 236i. Gen. John Meade sale, 1847. 
 An angel with a fish. £2 2s. 
 
 237. Martyrdom of St. Andrew. Museo del Prado, Mad- 
 rid, 881. The aged Saint, naked, except for a linen cloth, is raised 
 in the centre on a saltier cross formed of the trunks of trees, to which 
 he is fastened with cords; his white hair and beard stream loosely in 
 the air as he looks up to the sky, where cherubs appear with the 
 crown and palm of martyrdom; beneath are executioners, two of whom 
 are tightening the cords that bind the martyr's feet ; on the left, in 
 front, is a group of spectators, among them women and a weeping 
 boy; on the right, two soldiers on horseback, and others on foot 
 with lances. Latest manner. 1.23X1.62. 
 
 Photographed by J. Laurent, Madrid, and by A. Braun & Co., Paris. 
 27 
 
210 
 
 MURILLO. 
 
 238. Martyrdom of St. Andrew. Sir Philip Miles, Bart., 
 
 Leigh Court, Somerset. A repetition of the above. 51X66 inches. 
 Etched by John Young, in the Miles Gallery Catalogue, plate No. 11. 
 
 238a. Gen. John Meade sale, by 
 Christie, 1847. St. Agnes, with lambs 
 around her, and angels above. £2$ 14^. 
 6d., to Anthony. 
 
 238b. W. Delafield sale, April 30, 
 1870. St. Agnes. 49X38^ inches. ^43, 
 to Grindley. 
 
 238c. Mrs. Standish sale, by Chris- 
 tie, March 6, 1858. St. Agnes feeding 
 lambs with flowers ; two angels above. 
 Brought to England by Mr. Standish. 
 ^28 Js., to Leslie. 
 
 238d. Mr. Cox, of Pall Mall, sale, by 
 
 Foster, April 30, 1879. Death of St. 
 Ambrose. He lies on the ground, at- 
 tended by two monks, one of whom kisses 
 the hand of the dying Saint. About 24 
 X30 inches. Perhaps this was in a sale 
 by Christie, June 18, 1859. £12 12s. 
 Also in George Grote sale, March 2, 
 1872. £11 lis., to Cox. 
 
 238e. Salamanca sale, 1875. Head 
 of St. Anne, about forty years of age, 
 covered with a white veil; the eyes 
 downcast. From Madrazo Gallery, No. 
 387. .37X.35. 1,100 francs. 
 
 239. St. Antony of Padua and the Infant Jesus. Cathe- 
 dral, Seville, in the Baptistery. The Infant Saviour, attended by a 
 host of cherubs and youthful angels, descends in a glory, as if walking 
 on clouds, to visit the smooth-faced, brown-frocked Saint, who, kneel- 
 ing in his cell, welcomes his celestial visitor, looking up, with out- 
 spread arms ; on a table is an open book and a vase containing lilies ; 
 on the left, cloisters are seen through an open door. Vaporoso man- 
 ner. 5.50X3.30. 
 
 This is the largest painting ever executed by Murillo, and the first of which a 
 notice is to be found in any printed book. F. de la Torre Farfan, (.Fiestas de la S. 
 Iglesia * * de Sevilla, p. 164, Sevilla, 1671, — eleven years before the death of the 
 artist), in his account of the Cathedral and its treasures, praises this picture of 
 Murillo, the Sevillian Apelles. Palomino (iii. 421, 423) tells the story which is so 
 often repeated, that birds have been seen trying to alight on the table and peck the 
 flowers. He also gives credit to Valdes Leal for the perspective of the cloisters and 
 the table, a very improbable tale, which is justified neither by the character of 
 Valdes, nor his relations towards Murillo. The work was painted by order of the 
 Chapter, who placed it in the baptistery, November 21, 1656, and gave the artist for 
 it 10,000 reals, about 2,500 francs. Cean Bermudez, Carta 60. M. Viardot was 
 told by a canon of the Cathedral that in 1815 the Duke of Wellington offered to buy 
 the picture, covering it with gold ounces, a price equal to about ^36,000, but the 
 offer was declined. Musees d' Espagne, 146. 
 
 Don J. M. Escazena had a study for the figure of the Saint. 36x27 inches. 
 Stirling iii. 1437. 
 
ST. ANTONY. 
 
 21 I 
 
 On the 5th of November, 1874, it was discovered that this picture had been muti- 
 lated by cutting out the figure of St. Anthony during the previous forty-eight hours, 
 within which time the curtain covering it had not been withdrawn, so far as was 
 known. This was the third robbery in the Cathedral within a short period. The 
 first was that of a crucifix, subsequently recovered. Next was the loss of a crown 
 and pectoral cross of the image of the Virgen de los Reyes, jewelry of the thirteenth 
 century. After the second robbery the watch was reinforced by two mastiffs, but 
 all these precautions were ineffectual. On the discovery of this last outrage the 
 Spanish Government sent to its representatives abroad photographs of the picture 
 showing the mutilation, and instructing them to aid in the search for the criminals. 
 On the 2d of January, 1875, a Spaniard, named Fernando Garcia, called on Mr. Wm. 
 Schaus, the well-known picture dealer in New -York, and proposed to sell a Murillo 
 which he had at his lodgings. The canvas was, at Mr. Schaus's request, brought to 
 his place of business, and left for examination. It was about 7 feet high by about 5 
 feet broad, and was rudely tacked to a stretcher, but had evidently been rolled for 
 some time. Much of the paint of the head and face had peeled off ; the nose had 
 almost entirely disappeared, and a rough jag on one side, made by a slip of the knife, 
 had been repaired. Mr. Schaus perceived that it was the stolen Murillo, and at 
 once gave notice to the Spanish Consul, for whose account it was a few days later 
 purchased for $250. It was immediately packed and sent to Cuba, accompanied by 
 Garcia, who was, however, released from custody after a brief examination, in the 
 course of which it appeared that the thief had walked boldly on board the steamer 
 at Cadiz, in broad daylight, with the picture on his shoulder. The injuries were 
 carefully restored, and the picture reinstated in its old position, amid imposing relig- 
 ious and secular festivities, on the 30th of October, 1875. The Chapter of the 
 Cathedral expressed its gratitude towards the skillful restorer of the canvas, Senor 
 Cubells, by presenting him with a gold medal weighing three ounces. His wife 
 was also rewarded with four relics of St. Peter, St. Bartholomew, St. Laureano, and 
 St. Lorenzo. As Mr. Schaus had declined to accept the reward of 50,000 pesetas 
 that had been offered, it was proposed to make some acknowledgment to him for 
 his share in the transaction ; but in the joy over the return of the picture this has 
 been forgotten. See D. Claudio Boutelont, Estudio de San Antonio de Murillo, 
 Sevilla, 1875. A. de Latour, Comment ten tableau de Murillo fut vole', etc., Sceaux, 
 1878, pp. 50, privately printed. 
 
 Aug. Lemoine, litho., 21x12.6, Paris, 1859. Engraved on wood in Gaz. 
 Beaux Arts, February 1875. Harper's Weekly, February 20, 1875, showing the 
 mutilation by a white line. The Graphic, London, June 30, 1875, the stolen part 
 left blank. 
 
 240. St. Antony of Padua and the Infant Jesus. Seville 
 Museum, 92. St. Antony, kneeling profile right, with lilies in his 
 right hand, embraces with his left hand the Infant Saviour, who, seated 
 on an open book, places his right hand on the head of the Saint; 
 four cherubs above. Full length. 2.87X1.90. 
 
212 
 
 MURILLO. 
 
 Painted for the Capuchin Church. See No. 18. This is probably the finest of 
 Murillo's pictures of the subject. 
 
 Engraved on wood in Robinson, Great Painters, London, 1877, 8vo, wrongly 
 called St. Francis. Dohme, Kunst und Kiinstler, half length, reversed. J. Lau- 
 rent, photo., 1067. 
 
 241. St. Antony of Padua and the Infant Jesus. Seville 
 Museum, 60. The Saint, holding lilies in his right hand, kneels pro- 
 file right, and embraces with both arms the Infant Saviour, who stands 
 on an open book, with his right hand on the head, and his left before 
 the breast of the Saint. Three-quarters length. 1. 90X1.22. 
 
 Painted for the Capuchin Convent. Companion to No. 277. See No. 18. 
 Photographed by J. Laurent, Madrid, No. 1075. 
 
 242. St. Antony of Padua and the Infant Jesus. Condesa 
 de la Mejorada, Seville. A repetition of the above. 50X37 
 inches. 
 
 Pictures by Murillo have been in the Mejorada family since the time of the 
 artist. See Standish, Seville, 315. Cean Bermudez, Carta 100. G. de Leon, ii. 
 202. 
 
 243. St. Antony of Padua and the Infant Jesus. Berlin 
 
 Museum, 414. St. Antony, profile left, kneeling on the ground, 
 
 presses his cheek to that of the Infant Jesus, whom he holds in his 
 
 arms ; the Child caresses the cheek of the Saint ; five cherubs are seen 
 
 in a glory, and two others on the ground on the left, one of whom 
 
 holds up a lily, the other opens a book; a hilly landscape in the 
 
 background. 1.65X2.00. 
 
 Purchased at Paris in 1835. It is probably the picture, one of the most celebra- 
 ted of Murillo's works, formerly in the convent of S. Pedro de Alcantara at Seville, 
 whence it was taken by Soult in 1810, with the assistance of a troop of infantry. G. 
 de Leon, ii. 198. Cean Bermudez, Die. ii. 58. J. C. Robinson, Esq., London, has an 
 original study with pen and bistre heightened with white, on white paper. 13X9X 
 inches. Signed. 
 
 A. H. Payne, line, in Payne, Berlin Gallery. Loeillot de Mars, litho., 
 15X18. Outline in Liibke, Denkmaler der Kunst. Photographed by the Berlin 
 Photo. Co. Engravings of the centre portion only, by Caspar, Schultz, and 
 L. de Mars. 
 
 244. St. Antony of Padua and the Infant Jesus. Earl of 
 Dudley, London. A repetition of No. 243, but upright, and with- 
 
ST. ANTONY. 
 
 213 
 
 out the two cherubs on the ground before the Saint. About 24X16 
 inches. 
 
 San Donato sale, Paris, February 21, etc., 1870. .62X.40 cm. 19,500 francs. 
 
 Flameng, etch., in the San Donato sale catalogue. Engraved on wood in 
 L 1 Illustration, Paris, February 12, 1870. 
 
 [Prince Anatole Demidoff was one of the most noted collectors of pictures in 
 modern times, and the Demidoff sales were among the most important of the pres- 
 ent age. The fortunes of the house are said to have begun when an ancestor 
 skillfully repaired a pistol for Peter the Great, but the discovery of mines in Siberia, 
 in 1725, was the foundation of the wealth of the family. In 18 14 Nicholas Demi- 
 doff purchased the old convent of San Donato at the gates of Florence, where he 
 erected the beautiful palace so well known to all visitors to that city. The 
 Grand Duke Leopold II., in recognition of his generosity and public spirit, con- 
 ferred on Nicholas the title of Prince. His son Anatole, who married the Princess 
 Mathilde Bonaparte, continued the work of collecting which his father began. He 
 died in 1870, on the last day of his great sale of pictures. 
 
 The following is a list of the Demidoff sales, all of which, except the last, were 
 held in Paris : 
 
 1863, January 13 to 16, Prince Anatole Demidoff. Thirty-four paintings, prin- 
 cipally of the French and Dutch schools, produced ,£13,021 ; forty-three drawings, 
 about ^"5,000 ; forty-one other lots, snuff-boxes, etc., about ^21,900; total, about 
 ^■40,000. 
 
 1863, February 26 (Paul Demidoff). Seventeen pictures sold for 158,000 
 francs. 
 
 1864, May 25 and 26, sale of M * * * (Paul Demidoff). Modern pictures and 
 snuff-boxes. 
 
 1868, February 3 (Paul Demidoff). Ancient and modern pictures. 
 
 1868, April 18. Galerie de San Donato (A. Demidoff). Twenty-three Flemish 
 and Dutch pictures. The catalogue is illustrated with etchings. 
 
 1869, April 1, 2, 3. M. D * * * (Paul Demidoff). Ancient and modern pict- 
 ures, objects of art, etc. 
 
 1870, February 24- March 10. San Donato sale (A. Demidoff). Ancient and 
 modern pictures, marbles, drawings, aquarelles, and miniatures. The catalogue is 
 illustrated with fifty-six etchings. The Gazette des Beaux Arts for that year has 
 several articles on the collection, with etchings of some of the pictures. 
 
 1870, March 22-April 28, San Donato sale. Objects of art. The catalogue is 
 illustrated with photographs. These two sales realized 4,863,031 francs. 
 
 1880, March 15 -May 13. San Donato sale, at Florence. There were six 
 thousand and seventy-five lots. The pictures, chiefly of the Dutch, Flemish, and 
 Italian schools, aquarelles, engravings, sculpture, furniture, bronzes, curiosities, 
 plate, carpets, tapestries, porcelains, carriages, wines, etc., produced 6,579,580 francs ; 
 hot-house plants, 109,463 francs ; library, 1 18,142 francs ; furniture in the out-build- 
 ings, 37,269 francs ; total, 6,844,454 francs, besides the palace and grounds of San 
 Donato, which were subsequently sold at private sale. The catalogue is mag- 
 nificently enriched with etchings, many of which, with notices of the collection, are 
 published in L Art, for the year 1879-80. 
 
214 
 
 MURILLO. 
 
 245. St. Antony of Padua and the Infant Jesus. Henry 
 
 Hucks Gibbs, Esq., London. A repetition of the Berlin picture 
 
 No. 243, with slight differences. 43X36 inches. 
 
 Purchased by Mr. Gibbs in 1853, at Seville, from Senor Espelosin, in whose 
 family it had been since the time of Murillo. Leeds Exhibition, 1868. 
 
 246. St. Antony of Padua and the Infant Jesus. A repe- 
 tition of the Berlin picture No. 243. 63X81 inches. 
 
 H. A. J. Munro sale, 1878 (by Christie). "Sold by Queen Christina from 
 the royal gallery at Madrid. Purchased from M. Teschier." ,£2,362 10s. (to the 
 Earl of Rosebery ?). 
 
 247. St. Antony of Padua and the Infant Jesus. Hermit- 
 age, St. Petersburg, 373. The Saint, kneeling profile left, incloses 
 with his arms, without touching, the Infant Saviour, who appears as if 
 walking on an open book, which lies on a rock; the Child's right 
 hand is held up in benediction, his left is in St. Antony's right ; five 
 cherubs above, one of whom holds lilies. Full length. 2.49X1.67. 
 
 Formerly belonged to M. Laneuville. Purchased in 1852 for 30,000 francs. 
 
 A similar, perhaps the same, picture was in the sale of the Marquis de For- 
 bin-Janson, May 2, 1842, "brought from Seville by a French General," with- 
 drawn at 40,000 francs. 
 
 Photographed by Rottger (Schmitzdorf, librairie de la cour), St. Petersburg. 
 
 248. St. Antony of Padua and the Infant Jesus. Henry 
 G. Bohn, Esq., Twickenham, Middlesex. A sketch, perhaps for 
 No. 240, with variations. Near the lilies is a skull, and in the back- 
 ground a crimson curtain. 11X8 inches. 
 
 Purchased by the present owner about the year i860. 
 
 249. St. Antony of Padua and the Infant Jesus. Wil- 
 liam Cornwallis Cartwright, Esq., Aynhoe, Northamptonshire. 
 The Saint, in brown robe, seated at an oak table, on which his left 
 arm rests, stretches forth his right hand, and looks up to the Infant 
 Saviour, who appears standing on clouds, with his hands extended 
 towards his worshipper ; a book is on the table, and on the book a 
 lily. 82X57 inches. 
 
 See No. 10. Exhibited by W. R. Cartwright at the British Institution, 1839. 
 
ST. ANTONY. 
 
 215 
 
 250. St. Antony of Padua and the Infant Jesus. Lady 
 Holland, Holland House, London. The Saint, kneeling on his right 
 knee, profile right, holds a branch of lilies in his left hand, and supports 
 with both hands, on his left knee, an open folio, whereon the Infant 
 Saviour stands, with his right hand on St. Antony's head. Landscape 
 background. Full length. 
 
 The Princess Marie Liechtenstein observes that the Saint seems to ignore the 
 visible presence of the Deity whom he is adoring, and that the Spiritual Infant 
 casts a shadow, although he impresses no weight on the book, which is an error. 
 Holland House, ii. 29. 
 
 John Dean, mezzotint, 17.9x14, London, August 7, 1776. 
 
 251. St. Antony of Padua and the Infant Jesus. Duke of 
 Sutherland, Stafford House, London. The Saint, standing pro- 
 file left, embraces the Infant Saviour, who stands front on an open 
 book, which lies on a great rock ; the Saint's right hand, holding lilies, 
 rests on the book, his left holds the right hand of the Child. Full 
 length. 14X12 inches. 
 
 Formerly belonged to M. Francillon. It has sometimes been called St. Fran- 
 cis. British Institution, 1828. 
 
 [The cabinet of M. Francillon was sold at Paris, April 14, etc., 1828.] 
 
 252. St. Antony of Padua and the Infant Jesus. Baron- 
 ess Burdett-Coutts, London. The Saint, kneeling before a table 
 on which is a book, beholds the Infant Saviour, who appears to him 
 holding a globe surmounted by a cross. Cabinet size. 
 
 Samuel Rogers sale, by Christie, April 28, etc., 1856, No. 715, wrongly 
 called St. Francis, £241 10s. Manchester Exhibition, 1857. 
 
 253. St. Antony of Padua and the Infant Jesus. M. Eudoxe 
 Marcille, Paris. The Infant Jesus, standing on a table covered 
 with red cloth, places his right hand on the shoulder of St. Antony, 
 who holds lilies in his right hand before his breast. Half length, on 
 copper. .23X17. 
 
 253a. "In the church of S. Diego, the Alcazar at Seville, is a picture, which, 
 belonging to the Descalzos of S. if I am not mistaken, represents S. An- 
 Francisco, outside the city, not far from tonio." Ponz, ix. 157. 
 
2l6 
 
 MURILLO. 
 
 2 53b. Julian Williams formerly 
 possessed a small sketch or study of No. 
 243. Stirling, iii. 1437. 
 
 253c. Joaquin Saenz y Saenz. St. 
 Antony of Padua kneeling before the 
 Infant Jesus. Tubino, 183. 
 
 253d. Jose Saenz. St. Antony of 
 Padua kneeling with the Infant Jesus ; 
 an early work. Tubino, 190. Sevilla 
 Pinto., 477. 
 
 253c Jorge Diez Martinez, Seville, 
 St. Antony, kneeling on the ground, 
 beholds the Infant Jesus descending from 
 heaven. Second manner. Sevilla Pinto., 
 486. 
 
 253f. St. Antony, of Padua, half length, 
 less than life-size, with the Child seated 
 on a book. Belonged successively to the 
 Marques de la Canada, to D. Manuel de 
 Leyra, and to D. Sebastian Martinez, and 
 finally came to England. Davies, Murillo, 
 xciv. and lxxxiv. note. Ponz, xviii. 22. 
 
 253g. Lopez Cepero. The Infant 
 Jesus appears above on clouds, blessing 
 St. Antony, who kneels profile left before 
 a table, on which is a closed book ; full 
 length. 1.55x1.07. This picture was 
 probably in the Lopez Cepero sale, Paris, 
 1868, but not sold. 
 
 253I1. Mr. Stanhope, afterwards 
 Earl of Harrington, Minister to Spain in 
 1725, brought to England a St. Anthony 
 of Padua. Davies, Murillo, xcii. 
 
 253L Due de Montpensier, No. 146. 
 School of Murillo. St. Antony of Padua, 
 three-quarters length, profile right, with 
 his left hand supports the hips, and with 
 his right touches the foot of the Infant 
 Jesus, who, standing on clouds, with a 
 lily at his feet, caresses the cheek of the 
 Saint. 1.19X.93. 
 
 J. Laurent, photo., 1003. The fol- 
 lowing lithographs are after a compo- 
 sition similar to the above, ascribed to 
 Murillo: Lafosse, 16x12. Lafosse, 
 7.4X6. L. Maurin, 4.6x3.5. Hirsch, 
 10.5x8. C. Burt, line, 8x4.6. 
 
 253k. St. Antony, profile right, hold- 
 ing lilies before his breast, stands beside 
 a table, on which are pens and an ink- 
 stand ; the Infant Jesus, seated on a 
 book which lies on the table, caresses the 
 Saint's chin ; three cherubs above. Half 
 length. 
 
 Joseph Rico, line, 5.6x4.4, about 
 1 810. From the original belonging to 
 D. Josef Ignacio Lascano, Cadiz. P. 
 Bersiere, line, 7x5. Borrome, line, 
 6X4-4- 
 
 253I. St. Antony, with the Infant 
 Jesus seated on his arm. 
 
 A. PlNGOT, litho. Spurious. 
 
 253m. Desenfans sale, April 8, 1786. 
 St. Antony of Padua. 42X48 inches. 
 £42. 
 
 253n. Altamira sale, 1827. St. An- 
 tony of Padua and the Infant Saviour. 
 From Lopez Cepero gallery. ^39 16s. 
 
 2 53P« Schamp d'Aveschoot sale, 
 Gand, September 14, etc., 1840. St. An- 
 tony of Padua, kneeling at a prie-dieu, 
 extends his arms towards the Infant 
 Jesus. 44X34 inches. 210 florins. 
 
 253q. Aguado sale, 1843, No. 80. 
 St. Antony, in prayer before a stone table 
 on which is a lily, sees the Infant Jesus 
 appear on clouds. 1. 60X1. 00. 405 
 francs. 
 
 253r. Soult sale, 1852, No. 63. St. 
 Antony of Padua, kneeling on a terrace 
 which overlooks a pleasant landscape, 
 presses to his bosom the Infant Jesus, 
 who responds with naive caresses. .59 
 X.62. 10,200 francs (to Cte. Demidoff ?). 
 
 253s. Louis Philippe sale, 1853, 
 No. 496. St. Antony of Padua and the 
 Infant Jesus. A repetition probably of 
 No. 243, but upright and without the 
 cherubs. 1.14X.89. ^85, to Colnaghi. 
 
 253t. Due de Morny sale, 1865. St. 
 Antony of Padua, kneeling before a table 
 on which is a book, with his hand on his 
 breast, beholds the Infant Jesus seated 
 on a cloud, with one hand on a globe, 
 
ST. AUGUSTINE. 
 
 217 
 
 blessing him. 1.65 X 1.09. 13,000 
 francs. 
 
 25311. R. P. Nichols sale, April 30, 
 1875. St. Antony of Padua with two 
 
 angels. From the Choquet collection, 
 Madrid. 14^X11 inches. £7 7^., to 
 Cox. Mr. Nichols exhibited a St. John 
 Baptist at the British Institution, i860. 
 
 254. St. Augustine. Seville Museum, 59. The Saint, wear- 
 ing the black habit of the order of St. Benedict, kneeling on the right, 
 presents to the Infant Jesus, who is seated on the lap of the Virgin, a 
 flaming heart, which the Child transfixes with a dart ; three cherubs 
 and five heads above. Painted on a rough panel showing the marks 
 of the plane. 2.50X1.32. 
 
 About 1678, at the instance of his friend and fellow-artist, Pedro de Medina 
 Valbuena, Murillo was employed to paint two pictures for the great retable in the 
 church of the convent of St. Augustine outside the Carmona gate, at Seville, which 
 Herrera the elder had already adorned with paintings representing the Annuncia- 
 tion and the Coronation of the Virgin, and which Valbuena was himself engaged in 
 gilding and decorating. The works by Murillo were on the sides of the retable, 
 and represented St. Augustine writing (255), and the Virgin appearing to the Saint 
 (254). There were also some pictures of angels with episcopal insignia and attri- 
 butes in their hands in the angles of the arch (236a). In the Chapel of St. Thomas 
 were two beautiful paintings, afterwards removed to the prior's cell, one represent- 
 ing St. Thomas dividing his clothes among some poor children (396), the other, St. 
 Thomas giving alms, with the perspective of a cloister (398). In the sacristy was 
 St. Augustine kneeling, with some books (258). There were also several smaller 
 paintings in the lower part of the altar. In the body of the church were copies of 
 works which Murillo had executed for the Caridad (probably Abraham and the 
 Angels, The Prodigal Son's Return, and the Healing of the Paralytic, which were 
 sold in the Marquis of Lansdowne sale, in 1806). See Ponz, ix. 135. Cean Bermu- 
 dez, Die. ii. 60, and Carta 96. G. de Leon, ii. 274, etc. Pictures in the Augustine 
 Convent, "del insigne iurillo " are mentioned by Diego Ortiz de Zuniga in An- 
 nates de Sevilla, Madrid, 1677, fol. p. 722, a work published in the lifetime of the 
 artist. 
 
 Photographed by J. Laurent, Madrid, No. 795. 
 
 [The Convent of St. Augustine was one of the largest in Seville, ranking next 
 after those of St. Francis, St. Paul, the Cartuja, and St. Jerome. Its church, the 
 burial place of numerous great families of Andalusia, among them that of Ponce de 
 Leon, was one of the richest in works of art and precious metals. About the begin- 
 ing of this century the church was destroyed, and the convent was converted into 
 a prison. In 1880 the property passed into private hands.] 
 
 255. St. Augustine. Seville Museum, 54. The Saint, seated 
 front, behind a table, holding a pen over an open book, turns his head 
 to behold a vision of the Trinity above, on his right, surrounded by 
 
 28 
 
218 
 
 MURILLO. 
 
 several cherubs and heads. Painted on a panel which is cracked and 
 
 injured. 2.49X1.32. 
 
 Painted for the convent of St. Augustine, at Seville. See No. 254. 
 Photographed by J. Laurent, Madrid, No. 1084. 
 
 256. St. Augustine. Seville Museum, 51. The Saint, in black 
 robes, kneeling profile left, before an altar, with hands outstretched, 
 looks up towards a ray of light which descends from above ; dark 
 background; no accessories. 1.30X.72. 
 
 A sketch ; very dark and obscure. From the convent of St. Augustine. 
 
 257. St. Augustine. Museo del Prado, 860. The Saint, in 
 
 black robes and cape, kneeling on the steps of an altar, nearly front, 
 
 beholds the Virgin, on his left, in a glory, who bares her breast and 
 
 presses from it a stream of milk, which falls on his lips ; opposite to 
 
 the Virgin is Christ on the cross, from whose side flows a stream of 
 
 blood, which also falls on the lips of the Saint ; many cherubs and 
 
 heads above ; in the foreground are books and two cherubs with 
 
 mitre and pastoral staff. Second manner. 2.74X1.95. 
 
 This picture formerly belonged to the Marques de los Llanos. 
 Photographed by J. Laurent, Madrid, No. 183. 
 
 [Twiss mentions a picture in the church of St. Mary Impatica, in Pavia, where 
 the Virgin, standing on clouds, squeezes milk from her breast into the mouths of 
 souls in purgatory ; another, in the Chartreuse, in the same city, where Christ, 
 standing on the basin of a fountain, spouts blood from his five wounds. Travels in 
 Spain, 144.] 
 
 258. St. Augustine. George Tomline, Esq., Orwell Park, 
 
 Suffolk. The Saint, wearing a rich robe lined with red, kneels in 
 
 ecstasy before a flaming heart which appears in gray clouds, with the 
 
 inscription, Inquietum est cor meum donec perveniat ad Te ; on 
 
 the floor are three books, a mitre, and a crozier; a curtain in the 
 
 background. Full length, life-size. Second manner. 
 
 From the convent of St. Augustine. See No. 254. It was taken to Paris by 
 Marshal Soult, who sold it at private sale about 1846 to Mr. Tomline. This is one of 
 the pictures which the Marshal authorized Mr. Buchanan to sell in England. See 
 ante No. 1. Dr. Waagen (iii. 441) considered it the finest single figure he knew by 
 the master. A copy, perhaps of this picture, is in the Cadiz Museum, No. 36. 
 
ST. AUGUSTINE. 
 
 219 
 
 Sir W. Stirling-Maxwell (Catalogue of Prints, p. 96), asserts that there is a 
 line engraving by Joubert, 12X9-8. The writer has never seen such an engraving, 
 and Mr. Tomline doubts its existence. 
 
 259. St. Augustine. Sir Edmund A. H. Lechmere, Rhydd 
 
 Court, Worcestershire. The Saint, in black habit, attended by a monk 
 
 holding a napkin, while washing the feet of pilgrims, recognizes 
 
 Christ, who has descended from heaven to have his feet washed with 
 
 the rest ; above is seen a church like the Pantheon ; a group of angels 
 
 in the background ; the Saviour is supposed to utter the words Tibi 
 
 commendo ecclesiam meam. Second manner. 97x66 inches. 
 
 Painted for the nuns of St. Leandro, of the Order of St. Augustine, and sold by 
 them, during the French invasion in 1810, to D. Manuel Real. It passed into the 
 possession of Don Julian Williams, who sold it, in 1825, to Mr. Standish for ^600. 
 At the Standish sale, No. 204, it was by mistake attributed to the School of Murillo, 
 and sold for ^32 10s. J. Dennistoun sale, by Christie, June 14, 1855, ^199 ioj-. 
 Lord Northwick sale, 1859, ,£252 $s. Mr. Standish considered this the best 
 Murillo in his possession. Seville and its Vicinity, 284. Guia de Sevilla, 1832. 
 See ante No. 1 76. 
 
 260. St. Augustine. Joseph T. Mills, Esq., Rugby, War- 
 wickshire. The Saint, in Bishop's robes, wearing a mitre and holding 
 a crook, stands on the sea-shore conversing with a child who kneels at 
 his side beside a hole in the sand, which it is trying to fill with water 
 brought from the sea in a shell. Landscape background, with the sea 
 on the left, and mountains beyond. 1.80X1.35 centimetres. 
 
 Louis Philippe sale, 246, ^"680. Stirling (885) is probably mistaken in sup- 
 posing this to be one of the pictures painted for the Augustine Convent. Praised in 
 Jameson, S. and L. Art, 312. 
 
 According to the legend the Bishop saw a child on the sea-shore carrying water 
 in a shell to fill a hole in the sand. To the inquiry what he was doing, the child 
 replied that he intended to empty all the water of the sea into that hole. " It is im- 
 possible," said the Bishop. " No more impossible," answered the child, " than for 
 you to explain the mystery of the Trinity on which you are now meditating." 
 Among the pictures of this subject by other artists, may be named a small fresco 
 attributed to Raphael in the Sala della Segnatura ; a painting by Sanchez Coello in 
 the Escorial, and one by Guercino in the Museo del Prado, 250. 
 
 Engraved on wood in Jameson, Sacred and Legendary Art, and in Clement, 
 Legendary and Mythological Art. 
 
 261. St. Augustine. Walter R. Bankes, Esq., Kingston 
 Lacy, Dorset. The Saint, holding a pen, is seated at a table on 
 
220 
 
 MURILLO. 
 
 which are some books ; turning his head, he looks up as if he heard a 
 
 voice from above. Full length, life-size. About 7X5 feet. 
 
 From the Chapter house of the Cathedral at Plasencia. Mentioned by Waagen, 
 Treasures of Art in Great Britain, iv. 382. 
 
 for 4,000 francs. It is now considered to 
 be only a copy, and has been withdrawn 
 from the gallery. 
 
 PlSTRUCCi, etch., in Lucien Bonaparte 
 
 261a. Juan Govantes. St. Augus- 
 tine writing, half length, life-size. Stir- 
 ling, hi. 1433. 
 
 261b. Jorge Diez Martinez, Mad- 
 rid. St. Augustine writing, half length, 
 life-size. From A. Bravo. Sevilla Pinto. , 
 413. Tubino, 185-6. 
 
 261c. Pedro Garcia. St. Augustine 
 meditating, half length. Sevilla Pinto., 
 464. Tubino, 187. 
 
 26id. Formerly in the Louvre, 552. 
 St. Augustine, seated at a table, turns his 
 head, and looks up to the Father and the 
 Son above. Half length. Called the In- 
 spiration of M urillo. 1 . 04 X . 84. 
 
 This picture was sold in the Lucien 
 Bonaparte sale, 1816, for ^130. Bu- 
 chanan, ii. 283. In 1829 it was pur- 
 chased by Charles IX. from M. Lapey, 
 
 Gallery, London, 181 2, 4to. 
 
 261c Baron V. Denon sale, 1826, 
 No. 30. Vision of St. Augustine. 1,200 
 francs, to Lafontaine. A sketch, identical 
 with No. 257, except that Christ and the 
 Virgin are different, and seen only at 
 half length, and there are no cherubs or 
 heads above. 
 
 Gounod, litho., 14x10.5, the size of 
 the original, in Denon, Monuments des 
 Arts. Villain, litho., 12.9x9.8, re- 
 versed, in Chabert, Galerie des Peintres. 
 
 26if. Standish sale, 1853, No. 115. 
 Jesus giving alms to St. Augustine. .58 
 X.70. ^38 1 7j., to Durlacher. 
 
 262. Vision of St. Bernard. Museo del Prado, 868. The 
 
 Saint, wearing the white habit of the Cistercian Order, while kneeling 
 in his cell beholds the Virgin, who appears standing on clouds, sur- 
 rounded by a glory of cherubs and heads, and bearing the Infant 
 Jesus on her arm ; with her right hand she presses from her breast a 
 stream of milk, which falls on the lips of her worshipper ; on the left, 
 before a case of books, is a table with books, writing materials, and 
 lilies ; other books and the pastoral staff lie on the floor in the fore- 
 ground. Second manner. 3.11X2.49. 
 
 From St. Ildefonso. Ribadeneira ( Flos Sanctorum, p. 396) gives the legend 
 on which this picture is founded : " Ita fertur aliquando patulum ejus os lacte de S.S. 
 suis uberibus prosiliente suaviter implesse, atq. hinc illam styli suavitatem quae 
 cunctis in scriptis ejus sese prodit, liberalitur hausisse." 
 
 F. Muntaner, line, 20.8x16.7, at Calco. Nacional. J. Bromley, outline, in 
 O'Neil, Spanish Painters. A. Jameson, etch., in Monastic Orders. C. Alabern, 
 etch., in Alabern, Galleria. 
 
 263. St. Bonaventure. Francis Cook, Esq., Richmond Hill, 
 Surrey. The Seraphic Doctor, in gray robe and doctor's cap, seated 
 
aint Raymond, 
 
 MARRIAGE OF ST CATHARINE 
 
ST. CATHARINE. 
 
 221 
 
 in a red leather chair beside a table on which are writing materials 
 and crucifix, holds on his left hand a book in which he is writing. 74 
 X44 inches. 
 
 Louis Philippe sale, No. 497, from A. Bravo, ^135. Lord Dalling and Bul- 
 wer sale, February 21, 1873,^257. Exhibited at the South Kensington Museum 
 in 1869. This is one of the earliest works of Murillo. It was formerly in the 
 south-west corner of the large cloister of the convent of San Francisco at Seville, and 
 is mentioned by G. de Leon, i. 60 ; Ponz, ix. 99. See an account of the pictures in 
 this convent at No. 268. According to the legend, the Saint was permitted to return 
 to the world for three days, that he might finish the memoirs of St. Francis, on 
 which he was engaged. The Due de Montpensier has an old copy. 
 
 Engraved on wood in Jameson, Monastic Orders, first edition, p. 303. The 
 engraving is withdrawn from the later editions of the book. , 
 
 264. Marriage of St. Catharine. Capuchin Church, Cadiz. 
 The Virgin, seated on the right on a raised platform, holds on her 
 lap the infant Saviour, who places a ring on the finger of St. Catha- 
 rine kneeling; behind the Virgin are three youthful angels, and on 
 the left are two others ; three cherubs are on the platform in front, 
 and others in the glory above ; on the right, are two columns and a 
 curtain ; a sword and a broken wheel lie in front on the tiled pave- 
 ment of the chamber. Full length, life-size. 13 feet 9 inches x 10 feet 
 8 inches. 
 
 This is the last work of Murillo, the one which cost the artist his life. The 
 Capuchin friars having resolved to expend, in the decoration of their church, a sum 
 of money which had been left to them by Juan Violante, a Genoese merchant formerly 
 residing at Cadiz, Murillo was employed to paint five pictures for their high altar. 
 Pie chose as the subjects : for the centre the Marriage of St. Catharine ; on the 
 left St. Joseph and the infant Jesus walking ; above it St. Michael standing with a 
 palm in his left hand, the right hand raised; on the right St. Francis, standing 
 before a balustrade, with a crucifix; above it the Guardian Angel. This immense 
 altar-piece, about 20 feet high by 24 feet wide, fills the entire arch at the end of the 
 convent church; and all the figures are of the size of life. 
 
 The account of the accident that befell Murillo while engaged on this picture is 
 given by Palomino, as follows : " Such was the modesty of Murillo that we may 
 say this virtue cost him his life. For while engaged in painting for the Church of 
 the Capuchins at Cadiz a large picture of St. Catharine, he stumbled on the scaffold 
 and ruptured his intestines. Being unwilling, through modesty, to permit ail 
 examination, or to show the injured part, he died of the accident." Palomino, 
 Mus. Pict. iii. 421. 
 
 Murillo's will, which he dictated but was not able to sign, on the day of his 
 death, April 3, 1682, says: "I declare that I am making a large painting for the 
 
222 
 
 MURILLO. 
 
 convent of the Capuchins at Cadiz, and four smaller ones; the price has been 
 agreed upon at 900 pesos, on account of which I have received 350 pesos." A 
 translation of the will is given in this volume. Ponz informs us (xvii. 339) that the 
 St. Catharine was completed by Murillo himself, except a part of the glory, which 
 was finished after his death by Meneses Osorio. Meneses also executed the four 
 lateral pictures, doubtless all after the designs of Murillo. In fact, the Guardian 
 Angel with a child is a repetition, with slight variations, of that formerly in the 
 Capuchin Convent at Seville, and it may reasonably be inferred that the St. Michael 
 was likewise taken from the picture of that saint in the same convent, now lost. 
 
 Murillo's drawing for this composition, .20X.28 cm., belonged to Raphael 
 Mengs and was in P. Lefort sale, Paris, Jan. 28, 1869. A sketch belonged to the 
 Marques de la Canada, to D. Sebastian Martinez, to D. Manuel de Leyra, and after- 
 wards to Captain Davies. Murillo, xcv. and 94. Twiss, Travels, 316. Ponz, 
 xviii. 20. 
 
 In 1 86 1 two prizes were offered by the Academia de Bellas Artes, of Cadiz, one 
 of 10,000 reals and the other of 5,000 reals, for paintings to commemorate the 
 accident by which Murillo lost his life. The first prize was awarded to D. Alejan- 
 dro Ferrant y Fischermans, the second to D. Jose Marcelo Contreras. The pict- 
 ure by Ferrant is now in the museum at Cadiz; also another of the same subject by 
 D. Manuel Cabral Bejarano. 
 
 This is one of the richest and most graceful of all the compositions of Murillo, 
 and is so interesting, as well for its history as for its artistic merits, that the author 
 of this catalogue has thought no offering could be more acceptable to the friends of 
 our artist than the accompanying etching which M. Saint Raymond went from Paris 
 to Cadiz expressly to make. 
 
 E. Saint Raymond, etch., 1880, in this volume. 
 
 265. Marriage of St. Catharine. Vatican, Rome. The 
 Virgin, seated on the right, holds the Infant Jesus seated on her lap ; 
 the Child places a ring on the hand of St. Catharine, who bends rev- 
 erently forward, with her left hand on her breast ; dark grayish back- 
 ground. Three figures, life-size, of which two are half length. 42 X 
 52 inches. 
 
 The picture was presented, in 1855, by the ex-Queen Christina of Spain to 
 Pope Pius IX., who placed it in the gallery of the Vatican. 
 
 Photographed by Alinari, Florence, and by A. Braun, Paris. 
 
 266. St. Catharine. Duke of Wellington, London. The 
 Saint, wearing a rose in her hair, is turned three-quarters right, and 
 looks up ; her right hand on her breast holds a sword, in her left is a 
 palm. Bust, life-size. 
 
 Exhibited at the British Institution in 1824. 
 
DEATH OF ST. CLARA. 
 
 223 
 
 267. St. Catharine. Church of Santa Cruz, Medina del 
 Rioseco. 
 
 Mentioned by Ponz, Viage xii. 122 ; and by R. Ford, Handbook, ii. 559. 
 
 267a. Duke of Cleveland, Raby 
 Castle, Durham. St. Catharine, life-size, 
 kneeling, her eyes turned towards an 
 angel above. 65X44 inches. Doubtful. 
 
 King Louis Philippe sale No. 501. 
 From the Due d'Hijar. ^"300. 
 
 267b. H. D. Owen. Marriage of St. 
 Catharine. Exhibited at Leeds in 1868. 
 
 267c. Canon Maestre, Seville. St. 
 Catharine, half-figure, with a sword in 
 one hand and a palm branch in the 
 other; in Guido's softest and richest 
 manner. " One of the finest Murillos in 
 private hands." Standish, Seville, 314. 
 Cook, S. S., Sketches in Spain, ii. 198. 
 This picture, 1.22 x. 95, was sold several 
 years ago and is, perhaps, now in Eng- 
 land. 
 
 267d. The Parish Church of Sta. 
 Catalina, Seville, formerly contained 
 
 a beautiful St. Catharine Martyr, half- 
 length, painted like nature. Cean, Carta 
 98, and Die. ii. 58. G. de Leon, i. 206. 
 Stirling says the picture afterwards be- 
 longed to Marshal Soult (?). Annals, 
 hi. 1439. 
 
 267c " Diego del Campo has engaged 
 me to paint a picture de la devocion de 
 Santa Catalina Martyr, for 32 pesos, 
 which sum he has paid me, and I order 
 my executors to deliver to him the pict- 
 ure which is finished." Extract from 
 Murillo's will. 
 
 267f. St. Catharine of Siena, three- 
 quarters length, profile left, crowned 
 with thorns and holding a crucifix with 
 both hands. 
 
 Francisco Fontanaels, line, 10.5X 
 8.2. Barcelona. Dedicated to D. Jay me 
 de Llanza y de Vails. 
 
 268. Death of St. Clara. Earl of Dudley, London. The 
 dying saint lies on a pallet on the left, surrounded by a group of 
 monks and nuns ; the Saviour and his Mother approach attended by 
 a throng of female saints and martyrs, all in white robes, wearing 
 crowns and bearing branches of palm. Beneath is a long inscription, 
 giving the legend which the composition depicts, beginning, " Entre 
 los singulares favores," etc. 28 figures, less than life-size. 5 ft. 3 
 inches by 14 ft. 4 inches. 
 
 Painted for the small cloister of the convent of San Francisco at Seville. 
 
 When Murillo returned from Madrid, in 1645, a project was on foot to adorn 
 the small cloister, called de la porteria, of the convent of San Francisco with eleven 
 historical paintings, the figures to be of life-size. For this purpose money had 
 been collected by one of the brotherhood, but the sum was so small that all the art- 
 ists of repute declined to undertake the work. Murillo, however, being needy, 
 accepted their offer, although the monks greatly doubted his ability to satisfy their 
 desires. Some of the pictures had verses underneath, taken from the chronicles of 
 the Seraphic religion, intended to explain the story. The first on the right, or east- 
 erly side, on entering the cloister, represented San Francisco listening to angelic 
 
224 
 
 MURILLO. 
 
 music; the second was San Diego de Alcala distributing soup to the poor; on the 
 same side were two others, in one of which the soul of Philip II. was seen ascend- 
 ing to heaven. In an interval on the north was the Death of Santa Clara. Four 
 others filled the space on the west side. On the south side were two, one of them 
 quadrangular in form, with two figures ; the other represented San Diego in the 
 convent kitchen. On the completion of these works all the connoisseurs were 
 greatly astonished, and wondered where Murillo had acquired so admirable a man- 
 ner. The painter was no longer obscure, he became famous at once, and was 
 sought after by all. Employment was heaped upon him, and it was by the merit 
 and fame he thus acquired that he obtained the favor of Dona Beatriz de Cabrera y 
 Sotomayor, whom he married in 1648. Cean Bermudez, Carta, 46-53. 
 
 The convent of San Francisco was the oldest, the largest, and the richest in 
 Seville, having accommodations provided within its spacious walls for 200 monks, 
 whose annual expenditure, notwithstanding that all were fed by charity, exceeded 
 400,000 reals. It occupied a conspicuous position adjoining and communicating with 
 the Ayuntamiento, or City Hall, and gave its name to the plaza on which that edifice 
 stands. Its vast cloisters stretched far to the west towards the Guadalquivir, and with 
 its gardens it occupied all the space from the Plaza de San Francisco on the east to 
 Calle de Zaragoza on the west, and from Calle de los Catalanes on the north to 
 Calle de los Tintores on the south. Every altar and chapel, not only of the church, 
 but of the cloisters as well, was under the special patronage of some great family, 
 whose pride and religion had been displayed in its adornment. It was the chosen 
 burial-place of the grandees of Andalusia, by whose devotion it had been enriched 
 with precious marbles, sculptures, bronzes, frescoes, and paintings to such an 
 extent that it was justly considered, after the cathedral, the chief glory of Seville. 
 But the richest part of the convent in artistic wealth, Gonzalez de Leon says, was the 
 small cloister which contained eleven of the best works of Murillo. See Palomino, 
 iii. 420. Ponz, Viage, ix. 95. Arana de Var flora, Compendio, i. 41. G. de Leon, 
 i. 59. Cean Bermudez, Carta, 46-57. Stirling, Annals, ii. 834-7, etc. 
 
 On the arrival of Marshal Soult on the first of February, 1810, all was changed. 
 The convent was assigned as quarters to a regiment of the line, which negligently, 
 or as the Spaniards say, designedly, allowed a fire to break out on the first of 
 November in the same year, whereby a large part of the conventual buildings were 
 destroyed. Little more than ruins remained when the French evacuated the city 
 on the 26th of August, 1812. Efforts were made from time to time to restore the 
 church, but with only partial success. Finally, in September, 1840, its complete 
 demolition was decreed, and in place of the convent, with its cloisters and gardens, 
 new streets were laid out, and the Plaza de San Fernando, sometimes called Plaza 
 Nueva, was constructed, one hundred and fifty metres in length by ninety in 
 breadth, being the largest and finest in Seville. 
 
 Immediately on occupying the city the French took the precaution to secure 
 such artistic treasures as were portable and had a market value. Of the eleven 
 paintings in the small cloister of this convent, three fell into the hands of Marshal 
 Soult, who carried them to Paris. General Faviers, Intendant-General of the 
 French army, took possession of four. Owing to the haste of the evacuation the 
 remaining four were left behind in the Alcazar, with many other pictures from dif- 
 
ST. DIEGO OF ALC ALA. 
 
 225 
 
 ferent churches and convents, amounting, Mr. Ford asserts, to more than a thou- 
 sand ( Handbook, i. 186J. Two, if not four, of these fell into the possession of Don 
 Antonio Bravo, a noted collector at Seville. (See Velazquez, No. 9a.) 
 
 These paintings are so interesting, and mark so important an epoch in the life 
 of the artist, that no biographer of Murillo omits to mention them. The following 
 is a list, with the names of the present owners : 
 
 Death of St. Clara, No. 268. Earl of Dudley. 
 
 St. Diego of Alcala, or the Cuisine des Anges, No. 269. Louvre. 
 St. Diego blessing a Pot of Soup, No. 270. Academy of S. Fernando. 
 
 St. Diego surprised by the Guardian, No. 273. Charles B. Curtis. 
 
 St. Diego in Ecstasy before a Cross, No. 271. Toulouse Museum. 
 
 St. Diego, or The Plague, No. 272. Due di Pozzo di Borgo. 
 
 St. Francis listening to music, No. 287. Academy of S. Fernando. 
 
 St. Giles before the Pope, No. 309. Philip W. S. Miles. 
 
 St. Philip, No. 383. Soult Sale. 
 
 Two Monks, No. 400. Francis Clare Ford. 
 
 A Monk robbed by a brigand, No. 401. Ch. Baudet. 
 
 Besides the above the convent contained : 
 A small Conception, on the same wall with the Death of St. Clara ; companion to 
 
 another Conception which was over the door leading to the principal staircase 
 
 of the convent. 
 
 A Conception, with a religioso at the Virgin's feet writing ; in an angle of the 
 
 grand cloister, No. 50a. 
 Another Conception, over the principal arch in the nave of the church, No. 21. 
 St. Bonaventure, in the south-west corner of the grand cloister, No. 263. 
 Portrait of D. Pedro de Urbina in the ante sacristy, No. 476I1. 
 
 In the plunder of the convent by the French, the Death of St. Clara fell to the 
 share of General Mathieu de Faviers, and was carried by him to Paris; but it was 
 not in his sale in 1837, having been previously sold to M. Aguado,at whose sale, in 
 1843, it was bid in at 19,000 francs. It was sold in the Aguado sale April 10, 
 1865, for 75,000 francs. Again in the Marquis de Salamanca sale June 3, 1867. 
 for 95,000 francs. 
 
 Exhibited at Leeds in 1868, and at Royal Academy in 1871. A copy by 
 Bocanegra is in the Hermitage, No. 396. D. Roberto Kith, Seville, has a very 
 old repetition or copy, considerably varied and unfinished, about 7X11 feet. 
 
 Engraved on wood in V Illustration, March 18, 1855, and in Gaz. B. Arts, 
 Jan. 1875. 
 
 268a. D. Pedro Garcia had a picture 268b. Louis Philippe sale, 274. 
 representing the Death of St. Clara. Death of St. Clara. .33X.36. ^28 to 
 Mentioned in Tubino, Murillo, 187, and Drax. Jameson, Monastic Orders, 277. 
 in Sevilla Pintoresca, p. 464. Doubted by Stirling, Annals, iii. 1440. 
 
 269. Saint Diego of Alcala. La Cuisine des Anges. Louvre, 
 546. The Saint, with joined hands, is raised from the ground with 
 29 
 
226 
 
 MURILLO. 
 
 rapture, while angels perform his duties as cook in the convent 
 kitchen ; before him are two angels with spread wings, one of whom 
 holds a jar ; other angels on the right, with provisions and cooking 
 utensils, are preparing food ; on the left a monk has introduced two 
 visitors ; the one on the extreme left is supposed to represent Murillo 
 himself. Beneath is a long inscription, and the signature of the 
 artist, and the date. B meus - de Murillo. 1646 f. 12 figures nearly life- 
 size. 1.804.50. 
 
 Painted for the Franciscan Convent. See No. 268. It remained in its original 
 position on the south wall of the cloister until it was appropriated, with others, by 
 Marshal Soult, at whose sale, in 1852, it was bid in at 85,500 francs. About 1858 
 the Marshal's heirs sold it to the Louvre for 80,000 francs. See No. 55. While in 
 Soult's possession it was injudiciously restored and repainted. V Illustration, Jan. 
 8, 1859, p. 25. A writer in the Athenceum, Jan. 19, 1852, asserts that it was at one 
 time sent to London and offered for sale at ^3,000. 
 
 " When I was at Seville I made repeated offers to bring this picture to Eng- 
 land, saying I would send it safe back (and give security for the performance), per- 
 fectly repaired, without any expense whatever, to the convent ; the exhibition would 
 have paid it an hundredfold. Being exposed to the morning sun, and having been 
 so one hundred and fifty years to the open air, pieces about a foot from the bottom, 
 as large as the palm of your hand, had been chipped off, the remainder is perfect." 
 Davies, Murillo, 53 note. 
 
 Engraved on wood in V Ilhcsiration, Jan. 8, 1859. Gazette Beaux Arts, Jan., 
 1875. A. Braun, Photo. The figure of the angel arranging the dishes, in Gaz. £. 
 Arts, Feb., 1877. 
 
 269a. R.Baxter. Cuisine des Anges, emy, London, in 1873. It was probably 
 a sketch. 16^X23 inches. Exhibited sold at Mr. Baxter's sale by Christie, 
 at the winter exhibition of Royal Acad- London, Jan. 8, 1881. 
 
 270. Saint Diego of Alcala blessing a Pot of Soup. Acad- 
 emy of San Fernando, Madrid. St. Diego, kneeling on our left 
 with joined hands, blesses the food contained in a large basin placed 
 on the floor; around the basin are grouped four kneeling urchins, 
 with their mother, and surrounding them a throng of other beggars 
 eagerly await the supply of their wants ; eight lines are inscribed 
 beneath; 17 figures. 1.72X1.80. 
 
 Painted for the convent of San Francisco. See ante, No. 268. 
 Fed. Navarrete, etch., in Cuadros Selectos de R. Acad, de S. Fernando. 
 J. Laurent, photo. 486. 
 
S T DIEGO OF ALCALA 
 Surprised by the guardian, 
 
ST. DIEGO OF ALC ALA. 
 
 227 
 
 271. Saint Diego of Alcala in ecstasy before a Cross. 
 Toulouse Museum, 39. The Cardinal Bishop of Pampeluna, 
 accompanied by four monks, entering the garden of the convent, 
 beholds with amazement St. Diego raised from the ground in ecstasy 
 before a cross ; at the feet of the Saint are some vegetables and a 
 mattock ; in the background is a landscape with trees, and the walls of 
 the convent on the right. Six figures. Eight lines are inscribed 
 beneath. 1.69X1.81. 
 
 Painted for the convent of San Francisco. See No. 268. 
 
 This picture was brought from Spain by General Faviers, passed into the 
 possession of M. Aguado, and was sold in his sale, 1843, f° r 2*825 francs, to the 
 Government. It was sent to the Museum in 1846. The canvas has been injured 
 and extensively and badly restored, with the loss of some of the lines beneath. 
 
 Cousin, line, in the Galerie Aguado, Paris n. d. folio. 
 
 272. Saint Diego of Alcala, or The Plague. Due de Pozzo 
 di Borgo, Paris. The Saint kneels, imploring assistance for the vic- 
 tims of an epidemic, from an Alcalde who recoils as if fearing conta- 
 gion ; architecture and people in the background. The figure standing 
 beside the Alcalde is thought to be a portrait of Murillo himself. 
 1.78X1.90. 
 
 Painted for the convent of San Francisco. See No. 268. It was taken to 
 Paris by Marshal Soult, and sold at his sale, 1852, for 20,000 francs. 
 Engraved in outline in Reveil, Musee de Peinture, iv. 255. 
 
 273. Saint Diego of Alcala Surprised by the Guardian. 
 Charles B. Curtis, Esq., New- York. The Saint is surprised with 
 bread in his robe changed to flowers. He stands on the right, hold- 
 ing up a fold of his brown robe filled with roses, which he shows to the 
 Guardian, who raises his hands in amazement at the miracle ; behind 
 the Saint is another monk with a basket of bread ; on the left are four 
 old beggars imploring alms, and two boys; Christ himself, marked 
 with the stigmata, is seated in front in the guise of a beggar, as if say- 
 ing, " Inasmuch as ye have done it unto one of the least of these my 
 brethren, ye have done it unto me." Above are five cherubs, three of 
 whom, in a group, shower flowers on the head of the Saint. The 
 background is formed by the walls of the convent, with a bit of sky 
 
228 
 
 MURILLO. 
 
 on the left. The figures of the Saint and the Guardian are, one 
 or both, the same as those in the pictures in the Louvre, No. 269, 
 Toulouse Museum, No. 271, and in the Academy of San Fernando, 
 No. 270. One of the beggars is seen in the Adoration, in the Museo 
 del Prado, No. 121. 93X78 inches. 
 
 Painted for the convent of San Francisco. See No. 268. After the occupation 
 of Seville by the French, this picture fell into the hands of Don Antonio Bravo, from 
 whom it descended to his nephew, Don Aniceto Bravo (see Velazquez No. 9a), 
 " whose magnificent gallery of 840 paintings might rank with many museums of the 
 first order." A. de los Rios, Sevilla Pinto., 409. The picture is fully described, 
 and its history given, in Gonzalez de Leon, Noticia Artistica . . . de Sevilla, Sevilla, 
 1844, 8vo, part ii. p. 256. Miranda, Glorias de Sevilla, Sevilla, 1849, 8vo. p. 134. A. 
 de los Rios, Sevilla Pintoresca, 8vo, Sevilla, 1844, p. 414. Also in Tubino, Mttrillo, 
 su epoca, su vida, sus cuadros, 8vo, Sevilla, 1864, p. 185-6. Senor Tubino adds a 
 note by which he informs us that after the death of Senor Bravo, his widow dis- 
 persed the collection of pictures which her husband possessed, and that the San 
 Diego Surprised by the Guardian was purchased by Don Jorge Diez Martinez. 
 From this gentleman it passed, in 1865, to Don Luis Portilla, Madrid, who, in 
 1873, sold it to W. J. Shaw. It was sold by Mr. Shaw, in 1880, at private sale, to 
 the present owner. Comte A. Raczynski endeavored to buy the picture in 1842, but 
 he considered the price which Senor Bravo demanded for it, 45,000 reals, greater 
 than he could afford. Raczynski, Les Arts en Portugal, p. 512. 
 
 The legend is to the effect that the Saint, having been often reproved by the 
 prior of the convent for his excessive charity towards the poor, was on one occasion 
 protected from punishment by the miracle which the artist has depicted. Annibale 
 Caracci, with the assistance of Albano, painted a picture representing this miracle 
 in the series of frescoes which once adorned the church of San Giacomo degli 
 Spagnuoli at Rome. The church has been destroyed, but the composition still 
 exists in the engraving by Guilain. 
 
 A like story is told of St. Elizabeth of Hungary, and also of St. Casilda. A 
 picture by Zurbaran, representing the miracle operated for the benefit of this last- 
 named saint, is in the Museo del Prado, No. 1132. 
 
 Etched by A. Lalauze, for this catalogue, after a photograph. 
 
 273a. The Church of Sta. Catalina, 
 
 Seville, formerly possessed a St. Diego of 
 Alcala, half length. G. de Leon, i. 206. 
 
 273b. Galerie Espagnole, No. 177. 
 St. Diego of Alcala. 1.00X.78. Mrs. 
 Jameson describes this picture as St. 
 Diego with roses in his tunic. It does 
 not appear to have been sold in the Louis 
 Philippe sale, 1853. 
 
 273c. Julian Williams had a St. 
 
 Diego bearing the cross, in a landscape ; 
 an early work. Head, Handbook, 163. 
 
 273d. St. Diego, in profile, bearing a 
 heavy cross over his shoulders. Doubtful. 
 
 Llanta, litho., 7.2x5.9. 
 
 273c A. Bravo. St. Diego of Alcala, 
 three-quarters face, with eyes upturned, 
 kneels on the left, embracing a cross 
 against which his cheek rests ; his right 
 hand is on his left wrist ; the cross bears 
 
ST. ELIZABETH OF HUNGARY. 
 
 the inscription I N R I. Full length, 
 life-size, 2^X2^ varas (58x62 inches). 
 Companion to St. Joseph and the Infant 
 Saviour. Sevilla Pintoresca, 412. 
 
 Lithograph in Miranda, Glorias de 
 Sevilla, Sevilla, 1844, 8vo. 
 
 273f, A. Bravo. St. Diego of Alcala, 
 with the bread in his tunic changed to 
 roses ; an emaciated half-length figure ; 
 life-size. Sevilla Pinto., 412. 
 
 229 
 
 273g. Aguado sale, Paris, March 20 
 to 28, 1843, No. 83. St. Dominic is rep- 
 resented in religious costume, consisting 
 of a white robe covered by a black man- 
 tle. One figure. .90X.69. 160 francs. 
 
 273b.. Vigneron de la Haye sale, 
 1853. St. Dominic kneeling. 1,000 
 francs. 
 
 St. Dominic with the Virgin. See 
 ante No. 1 1 7a. 
 
 274. St. Elizabeth of Hungary, El Tiiioso. Academy of 
 San Fernando, Madrid. The young and beautiful Saint, arrayed 
 in the dark robe and white headgear of a nun, surmounted by a small 
 coronet, stands in a rich portico washing the scald head of a beggar 
 boy, el Tifioso, who bends over a silver basin placed on a pedestal ; 
 two ladies and a spectacled duenna supply the Saint with lotions ; on 
 her left is a second boy cautiously removing a plaster from his head, a 
 cripple hobbling away on crutches, and an old woman seated ; in the 
 foreground is seated a half-naked beggar with his head bound up ? 
 removing a bandage from an ulcer on his leg ; on the right, in the 
 background, is a secondary scene, in which the same Saint and her 
 ladies are serving a number of poor persons, who are seated in a gal- 
 lery at a table. Nine figures, full length, life-size. Companion to 
 San Juan de Dios, No. 339. 4.20X3.20. 
 
 One of eight large pictures painted for the Caridad. In 1674 the artist received 
 for it and its companion, San Juan de Dios, 16,840 reals (4,210 francs). See anteNo. 
 1. In the Diccionario, Cean Bermudez called this Saint, Isabel of Portugal, an error 
 which he corrected in the Carta. According to the Biographie Universelle, art. Murillo, 
 this, and the two pictures of the Roman Senator (Nos. 229 and 230) were presented 
 by the City of Seville to Marshal Soult, who gave them to the King at the Restora- 
 tion. For a time they were in the Louvre, but in 1815 they were returned to Spain 
 and placed in the Academy. The Brotherhood of the Santa Caridad have made 
 repeated efforts to secure the return of this precious canvas to Seville, and when the 
 Queen visited that city in 1862, they procured from her a promise to restore it, 
 but it is still in Madrid. 
 
 " The composition so closely resembles the print of St. Erentrudis washing the 
 head of a patient, by Raphael Sadeler, in Bavaria Sancta . . . descripta d Matt. 
 Radero ; Monaci, 1615-24, 3 vols. fol. i. p. 45, No. 16, that there can be no doubt 
 that Murillo used that print as the foundation of his own design." Sir W. Stirling- 
 Maxwell, Catalogue of Prints, p. III. 
 
230 
 
 MURILLO. 
 
 P. Boutrois, line, in Montalembert, Monumens de Vhistoire de Ste. Elizabeth, 
 Paris, 1840, fol. D. Martinez, line, 23X17, at Calco. Nacional. Outline in 
 ReVeil Muse'e, xiv. 975, and in Muse'e Religieux. Lithographs by FLORENTIN DE 
 Craene, in Col. Lith. Lafosse, 20.3x15.6. F. Chevalier, 10.8x8.4. Ch. 
 Vogt, 9.2x7.8. Defrondat, 11x8.8. M. Lavigne, 20.5x15.5. Charpentier, 
 8.8x6.8. H. Jannin, 8.9x7. On wood in Blanc, Peintres ; Viardot, Ilhtst. 
 Hist, of Painters, London, 1877. Becker, Kunst tind Kiinstler. 
 
 275. St. Elizabeth of Hungary. John L. O'Sullivan, Esq., 
 New- York. A small sketch for the above, with some important vari- 
 ations. There are two urchins behind the one to whom the Saint is 
 ministering ; and in place of the architecture and the feast is a group of 
 six beggars, among them, the one on crutches, who is hobbling towards, 
 instead of away from, the Saint. On wood, 10 1^x6^ inches. 
 
 Bought in Lisbon about 1848, by Mr. O'Sullivan, then United States Minister 
 to Portugal. 
 
 275a. In the Sacristy of the Convent was a picture of Santa Isabel, Reyna de 
 of La Visitacion, Madrid, belonging Hungria. Mentioned by Ponz, Viage de 
 to the nuns of San Francisco de Sales, Espana, v. 243. 
 
 276. St. Felix of Cantalicio. Seville Museum, 90. The 
 
 aged Saint kneeling, profile left, with the Infant Jesus seated in his 
 arms, beholds a vision of the Virgin, who has descended on clouds 
 accompanied by three cherubs, and who reaches forth her arms to 
 receive her Son ; the Child stretches his right hand upwards towards 
 his mother. The wallet of the Saint lies in the centre foreground. 
 Full length. 2.95X1.95. 
 
 One of the eight altar-pieces painted for the Capuchin Church. See No. 18. 
 The Spaniards have a saying that this picture is painted con leche y sangre, with 
 milk and blood. 
 
 Photographed by J. Laurent, Madrid, No. 794. 
 
 277. St. Felix of Cantalicio. Seville Museum, 53. St. Felix is 
 seen, profile left, bending over the Infant Jesus, whom he holds reclin- 
 ing on his arms; the naked Child, with both hands, caresses the 
 bearded cheeks of the aged Saint. Three-quarters length. 1.89 X 1.20. 
 
 Painted for the high-altar of the Capuchin Church. See No. 18. Companion 
 to No. 241. Both were framed as segments of the arch at the top of the retable. 
 This picture is called St. Felix de las arrugas, from the wrinkles in the hands of the 
 Saint. 
 
 Photographed by J. Laurent, Madrid, No. 1,074. 
 
SAN FERNANDO. 
 
 231 
 
 278. St. Felix of Cantalicio. Lord Elcho, London. The 
 Saint, on the right, in Capuchin habit and hood, holds a wallet, in 
 which the Child Jesus is about to deposit a roll of bread ; above are 
 two heads and three cherubs, two of them with loaves ; a landscape 
 with a town in the background. Full length, life-size. 2.06X2.06 
 centimetres. 
 
 Louis Philippe sale No. 499, from a convent in Seville. £s$o. British Institu- 
 tion, 1855. Manchester Exhibition, 1857. South Kensington Museum, 1870. 
 D. Roberto Kith, Seville, has a very old copy, about 3X2 feet. 
 
 The two figures without background, etc., are engraved in Jameson, Monastic 
 Orders ; and in Clement, L. and M. Art. 
 
 278a. D. Manuel Sanz de Tejada, writer was informed in Cadiz that these 
 
 Cadiz, formerly had twelve Murillos, pictures had been sold in London, 
 among them St. Felix de Cantalicio, life- 278b. D. Josef Murcia, Cadiz, had 
 
 size, very beautiful and well-preserved, a finished sketch of St. Felix de Canta- 
 
 Raczinski, Arts en Portugal, 518. The licio. Ponz, xviii. 27. 
 
 279. San Fernando. Seville Cathedral, Chapter Room. The 
 
 royal Saint wears a crown and ermine robes, and holds a globe and 
 
 sceptre. Bust, circular ; life-size. 
 
 Pedro de Medina Valbuena in 1668, in which year he was mayor-domo of the 
 Academy which Murillo had founded at Seville, gilded and painted black the orna- 
 ments of the Chapter Room, spoiling the beauty of the stone and marble. Murillo 
 painted for the eight circles of the dome of this chamber portraits of the canonized 
 archbishops of the diocese, Pio, Laureano, Leandro, and Isidoro ; the royal Saints 
 Hermengildo and Fernando, and the virgin Saints Justa and Rufina. Cean, Carta 
 72. These medallion portraits are painted in oil, and are ranged on the dome of 
 the circular hall in the following order : On the right SS. Hermengildo, Isidoro, 
 Pio, and Justa; on the left Fernando, Leandro, Laureano, and Rufina. A view of 
 the interior of the Sala Capitular, showing the position of these pictures and of 
 the Immaculate Conception, No. 23, as they are placed on the walls, is given in 
 Miranda, Glorias de Sevilla, facing p. 37. 
 
 280. San Fernando. Seville Cathedral, in the Contaduria or 
 Counting House. The Saint stands crowned and wearing armor and 
 royal robes ; his outstretched right hand holds a sword ; in the left is 
 a globe. Full length, life-size. 
 
 281. San Fernando. Biblioteca Columbiana, Seville. The 
 
 Saint, crowned and wearing armor, and an ermine cloak with a broad 
 
232 
 
 MURILLO. 
 
 collar, looks up ; his right hand at his side holds his sword ; in his 
 
 left hand is a globe. Half-length, half-size. 
 
 Is this the picture mentioned by G. de Leon (i. 66) as being formerly in the 
 Casas Capitulares ? 
 
 Photographed by J. Laurent, Madrid, No. 1124. 
 
 282. San Fernando. Museo del Prado, 876. The royal Saint, 
 about thirty-five years of age, three-quarters left, wearing armor and 
 an ermine mantle, with hands joined, kneels in prayer on a red cush- 
 ion; two cherubs above draw aside a red curtain; a crown and 
 sceptre are on a red cushion beside him. Full length. .56X.38. 
 
 This picture appears, from the inscription on Carmona's engraving, to have 
 belonged in 1791 to the Marques de la Hinojosa. It was probably painted about 
 the time of the Canonization of the King in 1671. 
 
 M. S. Carmona, line, 14.2X9.5, Madrid, 1791, from the picture belonging to 
 the Marques de la Hinojosa. L. F. Noseret, line, 9.5x6.8. A. G. Vilamil, 
 litho., in Col. Lito. On wood reversed, in Jameson, Monastic Orders, and in Clem- 
 ent, L. and M. Art. 
 
 283. San Fernando. Bust, in an oval, looking front, wearing a 
 
 crown and an ermine cape, and holding a sword and a globe ; above 
 
 are three cherubs, two of whom hold aside a curtain ; beneath are 
 
 two others with a scroll inscribed Magni Ferdinandi, etc. 
 
 Matias de Arteaga, etch., 11 X 7-2, 1772, in F. de la Torre Farfan, Fiestas de 
 la Sla. Iglesia de Sevilla, Se villa, 1672, fol. The author says the portrait was 
 " sacada con facilidad por la mano del famoso Bartolome Murillo en una tabla de 
 alerce." Fiestas, p. 325. There is another etching by Arteaga of the same portrait. 
 It is smaller, in an oval, with a shield on each side, dated 167 — ; the last figure of 
 the date is illegible. It seems to be part of the title-page of a book of which, in the 
 only copy I have seen, the word "apologia" alone is preserved. These are the 
 first engravings ever made after a work of Murillo. Arteaga's engraving is copied 
 by F. Muntaner, line, 7X4-8, in D. Alonzo Nunez de Castro, Vida de S. Fer- 
 nando, Madrid, 1 784, 4to. The original after which Arteaga worked is unknown. 
 Perhaps it was a drawing made by Murillo for the engraver's use. Stirling (A nnals, 
 918) is incorrect in saying the etching is after the portrait in the Biblioteca at 
 Seville, as the two are quite different. In another place (Annals, 1435) Stirling 
 mentions a picture in black and white, purchased in Cadiz in 1830 or 183 1 by J. M. 
 Escazena and afterwards sold to Sir J. M. Brackenbury, which he thinks may have 
 been Murillo's drawing for the etching, with which it agrees even as to size. 
 
 284. San Fernando. Heirs of the Infant Don Sebastian, 
 
 Pau, No. 580. The royal Saint, wearing a rich gold chain over his 
 
ST. FRANCIS OF ASSISI. 
 
 233 
 
 ermine mantle, bears in the left hand a globe and in the right a 
 sword, which extends over his shoulder. Bust, in an oval, hung with 
 red drapery; beneath are four cherubs holding aside the. drapery. 
 Inscribed, Vera Divi Ferdinandi II. 1.66X1.12. 
 
 " It is the model from which the effigy was carved by Senor Piquer, which is seen 
 in the Armeria at Madrid, No. 1785, and is borne in procession to the palace chapel 
 on the anniversary of the capture of Seville, May 29." O'Shea, Handbook, 301. 
 
 284a. A. Bravo. San Fernando, half- 284b. Don Aniceto Bravo, Seville, 
 
 length, life-size, a sword in his right San Fernando, full length, life-size, in 
 
 hand, his left rests on a globe. \%X% royal mantle, trimmed with gold, grasp- 
 
 varas. From the chapel de los Pintores ing a sword with his right hand. A pict- 
 
 in the church of S. Andres. G. de Leon, ure of more merit than the preceding, 
 
 i. 253. Sevilla Pinto., 410-12. S *ez 'ilia Pinto., 413. 
 
 285. St. Francis of Assisi, or La Porciuncula. Heirs of the 
 Infant Don Sebastian, Pau, No. 569. St. Francis, kneeling on 
 the left at an altar, which is placed in the centre of the composition, 
 with outstretched arms, looks up to the Saviour who is seated on 
 clouds above the altar, clad only in a single robe, which covers the 
 lower part of his body, the end of the robe floating upwards above his 
 head ; the Saviour, supporting with his left hand a cross, the lower end 
 of which is upheld by a group of cherubs, looks down to the Saint, 
 towards whom he extends his right hand in benediction ; on the left 
 the Virgin, kneeling on clouds, with her hands crossed on her breast, 
 intercedes with her Son for the grace of the Jubilee of the Porciun- 
 cula ; above the altar is a group of seven cherubs scattering on the 
 head of the Saint roses that have sprung from the thorns which he 
 has used as a scourge ; a lay-brother is faintly seen standing on the 
 left of the altar; the composition is enriched with about twenty-seven 
 infant angels and seven angels full-size. 4.30X2.95. 
 
 Painted for the Capuchin Church. See No. 18. . " In the high-altar is the glo- 
 rious picture of the Jubileo de la Porciiincnla. There is so much variety and beauty 
 in the angels, that the artists said when they saw it, that they had never known so 
 wonderful a picture." Palomino, iii. 422. D. Joaquin Bejarano, a painter of Seville, 
 having done much work for the Capuchins in restoring their church and its pict- 
 ures after the French quitted that city, received in payment for his services this 
 picture which he sold to D. Jose de Madrazo for 18,000 reals. Senor Madrazo 
 sold it to the Infant Don Sebastian for 90,000 reals. G. de Leon, Noticia Artis- 
 tica, ii. 260. Mr. Ford {Handbook, 708), gives an amusing account of the vicissi- 
 
 30 
 
234 
 
 MURILLO. 
 
 tudes this canvas has undergone at the hands of Bejarano, Madrazo, and Bueno. It 
 was for a time in the Museo Nacional del Fomento at Madrid, but its late owner, 
 Don Sebastian, being attached to the Carlist cause, transferred himself and his val- 
 uables to Pau. 
 
 V. Camaron, litho. 18.5x12. Privately engraved. 
 
 286. St. Francis of Assisi, or La Porciuncula. Museo del Prado, 
 861. St. Francis, with outstretched arms, kneeling on the right before 
 an altar which is placed on the left of the composition, looks up to the 
 Saviour, who is seated on clouds wearing a mantle, with one hand 
 extended in benediction, the other supporting a cross ; the Virgin is 
 seated on the right with her right hand on her breast, and the left 
 extended towards the Saint ; in the upper right corner are two heads 
 and three cherubs ; beneath the Saviour are three cherubs ; all show- 
 ering roses on the head of St. Francis. Second manner. 2.06X1.46. 
 
 Appraised by D. Jose de Madrazo in 1834 at 70,000 reals. 
 Photographed by J. Laurent, Madrid, No. 19. 
 
 286a. Cathedral, Seville. Capilla 
 de Belen. " El centro se ocup6 de una 
 admirable pintura de nuestro mejor Tizi- 
 ano Bartolome Murillo, donde se conti- 
 ene aquel indulto maravilloso concedido 
 del Cielo al Santo Patriarca Francisco, 
 con el titulo de Jubileo de la Porciun- 
 cula." F. de la Torre Farfan, Fiestas . . 
 de Sevilla, p. 233. 
 
 286b. The Alfaro family have docu- 
 ments showing that in 1667 Murillo 
 painted for Juan Ignacio de Alfaro a pict- 
 ure of the Porciuncula. That picture has 
 disappeared, but one that has been substi- 
 tuted for it is still in the possession of 
 the family. Jose de Madrazo, in yoyas 
 de la Pintura, note to Tobar's portrait of 
 Murillo. 
 
 287. St. Francis of Assisi. Academy of San Fernando, 
 
 Madrid. Seated on a mat in his cell and bearing the stigmata, the 
 Saint beholds with ecstasy an angel, who consoles him with the music 
 of a violin. Eight lines are inscribed beneath. Two figures. 1.70 
 X1.86. 
 
 Painted for the small cloister of the Convent of San Francisco. See No. 268. 
 This subject has been treated by Ribalta in a painting in the Museo del Prado, 947. 
 Photographed by J. Laurent, Madrid, No. 487. 
 
 288. St. Francis of Assisi. Seville Museum, 88. St. Fran- 
 cis, standing with his right foot on a globe, embraces the crucified 
 Saviour, who has released his right hand from the cross and places it 
 
ST. FRANCIS OF ASSISI. 
 
 235 
 
 on the shoulder of the Saint ; two cherubs in clouds on the right hold 
 an open folio. Vaporoso manner. 2. 77X1. 81. 
 
 Painted for the Capuchin convent. See No. 18. Two small sketches existed 
 in 1794, one in the collection of D. Pedro O'Crowley, at Cadiz, the other in that of 
 the Marques de Montehermoso, at Vittoria. Stirling, ii. 876. 
 
 Martin Gutierrez, line, 11.7x7.6. Madrid, 1800. L. Flameng, etch., in 
 Gaz. B. Arts, April, 1875, and in Stothert, French and Spanish Painters. JACOTT, 
 litho., 15.7x10.7. Mme. Soyer, outline, 11x8.5. On wood in Dohme, Kunst 
 una 1 Kiinstler. 
 
 289. St. Francis of Assisi. George Salting, Esq., London. 
 A repetition of the above ; the cherubs holding the open book are 
 omitted. About 30X22 inches. 
 
 Purchased from Mr. Cox, a picture dealer in Pall Mall. 
 
 290. St. Francis of Assisi. Henry G. Bohn, Esq., Twick- 
 enham, Middlesex. A sketch of the above. 11X8 inches. 
 
 Louis Philippe sale, No. 493 (167), from a Franciscan convent in Seville. 
 ^25, to Hoskins. 
 
 G. A. Hoskins sale, June 18, 1864, called St. Thomas. ^39 iSs. 
 
 291. St. Francis of Assisi. Capuchin Convent, Cadiz, in 
 
 the nave of the church. St. Francis, three-quarters right, bearing the 
 stigmata, kneels, and, with outstretched hands, looks up to the vision 
 of a seraph ; behind him, reclining on the ground, in the middle dis- 
 tance, is a monk who turns to look at the Saint, and raises his hand 
 in amazement at the sight which he beholds ; a cross, skull, and book 
 are on the right in the foreground ; landscape with buildings in the 
 background. Full length. 72X81 inches. 
 Photographed by J. Laurent, Madrid, No. 1815. 
 
 292. St. Francis of Assisi. Sir William Fitzherbert, Bart., 
 
 London. The Saint, bearing the stigmata, and wearing the cord and 
 habit of his order, kneels on a large rock, nearly profile left, with 
 hands outstretched, and looks up in ecstasy. 66X44 inches. 
 
 Bequeathed to the father of the present owner by Henry Gaily Knight, who is 
 supposed to have brought it from Spain in 18 10. Leeds Exhibition, 1868. Royal 
 Academy, 1879. 
 
236 
 
 MURILLO. 
 
 Fidele Roca, line engraving, after the above or a similar composition. The 
 plate mark measures 10.6x6.8. There is an engraving without the name of either 
 painter or engraver, measuring 12.6x8.7, identical with the above, but larger and 
 with additions of a winged seraph in the left upper corner, and the bust of a lay 
 brother faintly seen beneath the right hand of the Saint. The writer is informed by 
 Don Manuel Williams, of Seville, son of Don Julian Williams, and himself an intel- 
 ligent and cultivated amateur, that this plate is the same as Roca's, and that the 
 additions and enlargement were done by Jose Maria Martin, an engraver of Seville, 
 about 1830. 
 
 S. Sturges, Esq., London, has a picture similar to Sir William Fitzherbert's, 
 and of the same dimensions, but the Saint is represented without the stigmata. It 
 was formerly attributed to Murillo, but now to Cigoli. 
 
 Baron V. Denon had a drawing attributed to Murillo, of St. Francis kneeling 
 three-quarters right, with his head turned to behold in clouds on the left a vision of 
 Christ crucified ; a lay brother is seen at full length on the right. The drawing is 
 lithographed in Denon, Monuments, iii. 237. 
 
 In the Bonnemaison sale, 1827, was a work by Alonzo Cano. St. Francis 
 bearing the stigmata, and wearing a thick robe rent at the side, and bound with a 
 thong, kneels on the ground, and, with hands upraised, contemplates a winged 
 seraph in the air ; at a distance is one of his companions reading, seen only in bust ; 
 the arid summit of a mountain in the background. 7 feet 5 inches by 5 feet 2 
 inches. 2,000 francs. 
 
 293. St. Francis of Assisi. Don Nicholas Maestre, Seville. 
 
 St. Francis kneeling, with outstretched arms, looks up to heaven in 
 
 prayer ; in the middle distance, on the left, is a lay brother reading. 
 
 Landscape background. 1.95X1.62. 
 
 This picture was painted by Murillo for an ancestor of the present owner. 
 Mentioned by G. de Leon, ii. 183. Head, in Foreign Quarterly, xxvi. 267. Stan- 
 dish, Seville, 314. W. G. Clark, Gazpacho, 247. 
 
 294. St. Francis of Assisi ? Munich Gallery, 371. A beard- 
 less, tonsured monk, in black robe, attended by two young ecclesiastics, 
 stands on a stone portico before a column, giving alms to a cripple, 
 who kneels, holding a crutch and a staff ; in the background is rich 
 architecture, with cloisters on the left, where about twenty small fig- 
 ures are seen, among them some monks distributing bread to the poor. 
 81X51 inches. 
 
 Purchased in 181 5 from General Sebastiani. This smooth-faced, youthful 
 monk differs from all the other representations of St. Francis of Assisi by Murillo, 
 and differs also from the traditional type of that Saint, who is commonly represented 
 with a beard. The saint is doubtless wrongly named. Perhaps the picture is 
 intended to represent St. Thomas of Villanueva. 
 
 Photographed by Hanfstaengl, Munich. 
 
ST. FRANCIS OF ASSISI. 237 
 
 295. St. Francis of Assisi. Sir William Eden, Bart., Win- 
 
 dlestone Hall, Durham. The Virgin, appearing on clouds, has placed 
 
 the Infant Jesus in the arms of the kneeling St. Francis, who looks up 
 
 to her with rapture. 
 
 Purchased in 1835 from Julian Williams. Stirling, iii. 1436. In the Athe- 
 nczum, August 18, 1877, from which the above description is taken, this picture is 
 said to represent the Porciuncula. Compare the description with that of St. Felix, 
 No. 276. 
 
 296. St. Francis of Assisi. Francis Cook, Esq., Richmond 
 Hill. The Saint, in pilgrim's robe, and bearing a staff, with his head 
 upturned in ecstasy, points with both hands to a wound in his side. 
 SV2 X A% inches. 
 
 Acquired by the present owner in Madrid. 
 
 297. St. Francis of Assisi. Henry H. Gibbs, Esq., London. 
 The Saint is represented at half length, receiving the stigmata. 27 X 
 21 inches. 
 
 Purchased about 1853 from Julian Williams. The picture shows the influence 
 of Ribera. 
 
 298. St. Francis (of Assisi ?) in Ecstasy. George Perkins, 
 
 Esq., Chipstead Place, Kent. 
 
 Exhibited at the British Institution, 1862. A picture with this title was exhib- 
 ited by J. Perkins in 1821, and by F. Perkins in 1852. See also No. 302. 
 
 299. St. Francis of Assisi (St. Anthony ?). Walter Alers 
 Hankey, Esq., St. Leonards-on-Sea, Sussex. The Saint, a smooth- 
 faced monk, holding a lily branch in his right hand, suppbrts on his 
 arms an open book, on which the Infant Saviour is seated, embrac- 
 ing the Saint with his left arm. On panel. 24X20 inches. 
 
 Albert Levy sale, April 6, 1876; from Lord Cowley's collection. ^210. 
 Exhibited by Lord Cowley at the British Institution, 1836. Perhaps it was also 
 in Craig sale, 1863. ^173 5-r. 
 
 Mr. Hankey has another picture, representing St. Francis of Assisi as a dark, 
 emaciated figure, with thick black hair, beard, and mustache, wearing a brown 
 habit fastened with a cord ; in his right hand, marked with the stigmata, is a large 
 crucifix and a rosary; his left hand holds a leaf of the book. 48x36 inches. 
 " Formerly in the Louis Philippe gallery." See Nos. 300s, 300t, 300U. 
 
238 
 
 MURILLO. 
 
 300. St. Francis of Assisi kneels on the left, with arms out- 
 stretched, on the steps of an altar, above which he beholds with 
 rapture an angel pointing to a scroll held in the angel's left hand, 
 containing the statutes of the Franciscan order ; on the altar are a 
 cross, candle, skull and book ; a landscape is seen through an open 
 door in the background. 2.37X1.84. 
 
 Aguado sale, 1843, No. 31, "brought from Spain by Gen. Lery." 15,400 
 francs (to the Due de Galliera?) 
 
 Z. Prevost, stipple mezzo., 12.4X9.3 inches, in the Galerie Aguado. On 
 wood in Blanc Peintres and in Scott, Murillo. 
 
 300a. Akademie der Bildenden 
 Kunst, Vienna. St. Francis of Assisi, 
 kneeling on clouds, accompanied by two 
 angels, adores the Host, which stands on 
 an altar in a glory; beneath are other 
 worshippers; above are heads, and on the 
 right an open window. A sketch. Called 
 A doration of the Host. . 60 X . 52. 
 
 300b. Antwerp Cathedral. St. 
 Francis of Assisi, turned to our left, 
 kneels in a rocky landscape, with his 
 hands clasped before his breast, and looks 
 up to a glory above. A cross and skull 
 on the ground in front. Full length. 
 About 60X48 inches. 
 
 300c. Antwerp Museum, 400. St. 
 Francis of Assisi, kneeling on a rock, 
 raises his hands towards a glory above ; 
 on the ground before him is an open 
 folio, and above it a crucifix on a rustic 
 altar. Landscape, with a building on the 
 right. Full length. .69X.71. Bought 
 in 1841 from the widow of J. A. Snyers. 
 
 30od. Julian Williams had, in 1833, 
 St. Francis on his knees ; an early work. 
 Head, Handbook, 163. 
 
 30oe. Jose Canaveral, Seville. St. 
 Francis of Assisi with the Infant Saviour 
 in his arms. Tubino, 190. 
 
 30of. Jose Saenz. St. Francis kneel- 
 ing in the desert, covered with sackcloth; 
 a glory above. Sevilla Pinto., 476. 
 
 300g. M. Zachary. St. Francis at 
 his devotions. British Institution, 1821. 
 
 300I1. Charles Dixon. St. Francis 
 with an angel. British Institution, 1829. 
 
 30oi. H. Clive. St. Francis and 
 the Infant Jesus. British Institution, 
 1819. 
 
 300k. G. Byng. St. Francis and the 
 Infant Jesus. British Institution, 1842. 
 
 300I. Earl of Strafford. St. Francis 
 and the Infant Jesus. British Institu- 
 tion, 1863. 
 
 300m. Sale at Paris, May, 1879. 
 St. Francis. Bequeathed by Isturiez to 
 Queen Christina. 
 
 30on. St. Francis of Assisi standing 
 before a crucifix, placed on a rustic altar, 
 with a skull in his left hand and his right 
 on his breast; half length. Doubtful. 
 
 Lithographed by Jacott. 
 
 300p. M * * * sale, Paris, Nov. 11, 
 1 784. St. Francis, with the Infant Jesus 
 in his arms, kneeling before the Virgin 
 surrounded by a glory of angels. 16 X 
 13 inches. 
 
 30oq. Fumaroli sale, Paris, Dec. 16, 
 1843. St. Francis kneeling before a 
 celestial apparition ; three angels in the 
 sky. 
 
 30or. General Meade sale, 1847. 
 St. Francis with the Infant Jesus in his 
 arms. £\ 
 
 300s. Louis Philippe sale, 1853. 
 No. 247. St. Francis in prayer ; from a 
 Franciscan convent in Seville. 1.70X 
 1. 12. ^78, to Pearce. 
 
ST. FRANCIS DE PAUL. 
 
 239 
 
 300t. Louis Philippe sale, No. 494. 
 St. Francis bearing the cross ; from a 
 Franciscan convent in Seville. I-75X 
 I.07, ^27, to Drax. Stirling (iii. 1439) 
 says this picture represents St. Diego, 
 instead of St. Francis. 
 
 300U. Louis Philippe sale, No. 495. 
 Same subject as the above ; half length ; 
 from a Franciscan convent in Seville. 
 ^41, to Haseltine. 
 
 300V. Alton Towers sale, July 6, 
 etc., 1857. No. 642. St. Francis kneel- 
 ing in prayer. £6 10s. 
 
 300W. Hugh Baillie sale, 1858. St. 
 Francis supported and comforted by three 
 angels. £9 gs. 
 
 300X. Merighi sale, 1858. St. Fran- 
 cis. 1.25X.96. 1,050 francs. 
 
 30oy. H. A. J. Munro sale, June 1, 
 1878. St. Francis. 23 X finches. ^30. 
 
 300Z. St. Francis of Assisi, half- 
 length, standing with clasped hands be- 
 fore an altar, on which is a crucifix, book 
 and skull. Doubtful. 
 
 Lithographed by Llanta, by Maggi- 
 olo, and by Lafosse. 
 
 301. St. Francis de Paul. The aged Saint on his knees, sup- 
 ported by a forked stick held in his left hand, looks up to the word 
 Charitas in the left upper corner; above his head are two cherubs, 
 and before his face on the left, are three others ; beneath these last 
 are seen three monks on the sea-shore, and a ship in the distance. 
 76X59 inches. 
 
 Brought from Spain about 1760 by John Blackwood, of Soho Square. It was 
 not in his sale March 19, 20, 1760, but was sold by him at private sale to Sir Law- 
 rence Dundas, at whose sale by Greenwood, May 29, 1794, the Earl of Ash- 
 burnham became the purchaser at ^400. See ante No. 139. At the Earl of 
 Ashburnham sale, July 20, 1850, it sold for ^1,050. This is probably the San 
 Francisco de Paula mentioned by Palomino as having formerly belonged to D. 
 Francisco Artier, and afterwards to D. Juan Francisco Eminente. See No. 234. 
 
 McArdell, mezzo., 18.3 X 13.9, from the original, 6 feet 4 in. by 4 feet 11 in., 
 in the possession of John Blackwood. 
 
 302. St. Francis de Paul. George Perkins, Esq., Chip- 
 stead Place, Kent. The Saint, kneeling in prayer, turns his face 
 upwards to behold the word Charitas in radiant letters in the sky 
 above. Cherubs hover over him. A large picture. 
 
 A repetition, doubtless, or perhaps the same picture as that above described, 
 No. 301. See also No. 298. This is probably the picture called St. Francis at his 
 devotions, exhibited at the British Institution in 1852 by Frederick Perkins, and in 
 1862 by George Perkins. See also No. 301. 
 
 Mr. Perkins, a member of the great brewing firm of Barclay, Perkins & Co., 
 died in 1879. The pictures at Chipstead are heirlooms. 
 
 303. St. Francis de Paul. Museo del Prado, 890. A repeti- 
 tion of the figure of the Saint in the picture No. 301, half length on a 
 
240 
 
 MURILLO. 
 
 plain background, with the word Charitas, but without the cherubs or 
 other accessories, i. 04X1.00. 
 
 The picture was in the Isabel Farnese collection. 
 
 C. Alabern, etch., in Alabern, Galleria. A. Lemoine, litho., 16x11. Sou- 
 lange Tessier, litho., in Joyas Pinto. J. Laurent, photo., No. 9. 
 
 304. St. Francis de Paul. Lord Kinnaird, Rossie Priory, Perth- 
 shire. The Saint is seen praying and looking up to the word Chari- 
 tas in a glory above. Bust. 25X21 inches. 
 
 Brought from Spain by Mr. West, R. A. 
 
 305. St. Francis de Paul. Museo del Prado, 894. The 
 
 Saint, turned three-quarters right, with his hands joined before his 
 breast, looks up to heaven in prayer; a crooked staff rests before 
 his left shoulder. Half length. .70X.50. 
 
 J. B. Vgalde, litho., 10.4X7.5, at Real Est. Lito., Madrid. 
 
 306. St. Francis de Paul. Museo del Prado, 891. The 
 
 Saint, kneeling on a rock and leaning with both hands on a staff, 
 looks up to a light on the left ; in the background is a circular church 
 and a rocky landscape. Full length. 1.11X. 83. 
 From the Royal Palace of Aranjuez. 
 
 307. St. Francis de Paul, or St. Raymond of Penaforte, in a 
 brown robe, grasping his stick, stands on his cloak spread on the sea- 
 shore ; two monks kneel on the cloak behind him ; beyond them on 
 the left is a ship with red flags and white sails ; in the centre fore- 
 ground are three children, one of whom, looking front, points to the 
 Saints; two peasants stand on the right. Earliest manner. 78X99 
 inches. 
 
 Standish sale, 1853, No. 230,^162 15s. Rt. Hon. W. E. Gladstone sale, 
 by Christie, January 23, 1875, ;£ I0 5- Praised by M. Thore (W. Burger) in Cabinet 
 de P Amateur, 1842. Stirling says that after the expulsion of the French, this pict- 
 ure hung over the principal altar of the conventual church of St. Francis de Paul 
 at Seville. It was bought from Julian Williams. Annals, iii. 436. Mr. Standish, 
 on the other hand, asserts that it came from the church of St. Philip Neri. Seville 
 and its vicinity, 186. British Institution, 1858. 
 
 " Painted in the master's very earliest manner. The genius of his style peeps 
 out especially in a little boy seated on the sand. St. Raymond of Penaforte, a Cat- 
 
ST. FRANCIS XAVIER. 
 
 241 
 
 alan confessor, determined to quit the King of Majorca because he would not give 
 up his mistress. An embargo was laid on the shipping, whereupon the buoyant 
 Saint embarked on his cloak with two disciples, and sailed to Barcelona in six hours. 
 He distanced the royal galleys sent after him, as five hundred credible witnesses 
 saw. The cloak was not even wetted by the voyage. There is no attempt to 
 idealize the legend. The subject is well worked out, the broad sea and the brown- 
 robed monks, the two vulgar attendants contrasting with the elevated character of 
 the Saint." Richard Ford, in The Athencenm, June 11, 1853, p. 711. 
 
 307a. St. Francis de Paul, turned 
 three-quarters left, with hood, wallet and 
 cord, holding a staff before him with both 
 hands, looking down ; half length. 
 
 Engraved on wood in Jameson, Mo- 
 nastic Orders, and in Clement, L. and M. 
 Art. 
 
 307b. Joaquin Saenz y Saenz. Se- 
 ville. St. Francis de Paul; from Senor 
 Pereyra. Tubino, 184. 
 
 307c. Julian Williams. St. Francis 
 de Paul. Tubino, 182. Sevilla Pinto., 
 472. 
 
 307d. Lopez Cepero. St. Francis de 
 Paul; full length. 70X49 inches. Also 
 another, 81x43 inches. Tubino, 186. 
 Sevilla Pinto., 451. 
 
 307c Jorge Diez Martinez, Madrid. 
 St. Francis de Paul; style of Ribera. 
 
 Purchased from the widow of A. Bravo. 
 Tubino, 185-6. Sevilla Pinto., 413. 
 
 307f. Aguado sale, No. 64. St. Fran- 
 cis de Paul in ecstasy, with joined hands 
 and eyes raised; bust, .65X.48. 360 
 francs. 
 
 307g. Aguado sale, No. 70. St. 
 Francis de Paul standing in ecstasy, with 
 a rosary in one hand, the other extended 
 as if praying ; " Charitas " on the right 
 above. Half length. 1.15x1.00. 475 
 francs. 
 
 307I1. Mr. Cox sale, London, April 
 30, 1879. St. Francis de Paul (called St. 
 Antony of Padua in the catalogue), stands 
 looking up to the word " Charitas " in a 
 glory, with two cherubs ; his right hand 
 is flat on his breast, his left holds up- 
 right a long crook. About 20 X 16 in. 
 
 308. St. Francis Xavier. John S. W. Erle-Drax, Esq., 
 
 Olantigh Towers, Kent. The Saint kneels with eyes upraised; a 
 stream of light falls on his breast, from which issues a flame ; at a dis- 
 tance in the background is a group of Indians in a landscape. Full 
 length, life-size. 
 
 This is doubtless the picture which once belonged to D. Juan Francisco Emi- 
 nente, and afterwards to D. Francisco Artier, as related by Palomino, Mus. Pict., 
 iii. 421. See Nos. 146a and 234. Cumberland saw it in the Palace of the Marques 
 de Santiago at Madrid and admired it greatly. Anecdotes, ii. 126. The painting 
 was purchased about 1809 by Mr. Campbell, who was Buchanan's agent in Spain, 
 and from him it passed to his sister, Mrs. Grant, of Greek Street, Soho, "who says 
 she can produce the receipt for the price paid for it." Davies, Murillo, lxiii. This 
 lady sold it to Charles O'Neil, from whom it was purchased by Mr. Drax. Passa- 
 vant saw the work at the Manchester Institution in 1831, and praised it highly. 
 Tour in England, ii. 20. 
 
 31 
 
242 MURILLO. 
 
 309. St. Giles. Philip W. S. Miles, Esq., Kings Weston, 
 Gloucestershire. The blessed Giles, accompanied by a Franciscan 
 brother, stands in ecstasy before Pope Gregory IX., who is seated in 
 an arm-chair between two cardinals ; eight lines are inscribed beneath. 
 Five figures, nearly life-size. 73X77 inches. 
 
 Painted for the convent of San Francisco. See No. 268. Companion to No. 
 271. Brought from Spain by Gen. Faviers and sold at private sale to M. Aguado, 
 at whose sale in 1843 it brought 3,100 francs. Mr. Buchanan afterwards became 
 the owner and offered it at Christie's, July 1, 1846, but bought it in at ^294, and 
 subsequently sold it to John Miles, brother of the present owner. Manchester 
 Exhibition, 1857. A study for the head of the monk who accompanies St. Giles 
 formerly belonged to J. M. Escazena. See No. 401a. 
 
 Tavernier, line, in Galerie Aguado. The inscription is sadly misspelled. 
 
 309a. Baron V. Denon. St. Gene- 309b. Aguado sale, Paris, March 20 
 
 vieve, a young girl, kneels amidst her to 28, 1843, No. 42. St. Gregory the 
 
 sheep to receive the blessing of St. Ger- Great stands, wearing the tiara and pon- 
 
 main ; her father and mother stand be- tifical robes enriched with gold, holding 
 
 hind. Landscape. 12^X18^ inches, a book in his left hand, and bearing the 
 
 Doubtful. Lithographed by Mauzaisse, papal cross in his right. 2.10X1.10. 
 
 in Denon Monuments. 460 francs. 
 
 310. St. Hermengild. Seville Cathedral, Chapter Room. 
 The royal Saint is clad in armor, with a red scarf across his breast ; he 
 holds a battle-axe in one hand, and a palm in the other. Bust, circu- 
 lar. See No. 279. 
 
 310a. A. Bravo. St. Hermengild, 
 half length, life size, looking up with the 
 fervor of a Christian martyr. i%XJi 
 varas (41 X29 inches). Obtained in 1809 
 from the chapel de los Pintores in the 
 church of San Andres. Mentioned by 
 Gonzalez de Leon, Noticia Artistica . . 
 de Sevilla, vol. i. p. 253 ; and by Amador 
 de Los Rios, Sevilla Pintoresca,^. 412. 
 
 310b. Henry Hope sale, June 27, 
 1816. St. Ignatius. ^21. 
 
 [A St. Ignatius by Murillo, captured on 
 board of a Spanish brigantine, was taken 
 to Philadelphia and fell into the hands of 
 Governor Hamilton. Benjamin West 
 painted several portraits in which the 
 attitudes were taken from that of the 
 Saint in this picture. ] 
 
 311. St. Ildefonso. Museo del Prado, 869. The Virgin seated 
 in an arm-chair on a platform beneath a canopy, attended by four 
 youthful angels, delivers a chasuble into the hands of the kneeling 
 Saint, behind whom kneels an old woman in white cap and red man- 
 tle ; cherubs and heads in a glory above. Last manner. 3.09X2.51. 
 This picture belonged to the royal collection in the time of Philip V. 
 
ST. JEROME. 
 
 243 
 
 F. Selma, line, 21.x 17, at Calco. Nacional. C. Alabern, etch., in Alabern, 
 Galleria. 
 
 J. Laurent, photo., No. 14. 
 
 312. St. Isidoro. Seville Cathedral, Sacristy. Robed in 
 white and wearing a mitre, he is seated with a crook in his right 
 hand and an open folio in his left ; on the right are other books and a 
 Grecian column; a curtain behind. Full length; second manner. 
 1.88X1.66. 
 
 In 1655 Don Juan Federigui, Archdeacon of Carmona, employed Murillo to 
 paint the two famous pictures of San Isidoro and San Leandro. These pictures 
 were presented by Don Juan to the Cathedral, and were placed in the Sacristy. 
 The Chapter recorded its acceptance of the gift by a minute in which the artist is 
 characterized as "the best painter in Seville." Tubino, 149. This is the first 
 mention of Murillo as an artist in any existing document. It is said the San Isidoro 
 is a portrait of the licentiate Juan Lopez Talaban, and San Leandro that of the licen- 
 tiate Alonzo de Herrera, Apuntador del coro. Cean Bermudez, Carta 58. 
 
 Photographed by J. Laurent, Madrid, No. 1122. 
 
 [The Apuntador del coro was an officer whose business it was to register the 
 attendance of the canons and other functionaries at times of service, for which duty 
 he received the sum of about ^1,500 a year. Davies, Murillo, 58, note.] 
 
 313. St. Isidoro. Seville Cathedral, Chapter Room. St. Isi- 
 doro in bishop's robes, reading in a book which he holds in his right 
 hand, and holding in his left hand a crook. Bust, circular. See San 
 Fernando, No. 279. 
 
 314. St. James, or Santiago. Museo del Prado, 863. The 
 
 Saint stands front, wearing a blue tunic and a red mantle which cov- 
 ers his left arm ; on his breast is a scallop shell ; a staff is in his right 
 hand, a book under his left arm. Half length. 1. 34X1.07. 
 
 J. A. S. Carmona, line, 12.2x8.4, reversed, at Calco. Nacional. [If the writer 
 is not mistaken, some copies of this engraving bear an inscription stating that the 
 original belonged to the Marques de la Ensenada. Pictures from the Ensenada 
 gallery were purchased by Carlos III. ] V. Camaron, litho. in Col. Lito. 
 
 314a. Aguado sale, 69. The Virgin panied by angels, one of whom places a 
 and Child appearing to St. James of Ni- crown on the Saint's head. 21 figures, 
 siba; the Holy Spirit descends accom- 2.35x1.75. 650 francs. 
 
 315. St. Jerome. Museo del Prado, 889. The Saint, who is 
 naked, except for a purple robe which covers his middle, is seated in a 
 
244 MURILLO. 
 
 grotto, reading in a great book which he holds in his lap with his left 
 hand, turning the leaves with his right ; on a rock are books, papers, 
 pens and ink. Background, rocks and sky. Half length. Second 
 manner. 1.25 X 1.09. 
 
 316. St. Jerome. Museo del Prado, 858. The Saint, naked 
 except for a cloth that covers his loins, kneels with crossed hands be- 
 fore a crucifix placed on a rock near some books ; beside the rock are 
 other books, papers, a skull and cardinal's hat. Full length. Second 
 manner. 1.87 X 1.33. 
 
 316a. Don Manuel Real, Seville. 316c. St. Jerome, "bequeathed by Is- 
 
 St. Jerome, half length, life-size. turiez to Queen Christina," sold at Paris, 
 
 316b. Dr. F. G. Baumgaertner. May, 1879. 
 St. Jerome, profile left, with bare feet, 3i6d. St. Jerome kneeling in prayer, 
 kneeling before a low wall on which is a interrupted by four musicians. UN- 
 skull and crucifix; full length. 61X44 known, mezzo. 18.4X14. Spurious. 
 inches. An outline engraving is in the 316c Baron Pasquier sale, i860. St. 
 catalogue of the gallery printed at Leip- Jerome in prayer. " Formerly belonged 
 zig in 1820. The collection was sold May to Soult, afterwards to Moreau." Stirling, 
 26, 1856. 1433. Gaz. B. Arts, Dec, 1859, p. 363. 
 
 316*. St. Joachim and the Virgin. Valladolid Museum, 64. 
 
 The Saint, holding a staff in his left hand, with the other leads the 
 
 Virgin, a child of three years, who bears a bunch of lilies in her right 
 
 hand. Landscape background. Full length. Early style. 
 
 Stirling calls this St. Joseph and the Infant Saviour. 
 Photographed by J. Laurent, Madrid, No. 1,171. 
 
 317. St. John and the Lamb. Hospital de la Caridad, 
 
 Seville. The Child St. John stands front, bending forward ; his left 
 
 hand, holding a cross and scroll, is on the back, and his right is on 
 
 the breast of a lamb which stands by his side. Full length ; on panel. 
 
 33X24 inches. 
 
 Painted for the Hospital of La Caridad. See ante No. 1. 
 Alph. Boilly, mezzo., 10.6x7.5, Paris, 1855 (Goupil). 
 
 318. St. John and the Lamb. Museo del Prado, 865. 
 
 The child St. John, about seven years of age, wearing a red tunic and 
 a sheepskin robe over his left shoulder, is seated beside a great rock, 
 looking up towards a ray of light which descends on him from heaven ; 
 
ST. JOHN AND THE LAMB. 
 
 245 
 
 his right hand is on his breast, the left, holding a cross and scroll, rests 
 on the back of a lamb ; rocks and trees in the background. Transi- 
 tion from the second to the third style of the master. 1.21X.99. 
 
 From the collection of the Marques de la Ensenada. A repetition or copy was 
 in collection of Queen Isabel Farnese, in the palace of S. Ildefonso. 
 
 During the festival of Corpus Christi, in 1670, a Conception by Muriilo was 
 exhibited at Madrid, where it attracted so much attention that the King, Carlos II., 
 requested Don Francisco Eminente, a warm friend of Muriilo, to induce the artist 
 to come to Madrid and engage in the royal service. Muriilo excused himself on the 
 score of his age, whereupon he was asked to send to the Court some specimen of 
 his art. This the artist could not refuse, but as he required a longer time for exe- 
 cuting the work than the King was willing to grant, Eminente purchased from Don 
 Juan Antonio del Castillo, for 2,500 reals, a picture of St. John in the Desert, 
 which he sent to the King. Palomino, iii. 423. Cumberland asserts that when he 
 wrote, the picture referred to by Palomino was in the palace at Madrid. Anecdotes, 
 ii. 117. Where is it now — or was Cumberland mistaken? The description, "St. 
 John in the Desert," is commonly understood to refer to a picture of St. John of 
 mature age, about thirty-three years old. 
 
 B. Maura, etch., 1876, in Grab, al Ag. Fuerte. Camaron, litho., in Col. 
 Lito. A. Lemoine, litho., in Joyas Pint. Lafosse, litho., 1 7.4X14. A. de Bel- 
 vedere, litho., 15.8x12, Madrid. L. Maurin, litho., 4.7X4.4. On wood in 
 Liibke, History of Art; Clement, Handbook of Painters ; D'Anvers, History of 
 Art. 
 
 319. St. John and the Lamb. Lord Heytesbury, Heytes- 
 bury House, Wiltshire. A repetition of No. 318. 42X33 inches. 
 
 Purchased from a picture dealer in Lisbon. 
 
 320. St. John and the Lamb. The late Western Wood, Esq., 
 
 North Cray, Kent. A repetition of No. 318. Near the lower corner 
 
 are the letters B M E forming a monogram, as if marked when wet 
 
 with the handle of the brush. 47X39 inches. 
 
 Purchased in 1831, from a picture dealer in Cadiz, by J. M. Escazena, who sold 
 it for ^200 to George Field of Clapham, from whom Mr. Wood acquired it. Men- 
 tioned by Stirling, Annals, iii. 1426. 
 
 321. St. John and the Lamb. Gustave Delahante, Paris. 
 
 A repetition of No. 318. .62X.53. 
 
 Exhibited at the Alsace-Lorraine Exhibition, 1874. The Alsace-Lorraine cata- 
 logue says the picture is from the Salamanca gallery. 
 
 322. St. John and the Lamb. National Gallery, London, 
 
 176. The child, about six years of age, clad in a sheepskin garment, 
 
246 
 
 MURILLO. 
 
 stands front, embracing a lamb which stands at his left on a rock ; 
 his left hand is on the back of the lamb, the forefinger pointing 
 upwards ; the lamb's fore foot rests on St. John's right arm ; a cross 
 and scroll lie on the ground. The background is composed of a hilly 
 landscape with trees. 60X43 inches. 
 
 Companion to Christ the Good Shepherd, No. 167, which see. The two pict- 
 ures were constant companions, and their history is identical down to the time of 
 the sale of Sir Simon H. Clarke, May 8, 1840, when the present work was sold 
 for ^2, 100, to Lord Ashburton, who ceded it to the National Gallery. 
 
 A copy by Tobar is in the church of San Isidoro at Seville, and a contemporary 
 copy in the Hermitage, No. 379. The manner of execution indicates that nearly 
 all the works of this subject and class were executed about 1665-70. 
 
 F. Bacon, line, 18.7x12.6, 1855. L. Stocks, line, 9.1x6, in S. C. Hall, 
 Gems of Art, and in Scott, Murillo. A. H. Payne, line, 7x6.5. J. Rogers, line, 
 8.8x6.9. J. Stow, line, 9X6.5, reversed, June 4, 1784, from the picture belong- 
 ing to Samuel Athawes. This is the first plate ever executed by the engraver, who 
 was at the time only thirteen years of age. See Notes and Queries, S. 6, vol. iv. p. 
 427. Casenave, line, 17.6x14.3. Richeton, etch., 8.3x5.3, in The Portfolio, 
 1876. On wood in Becker, Kunst und Kiinstler. The following engravings are 
 after the copy in the Hermitage: G. Scorodumov, line, 19X13, inscribed "Ex tab- 
 ulae picta Murillo quae est in Museo Serenissinum Principiis Gregorii Alexandrinis 
 Potemkin." H. Robillard, litho., in Gal. Imp. de PErmitage. 
 
 323. St. John and the Lamb. Earl of Lovelace, East Hors- 
 ley Towers, Surrey. A repetition of the above. 64X45 inches. 
 
 This picture came into the possession of the family of Lord Lovelace by the 
 marriage, about 1734, of his ancestor Lord King with a Brabant heiress, Miss Frye. 
 
 Val. Green, mezzo., 18x14. "From the original, in the possession of the 
 Honorable Thomas King." 
 
 324. St. John and the Lamb. Earl of Dudley, London. A 
 
 repetition of No. 322. 44^X32 inches. 
 
 Salamanca sale, 1867. ' ' From the royal palace at Madrid." 30,500 francs. 
 Leeds Exhibition, 1868. Royal Academy, 1871. 
 
 Engraved on wood in Illustrated London News, January 1, 1870. 
 
 325. St. John and the Lamb. Belvedere, Vienna. The 
 
 child St. John, with a cross in his left hand, stands front, bending 
 
 towards a lamb that stands by his side, on whose shoulders his right 
 
 hand rests. 59X41 inches. 
 
 J. Blaschke, line, 10x7.5. J. Blaschke, line, 4.8x3.4, in Haas, Galerie de 
 Vienne. Paul Gleditsch, line, 20x15, 1861. W. Unger, etch., 10.2x7.2, 
 
ST. JOHN AND THE LAMB. 
 
 247 
 
 1877, in Die K. K. Gemdlde Galerie in Wien. Prenner, etch., 1.9x1.5, reversed, 
 in Prenner, Theatrum Artis Pictorial, Vienna, 1728, in a plate showing the picture 
 as then placed on the wall of the gallery. Miethke, photo. 
 
 326. St. John and the Lamb. Duke of Sutherland, Staf- 
 ford House, London. The child St. John, wearing a wide-brimmed 
 felt hat, and holding a star! in his left hand, is seated on a rock, with 
 his right hand resting flat on the shoulder of a lamb, over whose back 
 the head of another lamb is seen. 7X5 inches. 
 
 327. St. John and the Lamb. Stafford House, London. The 
 child St. John, seated on a rock, front, with a cross and scroll in his 
 left hand, rests his right hand on the shoulder of a lamb that stands by 
 his side, with its head nearly touching the child's shoulder. 7X5 in. 
 
 This picture, with No. 326 and No. 120, are small sketches in one frame. 
 
 328. St. John and the Lamb. Grosvenor House, London. 
 
 The child is seated on the ground, front, with his legs bent to the left, 
 
 looking front ; his right hand is beneath, without touching the neck of 
 
 the lamb that lies by his side ; his left hand, holding a cross and scroll 
 
 nearly horizontal, rests on the back of the lamb. 33X28 inches. 
 
 Purchased about 1810 from Andrew Wilson, who brought it from Genoa. 
 British Institution, 1829, 1840. Royal Academy, 1871. 
 
 Etched in The Grosvenor Gallery. Davenport, line, 9X5.9. 
 
 329. St. John and the Lamb. Earl of Elgin, Broom Hall, 
 Fifeshire. St. John as a child, with a lamb by his side. Small. 
 
 Mentioned by Stirling, Annals of the Artists of Spain, iii. 1426. 
 
 330. St. John and the Lamb. George Vivian, Esq., Claver- 
 
 ton Manor, Somerset. St. John, seated on a rock, with a reed cross 
 
 in his hand, and a lamb lying at his feet. 38X28^ inches. 
 
 From H. Hope collection. Stirling, iii. 1426. In Henry Hope sale, by 
 Christie, June 27, 1 816, a St. John sold for £j ijs. 6d. 
 
 331. St. John and the Lamb. The child, seated on the ground, 
 front, with his right leg extended forwards, the left bent, places his 
 right hand on the side of the neck of a lamb that lies on his left ; his 
 
248 
 
 MURILLO. 
 
 left hand holds a cross and scroll nearly upright above the lamb's 
 
 head; he looks at the lamb. On panel. . 63 X. 47 centimetres. 
 
 Comte Koucheleff Besborodko sale, Paris, June 5, 1869, 17,500 francs 
 (Dublin National Gallery?). 
 
 Etched by F. P. in the Koucheleff- Besborodko sale catalogue. 
 
 332. The Infant St. John. Formerly Duke of Hamilton. 
 
 The Infant St. John (or more properly the Infant Christ), sleeping, 
 
 holding a crook, with a skull and a scroll ; angels guarding sheep in 
 
 the background. 25X20 inches. 
 
 Duke of Hamilton sale, at Christie's, June 17, etc., 1882, No. 1 138, ^2,415, 
 to Arnot. From Fonthill. Mentioned by Waagen ( Treasures of Art in Great 
 Britain, iii. 301), who incorrectly calls the child St. John Baptist. 
 
 332a. St. John and the Lamb. The 
 child, seated on a rock, three-quarters 
 right, looks up to the right ; his right 
 hand is flat on his breast, his left, hold- 
 ing a cross and scroll nearly upright, is 
 on the neck of a lamb that stands by his 
 side ; his left foot is flat on the ground, 
 the right foot rests on the heel. 36x29 
 inches. 
 
 Outline reversed in Lebrun, Recueil, 
 136. Geoffroy, litho., 16.4x12.5, Tire 
 de la galerie de M. Bertrand ; from the 
 above or a similar picture. 
 
 332b. Count A. de Stroganoff. 
 Catalogue, A. D. 1800. The young St. 
 John embracing a lamb. Pendant to the 
 Good Shepherd. 27X18 inches. 
 
 332c. Sebastian Martinez, Cadiz. 
 San Juan Nino, with the left hand on a 
 lamb, a reed cross in the right. From 
 the Marques de la Canada. Ponz, Viage, 
 xviii. 22. The picture probably came to 
 England. See Davies, Murillo, lxxxiv. 
 
 332d. Prince Carignan sale, July 30, 
 1742, St. John, 28x22 inches, 2,880 liv. 
 Due de Tallard sale, March 22, 1 756, No. 
 126. St. John Baptist as a child caress- 
 ing a lamb. 28x20 inches. 2,452 liv., 
 to Comte de Choiseul. M. de Choiseul- 
 Praslin sale, February 15, 1793. St. 
 
 John as a child, seated in a landscape, 
 caressing a lamb with his right hand, his 
 left holding a cross. Supposed to be 
 from the Gagny collection (?), 22X17 
 inches. 3,320 francs. John Trumbull 
 (of the American Legation at Paris) sale, 
 by Christie, February 17, 1797. St. John 
 and the Lamb. ^210, to Bryan. "The 
 most lovely specimen of this admired 
 master in England. It was one of the 
 choicest ornaments of the very fine col- 
 lection of the Ducde Praslin." Buchanan, 
 Memoirs, ii. 268. Doubtless these notes 
 all refer to the same picture, which should 
 be now in England. 
 
 332c James Poole sale, June io, 
 1845. St. John and the Lamb. ^101 1 Js. 
 
 3321". F. B. West sale, 1843. St. 
 John and the Lamb, " formerly belonged 
 to Mr. Holford." ^"105. A picture of 
 this subject was sold at Mr. Buchanan's 
 sale, in 1846, for ^252, to Mr. R. S. 
 Holford, who afterwards parted with it. 
 
 332g. Aguado sale, 1843, No. 35. 
 The young St. John, clothed in a fox's 
 skin, and seated on a red drapery, points 
 to a stream falling from a rock, and in- 
 vites a lamb to drink ; in his left hand is 
 a reed cross and a scroll. 1.11X.86. 
 650 francs. 
 
ST. JOHN BAPTIST. 
 
 249 
 
 332h. St. John and the Lamb ; from ing beside a rock from which a jet of 
 
 Joseph Bonaparte gallery. Offered for water flows, invites a lamb to drink, 
 
 sale at Christie's, May 24, 1845, an( l A. Braun, photo., from a design in 
 
 bought in at ^798. the Albertina. A. de Bartsch, etch., 
 
 332i. The Child St. John, kneel- 6.8x5-4, 1815, reversed. 
 
 333. St. John Baptist. Seville Museum, 44. St. John, about 
 
 thirty years of age, only partly clothed, stands front, leaning against a 
 
 great rock, looking up to his right, with joined hands ; a cross rests on 
 
 his left arm ; a lamb stands beside him on his left, looking up to him. 
 
 Full length. 2.25X1.25. 
 
 Painted for the high altar of the Capuchin Church. See No. 18, companion to 
 No. 341. 
 
 Photographed by J. Laurent, Madrid, No. 1071. 
 
 334. St. John Baptist Questioned by the Jews. Fitzwil- 
 
 liam Museum, Cambridge. St. John, wearing a red mantle, and 
 
 holding a reed cross in his left hand, stands conversing with three 
 
 Jews; the one nearest him, on the left, in dark green dress, is seen 
 
 in profile, gesticulating with animation ; partly behind him is one with 
 
 spectacles and purple robe ; the third wears a violet cap, a blue coat, 
 
 and yellow mantle ; a lamb lies in the foreground ; above are small 
 
 figures of an angel at half length, and a winged lion, with scrolls 
 
 inscribed Inter natos non surrexit maior, and Vox clamantis in deserto 
 
 parate viam Domino. Full length, life-size. 102X67 inches. 
 
 Purchased from the nuns of San Leandro, Seville, by Nathan Wetherell, who 
 sold it to Thomas Purves, of Lincoln's Inn. At his sale, June 9, 1849, it was 
 sold for ^79 to John Anderson, who exhibited it at Manchester in 1858. It was 
 purchased by the Museum in 1872. See No. 176. Mentioned in Standish, Seville, 
 283. Jameson, Our Lord, i. 297. 
 
 335. St. John Baptist. William C. Cartwright, Esq., 
 
 Aynhoe, Northamptonshire. St. John the Precursor is awakened by 
 the Divine call. Clothed in camel's hair raiment, he looks up to a 
 light in the clouds on the right as he rises from the rock on which he 
 has been seated ; in his right hand is a reed cross and scroll ; at his 
 left side is a lamb. Landscape background. 64X44 inches. 
 Exhibited at the British Institution, London, 1839. 
 32 
 
250 
 
 MURILLO. 
 
 336. St. John Baptist. Right Hon. George Cavendish Ben- 
 tinck, London. St. John, wearing red drapery, holding a staff in his 
 left hand, his right clasped to his breast, looks up. Landscape back- 
 ground. 47X41^ inches. 
 
 Exhibited at the Royal Academy, London, 1877. 
 
 336a. St. John Baptist, as a man, hold- 
 ing a cross and scroll, and pointing up 
 with his right hand. Half length. This, 
 the same as the figure of St. John in No. 
 177, except that it is half length, and the 
 hand points up. 
 
 Mlle. J. Hebert, litho., 10x7.7. 
 Llanta, litho., 18.8x15.2. C. Andre, 
 
 litho., 9.4x7-5- 
 
 336b. St. John Baptist, as a man, 
 holding a cross and scroll. Half length. 
 Llanta, litho., 7.2x5.9. Doubtfid. 
 
 336c. Prince Joussoupoff, St. 
 Petersburg. St. John. Mentioned by 
 Viardot. 
 
 336d. Carlsruhe, Kunsthalle, 631. 
 St. John. 41X31 inches. 
 
 336c Duke of Buccleugh. St. 
 
 John with angels. British Institution, 
 1829. 
 
 336f. Gainsborough sale, March 30, 
 
 1789. St. John. 35XX29>£ inches. 
 Brought from Spain by Mr. Cumberland. 
 
 336g. Noel Desenfans sale, Feb- 
 ruary 28, 1795. St. John in the Desert. 
 Hon. Marmaduke Constable Max- 
 well sale, by Christie and Manson, March 
 1, 1873. St. John Baptist in the desert. 
 From Desenfans collection. ^"451, to 
 Rutley. 
 
 336h. Henry Hope sale, June 27, 
 1816. wSt. John with angels. ^14 6d. 
 
 336i. St. John Baptist in the wilder- 
 ness. Sold at Christie's, June 9, 1827. 
 ^162 i$s. 
 
 336k. Lord Gwydir sale, 1829. St. 
 John in prayer. ^105. 
 
 336I. Louis Philippe sale, 1853, 
 No. 73. St. John the Precursor. 2.50 
 Xi.72. ^89. Mentioned by Head, 
 Handbook, 177. Doubted by Stirling, 
 iii. 1427. 
 
 337. Head of St. John Baptist. Museo del Prado, 887. 
 
 The head of the Saint lies, with the face turned towards the spectator, 
 the eyes closed and the mouth half open, on a golden dish placed on 
 a table. Companion to a Head of St. Paul. Third manner. .50X.87. 
 
 338. Head of St. John Baptist. Sir Philip Miles, Bart., 
 
 Leigh Court, Gloucestershire. The bearded head of the Saint lies on 
 a charger which is placed on a table covered with drapery ; the face 
 is seen in profile, the upper part of the head to the left. 24X29 in. 
 Etched by John Young in the Miles Gallery Catalogue. 
 
 338a. Sta. Maria de las Cuevas 338b. Earl of Clarendon, London, 
 
 at Seville. The decapitated head of The head of St. John Baptist in a charger, 
 
 the Baptist. Cean Bermudez, Die., ii. 19^X24^ inches. Stirling, iii. 1427. 
 
 62. Doubtful. 
 
ST. JOHN THE EVANGELIST. 251 
 
 338c. Altamira sale, 1827. Head of tered folios on the ground at his feet. 
 
 St. John Baptist. ^3 y. 1.92X1.16. Formerly in a convent at 
 
 338d. Aguado sale, 1843, No. 67. Zaragoza, and supposed to be the por- 
 
 Head of St. John Baptist in a silver dish trait of the benefactor, by whom it was 
 
 on a stone table ; near it a reed cross presented to the brotherhood. 2,500 fl. 
 
 and a scroll. .65X.75. 155 francs. Stirling, Annals of the Artists of Spain, 
 
 338c King of Holland sale, 1850, iii. 1438. Jameson, Monastic Orders, 425. 
 No. 117. St. John of the Cross. Full 338^ Salamanca sale, 1867, No. 22. 
 
 length, life-size, in Carmelite habit, clasp- St. John of the Cross, standing nearly pro- 
 
 ing to his breast a wooden cross, and file right, with bare head and gray frock, 
 
 kneeling before an altar on which is a looking up. Landscape with ruins in 
 
 crucifix and some lilies ; above is a glory the background. 1.63 X 1.03. From the 
 
 in which some heads are seen ; four let- gallery of Comte de San Luis. 5,100 f. 
 
 339. San Juan de Dios. Hospital de la Caridad, Seville. 
 The Saint, sinking to his knees under the weight of a half-naked pau- 
 per whom he bears on his back, turns his head and beholds with awe 
 an angel with outspread wings in yellow drapery, who takes him by 
 the shoulders and assists him to rise. Full length. Companion to 
 St. Elizabeth, No. 274. 11 ft. 7 in. by 8 ft. 10 in. 
 
 Painted for the Caridad, and still in its original position. See ante No. I. In 
 Stirling's Annals, vol. ii., facing p. 855, a view is given of the interior of the church, 
 showing this picture as now placed on the wall of the church. A copy by Dauzats 
 was sold, No. 133, Louis Philippe sale. 
 
 Davies (Murillo 81, 94, note) says he once owned the sketch of this compo- 
 sition, which afterwards became the property of Captain Ball. It came from the 
 collections of Sebastian Martinez and Manuel de Leyra. 
 
 Photographed by J. Laurent, Madrid, No. 826. 
 
 340. St. John the Evangelist. Sir Philip Miles, Bart., 
 Leigh Court, Gloucestershire. The Saint, seated in a reclining post- 
 ure on a rock, holding a pen in his outstretched right hand and a 
 book in his left, looks up as if he heard a voice from heaven ; on his 
 right is an eagle. Full length. 69X47 inches. 
 
 Citoyen Robit sale May 21, 1801, No. 62. Bryan sale 1801, ^525 to Henry 
 Hope, at whose sale, by Christie, June 27, 1816, it sold for ^115 ioj-. See Buch- 
 anan Memoirs ii. 51. 
 
 John Young, etch., in the Miles Gallery Catalogue, No. 47. 
 
 340a. St. John the Evangelist, seated, 340b. Standish sale, by Christie and 
 
 holding a book and pen; an eagle on the Manson, May 27 and 28, 1853, No. 117. 
 
 left. Three-quarters length. Doubtful. St. John the Evangelist, 1. 31 X-9T,£i 15 
 
 C. Parrete, line, 13. 3X10.2. ioj-. to Beauclerck. 
 
252 
 
 MURILLO. 
 
 341. St. Joseph and the Infant Jesus. Seville Museum, 45. 
 
 St. Joseph, standing on our right, embraces the Infant Saviour, who 
 
 stands, fully draped, on a stone pedestal ; the Saint's right hand is 
 
 seen behind the hip, and his left touches the breast of the Child, whose 
 
 hands rest on the hand and arm of the Saint ; the Child holds in his 
 
 left hand a lily branch, which extends over the left shoulder of St. 
 
 Joseph, his head rests on the Saint's right shoulder ; both look front. 
 
 Landscape background. Full length. 2.26X1.25. 
 
 Painted for the high altar of the Capuchin Church. See No. 18. Companion 
 to No. 333. 
 
 J. Laurent, photo., 1072. Abel Lurat, mezzo., 17.2x11, 1865, three- 
 quarters length (Goupil). 
 
 342. St. Joseph and the Infant Jesus. Due de Montpen- 
 
 sier, No. 154, Seville. St. Joseph embraces the Infant Jesus, whose 
 
 breast and hips he supports with his hands ; the Child holds with both 
 
 hands a lily branch extending over the left shoulder of the Saint ; both 
 
 look front. Half length. .79X.56. 
 
 From the gallery of the ex-King Louis Philippe. 
 Photographed by J. Laurent, Madrid, No. 1,002. 
 
 343. St. Joseph and the Infant Jesus. Due d'Aumale, 
 Chantilly, Oise. St. Joseph seated and seen to the knees, regards 
 tenderly the Child Jesus, who stands on his father's lap, fully draped, 
 looking front; the Child's right hand, placed against St. Joseph's 
 breast, holds a lily branch, which extends over the right shoulder of 
 the Saint; his left hand touches St. Joseph's left hand, which sup- 
 ports the Child's left side ; St. Joseph holds in his right hand the right 
 foot of the Child. . 2 2 X . 1 7 . 
 
 King Louis Philippe sale No. 70 (154), ^150. Alsace-Lorraine Exhibi- 
 tion, 1874. 
 
 Eugene Levasseur, litho., 12.2x10.1. A. Braun, photograph. 
 
 344. St. Joseph and the Infant Jesus. Mrs. Lyne Stephens, 
 Lynford Hall, Brandon, Norfolk. St. Joseph, seen to the knees, is 
 seated front, with the Infant Saviour standing on his left ; the Saint's 
 left hand, holding drapery, supports the Child's hips from behind ; 
 
ST. JOSEPH AND THE INFANT JESUS. 
 
 253 
 
 his right hand holds the Child's left, and both their hands hold the 
 
 lily branch, which rests on the right shoulder of St. Joseph ; both look 
 
 front. .95X.81 centimetres. 
 
 . Louis Philippe sale, No. 168 (153), ^440. When sold it was in bad condi- 
 tion, having been injured by sea-water and ill-usage. Exhibited at the Alsace- 
 Lorraine Exhibition, 1874. 
 
 Photographed by A. Braun & Co., Paris. No. 252 in the Alsace-Lorraine 
 series. 
 
 The following engravings are after the above, or some other repetition of this 
 popular composition. 
 
 Lemoine, mezzo., half length reversed, 16.6x9.4. Cottin, mezzo., 19.6X 
 14.8. Lithographs by Geoffroy, 15XH.2. Geoffroy, 12X9.3. E. Lasalle, 
 23.2X19.3. E. Lasalle, 25.5x20.2, busts only. Maggi, 14X11, reversed. J. 
 Prat, 10x7.8, reversed. Barry, 23.8x19.6. M. Lavigne, 20.2x15.3. L. 
 Maurin, 7.3x6. L. Maurin, 4.7x3.9. Pingot, 25.8x20. Laujol, 20x15.5, 
 reversed. H. Jannin, 16.2X13.1. Lafosse, 19.8x25.5, busts only. Llanta, 
 18.4x14.5. Llanta, 17.6x13.2. Llanta, 9.2x7.6. 
 
 345. St. Joseph and the Infant Jesus. Sir John Leslie, 
 Bart., London. A repetition, perhaps, of the above. 49^X37 
 inches. 
 
 Louis Philippe sale, No. 167 (152), ^300. W. Cave sale by Christie, 
 June 29, 1854,^267 15^. George Grote sale, March 2, 1872,^204 5^. John 
 Wendell sale, by Christie, May 10, 1879,^94 \os. 
 
 346. St. Joseph and the Infant Jesus. Francis Cook, Esq., 
 Richmond Hill. A repetition of No. 344. Life-size. 41X31 inches. 
 
 347. St. Joseph and the Infant Jesus. D. Roberto Kith y 
 Somera, Seville. A repetition of No. 344, but full length instead of 
 three-quarters length ; life size. 
 
 From the collection of D. Jose Gregorio Rodriguez. 
 
 348. St. Joseph and the Infant Jesus. Earl of Strafford, 
 Wrotham Park, Middlesex. St. Joseph, wearing a violet robe and 
 brown mantle, holding a lily branch, which rests on his left shoulder, 
 bends towards the Child, whom he holds with his right hand j they 
 walk to the left looking at each other. Full length. Landscape 
 background. 86^x62 inches. 
 
254 
 
 MURILLO. 
 
 Royal Academy, 1881. This may be one of the five pictures formerly belong- 
 ing to D. Juan Francisco Eminente and afterwards to D. Francisco Artier. " El 
 otro es a lo alto, del Glorioso Patriarca San Joseph, con el nino Jesus de la mano, 
 y arriba vn rompimiento de gloria." Palomino, iii. 421. See Nos. 234 and 358? 
 
 349. St. Joseph and the Infant Jesus. A repetition of No. 
 
 348% Full length. .27X.22. 
 
 Pourtales sale, March 27, 1865, No. 202, 15,000 francs. D * * * sale, Paris, 
 April 1, 1869. 
 
 Goupil, photograph in Souvenirs de la Galerie Pourtales. MlGL. Gamborino,. 
 litho., 12.7x8.9, Madrid, 1877; from the above or a similar picture. 
 
 350. St. Joseph and the Infant Jesus. Don Antonio Zu- 
 lueta, Cadiz. A repetition of No. 348. Full length, life-size. 
 
 This picture has been for many years in the family. 
 
 351. St. Joseph and the Infant Jesus. Baroness Burdett- 
 Coutts, London. St. Joseph, in lilac and orange drapery, embraces 
 the Infant Saviour, who stands by his side. 1 2 X 91^ inches. 
 
 Henry Hope sale, by Christie, June 27, 1816, ^28 Js., to Samuel Rogers,, 
 at whose sale by Christie April 28, etc., 1856, No. 772, it sold for ^399. British 
 Institution, 1822. Manchester Exhibition, 1857. 
 
 Another picture of this subject was sold in the Henry Hope sale for £$ 3s. 
 
 352. St. Joseph and the Infant Jesus. Mrs. William Gibbs, 
 Tyntesfield, Gloucestershire. St. Joseph seated, with a lily branch in 
 his right hand, supports with his left the Infant Saviour, who sleeps,, 
 leaning against the Saint's left shoulder. 49X36 inches. 
 
 Purchased in 1853 from D. Romero Balmaseda, in Seville. 
 
 353. St. Joseph and the Infant Jesus. St. Joseph, in gray- 
 ish robe and yellow mantle, holds the Infant Saviour, in lilac robe, 
 sleeping on his knees. 1.69 Xi. 10. 
 
 Standish sale No. 114 (111), ^399. G. A. Hoskins sale June 18, 1864,, 
 ^304 IOJ-., to Moore. Manchester Exhibition, 1857. 
 
 354. St. Joseph and the Infant Jesus. George Tomline, 
 Esq., Orwell Park, Suffolk. St. Joseph, bearing a flowering staff, is 
 seen walking, accompanied by the Saviour, who carries a saw on his 
 
ST. JOSEPH AND THE INFANT JESUS. 
 
 255 
 
 left arm and a basket of carpenter's tools on his right. Full length ; 
 life-size. 
 
 Praised by Waagen. Treasures of Art in Great Britain, iii. 442. 
 
 355. St. Joseph and the Infant Jesus. Sir W. L. Feilden, 
 Bart., Blackburn, Lancashire. St. Joseph, with a lily branch in his 
 left hand, holds the Infant Saviour in his arms ; above are two cherubs 
 on the right and three on the left ; landscape and sky in the back- 
 ground. Full length. 75X49 inches. 
 
 Purchased in 1836. Offered in Sir W. H. Feilden sale March 3, 1877, but 
 not sold. 
 
 356. St. Joseph and the Infant Jesus. Hermitage, St. 
 
 Petersburg, 365. St. Joseph, in dark robe and yellow mantle, 
 
 which covers his right arm, holding in the right hand a lily branch, 
 
 with the left arm embraces the Child, who stands partly draped before 
 
 him, looking front; the Child's right hand is pressed against the 
 
 Saint's breast, his left clasps a finger of St. Joseph's left hand, which 
 
 is placed beneath the arm and against the body of the Child. Half 
 
 length, dark background. .70X.51. 
 
 Purchased for the Hermitage by Prince Troubetskoy about 1820, probably in 
 Paris. 
 
 Rottger, photo. J. G. Navia, line, 5.6x4.2, at Calco. Nacional. Bust, oval, 
 similar to the bust of the above. 
 
 357. St. Joseph and the Infant Jesus. Hermitage, St. 
 Petersburg, 366. St. Joseph, holding a lily branch in his left hand, 
 with the right hand leads the Infant Jesus; two cherubs above; land- 
 scape background with a square wall on the right. .73X.52. 
 
 Presented to the Emperor by Mr. Coesvelt. 
 
 358. St. Joseph and the Infant Jesus. St. Joseph on our left 
 
 holding a lily branch upright in his left hand, with his right takes the 
 
 right hand of the Child Jesus, who holds his garment with his left 
 
 hand; both are standing front; a cherub and ten heads above; a 
 
 pedestal on the right. Full length. 
 
 Esteban Boix, line, 16.2x11.8, 1800. Scarce. From the picture belonging 
 to the Marques de San Adrian y Santiago. See Nos. 146a and 348 ? 
 
256 
 
 MURILLO. 
 
 358a. Philip V. purchased in Seville a 
 " S. Josef," less than life-size, which has 
 disappeared from the royal collections. 
 It is mentioned by Cean Bermudez. 
 Die, ii. 64. 
 
 358b. Church of the Carmen Cal- 
 zado, Madrid. St. Joseph, half length, 
 with the Infant Jesus. Palomino, Hi. 421. 
 Ponz, v. 225. Cean Bermudez, Die, ii. 
 63. 
 
 358c. Bryan Gallery, New York, 
 390. St. Joseph standing with his left 
 foot on a rock holds the Infant Jesus 
 seated on his right arm, who looks down 
 to a hatchet, plane, etc., on the floor; 
 full length, life-size. From R. W. 
 Meade collection. 
 
 358d. Major-General the Hon. E. 
 Capel "has a genuine picture of St. Jo- 
 seph and the Infant Jesus." Davies, Mu- 
 rillo, lxiii. 
 
 358e. SirJ.M.Brackenbury. St. Jo- 
 seph leading the Infant Jesus, who car- 
 ries a basket of carpenter's tools. British 
 Institution, 1836. 
 
 358f. A. Bravo, St. Joseph holding 
 the Infant Jesus by the hand ; life-size. 
 Sevilla Pinto., 412. 
 
 358g. St. Joseph seated on a rock by 
 the sea with a lily branch in his right 
 hand, holds the Infant Jesus seated on 
 his knee asleep ; the Child has an apple 
 in his right hand, his left is on St. Jo- 
 seph's left ; full length. Doubtful. 
 
 Llanta, litho., 18.9x14.9. 1844. 
 
 358I1. St. Joseph, standing on clouds 
 with the Infant Jesus on his left arm; 
 full length. Spurious. 
 
 Geoffroy, mezzo., 19.5X15. 
 
 358L St. Joseph standing on clouds 
 with the Infant Jesus on his left arm ; 
 full length. 
 
 Jacott, litho., 15.3 XI 1.4. A spuri- 
 ous devotional print, the inscription on 
 which falsely asserts that the original by 
 Murillo is in the church of Santa Cruz at 
 Madrid. 
 
 358k. Prince de Conti sale, April 8 r 
 1777, No. 163. St. Joseph seated, hold- 
 ing the Infant Saviour in his arms. 12 in. 
 6 line by 9 in., round top. 1,592 liv. 
 Nogaret sale, by Le Brun, March iS r 
 etc., 1782. 901 liv. Comte de Vau- 
 dreuil sale, by Le Brun, Nov. 24, 1784. 
 St. Joseph seated with the Infant Jesus 
 in his arms; knee-piece, round top. 12 
 in. 6 line by 9 in., from Prince de Conti 
 and Nogaret sales. 
 
 358I. Van Helsleuter, of Amster- 
 dam, sale at Paris, Pluviose an ix. (Jan. 
 25, 1802), St. Joseph holding the Infant 
 Saviour asleep. 3,600 liv. 
 
 358m. George Watson Taylor sale, 
 by Christie, June 13, 1823. St. Joseph 
 and the Infant Saviour. £32. 
 
 358n. Aguado sale, 1843, No. 43. 
 St. Joseph leading the Infant Jesus by 
 the hand. 1. 50x1. 00. 1,300 francs. 
 
 358p. Aguado sale, No. 73. St. Jo- 
 seph with the Infant Jesus asleep in his 
 arms. 1.90x1.15. 825 francs. 
 
 358q. W. W. Burdon sale, by Chris- 
 tie, June 28, 1862, St. Joseph with the 
 Infant Saviour in his arms bearing a lily 
 branch. ^44 2s. 
 
 358r. Pourtales sale, 1865, No. 201. 
 St. Joseph, in yellow drapery over a 
 white tunic, holding a bunch of lilies, 
 stands near a mass of rocks with the 
 Infant Jesus in his arms. Full length. 
 .40 X. 78, on panel. 730 francs. 
 
 358s. Daniel Wilson sale, Paris, 
 March 21, 1873. St. Joseph and the 
 Infant Jesus. Sold for about 8,000 
 francs. 
 
 358t. Wynn Ellis sale, 1876. St. 
 Joseph with the Infant Jesus asleep in 
 his arms. Life-size. ^231, to Colnaghi. 
 Praised by Waagen, ii. 294. 
 
 358U. Salamanca sale, 1875, No. 
 24. St. Joseph lies dreaming on a pile 
 of rocks, with his head on his left arm ; 
 an angel in rose-colored robe has de- 
 scended from above to announce the birth 
 
ST. JUSTA. 
 
 257 
 
 ofthe Holy Child. .83X1.23. 750 francs, enbury sale, 1848. ^232^. Exhibited 
 Companion to No. 15b, which see. at the British Institution in 1836 and in 
 
 358V. St. Julian. Sir J. M. Brack- 1844. 
 
 359. St. Justa. Stafford House, London. The youthful Saint, 
 wearing a yellow robe, and a blue mantle covering her left arm, with 
 ribbons in her hair and on her breast, stands three-quarters right, 
 looking up ; her right hand holding a palm is applied to the side of a 
 tall jar, which is supported against her body by a low dish held in the 
 palm of her left hand. Half length. 36^X26 inches. 
 
 Companion to St. Rufina, No. 392. Both were exhibited at the British Insti- 
 tution in 1828 and in 1858, and at the Royal Academy in 1870. 
 
 Lord Ronald Gower ( Historic Galleries of England ) thinks these two pictures 
 formerly belonged to Marshal Soult ; but as he informs me that the opinion rests 
 only on a family tradition, I venture to suggest a doubt. In the Altamira sale, by 
 Stanley, June 1, 1827, a St. Justa sold for ^325 10s., and a St. Rufina for £27$. 
 The catalogue of this sale in the South Kensington Museum Library, gives in 
 manuscript the purchaser's name as " Stafford." The next year after this sale the 
 Marquis of Stafford exhibited, at the British Institution, the two pictures now at Staf- 
 ford House. It was seven years later, in 1835, when the Marquis purchased from 
 Marshal Soult the other Murillos now in Stafford House, as related ante No. 1. It 
 therefore seems probable that both these pictures came from the famous gallery of 
 the Duques de Altamira, descendants of the great house of Villamanrique, whose 
 palace in the Plaza de S. M. la Blanca, at Seville, was notable, among other things, 
 for the important paintings by Murillo it contained, some of which are referred to 
 at No. 10, ante. 
 
 Photograph in Lord R. Gower, Great Historic Galleries of England. Blan- 
 chard, pere, line, 12.5x9.9. Paris, 1842. Unknown, line, 1 1.4X9.1, after 
 Blanchard probably. These engravings are identical with the picture at Stafford 
 House, except that the Saint is represented with pearl earrings and a necklace 
 from which a cross is suspended, and her head-dress is composed of a scarf instead 
 of ribbons. The engravings may or may not be after the pictures in Stafford House. 
 
 360. St. Justa. Seville Cathedral, Chapter Room. The Saint, 
 having a palm branch in her right hand, holds a jar on her right side 
 with both hands. Bust, circular. Life-size. See No. 279. 
 
 361. St. Justa. Earl of Dudley, London. The Saint, about 
 twelve years of age, stands three-quarters right, face front, with a cup 1 
 and saucer in her left hand and a palm in her right. Half length. 
 29^X24^ inches. 
 
 Exhibited at Leeds in 1868, and at the Royal Academy in 1871. 
 33 
 
258 
 
 MURILLO. 
 
 361a. St. Justa standing three-quarters 361b. Aguado sale, 45. St. Justa, 
 right, face front, holds a jar by the wearing a yellow robe, blue mantle, and 
 handle with the left hand; another jar rose-colored veil, which falls from her 
 rests on her left forearm supported by black hair, holds a palm and two small 
 her right hand, which holds a palm; vases. Half length. .36. X-30. Corn- 
 bracelets are on her wrists. Three-quar- panion to St. Rufina. 8,025 francs, 
 ters length. 361c. Wynn Ellis sale, by Christie, 
 
 D. Jacobo Freyre, litho., 10.2x7.2, Manson, and Woods, June 17, 1876. St. 
 
 Madrid. From the picture belonging to Justa and St. Rufina. Companions. 
 
 D. Ramon Castella. £241 10s. (Graves). 
 
 362. St. Justa and St. Rufina. Seville Museum, 95. The 
 
 Saints stand looking front and holding between them a model of the 
 Giralda, as it was before the Christian alterations. Each has a palm 
 in her left hand ; vases lie on the ground in front. Full length. Sec- 
 ond manner. Companion to SS. Leandro and Bonaventura, No. 366. 
 2.07X1.78. 
 
 Painted for the high altar of the Capuchin Church. See No. 18. 
 Geoffroy, litho., 16.4x12.5. J. Laurent, photo., 1,077. 
 The figures of Saints Justa and Rufina, which are engraved in Jameson, S. and 
 L. Art, and in Clement L. and M. Art, are taken from No. 116, ante. 
 
 363. St. Laureano. Seville Cathedral, Chapter Room. The 
 Saint is seen in bishop's robes and holding a crook ; his right hand on 
 his breast. Bust, life-size, circular. See No. 279. 
 
 364. St. Leandro. Seville Cathedral, Sacristy. The Saint, 
 
 mitred and robed in white, is seated in an arm-chair beside a table, 
 
 holding in his hands a parchment inscribed, Credite Gothi consub- 
 
 stantialem patri. Full length, life-size. Second manner. 1. 88X1.60. 
 
 Companion to No. 312, which see. 
 
 Photographed by J. Laurent, Madrid, No. 1,123. 
 
 365. St. Leandro. Seville Cathedral, Chapter Room. St. 
 Leandro in bishop's robes, with a crook ; his right hand on his breast. 
 Bust, life-size, circular. See No. 279. 
 
 366. St. Leandro and St. Bonaventura. Seville Museum, 
 83. St. Bonaventura on the left, leaning against a pedestal, holds in 
 his hands a model of a church ; St. Leandro on the right, in white 
 
ST. MARY MAGDALEN. 
 
 259 
 
 robe, has a pastoral staff in his left hand, in his right a parchment 
 inscribed, Credite, etc. ; beside him is a boy with a mitre. Three fig- 
 ures, all standing, full length. Second manner. 2.05X1.79. 
 
 Painted for the high altar of the Capuchin Church. See No. 18. 
 Photograped by J. Laurent, Madrid, No. 1,079. 
 
 366a. St. Louis, King of France ; 59, and by Arana de Varflora, i. 42. A 
 
 half length. Formerly in the Church of picture of this subject, belonging to D. 
 
 La Merced. Noticed by Ponz, ix. 107. Francisco Romero Balmaseda, is men- 
 
 Cean Bermudez, Carta, 98 and Die, ii. tioned by Lavice, Espagne, 275. 
 
 367. St. Mary Magdalen. Museo del Prado, 857. The 
 Magdalen, with her lower limbs bare, and her body only partly draped 
 in a grayish robe and red mantle, is seated nearly front, on a rock in a 
 cavern, looking up ; her cheek rests on her right hand ; beneath her 
 elbow is a skull, and on the rock beside it stands a rude cross ; an 
 open book is held by her left hand against her body. Full length. 
 Second manner. 1. 53X1.24. 
 
 Supposed to have been in the palace of San Ildefonso in 1772. 
 Henrique Blanco, litho., in Coleccion Liiografica. 
 
 368. St. Mary Magdalen. Adolph Carstansen, Cologne. 
 The Magdalen in red and blue robes, turned three-quarters left, with 
 hands joined in prayer, kneels in a cavern and looks up to three 
 angels, one of whom plays a violin, another a flute, the third sings 
 from a sheet of music; on the ground, at her side, are a cross, book, 
 vase, and skull. Full length. 1.37 Xi. 16. 
 
 Brought by Mr. Irvine from the Capuchin Convent at Genoa. " A penitent 
 Magdalen with angels, companion to an Immaculate Conception, about five feet 
 high, or less, the countenance of the Magdalen not handsome and the angels not 
 well drawn. It was valued at ^"500, and was for some time in the possession of 
 Walsh Porter." Buchanan, Memoirs, ii. 144, 172. See No. 13. In the Walsh 
 Porter sale, April 14, 1810, it sold for ^420. The present owner purchased it in 
 1 871 from Mr. Nieuwenhuys. 
 
 Perhaps the following notes may refer to this picture. 
 
 Sale London, April 13, 1813. The Magdalen in prayer, her attention called 
 off by a chorus of infant angels. ^152 $s. 
 
 William Hornby sale, January 26, 1869. The Magdalen kneeling in prayer 
 in a cavern, a group of angels with musical instruments above. ,£346. 
 
26o MURILLO. 
 
 Captain Davies mentions " the Magdalena purchased a few days ago by Mr. 
 Stuart Wortley, the angels appear like Murillo, but not having had a close inspec- 
 tion in clear daylight, I can say no more than that I recommended it to Mr. Wort- 
 ley, etc." Davies, Murillo, xc. 
 
 369. St. Mary Magdalen. Academy of San Fernando, 
 
 Madrid. The Magdalen, wearing a white chemise and brown robe, 
 with a red drapery over her limbs, seated front, looks up to her right ; 
 her hands are clasped, with fingers interlacing ; in her lap is an open 
 book. Full length, life-size. 
 
 Simon Brieva, line, 7.5x5.6, Madrid, 1781. Scarce. 
 
 370. St. Mary Magdalen. The Penitent Magdalen, at the 
 entrance of her retreat, clothed in a purple mantle, her arms folded on 
 her breast, looking up. 47^X47^ inches. 
 
 E. Higginson (Saltmarshe) sale, by Christie, June, i860, from the Daubeny 
 collection. ^267 15^., to Beaumont. 
 
 A picture of this subject was exhibited at the British Institution in 1853 by 
 Went worth B. Beaumont, Esq. 
 
 371. St. Mary Magdalen. Leuchtenberg Gallery, St. Peters- 
 burg. The Magdalen is seen front, looking up, with long, waving 
 hair falling over her breast, which is partly covered with a chemise. 
 Bust, without hands. The picture has much the air of a portrait. 
 30X26 inches. 
 
 Muxel, etch., in the Leuchtenberg Gallery. L. Schoninger, litho., 19. IX 
 13.8, Munich. 
 
 372. St. Mary Magdalen. William Wells, Esq., Holme- 
 wood, Huntingdonshire. The Magdalen, in purple drapery, kneels 
 on the ground at the entrance to her cavern, turned partly to her left, 
 and looking up ; her shoulders are bare, her hands crossed on her 
 breast ; on the ground at her right are a book, cross, and skull. Full 
 length. 59X41 inches. 
 
 Louis Philippe sale, 1853, No. 244. ^840. Royal Academy, 1871. Sir 
 W. Stirling-Maxwell (Catalogue, 94) says this picture was purchased from Dean 
 Pereyra. Senor Tubino (Murillo, 216) says it belonged to A. Bravo. Perhaps 
 both are right. 
 
 On wood, in Jameson, S. and L. Art, i. 361, reversed, and without background. 
 Arthur Collier, line, 10x8, Paris, 1845, half length. 
 
ST. MARY MAGDALEN. 
 
 373. St. Mary Magdalen, fully draped, kneeling among rocks, 
 looks up to a light streaming from above ; her cheek rests on her 
 clasped hands, her right arm is on a rock before her, on which is a 
 cross, vase, and an open folio lying on a skull. Full length. 
 
 This picture, when engraved by Morghen,in 1801, was said to be in the Brac- 
 ciano Palace at Rome. The palace has become the property of the banker Torlo- 
 nia, but the picture has disappeared. 
 
 Line Engravings. Raphael Morghen, 14.8x11.2, Florence, 1801. Luigi 
 Finocchi, R. Morghen direxit, 18.2x13.1. Gio. Battista Nocchi, R. Mor- 
 ghen direxit, 8.8x6.5, half length. A. Tofanelli, R. Morghen direxit, 17.8X 
 12.5,1803. Joan Balestra, Ven t0 , J. Folo direxit, 14.5x11.2, at the Regia Calco- 
 grafia, Rome. Pomel direxit, 10.8x7.9. Bovinet terming, 5.2X3.7. G. B. 
 Cecchi, 14.4x11. Joseph Beretta Modoct is - 7x5.6; knee-piece. A. Dalbou, 
 about 15X12. Ruotte, 9.5x8.4; varied. Lithographs by Th. Driendl, 
 16x11.6, Munich. M. Maurin, 16x12.4. Outline in Reveil, Musee de Peinture 
 et de Sculpture, vol. i. plate 19. 
 
 373a. Berlin Gallery, 408. The 
 
 Magdalen, half length, with long, wav- 
 ing hair, which only partly covers her 
 naked right arm and bosom, her hands 
 clasped across her breast, leaning on her 
 right arm, her body and head thrown 
 back and the eyes upturned. .74X.61. 
 
 Purchased in Italy in 1841. Formerly 
 ascribed to Murillo but now to Cerezo. 
 It is identical, except as to size, with a 
 picture by that master in the Czernin 
 gallery at Vienna, of which picture a fac- 
 simile of the signature and date are given 
 in Blanc, Peintres, Vie de Cerezo by Bur- 
 ger. 
 
 Berlin Photo. Co., Photo. 
 
 373b. Museo del Prado, 901. 
 "School of Murillo." The Magdalen 
 standing in a cavern, front, with her left 
 arm resting on a rock beside a book, 
 cross, and skull, her hands crossed on her 
 breast, turns her head to her right and 
 beholds at the entrance of her cavern a 
 group of angels in the sky playing a gui- 
 tar and violin ; half length. 1. 25 X 1. 06. 
 
 Vilamil, litho., 11.7x9.4. J. Lau- 
 rent, photo., No. 21. 
 
 373c. Church of Sta. Cruz, Medina 
 
 del Rioseco. The Magdalen kneeling. 
 Ponz, xii. 122. Dirty and badly placed, 
 — possibly by Tobar. Ford, Handbook, 
 ii. 559- 
 
 373d. William C. Cartwright. The 
 
 Magdalen. British Institution, 1822. 
 
 373c J. Osmaston, Esq. The Mag- 
 dalen, in red robe, kneeling, profile right, 
 before a cavern, with her hands joined in 
 prayer ; books, vase, and a skull on the 
 ground. Full length. 65x42 inches. 
 
 Royal Academy, 1879. This is prob- 
 ably the picture exhibited in London in 
 1875 by Reuben Brooks, and afterwards 
 offered in " Mme. B." sale, Paris, April 
 16, 1877, but not sold. It is said to have 
 formed part of the royal collection of St. 
 Ildefonso. Two pictures of this subject 
 are enumerated in the inventory of that 
 palace in 1772, but they are supposed to 
 be now in the Museo del Prado. See 
 Nos. 367, 373b. 
 
 Lurat, etch., in the catalogue of 
 Mme B. sale. 
 
 373f. Marquise d'Espies, Paris. 
 The Magdalen, kneeling in a grotto, 
 points with one hand to a skull, with the 
 other to a distant village. Signed, Mu- 
 
262 
 
 MURILLO. 
 
 rillo f. Hispan. The picture is said to 
 have been in the family for several gen- 
 erations. 
 
 373g« Gen. Viscomte d'Armagnac 
 
 sale, 1836. The Magdalen in the des- 
 ert. A present from Joseph Bonaparte. 
 ^230. 
 
 374I1. Thomas Kibble sale, June 2, 
 1856. The Magdalen kneeling in prayer, 
 a glory of angels above; the castle of 
 Ouan de Ferrache, near Seville, in the 
 background. Small, upright. ^52 \os. 
 British Institution, 1861. 
 
 373i. Marquis du Blaisel sale, Lon- 
 don, May 17, 1872. The Magdalen, with 
 her right hand on a book placed on a 
 rock, looks up ; on the right is a skull, 
 on the left a scourge, beneath which 
 is the monogram of the artist. "From 
 
 Aguado gallery." (?) .83X.64. £6j~4s., 
 to West. 
 
 373k. The Magdalen. Presented by 
 King Ferdinand VII. to Queen Chris- 
 tina. Sold at Paris in 1879 for 25,500 
 francs. 
 
 373I. St. Michael. Liechtenstein 
 Gallery, 304, Vienna. The Archangel 
 stands, with wings, plumed helmet, and 
 steel armor, about to smite, with his 
 flaming sword, a dragon beneath his feet. 
 Full length. About 70X50 in. 
 
 373m. A San Miguel, of the best time 
 of Murillo was formerly in the Capuchin 
 Church at Seville. Cean Bermudez, Die- 
 cionario, ii. 61. Ponz, Viage de Espana,'\x. 
 139. It was probably similar to that by 
 Meneses Osorio, now in the Capuchin 
 Church at Cadiz. See No. 18 and No. 264. 
 
 374. Conversion of St. Paul. Museo del Prado, 871. Saul 
 lying prostrate, with his right hand outstretched, looks up to the 
 Saviour, who is seen in clouds on the left, holding a cross ; the white 
 horse of the Saint lies on the left ; on the right are several soldiers, 
 one of whom tries to raise his fallen master. Best manner. 1.25 x 
 1.69. 
 
 Photographed by J. Laurent, Madrid, No. 8. 
 
 375. Head of St. Paul. Museo del Prado, 888. The decap- 
 itated head of St. Paul on a table ; the beard and hair are white, the 
 mouth partly open. Third manner. .50X.77. 
 
 375a. J. M. Suarez de Urbina. 
 
 Decollation of St. Paul. A sketch. Men- 
 tioned by Tubino, Murillo, p. 188, and 
 by Amador de los Rios, Sevilla Pinio- 
 resea, p. 496. 
 
 375b. Sir Arthur Aston sale, August 
 6, 1862. St. Paul reading. 27x22 in. 
 ^105, to Agnew. 
 
 375c. Altamira sale, 1827. Head of 
 St. Paul. £2 $s. 
 
 375d. Salamanca sale, 1875. St. 
 Paul preaching on the steps of a tem- 
 ple. He is in the foreground, entirely in 
 the shade, the more distant spectators are 
 well lighted. .74X.55. 620 francs. From 
 Jos6 de Madrazo. 
 
 376. St. Peter Penitent. Seated among rocks, clad in a blue 
 garment fastened with a cord, with bare arms, breast, and feet, his 
 
ST. PETER. 
 
 263 
 
 arms crossed on his breast, he lifts his eyes to heaven in transport. 
 2.12X1.55. 
 
 Soult sale, 1852, No. 65, 5,500 francs (to Townend?). This picture was 
 painted in 1678 for the first altar on the Epistle side in the church of the Hospital 
 of Les Venerables Sacerdotes. " It surpasses in softness and feeling the picture ot 
 Ribera, so well known by the engraving, which Murillo endeavored to imitate." 
 Ponz, ix. 123. Cean Bermudez, Carta, 94. See No. 29. 
 
 377. St. Peter Penitent. Francis Cook, Esq., Richmond 
 Hill. The Saint, in blue and yellow robes, is seated on the ground 
 among rocks, front, with his hands extended, looking up. Second 
 manner. Full length. 64X43 inches. 
 
 King Louis Philippe sale, No. 242, ^31. Purchased from Julian Williams. 
 
 378. St. Peter in Prison. Hermitage, St. Petersburg, 372. 
 
 The Saint, in blue tunic and yellow mantle, seated in the centre on 
 the floor of his prison, turns his head towards the angel, who takes 
 him by the arm and points the way of escape ; architecture and sleep- 
 ing guards in the background. Third manner. 2.36X2.60. 
 
 Painted for the Hospital of La Caridad, whence it was taken by Marshal Soult. 
 In 1835 it was sold to the Louvre, where it was deposited for a few days. See ante 
 No. 1. It was sold in the Soult sale, 1852, No. 64, for 151,000 francs. 
 
 Outline in Reveil, Musce de Peintnre, iii. 178, wrongly ascribed to Ribera. On 
 wood in IS Illustration, May 31, 1852. 
 
 379. St. Peter in Prison. Duke of Wellington, London. 
 The Saint stands naked but for a cloth around his loins, his arms 
 crossed and bound ; one of the keepers binds his feet, another plies 
 the scourge ; behind is a grated window. About 14X9 inches. 
 
 379a. Martyrdom of St. Peter. 
 Dulwich Gallery, 224. St. Peter is 
 nailed to the cross, which is being raised 
 by two executioners; on the left is a 
 horseman with a red flag ; on the right 
 a group of spectators, among them a 
 woman seated, with a child. Formerly 
 attributed to Murillo, but now to the 
 Spanish School. Both Waagen and Pas- 
 savant incorrectly call this a sketch for 
 the Martyrdom of St. Andrew. 
 
 379b. A. Bravo. St. Peter in prison ; 
 a sketch for No. 378. Tubino, 185. Sevilla 
 Pinto., 415. 
 
 379c. Earl of Yarborough. St. Peter. 
 Exhibited at the British Institution, 1849. 
 
 37gd. Altamira sale, 1827. St. Peter 
 in prison ; a study. £j 14s. 
 
 37ge. Comte de Rayneval, former 
 Ambassador of France at Madrid, sale, 
 April 16, etc., 1838. St. Peter; style of 
 Ribera. 
 
264 
 
 MURILLO. 
 
 37gf. Louis Philippe sale, 1853, 
 No. 243. Head of St. Peter. .78X.60. 
 ^10, to Lane- Fox. 
 
 379g. H. A. J. Munro sale, June 1, 
 1878. St. Peter in prison with the angel ; 
 a spirited sketch for No. 378. ii^X 12 
 inches. ^39 iSs. 
 
 379I1. St. Peter of Alcantara. 
 Mentioned by Ponz (v. 243) among the 
 pictures in the convent of the Visitation 
 
 at Madrid. Lebrun brought from Spain 
 a St. Peter of Alcantara, with a lay- 
 brother walking on the sea, which he 
 sold to the Empress Josephine. It was 
 at Malmaison until 181 5, but is now in 
 the Munich Gallery, where it is properly 
 ascribed to Claudio Coello. It is en- 
 graved as by Murillo in Lebrun, Recueil, 
 and in Mrs. Jameson, Legends of the 
 Monastic Orders, p. 351. 
 
 380. St. Peter Arbuez. Hermitage, St. Petersburg, 374. 
 
 Two executioners, seizing the Saint from behind, attack him with 
 
 sword and poniard as he kneels on the steps of an altar, looking up 
 
 to an angel who brings the palm of martyrdom and points to heaven.. 
 
 A night scene. 2.92X2.06. 
 
 From the Hall of the Inquisition at Seville, whence it was taken in 1804 by the 
 Prince of the Peace, who left in its place a copy by Joaquin Cortes. It was purchased 
 for the Hermitage in 183 1. A copy by Cortes was in the parish church of San 
 Ildefonso at Seville, perhaps the one which was formerly in the Inquisition. A 
 copy is in the chapel of Belen in the Cathedral, and another in the Museum at 
 Cordova. 
 
 M ATI as Arteaga, etch., 5.9X3.9, Seville. Probably etched in the lifetime of 
 Murillo. Very rare. A copy is in the Biblioteca Nacional at Madrid. H. Robil- 
 lard, litho., in Gal. Imp. de V Ermitage. 
 
 [This Saint, sometimes called St. Peter Martyr, was born at Epila, in Aragon, 
 about 1 44 1. He was an efficient aide to Torquemada, and was slain in 1484 in the 
 Cathedral of Zaragoza by Juan de Labadia and Juan Sperandia, to avenge injuries 
 done to the sister of the one, and the father of the other. ] 
 
 381. St. Peter Arbuez. Vatican, Rome. A repetition of the 
 above. 39X31 inches. 
 
 Brought from Spain in October, 1876, and placed by Pope Pius IX. in the gal- 
 lery of the Vatican. It may be the sketch " from the palace of the Inquisition at 
 Osuna," 1.00X.80 cm., formerly belonging to Dean Lopez Cepero, and which was 
 offered in his sale in Paris, 1868. 
 
 381a. Thomas Purves, late of Lin- ican Martyr. 82x58 inches. ^14 14?., 
 coin's Inn, sale, London, June 9 and 10, to Rutley. Mentioned by Stirling, iii. 
 1849, by Christie. St. Peter the Domin- 1435. 
 
 382. St. Peter Nolasco. Seville Museum, 80. The Saint, 
 kneeling, with outspread arms, looks up to a vision of the Virgin, who 
 
ST. RAPHAEL. 
 
 265 
 
 appears seated on clouds on the left, with a circle of stars around her 
 
 head, and holding a fold of her mantle with both hands ; above the 
 
 Saint is a cherub and three heads ; another cherub is sporting in the 
 
 air beneath the Virgin. Full length. Second manner. 2.18X1.55. 
 
 Supposed to have been painted for the convent of La Merced, now the Museum. 
 Photographed by J. Laurent, Madrid, No. 1082. 
 
 383. St. Philip ? A Monk, standing on the right, points out to his 
 companions, who stand behind him, a scene in the sky, where the soul 
 of St. Philip, attended by two angels, ascends to heaven from a blaz- 
 ing pyre beneath. Six figures. 1. 74X1.88. 
 
 Painted for the small cloister of the convent of San Francisco. See No. 268. 
 It was taken thence by Soult, and bought in at his sale, 1852, for 15,000 francs. 
 Sold again in Soult sale, April 17, 1867, for 16,000 francs, to M. de Guitaut. 
 
 The legend which this painting represents is obscure. Cean Bermudez (Carta, 
 49) calls it the ascent to heaven of the soul of Philip II. Mrs. Jameson ( Monastic 
 Orders, 273) suggests that it may represent a passage in the life of St. Francis of 
 Assisi. Another legend is that given in Flos Sanctorum (ii. 445) of St. Philip 
 Beniti, to whom the Virgin appeared in a vision in a cloud of fire. Finally, the 
 Soult catalogue says the city on the left is Adrianople, where St. Philip, Bishop of 
 Heraclea, was condemned to be burned. Among so many tales the reader is sure 
 to find one to suit him. 
 
 Outline in Reveil, Musee de Peinture, iii. 146. 
 
 384. St. Pius. Seville Cathedral, Chapter Room. He is in 
 bishop's robes, with a crook in his left hand, and a palm in his right. 
 Bust, life-size, circular. See No. 279. 
 
 384a. St. Quirinus, St. Dominic, window St. Raymond and a companion 
 and St. Raymond of Penaforte. are seen crossing the sea on a mantle. 
 Hermitage, St. Petersburg, 380. St. 2.62x1.76. Doubtful. 
 Quirinus is in the centre before a saltier The picture formerly belonged to the 
 cross, with a palm in his left hand, his Prince of the Peace. According to Stir- 
 right on a millstone ; on the left is St. ling these figures represent St. Florian, 
 Raymond, on the right St. Dominic with St. Dominic, and St. Peter the Domin- 
 a key, all standing; through an open ican. Annals, iii. 1434. 
 
 385. St. Raphael. Leuchtenberg Gallery, St. Petersburg. 
 The Archangel Raphael, full length, with wings outspread, holding in 
 his right hand a pilgrim's staff, walks front ; beneath, on the left, is a 
 
 34 
 
266 
 
 MURILLO. 
 
 half-length figure of a bishop ; on the right a mitre and crosier lying 
 on the ground. 53X30 inches. 
 
 Cean Bermudez (Carta, 98) mentions the famous San Rafael with the por- 
 trait of the Bishop Francisco Domonte in an altar of the church of the Merced, now 
 the Museum at Seville. Mentioned also by Ponz, ix. 107. 
 
 Muxel, etch., in Leuchtenberg Gallery. On wood in Jameson, 6". and L. Art, 
 i. 128, and in Clement, L. and M. Art. 
 
 385a. Julian Williams. St. Raphael. 385 ; also a small San Rafael with the 
 
 Guia de Sevilla, 1832. fish, which belonged successively to the 
 
 385b. Sir J. M. Brackenbury sale, Marques de la Canada, D. Sebastian 
 
 1848. St. Raphael, or Tobias and the Martinez, and D. Manuel de Leyra. Both 
 
 angel. Painted before Murillo went to these pictures came to England, and the 
 
 Madrid. £7 (Sir E. B.). sketch afterwards fell into the hands of 
 
 385c. Captain Davies ( Mterillo,\xxx\v. Captain Davies, who transferred it to 
 
 and xciv.) mentions a sketch for No. Captain Ball. 
 
 386. St. Rodriguez. Dresden Gallery, 633. The Saint, 
 standing before a balustrade, wearing a rich chasuble adorned with 
 figures of saints, with a palm in his left hand, and his right hand out- 
 stretched, looks up to a cherub on his right about to crown him with a 
 wreath of flowers. Full length. Second manner. 88X58 inches. 
 
 King Louis Philippe sale, No. 500. From a convent of St. Clara at Seville. 
 £210. The picture formerly belonged to Canon Pereyra. Head, Handbook, 177. 
 Stirling, iii. 1434. According to Mr. Ford this work was painted for a canon at 
 Seville, by whom the dress was worn on grand festivals. The chasuble is still pre- 
 served in the vestry of the Cathedral. Article in Athenaum, May 28, 1853, p. 657. 
 
 Buchel, line, in Clauss, Dresden Gallery. Th. Langer, 14X8. F. S., line, 
 in Bilder Brevier, 1857. H. BtjRKNER, etch., 3.8x2.3, in Die Dresdener Gemalde- 
 Gallerie ; Original-Radirungen. Jullien, litho., 13X12. 
 
 387. St. Rose of Lima, wearing the Dominican habit, stands 
 nearly front, holding in her light hand a bunch of roses on which is 
 seated the Infant Jesus, who extends his hands towards her; her left 
 hand on her breast holds a rosary and a fold of the black mantle that 
 covers her white robe; six heads in the air above. Three-quarters 
 length. 1.66x1.07. 
 
 Salamanca sale, 1875, "Ce tableau a 6te grave a Madrid par Bias Amettler, et 
 se trouvait alors dans la galerie du Real Palacio." 20,000 f. Cean Bermudez men- 
 tions a picture of this subject formerly in the palace of St. Ildefonso. Die, ii. 65. 
 
 Blas Amettler, directed by M. S. Carmona, line, 13.8x7.9, at Calco. 
 National. L. Maurin, litho., 4.6x3.3. 
 
ST. ROSE OF LIMA. 
 
 267 
 
 388. St. Rose of Lima. Frederick E. Church, Esq., Hud- 
 son, New- York. A repetition of the above. 64X44 inches. 
 
 From the gallery of Don Aniceto Bravo. It was purchased from his widow by- 
 Jorge Diez Martinez, who sold it about 1865 to D. Luis Portilla, Madrid, from 
 whom it was bought in 1873 by W. J. Shaw. At his sale, by Leavitt, New-York, 
 May 27, 1880, it sold for $380, to Mr. Church. Mentioned in Tubino, Murillo, 185. 
 Sevilla Pinto., 412. 
 
 389. St. Rose of Lima. A repetition of No. 387. .91X.73. 
 
 Emile and Isaac Pereire sale, 1872, No. 84. From Rhone collection, 
 1857. 25,500 francs. 
 
 390. St. Rose of Lima, or St. Rosalie. William Ralph 
 Bankes, Esq., Kingston Lacy, Dorset. The Saint, wearing a white 
 robe, and a white scarf on her head, over which is a black mantle that 
 covers her head and falls over her robe to the ground, kneels three- 
 quarters left before the Infant Jesus, who, seated on a basket, places a 
 rose in her left hand, and seizes with his other hand the rosary that is 
 suspended from her neck ; before the basket on the ground are a book 
 and a rose ; behind the Saint are buildings and a trellis. Landscape 
 background. Signed. 68X52 inches. 
 
 From the Marques Ledesma of Granada. Exhibited at the British Institution, 
 1864. Mentioned in Jones, Views of Seats, London, 1829. 
 
 J. Rico, line, 5.8x4.4. Engraved after a picture similar to the above. 
 Inscribed, " From the original, belonging to Don Josef Ignacio Lascano at Cadiz." 
 
 391. St. Rose of Lima. A repetition of the above. 1.15X1.08. 
 
 E. and I. Pereire sale, 1872, No. 83. « From the Standish (?) and Urzais 
 galleries. " 1 1,200 francs. 
 
 Deblois, etch., in Pereire sale catalogue. 
 
 391a. Duque de Uceda, Madrid. St. 
 Rosalie. O'Shea, Guide, 302. 
 
 391b. Jose* Larrazabal. St. Rosalie 
 offering flowers to the Infant Jesus in 
 the arms of the Virgin. Sevilla Pinto., 
 492. 
 
 391c. Sir J. M. Brackenbury. St. 
 
 Rose of Lima kneeling with the Infant 
 Saviour; full length, life-size. Signed. 
 Purchased at Cadiz about 1831. British 
 Institution, 1836. A St. Rose was ex- 
 
 hibited by Rev. C. Brackenbury at the 
 British Institution, 1862. 
 
 39id. Aguado sale, 1843, No. 76. St. 
 Rosalie, habited as a nun, and crowned 
 with thorns, holding a crucifix and lily 
 in one hand, and a scourge in the other. 
 1. 10 X- 83. 500 francs. 
 
 391c Lopez Cepero sale, Paris, 
 1868. St. Rose of Lima and the Infant 
 Jesus. A repetition of No. 390. .48X 
 •35- 510 francs. Not sold. 
 
268 
 
 MURILLO. 
 
 392. St. Rufina. Stafford House, London. The Saint wear- 
 ing a green robe and purple mantle, stands three-quarters left, looking 
 front, holding a jar in her left hand by one of its handles; another jar, 
 resting on her left wrist, is held against her body, lightly supported by 
 the tips of her right forefinger and thumb ; a palm is in her right hand. 
 Half length. 36^X26 inches. 
 
 Companion to St. Justa No. 359, which see. 
 
 Photographed in Lord Ronald Gower, Great Historic Galleries of England. 
 
 393. St. Rufina. Seville Cathedral, Chapter Room. The 
 young Saint holds a jar with both hands before her breast. Bust. 
 Life-size; circular. See No. 279. 
 
 393a. Aguado sale, No. 46. St. Ru- 
 fina. Half length. Companion to St. 
 Justa, .36X.30. 3,010 francs. 
 
 393b. St. Rufina in profile, standing, 
 with her hair tied with ribbons, and a 
 bow on her breast, looking up; in her 
 left hand is an earthen cup ; in her right 
 a jar and a palm held against her body. 
 
 Vicente Camaron, litho., 10.3x7.4, 
 at Real Est. Lito., Madrid. 
 
 393c. St. Sebastian. A small sketch. 
 Belonged successively to the Marques de 
 la Canada, Don Manuel de Leyra, Don 
 Sebastian Martinez, and Captain Davies. 
 Murillo, lxxxiv. note, and xciv. 
 
 393d. St. Stephen Stoned. Sir 
 Thomas Lawrence sale, May 15, 1830. 
 27^X20 inches. A present from M. 
 Francillon, who attributed it to Cigoli. 
 
 £*1- 
 
 394. St. Theresa praying, in a landscape. Sir William Stir- 
 ling-Maxwell, Bart., Keir, Perthshire. 
 
 Exhibited at the Leeds Exhibition in 1868. 
 
 In the Alton Towers sale, 1857, No. 105, St. Theresa kneeling in prayer in 
 a woody landscape, sold for ^17 6s. Praised by Waagen, Works of Art, London, 
 1838, and in The Times, July 11, 1868. 
 
 395. St. Thomas of Villanueva. Seville Musem, 84. The 
 
 Archbishop of Valencia, wearing a mitre and holding the pastoral 
 staff, stands front, in the centre of the composition, beneath a Grecian 
 portico, dropping a coin into the hand of a beggar who kneels before 
 him, holding a crutch with his left hand which rests on the pavement ; 
 an old woman is seated in the foreground on the left, with a boy 
 standing at her knee ; on the right are two other beggars and a nun j 
 on the left is an open book lying on a table. The background con- 
 
ST. THOMAS OF VILLANUEVA. 
 
 269 
 
 •sists of architecture with columns, wreathed above with a curtain, and 
 a church seen through an opening on the right. Seven figures. 
 2.90X 1.92. 
 
 Painted for the Capuchin Church. See No. 18. This is the work which 
 Murillo called su lienzo, his own picture. 
 
 When this painting was executed St. Thomas was not a saint but only a Beato, 
 an honor which was conferred on him in 1618. It was not until 1688, six years 
 after Murillo's death, that the Archbishop was canonized. 
 
 Anna Jameson, etch., in Jameson, Monastic Orders. J. Laurent, photo- 
 graph, No. 1,079. 
 
 396. St. Thomas of Villanueva. Lord Ashburton, London. 
 St. Thomas, represented as a boy six or seven years of age, is divest- 
 ing himself of his nether garments to supply the wants of four 
 ragged urchins, one of whom, seated on the left, is putting on some 
 clothing ; another, behind the Saint, is examining the raiment he has 
 received; a wall on the right; in the background is a street with 
 buildings and several figures. 75X57 inches. 
 
 Painted for the convent of St. Augustin. See No. 254. It was sold by the 
 monks to the Prince of the Peace, who presented it to General Sebastiani. In 1814 
 it was sent to Buchanan for sale, and was purchased by Mr. Baring, an ancestor of 
 the present owner. Ponz, Viage, ix. 136. Cean Bermudez, Diccionario, ii. 60. 
 Buchanan, Memoirs, ii. 264. Mrs. Jameson considers it one of the finest Murillos 
 in England. Monastic Orders, 202. Royal Academy, 1871. According to the 
 Sebastiani catalogue the sale of this work by the monks was the occasion of a popu- 
 lar outbreak. In order to effect the removal of the canvas from the convent it 
 became necessary to employ force, and the suppressing of the riot cost the lives of 
 three persons. A copy is in the Cadiz cathedral. Others belonged to the Duque 
 de Montpensier, to the Condesa de la Mejorada and to D. Rodrigo de Quirios, 
 Seville. Perhaps there is another in the Lille Museum, called St. Roch dividing 
 his clothes. 
 
 S N - Roman y Codina, line, 10x7.5. Seville, 1778. A coarse and ragged 
 print, of which the only copy known to the writer was purchased by Charles 
 Morse, Esq., at Christie's, March 14, 1853. At the sale of Mr. Morse, July 4, 
 1873, it was sold, with eight other prints, for nine shillings, to Sir William Stirling- 
 Maxwell, in whose collection it now is. 
 
 397. St. Thomas of Villanueva. Lord Ashburton, The 
 
 Grange, Hants. A sketch of the above. About 24X15 inches. 
 
 Purchased in 1832 from Julian Williams, who picked it up at a fair in Seville 
 for half a dollar. Stirling, ii. 877. Mr. Williams had, in 1832, two pictures of this 
 subject. Guia de Sevilla, 1832. 
 
270 
 
 MURILLO. 
 
 398. St. Thomas of Villanueva. Earl of Northbrook, Lon- 
 don. The Saint, wearing a mitre and accompanied by an attendant 
 who holds a crozier, stands in an archway giving alms to a kneeling 
 beggar, who is surrounded by other beggars ; among them is one 
 seated on the ground, supporting himself on his right hand ; on the 
 right stands a woman holding an infant, with a boy by her side; 
 above is the Virgin, seated on clouds, with the Infant Saviour in her 
 arms and two children clinging to her lap ; a church is seen through 
 an opening on the left. 15 figures. 51^X29^ inches. 
 
 King Louis Philippe sale, 1853, No. 498, ^710, to Thomas Baring, uncle of 
 Lord Northbrook. Painted about 1678 for the chapel of St. Thomas of Villanueva 
 in the convent of St. Augustin, outside the Carmona gate at Seville. It is described 
 as St. Thomas and a religious giving alms to the poor, with a perspective of a 
 cloister ; finely executed. See No. 254. " One of the finest sketches of Murillo in 
 existence." Richard Ford in The Athenceum, May 28, 1853, p. 655. 
 
 A. PlNCON, litho., 16x12. Paris. On wood in Blanc, Peinttes, and in Gazette 
 des Beaux Arts, April, 1875, wrongly called Saint Diego. 
 
 299. St. Thomas of Villanueva. Sir Richard Wallace, 
 Bart., London. The Saint, wearing a skull cap and holding a purse, 
 drops coins into the hand of a naif-naked beggar, who sits on a stone 
 with a crutch resting on his lap ; he is attended by an ecclesiastic 
 holding a mitre, and another holding a crook ; before him is a boy 
 examining a coin, and on the right a group of beggars, among them a 
 woman with a child in her arms holding a boy by the hand. Archi- 
 tecture on the left. Second manner. 58^x59^ inches. 
 
 Brought by Mr. Irvine from the Capuchin Convent at Genoa, and sold by 
 Mr. Buchanan to Mr. Wells, of Redleaf, for ;£ 1,000. See No. 13. Sold at 
 William Wells sale May 12, 1848, for ^2,992 ior., to the Marquis of Hertford. 
 British Institution, 1823, 1835. Royal Academy, 1872. 
 
 399a. Aguado sale, 1843, No. 41. Villanueva, when a child, dividing his 
 
 St. Thomas of Villanueva giving alms in clothes among poor children in a street, 
 
 the vestibule of a palace. 7 figures. ^11 6s. Also, 
 
 .42X.39. 1,310 francs. Probably a copy St. Thomas of Villanueva, in Augustin 
 
 of No. 395. habit, blessing a poor cripple near the 
 
 399b. Standish sale, 1853, No. 119. gate of a cathedral. £j l'js. Both were 
 
 St. Thomas of Villanueva dividing his small works, purchased in Spain in 1809 
 
 clothes. .27X.36. ^10, to Drax. by W. Jacob. 
 
 399c. Edward Mullins sale, by 399d. Sale by Christie, May 2, 1874. 
 
 Christie, June 24, 1854. St. Thomas of St. Thomas of Villanueva giving alms. 
 
A MONK ROBBED BY A BRIGAND. 
 
 271 
 
 Formerly belonged to the Emperor Maxi- 
 milian of Mexico. £126, to J. Watson. 
 
 399c Carlsruhe Kuntshalle. St. 
 Ursula. 26x19 in. Doubtful. The pict- 
 ure is probably by some unknown Ital- 
 ian master. 
 
 39gf. Altamira sale, 1827. St. Ur- 
 sula. £4. 
 
 399g. H. A. J. Munro sale, June 1, 
 1878. The miraculous visitation of St. 
 Ursula to St. Catharine of Siena. 15 X 
 19 in. " Sketch for a picture in Lord 
 Dudley's gallery." (?) £11$ (Agnew). 
 
 399I1. Aguado sale, No.' 62. St. Vin- 
 cent Ferrers, with wings, and holding a 
 crucifix ; at his feet is an angel holding a 
 mitre ; on the ground is another mitre, a 
 cardinal's hat and a book. 2 figures. 
 .32X.24. 69 francs. 
 
 3ggi. Aguado sale, No. 40. St. Vin- 
 cent Ferrers resuscitates a dead man in 
 the presence of many persons. On the 
 left, by the force of his will, he miracu- 
 lously holds in the air a mason who is 
 falling from a scaffold. In the centre he 
 stands, in religious costume, with large, 
 extended wings. 38 figures. 3.24X.43. 
 1,020 francs. Sold again in Dubois sale, 
 1843, 390 francs. Mentioned in Jameson, 
 Monastic Orders, 405. 
 
 399k. Suermondt gallery, No. in. 
 St. Vincent Ferrers kneeling. The Sa- 
 viour appears in clouds accompanied by 
 Moses and Elias. Mountainous back- 
 ground. .61X.42. Purchased in 1855 
 from the Conseiller C. Waagen. Men- 
 tioned by W. Burger, Galerie Suermondt 
 a Aix la Chapelle. 
 
 400. Two Franciscan Monks. Francis Clare Ford, Esq., 
 
 London. A monk is seated on the ground, apparently ill, resting his 
 
 back against a tree ; his companion standing on the left places both 
 
 hands on the sick man's head and looks up as if imploring a blessing. 
 
 A building on the left. Two figures, full length, life-size. First 
 
 manner. Sometimes called The Good Samaritan. 63*^X42 inches. 
 
 Painted for the small cloister of the Franciscan convent. See No. 268. Being 
 too stiff to be rolled it was left behind by Marshal Soult, and was bought in 1831 
 from Julian Williams by the father of the present owner, Richard Ford, author of 
 the admirable Handbook of Spain. Stirling, ii. 836. Waagen ii. 223. " This 
 picture was, in Soult's hurried flight after Salamanca, left behind in the Alcazar 
 and is now in our collection, purchased and paid for." Ford, Handbook, i. 190. 
 
 401. A Monk Robbed by a Brigand. M. Ch. Baudet, Havre. 
 A coarse-featured, ragged, and half-naked bandit kneels on one knee 
 before a Franciscan friar, and loosens the cord of the latter's habit in 
 the act of robbing him. The victim of the assault, not alarmed for 
 his own safety, seems only intent on persuading his assailant, by 
 gentle words, to abandon his evil courses ; the robber's hat and staff 
 lie behind him on the ground. The scene is enacted in a harsh and 
 mountainous country before the gate of a ruined castle. Beneath is 
 
MURILLO. 
 
 an inscription half obliterated, which casts no light on the legend 
 which the picture represents. 1.77X2.23. 
 
 Painted for the small cloister of the Franciscan convent. See No. 268. It was 
 taken thence by Soult, and was bought in at his sale in 1852 for 25,000 francs. It 
 afterwards belonged to the Comte de Mornay, grandson of Marshal Soult, who sold 
 it in March, 1 881, to the present owner. 
 
 401a. J. M. Escazena. Study for 
 the head of the monk who stands behind 
 the saint in the picture of St. Giles, No. 
 309. 17x12 inches. Stirling, Hi. 1434. 
 
 401b. Jose' de Madrazo. Two nuns 
 in black and white drapery, one of them 
 kneeling; life-size. Stirling, iii. 1440. 
 
 401c. Lord Leconfield, Petworth, 
 Sussex. Monks discoursing. Formerly 
 belonged to Colonel Wyndham. Waagen, 
 iii. 43- 
 
 4oid. Viscount Hardinge. A Monk 
 bearing a cross on his shoulder ; snowy 
 mountains in the background; half 
 length. 40x30 inches. Royal Academy, 
 1873. This picture is said to be from 
 the Soult sale, but it is not mentioned in 
 the catalogue. 
 
 401c Duchesse de Grammont. A 
 Saint in prayer. 1.00X.75. Exhibited 
 at the Alsace-Lorraine Exhibition, 1874. 
 
 40if. Brussels Museum, No. 251. 
 
 A Franciscan Monk preaching, holding 
 a scroll inscribed Unns Dominus, etc. ; 
 a skull, lily, and palm, are on a balcony 
 on the right; half length. 1.39X.97. 
 Purchased from M. Coindros for 2,500 
 francs. 
 
 40ig. Aguado sale, 1843, No. 71. 
 Bust of a monk praying. .45X.34. 121 
 francs. 
 
 401I1. Gen. John Meade sale, 1847. 
 Head of a monk praying. ^5 5^. 
 
 401L Sale, April 1846, at Christie's. 
 Head of a Saint. From Joseph Bona- 
 parte's palace at Bordentown, New Jer- 
 sey, U. S. A. £7 7s. 
 
 401k. Thomas Purves sale, June 9, 
 1849. An Apostle and a lad with two 
 fishes. A sketch for two figures in No. 
 180. 16x13 inches. £6 10s., to Nor- 
 ton. Stirling, iii. 1429. 
 
 402. Belisarius. Duke of Devonshire, Chatsworth, Derbyshire. 
 
 An old man, in red dress, seated on the ground, extends his hands for 
 
 the alms a woman is about to bestow ; on the left is a striking figure 
 
 of a soldier with his hands knit. 
 
 British Institution, 1837. Mentioned by Waagen, iii. 346. This picture was 
 formerly at Chiswick, where it was ascribed to Van Dyck. 
 
 402a. The Roman Charity. An 
 old man is seated on the floor of his 
 prison, with feet manacled, and hands 
 bound behind his back; while his 
 daughter offers her breast, he turns his 
 head as if fearing interruption. 
 
 This picture was in Madrid when the 
 French occupied that city. In order to 
 
 save it, an artist who had, or pretended 
 to have, a commission to paint an altar- 
 piece for some obscure church outside 
 the city walls, succeeded in smuggling it 
 through the gates. It was taken to the 
 sea-coast, and fell into the hands of 
 Richard Kidder Meade, a merchant and 
 United States Navy Agent at Cadiz. 
 
LANDSCAPES. 
 
 273 
 
 Mr. Meade carried it to Philadelphia, 
 where it adorned his gallery, which was 
 in its day one of the finest in America. 
 Sometime before 1830 it passed into the 
 possession of the Pennsylvania Academy 
 of Fine Arts, and was destroyed by a fire 
 which broke out in that gallery in 1 845. 
 An old copy, .32X.46 cm., from the 
 Iriarte gallery, was in D. Jose de Madrazo 
 collection, No. 396. 
 
 The choice of the subject, and the 
 style, if one may judge from the engrav- 
 ing, make it doubtful if this composition 
 can properly be ascribed to Murillo. It is 
 not mentioned by Palomino, by Ponz, by 
 Cean, nor by any other author I have con- 
 suited. Cean asserts ( Carta, p. 125) that 
 Murillo never painted any subject of pro- 
 fane history or mythology. Can this be the 
 
 picture by Ribera, now lost, which Ponz 
 and Cean Bermudez mention as having 
 been in the Escorial ? 
 
 Tomas Lopez Enguidanos, line, 13 
 X 16.8, Madrid, 1809, at Calco. Nacional. 
 
 402b. Earl of Yarborough. Cleo- 
 patra with the Asp. Exhibited at the 
 British Institution, 1849. 
 
 402c. Earl of Godolphin sale, by 
 Christie, June 6, 1803. A Sibyl. ^59 17^. 
 
 402d. A Satyr and Tigers. Calonne 
 sale. See Velazquez No. 35d ante p. 21. 
 
 402c Diogenes. Marquis of Exeter, 
 Burleigh House, Northamptonshire. He 
 is represented as about to throw away 
 his cup as useless. Waagen, hi. 406. A 
 picture of Diogenes was in A. Dela- 
 hante sale, by Phillips, London, May 
 30, 181 7, No. 135. 
 
 403. Origin of Painting. El Cuadro de las Sombras. On the 
 right a youth traces on a wall the outline of the shadow of another 
 youth ; on the left is a rich landscape, and a group of figures in the 
 foreground. 1^X2 varas (44X66 inches). 
 
 From time immemorial there was in the parish church of San Andres at Seville 
 a chapel called the Capilla de los Pintores, dedicated to St. Luke as patron of the 
 artists. When the Academy of Seville was founded in 1660, one of its statutes 
 required that each mayordomo should present to this chapel a specimen of his art. 
 The above picture is believed to be the one presented by Murillo when he filled 
 that office in 1660. It was sold in 1809 to Don Antonio Bravo, and was afterwards 
 owned by his nephew, Don Aniceto Bravo. Mentioned by Tubino, 231 ; Sevilla 
 Pinto. , 410; G. de Leon, i. 253; Raczynski, Arts en Portugal, 505. Cean Ber- 
 mudez mentions un quadro maltratado in the Capilla de San Lucas. Carta, 98. 
 
 M. Pereire had a large picture of this subject. Mentioned in Gaz. B. Arts, 
 xvi. 209. It was not in the Pereire sale. 
 
 404. Landscape. Museo del Prado, 898. A mountainous 
 country, through which passes a river, with ruins on its steep banks ; 
 in the middle distance is a lofty, detached rock, overhanging the 
 stream ; four figures are seen, among them, on the left, a peasant 
 directing a traveler on his way. .95X1.23. 
 
 P. DE LEOPOL, lithograph, 13X16.3. 
 
 35 
 
274 
 
 MURILLO. 
 
 405. Landscape. Museo del Prado, 899. A rocky shore 
 with trees and buildings ; in the distance rocks with a fortress and a 
 bridge ; in the middle distance a sailor is seen carrying the luggage of 
 a passenger to his vessel. .95X1.23. 
 
 406. Landscape. Walter Bromley Davenport, Esq., Lon- 
 don. A view of the river Manzanares. 49^ x 66 inches. 
 
 From the Royal Palace at Madrid. Purchased from Mr. Yates, in 181 7, by 
 T. B. Bulkely Owen, at whose sale, by Christie, April 30, 1868, it was sold for 
 £231. 
 
 " I have purchased a very fine landscape of Murillo's, size, 5 feet 6 long by 4 
 feet 6 high * *. It will be expensive to put it in order ; although well preserved, it 
 has been badly lined ; and being on three pieces of cloth, it has many little pieces 
 wanting." Letter of Mr. Wallis. Buchanan, Memoirs, ii. 218. 
 
 407. Landscape. Francis Cook, Esq., Richmond Hill, Surrey. 
 In the centre is a shepherd watering his flock at a circular well ; in 
 the background, on the left, is a hut; sky on the right. 14X18 
 inches. 
 
 408. Landscape. W. Graham, Esq., London. A landscape 
 with figures on horseback and on foot moving along a road towards 
 a castle on the top of a lofty hill on the right ; inscribed in the left 
 corner, Morillo f. Hispan. 24X21 inches. 
 
 Exhibited by Mr. Graham at the Royal Academy, London, 1877. 
 
 408a. Landscape. In the centre a 
 boy is seen mounting a mule ; a man 
 standing on the right, a bridge on the 
 left. i2XXi8^in. 
 
 Companion to the following picture. 
 Both were from the gallery of the Chev- 
 alier D'Azara, minister of Carlos III., at 
 Rome. They sold at Lebrun sale, 1810, 
 for 5,100 francs, to Laneuville. 
 
 Engraved in Lebrun, Recueil de Gra- 
 vures au trait, etc., No. 137. 
 
 408b. Landscape. Two women are 
 conversing, one seated, the other stand- 
 ing ; two jars between them ; a village in 
 the distance. 12^ X 18^ in. 
 
 Engraved in Lebrun, Recueil de Gra- 
 vures au trait, etc., No. 138. 
 
 408c. Landscape, with three women 
 at a circular well, over which is a crane 
 and pulley ; a shepherd with three sheep, 
 a dog, and a donkey on the right. 15 X 
 23 in. 
 
 Lebrun sale, 1810. Engraved in Le- 
 brun, Recueil, No. 139. 
 
 4o8d. Landscape, with a family group 
 of five persons before a large building on 
 the left; on the right two goats at a 
 river. 15 x23 m. 
 
 Lebrun sale, 1810. Engraved in Le- 
 brun, Recueil, No. 140. 
 
STILL LIFE. 
 
 275 
 
 408c Francis Edwards, Esq. 
 
 Landscape. In the centre is an old 
 peasant on an ass, and a young man 
 walking near him. Manchester Exhibi- 
 tion, 1857. 
 
 4o8f. Earl Spencer. Entrance to 
 the grotto of Posilipo, near Naples, with 
 three herdsmen and their flocks approach- 
 ing the cavern. About 20 X 16 in. From 
 Sunderland collection. South Kensing- 
 ton Museum, 1876, etc. As Murillo was 
 never out of Spain he is hardly likely to 
 have executed this picture. 
 
 4o8g. Desenfans catalogue, 1802, 
 No. 50. Landscape with trees and a 
 building seen detached on a silvery sky ; 
 in the foreground on the right are two 
 women and a man at a well ; on the left 
 a shepherdess and a dog following a 
 flock, with ruins, etc. 
 
 408I1. Lapeyriere sale, 1825. Pas- 
 toral landscape. A young girl with a crook 
 in her hand leans on the edge of a well 
 and modestly listens to a shepherd who 
 is drawing water for his sheep ; rough, 
 uncultivated country, with ruins. 19 X 
 29 in. 501 francs. 
 
 4o8i. Lapeyriere sale, 1825. Land- 
 scape. Sheep crowd around a trough, 
 which a shepherd fills from a well ; an- 
 
 other shepherd sits apart. 31X31 in. 
 100 francs. 
 
 408k. Louis Philippe sale, 1853. 
 No. 327. A landscape. 1.08x1.87.^81, 
 to Drax. 
 
 408I. J. Watts Russell sale, by 
 Christie, July 3, 1875. Landscape, with 
 figures, ^27 6s. Also, a companion, 
 ^30 9.?., both to Rudd, and both from 
 Lord Radstock's collection. 
 
 408m. H. A. J. Munro sale, June 1, 
 1878. The native village of the artist, in 
 the Andalusian mountains, with a lady on 
 a mule and a woman feeding fowls on 
 the left. 75x49 in. ^120 15^, to Dyer. 
 
 A picture similarly described was sold 
 in E. Higginson sale, June 16, i860, 
 for £42. 
 
 4o8n. H. A. J. Munro sale. A 
 group of beggars at the stall of a woman 
 selling bread and aguadiente in Madrid 
 in winter. " An early work resembling 
 one of the series in the Academy at 
 Madrid." ^"273, to Seymour. 
 
 4o8p. Viscount Stratford de Red- 
 clyffe sale, by Christie, June 29, 1878. 
 Landscape, with a well and figures ; and 
 A Companion. Also, A Landscape, with 
 Isaac and Rebecca at the well. Not 
 sold. 
 
 409. Still Life. Sir William Stirling- Maxwell, Bart., 
 
 Keir, Perthshire. On a table is a square basket containing grapes 
 
 and pomegranates ; beside it two broken pomegranates and a roll on 
 
 a folded napkin. 25X31 in. 
 
 Painted for a Spanish nobleman, in whose family it remained until 1830, when 
 it was purchased by Sir J. M. Brackenbury. At his sale in 1848 it sold for 
 £10 10s. 
 
 410. Still Life. Jose M. Asensio, Seville. A picture repre- 
 senting a wall on which are suspended several fragments of paper, etc. 
 Among them are the title-page of Fiestas de la S. Iglesia de Sevilla, 
 . .por F. de la Torre Farfan, three drawings, an engraving, and pieces 
 
276 MURILLO. 
 
 of parchment with seals. Signed, Bartolome Murillo, ano 
 .94X.76. 
 
 410a. Carmen Calzado, Madrid. 410c. Lopez Cepero sale, Paris, 1868. 
 
 " Una cabana" or " Una cabanita" Ponz, The Monk's Breakfast. On a table is 
 
 v. 253. Cean, Die, ii. 63. bread on a wallet; at the left a cruse of 
 
 410b. " Dos fruteros de a media vara enamelled ware and a cardom. On a 
 
 de largo, sin molduras," are mentioned paper is the full signature, scratched in 
 
 in the inventory of Murillo's effects made the paint with the handle of the brush, 
 
 after his death. .55X.92. 770 francs. Not sold. 
 
 411. A Peasant Boy. Louvre, 547. A ragged boy, seated on 
 the floor of a chamber, near a window, is ridding himself of vermin ; a 
 pannier and jar at his right. 1.37 Xi. 15. 
 
 Gaignat sale, 1768, No. 8, 1,544 liv. Sainte-Foy sale, April 22, 1782, No. 1, 
 
 bought in at 3,000 liv., and afterwards sold by Lebrun to the King for 2,400 francs. 
 Probably painted about 1650. In the Stockholm Museum, No. 783, is an unfin- 
 ished copy slightly varied, perhaps made when the original was in the Gaignat 
 cabinet. There is in the Museo del Prado, No. 904, an old copy with variations, 
 viz. : bread, cheese, and a knife are on the boy's right. It is probable that this 
 copy is the picture which the King brought from Cordova, and which is described 
 by Cean Bermudez (Die, ii. 64) as "un muchacho espulgandose, quadro muy cele- 
 brado con el nombre del Piojoso." 
 
 Boutrois, line, 11.9x9.5, 1808. Masson, line, 7.2x6.4. Jazet, mezzo., 12 
 X9.8. Chataigner, finished by Villerey, etch., in Filhol, Musee Napoleon, iii. 
 155. Boutrois, etch., 3.8x3.2, in Landon, Annales du Musee, Paysages, ii. 38. 
 L'Hotellier, etch., 6.2x4.9. Lithographs by G. Engelmann, Langlume, 
 Marigny, I. Baker; also half-length by Mme. V. Noel. On wood in Blanc, 
 Peintres, etc. 
 
 412. A Peasant Boy. National Gallery, London, 74. A 
 
 boy in ragged dress, with one shoulder bare, laughs as he looks out 
 from a window, on the sill of which his elbows rest. Bust. 21X15 
 inches. 
 
 Marquis of Lansdowne sale, March 20, 1806, ,£115 iar. Presented to the 
 gallery in 1826, by M. M. Zachary. 
 
 J. Rogers, line, in Jones, National Gallery, 2 vols., 4to. pi. No. 75. W. 
 Humphreys, line, 1848,6.5X4.8, executed for the Associated Engravers. W. H. 
 Watt, line, in Cunningham, Cabinet Gallery, ii. 33. W. Ward, mezzo., 7.7x5.9, 
 1825. 
 
 413. A Peasant Boy. Hermitage, St. Petersburg, 377. A 
 
 boy, standing before a wall, holding a basket with his right hand, 
 
A PEASANT BOY. 
 
 277 
 
 turns his head to observe a dog, whose head is seen below on the 
 right. Half length. .74X.60. 
 
 This picture, and its companion, No. 427, were sold in the Due de Choiseul 
 sale, April 6, 1772, Nos. 117 and 118, for 4,600 liv., to Prince Galitzin. 
 
 Weisbrod, line, in Cabinet Choiseul. V. Dollet, litho., reversed in Gal. 
 Imp. deVErmitage. On wood in Blanc, Peintres ; Gaz. B. Arts, January, 1875; 
 Becker, Kunst und Kilns tier ; Dohme, Kunst tmd Kiinsller ; Scott, Murillo. 
 
 In Randon de Boisset sale, 1777, two pictures, described as A Boy, and 
 A Girl holding her Veil, half length, on canvas, 19 in. by 14 in. 6 lin., from the cab- 
 inet of the Countess de Verrue, were sold for 2,999 liv. 19s., to Paillet. They 
 were apparently similar to the two pictures in the Choiseul sale, but smaller. They 
 are mentioned by M. Blanc (Tresor, i. 16) as an addition posterieure to the Verrue 
 catalogue, but as this addition seems to rest on no other authority than the Ran- 
 don de Boisset catalogue, its accuracy may be doubted. See No. 426. 
 
 [There were the following Choiseul sales, all at Paris : 
 J772, April 6, Mgr. le Due de Choiseul sale, by J. F. Boileau, produced 448,544 
 
 liv. 19 sols. 
 
 1775, January 23, the late Mgr. Leopold Charles de Choiseul, Archeveque Due de 
 Cambray sale, by P. Remy. 
 
 1786, December 18, the late Due de Choiseul sale. 
 
 1787, December 10, Due de Ch * * * (Choiseul) sale, by J. B. P. Le Brun. 
 
 1789, November 25, the late Marechal de Choiseul-Stainville sale, by J. Folliot 
 
 and F. Delalande. 
 1793, February 18, the late M. Choiseul-Praslin sale, by A. J. Paillet. 
 1808, May 9, 10, the late M. de Choiseul-Praslin sale, by A. J. Paillet. 
 1818, July 20, etc., Comte de Choiseul-Gouffier sale, by L. J. J. Dubois. 
 1866, March 12, 13, 14, Comte Ch * * * (Raynald de Choiseul-Praslin) sale, by 
 
 Febvre and Ch. Manheim. 
 1869, May 3, Comte R. de Ch * # * (Raynald de Choiseul-Praslin) sale, by Dhios 
 
 and George. ] 
 
 414. A Peasant Boy. Hermitage, St. Petersburg, 376. A boy 
 
 in a red dress, holding a white dog by the ear, searches the animal's 
 body for vermin. Half length. .61X.49. 
 
 From the gallery of M. Paez de la Cadena. Purchased in 1834. 
 
 415. A Peasant Boy. Hague Museum, 256. A boy, turned 
 to the right, and seen in profile, with bare head, long, disordered 
 hair falling on his shoulders, and a dark dress showing his shirt at the 
 neck. Bust. .43X.38. 
 
 Purchased probably from General Rotticrs. Praised by Burger, Musc'es de la 
 Hollande, p. 308. 
 
278 
 
 MURILLO. 
 
 [There was a sale of the pictures of General Rottiers at Paris, December 4 
 and 5, 1846, by Alexis Wery. ] 
 
 Photographed by A. Braun & Co., Paris. 
 
 416. A Peasant Boy. Earl of Lonsdale, Lowther Castle. 
 Westmoreland. A boy, herding cattle and ridding himself of vermin. 
 54X39 inches. 
 
 Mentioned by Stirling, Annals, iii. 1441. Waagen, Art Treasures, iii. 265. 
 
 417. A Peasant Boy. Abraham J. Robarts, Esq., London. 
 A laughing boy, with long hair, wearing a hat and feathers, a brown 
 dress, and a white handkerchief about his neck, pointing with his 
 right hand to the spectator. Half length. 21X16 inches. 
 
 Waagen, iv. 164. Exhibited at the Royal Academy, 1877, by Mr. Robarts. 
 
 418. A Peasant Boy. Earl of Warwick, Warwick Castle,, 
 Warwickshire. A boy, laughing and pointing to the spectator. 
 
 Waagen, iii. 214. Exhibited at the British Institution, 1865. 
 
 419. A Peasant Boy. Mrs. William Gibbs, Tyntesfield, Som- 
 erset. A boy, seen front, bending over a basket which he holds with 
 his left hand. Half length, life size. 28x24 inches. 
 
 Purchased at Lord Northwick sale, 1859, No. 1014, for ^63. 
 
 420. A Peasant Boy. Earl of Elgin, Broom Hall, Fifeshire, 
 A boy eating a pie. At his side is a basket of fruit, and a dog snuff- 
 ing at the food on its passage to his master's mouth. Small. 
 
 Mentioned by Stirling, Annals of the Artists of Spain, iii. 1441. 
 
 421. A Peasant Boy. Earl of Northbrook, London. A 
 laughing boy, wearing a ragged black jacket, a white shirt, and a cap 
 crowned with vine leaves, turned partly to his right, holds before his 
 breast a pipe, with his fingers on the holes. Bust on panel. 21X18 
 inches. 
 
 From Lebrun and Sir Thomas Baring collections. Stirling, 1442. Waagen, Art 
 in England, 1838, and Art Treasures, ii. 181. British Institution, 1837. 
 
 422. A Sleeping Infant. Earl of Northbrook, London. A 
 child lying naked on its back on a white cloth spread over a basket 
 filled with straw ; the body is strongly foreshortened. Life-size. 
 
A PEASANT BOY. 
 
 279 
 
 423. A Peasant Boy, El Vinatero. A boy, in coarse attire, with 
 
 his hat wreathed with leaves and fruit, stands three-quarters right, 
 
 looking front, smiling and pointing to his left ; under his right arm is 
 
 a square bottle, and in his right hand a wine glass. Half length. 
 
 Formerly in the Royal Palace at Madrid. Cean Bermudez, Die, ii. 64. 
 J. A. S. Carmona, line, 8.6x6.4, at Calcogr-afia Nacional, Madrid. 
 
 424. A Boy Drinking. National Gallery, Edinburgh. 
 19X15 inches. 
 
 Bequeathed by Lady Murray to the National Gallery. 
 
 425. A Peasant Boy, L Enfant a la tonrte. A boy, seated on 
 the ground at the foot of a rock which is washed by the sea, holds 
 a tart with his right hand on his lap ; his left hand is on a glass bot- 
 tle on the ground at his side. Full length. Pendant to No. 429. 
 .97X.83. 
 
 Sold at the Aguado sale, Paris, March 20, 1843, No. 49, for 3,250 francs. 
 A. Blanchard, line, in Gal, Aguado, in Art Journal, August, 1864, and in 
 Scott, Murillo. 
 
 425a. Nantes Museum, 723. A 
 
 blind old man in cloak and knee breeches, 
 seated on a stone, playing a hurdy-gurdy ; 
 full length . 1 . 62 X 1 • 05 . Doubtful. 
 
 F. Villot, etch., 10.2x7.6, Paris, 
 1847. On wood in Magasin Pittoresque, 
 September, 1842, wrongly inscribed 
 "Ribera." 
 
 425b. A boy, three-quarters right, 
 holding before him, on a table, a dog, 
 which he teases with a piece of bread ; 
 half length. 
 
 Caroline Watson, stipple mezzo., 
 7.4X6, oval, 1 781. 
 
 425c. A boy, profile left, holding 
 before him, on a table, a pigeon in a bas- 
 ket; halflength. 
 
 Caroline Watson, stipple mezzo., 
 7.2x5.9, oval, 1 78 1. The two prints 
 above described were published by Boy- 
 dell from the companion pictures, 25 X 
 \%y z inches, in the possession of the Duke 
 of Norfolk. The present Duke of Nor- 
 
 folk knows nothing of the pictures, and 
 their authenticity is doubtful. 
 
 425c!. Le Nid Soigne". A ragged 
 boy, seated on a rock, holds on his ,lap 
 a basket filled with birds, which he covers 
 with his hand ; in the middle distance 
 ducks are swimming in a pond. 
 
 E. Morace, line, 11x8.3. "Le tableau 
 original est tire du Cabinet de Mr. Abel, 
 Conseiller de Legations a Stoutgart." 
 Companion to No. 432d. 
 
 The Duke of Devonshire has at his 
 house, in Piccadilly, two pictures similar 
 to this and its companion. They are 
 attributed to Amoroso, and are men- 
 tioned in The English Connoisseur, i. 43, 
 44. Another " Boy, with a bird's nest," 
 by Amoroso, was at Wilton. English 
 Connoisseur, ii. 178. 
 
 425c "The Rat-catcher." A smiling 
 boy in ragged dress, is seated on a bench, 
 holding a rat by the tail ; three-quarters 
 length. 
 
28o 
 
 MURILLO. 
 
 P. Dawe, mezzo., 14X10.5. 
 
 425L A beggar boy, seated, with a 
 staff in his left hand, holding out his right 
 hand for alms ; three-quarters length. 
 
 P. Dawe, mezzo., 14x10.5. Both 
 the above prints are inscribed " from the 
 picture belonging to Mr. Broderip." 
 The pictures are spurious. 
 
 425g. A boy, standing, with his fin- 
 gers on the holes of a pipe ; half length. 
 
 Engraved by C. Lavos. Spurious. 
 
 425b.. A boy, wearing a cap, pointing 
 to a snail on a melon; half length. 
 Spurious. 
 
 J. Sprick, litho., 15x12. 
 
 4251. Lord Normanton, Somerly, 
 Hants. A slave, with a basket of flowers, 
 seen almost to the knees. Waagen, iv. 
 367. 
 
 425k. Richard Booth, Esq., Glen- 
 don Hall, Northamptonshire. A Spanish 
 boy. Waagen, iii. 426. 
 
 425I. Earl of Rosebery. A boy 
 with lemons. British Institution, 1822. 
 
 425m. T. Sloane Stanley. A Raree- 
 Showman. British Institution, 1823. 
 
 42511. Miss C. Brackenbury. A 
 Bacchanalian boy. British Institution, 
 1837. 
 
 425P. Colonel Fitzgibbon. A Man 
 drinking. British Institution, 1838. 
 
 425q. Lord Cowley. Head of a 
 boy. British Institution, 1838. 
 
 425r. Edward Davies Davenport. 
 A Sleeping Child. British Institution, 
 1845. 
 
 425L Count Czernin, Vienna. A 
 Sleeping Child. 17x12 inches. 
 
 425U. Liechtenstein Gallery, Vien- 
 na. A boy, with black hair, wearing a 
 velvet cap and a red silk jacket with 
 puffed sleeves, carries a staff over his 
 shoulder, and holds a dog by a string; 
 half length, life-size. 
 
 425V. Carlsruhe Kunsthalle. A 
 Ballad-singer. 28x21 inches. 
 
 425W. Hampton Court, 390. A 
 
 boy paring fruit at a table; half length.. 
 
 Doubtful. 
 
 425X. Hampton Court, 397. A boy,, 
 seated in a chair, wearing a white cap,, 
 and playing a guitar ; three-quarters 
 length. About 36x30 inches. 
 
 425y. Earl Poulett. A Piping Boy. 
 Mentioned in Neales' Views, 1820. 
 
 425Z. The Orange Boy of Seville.. 
 From the Prince of the Peace. Valued 
 at 300 guineas. Imported by Mr. Wal- 
 lis for Mr. Buchanan. Memoirs, ii. 244. 
 
 425aa. Mortimer Sackville-West, 
 Knolle, Kent. A boy blowing a pipe. 
 Hazlitt, Criticisms on Art. 
 
 425bb. Caulet d'Hauteville sale,, 
 by Joullain, April 25, 1774. A boy, 
 standing at a window, holding a jumping- 
 jack; half length. Spurious. 
 
 Therese Devaux, line, 9.6x7, the 
 size of the original. The catalogue says 
 the companion, A Girl with a Hurdy- 
 gurdy, was also engraved by TheVese 
 Devaux. 
 
 425CC. Due de Tallard sale, 1756. 
 A Child lying asleep. 25x21 inches.. 
 388 liv. 
 
 425dd. M * * * sale, by Lebrun,. 
 Paris, January 15, 1782. A Boy making 
 soap bubbles; knee-piece. 26x21 in. 
 
 425ee. M. Bertels sale, London, May 
 8, 1783. A Shepherd, £10 \os. 
 
 425ff. Sir Joshua Reynolds sale, 
 March II, 1795. A Peasant Boy. ^29. 
 
 425gg. Sale, London, February 3,, 
 
 1804. A Beggar Boy. ,£168. 
 425b.l1. J. E. Breen sale, May 28^ 
 
 1805. A Piping Boy. 
 
 425ii. Silvestre sale, February 28,, 
 181 1. A Young Spaniard, half length, 
 resting his elbow on a table on which is 
 a square bottle, drinking a glass of wine ; 
 a bandeau and a bunch of vine leaves 
 surround his hair; his muslin cravat is 
 negligently tied; a napkin on his right 
 shoulder partly covers his dress. 31x2$ 
 inches, 1840 francs. The picture for- 
 
THE FLOWER GIRL. 
 
 28l 
 
 merly belonged to M. Berger, whose 
 heirs sold it for 120 liv., to M. Charles 
 Godefroy. At his sale, April 22, 1 748, 
 by E. F. Gersaint, it was sold for 300 
 liv. to the Due de Tallard. At the Due 
 de Tallard sale, 1756, it brought 97 liv. 
 See Mariette, Abecedario, iv. 24. A copy 
 is in the Stockholm Museum, No. 754. 
 
 425kk. Von Dornich, Donovan 
 and Griffiths sale, February 4, 181 1. A 
 Boy with a bird's nest. £6 6s. 
 
 425II. Richard Wyatt sale, March 
 19, 1813. A Piping Boy. £12 16s. 
 
 425mm. J. J. Lasalle sale, May 14, 
 
 1814. An Infant Sleeping. ^"60 iSs. 
 425nn. J. A. Kerr sale, April 26, 
 
 1815. An Infant Sleeping. ^30 9^. 
 425pp. Fonthill Abbey (Mr. Beck- 
 ford) sale, by Phillips, September 9 to 
 October 31, 1823. A Boy blowing bub- 
 bles. 
 
 425qq. Lord Berwick sale, April 14, 
 1826. Head of a Boy. 
 
 425m George Hibbert sale, May 
 13, 1829. A Boy, mounted on a mastiff, 
 is about to loose him on a wolf that has 
 attacked the flock. Also, the companion, 
 
 A Bacchanalian figure on a goat, to 
 which he offers vine leaves. £1 7. 
 
 425SS. Comte de Rayneval, former 
 Ambassador at Madrid, sale, Paris, April 
 16, 1838. A Boy with bare head, seen 
 in profile ; a study. 
 
 425tt. Lady Stuart sale, May 15, 
 1841. A Boy in brown dress, examining 
 a bird's nest in his hat. ^105. The 
 same in E. W. Lake sale, April 7, 1848. 
 £31 los - 
 
 425UU. Sir J. M. Brackenbury sale, 
 1848. A Boy blowing bubbles. ^73 10s. 
 
 425W. W. Coningham sale, June 
 9, 1849. A Boy laughing, crowned with 
 ivy, holding a pipe in his hands ; bust on 
 panel, 21X18 inches. ^152 10s. See 
 No. 421 ? 
 
 425WW. Marquis de Montcalm 
 
 sale, by Laneuville, March 25, 1850. A 
 Slave, wearing a turban, and carrying 
 fruits in a basket. Formerly belonged 
 to the Prince of the Peace, i.oox.80. 
 8,200 francs. 
 
 425XX. Louis Philippe sale, 1853. 
 No. 325. A Young Man playing the 
 harp. .43X.57. ^"54, to Pearce. 
 
 425yy. Earl of Clare sale, by Chris- 
 tie, June 17, 1864. A Peasant, holding 
 a bottle, and drinking from a glass ; a 
 wreath of vine on his head. From Prince 
 Talleyrand and Lord Charles Townshend. 
 ^1,365. At Lord Charles Townshend 
 sale, 1836, it sold for ^395. 
 
 425ZZ. John Lucy sale, May 1, 1875. 
 A Shepherd Boy with a pipe. 17x15 
 inches. ^42 . 
 
 425aaa. Oppenheim sale, Cologne, 
 October 15, 1878. Head of a Child. 
 375 marks. 
 
 425bbb. Mrs. William H. Aspin- 
 wall, New-York. A Boy, six years of 
 age, wearing a scanty white garment 
 which does not cover his legs, lies on his 
 back on a couch, his head to the left 
 resting on a pillow, the face and eyes 
 turned front ; his right hand, on the 
 couch at his side, holds a square fan ; 
 behind him is seen the head of a black 
 and white cat looking front, and beyond, 
 a vase filled with red flowers ; dark back- 
 ground. Full length, life-size. 28x39 
 inches. 
 
 426. The Flower Girl. Dulwich Gallery, 248. A girl, wear- 
 ing a white turban and a yellow robe, seated on a rock beside a stone 
 wall, holds with both hands the end of the embroidered scarf which 
 falls from her left shoulder, and smilingly offers to the spectator the 
 
 36 
 
282 
 
 MURILLO. 
 
 roses it contains; landscape and sky on the left. Three-quarters 
 length. 46^X37^ inches. The canvas has been enlarged; it was 
 formerly 41^X33^ inches. 
 
 Blondel de Gagny sale, Paris, December 10, 1776, No. 3. Size, 3 ft. 3 in. 6 
 lin. by 2 ft. 1 in. 6 lin. " Du cabinet de Madame la Comtesse de Verrue, et de celui 
 de M. le Comte de Lassay," 12,000 liv., to Basan. Calonne sale, London, 1795, 
 4th day, No. 99, £672, to Mr. Desenfans, whose heir, Sir Francis Bourgeois, 
 bequeathed it to Dulwich College. An old copy is in the Akademie der Bildenden 
 Kunst, Vienna. 
 
 J. H. Robinson, line, 8.4x6.9, 1835. In The Art Union, 1841, is an electro- 
 type of this engraving. P. Lightfoot, line, 7.9X6.4, in S. C. Hall, Gems of 
 Art; in Art Journal, 1877, an d * n Scott, Murillo. R. Graves, line, 3.3X2.7, 
 1828. A. H. Payne, line, 8.4x6.5. R. Cockburn, line, colored, 12x10, 1816, 
 in Dulwich Gallery Gems. C. Cousen, line, 19x14.5, bust only. 
 
 The catalogue of the Blondel de Gagny sale asserts that this picture was in the 
 cabinets Verrue and Lassay. It is not, however, mentioned in the catalogue of 
 the sale of the Comtesse de Verrue, as published for the first time from a manu- 
 script in C. Blanc, Tresor de la Curiosite, i. 1. If the statement of the Blondel de 
 Gagny catalogue above quoted is correct, the canvas may have been among the 
 works of art which the Countess bequeathed to her lover, the Marquis de Lassay, 
 and from him it may have passed to the Comte de la Guiche. See ante No. 167. 
 
 An addition poste'rieure to the Verrue catalogue, as given by M. Blanc, 
 describes "un jeune garcon et une jeune fille tenant son voile, figure a mi-corps sur 
 toile de dix-neuf pouces de haut sur quatorze pouces six lignes de large." This 
 description evidently points to the half-length pictures now in the Hermitage. See 
 Nos. 413 and 427. 
 
 427. A Peasant Girl. Hermitage, St. Petersburg, 378. A 
 
 girl, half length, standing, applies to her face with her right hand the 
 end of a scarf which covers her head; her left hand holds a basket of 
 fruit ; a wall on the right. .74X.60. 
 
 Companion to a Peasant Boy in the same gallery. See No. 413. 
 
 C. Weisbrod, line, in Cabinet Choiseul. V. Dollet, litho., reversed, in Gal. 
 Imp. de V Ermitage. On wood in Armengaud, La Russie ; in Art Journal, Octo- 
 ber, 1868; in Scott, Murillo ; and in Gaz. B. Arts, January, 1875. 
 
 428. A Gallician Peasant Girl. Museo del Prado, Mad- 
 rid, 893. A girl, with a white scarf around her head and neck, hold- 
 ing a silver coin in her hand, looking front. Bust. .63X.43. 
 
 Formerly in the collection of Queen Isabel Farnese, in the palace of San 
 Ildefonso. 
 
 Henrique Blanco, litho., 1 1 X9.6, in Joyas Pint. J. Laurent, photo., No. 26. 
 
AN OLD WOMAN. 
 
 283 
 
 429. The Fish Girl. Lady Cranstoun, London. A peasant 
 girl, seated, turned partly left, looking front, holds up with her left hand 
 the end of the scarf that covers her neck ; her right hand is on the 
 handle of a basket of fruit, beside which, on the ground, is a dish of 
 fish. Landscape background. Full length. 40X32 inches. 
 
 Purchased about 1864 from Mr. Burley. It is identical with, and is believed 
 to be the picture sold No. 48, Aguado sale, 1843, size, .97X.83 cm., for 6,900 
 francs, and which is engraved as follows : 
 
 Blanchard, line, 9. 1x8, in Galerie Agaado ; in The Art Union, 1846; in 
 The Art Journal, September, 1864; and in Scott, Murillo. Outline in Liibke, 
 Denhnaler der Kunst. On wood in Blanc, Peintres. 
 
 430. A Girl. Robert S. Holford, Esq., London. A girl, 
 looking front and raising her veil. Bust, life-size. 
 
 Formerly belonged to Sir Thomas Baring, who exhibited it at the British Insti- 
 tution, in 1837. Exhibited by Mr. Holford, 1844, 1852. Mentioned by Waagen, 
 ii. 199, and by Head, 185. 
 
 431. A Girl. Stafford House, London. A girl, wearing a 
 
 gray dress, and a white hood tied under her chin, holding a pear in 
 
 her lap with both hands. Bust, oval. About 20X16 inches. 
 
 Presented by Marechal Soult to the Duchess of Sutherland. Mentioned by 
 Stirling, 1443. 
 
 432. Head of a Bacchante. William Wells, Esq., Holme 
 
 Wood, Huntingdonshire. A girl is seen full face, laughing, crowned 
 
 with yellow grapes, her neck covered with a yellow handkerchief, and 
 
 a glass of wine in her right hand. 14X10 in. 
 
 Manchester Exhibition, 1857. A picture, similarly described, was in the sale 
 of William Wells, of Redleaf, 1848. £320 5^. 
 
 433. An Old Woman Spinning. Museo del Prado, Mad- 
 rid, 892. An old peasant woman, turned to the left, wearing a gray 
 dress with a white cloth on her head and tied under her chin, holding 
 in her right hand a spool, and under her left arm a distaff covered 
 with flax. Nearly half length. .61X.51. 
 
 Collection of Queen Isabel Farnese, palace of S. Ildefonso. 
 Enrique Blanco, litho., 11.6x9.6. E. Poel, line, 4x3- 3. 
 
284 MURILLO. 
 
 434. A Peasant Woman. J. Landon, Esq. A woman, wear- 
 ing a green and red dress, with a basket of flowers and fruit. 54^ X 
 42^ inches. 
 
 Royal Academy, 1875. A picture similarly described was sold in Alton 
 Towers sale, 1857, £18 iSs., to Landon. 
 
 434*. " La Vendimiadora." An old woman, with harsh, strong 
 features, wearing a coarse and ragged dress, her head covered 
 with a kerchief, stands front, looking intently to her right, and 
 holding against her body a basket of grapes, which she grasps with 
 both hands. 
 
 J. A. S. Carmona, line, 8.5x6.4, at the Calcografia Nacional, Madrid. 
 Inscribed " El Quadro original existe en el Real Palacio de Madrid." The picture 
 is mentioned by Cean Bermudez, Diccionario, ii. 64, among those in the royal 
 palace, but it has disappeared. 
 
 434a. A Girl, seated, knitting, with a 
 white kerchief on her head, looking 
 front ; three-quarters length. Spurious. 
 
 S. Okey, Junr., 12.3x9. From the 
 picture belonging to Edward Athawes. 
 
 434b. A Girl, seated, making lace; 
 three-quarters length. Spurious. 
 
 S. Okey, Junr., mezzo., 12.3x9. 
 
 434c. Baron Massias sale, Paris, 
 December 13, 1825. A Girl, seated, with 
 chestnuts in her lap, near a fire-place in 
 which a kettle is steaming ; at her side is 
 a small dog in a basket; full length. 
 14X11 inches. 
 
 F. Soyer, outline, in Landon, Annates 
 du Muse'e, Galerie Massias. 
 
 434d. A Girl, neatly dressed, seated on 
 a rock beside a high wall, looking front, 
 holds with both hands on her lap, a bas- 
 ket of chickens. Full length. .95X.74. 
 
 San Donato sale, February 10, 1870, 
 No. 198. " From Comte Zichy. Bought 
 in 1851." 12,200 francs. 
 
 Engraved in U Illustration, February 
 19, 1870. There is a similar line engrav- 
 ing by E. Morace, 11x8.3, called Le 
 Plaisir Innocent, from the original in the 
 cabinet of Mr. Abel, Conseiller de Lega- 
 tions a Stoutgart. See No. 423d. 
 
 434c Sir W. H. Feilden sale, 
 March 3, 1877. A Girl with chickens in 
 a basket. £\% i8j. 
 
 434f. Brera, Milan. An Old Woman 
 Spinning; three-quarters length, life- 
 size. Doubtful. Mentioned in Stirling, 
 Annals, iii. 1442. 
 
 434g. Doria Palace, Rome. A 
 Woman singing; beside her, on the 
 table, is a music book. Half length, life- 
 size. Doubtful. 
 
 435* Two Peasant Boys. Dulwich Gallery, 286. A ragged 
 boy, standing on the left, with a jar in his right hand, and part of a 
 loaf in his left. He munches a mouthful of bread, and looks down to 
 his companion, who, with his legs and shoulder bare, sits on the 
 
TWO PEASANT BOYS. 
 
 285 
 
 earth amusing himself with two balls and an iron spike which he 
 thrusts into the ground ; a dog stands between them j a wall on the 
 right. 63X41 inches. 
 
 This picture, and its companion, No. 452, were probably in the Desenfans 
 sale, April 8, 1786, and bid in at £126. Mrs. Jameson considers them the finest 
 pictures in the gallery. Public Galleries, 489. 
 
 W. Say, mezzo., 25x16, London, 1814. J. Rogers, mezzo., 5.8x4.4. J. 
 Stephenson, line, 8.5x6, in S. C. Hall, Gems of Art ; and in Scott, Murillo. On 
 wood in Pictorial Gallery of Art. Charles Cousen, line, 16.7X II, the head only, 
 of the boy seated. 
 
 435a. Due d'Abrantes sale, Lon- 
 don, June 17, 181 7. Two Spanish peas- 
 ant boys eating bread. " Belonged to 
 the Elector of Cologne. Engraved. 66 
 X50 inches." ^11 \\s. Probably a 
 copy of the above. It was not in the 
 Elector of Cologne sale, 1764. 
 
 435b. Sir Lawrence Dundas sale, 
 May 20, 1794. Two beggar boys at 
 
 play. 17x16 inches. ^£29 iar. A copy, 
 perhaps, of No. 435. 
 
 435C Aguado sale, 68. Two beggar 
 boys, one playing with balls, the other 
 eating bread near a house. 9X21 cm. 
 (sic) 275 francs. 
 
 435d. Marquis d'Espies. Children 
 playing with balls. Valued at 20,000 f. 
 Lejeune, Guide. 
 
 436. Two Peasant Boys eating a Melon. Munich Gal- 
 lery, S. 349. Two boys are seated on the ground, nearly front. One 
 is eating from a slice of melon which he holds over his mouth ; the 
 other, dipping his hand in a dish, observes his companion; a dog 
 seated on the right watches them ; on the ground, in front, is a basket 
 of fruit and a wallet. 50X42 inches. 
 
 From the Mannheim Gallery; brought to Munich in 1802. M. D'Argenville 
 once had an original drawing representing two peasants seated, eating a water- 
 melon ; in black lead, washed with India ink, and heightened with white. Vie des 
 Peintres, ii. 258. 
 
 A. Carse, line, in Payne, Munich Gallery. F. PlLOTY, litho., 18.6X14.I, in 
 Piloty and Lohle, Munich Gallery. F. PlLOTY, litho., in Cotta, Munich Gallery. 
 F. Piloty, litho., 18.3X14.8. 
 
 437. Two Peasant Boys eating Grapes and a Melon. Mu- 
 nich Gallery, S. 348. Two ragged urchins are seated on the 
 ground, nearly front. One is eating from a bunch of grapes which he 
 holds over his mouth ; in his left hand is a slice of melon ; the other 
 boy, holding a melon and a knife in his right hand, and a slice of 
 
286 
 
 MURILLO. 
 
 melon in his left, turns his head to observe his companion ; a basket 
 of grapes on the left. 54X40 inches. 
 
 Brought to Munich from the Mannheim gallery before 1 788. 
 
 Charles Langlois, stipple-mezzo., 26x18.9, Munich. A. H. Payne, line, 
 7X5.3. F. Piloty, litho., 18.8x15, in Piloty and Lohle, Munich Gallery. F. 
 Piloty, litho., 19X15. A. Selb, litho., 17.7X13.3, in Cotta, Munich Gallery. 
 
 438. Two Peasant Boys eating Grapes and a Melon. John 
 Balfour, Esq., Balbirnie, Fifeshire. A repetition of the above. 53 
 X56 inches. 
 
 Mentioned by Stirling, Annals of the Artists of Spain, iii. 1440. 
 
 439. Two Peasant Boys eating Grapes and a Melon. Walter 
 R. Bankes, Esq., Kingston Lacy, Dorset. A repetition of the 
 above. 64X52 inches. 
 
 Mentioned by Stirling, Annals of the Artists of Spain, iii. 1440. 
 
 440. Two Peasant Boys eating Grapes and a Melon. Robert 
 N. Sutton, Esq., Scawby, Lincolnshire. A repetition of the above. 
 49X38 inches. 
 
 Inherited from Sir John Nelthorpe, who purchased it about 1 790. 
 
 441. Two Boys Playing Dice. Akademie der Bildenden 
 Kunst, Vienna, 307. Two boys are seated at the foot of a tower, 
 gambling. The one on the left, wearing a red mantle, is kneeling, and 
 has just thrown two dice from his hand on a brown cloth spread on 
 the ground ; the other is seated, and looks towards his companion as he 
 points to the dice. Landscape background, with a square tower on 
 the right. 1.48X1.14. 
 
 In 1821, Count Lamberg, then President of the Akademie, presented this, with 
 the rest of his collection of seven hundred and forty pictures, to that institution, 
 which gift was the foundation of the gallery. A repetition, with slight variations in 
 the landscape, is in the Hermitage, No. 387, where it is attributed to Villavicencio, 
 who is probably the author of the Vienna picture also. 
 
 J. Klaus, etch., in Zeitschrift fiir Bild. Kunst, 1876. Anton Bock has 
 engraved the head of the seated boy. 
 
 442. Esau Selling his Birthright to Jacob (?). Count Har- 
 rach, Vienna. Two boys, leaning on a table, are engaged in ani- 
 
TWO PEASANT GIRLS. 
 
 287 
 
 mated conversation, and gesticulating with spirit ; the one on the right 
 wears a yellow robe with fur cape ; the other, in blue jacket and red 
 mantle, holds on the table a dish containing food and a wooden spoon. 
 Half length. 40X46 inches. 
 
 Formerly belonged to Count Thurn, who acquired it in Naples. 
 
 442a. Don A. Bravo, Seville. El 
 Piojoso. Two boys are seated at the foot 
 of a wall, nearly front; one of them is 
 removing vermin from his garments, the 
 other offers him a pear. Three jars and 
 a pomegranate in front. 66 X 45 inches. 
 
 A. Rosi, litho., in Sevilla Pintoresca. 
 
 442b. Cassel Gallery, 442. Two 
 boys, wearing ruffs and looking front ; 
 one of them playing the lute. Half 
 length. 32^X34 inches. 
 
 442c. E. Higginson (Saltmarshe) 
 gallery. A repetition, doubtless of No. 
 438. 50X39 inches; from Boursault 
 collection. This was not in the Salt- 
 marshe sale, 1846. 
 
 442d. Mr. Wallis brought from Spain 
 a picture of Boys eating Fruit. Buchanan, 
 Memoirs, ii. 234. 
 
 442c Earl of Lonsdale. Two Boys ; 
 one holding a pigeon, the other eating a 
 water melon. 13 X 10 inches. " An orig- 
 inal repetition of the picture in the 
 Munich Gallery." Mentioned by Waag- 
 en, iii. 263. 
 
 442f. Sir Gregory Page, and Mr. 
 Bertels, of Brussels, sale, London, May 
 8, 1 783. An old man, in coarse garments 
 and sugar-loaf hat, teaching a boy from a 
 
 card which they hold between them in- 
 scribed Laud e Dom us : three-quarters 
 length. ^"141 i$s. The same in a sale 
 byPaillet, Paris, March 27, 1786. 48 X 
 38 inches. " Engraved in mezzotint." 
 
 W. Pether, mezzo., 18. 2 X 15, called 
 The Schoolmaster and Scholar, 
 
 442g. Count Stroganoff, St. Peters- 
 burg. An old schoolmaster teaching a 
 boy his letters. 48x37 inches. 
 
 Praised in Waagen, Gemaldesammlung 
 in dcr Ermitage, 402. Mentioned in the 
 catalogue of Count Stroganoff. St. 
 Petersburg, 1800. 
 
 442I1. "Boys at Play." Two boys, 
 neatly dressed, blowing soap bubbles 
 before a cottage. Spurious. 
 
 Wm. Woollet direxit. From the 
 original, belonging to Samuel Athawes. 
 The Athawes collection was sold Feb- 
 ruary 14, 1 799. 
 
 442L Two (?) Boys seated, eating 
 a melon ; thought to be the small sketch 
 for the large picture ; the foreshortening 
 of the legs and arms is inimitable ; in the 
 first manner of Murillo. Purchased at 
 the European Museum about 1815, by 
 Captain Davies, and sold again by him. 
 Da vies, Murillo >, 1. note. 
 
 443. Two Peasant Girls counting Money. Munich Gal- 
 lery, S. 368. A girl on the left is seated on a stone, counting money 
 from one hand into the other ; the other girl, seated behind a basket of 
 grapes, watches her companion closely. Landscape background, with 
 a wall on the right. 55X42 inches. 
 
 Pichler, mezzo., 15.8x12.7, 1797. Hauber, line, 14X9.7. J. C. Army- 
 tage, line, in S. C. Hall, Gems of Art, and in Scott, Murillo. A. II. Payne, line, 
 
288 
 
 MURILLO. 
 
 7.IX4.8. PlLOTY, litho., 18.8X14.9, in Piloty, Munich Gallery. Piloty, litho., 
 19. 1 X 14.3, reversed, in Cotta, Munich Gallery. S. Wiedenbaum, litho., in Hanf- 
 staengel, Dresden Gallery, from a copy in the Dresden Museum, No. 635. 
 
 444. A Girl and her Duenna. Las Gallegas. Lord Heytes- 
 bury, Heytesbury House, Wiltshire. Two women are seen at a win- 
 dow looking out at the spectator, smiling; the younger, a plump, 
 brown-cheeked maiden, rests her arms on the window sill and her 
 cheek on her right hand ; the Duenna on the left holds to her face the 
 end of the kerchief that covers her head. 48X40 inches. 
 
 Purchased in 1823 by Lord Heytesbury, then British Minister to Spain, from 
 the Duque de Almodovar. British Institution, 1828, 1864. 
 
 Joaquin Ballester, line, 9.8x8. 1, " from the picture belonging to the Duque 
 de Almodovar." W. Nichols, mezzo., 6x5. On wood in Stirling, Annals, ii. 920. 
 
 445. A Girl and her Duenna. Las Gallegas. Heirs of H. 
 
 A. J. Munro, of Novar. A repetition of the above. 43X39 in. 
 
 Presented by a Spanish Grandee to Mr. Munro's father when he was Consul 
 at Madrid. It was offered in the Munro sale, 1878, but not sold. 
 John Bromley, mezzotint, 12.2x11. 
 
 446. Celestine and her Daughter in Prison. Hermitage, 
 St. Petersburg, 375. Two women, seen only in bust, look out of 
 a grated window, the bars of which the daughter clasps with both 
 hands ; on the left is a violet drapery. .41X.59. 
 
 Bequeathed to the Hermitage in 1845 hy the Grand Chamberlain, Dimitry 
 Tatistchef. " A beautiful study by Velazquez, which is wrongly attributed to 
 Murillo." Viardot, Muse'es d'Angleterre, de Russie, etc., p. 386. These two women 
 are said to have been celebrated intrigants in the painter's time. 
 
 447. Old Woman and Boy. Munich Gallery, S. 376. An 
 
 old woman, seated on the right, is removing vermin from the head of 
 a boy who lies on the floor with his head in her lap, eating a piece of 
 bread and playing with a dog ; a distaff lies on the floor in front ; on 
 the left is a table and two jars, and above them a window. 53X40 
 inches. 
 
 Pichler, mezzo., 15x11.3, 1797. Hauber, line, 12.3X9. B. Weis, etch., 
 5.8x4. Piloty, litho., 17.2x14, in Piloty, Munich Gallery. Piloty, 19X14.3, 
 reversed, in Cotta, Munich Gallery. Outline in Reveil, Muse'e de Feint., xiv. 937. 
 
OLD WOMAN AND BOY. 
 
 289 
 
 448. Old Woman and Boy. La Vieja. Duke of Welling- 
 ton, London. An old woman, wearing a red petticoat, and a gray- 
 kerchief covering her head, sits on the right, bending over a basin of 
 food which she eats with a spoon ; on the left a boy is seated, looking 
 front, and pointing to her derisively ; a dog, a basket of linen, and a 
 pitcher in the foreground. Landscape with rocks and bushes on the 
 right. About 56X41 inches. 
 
 Ponz describes this composition with unusual minuteness, and praises it 
 highly. It was, he says, in the choice collection of more than three hundred pict- 
 ures belonging to his friend D. Sebastian Martinez, at Cadiz. Viage, xviii, 21. 
 When Captain Davies was at Cadiz, about 1809, he saw it in the collection of D. 
 Manuel de Leyra, and rejected it, being covered with paint and filthiness, which 
 rendered it almost invisible. He adds that it came to England and was sold the fol- 
 lowing year at Christie's, and that it was, when he wrote, in the possession of Mr. 
 Anderdon. Murillo, lxxxiv., lxxxv. 97, note. If, as the Captain says, it was seen 
 by Twiss in the collection of the Marques de la Canada, I have overlooked the 
 note in Twiss's Travels, and have not the volume at hand to refer to. It was 
 sold at J. Proctor Anderdon sale, May 15, 1847, for ^202 13-5-., to the Duke of 
 Wellington. Mentioned by Stirling, ii. 917. 
 
 449. Old Woman and Boy. La Vieja. Earl of Dudley, 
 
 London. A repetition of the above. 56X41 inches. 
 
 Salamanca sale, 1867, 85,000 francs. The catalogue asserts that the picture 
 is from the gallery of Don Sebastian Martinez (?). See No. 448. Leeds Exhibi- 
 tion, 1868. Royal Academy, 1871. 
 
 450. Old Woman and Boy. La Vieja. Duque de Padoue, 
 Paris. A repetition of the above. 1.35 X 1.07. 
 
 450a. W. F, Trimnell, Esq., Clif- 
 ton, Gloucestershire. An old woman 
 lying down, holding a tambourine and 
 snapping her fingers ; a boy stands over 
 her, playing castanets. 30x39 inches. 
 Royal Academy, 1877. 
 
 450b. Mr. Blathwayt. A Woman 
 and Boy. Royal Academy, 1882. Praised 
 in The Athenceum, January 7, 1882, and 
 by Louis Gonse, in Gaz. B. Arts, March, 
 1882. 
 
 450c. A Boy and a Girl with two rab- 
 bits and a cabbage on a table before 
 them. Spurious. 
 
 37 
 
 P. V. B. [P. Van Bleeck], 1757. Be- 
 neath are eight lines, beginning, "The 
 maid in rural happiness." 
 
 45od. " Les Coquillages." Two rag- 
 ged children, a boy and a girl, seated, 
 with a basket; some shells on the 
 ground in front. Spurious. 
 
 B. Michel, line. Companion to No. 
 454C- 
 
 450c "Spanish Boy and Gir/." Two 
 children handsomely dressed ; the boy, 
 wearing a plumed cap, has his back to 
 the spectator ; the girl looks front. Half 
 length. Spurious. 
 
290 
 
 MURILLO. 
 
 T. Woolnoth, mezzo., 1835. "From 
 the original in the Guise collection at 
 Oxford." 
 
 45of. " Rejected Addresses." A young 
 woman with a clarionet, repels the ad- 
 vances of a man who offers to embrace 
 her ; three-quarters length. Spurious. 
 
 J. Dixon, mezzo., 17.8x12.8. 
 
 450g. " The Young Gypsy." A 
 mother and her child seen at a window ; 
 half length. Spurious. 
 
 S. F. Ravenet, line, 13. 1 X 10.4. Pub- 
 lished by Boydell, vol. ii. No. 31, from 
 the picture belonging to Edward Fitz- 
 gerald. Dean & Munday, litho. ; the 
 frame of the window is omitted. 
 
 450I1. J. D. Gordon, Xeres. A rep- 
 etition of No. 443. Stirling, iii. 1443. 
 
 450L Don A. Bravo. La Frutera. 
 A repetition of No. 444 ; slightly varied. 
 66x45 inches. 
 
 A. Rosi, litho., in Sevilla Pintoresca. 
 
 450k. Aguado sale, No. 44. Two 
 girls counting money. I.35XI.00. 
 5,550 francs. 
 
 450I. Aguado sale, No. 54. A boy 
 leading a blind beggar, who leans on the 
 shoulder of his guide ; busts. .62X.45. 
 380 francs. 
 
 450m. Lady Stuart sale, May 15, 
 1 841. A mother teaching her child to 
 sew. ^"141 15-r. 
 
 451. A Woman Drinking, with a Child. Sir William 
 
 Stirling- Maxwell, Bart., Keir, Perthshire. A study for the figure 
 
 of the woman with a child in her arms, drinking from an earthen cup, 
 
 in the picture of Moses, ante No. 14. Life-size. 
 
 Exhibited at Manchester, 1857. A picture of a woman giving drink to another 
 was formerly in the Carmen Descalzos, at Madrid. Ponz, v. 253. Cean Bermudez, 
 Diccionario, ii. 63. 
 
 452. Three Peasant Boys. Dulwich Gallery, 283. A boy, 
 seated on the ground on the right, with a tart in his hands, looks up 
 to a young negro standing, with a jar on his shoulder, holding out his 
 hand for a share of the food ; a third boy, seated on the ground on 
 the left, looks front ; a basket and a pitcher on the ground in the cen- 
 tre. Landscape background, with a wall on the left. 63X41 inches. 
 
 Companion to No. 436, which see. A copy, probably of this picture, was in 
 the Aguado sale, No. 47, 1.45X1.11, 1,300 francs. 
 
 E. Cooper, mezzo., 8.1x6, reversed, scarce. Unknown, line, 10x6.7. 
 
 453. Three Boys playing Dice. Munich Gallery, S. 357. 
 
 Two boys are throwing dice on a large stone ; a third stands beside 
 them, biting a'crust of bread; beside this last are a basket of fruit, a 
 broken jar, and a dog looking up as if expecting a share of the bread. 
 54X40 inches. 
 
FOUR PEASANT BOYS. 
 
 291 
 
 Charles Langlois, mezzo., 26x19. F. Piloty, litho., 18.7x15.1, in Cotta, 
 Munich Gallery. F. PlLOTY, chalk litho., 18.7x14.5. Outline in Reveil, Muse'e, 
 xiii. 890. 
 
 454. Three Beggars Regaling. Hill M. Leathes, Esq., 
 Herringfleet Hall, Lowestoft, Suffolk. Three men are seated, drink- 
 ing; a jar on the ground in front; background, a landscape with 
 rocks on each side, and cloudy sky. Full length, 54X51 inches. 
 
 From Godolphin collection. Exhibited at Leeds in 1868. 
 
 The tradition is that Lord Godolphin proposed to Mr. Carteret Leathes, grand- 
 father of the present owner, that in exchange for the first foal of the celebrated 
 Arabian horse Godolphin, Mr. Leathes might take his choice of the pictures in his 
 Lordship's collection, and this is the one selected. 
 
 Evelyn gives the following account of the sale of the first picture by Murillo 
 known to have been sold in England, only eleven years after the death of the artist. 
 "June 21, 1693. I saw a great auction of pictures in the Banqueting House, White- 
 hall. They had been my Lord Mel fort's, now Ambassador from K. James, at 
 Rome, and engag d to his creditors here. Lord Godolphin bought the picture of 
 the Boys by Morillio, the Spaniard, for 80 guineas, deare enough." John Evelyn, 
 Memoirs, London, 1854, 5 vols. 8vo, ii. 325. 
 
 At the Earl of Godolphin sale by Christie, June 6, 1803, No. 58, " Spanish 
 Beggar Boys," sold for ^257 15^. No. 59, "The Companion," ^283 10s. 
 
 454a. A Boy, wearing wooden shoes, 
 standing on the right, offers a nut to a 
 boy and girl seated. Spurious. 
 
 MacClure & Macdonald, litho., 
 15.8x11, Glasgow. 
 
 454b. "La Toilette du Savoyard." A 
 mother is combing the hair of a little 
 girl, who is seated on the floor ; in the 
 background a boy is warming his hands 
 
 at a fire-place; on the left is an open 
 door. Spurious. 
 
 Louis Halbou, line, 13.4X11.5, 
 Paris, 1763. 
 
 454c. " LeJeu mat place'." Two boys 
 seated, playing cards, a third stands look- 
 ing on. Spurious. 
 
 B. Michel, line, 14X10? Companion 
 to No. 45od. 
 
 455. Four Peasant Boys. Munich Gallery, S. 358. Three 
 
 urchins, reclining on the left, are playing cards ; a fourth, kneeling on 
 
 the right, holds cards in his hands. Landscape background, a wall 
 
 on the right. 43X35 inches. 
 
 Although attributed to Murillo, this is probably the work of Villavicencio. 
 A. H. Payne, line, in Payne, Munich Gallery. F. Piloty, litho., in Piloty, 
 Munich Gallery. W. Flackenecker, litho., 20.5X14.6. 
 
 456. Four Peasant Boys. En/ants du Peuple. On the left, 
 three boys, one of whom is half naked, seem to be conspiring to gain 
 
292 
 
 MURILLO. 
 
 possession of a loaf of bread, which is held by a fourth boy standing 
 apart. Half length. Landscape background. .57X1.85. 
 
 Soult sale, No. 70. Bought in at 9,000 francs, and afterwards sold for 25,000 
 francs. Lejeune, Guide, ii. 242. It is probably now in the possession of M. Fran- 
 cois Seilliere, Paris. 
 
 Outline in Reveil, Musee de Peinture, ii. 117. 
 
 456a. Marquis of Exeter. Beggars 
 regaling. Stirling, iii. 1441. 
 
 456b. Sir Charles Coote. A Group 
 of Peasants. British Institution, 1838. 
 
 456c. Lady Dover. Spanish Peas- 
 ants. British Institution, 1839. 
 
 456d. Noel Desenfans sale, April 8, 
 1 786. Spanish peasants at the door of a 
 cottage. 27X23 inches. £10. 
 
 456c Noel Desenfans sale, 1795. 
 Sportsmen regaling. 
 
 456f. Sir George Yonge sale, March 
 24, 1806. Boys at Cards. 20X16 in. 
 
 ^84. The collection was formed by 
 Bouchier Cleeve, and this picture is men- 
 tioned as belonging to Mr. Cleeve, in 
 The English Connoisseur, i. 62. 
 
 456g. W. Y. Ottley sale, 181 1. Chil- 
 dren at play. £$1. 
 
 456I1. J. W. Willett sale, by Peter 
 Coxe, May 31, 1813. Young peasants 
 surrounded by the fruits of the country. 
 Architectural background. ^5 1 . 
 
 456i. Salamanca sale, 1875. Gamins 
 de Seville. .44X.80. From Patricio de 
 Escosura. 1,000 francs. 
 
 457. Don Andres de Andradae. Earl of Northbrook, Lon- 
 don. A gentleman, about fifty years of age, with bushy hair, wearing 
 a dark doublet with slashed sleeves, knee breeches, white stockings, 
 and a narrow linen collar, stands, with his hand on the head of a dog 
 seated by his side ; his hat is in his left hand, a sword is girt to his 
 side ; behind him is a balustrade, and on the left a square column, the 
 pedestal of which is inscribed D n Andres de Andrady y Col. Full 
 length. 78X46 inches. 
 
 This picture was purchased from Don Antonio Bravo by Sir J. M. Brackenbury, 
 British Consul at Cadiz. It was afterwards offered to the National Gallery, Lon- 
 don, for ^500, but the offer having been declined, it was purchased by King 
 Louis Philippe for ^1,000, and sold at his sale, No. 328, for ^1,020, to Thomas 
 Baring, who had, it is said, authorized his agent, Mr. Graves, to bid £1,700 if 
 necessary, to secure it. Andradae was conductor of the processions in the Cathe- 
 dral of Seville. 
 
 " Brackenbury 's Murillo — the Man with the Dog — is also in the gallery [King 
 Louis Philippe's]; this I saw in the linen draper's [Bravo's] house in Seville, and 
 the expression of the head strikes me as much now as it did then. It seems to see 
 you while you look at it." Sir D. Wilkie, Life, iii. 1 1 7. 
 
 "The picture was bought by Sir J. M. Brackenbury some twenty years ago, 
 from the heirs of Andradae, for ^1,000. A dispute arising between Sir John and 
 the broker respecting the commissions, the latter gave notice to the Government, 
 and the old law of Charles III., prohibiting the exportation of pictures, was put in 
 
MURILLO. 
 
 293 
 
 force. After some time a poor copy was obtained and substituted for the original, 
 which was smuggled out of the country. This is the picture which Lord Wellesley, 
 when in Seville, endeavored to obtain." R. Ford, in The Athenceum, May, 1853, p. 
 623. Exhibited at the British Institution, 1853. Royal Academy, 1870. 
 
 A copy by Gutierrez is in the Academy of San Fernando, at Madrid. Another, 
 82X44 inches, was sold as a Murillo in Sir A. Aston sale, August 6, 1862, for 
 ^472 10s. Again, in J. Philip R. A. sale, May 31, 1867, attributed to Velazquez, 
 £1$$ Ss. It was purchased from Messrs. Graves in 1875, by F. W. Cosens, Esq., of 
 Lewes, who attributes it to Valdes Leal. 
 
 458. Conde de Avalos. Earl of Caledon, London. A gen- 
 tleman wearing a habit with slashed sleeves, a lace collar, and a sword. 
 His right hand holding a glove, rests on the flat, oval frame that 
 encloses the figure. Half length, life-size. Companion to No. 477. 
 
 S oI A x 39% inches. 
 
 Purchased at the sale of Lady Harriet Daly, Dublin, about 1820-27. Exhib- 
 ited at the British Institution, 1855. 
 
 459. Father Cavanillas. Museo del Prado, Madrid, 897. 
 
 A Friar, about forty -five years of age, with bare head and coarse 
 
 features, in gray dress, looking front. Bust. .76X.62. 
 
 From the Isabel Farnese collection, where it was attributed to Claudio Coello. 
 Photographed by J. Laurent, Madrid, No. 182. 
 
 460. Don Luis de Haro (?). Robert S. Holford, Esq., Lon- 
 don. Bust, in an oval. 33X24 inches. 
 
 On the back of the old lining of this portrait was written Dom Luis de Haro, 
 neveu du Due o? Olivares. 
 
 460a. Alton Towers sale, 1857. D. of stone. ,£53 lis. The same from the 
 
 Luis de Haro, with long hair and black Alton Towers collection, in Charles 
 
 silk dress, wearing the Order of the Scarisbricke sale, by Christie, May 10, 
 
 Golden Fleece and a rapier; on an oval etc., 186 1. ^50 8s. 
 
 461. Don Diego Maestre. D. Nicolas Maestre, Seville. A 
 portrait of Captain Diego Maestre. Full length, life-size. Com- 
 panion to No. 480. 2.01 x 1.06. 
 
 This portrait and its companion are said to have been painted for, and they still 
 remain in the possession of the Maestre family. 
 
 462. Murillo. Earl Spencer, Althorpe, Northamptonshire. 
 The artist is represented as about sixty years of age, with bushy hair, 
 
294 
 
 MURILLO. 
 
 his body turned partly to his left, the face nearly front, wearing a 
 black doublet over which falls a linen collar, edged with lace. Nearly 
 half length. Painted as if in an oval frame, on which his right hand 
 rests, the left hand not seen. The frame stands on a pedestal, on 
 which are brushes, a palette, a roll of paper, etc. The base is inscribed 
 Bart us Murillo seipsum depingens pro filiorum votis AC 
 precibus explendis. 47X42 inches. 
 
 This portrait was purchased by Sir Lawrence Dundas the latter part of the last 
 century, for £100. It may possibly be one of the pictures which were brought 
 from Spain by John Blackwood. See No. 139. It was sold in Sir Lawrence 
 Dundas sale, by Mr. Greenwood, London, May 20, 1794, for ^380. Earl of Ash- 
 burnham sale, by Christie, July 20, 1850, ,£829 10s. The trustees of the National 
 Gallery would have purchased this picture at the Ashburnham sale if their purse had 
 been long enough (see Parliamentary Papers, 1853). Exhibited at the British 
 Institution, 1855, Manchester, 1857, Leeds, 1868, South Kensington, 1876-79. 
 
 " He painted a portrait of himself, at the instance of his sons (a wonderful 
 work), which was engraved in Flanders for Nicolas Amazurino ; also, another in a 
 golilla, in the possession of his son Gaspar." Palomino, Mus. Pict., iii. 423. 
 According to Cean Bermudez (Die., ii. 55, and Carta, 104) the portrait painted for 
 his sons was taken to Flanders to be engraved by Collin. There can be no 
 reasonable doubt that the picture referred to by Palomino is the one now belonging 
 to Earl Spencer. It is the best and the most authentic of all the portraits of 
 Murillo, and is doubtless the one from which Tobar made the copy now in the 
 Museo del Prado, No. 1044. Murillo was a warm friend of Amazurino, and 
 painted his portrait and that of his wife, Isabel Malcampo, in 1674. 
 
 Richard Collin, line, 13.9x9.2, reversed. The base of the pedestal is 
 inscribed as above, to which is added Nicolaus Omazurinns Antverpiensis Tanti 
 viri simttlacrum in Amicitiae symbolon in aes incidit mandauit. Anno 1682. In the 
 engraving the hand is partly cut off by the oval, and the palette, etc., on the pedes- 
 tal are omitted. Richard Collin, line, 3.8x3.5, in Sandrat, Academia Nobilis- 
 simae Artis Pictoriae, Noribergae, 1683, p. 392, oval, bust only. Calamatta, 
 line, 5.5X4.5, reversed, without the hand or the accessories, in Galerie Aguado ; in 
 Art Journal, 1864; and in Scott, Murillo ; probably engraved after a copy by 
 Cabral Bejarano in the Aguado Gallery, No. 102. Ben. Ereda, line, 5.8x4.5, in 
 Uomini Illust. nella Pittura, Firenze, 1769, 13 vols. 4to, vol. xi. C. O. Murray, 
 etch., 7.1 X 5-3, in The Portfolio, November, 1877. Outlines by G. Cooke, in His- 
 torical Gallery, London, 1808; in Landon, Biog. Universelle, Paris, 181 1-28, xxx. 
 144. (The plates are not found in all editions of the work) ; in Reveil, Musee de 
 Peint. ; in Liibke, Denkmaler der Kunst ; and in D'Argenville, Abre'ge de la vie des 
 Peintres. On wood in Dohme, Kunst tend Kiinsller. 
 
 463. Murillo. Lord Leconfield, Petworth, Sussex. A rep- 
 etition of the above, without the base and the other accessories. 
 The collection formerly belonged to Colonel Wyndham. 
 
MURILLO. 
 
 295 
 
 464. Murillo. Duke of Wellington, London. A repetition 
 of No. 462, but without the accessories and inscription. About 12X 
 12 inches. 
 
 464a. Museo del Prado, 1044. Por- V. Loutrel, litho., in Joy as Pint; 
 trait of Murillo by Tobar. A copy of on wood in Gaz. B. Arts, September, 
 No. 462 with the accessories, but with- 1875, and in Illustration Esp. y Amer., 
 out the inscription. 1.01X.76. March, 1879. 
 
 465. Murillo. Baron Seilliere, Paris. The painter is repre- 
 sented about fifty years of age, with long hair falling on both shoul- 
 ders, slight mustache, and chin tuft, close-fitting black doublet with 
 slashed sleeves, and a golilla or narrow stiff linen collar. Bust, with- 
 out hands, in an oval, as if painted on a block of marble, standing on 
 another block which is inscribed, Vera efigies Bartholomaei Ste- 
 
 PHANI A MORILLO MAXIMI PICTORIS, HlSPALI NATI ANNO 1618, OBIIT 
 ANNO 1682 TERTIA DIE MENSIS APRILIS. I.08X.76. 
 
 Purchased at the sale of D. Bernardo Iriarte, Madrid, by D. Francisco de 
 la Barrera Enguidanos. After his death it was acquired by Julian Williams, who 
 sold it for ^1,000 to King Louis Philippe, at whose sale, No. 329, it was sold 
 for ^420 to Nieuwenhuys. 
 
 Besides the portrait engraved by Collin, No. 462, Palomino mentions " another 
 in a golilla, formerly in the possession of Don Gaspar Murillo, his son." Mus. 
 Pict. iii. 423. " It appears by the inventory that he left various pictures, some fin- 
 ished, and some unfinished. Among the first was his own portrait, when young, 
 with the golilla, which I presume is the one now in the possession of the illustrious 
 Senor Don Bernardo Iriarte." Cean Bermudez, Carta, 104. In 1832 Mr. Williams 
 owned thirty-six pictures by Murillo, among them a portrait of himself, a work of 
 extraordinary merit, the only authentic portrait in Spain. Sevilla Pinto., 473. See 
 also Ponz, Viage, v. 307. Burger, Manchester Ex. Sir W. Stirling-Maxwell, Cat- 
 alogue, 127. 
 
 Sichling, line, 7x5.4, in Gal. Hist, de Versailles, from the picture in the 
 Galerie Espagnole. Blanchard, line, 11.9X9.5, Paris, 1842. H. Adlard, line, 
 in Stirling, Annals. Manuel Albuerne, line, 8.3x6.6, Madrid, 1790. Manuel 
 Alegre, line, 1790, without accessories. These two engravings are after the orig- 
 inal picture belonging to D. B. Iriarte. On wood in Blanc, Peintres ; in Scott, 
 Mtirillo ; Robinson, Great Painters ; Becker, Kunst und Kiinstler. Mauzaisse, 
 litho., 10.5x8.4, bust only. 
 
 The following are from this picture, the engraver having lengthened the figure 
 and added hands and a drawing of a seated naked figure. M L - Alegre, D. M 1 • 
 S R - Carmona lo concludo, line, 11.6x7.2, at Calco. Nacional. John Bromley, 
 outline in O'Neil, Die. of Spanish Painters. 
 
296 
 
 MURILLO. 
 
 466. Murillo. John W. Marshall, Esq., London. A por- 
 trait somewhat resembling No. 465, but with material differences. 
 .79X.65 centimetres. 
 
 Standish sale, 1853, No. 232, ^"346 iar. Purchased from the Conde de Maule, 
 Cadiz. Manchester Exhibition, 1857, No. 632. Praised by Waagen, iv. 183. 
 Burger, Tresors cPArt, 130. 
 
 This picture was sold by Mr. Marshal in 1880. Present owner unknown. 
 
 467. Murillo. Francis Cook, Esq., Richmond Hill, Surrey. 
 The artist is about twenty-five years of age, with long hair falling on 
 his shoulders ; his left hand is inserted in a fold of his brown cloak on 
 his breast. 30X24 inches. 
 
 468. Murillo. Francis Cook, Esq. Murillo is represented 
 about forty years of age, in black habit with lace collar, thick mus- 
 tache and long chin whiskers, his right hand flat on his breast. Inscribed 
 beneath, El Ritrato de Bartolome Esteban Murillo de mano suyo. 
 Bust. 30X24 inches. 
 
 The features resemble those of Murillo, but this differs from all his other 
 portraits. 
 
 468a. Musee de Versailles, 4289. frame; with long hair falling on both 
 
 "Spanish School." Murillo, wearing a shoulders, a narrow linen collar, a close 
 
 black jacket buttoned close, a cloak seen jacket buttoned in front with many small 
 
 on both shoulders, a linen collar cut buttons, and a cloak which is seen on both 
 
 straight across in front, with curling hair shoulders. Inscribed beneath, In lau- 
 
 falling on both shoulders, a brush in dem D. Bartolomaei Murillo, etc. 
 
 his right hand, palette, mahlstick, and I. A Palom ., del et sculp. M*K, line, 
 
 brushes in his left. Bust, three-quarters 8. 1 X5-5- This print is excessively rare, 
 
 left. .77X.58. A copy formerly belonged to Senor Car- 
 
 E. Scriven, line, 5. 1 X4. " From the derera, and is now in the Biblioteca 
 
 original picture by himself in the private Nacional, at Madrid. Another is in the 
 
 collection of the King of the French," in collection of the author of this catalogue. 
 
 C. Knight, Gallery of English and For- The original portrait is unknown. The 
 
 eign Portraits. The following are varia- engraving is by Juan Bernabe Palomino, 
 
 tions of the above: Geoffroy, line, 3.5 nephew of the author of El Museo del 
 
 X4. Schubert, litho., 3.6x3.8. Vil- Pictorico, or perhaps by Juan Fernando, 
 
 LAiN,litho.,in Chabert, Gal. des Peintres. son of Juan Bernabe, and it may be after 
 
 Cecile Brandt, litho. On wood in the portrait No. 466. 
 
 Urbino, Princes of Art. 468c. Duke of Bedford, Woburn 
 
 468b. Murillo. Bust, without hands, Abbey. Portrait of Murillo. 26x21 
 
 three-quarters left, as if in a flat, oval inches. Waagen, iv. 336. 
 
MALE PORTRAITS. 
 
 297 
 
 468d. Alfred Seymour, Esq. A por- 
 trait of Murillo, similar to No. 465, but 
 with some variations. South Kensington 
 Museum, 1879. 
 
 468c Sir W. Stirling-Maxwell, 
 Bart. A portrait of Murillo, young, 
 with a narrow collar. By Tobar. Waag- 
 en, iv. 450. 
 
 468f. Valencia Museum, 662. 
 Murillo ; a very doubtful portrait, said 
 to have been presented by Queen Isabel 
 Farnese to Carlos Boschi, a musician. 
 
 468g. D. Joseph de Murcia, Cadiz, 
 
 had a portrait of Murillo. Mentioned by 
 Ponz, Viage, xviii. 27. 
 
 468b.. Captain Davies brought to 
 England a portrait of Murillo with its 
 companion Dona Beatrice, his wife. 
 Davies, Murillo, lxxxvii. 
 
 468L Lethieres sale, Paris, Novem- 
 ber 24, 1829. A portrait of Murillo, 
 executed after his death, by Zurbaran. 
 861 francs. As Zurbaran died twenty 
 years before Murillo, we may be per- 
 mitted to doubt the authenticity of this 
 portrait. 
 
 469. Murillo's Son (?). Duque de Alba, Madrid. A man, 
 twenty-five years of age, standing, in ecclesiastical habit, consisting of 
 a white surplice, black robe and mantle, holding a square cap in his right 
 hand, and a breviary in his left; on a table covered with red cloth are 
 two books and a watch. Inscribed Aitatis suae vigesimo quinto anno 
 1680. A coat-of-arms is sculptured on the pedestal of a column on 
 the left. Background, a red curtain. Full length. 1.97 X 1.08. 
 
 Due de Berwick et Albe sale, Paris, April 9, 1877,23,000 francs. Not sold. 
 
 Lalauze, etch., in Due de Berwick et Albe sale catalogue. 
 
 [Murillo had three children : a daughter, Francisca, and two sons, Gabriel and 
 Gaspar Esteban. Concerning the first two, we have but few particulars beyond 
 what the artist's will supplies. Dona Francisca, who was probably the oldest, was 
 professed as a nun in the convent of Madre de Dios, about 1675. Don Gabriel, at 
 the time of his father's death, was absent in the Indies. Palomino gives his name as 
 Joseph, and asserts that his father's influence obtained for him a rich benefice worth 
 3,000 ducats, and that he died at a ripe age. Don Gaspar was baptized October 22, 
 166 1, in the parish church of Santa Cruz. He was a painter and imitator of the 
 style of his father, but took orders and obtained a benefice at Carmona, whence he 
 was, on the 1st of October, 1685, transferred to a canonryin the cathedral at Seville, 
 of the value of 8,000 reals per annum. He died May I, 1709, and was buried 
 beside the regia of the altar mayor in the cathedral. His epitaph describes him 
 as a man of good manners, modest, with a soul full of piety and devotion, and liberal 
 towards the poor, whom he made his heirs. If the picture above described, 
 and the inscription it bears are authentic, it results that the portrait is that of 
 Don Gabriel, who must have been born in 1655, and not Gaspar, who was only 
 nineteen years old at the date named on this picture. See Chronological Data, po si. 
 
 470. Don Justino Neve y Yevenes. Marquis of Lans- 
 
 downe, Bowood, Wiltshire. An ecclesiastic with a small beard and 
 
 38 
 
298 
 
 MURILLO. 
 
 mustache, seated in a red velvet chair, wearing a black cassock and a 
 gold medal at his breast ; his right hand is on the arm of the chair ; in 
 his left hand is a book, in which a finger is inserted ; on a table beside 
 him are a clock, bell, and book ; a little dog, decorated with a collar 
 of red ribbon, looks up to his master's face. Full length, life size. 
 
 Brought from Spain about 1804 by M. Delahante, and sold to Mr. Taylor for 
 ^1,020. Sold at G. Watson Taylor sale, 1823, for ^504, to the Marquis of Lans- 
 downe. British Institution, 1818. 
 
 Don Justino Neve was a canon of Seville, and a warm friend of Murillo, who 
 made him an executor of his will. It was by the Canon's order that the artist 
 executed the famous pictures for the Church of S. M. la Blanca (see No. 30), and 
 those for the Hospital of the Venerables (see No. 29). As a mark of gratitude 
 and friendship, this portrait was painted about 1678, and it remained in the 
 refectory of the Hospital until the beginning of this century. 
 
 " In portraits he was also eminent, as witness that of D. Faustino [j-zV] de Nebes, 
 Canon of Seville, in the Hospital of the Venerables, which is truthful and well 
 painted, especially the little English dog, which is so life-like that other dogs used 
 to bark at it." Palomino, iii. 432. Quilliet says, in the journey which he made to 
 Spain with Lebrun, that eminent judge of paintings authorized him to offer 20,000 
 francs for this portrait, which was refused. Die. des Peintres Esp., p. 100, note. 
 Mentioned in Ponz, Viage, ix. 123. Cean Bermudez, Die. ii. 60, and Carta, 95, 
 Buchanan, Memoirs, ii. 193. 
 
 Don Aniceto Bravo had a head of Neve, which is supposed to be a study 
 for the above portrait. Sevilla Pinto., 413. 
 
 471. Don Nicolas Omazurino (?). Robert S. Holford, Esq., 
 
 London. A man in black habit, with white puffed sleeves, edged 
 with black lace, holding a skull against his breast with both hands. 
 Half length. Oval within a square. 33X30 inches. 
 
 Purchased by Mr. Holford through Mr. Buchanan, the eminent picture dealer. 
 
 Omazurino was the person at whose cost Collin engraved the portrait of 
 Murillo (see No. 462). Mr. Holford's picture may be the one described by Cean 
 Bermudez, who says : *' In 1672 Murillo painted Omazurino and his wife, Isabel 
 Malcampo, at half length ; he had a skull in his hand, and the lady had a rose. 
 These portraits are in the large and select collection of Senor Iriarte. Senor D. 
 Manuel Maria Rodriguez, chaplain of the Chapel Royal of Seville, has excellent 
 copies of them, painted by some very good scholar of Murillo, in 1674, with inscrip- 
 tions, which are not on the originals." Cean, Carta, 105. 
 
 472. Duke of Osuna. Louvre, La Caze Collection, 29, 
 
 Paris. A gentleman, seen three-quarters left, with long hair falling on 
 his shoulders, wearing a black habit, a linen collar cut square in front, 
 
MALE PORTRAITS. 
 
 299 
 
 the order of the Golden Fleece suspended at his breast, and a sword, 
 the hilt of which is seen at his side. Landscape background. Bust, 
 circular. .29 centimetres diameter. 
 
 Photographed by A. Braun & Co., Paris. 
 
 473. Duke of Osuna. Robert S. Holford, Esq., London. 
 Portrait of a man; probably a repetition of the above. About 36 X 
 30 inches. 
 
 474. Don Francisco de Quevedo Villegas. Louvre, La 
 Caze Collection, 28, Paris. The poet is seen three-quarters right, 
 with long hair falling on his back, wearing lunettes, a black habit, and 
 a linen collar cut square across in front. Landscape background. 
 Bust, circular. .29 centimetres diameter. 
 
 Photographed by A. Braun & Co., Paris. 
 
 A portrait of Quevedo was sold in Lord Northwick sale, 1859, No. 262, for 
 ^14 14J. to Edwin Williams. 
 
 475. Archbishop Ambrosio Ignacio Spinola. Stafford House, 
 London. An ecclesiastic, about forty years of age, wearing a white 
 habit beneath a dark robe, a narrow collar, a gold cross suspended at 
 his breast, and a ring. Bust, life-size, in an oval, on which his right 
 hand rests. 
 
 Perhaps this is the picture sold in the Altamira sale, London, 1833. 
 
 Don Ambrosio Ignacio Spinola, grandson of the great Spinola, Archbishop of 
 Valencia, Santiago, and Seville, died May 14, 1684, and was buried in the Colegio 
 de las Becas, afterwards the Palace of the Inquisition at Seville. 
 
 475a. Mathieu de Faviers sale, 
 April 8, 1837. Ambrose Ignace Spinola, 
 Archbishop of Spain, about fifty-two years 
 of age, in religious habit, in the embrasure 
 of a window. 3,200 francs. The cata- 
 logue says this portrait is mentioned by 
 Palomino, who indicates its place in one 
 of the palaces of the " Due de El Pe- 
 droso " ; but I have failed to verify the 
 reference. 
 
 475b. Sir Abraham Hume, Bart., 
 
 exhibited at the British Institution, in 
 1824. A Portrait of one of the Spinola 
 Family. 
 
 475c. Sale, June 9, 1827, by Chris- 
 tie, of pictures recently brought from 
 religious houses in Spain by the French. 
 Archbishop Spinola of Seville, seated in 
 a chair ; a small, full-length cabinet pict- 
 ure. ^28 7s. 
 
 476. A Man, called Murillo. Pesth Gallery, 694, Hungary. 
 Bust of a man, about fifty years of age, his body to the right, face 
 
3oo 
 
 MURILLO. 
 
 turned slightly front, with narrow, projecting collar, slight mustache, 
 long chin whiskers, and long, thin hair, which is parted on his left, 
 is drawn behind his ears and falls on his back. 
 
 From the Esterhazy gallery. The features, and the mode of parting and wear- 
 ing the hair clearly indicate that this is not a portrait of Murillo himself. 
 
 Rajon, etch., 6x4.6, in Landes-Gemdlde-Galerie in Buda-Pest, and in Ameri- 
 can Art Review, 1879, vol. i. No. 1. 
 
 476a. D. Joh. Casparis Beretta, 
 seated in a chair before a table, wearing 
 a skull cap and a linen collar, and hold- 
 ing a pen. Half length, oval. 
 
 Unknown, litho., 9. 7x7.6, at Konigl. 
 Lith. Inst., Berlin, 1824. 
 
 476b. Hampton Court, 396. Don 
 Carlos II., son of Philip IV., about four 
 years old, standing, his left hand on a 
 table. Dated 1665. From King James 
 collection. Full length, life-size. Doubt- 
 ful. Perhaps by Carreno. 
 
 476c. Academy of St. Luke, Rome. 
 "Claudio Gellee Pittore Lorenese." 
 Bust. Doubtful. 
 
 476d. D. A. Bravo. D. Juan Fede- 
 rigui, Archdeacon of Carmona. Sevilla 
 Pinto., 415. Tubino, 234. This gentle- 
 man is referred to ante No. 312. 
 
 476c Don Jose Larrazabal. Por- 
 trait of the Conde de Hinestrosa. Half 
 length. Sevilla Pinto., 492. Tubino, 
 234. Murillo is quite likely to have 
 painted the portrait of this gentleman, 
 who was occasionally called upon to 
 preside over the meetings of the Acad- 
 emy of Seville, and to whose memory 
 the Academy was only prevented by its 
 poverty from paying distinguished 
 honors when he died in 1670. Cean, 
 Carta, 69. 
 
 476f. Sir Luke Schaub sale, April 
 11,1758. Lope de Vega. The same 
 
 in the Earl of Leicester sale, 1842. 
 £48. 
 
 476g. Standish sale, 1853, No. 133. 
 Don Miguel Manara Vicentelo de Leca, 
 
 Founder of the Hospital of La Caridad, 
 where his ashes now repose. He was 
 born 1629, died 1679. Head in an oval, 
 the border inscribed with the name and a 
 date. .55X.41 cm. ^22. In the Stan- 
 dish catalogue the name is misspelled, 
 and the portrait is ascribed to an un- 
 known painter. Stirling considers it a 
 true picture by Murillo, and says it was 
 purchased by Julian Williams, about 
 1828, from the widow of the Marques de 
 Loreto. Annals, ii. 919; iii. 1444. It 
 was sold again in George Blamire 
 sale, Nov. 6, 1863, £9. Again, Charles 
 Martin sale, March 27, 1876, £\2 16s., 
 to Cox. It would be interesting, and 
 perhaps useful, to compare this portrait 
 with the engraving, after the portrait of 
 Manara by Valdes. 
 
 476h. Don Pedro de Urbina. Arch- 
 bishop of Seville. Died 1663. A full- 
 length portrait. Cean Bermudez, Carta, 
 97. This portrait was near the tomb of 
 that prelate, in the antesacristy of the 
 convent of San Francisco (see No. 268), 
 where it was seen by Head, who informs 
 us that it was one of the earliest works 
 of the artist. Handbook, 163. Stirling 
 asserts that it was removed by the 
 French, and much injured in the process. 
 Annals, ii. 917. 
 
 4761. Don Pedro Nunes de Villa- 
 vicencio, Knight of the Military Order, 
 friend, pupil, and protector of Murillo 
 (b. 1635, d. 1700). Sold at a sale, Lon- 
 don, June 12, 1874, ^178 ioj.,to Palmer. 
 Don Julian Williams had recently a full- 
 
MALE PORTRAITS. 
 
 301 
 
 length portrait of Villavicencio, about 
 thirty-five years of age, with hooked 
 nose, mustache, and long black hair, 
 wearing a black dress with open sleeves, 
 a hat in his hand, a sword at his side. 
 
 476k. D. Juan Govantes. Father 
 Hortensio Villavizenas. Bust, in black 
 and white habit. Stirling, iii. 1444. 
 
 476I. Hugh Baillie sale, 1848. Diego 
 Ortiz de Zuniga, author of the A nnales 
 de Sevilla. Bust, life-size, in dark dress 
 with gold studs and the red cross of San- 
 tiago on his shoulder ; in a carved stone 
 oval niche, with arms above, and two 
 cupids supporting the frame beneath. 
 j£i94 $s. British Institution, 1832, 
 1856. Stirling, iii. 1444. 
 
 476m. Don A. Bravo. Portrait of 
 Zuniga. Sevilla Pinto., 413. 
 
 476n. Corsini Palace, Rome. An 
 Advocate, in black habit and long linen 
 bands. Bust, without hands. 26x19 
 inches. 
 
 476p. Bordeaux Museum, No. 264. 
 A Philosopher, holding a book in his 
 hands, near a table. Half length. 
 
 476q. Lille Museum, 651. An 
 
 Architect, standing, with compasses in 
 his right hand ; the left holds a drawing 
 on the table before him. 1.03X.80. 
 
 Damman, etch., in VArt, T. ii. 1877. 
 This portrait has been attributed succes- 
 sively to Velazquez, to Zurbaran, to 
 Murillo, to Govaert Flinck, and finally 
 to Sebastian Bourdon. 
 
 476r. Suermondt Gallery. A Man, 
 with long hair, dark costume, a sword at 
 his side, and a letter in his hand ; dark 
 background, with a red curtain. From 
 the Marques de Moz, Madrid. 1.30X 1. 10. 
 Burger, Suermondt Catalogue. 
 
 476s. Darmstadt Gallery. A Car- 
 thusian Monk, three-quarters right, wear- 
 ing a gray cape and a hood over his head. 
 Oval, bust. 
 
 476t. "The painter was an intimate 
 friend of my ancestor (abuelo), for 
 
 whom he painted the portrait which is 
 in my dining-room." Gonzalez de Leon, 
 quoted in Tubino, 122. 
 
 476U. Mrs. Hicks. Portrait of a 
 Spanish Gentleman. British Institution, 
 1837. 
 
 476V. Viscount Alford. A Knight of 
 Calatrava. British Institution, 1838. 
 476W. Sir Francis Grant, R. A. 
 
 Portrait of a Man. British Institution, 
 1861. 
 
 47 6x. Aguado sale, No. 66. A Mag- 
 istrate, holding a book in his hand. Half 
 length. Signed and dated 1652. 1.00X 
 .81. 155 francs. 
 
 476y. Aguado sale, No. 72. An Ad- 
 vocate, in black habit, with a small collet. 
 Bust. .45X.34. 215 francs. 
 
 476Z. Aguado sale, No. 77. An old 
 man in black, probably a monk or a 
 magistrate, standing, with gloves in his 
 hand. Half length. 1.00X.75. 345 
 francs. 
 
 476aa. Aguado sale, No. 74. Mu- 
 rillo's Doctor, in black dress, holding a 
 skull. Half length. .90X.80. 205 francs. 
 This may possibly be a portrait of Juan 
 Agustin Lagares, a surgeon, who married 
 Murillo's aunt, and who became the boy's 
 guardian after the death of his father. 
 See Chronological Data, post. 
 
 4760b. Aguado sale, No. 71. Head 
 of a Monk, with eyes upturned, wearing 
 a violet collet, which covers his shoulders. 
 .45X.34. 121 francs. 
 
 476CC. Aguado sale, No. 65. A 
 Monk in brown costume. Bust. .70X 
 •59- 1 fiS° francs. 
 
 476dd. San Donato sale, 1870. 
 Murillo (?), nearly half length, with long 
 hair, and a wide, falling linen collar tied 
 with a ribbon ; his left hand, thrust out 
 from beneath his cloak, holds his gloves. 
 .72X.57. Bought in 1850 from the 
 Arrighi collection at Florence. Sold for 
 6,180 francs. 
 
 Bracquemond, etch. , in sale catalogue. 
 
302 
 
 MURILLO. 
 
 477. Condesa de Avalos. Earl of Caledon, London. A 
 lady in red mantle and rich brocade dress trimmed with lace, with a 
 flower in her right hand, and a basket of flowers in her left. Half 
 length, life-size. Companion to No. 458. 50^X39^ inches. 
 
 Purchased at the sale of Lady Harriet Daly. British Institution, 1855. 
 
 478. Madre Francisca Dorotea Villalda. Seville Cathe- 
 dral, Sacristy of the Chalices. A portrait of a nun, wearing a black 
 hood lined with white ; bending her head to kiss a crucifix held in 
 her right hand. Bust, life-size. 
 
 Painted in 1674, and presented to the cathedral by the Canon Juan de Loaisa. 
 Sevilla Pinto., 160. This good woman, the foundress and Abbess of the Domini- 
 can Convent of S. M. de los Reyes, died in 1623, when Murillo was only five years 
 old ; hence the authenticity of this picture as a portrait may be doubted. 
 
 Photographed by J. Laurent, Madrid, No. 121 1, called St. Dorothea. 
 
 479. Dona Juana Eminente. J. C. Robinson, Esq., London. 
 A lady of the Court of Philip IV., in black dress with slashed sleeves, 
 white undersleeves, and scallopped lace collar, with long hair parted on 
 her right, and falling in tresses on her shoulders ; her right hand, hold- 
 ing a fan, is on the back of a red chair, her left touches an ornament 
 on the bosom of her dress. Bust, 39X30 inches. 
 
 Sold as a Velazquez in Louis Philippe sale, No. 152. From a private collec- 
 tion in Madrid. ^46. Praised by Head, Handbook, 157. This may be a portrait 
 of the wife of D. Francisco Eminente, who is mentioned at No. 318. 
 
 480. Dona Maria Felices. Don Nicolas Maestre, Seville. 
 Portrait of a lady. Full length, life-size. Companion to No. 461. 
 2.01X 1.06. 
 
 481. A Lady, sometimes called Murillo* s Mistress. Sir William 
 
 Stirling- Maxwell, Bart., Keir, Perthshire. A young woman, 
 
 with long black hair, wearing a loose white garment, looking front 
 
 over her right shoulder. Half length. 28X23 inches. 
 
 Lucien Bonaparte sale, 1816, ^50, to E. Gray. Richard Sanderson sale, 
 1848, ^94 1 or. 
 
 F. Pistrucci, etch., in Galerie de Lucien Bonaparte. 
 
FEMALE PORTRAITS. 
 
 303 
 
 481a. Standish sale, 231. Murillo's 
 Mother, half-length, seated. Dated 1673. 
 .97X.71. £23 2s. (Drax.) Stirling, ii. 
 919. Praised by T. Thore, in Cabinet 
 de V Amateur, 1842. 
 
 481b. Due de Morny sale, May 31, 
 1865. Head of an old woman, pre- 
 sumed to be the artist's mother. .47X 
 •37- I >°5° francs. Gaz. B. Arts, May, 
 1863, p. 386. 
 
 [Dona Maria Perez, the mother of 
 Murillo, was buried in the church of 
 Santa Maria Magdalena, January 8, 
 1628, when the artist was only ten years 
 of age. See Chronological Data.] 
 
 481c. D. Juan de Olivar, Seville. 
 Dona Beatriz de Cabrera y Sotomayor, 
 wife of Murillo. Bust. Purchased in 
 Pilas. Mentioned by Sr. Tubino, in La 
 Ilustracion Betica, April 3, 1882, p. 92. 
 
 48id. Murillo's Wife. " I brought a 
 portrait to England, of Murillo, with its 
 companion, Dona Beatrice de Sotomayor 
 y Murillo, his wife, of whom I also had 
 a miniature, with a pink in her right 
 hand." Davies, Murillo, lxxxvii. 
 
 481c John Elwick, a picture dealer, 
 sale, by Oxenham, March 16, 1816. 
 " The daughter of Murillo as a Magdalen 
 on the day of her profession, in the act 
 of tearing off her variegated dress prepar- 
 atory to taking the veil. Being neither 
 handsome, nor her dress otherwise than 
 gaudy, it is the least captivating of his 
 pictures." Davies, Murillo, 100. 
 
 A picture of La Magdalena, by Valdes 
 Leal, formerly belonging to Don Aniceto 
 Bravo, is engraved in Stvilla Pintoresca. 
 The engraving corresponds with the 
 above description, and may be after the 
 same picture or a repetition of it. 
 
 48if. Marquis de Forbin-Janson 
 sale, 1842. Murillo's daughter repre- 
 sented as a Virgin at the moment of 
 ascension, with colored veil and white 
 drapery, half length, life-size. "This pict- 
 ure was well known in Spain, and re- 
 
 mained twenty years in the studio of 
 Murillo, where it served as a model for 
 his Virgins." .62X.48. 
 
 48ig. Louis Philippe sale, 326. 
 Murillo's maid-servant, a middle-aged 
 woman with mortar and pestle; knee- 
 piece. .73X.57. ^58 (Drax). This 
 may be the portrait of Maria de Salcedo, 
 wife of Geronimo Bravo, Murillo's house- 
 keeper, to whom he left 50 ducats, de 
 vellon, by his will ; or it may represent 
 Ana Maria, widow of Pedro Rodriguez, 
 who was one of the witnesses on whose 
 testimony the will was admitted to pro- 
 bate. 
 
 481I1. Earl Spencer. Portrait of 
 a girl about nine years old, said to be 
 an Infanta of Spain. Bust, without 
 hands, turned partly to our right, face 
 front, with lilac corsage, ornamented 
 with gold lace, pearl necklace, and a red 
 rosette in her hair, which is parted on 
 the left. 20 X 16 inches. This picture may 
 represent Louise d'Orleans, first wife of 
 Charles II., of Spam, granddaughter of 
 Charles I. , of England. It is probably by 
 Carreno de Miranda. Mentioned in The 
 Alhenceum, August 12, 1876. 
 
 48ii. Berlin Museum, 405. A 
 Young Woman, wearing a red velvet 
 dress, with white sleeves, and a pearl 
 necklace, turned to the left, looking front. 
 Bust. .66X.50. 
 
 Acquired in Italy in 184 1-2. For- 
 merly attributed to Murillo, but now to 
 Sustermans. 
 
 481k. Marquis of Lansdowne sale, 
 1806. Portrait of a girl. ^105. 
 
 48il. J. J. Lasalle sale, May 14, 
 1814. A young lady of rank, holding a 
 goldfinch. ^13 13J. 
 
 481m. George Watson Taylor 
 sale, 1823. A small head of a female. 
 £52 10s. 
 
 48m. Sir E. Landseer sale, May 8, 
 1874. Head of an old woman. ^39 i8j-., 
 to Crawley. 
 
CHRONOLOGICAL DATA 
 
 CONCERNING THE 
 
 LIFE AND WORKS OF MURILLO. 
 
 1617. December 31 (?). Bartolome, son of Gaspar Esteban, and Maria Perez, his 
 wife, was born. The exact date of his birth is unknown, but as the custom 
 of the time was almost invariable, to baptize an infant on the day following 
 its birth, we may, without great risk, accept the opinion of the Padre Val- 
 derrama, Tubino, and others, that the child came into the world on the last 
 day of the year 161 7. The house in which he first saw the light was a 
 small tenement belonging to the brotherhood of the convent of San Pablo, 
 then numbered 12 and 13, afterwards No. 52, in the Plazuela de San Pablo, 
 in the parish of Santa Maria Magdalena, in Seville. It was doubtless one 
 of the houses which had been leased by the brotherhood to the artist's father 
 in 1613, and which Murillo afterwards surrendered to the lessors, as men- 
 tioned hereinafter under the date of 1668. 
 
 1618. January I. The child was baptized by the licentiate Francisco de Heredia 
 in the parish church of La Magdalena, which formerly occupied the ground 
 now converted into the Plaza de La Magdalena. The church was despoiled 
 by the French in 1811, was partially restored in 1817, and finally demol- 
 ished by order of the city authorities in 1842. 
 
 It does not appear whence the artist derived the name of Murillo. 
 Cean Bermudez supposes it to have been adopted, according to a custom not 
 infrequent at the time, from his maternal aunt, Ana Murillo. On the other 
 hand, Senor Tubino, after carefully weighing the evidence, gives it as his 
 opinion that the father's name was Gaspar Esteban Murillo, which opinion 
 is accepted by Don Pedro de Madrazo. See Tubino, Murillo, 43-7, 86-7, 
 Madrazo, Catalogo Mus. Prado, p. 464. This presumption is strengthened 
 by the fact that Esteban, in Spanish, like its equivalent Stephen, in English, 
 is commonly a Christian name, rather than a patronymic. 
 1628. January 8. Maria Perez, the mother of Murillo, was buried in the church 
 of La Magdalena. His father died about the same time, as appears from a 
 document hereafter noticed, bearing date January 23, 1668, in which the 
 artist declares that his father died " cuarenta anos antes mas que menos." 
 After the death of his parents Bartolome was placed in charge of Juan 
 Agustin Lagares, a surgeon, who had married Ana Murillo, the boy's aunt. 
 Lagares was also the boy's tutor, and guardian of his property. 
 
 39 
 
306 
 
 MURILLO. 
 
 163-. Bartolome enters the school of Juan del Castillo, who resided at the time in 
 the Plazuela de Santa Isabel, in the parish of San Marcos. 
 
 Period of the Virgin and Child and Saints (No. 117), and Nuestra 
 Senora del Rosario (No. 117a). 
 
 1639-40. Castillo, having removed from Seville to Cadiz, Murillo is thrown upon 
 his own resources, and supports himself by painting pictures for the Feria. 
 
 1642. Pedro de Moya having returned from London, where he had studied under 
 Van Dyck, Murillo is fired with the ambition to travel in foreign countries, 
 in order that he might observe and study the works and methods of the 
 great masters. To procure the money necessary for the purpose, he pur- 
 chases a quantity of canvas, and dividing it into pieces of suitable dimensions, 
 he covers it with figures of saints, flower pieces, landscapes, and other popu- 
 lar subjects. These pictures he sells to the merchants trading to the Indies, 
 and the money thus acquired enables him, early in 1642, to undertake the 
 journey to Madrid. 
 
 [Such, at least, is the story told in brief by Palomino, expanded by 
 Cean Bermudez, and repeated by every subsequent biographer of the artist, 
 but the accuracy of the statement may reasonably be called in question. 
 Admitting that works painted at that period were crude and unworthy of 
 his future fame, yet it is certain that paintings executed by Murillo while he 
 was still in the school of Castillo, three years at least before he went to 
 Madrid, were favorably known, and were considered characteristic of the mas- 
 ter. See Catalogue No. 117 and No. 1 1 7a. During the past two centuries the 
 dark places of the earth have been explored in search of pictures by Murillo, 
 and thousands of foundlings of obscure parentage have been fathered on 
 him, yet no picture corresponding with this period of his career has ever 
 been found in the New World to lend support to this pleasant tale.] 
 
 Murillo is well received in Madrid by Velazquez, who procures for him 
 the entry into the royal palaces, with permission to copy such pictures as 
 he may desire. Olivares is among the patrons of the young artist, who 
 heartily mourns the fall of that minister in 1643. 
 
 1645. Murillo returns to Seville, and is at once employed to paint the eleven pict- 
 ures in the small cloister of the Convent of San Francisco (see No. 268). 
 He is engaged for three years on these works, and executes them in so 
 surprising a manner that employment, riches, and fame are thrust upon 
 him. 
 
 1648. He marries Dona Beatriz de Cabrera y Sotomayor, concerning whom nothing 
 whatever is known, except that she was the daughter of Cosme del Corral y 
 Sotomayor and Dona Beatriz Mejia, natives and residents of Pilas, — that 
 she was born in Pilas, November 12, 1622, — that she brought some prop- 
 erty to her husband, and died before him. 
 
 [Some accounts will have it that she was of a noble family, and rich, 
 but there is nothing to justify such a statement, and it is not mentioned by 
 Palomino or Cean Bermudez. To assert that because she bore the name of 
 Sotomayor she was of the noble family of that ilk, would be as hazardous as 
 to assume that every man named Howard inherits " the blood of all the 
 
CHRONOLOGICAL DATA. 
 
 307 
 
 Howards." It appears from Murillo's will that his wife brought him a 
 portion, but of its nature and extent we have no account. We may, however, 
 conjecture that the olive trees at Pilas, mentioned in the will as being rented 
 for five hundred reals a year, came to him by marriage. ] 
 
 He changes his style from the first, or Frio, to the second, or Calido, 
 manner, and paints the Flight into Egypt for the convent of La Merced 
 (No. 126). The pictures of the Beggar Boys were probably executed about 
 this time. 
 
 1652. The Brotherhood of Vera Cruz, in the convent of San Francisco, pay him 
 1,500 reals for the picture of The Conception (No. 50a). 
 
 1655. He paints St. Isidoro (No. 312), St. Leandro (No. 364), and the Birth of the 
 Virgin, for the Cathedral. The Chapter, in accepting these paintings, praise 
 the artist as being the best painter in Seville. This is the earliest mention 
 of the name of Murillo as an artist in any existing document. 
 
 1656. He paints the -57. Antony and the Infant Jesus, for the baptistery of the 
 Cathedral (No. 239), and the paintings for the Church of Santa Maria la 
 Blanca. (No. 30, etc.). 
 
 165- . Francisca, the daughter of Murillo, and his oldest child, was born. In 
 
 1674 or 1675 she entered the Dominican Convent of Madre de Dios, at 
 Seville, where she was at the time of her father's death. 
 
 1660. January 1. The Academy of Seville is founded, with Murillo as its first 
 President. 
 
 1 66 1. October 22. Gaspar, the eldest son of Murillo, was baptized in the Church of 
 Santa Cruz. He adopted the ecclesiastical career, and through the influence 
 of Don Jose de Veitia Linage, Knight of Santiago, and Judge of the Royal 
 Tribunal of the Indies, who had married a relative (cousin ?) of the artist, 
 the son obtained in his father's lifetime a benefice at Carmona, whence, on 
 the 1st of October, 1685, he was transferred to a canonry in the Cathedral 
 at Seville. Not having taken the necessary oaths in due time, he was, on the 
 30th of April, 1688, condemned by the Chapter to forfeit one year's fruits of 
 his stall, amounting to 8,000 reals. He died May 1, 1709, and was buried 
 in the Cathedral (see No. 469). He was given to painting, and was an 
 imitator of the style of his father. See Archives de la Santa Iglesia, quoted 
 in Davies, Murillo, 183. 
 
 1662. April 12. Murillo makes application to the Brotherhood of the Santa Cari- 
 dad for admission to membership in their order, which petition was granted 
 June 14, 1665. Tubino, 90 note. 
 
 166- ? Gabriel, the second son, and third child of Murillo, is supposed to have been 
 
 born. At the time of his father's death he was absent in the Indies, where 
 he died at an advanced age. 
 
 [If the portrait called Murillo's Son, belonging to the Duke of Alba 
 (see No. 469), and the inscription it bears are to be accepted as authentic, 
 it would appear that Gabriel was born in 1655. But this is doubtful, for all 
 the notices concerning the family of the artist assume, without, however, pre- 
 senting any facts in support of the assumption, that Don Gabriel was the 
 youngest of the children.] 
 
3o8 
 
 MURILLO. 
 
 1665. The pictures of the Good Shepherd and the Infant St. John were probably- 
 executed about this time. 
 
 1668. January 23. Instrument of Release, executed by " Bartolome Morillo, pin- 
 tor de imagines," living in the city of Seville, in the parish of Senor San 
 Bartolome, to the Prior and Fathers of the Convent of San Pablo el Real, 
 recites ; That the fathers of the said convent, in the month of January, 1613, 
 in consideration of a rent of twenty thousand maravedis [588 reals and 8 ma- 
 ravedis] and forty fowls to be annually paid, and such covenants as to repairs 
 as the said Fathers ordinarily require in the leasing of their estates, rented to 
 " Gaspar Esteban mi padre, que Dios haya," a house with two small 
 dependencies in the parish of Sta. Maria Magdalena, in the plazuela of that 
 convent, for the term of the life of the said Gaspar, and the life of his son 
 or daughter, or such other person as he might by will or otherwise appoint ; 
 and the said Gaspar Esteban, who died forty years ago, more or less, having 
 named the said Bartolome as his successor in the enjoyment of the said 
 lease ; and Juan Agustin Lagares, surgeon of this city, as tutor and guardian 
 of the person and estate of the said Bartolome, having, on the 21st day of 
 September, 1641, accepted in his behalf such nomination, and having obliged 
 him to pay the said rent and to execute the said covenants ; and the said 
 premises having been condemned by the Surveyor of Estates of the city of 
 Seville, for want of repairs which he is unable to make ; therefore, the said 
 Bartolome consents to pay 400 reals and to surrender to the said convent 
 the premises named in said lease. The document is printed in full in 
 Tubino, p. 91-96. 
 
 [It is probable that the house above mentioned was that in which 
 Murillo's father resided, and in which the son was born. But this is not 
 absolutely certain, for it appears by Murillo's will that he died possessed of 
 other houses in the same parish of La Magdalena, which were then occu- 
 pied by a tenant.] 
 
 Period of the paintings in the Chapter room of the Cathedral : the Con- 
 ception (No. 23), and the eight circular pictures of Saints), No. 279, etc. 
 
 1670? Murillo is invited by Carlos II. to take up his residence in Madrid, but he 
 declines on the score of his age. 
 
 1670-74. He paints the pictures in the Hospital of La Caridad (see No. 1). 
 
 1672. The first mention of Murillo's name in print occurs in Fiestas de la Santa 
 Iglesia Metropolitana, by F. de la Torre Farfan, Sevilla, 1672. The artist 
 is characterized as the " Apeles Sevillano " and " nuestro mejor Tiziano." 
 
 1676. He executes the paintings in the Capuchin Church (see No. 18). 
 
 1677. He is again mentioned in print as the " insigne pintor, Apeles Sevillano." 
 by Don Diego Ortiz de Zuniga, in Annales eclesiasticos y seculares de Sevilla, 
 Madrid, 1677. 
 
 1678. He paints the pictures for the Hospital de los Venerables Sacerdotes (see No. 
 29), and those for the Convent of St. Augustine (see No. 254). 
 
 1682. Murillo is employed to paint the altar-piece for the Capuchin Church at 
 Cadiz (see No. 264). While engaged in this work he met with an acci- 
 dent, from the effects of which he died in his house in the parish of Santa 
 
CHRONOLOGICAL DATA. 
 
 309 
 
 Cruz, at Seville, on the 3d day of April, about five o'clock in the afternoon. 
 It is believed that he lived and died in the house No. 2 Plaza de Alfaro, 
 the wall of which bears a tablet erected in 1858 by the Academy of Fine 
 Arts, certifying to the fact. In the registry of the parish of Santa Cruz it 
 appears that this house was once inhabited by Don Bartolome Murillo, Don 
 Gaspar Murillo, Ana Maria, and Joseph Cano. 
 
 Murillo's will was written, but not signed, on the day of his death. A 
 translation will be found in this volume. 
 1682. April 4. Murillo was buried in the parish church of Santa Cruz, in the 
 tomb belonging to the distinguished family of Hernando de Jaen, beneath a 
 white marble stone bearing the words Vive Morittirus. It is not certain 
 whether this stone and inscription were placed in honor of Murillo or of 
 some previous occupant of the tomb. G. de Leon, i. 21. 
 
 When the French occupied Seville, the church of Santa Cruz was 
 destroyed. The invaders made diligent efforts to recover the ashes of the 
 great artist, but were unable to separate his bones from those of the victims 
 of a plague that ravaged Seville in 1649. 
 
 « 
 
WILL OF BARTOLOME ESTEBAN MURILLO, 
 
 AND INVENTORY OF HIS EFFECTS. 
 
 In the name of God, Amen. To all to whom this testament may 
 come. I, Bartolome Esteban Murillo, master of the art of painting, 
 residing in Seville, in the collation of Santa Cruz, being infirm of body, 
 but sound of mind, and in full enjoyment of my natural understanding 
 and memory, such as God Our Lord has been pleased to give me, 
 declaring firmly and truly that I believe the Divine Mystery of the 
 Most Holy Trinity, Father, Son, and Holy Ghost, three persons really 
 distinct, and one true and only God, and in all that appertains to that 
 belief, acknowledging and confessing the Holy Mother Roman Cath- 
 olic Church as christian, desiring to be saved, and seeking to be pre- 
 pared for whatsoever God Our Lord may have in store for me, and 
 trusting in the intercession of the ever Virgin Mary, our Lady, con- 
 ceived without spot or stain of original sin from the first instant of her 
 being, do make, acknowledge, and ordain my testament in form and 
 manner following : 
 
 First : I offer and commend my soul to God Our Lord, who 
 made it and redeemed it with the infinite price of his precious blood, 
 humbly praying that he will pardon it and bear it to rest in his glory ; 
 and when it shall please his Divine Majesty to remove me from this 
 present life, I direct that my body shall be interred in the aforesaid 
 parish, and that on the day of my burial the customary Requiem Mass 
 shall be sung for my soul. The form and disposition of my burial I 
 leave to the discretion of my executors. 
 
 Item. I direct that there shall be said for my soul four hundred 
 masses; one-fourth part in my said parish, where they belong, one 
 hundred in the convent of Nuestra Senora de la Merced, principal 
 house of this city, and the remainder in such convents as my execu- 
 tors may direct, for which the customary alms shall be paid. 
 
312 
 
 MURILLO. 
 
 Item. I direct that the necessary and customary legacies, and 
 the Casa Santa de Jerusalem shall be paid, eight maravedis to each. 
 
 Item. I declare that, as executor of my cousin, Dona Maria de 
 Murillo, widow of Don Francisco Terron, I have in my possession two 
 silver candlesticks, two spoons, and four forks, and six spoons enriched 
 with silver, which property, Gaspar Esteban, my son, a priest of minor 
 orders, can identify ; and it is my will that my executors shall sell the 
 same, and expend the sum in masses for the soul of the said Dona 
 Maria de Murillo, one half in the convent of San Antonio, of the 
 order of the Seraphic Father San Francisco in this city, and the other 
 half in the said convent of Nuestra Senora de la Merced, principal 
 house in this city. 
 
 Item. I declare that I have received fifty ducats vellon by 
 way of deposit, which my cousin Dona Maria de Murillo gave and 
 devised for the benefit of Manuela Romero, a native of the village of 
 Bollulos, which sum I acknowledge to be in my hands for the purpose 
 stated. 
 
 Item. I devise to Ana Maria de Salcedo, wife of Geronimo 
 Bravo, who has served in my house, fifty ducats vellon, to be paid to 
 her after my death. 
 
 Item. I declare that Andres de Campos, living in the village of 
 Pilas, owes me two thousand reals vellon, being the rent for four 
 years of some olive trees, at the rate of five hundred reals each year, 
 on account of which he has paid me ten arrobas of oil at eighteen reals 
 each, and I direct that the remainder be collected. 
 
 Item. I declare that there is due me, for rent of some houses 
 which I own in La Magdalena, six months' rent at eight duros each 
 for the past year, the writings for which were executed before Pedro 
 Galves, a notary, Antonio Novela of this city being surety for the les- 
 see of said houses, whose name I do not remember. I direct that the 
 sum be collected. 
 
 Item. I declare that I am making a large painting for the con- 
 vent of the Capuchins, at Cadiz, and four smaller ones ; the price has 
 been agreed upon at 900 pesos, on account of which I have received 
 * 350 pesos. 
 
WILL OF MURILLO. 
 
 313 
 
 Item. I declare that I owe to Francisco Casomaner one hun- 
 dred pesos of eight reals de plata each, which he gave and delivered 
 to me last year, 1681, and I gave and delivered to him two small 
 canvases valued at thirty pesos each, or sixty pesos in all j deducting 
 that sum, I owe him forty pesos, which I order to be paid. 
 
 Item. I declare that Diego del Campo has engaged me to paint 
 a picture of the devotion of Santa Catalina Martyr, the price of which 
 has been fixed at thirty-two pesos, which sum he has paid, and I 
 direct my executors to deliver to him the picture, which is finished. 
 
 Item. I declare that a dyer, whose name I do not remember, 
 but who lives in the Alameda, has engaged me to make a half-length 
 picture of Nuestra Senora, which is sketched but not finished, and he 
 has given me nine varas of satin ; not being able to deliver the paint- 
 ing, I direct that he be paid the value of the nine varas of satin. 
 
 Item. I declare that thirty-four or thirty-six years ago I mar- 
 ried Dona Beatriz de Cabrera Sotomayor, my deceased wife, who 
 brought me a portion, as will appear by a writing passed in one of the 
 public offices then in the plaza de San Francisco, and I brought to 
 the said marriage no goods or property whatever. So I declare. 
 
 Item. I declare that Dona Francisca Murillo, my daughter, a 
 professed nun in the convent of Madre de Dios in this city, received 
 [Stirling's copy of the will says renounced} her lawful dower, as appears 
 by a writing made before Pedro Galves seven or eight years ago, more 
 or less. So I declare. 
 
 Item. To fulfill and discharge the provisions of this, my testa- 
 ment, I make and appoint as my executors and testamentary repre- 
 sentatives Senor Don Justino de Neve y Yevenes, prebendary of the 
 Holy Church of this city, and Don Pedro de Villavicencio, Knight of the 
 Order of San Juan, and the said Don Gaspar Esteban Murillo, my son, 
 giving to them, and to each of them, full power and authority to collect 
 and receive all my goods and effects, and to sell them at public auction 
 or otherwise, and out of the proceeds to execute and discharge the pro- 
 visions of this, my will, which, being done, I direct that they possess 
 themselves of all the remainder of my estate, real and personal, debts, 
 demands, choses in action, and other property belonging to me at the 
 40 
 
3H 
 
 MURILLO. 
 
 time of my death. And I make, constitute, and appoint as my only 
 and general heirs Don Gabriel Murillo, now absent in the Indies, and 
 the said Don Gaspar Esteban Murillo. 
 
 In the city of Seville, the 3d day of the month of April, 1682, at 
 five o'clock in the afternoon, or thereabouts, having been called to 
 prepare the will of Bartolome Murillo, master painter, living in this 
 city, and having finished it as far as the clause relating to his heirs as 
 above written, and having pronounced the name of the said Gaspar 
 Esteban Murillo with that of his other son, I saw that he was dying, 
 because to my question if he had executed any other will he made no 
 reply, but shortly expired ; whereupon I have attested the fact in the 
 presence of the undersigned Don Bartolome Garcia Bracho de Bar- 
 reda, presbyterio of this city, in the collation of San Lorenzo ; Don 
 Juan Caballero, cura of the church of Santa Cruz; Geronimo Tre- 
 vino, painter, of the collation of San Esteban in this city ; and Pedro 
 Belloso, notary, of this city. 
 
 Bartolome Garcia Bracho de Barreda, 
 Juan Caballero, 
 Geronimo Trevino, 
 Pedro Belloso, Notary. 
 
 Juan Antonio Guerrero, 
 
 Notary Public of Seville. 
 
 [The sudden death of Murillo having prevented the completion of 
 his will, his son, Don Gaspar, on the same day presented a petition to 
 Don Rodrigo de Miranda y Quinones, Teniente de Asistente of 
 Seville, explaining the circumstances and praying that the instrument 
 might be admitted to probate as a nuncupative will. The petition 
 was supported by the declarations of the above named Don Bartolome 
 Garcia Bracho de Barreda, Geronimo Trevino, Pedro Belloso, Juan 
 Caballero, and by Ana Maria, widow of Pedro Rodriguez, que asistia 
 a Murillo. The will was admitted on the following day, and an inven- 
 tory was begun of the effects of the testator, as follows :] 
 
 Inventory. In the city of Seville, the fourth day of the month of 
 April, one thousand six hundred and eighty-two, in the house of the late 
 
WILL OF MURILLO. 
 
 315 
 
 Bartolome Murillo, in the collation of Santa Cruz, in this city, before 
 me, Juan Antonio Guerrero, notary of this city, and witnesses, appeared 
 Senor Don Justino de Neve y Yevenez, prebendary of the Holy Church 
 of this city, Don Pedro de Villavicencio, Knight of the Order of San 
 Juan, and Don Caspar Esteban Murillo, of this city, testamentary 
 executors of the said Bartolome Murillo, named as such in the will 
 made by him before the present notary in the present year, and said 
 that after his death they searched for his goods and made an inven- 
 tory thereof as follows : 
 
 First. An escritorio de Salamanca, with large feet like a cupboard. 
 
 Item. A buffet, two varas less a quarter wide, of mahogany 
 with iron-work. 
 
 Item. Another buffet of mahogany, one and a half varas wide, 
 with iron-work. 
 
 Item. A picture, three-fourths of a vara wide, with gilt frame, a 
 copy of the head of St. John Baptist ; and two fruit pieces half a vara 
 wide, without frames. 
 
 And now the taking of this inventory is suspended, to be resumed 
 and completed at a convenient time, and the same is signed in my 
 presence, and in the presence of the witnesses Pedro Belloso and 
 Francisco Martin Soldan, notaries of Seville. 
 
 Don Justino de Neve, 
 
 Frey Don Pedro Nunez de Villavicencio, 
 
 Gaspar Esteban de Murillo, 
 
 Pedro Belloso, Notary of Seville. 
 
 Juan Antonio Guerrero, 
 
 Notary Public of Seville. 
 
 The will and the inventory are given in Spanish in Stirling, Atmals, 
 vol. ii. page 891, and in Tubino, Murillo, p. m. A French transla- 
 tion of the will, without the inventory, is in U Artiste, 1864, vol. ii. p. 
 77, and a German translation of the will alone, in Th. Stromer, Murillo, 
 Leben und Werke, p. 55. The record of the documents is preserved 
 in the registry of Don Antonio Abril, notary of Seville, in the Liber 
 for the year 1682, folio 444, etc. 
 
NOTICES OF THE LIFE AND WORKS OF SOME OF THE 
 
 PUPILS, FOLLOWERS, AND IMITATORS OF 
 VELAZQUEZ AND MURILLO. 
 
 MAZO. 
 
 One of the most important of the pupils of Velazquez was Juan 
 Bautista Martinez del Mazo, who is supposed to have been born 
 in Madrid somewhere about the year 1610. In due time he entered 
 the studio of Velazquez, where he displayed so much talent, and so 
 many other good qualities, that he obtained the favor of his master, 
 and what was more, that of his master's daughter Francisca, whom he 
 married in 1634. To advance the young man's fortunes, Velazquez 
 at once resigned in his behalf the post of Ugier de Camara, and the 
 King consented to bestow the office upon the ambitious and happy 
 youth. Mazo continued to discharge the duties of this position until 
 the eighth , day of October, 1658, when, with the King's consent, it 
 was transferred to Gaspar, one of Mazo's numerous children. In 
 1652, Velazquez having been appointed Apose?itador del Rey, Mazo 
 became his assistant, and in that capacity accompanied his chief, in 
 1660, on the unfortunate journey to Irun. Velazquez died six weeks 
 after his return to Madrid, having appointed as executor of his will, 
 his son-in-law, who resided with him in that part of the old palace, 
 or Alcazar, called the Treasury. On the nineteenth day of the follow- 
 ing April, Mazo succeeded his father-in-law as Court Painter. Soon 
 after this appointment, his wife died, and in no long time he took to 
 himself another, who outlived him. Mazo's death took place at his 
 quarters in the Royal Palace, in the month of February, 1667, not in 
 
3 18 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 1670, as Palomino states, nor in 1687, as the date is given by Cean 
 Bermudez, Stirling and Burger. 
 
 As Mazo was Court Painter, we might naturally look for numer- 
 ous portraits by him of different members of the royal family. It is 
 therefore somewhat surprising to find that there is no record of such 
 portraits in the royal inventories, nor any tradition concerning them, 
 unless we except the one attributed to him in the Museo . del Prado, 
 No. 790, called Queen Mariana of Austria, second wife of Philip IV. 
 As the Queen appears to be not more than twenty years of age, this 
 painting must have been executed as early as 1655. She is dressed 
 in black, with her right hand on the back of a crimson chair. Two 
 children are seen through an open door in the background. The 
 whole history of this portrait is obscure. In the old catalogue of the 
 museum it was called a portrait of the infanta Maria Theresa, and 
 attributed to Velazquez. The change, and the reasons which Don 
 Pedro de Madrazo assigns for it, do not seem altogether satisfactory. 
 
 The portrait No. 789, in the same museum, there is no reason to 
 call in question. It is a full length of Don Tiburcio de Redin y Cruzat, 
 a soldier of a noble family, who abandoned the camp and the court, 
 became a Capuchin monk, and went on a mission to the Indians of 
 Central America, where he died.* 
 
 Mazo excelled in landscapes, hunting scenes, views of towns, etc. 
 Of landscapes, thirteen are in the Museo del Prado. One of them, 
 a View of Zaragoza, containing figures in the foreground, by Velazquez, 
 is mentioned in the Catalogue of the Works of that master, ante page 
 27, No. 5 i.t A repetition is in the Hermitage, but it is only one-fourth 
 the size of that in Madrid. 
 
 According to Palomino, J he painted " en su menor edad el Senor 
 Carlos Secundo, y a la Reyna Madre nuestra Senora en su viudedad 
 con grande acierto y semejanza." It is not altogether certain whether 
 these portraits were on one canvas, or two. If they were single 
 
 * The portrait is engraved on wood in Blanc, Peintres, Vie de Mazo, and etched 
 by Galvan in El Grabador al Agua Fuerte. 
 
 t The picture is engraved on stone by Asselineau in the Coleccion Litografica, 
 and on wood in Blanc, Peintres. 
 
 % Museo Pictorico, Vol. III., p. 372. 
 
VELAZQUEZ AND MURILLO. 
 
 319 
 
 portraits, it may be that one of them, that of Carlos II., was formerly 
 in the collection belonging to Louis Philippe.* 
 
 It however seems more probable that Palomino referred to a 
 picture in which the Queen mother, and her Son, who was but little 
 more than five years old when Mazo died, were represented on the 
 same canvas. In that case, two pictures are known that might cor- 
 respond with the description given. They are repetitions of the same 
 composition, and are to be found, one in the collection of portraits 
 made by Don Valentin Carderera, and which since his death has 
 become the property of the Duke of Villahermosa at Madrid ; the other 
 was exhibited at the winter exhibition of the Royal Academy, in 1880, 
 by J. C. Robinson, Esq., and now forms part of the large and valuable 
 collection belonging to Francis Cook, Esq., at Richmond Hill. 
 
 In the Carderera portrait Dona Mariana is represented at full 
 length, the size of life, about thirty years of age, wearing the robes 
 and head-dress of a widow, seated in a gallery ; in the background 
 Carlos II. is seen, about four years of age, with several maids-of- 
 honor and nurses, one of whom offers the child a glass of water. 
 The picture is signed J. Bta. del Mazo. The age of the young 
 King, and the costume of the Queen, indicate that the portrait was 
 painted in 1665, the year in which Dona Mariana became a widow. 
 Mr. Cook's picture is similar to the above, but somewhat smaller. 
 
 The Earl of Carlyie has at Castle Howard a portrait of Queen 
 Mariana, which is attributed to Pareja ; but it appears to be a repeti- 
 tion of the above picture, and is probably by Mazo. 
 
 The Hermitage contains, besides the landscape above mentioned, 
 a Bust of the Saviour, who is seen blessing with his right hand, and 
 holding a globe with his left. This is the only religious work by Mazo 
 known to the writer. 
 
 In the Berlin Museum, No. 413B, we find a " Copy after 
 Velazquez " of the portrait of Philip IV., in which the King is seen at 
 full length in hunting costume. The figure is the same as in the por- 
 
 * Louis Philippe sale, 1853. No. 137. Portrait of Charles II, 1. 18x1.09, 
 £10. In the catalogue of the Galerie Espagnole this portrait is said to be the 
 one " cite par Palomino dans la vie de Mazo Martinez." 
 
320 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 trait in the Madrid Gallery ; but there are changes in the landscape, 
 and the royal hunting seat at Segovia has been introduced in the 
 background. This is one of the pictures purchased in 1874 from 
 M. Suermondt, who attributed it to Mazo, and probably correctly. 
 
 Mr. Cook has, besides the portrait above spoken of, another, 
 which represents Don Baltasar Carlos (?), about ten years old, in 
 armor, standing in a balcony, with a baton in his right hand, his left 
 resting on a helmet which lies beside him on a table. 
 
 In the Carderera collection of portraits is a half length of Philip 
 IV., about fifty years old, dressed in black, with the collar of the 
 Golden Fleece. The signature of the artist appears on a memorial, 
 which the King holds in his right hand. 
 
 To the above list of portraits we can only add that of A Cavalier, 
 belonging to the heirs of the Infant Don Sebastian at Pau. When 
 we remember that Mazo is reputed to have excelled in por- 
 traiture, and that he was the successor of Velazquez as Court Painter, 
 we may well be surprised that so few works of this class can be traced. 
 
 A picture which we think is undoubtedly by Mazo, and one of 
 the most interesting and important of them all, is that called the 
 Family of Velazquez, in the Belvedere at Vienna. The reasons for 
 attributing this work to him are given in the Catalogue of the Works of 
 Velazquez, ante No. 24. A Portrait of Mazo, painted by Esteban 
 March, is in the Museo del Prado. It has been etched by Galvan in 
 El Grabador al Agua Fuerte, and is engraved on wood in Blanc, 
 Peintres, Vie de Mazo. 
 
 The above brief list comprises all the may be Pampeluna. It is well known 
 
 pictures by this master that the writer is that about 1646 the artist received from 
 
 now able to recall. A few have appeared the King 200 escudos for painting a view 
 
 in sales, of which the following are the of that city. 
 
 most important, viz. : Salamanca sale, 1875. No. 41. View at 
 
 Aguado sale, No. 25. A gentleman Buen Retiro. A fountain in the centre, 
 
 dressed in a military costume of velvet with trees and statues on each side; 
 
 and gold, with a plumed hat and a sword, women making music, and men walking. 
 
 buying fruits at the stall of a fruit-seller. .47X1.88. From the gallery of the 
 
 Two half length figures. 1.13XI.54. Duchess of Chinchon. Also No. 42, 
 
 Sold for 600 f. Promenade at Bueit Retiro, a companion 
 
 Comte de Gessler sale, 1866. View of to the above. In the centre is the 
 
 a Town, which M. Burger suggests equestrian statue of Philip IV., with 
 
VELAZQUEZ AND MURILLO. 
 
 321 
 
 gentlemen walking, ladies seated, mu- 
 sicians, and beggars ; on the left a wall 
 and trees, on the right a landscape seen 
 through a gate. .47 X 1. 77- These land- 
 scapes were in the Salamanca sale in 
 1867, but not sold. M. Burger thinks 
 they are by Mazo. 
 
 Salamanca sale, 1867. A bird's-eye 
 view of A Fortified Place, — the castle of 
 San Giovanni, as the inscription declares. 
 I.45X2.81. 450 f. 
 
 Jose de Madrazo Catalogue, No. 373. 
 A Sea-port, with some people landing 
 from boats, near the shore on the left ; 
 in the middle, a personage kneeling be- 
 fore a statue. .72x1-16. 
 
 The heirs of Dean Lopez Cepero for- 
 merly had two Encampments. Signed. 
 28x20 inches. 
 
 Lopez Cepero sale, Paris, 1867. The 
 inner court of A Citadel ; in the fore- 
 ground, officers and other personages, 
 orientals, and merchants. .60X.69. 
 About 500 f. 
 
 Comte de Rayneval sale, 1838, No. 
 29. The Infant Baltasar. This por- 
 trait may be a copy after one painted by 
 Velazquez. 
 
 Thomas Purves sale, 1849. A Rural 
 Landscape. "The figure of a sports- 
 man on a white horse and other figures 
 are by Velazquez." ^5 \os. 
 
 CARRENO DE MIRANDA. 
 
 The most important and interesting of the followers of Velazquez, 
 both on account of the quality and the number of his pictures, was Don 
 Juan Carreno de Miranda. He was born in Aviles, March 25, 
 1 6 14, of a distinguished family. His father removed to Madrid in 
 1623, the same year in which Velazquez took up his residence in that 
 city. On arriving at the proper age the youth was placed under the 
 tuition of Pedro de las Cuevas, who instructed him in drawing, and 
 of Bartoleme Roman, who taught him the use of colors. He dis- 
 played such skill in his art as to attract the notice of Velazquez, who, 
 having been appointed to superintend the works that were being car- 
 ried on at the Alcazar and other royal palaces, chose Carreno as an 
 assistant, in which capacity the young artist gave so much satisfaction 
 that he continued, after the death of Velazquez, to enjoy the favor of 
 the court, and in 1669 he was formally received into the royal service. 
 In 167 1, on the death of Don Sebastian de Herrera, he was appointed 
 Pintor de Camara, and made assistant Aposentador del Rey, to which 
 honor was afterwards added the crowning one of the Cross of Santiago. 
 Charles II. was so well pleased with the painter that he would permit 
 41 
 
322 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 none but him to paint the royal portrait. Carreno's death took place 
 in Madrid in September, 1685. 
 
 This artist executed numerous works in fresco for the royal 
 palaces, and for many of the churches in Madrid, beside a much 
 greater number for churches in Toledo, Granada, Orgaz, Pampeluna, 
 Vitoria, the Escorial, etc. On some of these he had Francisco Rizi 
 for a co-laborer. Cean Bermudez gives a long list of the paintings of 
 Carreno, which it would be useless to copy, as most of the pictures 
 have disappeared from the walls they once adorned. They were 
 religious subjects and greatly esteemed, but his works of this class are 
 now neglected, the preference being given to his portraits, partly, we 
 may suppose, because we look to find in them evidences of the 
 instruction he must have received from the prince of portraitists, 
 Velazquez ; for although Carreno did not study under that master, yet 
 he had the good sense to appreciate his wonderful qualities and to try 
 to imitate them. 
 
 The paintings by this artist most commonly seen are portraits, 
 especially of the different members of the royal family of Spain. The 
 face of Charles II. he repeated without end. Cean Bermudez mentions 
 the portraits on horseback of Carlos II. and of his wife in the Casa de 
 Ayuntamiento at Madrid ; also two of the same personages in the 
 Escorial, and another in the palace of San Ildefonso. Neither of 
 these is in the Museo del Prado, but that gallery contains two por- 
 traits of the King, which are identical, except as to size. In these he is 
 represented about twelve years of age, dressed in black, with white 
 stockings, the badge of the Order of the Golden Fleece suspended 
 on his breast, and a sword at his side ; his left hand, holding his hat, 
 rests on a marble table ; in the right hand, which falls naturally, is a 
 paper ; behind the table are two large mirrors.* A repetition is in the 
 Museo Nacional del Fomento, at Madrid, and another in the Museum 
 at Berlin (No. 407), where is also a Bust of the King, in a black dress, 
 with the Golden Fleece (No. 407 B). This last was formerly in the 
 Suermondt Gallery. 
 
 In the collection formed by the late Don Valentin Carderera are 
 three portraits of the King. In one of these he is seen at half length, 
 
 * Photographed by J. Laurent, Madrid. 
 
VELAZQUEZ AND MURILLO. 
 
 323 
 
 about thirty years of age, wearing armor, and holding with his right 
 hand his plumed helmet, which lies on a table. Palomino mentions 
 a portrait of himself in armor which the King sent to France in aid 
 of the negotiations for his marriage with Maria Louisa of Orleans.* 
 This picture would not represent him as more than eighteen years 
 of age, since he was married in 1679. The second is a bust, in a 
 black dress, painted about the same time as the first. In the third 
 he is somewhat older, and stands at full length beside a table, which 
 is supported by two carved lions. 
 
 Mr. Denison, formerly Speaker of the House of Commons, 
 afterwards Lord Ossington, exhibited at Manchester in 1857, and at 
 Leeds in 1868, a youthful portrait of Charles II., with a landscape 
 background, in which the Escorial was seen. It was purchased by 
 Mr. Denison at the sale of the ex- King Louis Philippe, in 1853, for 
 ^■95. In the same sale was another full-length portrait, representing 
 the King about seven or eight years of age, which sold for £19. 
 
 The heirs of the Infant Don Sebastian, at Pau, have a full-length 
 portrait of Charles II, the same size as Mr. Denison's. Another is 
 at Hampton Court, dated 1665, and, consequently, painted when the 
 King was about four years of age, standing with his left hand on a 
 table. 
 
 The portrait of Charles II., which is engraved in Blanc, Peintres, 
 Vie de Carretw, is after a portrait in the Museo del Prado, No. 703. 
 This picture was formerly ascribed to Carreno, but in the new cata- 
 logue of the Museum it is given to Claudio Coello. 
 
 Queen Mariana, mother of Charles II., and regent during the 
 minority of her son, was painted several times. One of these por- 
 traits, without doubt, is in the possession of Count Harrach at Vienna, 
 and is mentioned in the catalogue of the works of Velazquez in this 
 volume, No. 243a. Another is in the Museo del Prado, No. 689. This 
 last is a full-length portrait, and is engraved in Blanc, Peintres. A third 
 portrait, an excellent half length, signed by the artist, is to be seen in 
 the Carderera collection. 
 
 In the same collection are two half-length portraits of Dona 
 Maria lonisa of Orleans, first wife of Charles II., some twenty or 
 * Palomino, Museo Pidorico, 111,419. 
 
324 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 twenty-two years of age. It is quite probable that the portrait in 
 Earl Spencer's gallery, attributed to Murillo, may represent the same 
 personage. See Catalogue of the Works of Murillo, No. 48 ih. 
 
 Palomino notices* a portrait of Don John of Austria. Two por- 
 traits of this prince, by Carreno, are known; one, which is now in 
 the collection of Sir William Stirling-Maxwell, Bart., was exhibited at 
 Manchester in 1857; the other belongs to the heirs of the Infant 
 Don Sebastian, who have also a portrait of Philip IV. 
 
 A portrait of A Buffoon and a curious picture of an enormously 
 Fat Girl are noticed in the Catalogue of the Works of Velazquez, No. 
 75a and 75c. 
 
 Among his religious pictures may be named an excellent Magdalen, 
 now in the Academy of San Fernando, at Madrid. She is represented 
 with long hair falling on her breast, the lower part of her body envel- 
 oped in a blue mantle, holding a skull in her hand, and looking up. 
 It may be the celebrated picture which was, in the time of Cean 
 Bermudez, in the convent of Las Recogidas. 
 
 The interesting but ill-arranged Museo Nacional, at Madrid, 
 includes the Martyrdom of St. Sebastian, a fine work, which is engraved 
 in Blanc, Peintres. It is mentioned by Cean Bermudez as having 
 been formerly in the convent of the nuns of Ballecas. The same 
 museum contains St. Antony Feeding the Fishes, from the convent of 
 the nuns of Caballero de Gratia; also Our Lady of A toe ha, signed. 
 
 Among the Spanish pictures in the Hermitage is The Baptism of 
 Christ, which may be the one formerly in the Capuchin Church at 
 Plasencia ; t also, St. Damian, holding a box of medicines and looking 
 up towards two angels who bring the crown and palm of martyrdom. 
 
 A figure of St. Dominic is in the gallery at Pesth ; and A Bishop 
 holding the Host, in the Academy at Vienna. 
 
 The La Caze collection in the Louvre contains a picture of St. 
 Ambrose giving Alms to the Poor. It may possibly be the one 
 called St. Thomas of Villanueva, formerly in the Augustin Convent, 
 at Toledo. I 
 
 * Museo Pictorico, ill, 419. 
 
 t Cean Bermudez, Diccionario, I, 270. 
 
 % Ibid., 1, 267. 
 
VELAZQUEZ AND MURILLO. 
 
 325 
 
 Count Raczynski has the Assumption of the Virgin, with two 
 Apostles, life-size, formerly in the parish church at Alcorcon, two 
 leagues from Madrid. 
 
 An excellent copy of Raphael's Spasimo di Sicilia is in the 
 Academy of San Fernando. 
 
 The Martyrdom of St. Bartholomew belongs to the gallery of the 
 Infant Don Sebastian. The Saint is fastened by one arm to a tree, 
 while two executioners are preparing to torture him ; horsemen and 
 soldiers on the right. 
 
 Dean Lopez Cepero had St. Antony the Abbot; and a full-length 
 St. Isidro ; and Don Aniceto Bravo had a St. Jerome. 
 
 A portrait of Carreno is engraved in Blanc, Peintres, but it is not 
 stated where the original is to be found. It may be that the engrav- 
 ing is after a picture by himself, formerly in the possession of Don 
 Gaspar de Jovellanos, which was engraved by one of the followers of 
 Don Juan Palomino. 
 
 The following are some of the paint- 
 ings by Carreno that have appeared in 
 auction sales : 
 
 Louis Philippe sale. No. 113, The Ele- 
 vation, £12 10s. No. 115, St. Ber- 
 nard, half-length, £$ \os. No. 114. 
 Santiago, mounted on a white horse and 
 bearing a white standard, is assisting 
 the Spaniards in battle against the 
 Moors. ^27. This picture is engraved 
 in Mrs. Jameson's Sacred aud Legendary 
 Art, p. 237. 
 
 Aguado sale. No. 3. An equestrian 
 portrait of Charles II., in armor, and 
 holding a baton, with an elaborate land- 
 scape in the background. 180 francs. 
 Can this be the portrait which Cean no- 
 tices as having formerly been with its 
 companion, the portrait of his wife, in 
 the Casa del Ayuntamiento ? 
 
 Thomas Purves sale, 1849. St. Antony 
 of Padua restoring, by a miracle, the leg 
 of a man. £2 $s. 
 
 Salamanca sale, 1867. Portrait of 
 Don Bernabe Ochoa de Chinchetru, 
 standing near a table, on which is a 
 writing-desk ; his hat in his right hand, 
 a paper in the left. Signed and dated, 
 1664. From the gallery of the Marques 
 de Leganes. 700 f. 
 
 Matthew Anderson, whose collection 
 was sold in 1861, had a Conception, with 
 angels. A picture of this subject is 
 mentioned by Cean Bermudez as having 
 been in the Church of San Francisco, at 
 Vitoria, signed and dated, 1666 ; another 
 was in the Church of S. Gines, at 
 Madrid ; and a third in the convent of 
 the nuns of Ballecas. Diccionariode las 
 Bellas Aries. 1, 268-9-70. 
 
326 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 PAREJA. 
 
 Juan de Pareja, whose parents were of mixed, perhaps of 
 Moorish blood, is supposed to have been born in Seville about 1606. 
 The precise year of his birth is not known, nor is it known how or 
 when he became the property of Velazquez, whether by inheritance 
 or by purchase. In 1623, when the master was twenty-four and the 
 slave seventeen years of age, they left Seville in company to take up 
 their residence in Madrid. Pareja's duty was to attend to the per- 
 sonal wants of Velazquez and to assist in the studio, where he ground 
 the colors, cleaned the brushes, and performed other menial tasks. 
 Twice he accompanied his master to Italy, on the last of which visits 
 Velazquez painted Pareja's portrait. This work attracted so much atten- 
 tion when it was exhibited in the Pantheon that its author was at once 
 made a member of the Academy of St. Luke. It now belongs to the 
 Earl of Radnor, or to the Earl of Carlisle. See Catalogue of the 
 Works of Velazquez, ante No. 180 and 181. 
 
 Pareja made good use of his hands, his eyes, and his ears while 
 in his master's studio, and secretly employed the practices he wit- 
 nessed, and the lessons he overheard. Philip IV., one day visiting 
 Velazquez at the chambers of the latter in the royal palace, had his 
 curiosity aroused by a picture with its face turned to the wall, and 
 demanded to see it. He was greatly pleased with the work, and 
 asked the name of the author. Pareja fell on his knees, confessed 
 that the performance was his own, and besought his majesty's protec- 
 tion. The King, struck with admiration for the genius he had 
 discovered, turned to Velazquez, and said a man with such talent 
 ought not to be a slave, whereupon his master set him free at once. 
 But the grateful servant continued to serve Velazquez until the 
 latter's death, and afterwards remained in the service of his daughter, 
 who had married Juan Bautista del Mazo, until she in turn died. 
 Pareja did not long survive her, dying in 1670. 
 
 Although this artist lived to a ripe age, yet there are very few 
 pictures that pass under his name, doubtless for the reason that it 
 was but late in life that he commenced to paint. The discovery of 
 
VELAZQUEZ AND MURILLO. 327 
 
 his talent by Philip IV. is placed by Cean Bermudez after his return 
 from Italy in 165 1, at which time Pareja was forty-five years of 
 age. It is possible that some of his works may now be passing under 
 the name of Velazquez. 
 
 Four of his pictures are known in Spain. One is in the Museo 
 del Prado at Madrid, a large composition of fourteen figures the 
 size of life, representing the Calling of St. Matthew. It does not 
 suggest the style of Velazquez, the rich architectural background and 
 the accessories reminding one more of Paul Veronese.* The figure 
 standing on the left of the canvas is said to be a portrait of the artist 
 himself, and it is engraved as such in Blanc, Peintres. It may, however, 
 reasonably be doubted whether this is a portrait of Pareja, for it 
 represents a man of twenty-five rather than forty-five years and 
 upwards, which was the age at which the artist is supposed to have 
 begun to paint. 
 
 The Museo Nacional, at Madrid, has three paintings by him : 
 The Baptism of Christ, formerly in the convent of La Trinidad, at 
 Toledo; the Presentation of Christ in the Temple ; and a Battle 
 Piece, the last two signed by the master. 
 
 Palomino cites a portrait of Joseph Rates, an architect of Madrid, 
 that was often taken for a work of Velazquez. The Church of the 
 Recoletos, at Madrid, in the time of Cean, possessed a St. John the 
 Evangelist; a St. Oroncio ; and a Virgin a?id Child of Guadalupe . All 
 these have disappeared. The following are now attributed to him: 
 
 In the Dulwich Gallery is a bust of A Boy, about five years of age, 
 formerly ascribed to Velazquez, but now to Pareja, on the authority of 
 a very competent judge, Mr. J. C. Robinson. The works of Pareja 
 are, however, so scarce that it is difficult to speak with certainty on 
 such a point. 
 
 According to M. Burger, Pareja is the author of a picture in the 
 Munich Gallery which is at present attributed to Pereda. The subject 
 is A Gentleman and a Lady playing cards. 
 
 * The composition is engraved on stone by F. Taylor, in the Coleccion Lito- 
 grafica, and on wood in Blanc, Peintres. A repetition, .54X.7 cm -> was m the 
 sale of Marshal Soult, where it sold for 400 f. 
 
328 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 A half-length portrait of a Provincial of the Capuchin Order, in a 
 black dress, holding a book, is in the Hermitage at St. Petersburg. 
 
 The Earl of Yarborough has a portrait of Philip IV. ; and one of 
 Isabel of Bourbon. As the Queen died in 1644, — seven years, at 
 least, before the time when we suppose the discovery was made that 
 Pareja was a painter, it is probable these pictures, if really by Pareja, 
 were copied from originals by Velazquez. 
 
 A portrait of Mariana of Austria, at Castle Howard, although 
 attributed to Pareja, is probably a repetition of the portrait by Mazo, 
 in the collection of the late Don Valentin Carderera, at Madrid. See 
 ante, page 319. 
 
 The portrait of Philip IV., engraved as by Pareja, in Blanc, 
 Peintres, was formerly attributed to Velazquez, but in the catalogue of 
 the Museo del Prado, in 1872, it was assigned to the " School of 
 Velazquez." It is more likely that it is a copy by Mazo of the portrait 
 by Velazquez, now belonging to Mrs. Huth, as stated in the Catalogue 
 of the Works of Velazquez in this volume, No. 114. 
 
 The Valenciennes Museum exhibits a doubtful picture of A Gypsy 
 telling the fortune of a gentleman, while another gypsy picks his 
 pocket. 
 
 The following pictures by Pareja have Louis Philippe sale, London, 1853. 
 appeared in sales : No. 196. Burial of Christ. £$. No. 
 
 Aguado sale. No. 90. A Young Noble- 197. The Holy Women at the Tomb of 
 man, fifteen years old, standing near a Christ. £\. 
 
 table. 350 f. No. 91. Bust of A Lady Thomas Purves sale, London, 1849. 
 in religious costume. 54 f. No. 92. Bust A Castilian Peasant playing the mando- 
 of a Young Nobleman. 505 f. lin. £2 10s. 
 
 ALFARO Y GAMEZ. 
 
 Don Juan Alfaro y Gamez was born, in 1640, at Cordova, 
 where he commenced his studies under Antonio del Castillo, but he 
 finished them at Madrid in the school of Velazquez, whose portraits 
 he learned to imitate. Besides being a painter, he was an engraver, 
 
VELAZQUEZ AND MURILLO. 
 
 329 
 
 and a writer, both of poetry and prose. Among his pupils was Palo- 
 mino, who, on his master's death in 1680, came into possession of 
 many useful books, manuscripts, and documents, which were of great 
 service to him in writing the lives of the painters, especially that of 
 Velazquez, the most compendious, the most exact, and altogether 
 the most interesting and valuable biography that he produced. 
 
 Alfaro's name appears on the title-page of the pamphlet which 
 he caused to be printed, entitled " Memoria de las Pintvras, que la 
 majestad Catholica del Rey nuestro Senor Don Philipe IV. embia al 
 Monasterio de San Laurencio el Real del Escurial, este ano de 
 M.DC.LVI. Descriptas, y colocadas, por Diego de Sylva Velaz- 
 quez. . . . Dedica y consagra a la Posteridad, D. Ivan de Alfaro. 
 Impresa en Roma, M.DC. LVIII." 
 
 The works of Alfaro are neither numerous nor important. Only 
 two are known to the writer: An Assumption of the Virgin, in the 
 Museo Nacional at Madrid, and a bust portrait of Don A?ito7iio de 
 So/is, author of La Conquista de Mejico. This last picture is in the 
 choice collection of portraits formed by Don Valentin Carderera, but 
 its authenticity is not so well established as might be desired. 
 
 The following works by Alfaro y Salamanca sale, 1867. Portrait of 
 
 Gamez have appeared in sales : Don Bernabi Ochoa Chinchelric, Knight 
 
 Louis Philippe sale. No. 421. St. Je- of the Order of Santiago, and member 
 
 rome, seated on a rock in ecstasy. £2 $s. of the Council of the Indies. 600 f. 
 
 No. 422. A repetition of the above, ^3. This is the same person whose portrait 
 
 Aguado sale. No. 225. St. Joseph, by Carreno in the Salamanca sale is 
 
 standing, with a lily ; landscape back- noticed ante, p. 325, but it was painted 
 
 ground. 205 f. three years later, in 1669. 
 
 JUAN DE LA CORTE. 
 
 This artist was born in Madrid in 1597, and studied under 
 Velazquez, who was sometimes so good-natured as to assist his pupil 
 by retouching his pictures. The skill of Juan de la Corte was chiefly 
 displayed in landscapes, classical subjects, and battle pieces. He 
 executed several works for the palace of Buen Retiro, one of which, 
 42 
 
330 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 representing the Siege of Valencia del Po, contained a head of Carlos 
 Coloma, or Colonna, painted by Velazquez. This picture was prob- 
 ably in the Altamira sale at London in 1827, and may be looked for 
 now in England. See ante, page 22, No. 36a. A Christ Crucified, in 
 the Museo Nacional at Madrid, is " attributed " to Juan de la Corte. 
 He died in 1660. 
 
 PUGA. 
 
 Antonio Puga was not known to Palomino, or was not con- 
 sidered worthy of that author's notice. The date of his birth and 
 that of his death are alike unknown, and we have but few facts con- 
 cerning him. Cean Bermudez classes him among the disciples of 
 Velazquez, and says that in 1653 he painted six pictures, which were 
 in the possession of Don Silvestre Collar y Castro, Secretary of the 
 Council of the Indies. They represented familiar and domestic 
 scenes, and resembled the early works painted by Velazquez before he 
 left Seville. 
 
 There is no picture by this master in any public gallery in Spain, 
 and it would be difficult to find one in any private collection. The 
 only works by him the writer has ever seen are, one in the Hermitage, 
 and one in the gallery at Pesth. The first shows us a Traveling 
 Knife -Grinder sharpening a knife on his wheel, with two hunters stand- 
 ing before him, and on the left a woman in a black dress holding a 
 bottle. The picture at Pesth is a head of an Old Nun. 
 
 PALACIOS. 
 
 Francisco Palacios was born in 1640, and commenced his 
 studies under Velazquez, who died when his pupil was only twenty 
 years of age. Palacios painted but few pictures, mostly historical. 
 Cean Bermudez knew of but one work by his hand, although there 
 were, he says, some excellent portraits by him in private collections. 
 
VELAZQUEZ AND MURILLO. 
 
 331 
 
 AGUIAR. 
 
 Don Tomas de Aguiar flourished about 1660. He is named 
 by Cean Bermudez as a disciple of Velazquez, who painted portraits 
 with great credit. 
 
 LUCENA. 
 
 Don Diego de Lucena was born of an illustrious family in 
 Andalucia, and studied under Velazquez in Madrid. His portraits, 
 both small and large, greatly resembled the style of his master. A 
 sonnet, composed in his honor by Atanasio Pantaleon, is found in 
 that author's works. Lucena died in Madrid in 1650. 
 
 MENESES OSORIO. 
 
 Foremost among the followers of Murillo must be reckoned 
 Francisco Meneses Osorio, who was born about 1630, and died 
 in Seville about 1705. He was a member of the Academy of Seville, 
 from 1666 to 1673, and in 1668-9 was honored with the office of 
 Mayordomo. It is quite probable that he received his instruction in 
 painting from Murillo. At all events he was greatly esteemed by that 
 artist, and was employed to assist in some of his most important 
 works, notably the paintings in the church of the Capuchins at Cadiz. 
 Of the five pictures composing the retable of the high altar in that 
 church, Murillo had executed at the time of his death only part of the 
 large central one, the Marriage of St. Catherine. This was finished 
 by Meneses, who also executed the four lateral paintings after the 
 designs of Murillo. The subjects of these are: The Guardian Angel; 
 St. Michael ; St. Francis with a crucifix ; and St. Joseph with the Infant 
 Jesus. See ante, page 221, No. 264. 
 
 There is nothing by this artist in the galleries at Madrid, but in 
 the south of Spain his works are easily found. Cadiz offers some of 
 
332 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 them, the best of which, and a favorable specimen of his genius, is 
 the Death of a Hermit, in the Museum of that city. A group on the left, 
 in which the Virgin appears on clouds to the dying man, accompanied 
 by the Magdalen, St. Catherine, and a choir of angels, might easily pass 
 for the work of Murillo himself, so perfect is the imitation of his style. 
 The Last Judgment, in the same gallery, a more ambitious, but a less 
 pleasing performance, was, until recently, ascribed to Nicholas Pous- 
 sin. There is a large painting in the Church of La Merced, at Cadiz, 
 representing the Virgin appearing to St. Cayetano, who holds the infant 
 Jesus in his arms with transport. The composition and the head of 
 the Saint are supposed to be by Murillo, the remainder having been 
 executed after Murillo's death, by Meneses. 
 
 In Seville, where he studied, labored and died, there have been 
 in times past many of his works, but very few are now to be found. 
 The Museum has but one, depicting the Institution of the Third Order 
 of St. Francis, an important work, containing many figures of monks, 
 and some excellent heads and draperies. In the palace of San Telmo, 
 belonging to the Duke of Montpensier, may be seen two Fish and 
 Game Pieces, and, what is more important, an admirable Christ Pray- 
 ing in the Garden of Olives. This painting offers a striking resem- 
 blance in feeling and execution to that in the Louvre, attributed to 
 Murillo, representing the same subject. One cannot help thinking the 
 two pictures are by the same artist. See ante, page 196, No. 195. 
 
 Meneses was the favorite assistant of Murillo, the most capable of 
 his disciples, and the one who most faithfully reproduced the charm 
 of his master's style, and the harmony of his coloring. He lived a 
 long and doubtless a laborious life. That we have so few specimens 
 of his skill may be due to the fact that he sunk his own individuality 
 in that of his teacher, and that many of his works pass under the name 
 of the greater artist. 
 
 The following pictures are mentioned which has entirely disappeared, could 
 
 by Amador de los Rios, but the collec- once show no less than sixteen specimens 
 
 tions referred to have been either wholly by this master. Among them were : 
 
 dispersed or greatly diminished since his St. Clara; St. Isabel; a Conception; 
 
 account was published : the Virgen de Belem; St. Thomas; St. 
 
 The gallery of Don Aniceto Bravo, John Baptist ; a portrait of the Vener- 
 
VELAZQUEZ AND MURILLO. 
 
 333 
 
 able Contreras ; the Virgen del Carmen, 
 with the infant Jesus in her arms ; 
 another Virgen del Carmen, oblong, with 
 a number of Carmelite monks and nuns; 
 a third Virgen del Carmen, with two 
 figures at her feet imploring grace and 
 protection ; and a Holy Family, signed 
 and dated 1699. 
 
 Don Jose Saenz possessed several 
 paintings, the best of which were Si. 
 Joseph with the infant Jesus in his 
 arms ; and St. Rose praying before the 
 infant Saviour. 
 
 Don Jose Lerdo de Tejada had a 
 Crucifix. 
 
 Don Jose Larrazabal, Vice-Consul of 
 France at Seville, possessed a St. Joseph, 
 life-size. 
 
 Don Jose Maria Suarez de Urbina 
 had a St. Rosalie ; and a Magdalen. 
 
 The gallery of Dean Lopez Cepero 
 contained a half-length picture of St. 
 A ngnstin, habited as a monk. 
 
 Don Pedro Garcia de Leaniz had a 
 work representing Doctors and Patriarchs 
 adoring the Holy Sacrament ; St. Anne 
 Teaching the Virgin ; and a bust of St. 
 Rose. 
 
 Cean Bermudez mentions only the 
 following paintings by Meneses : Elijah 
 ministered to by an Angel ; St. Philip 
 
 Neri adoring the Virgin; also some 
 " Nifios " which were thought to be his 
 best works ; and a Conception which was 
 greatly admired when the artist exhibited 
 it before the Academy of Seville in 1666. 
 All these works have disappeared. 
 
 There have been the following sales of 
 paintings by Meneses : 
 
 Aguado sale, 1843. No. 118. Pre- 
 sentation of the Virgin in the temple, 
 thirteen figures. 1.40X2.27. 355 f. 
 No. 119. The Repose in Egypt; the 
 Virgin offers water in a shell to the 
 Child ; four figures. 1.38x2.19. 505 f. 
 No. 120. Christ on the Cross. 1.29X.97. 
 115 f. No. 121. St. Francis in the 
 Desert ; an angel supplies him with 
 water to quench his thirst. 1.75x1.15. 
 350 f. No. 121. St. Peter, and No. 122. 
 St. Paul; companions. .97x1.20. 350 f. 
 
 Soult sale. No. 83. The Virgin, 
 crowned, and bearing a sceptre, appears 
 to a Saint, accompanied by angels. 
 1.68x2.10. 300 f. 
 
 Rayneval sale. The Annunciation, 
 12 figures ; and The Flight. 
 
 Thomas Purves sale. The Annuncia- 
 tion, with angels. £8 8s., to Rutley. 
 
 Dr. Rinecker, of Wiirzburg, had a 
 St. Sebastian, assisted by two women. 
 The collection was sold in 1868. 
 
 TOBAR. 
 
 Don Alonso Miguel de Tobar was born in the year 1678 at 
 Higuera, near Aracena, whence, at an early age, he removed to 
 Seville, and placed himself under the instruction of Juan Antonio 
 Fajardo, a painter of but little merit. He afterwards thought to 
 improve his style by copying the works of Murillo, which he did 
 with such exactness that he became the most noted of all the imitators 
 of that master. The success he achieved in this line was such that 
 he made for himself a greater name than he has acquired by inde- 
 
334 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 pendent work, although we have seen paintings by his hand that show 
 him to have possessed qualities that would enable him to take a high 
 rank as an original artist. 
 
 Some time before 1720 he became a Familiar of the Holy Office, 
 and in that year he executed for the Cathedral of Seville his most 
 famous picture, called Nuestra Sefiora del Consuelo, which procured 
 for him the favor of Philip V., who visited Seville in 1629, and who 
 appointed him Court Painter on the death of Teodoro Ardemans in 
 that year. On receiving this appointment, Tobar removed to Madrid, 
 where he occupied himself chiefly in portraiture until his death in 
 1758. Tobar was one of the most perfect of all the disciples or 
 copyists of Murillo, whose free-handling and warm, harmonious color- 
 ing he imitated closely. Probably much of the work he executed 
 during his long life passes under the name of his great exemplar. 
 
 The painting in the Seville Cathedral is considered his master- 
 piece, and shows that if he had not preferred to spend his time in 
 copying, and in portraiture, he might have excelled in a different 
 branch of art. It represents the Virgin of Consolation, enthroned, 
 with the infant Saviour in her arms, and St. Francis of Assisi, and St. 
 Antony of Padua standing on either side. In the foreground is a 
 surpliced priest, kneeling. This picture, of which all the figures are 
 the size of life, and at full length, bears the signature, D Alonso 
 Miguel de Tobar, Familiar del Sto. Oficio fee. a 1720. 
 
 The only original paintings by his hand in any public gallery in 
 Spain are a Virgin a?id Child; and the Virgi?i appearing to St. Francis, 
 in the Academy of San Fernando. There are, however, some excel- 
 lent copies after Murillo. One, of the Virgen de la Faja, in the 
 Museum at Cadiz, is an excellent specimen of his talent as a copyist. 
 There are also in the Church of S. Isidoro at Seville, admirable copies 
 by him, after Murillo. One is after the Good Shepherd, belonging 
 to Baron Rothschild {ante, page 185, No. 167), the other is after the 
 Infant St. John in the National Gallery at London [ante, page 245, 
 No. 322). In the Museo del Prado is an important copy by him of 
 the Portrait of Murillo, probably made after the one belonging to 
 Earl Spencer (No. 464a). 
 
VELAZQUEZ AND MURILLO. 
 
 335 
 
 The Museo del Prado contains a picture formerly attributed to 
 Tobar, representing the Virgin as the Good Shepherdess. She is seated 
 on a rock feeding some lambs with roses ; above are grouped a num- 
 ber of angels, and in the background, a stray sheep, rescued by an angel 
 from the pursuit of a dragon. This composition was considered 
 worthy of being engraved as the work of Tobar, in the Coleccion Lito- 
 grafica, and of being etched by Mrs. Jameson in Legends of the 
 Madonna, but it has lately been restored to German Llorente. 
 
 The gallery of the Duke of Montpensier at Seville has a very 
 fine copy of the St. Thomas of Villanueva, dividing his clothes among 
 some poor children in the street, after the original by Murillo in the 
 possession of Lord Ashburton. The copy is either by Tobar or by 
 Villavicencio, probably the former. 
 
 In the Museum at Berlin we may see a St. Joseph, holding in his 
 arms the infant Jesus, who, seizing the drapery, looks towards his 
 father with respect and affection; painted in an oval border. The 
 picture was purchased at the sale of Marshal Soult for 1,150 francs. 
 
 The Hermitage contains a half-length figure of A Boy, crowned 
 with vines, seated on a marble balustrade, blowing soap bubbles. 
 
 Mr. McClellan formerly had a St. Joseph with the Infant Jesus. 
 The collection was presented by its owner to the city of Glasgow, and 
 the picture may now be looked for in the Museum of that city. 
 
 A Portrait of Murillo, attributed to Tobar, is in the collection of 
 the late Sir William Stirling- Maxwell at Keir. 
 
 A Monk Praying, in the Museum at Nancy, is attributed to 
 Tobar, but it seems rather to resemble the manner of German 
 Llorente. 
 
 The gallery belonging to the heirs of the Infant Don Sebastian, 
 which was in 1881 transferred temporarily to the Museum at Pau, con- 
 tains a picture of the Virgin iti Contemplation, and a portrait of a 
 Spanish Infanta. There is also a portrait of Olivares (?), who died 
 thirty-three years before Tobar was born. 
 
 The following paintings by Tobar for- In the gallery of Don Aniceto Bravo 
 merly existed in different private collec- was a St. Francis de Paul, life-size, which 
 tions in Seville : has often been mistaken for a work of 
 
336 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 Murillo; two pictures of the Conception, 
 one of them the size of life, with twenty- 
 two cherubs ingeniously disposed ; and 
 a Virgen del Rosario, in which the 
 Virgin is seated on clouds, with the 
 child in her lap, supported by a group 
 of graceful cherubs. 
 
 Among the eighteen hundred pictures, 
 chiefly of the school of Seville, formerly 
 in the possession of Don Jose Saenz, 
 was a Mater Dolorosa; St. Michael 
 vanquishing Lucifer with his flaming 
 sword; and the Apotheosis of 'St. Gertrudis. 
 
 Don Jose Larrazabal had St. John in 
 the desert comforted by angels. 
 
 Don Jose Olmedo had a Conception 
 with angels, less than life-size; somewhat 
 injured by restorers. 
 
 Cean Bermudez mentions two pictures 
 by Tobar, both of which are now lost : — 
 a portrait of Cardinal de Molina, and a 
 copy executed for the Church of Santa 
 Maria la Blanca at Seville, of the Holy 
 Family and St. John, by Murillo. See 
 ante, page 177, No. 147. 
 
 The following sales of paintings by 
 Tobar have taken place : 
 
 Aguado sale. No. 130 and No. 131. 
 Two pendants. In one the Infant Jesus 
 is upborne by angels ; in the other, the 
 Virgin, kneeling on a crescent, is carried 
 to heaven by angels ; both in medallions 
 formed of garlands of flowers. 1.02X.82. 
 1,360 francs. 
 
 Louis Philippe sale. No. 25. St. John 
 Baptist. 1 . 70 X 1 • 24. £ 1 0. 
 
 Baron Faviers sale, Paris, 1837. A Vir- 
 gin and Child, in the style of Murillo. 
 455 f- 
 
 Colonel Hugh Baillie sale, 1858. St. 
 Joseph in a red garment, with a lily 
 branch in his hand, watches intently the 
 infant Jesus, who has pricked his finger 
 with a thorn from the crown that is on 
 his lap. 
 
 Thomas Purves sale, 1849. Glorifica- 
 tion of the Virgin, with St. Dominic and 
 St. Joseph. £15 Ss. 
 
 Dr. Rinecker had a Virgin and Child, 
 surrounded by angels. 
 
 VILLAVICENCIO. 
 
 Don Pedro Nunez de Villavicencio was a native of Seville, 
 where he was born in 1635. His family was illustrious, and so numer- 
 ous that Charles II. was accustomed to say, it was a nation, not a 
 family. He took lessons in painting from Murillo, probably more for 
 diversion than as a serious occupation. The duties required of him 
 as a Knight of the Order of St. John of Jerusalem having called him 
 to Malta, he there became acquainted with Matias Preti, 77 Calabrese, 
 who was also a member of the Order of St. John, and under him 
 Don Pedro continued his studies, perfecting himself chiefly in claro 
 obscuro. He seems to have had from the first a faculty for imitation, 
 for we find that among his remarkable productions at Malta was a 
 Magdale?i that was taken for the work of his master, Preti. 
 
VELAZQUEZ AND MURILLO. 
 
 337 
 
 Returning to Seville, Don Pedro resumed his studies under 
 Murillo, who treated him not as a pupil, but as a friend. These two 
 artists labored together in the establishment of the Academy of 
 Seville in 1660, and continued to live in the strictest intimacy until the 
 death of Murillo, who is said to have died in his pupil's arms. The 
 last act of the dying painter was to appoint Villavicencio one of the 
 executors of his will. Soon after the death of his master and friend, 
 Don Pedro took up his residence in Madrid, where he acquired the 
 favor of Charles II. by presenting him with the picture of Boys Playing 
 Dice, which the King sent to the Palace of Zarzuela, but which is now 
 in the Museo del Prado. Don Pedro also presented a picture about 
 the same time to the Count of Monterey, a noted patron of the arts. 
 Villavicencio died in Seville in the year 1700. 
 
 Palomino mentions a portrait of the Cardinal Ambrosio Spinola, 
 which has been engraved, and Cean Bermudez notes four pictures 
 representing passages in the life of the Virgin, which were, up to the 
 time of the French invasion, in the choir of the Convent of the 
 Carmen Calzado at Seville. 
 
 Villavicencio was probably more of an amateur than an artist, 
 and the only pictures in which we are able to trace the style of Murillo 
 are representations of peasant boys and scenes of familiar life. In 
 these he showed great facility. He is commonly reputed to have 
 excelled in portraits, but we know of none except two of Cardinal 
 Spinola, formerly in private collections in Seville. Don Jose de 
 Madrazo says he has never seen a portrait by his hand. The fame he 
 has enjoyed is chiefly that reflected on him as a friend and pupil of 
 Murillo. His best work is the Boys Playing Dice, above referred to, 
 now in the Museo del Prado. Six ragged urchins are grouped together 
 on the right of the composition, two of whom are playing dice on a 
 cloak spread on the ground before them. The game is watched by 
 two other boys, while two roguish fellows are slyly abstracting the 
 stakes. On the left is a girl holding a rose, and a child with a piece 
 of bread ; other figures in the background.* 
 
 * The picture is engraved in the Colcccion Litograjica, and photographed by 
 Laurent. 
 
 43 
 
338 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 A picture in the Hermitage, attributed to Villavicencio, represents 
 Two Boys PlayingDice. It is a repetition of a picture in the Academy 
 at Vienna, ascribed to Murillo. (See Murillo Catalogue, No. 441.) 
 
 To this artist should also, we think, be attributed the painting in 
 the Munich Gallery of Four Boys Playing Cards, the coloring of which 
 does not resemble that of Murillo as seen in the other pictures of the 
 beggar boys in the same gallery. (See Murillo Catalogue, No. 455.) 
 
 In a small picture in the Cadiz Museum, St. Gregory the Great, 
 St. Ambrose, and some of the Fathers of the Church are discussing the 
 doctrine of St. Ambrose in the presence of the Eternal Father, the 
 Son and the Virgin. 
 
 The Gallery at Pesth contains a Boy with Two Dogs. 
 
 Don Aniceto Bravo formerly had the 
 following pictures by Villavicencio : St. 
 Raphael, full length ; the Death of St. 
 Joseph, noticeable for its excellent heads, 
 its rich draperies, and especially for the 
 figure of the Virgin ; a portrait of Car- 
 dinal Ambrosio Ignacio Spinola ; the 
 Virgin of the Rosary holding the Child 
 in her lap ; a Virgen de Belem, with the 
 Child in her arms, and several angels in 
 a glory above ; and a Virgin of the Con- 
 ception, sustained in the air by a group 
 of angels. 
 
 Don Pedro Garcia had a St. Bernard 
 adoring the Virgin ; The Infant Jesus 
 and St. John ; St. Theresa in ecstasy ; 
 and a Flight into Egypt. 
 
 Don Jose Larrazabal had an admirable 
 portrait of Cardinal Spinola. 
 
 Don Francisco Romeo de Balmaseda 
 had St. Raphael ; and a Nino a la 
 E spina. 
 
 The following paintings have been 
 sold : 
 
 Lord Northwick sale, 1859. No. 
 
 1725. The Holy Family, with angels. 
 ^11 lis., to J. S. W. S. Erle-Drax. 
 
 There was once at Alton Towers a 
 Holy Family, in which Joseph is caress- 
 ing the Infant Jesus, while the Virgin is 
 occupied in sewing. 
 
 Thomas Purves sale. The Nativity. 
 The Virgin kneeling in the centre, with 
 the Child lying on a white sheet before 
 her ; on the right and left various shep- 
 herds and shepherdesses bringing offer- 
 ings. ^11 os. 6d., to Rutley. 
 
 Aguado sale. No. 154. Adoration of 
 the Magi. One of the Kings kisses the 
 foot of the Child. 16 figures. 1. 11 X 1.57. 
 500 f. No. 155. Repose in Egypt; 
 angels bring fruit to the Child ; 1 1 fig- 
 ures ; companion to the above. 599 f. 
 No. 156. Mater Dolorosa, in an oval 
 medallion. 2. 00 X- 80. 440 f. 
 
 Rayneval sale, 1838. Landscape, with 
 a figure of a monk in a white robe. 
 
 Lopez Cepero sale. The Virgin seat- 
 ed, holding the Child standing in her 
 lap. 1.10X.80. About 400 f. 
 
VELAZQUEZ AND MURILLO. 
 
 339 
 
 MARQUEZ. 
 
 Esteban Marquez was born, somewhere about the year 1655, 
 in Estremadura, but studied painting in Seville, under his uncle, Fer- 
 nando Marquez Joya, who was of the school of Murillo. On the 
 death of his master, about 1672, Esteban, who was still a boy, was 
 employed by a shopkeeper in the Feria to paint pictures for the 
 American market, as Murillo is said to have once done. This situa- 
 tion he soon lost for incompetency, and he returned discouraged to 
 his native village, where he tarried but a short time, when he was 
 again driven by want to seek his fortunes in Seville. This time he 
 applied himself to his art with so much diligence and resolution that 
 he soon became expert, chiefly, however, as a copyist and imitator of 
 Murillo. He died in Seville in 1720. 
 
 Stirling thinks that he, with Meneses Osorio, and Tobar, produced 
 among them more than half the works which pass under the name of 
 Murillo, an estimate which we think exaggerated. It is nevertheless 
 true that these three artists were the best of the simulators of Murillo's 
 style, and that many of their works have formerly passed, and some 
 still pass, under his name. 
 
 Cean Bermudez mentions a picture painted by him for the con- 
 vent of the Terceros at Seville, the subject of which he does not 
 name. 
 
 For the Trinitarios Descalzos, in that city, he executed the 
 Ascension of Our Lord, containing some heads of the Apostles, in 
 which he displayed great freedom and skill. With the assistance of 
 Juan Simon Gutierrez, he painted for the same church eight works 
 representing passages in the Life of the Virgin. These were in 18 10 
 taken to England, and sold at Christie's as originals by Murillo. (See 
 Murillo Catalogue, No. 54a.) There were also some paintings by him 
 in the Convent of Agustin Recoletos, among them one in which the 
 Saviour appears to St. Peter on the shore of the sea. 
 
 He painted the fourteen full-length, life-size figures of Christ, the 
 Virgin, and the Twelve Disciples, on the columns of the Church of the 
 Hospital del Sangre. They contain some good heads, full of dignity 
 and character. 
 
34-0 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 The Seville Museum contains three paintings by him, one of 
 which is St. Joseph with the Infant Saviour* The other two, St. 
 Augustin with Jesus and the Virgin, and St. Augustin with the Infant 
 Saviour, may be among the paintings executed for the Augustin 
 Convent. 
 
 In the Cathedral at Cadiz is a St. Joseph with the lily branch, 
 holding the Child Jesus by the hand. 
 
 A Christ with the Woman of Samaria was formerly in the posses- 
 sion of Don Pedro Garcia de Leaniz. 
 
 MARQUEZ JOYA. 
 
 Fernando Marquez Joya, a painter of Seville, was an uncle 
 and the master of Esteban Marquez. A portrait of Cardinal Spinola, 
 painted by him in 1649, was engraved by Van der Go wen at Amster- 
 dam. In 1668 he became a member of the Academy of Seville, and 
 retained his connexion with that body, contributing his share towards 
 its expenses until 1672, when he is supposed to have died. He fol- 
 lowed the manner of Murillo, but so few of his works are known that 
 it is difficult to speak confidently concerning them. 
 
 In the Aguado sale, No. 117 was a falling on his shoulders, holding a crayon 
 portrait by Marquez Joya, of a Young in his right hand and a drawing before 
 Artist in a black costume, with long hair him. i.ooX-78. 80 francs. 
 
 GOMEZ. 
 
 Sebastian Gomez, El Mulato de Murillo, was of mixed blood, and 
 born in servitude, like Juan Pareja, the slave of Velazquez. What 
 we know of Murillo's father, and of his own straightened circum- 
 stances in youth, make it probable that Gomez came into his master's 
 possession by purchase after Murillo's marriage in 1648. As a slave, 
 
 * This picture has been photographed by J. Laurent, No. 11 17. 
 
VELAZQUEZ AND MURILLO. 
 
 341 
 
 Gomez was employed in servile occupations, and in grinding colors, 
 and cleaning the pencils that he afterwards became expert in handling. 
 There is a tradition that he first made his talents known by completing 
 a head of the Virgin which his master had sketched and left unfinished 
 on the easel. 
 
 Both master and slave are supposed to have died in the same 
 year, 1682, although it would appear by some papers of the Conde 
 del Aguila, preserved in the municipal archives of Seville, that Gomez 
 was living as late as 1730. 
 
 The style of El Mulato resembled that of his master, but he had 
 the fatal defect, common to all the followers of the School of Seville, 
 an inaptitude for drawing. 
 
 Care should be taken not to confound this artist with another 
 Sebastian Gomez, who was a native of Granada, and a follower of the 
 school of Alonso Cano. 
 
 Cean Bermudez notices by Gomez a beautiful Virgin and Child 
 in the Church of the Mercenarios Descalzos at Seville; a Christ at 
 the Column, with St. Peter kneeling at his feet; and St. Joseph and 
 St. Anne ; the last two works in the Capuchin Convent. All these 
 have disappeared. 
 
 A good specimen of his style is a full-length, life-size picture 
 representing the Holy Family in a chamber in the house of Joseph, 
 still to be seen in the Contaduria of the Cathedral at Seville. A 
 Conception, with a group of angels, in the Museum at Seville, has a 
 strong resemblance to the manner of Murillo, especially in the 
 coloring.* 
 
 There is in the Hermitage a half-length figure of St. Francis of 
 Assisi looking up, holding a cross in his hands which are marked with 
 the stigmata and joined on his breast. The picture was purchased at 
 the sale of Marshal Soult for 135 francs. 
 
 There are but few pictures of this artist known, and it is probable 
 that most of his life was spent in servile labors. 
 
 The following paintings by Sebastian length, with his hands crossed on his 
 Gomez, el Mtclato, have been sold : breast, looking down towards a cross ; a 
 
 Soult sale. No. 79. St. Francis, half- skull before him. .62X.82. i7of. No. 
 
 * Photographed by J. Laurent, No. 11 14. 
 
342 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 81. Bust of a Young Man, with long 
 hair falling on his cheeks, wearing a 
 mantle. .59X.46. 300 f. .No. 82. A 
 Saint, with bare head, inclined for- 
 wards, his hair falling on his shoulders ; 
 wearing a mantle. .80X.60. 600 f. 
 
 Aguado sale. No. 217. The Virgin, 
 seated on clouds, with angels beneath 
 and around her, supporting her Son who 
 
 stands in her lap, both holding a rosary. 
 2.20XI. 10. 860 f. No. 218. The Magi 
 adoring the Infant Jesus, whom the 
 Virgin holds in her lap ; a young slave 
 bears the end of the yellow mantle of 
 one of the worshippers ; 8 figures. 
 .28X.30. 102 f. This picture afterwards 
 belonged to M. Fumaroli, whose collec- 
 tion was sold at Paris, Dec. 16, 1843. 
 
 ANTOLINEZ Y SARABIA. 
 
 Don Francisco Antolinez y Sarabta was a native of Seville, 
 where he was born in 1644. He was destined for the Bar, but having 
 a natural taste for art, which was strengthened by his relationship to 
 Don Jose Antolinez, his uncle, he gave to painting as an amusement 
 the time he should have devoted to the law as a duty. He became a 
 follower of Murillo and was a co-worker with him in the Academy of 
 Seville until 1672, when he left his native city to seek his fortunes in 
 Madrid under the patronage of his uncle, who had preceded him to 
 the capital. His plans were changed by the death of this relative in 
 1676, when he turned his attention again to the law, which he 
 attempted to mingle with politics. But this experiment was a failure, 
 for although he procured himself to be chosen Alcalde for several 
 towns, yet his eccentric, unmanageable disposition constantly barred 
 the way to success. Returning to Seville, he again sought to estab- 
 lish himself as an advocate ; but his infirmity of temper still thwarted 
 his efforts, and he was forced to use his pencil to gain a livelihood, 
 which, however, he did in secret, as he preferred throughout his life to 
 be considered the man of letters, which he was not, rather than the 
 artist, which he might aspire to be. His wife having died, he deter- 
 mined to take orders, and to that end again repaired to Madrid, where 
 he died in the year 1700, without having accomplished his latest desire. 
 
 Don Francisco imitated Murillo, especially in the grace and 
 freshness of his coloring, and he succeeded better in drawing than 
 most of the disciples of that artist. His pictures are usually small, 
 
VELAZQUEZ AND MURILLO. 343 
 
 and chiefly landscapes, into which are introduced scenes in the life 
 of the Virgin, Saints, or Patriarchs. 
 
 Palomino, who gives the name of this artist as Don Francisco 
 Ochoa y Antolinez, says he saw a small painting by him, about eleven 
 inches in height, which he valued at 100 pesos, thinking it to be by 
 the hand of Murillo. The subject was The Virgin in Egypt, assisting 
 some pious women to wash and care for the clothing of the Infant 
 Jesus. He adds that Antolinez was accustomed to paint six, eight, or 
 ten pictures in a series, of a vara or less in size ; also excellent small 
 portraits, one of which, that of his daughter, was worthy to be 
 compared with the best in its line. 
 
 This artist is often confounded with his uncle, Jose, an error into 
 which the writer of the life in Blanc, Peintres, has fallen, especially in 
 his list of the painter's works. 
 
 A good specimen of the manner of this artist is a Nativity in the 
 Cathedral at Seville. 
 
 The Duke of Montpensier has in the Palace of San Telmo two 
 small companion pictures, a St. Joseph with the Infant Jesus ; and St. 
 Joseph Dreaming. 
 
 Five sketches are to be seen in the Museo Nacional at Madrid, 
 which were formerly in the Church of S. Felipe in that city. They 
 represent the Purification of the Virgin; the Adoration; the Flight 
 into Egypt; the Annunciation ; and the Marriage of the Virgifi. 
 
 Don Aniceto Bravo formerly possessed ^5 $s. No. 157. St. Joseph and the In- 
 
 ten landscapes, and Don Jose Lerdo de J "ant Jesus, in a landscape. .39.5X1.53. 
 
 Tejadahad six small pictures representing £g 19s. 6d. 
 
 passages in the Old and New Testament. Soult sale. No. 93. The Virgin, 
 
 Dean Lopez Cepero once owned a seated on a balustrade, wearing a veil 
 
 Repose of the Holy Family in Egypt, that falls to her waist, regards tenderly 
 
 20X14 inches. the Infant Saviour who lies on her lap. 
 
 The following paintings by Antolinez 1. 50XI.07. 2605 f., to Collot. No. 
 
 y Sarabia have been sold : 94. A Pastoral Landscape, with an 
 
 Louis Philippe sale. No. 423. The aqueduct, a man and a woman on horse- 
 
 Baptis/n of Christ. 1. 64X1. 05. ^"io 10s. back, and a flock of sheep. 700 f. 
 
 No. 424. The As 'sumption 0/ the Virgin. No. 95. A Pastoral Landscape, with a 
 
 1. 40X1.04. £10 10s. girl leading a child towards a shepherd 
 
 Standish sale. The Angel appearing who is guarding three sheep. 1.06X1.30. 
 
 to St. Joseph, in alandscape. .39.5 X 1.53. 510 f., (to Cte. Duchatel ?). 
 
344 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 IRIARTE. 
 
 Ignacio Iriarte was born in 1620 at Azcoita, in Guipuzcoa, where 
 he obtained his first instruction in painting from some provincial 
 teacher. In 1642 he went to Seville and placed himself under the 
 tuition of Herrera the elder, who thirty years before had counted 
 Velazquez among his scholars. It was from Herrera that Iriarte 
 obtained his knowledge of coloring, although his manner in after 
 years did not so much resemble Herrera's as that of the prevailing 
 school of Seville. Finding that he had no capacity for drawing, 
 Iriarte wisely abjured figures and devoted himself exclusively to land- 
 scapes, in which he attained such excellence that Murillo said Ignacio 
 made landscapes by divine inspiration. 
 
 In 1646 Iriarte married, at Aracena, Dona Francisca de Chaves; 
 but she soon died, and in 1649 he took to himself another wife, Dona 
 Maria Escobar. He interested himself in the founding of the Academy 
 of Seville, and became its first Secretary, an office which he again 
 filled from 1667 to 1669, after which date we do not find his name 
 among the members of that body. He died at Seville in 1685. 
 
 Though often mentioned in connection with Murillo, Iriarte 
 cannot be considered either a pupil or an imitator of that master. 
 He does not appear to have attempted religious or figure pieces, and 
 the only reason for naming him as one of the school of Murillo is 
 found in the story told by Palomino. Murillo, he says, having been 
 chosen by the Marques de Villa- Manrique to paint a series of large 
 paintings containing scenes in the life of David, wished to have the 
 landscapes painted by Iriarte, who excelled in that branch of art. A 
 dispute having arisen as to which should first perform his part of the 
 work, Murillo ended it by taking it upon himself to paint the pictures 
 without assistance. Stirling suggests that it may have been this 
 quarrel that caused Iriarte to withdraw from the Academy. In that 
 case, the pictures referred to were executed about 1670. (See Murillo 
 Catalogue, No. 10.) 
 
 The landscapes of this artist, although warm and harmonious in 
 coloring, are affected and artificial in composition, and fail to justify 
 
VELAZQUEZ AND MURILLO. 
 
 345 
 
 the title of the Spanish Claude, which has sometimes been bestowed 
 upon him. 
 
 His works are not rare. Four landscapes are in the Museo del 
 Prado, and one in the Hermitage. 
 
 Don Julian Williams formerly had four landscapes by Iriarte, 
 one of which passed into the possession of the late Sir Frederick Roe, 
 and was in his house in London. It contains a ruined castle at the 
 foot of wooded hills, with a waterfall and sheep in the foreground. 
 
 Dean Lopez Cepero possessed six 
 landscapes by Iriarte, one of them a 
 View of Seville, from Triana. 
 
 Don Jorge Diez Martinez had no less 
 than twelve landscapes. A landscape 
 belonged to Don Jose de Madrazo, and 
 seven others to Don Jose Arasabla, for- 
 merly Consul of France at Seville. 
 
 The following pictures by Iriarte have 
 appeared in sales : 
 
 Louis Philippe sale. No. 30. A Land- 
 scape, with the Ladder of Jacob. .38 X .60. 
 
 £6 10s. No. 31. Fruits and Flowers. 
 •97X-74- £io\os. 
 
 Standish sale. No. 63. Fruits. .57 X 
 •73- 9. 
 
 G. A. Hoskins sale, 1864. A View of 
 the Guadalquivir, with a posada and 
 travellers in a wood. Exhibited at Man- 
 chester. £i\ 6s., to Kibble. 
 
 Thomas Purves sale, 1849. A Land- 
 scape. £10 10s. 
 
 Comte Rayneval sale, 1838. Four 
 Landscapes. 
 
 ANTONIO DEL CASTILLO. 
 
 Antonio del Castillo y Saavedra, a native of Cordova, was 
 born in 1603, of an illustrious and artistic family. He was a son of a 
 distinguished artist, Agustin Castillo, and nephew of Juan del Castillo, 
 the first instructor of Murillo. Agustin, the father, having died in 
 1626, the son repaired to Seville and placed himself under the tuition 
 of Zurbaran. After completing his studies, he returned to Cordova, 
 where he at once took a high rank in his profession, and the remainder 
 of his days were passed in his native city, whose cathedral and churches 
 he adorned with frescoes and paintings in oil, mostly of religious sub- 
 jects. He also occupied himself in giving lessons in painting to such 
 pupils as chose to resort to him for instruction. 
 
 Among his scholars was Juan Alfaro y Gamez, who, after leaving 
 Cordova, completed his studies with Velazquez. Concerning this 
 44 
 
346 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 man a story is told which has become a classic in the history of 
 Spanish art. After finishing his studies in Madrid, Alfaro returned to 
 Cordova, puffed up with the idea of his own powers. He was soon 
 employed to paint some pictures for the Convent of San Francisco, in 
 executing which he eked out his own poverty of invention by copying 
 from some engravings after works by the Italian masters, and these 
 paltry things he signed conspicuously, Alfaro pinxit. Castillo was 
 piqued with the young man's conceit, and, wishing to give him a 
 lesson, he obtained a commission to make a painting of the Baptism 
 'of St. Francis for the same convent, which, when finished, he simply 
 signed, Non pi?ixit Alfaro. 
 
 Antonio enjoyed a high reputation in his lifetime, and it had 
 not entirely died away when Palomino wrote, for that heavy author 
 employs almost as many words to describe this artist and his works as 
 he gives to Murillo. Both he and Cean supply us with long lists of 
 Castillo's pictures, but nearly all of them have disappeared. 
 
 While alive to the vanity of others, Castillo was not himself 
 destitute of that comfortable quality. In 1666, full of honor, and 
 confident in himself, he resolved to revisit Seville, where he had not 
 been since he left that city as a youth. The fame of Murillo had 
 reached him, but the Cordovan Themistocles lost no sleep on account 
 of the victories of the Sevillian Miltiades. Incredulous as to the reports 
 he had received, and secure in the belief that he was himself the fore- 
 most painter of Spain, he thought to display his powers in the Anda- 
 lusian capital. The artists there received him with the courtesy and 
 respect due to his years and recognized position, and in due time they 
 led him to see the wonderful paintings which Murillo, twenty years 
 before, had painted for the small cloister of the Convent of San Fran- 
 cisco. When he came into their presence he was astonished, and 
 could not tear himself from the spot, nor would he believe them to be 
 the works of Murillo. Again, he was taken to the Cathedral, and 
 shown the St. Isidoro, the St. Leandro, and the St. Antony with the 
 Infant Jesus, in the Baptistery, when, carried away by his enthusiasm, 
 he exclaimed, " Ya murio Castillo. Can it be possible that Murillo, 
 the pupil of my uncle, is the author of so much grace and beauty ? " 
 
VELAZQUEZ AND MURILLO. 
 
 347 
 
 He returned to Cordova overcome with chagrin, and, full of the 
 recollections of Murillo, he painted in the style of that master a pic- 
 ture of San Francisco, which Cean Bermudez considered his master- 
 piece. Shortly after completing this work he took to his bed, and 
 died the following year, 1667, of disappointment and melancholy. 
 
 It is unnecessary for the purposes of this work to give a list of 
 the paintings by Castillo, as they are not likely to be of special interest 
 to the student of the school of Seville. 
 
 GERMAN DE LLORENTE. 
 
 Don Bernardo German de Llorente was born in Seville in 
 1685, and died in that city in 1757. He received his education as an 
 artist from Cristobal Lopez, a Pinior de la Feria, one who gained his 
 living, as Murillo is said to have done, by painting canvases for the 
 India traders, the seat of whose commerce was Seville. From this 
 man Bernardo learned the use of his brushes, and how to imitate the 
 coloring of Murillo. 
 
 A capuchin monk, Frey Isidoro of Seville, at that time created a 
 furore in Andalusia by his description of the Virgin as a shepherdess. 
 Llorente made some reputation by depicting her in that manner on 
 canvas, whence he received the appellation of Fl Pintor de las 
 Pastoras. One of his representations of this subject was executed as 
 a missionary banner for Frey Isidoro. A repetition of this picture is 
 in the Museo del Prado, where it was formerly ascribed to Tobar, and 
 it is lithographed as a work of his in the Coleccion Litograjica. There 
 is also an etching of it by Mrs. Jameson in the Legends ofihe Madonna. 
 In the revision of the Catalogue of the Madrid Gallery the painting was 
 restored to Llorente. Don Valentin Carderera had a small repetition, 
 with some variations in the figures of the angels. The subject is the 
 Virgin seated on a rock in a landscape, feeding with roses some sheep 
 which are grouped around her. 
 
 When Philip V. and Queen Isabel Farnese were in Seville in 1729, 
 Llorente painted a portrait of their son, the infant Don Felipe, which 
 
348 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 gave such satisfaction that the artist was rewarded with a series of 
 engravings by Audran, after Lebrun, representing the Battles of 
 Alexander. He might at that time have received an appointment as 
 Court Painter if he had desired, but his gloomy spirit did not accord 
 with the gay scenes of the court, and he preferred to pass his days 
 with the friars of Seville. His fame, however, had travelled beyond 
 his native city, and on the organization of the Academy of San Fer- 
 nando he was made an honorary member. 
 
 Llorente was a tolerable imitator of Murillo, but his coloring, 
 though luminous, lacked harmony, his touch was heavy and con- 
 strained, his shadows thick, and he lacked the grace and accuracy 
 of drawing that characterized his great exemplar. The use of bitumen 
 in his colors has blackened and destroyed the quality of many of his 
 works. 
 
 Cean Bermudez gives a brief list of his paintings, all of which 
 have now disappeared. He also says that many were to be seen in 
 private houses in Seville, and many have been exported as originals 
 by Murillo. 
 
 The Duke of Montpensier has a small St. Rosalia. 
 
 At the sale of Marshal Soult, No. 98, and holding a palm and a sword,. 62 X-49, 
 St. Catharine, crowned, richly dressed, sold for 100 francs. 
 
 RUBIRA. 
 
 Don Josef de Rubira, a son of Andres de Rubira, a painter, 
 was born in Seville in 1747. He devoted himself to copying the 
 works of Murillo, which he did with great exactness. There was 
 formerly in the possession of Don Francisco de Bruna a copy by 
 Rubira of the picture by Murillo, now in the National Gallery at 
 London, called the Pedroso Holy Family. Cean Bermudez says this 
 copy might have been taken for an original. 
 
 Not meeting with the success he hoped for in painting, Rubira 
 abandoned this profession and took to sculpture, in which he was 
 
VELAZQUEZ AND MURILLO. 349 
 
 equally unsuccessful. He then engaged in the manufacture of coaches, 
 which trade he carried on until he died in 1787. 
 
 ESCOBAR. 
 
 Alonso de Escobar is mentioned by Cean Bermudez as an imi- 
 tator of the style of Murillo, who lived at Seville at the end of the 
 seventeenth century. A good picture by his hand, representing an 
 apparition of the Virgin and Child, was in the choir of the Convent of 
 La Merced Calzada, in that city. 
 
 GUTIERREZ. 
 
 One of the most fertile and most successful of the copyists of 
 Murillo was Juan Simon Gutierrez, a native of Seville, and a mem- 
 ber from 1664 to 1672 of the Academy which Murillo assisted in 
 establishing in that city. The date of his birth and that of his death 
 are unknown, but he is believed to have died in the early part of the 
 eighteenth century, leaving behind him but few pictures that bear his 
 name, but many that pass under the name of his master. 
 
 Cean Bermudez mentions four paintings by him. His master- 
 piece was a half-length of the Virgin with the Child in her arms, in 
 the Convent of La Regina Angelorum, which resembled a work of 
 Murillo; the Virgin of the Rosary, with the Child, supported on a 
 throne of angels, in the cathedral of his native city ; the Saviour tak- 
 ing leave of his mother when he was about to undergo his suffering 
 on Calvary ; and a picture in the Convent of the Terceros, the subject 
 of which is not given. 
 
 In the Museum at Seville may now be seen four important 
 specimens of his handiwork, brought, on the suppression of the 
 religious houses, from the Convent of S. Pablo. They are semi- 
 circular in form and represent passages in the life of St. Dominic. In 
 one of them, the Saint is making confession of his sins to Christ. In 
 
350 PUPILS, FOLLOWERS, AND IMITATORS OF 
 
 another, he is visited in his last illness by the Saviour and the Virgin. 
 In the third, the death of the Saint is portrayed. The first two are 
 the best, and are very creditable works.* 
 
 In the Royal Institution at Liverpool is a picture representing 
 the Ecstasy of St. Francis. 
 
 The Church of Nuestro Senora de la an apple, the figures half-length, life size ; 
 
 O. at Seville had once a painting of St. Louis of France ; St. Francis de Paul ; 
 
 Jesus, Mary, and Joseph. St. James as a pilgrim; St. John the 
 
 Don Aniceto Bravo possessed in his Evangelist ; St. Sebastian; St. Roch; St. 
 
 gallery twelve works by Gutierrez. They Andrew ; St. Peter; St. Joseph; St.Joa- 
 
 were half-length figures, one and a half quin; and St. Anna. They were all 
 
 varas in height and three-quarters of a brought, during the occupation of Seville 
 
 vara in breadth, and represented The by the French in 1811, from the Convent 
 
 Virgen de Belem, or de la Manzana, with of La Assumpcion. 
 
 PEREZ. 
 
 Andres Perez, a son of Francisco Perez de Pineda, was born 
 in Seville in 1660, and died in that city in 1727. His father was, 
 from 1664 to 1673, a member of the Academy of Seville and con- 
 tributed his share towards its expenses. Andres received his instruc- 
 tion in art from his father, and both were counted among the followers 
 of the school of Murillo. 
 
 The works of Francisco are rarely to be met with, but those of 
 Andres are sufficiently abundant in Seville. Six paintings by him are 
 in the Museum of that city. The subjects are : St. Angustin and 
 St. John Chrysostom, wearing bishop's robes, and seen at full length, 
 standing. These two are companions, about fourteen inches high. 
 The others are Christ Crowned with Thorns ; St. Jerome ; St. Vincent 
 Ferrers ; and St. Ambrose^ 
 
 * When the writer first visited Seville there were three hundred and seventy- 
 three pictures in the Museum; there are now, as appears by the last catalogue, only 
 one hundred and eighty-seven. Doubtless those that have been removed are not 
 important in themselves, but their absence is a serious loss to one who visits the 
 gallery to study the School of Seville. 
 
 t Did not the Museum contain some years ago the Last Judgment, painted for 
 the Capuchin Church, signed and dated 1713 ? 
 
VELAZQUEZ AND MURILLO. 
 
 351 
 
 The following pictures by Andres 
 Perez were formerly in Seville : 
 
 In the Church of Santa Lucia, a paint- 
 ing relating to the Sacrament. 
 
 Church of S. Miguel. The Marriage 
 of the Virgin ; St. Districts, the good 
 robber; St. Joseph; and St. Antony of 
 Padua. The last two were half-length 
 figures, surrounded by a garland of 
 flowers. 
 
 Church of San Roman. St. Antony 
 and Santa Barbara, both half-length. 
 
 Capuchin Church. Twelve figures of 
 The Apostles, half-length. 
 
 Don Aniceto Bravo possessed a Santa 
 Lucia; Santa Marina ; Santa Ursula; 
 and Santa Barbara; greatly esteemed 
 for the beauty of the draperies. 
 
 Don Pedro Garcia was in possession 
 of two small Hilanderas. 
 
 Don Jose Saenz had several pictures, 
 among them two A rchangels; St. Francis 
 praying in the desert ; and some figures 
 of the Apostles. Query : were these last, 
 the pictures formerly in the Capuchin 
 Church ? 
 
 Don Jose Lerdo de Tejada had The 
 Trinity ; and St. Christopher. 
 
 GARZON. 
 
 Juan Garzon was a disciple of Murillo, whose manner he closely 
 imitated. He was a close friend of Meneses Osorio, and these two 
 artists labored much together on the same canvas. His death occurred 
 in Seville in 1729. There are but few works known by his hand. 
 The only one the writer recalls was sold in the Aguado sale for one 
 hundred and thirty-five francs. It represented three children in a 
 trough, apparently praying, and may have been a fragment of a 
 picture of St. Nicholas of Bari. 
 
 Among the other copyists or imitators of Murillo may be briefly 
 named the following : 
 
 Don Joaquin Josef Cano, a disciple of Domingo Martinez, 
 was at the time of his death, in the year 1784, Secretary of the School 
 of Design in Seville. He was unrivalled in his time for his copies of 
 the pictures of the Virgin and Child, and other subjects by Murillo. 
 
 Josef Lopez is mentioned by Cean Bermudez as a copyist of 
 Murillo and a close follower of his master's style. He painted a St. 
 Felipe, formerly in the Convent of La Merced Calzada at Seville. 
 
 Mateo Gonzales is not noticed by Cean, but Tubino gives his 
 name as one of the followers of Murillo. 
 
352 PUPILS, FOLLOWERS, AND IMITATORS. 
 
 Clemente de Torres was born in Cadiz in 1665, and studied under 
 Valdes Leal. He was one of the best painters of his time, but most 
 of his pictures have disappeared. A painting in fresco, representing 
 the Eternal Father, is still to be seen over the arch of the great chapel 
 of the Church of St. Philip Neri at Cadiz; and in the Cathedral of 
 that city is a good copy of the Immaculate Conception by Munllo, the 
 original of which is in the Louvre. (Catalogue, No. 29.) Cean Ber- 
 mudez had some drawings by him which many judges believed to be 
 by the hand of Murillo. 
 
 Among the most noted copyists of Murillo may be named : 
 
 Joaquin Manuel Fernandez Cruzado, a native of Jerez de la 
 Frontera, who was born December 24, 1781, and studied in the 
 School of Fine Arts in Cadiz, where his father, Don Jose Fernandez, 
 was a professor. In 1808 he went to Seville, where he spent some 
 time in copying the works of Murillo and other artists. A copy by 
 him of the Virgin and Child and Priests {ante, p. 163, No. 113,) is 
 now in the Museum at Cadiz. 
 
 Francisco Gutierrez was a successful copyist and imitator of 
 Murillo in the early part of the present century. 
 
 Joaquin Cortes, Jose Garcia Chicano, Francisco Bejarano, 
 Manuel Bejarano, Antonio Bejarano, Manuel Quesada, and 
 Jose Romero have acquired some reputation in modern times as 
 copyists of Murillo's works. 
 
BIBLIOGRAPHY 
 
 Of the most important books consulted in the preparation of the foregoing 
 Catalogue. 
 
 Besides the works noticed in this list, there are many others contain- 
 ing engravings after Velazquez or Murillo, references to which may be 
 found by consulting the index. 
 
 Aguado. Galerie Aguado. Choix des principaux tableaux de la 
 
 galerie de Mr. le Marquis de las Marismas del Guadalquivir. 
 
 Par Charles Gavard. Notices sur les peintres par Louis 
 
 Viardot. Folio. Paris, no date [1839-41]. 
 
 This work contains 36 engravings on steel, a frontispiece on copper, 
 and 48 pages of text. See ante, page 9. 
 
 Alabern, C. See Madrid. Museo del Prado. 
 
 Amador de los Rios. D. Jose. Sevilla Pintoresca, 6 descripcion 
 de sus mas celebres monumentos artisticos. Teniendo presentes 
 los apuntes de Don Juan Colom y Cloom, y ornada con ocho 
 6 mas laminas, que representan vistas de los principales edi- 
 ficios, dibujadas esmeradamente por los profesores D. Joaquin 
 Dominguez Becquer y D. Antonio Bravo, pp. 512. 8vo. 
 Sevilla, 1844. 
 
 Contains 12 lithographs, two of which are after Murillo. A useful 
 work by a capable and conscientious writer. It is especially valuable for 
 its detailed account of pictures in the churches, the museum, and in 
 the private collections of Aniceto Bravo, Lopez Cepero, Pedro Garcia, 
 Julian Williams, Jose Saenz, Jose Lerdo de Tejada, Jorge Diez Martinez, 
 Jose Larrazabal, Jose Maria Suarez de Urbina, and Jose Olmedo, nearly 
 all of which are now dispersed. 
 
 Andressen, Andreas. Handbuch fur Kupferstichsammler, oder 
 Lexicon der Kupfersticher, Maler-Radirer und Formschneider 
 aller Lander und Schulen nach Massgabe ihrer geschatztesten 
 Blatter und Werke. 2 vols. 8vo. Leipzig, 1870-73. 
 45 
 
354 
 
 BIBLIOGRAPHY. 
 
 Arana de Varflora, Don Fermin [P. Fernando Valderrama]. Com- 
 pendio historico descriptivo de la muy noble y muy leal Ciudad 
 de Sevilla Metropoli de Andalucia. 2 parts in 1 volume, pp. 
 99, 118. With an appendix of 63 pages. Sm. 4to. Sevilla, 
 1789. 
 
 A work of the highest authority, but the notices are brief and unsatis- 
 factory. The first edition, published in 1766, contains much less matter 
 than the later one. 
 
 D'Argenville, D. Abrege de la vie des plus fameux peintres, avec 
 leurs portraits graves en taille douce, les indications de leurs 
 principaux ouvrages, quelques reflexions sur leurs caracteres, 
 et la maniere de connoitre les dessins et les tableaux des 
 grands maitres, par M * * *. Nouvelle edition revue et 
 corrigee, augmentee de la vie de plusieurs peintres. 5 vols. 
 8vo. Paris, 1762. 
 
 Arte en Espana, El. Revista quincenal de las Artes del Dibujo. 
 8 vols. Madrid, 1862-70. 
 
 The first two volumes are folio, the others small folio or quarto. This 
 is the best work of its class that has appeared in Spain, and its untimely 
 death was a great loss to Spanish art and criticism. 
 
 Artista, El. Los Editores Eugenio de Ochoa, y Federico de Ma- 
 drazo. 3 vols., folio. Madrid, 1835-6. 
 
 A periodical containing some good articles and a number of litho- 
 graphs. Only three volumes were published. 
 
 Asensio, D. Jose M a - Francisco Pacheco, sus Obras artisticas y 
 literarias, especialmente el Libro de descripcion de Verdaderos 
 Retratos de ilustres y memorables varones que dejo inedito. 
 Apuntes que podran servir de introduccion a aquel libro si 
 alguna vez llega a publicarse. Sm. 8vo, pp. 294, v. Sevilla, 
 n. d. [1876]. 
 
 A careful and scholarly account of Pacheco, containing incidentally 
 some documents relating to Velazquez and his children. 
 
 Aulnoy, La Comtesse D\ Relation du Voyage d'Espagne. Edi- 
 tion nouvelle, revue et annotee par Mme. B. Carey. Paris, 
 1874. 8vo. 
 
BIBLIOGRAPHY. 
 
 355 
 
 Bardi, L. L'Imperiale e Reale Galleria Pitti. Illustrata per cura 
 de L. Bardi. 4 vols. Folio. Firenze, 1837-42. 
 A French edition was issued in 1842. 
 
 Berni y Catala, D. Joseph. Creadon, antiguedad, y privilegios de 
 
 los titulos de Castilla. Folio. Valencia, 1769. 
 Beule, Ernest. Murillo et l'Andalousie. 
 
 Article from the Revue des Deux Mondes, October 15, 1861. 
 
 Velazquez au Musee de Madrid. 
 
 Article from the Revue des Deux Mondes, July 1, 1861. 
 
 Blanc, Charles. Les Tresors de l'Art a Manchester. i2mo, pp. 
 258. Paris, 1857. 
 
 Le Tresor de la Curiosite tire des Catalogues de Vente de Tab- 
 leaux. . . . Avec diverses Notes & Notices historiques & 
 biographiques. Precede d'une lettre a l'auteur sur la curiosite 
 et les curieux. [By M. Thibaudeau.] 2 vols. Paris, 1857. 
 
 Histoire des Peintres de toutes les Ecoles. Ecole Espagnole 
 
 par MM. Charles Blanc, W. Burger, Paul Mantz, L. Viardot, 
 et Paul Lefort. Folio. Paris, n. d. [1852 — ]. 
 
 The lives of Velazquez and Murillo in this work are by M. Blanc him- 
 self. A German edition was commenced at Leipsic, with the engravings 
 reproduced by tracing from those in the original edition. An English 
 translation by P. Berlyn was undertaken by Cassell of London in 1852. 
 Both these enterprises were abandoned after a few numbers had been issued. 
 
 Bonaparte, Lucien. Choix de gravures a l'eau forte d'apres les 
 peintures originales et les marbres de la galerie. 142 plates 
 4to. London, 18 12. 
 
 Bosarte, Isidore Viage artistica a varios pueblos de Espana. 
 
 Sm. 8vo. Madrid, 1804. 
 
 This work was undertaken by royal command as a continuation of 
 Ponz, but the author only lived to see the printing of the first volume, con- 
 taining an account of the works of art in Segovia, Valladolid, and Burgos. 
 A second volume was prepared, but remains unpublished. 
 
 British Institution. An account of all the pictures exhibited in 
 the rooms of the British Institution from 1813 to 1823, belong- 
 
356 BIBLIOGRAPHY. 
 
 ing to the Nobility and Gentry of England, with remarks 
 critical and explanatory. [By James Dallaway.] 8vo. Lon- 
 don, 1824. 
 
 Buchanan, W. Memoirs of painting, with a chronological history 
 of the importation of pictures by the great masters into Eng- 
 land since the French Revolution. London, 1824. 2 vols. 8vo. 
 
 Bulletin de l'Alliance des Arts, sous la direction de Paul La- 
 croix (Bibliophile Jacob) pour les livres, et de T. Thore pour 
 les tableaux. 6 vols. 8vo. Paris, 1842-8. 
 
 Burger, W. [T. Thore]. Musees de la Hollande. Amsterdam et 
 la Haye. Etudes surl'ecole hollandaise. nmo. Paris, 1858. 
 
 Musee Van der Hoop a Amsterdam, et Musee de Rotterdam ; 
 
 suite et complement aux Musees d'Amsterdam et de la Haye. 
 i2mo. Paris, i860. 
 
 Galerie Suermondt a Aix la Chapelle, par W. Burger, avec le 
 
 catalogue de la collection par le Dr. Waagen. 8vo. Bruxelles 
 et Paris, i860. 
 
 Musee d'Anvers. i2mo. Paris, i860. 
 
 Tresors d'Art en Angleterre. 3d edition, nmo. Paris, 1865. 
 
 Velazquez et ses CEuvres, par William Stirling, traduit de 
 
 PAnglais par G. Brunet, avec des notes et un catalogue des 
 tableaux de Velazquez, par W. Burger. 8vo. Paris, 1865. 
 
 See Thore, T. 
 
 Burnet, John. Practical Hints on Portrait Painting. 4to. Lon- 
 don, 1850. 
 
 Butron, Don Juan de. Discursos Apologeticos en que se defiende 
 la ingenuidad del arte de la Pintura, que es liberal, de todos 
 derechos, no inferior a las siete que comunmente se reciben. 
 4to. 156 leaves, paged only on one side. Madrid, 1626. 
 A curious volume, valuable chiefly because of its rarity. 
 
 Cabinet de l'Amateur et de l'Antiquaire. Revue des tableaux 
 et des estampes anciennes, des objets d'Art, d'antiquite et de 
 curiosite. 4 vols. 8vo. Paris, 1842-45-6. 
 
BIBLIOGRAPHY. 
 
 357 
 
 Caldesi & Co. The Art Treasures Exhibition. The Ancient series, 
 in two parts, containing [100 and 96] photographs of pictures 
 by the old masters exhibited at Manchester in 1857. Folio. 
 
 The Hertford Gallery. Containing thirty photographs of 
 
 pictures exhibited at Manchester by the Marquis of Hertford. 
 Folio. 
 
 Carderera y Solano, D. Valentin. Catalogo y descripcion 
 sumaria de Retratos Antiguos de personajes ilustres Espanoles 
 y estranjeros de ambos sexos. 8vo, pp. 144. Madrid, 1877. 
 
 A description of 353 portraits, besides 140 miniatures, etc., collected 
 by Don Valentin Carderera, and now in the possession of the Duke of 
 Villahermosa in Madrid. The collection is extremely interesting and 
 important, especially to one who wishes to study the portraits of Velazquez. 
 
 Carducho, Vicente. Dialogos de la Pintura. Small 4to. Madrid, 
 l6 33- 
 
 There is a reprint of the above by D. G. Cruzada Villaamil, with the 
 plates reproduced in facsimile. 4to. Madrid, 1865. 
 
 Castillo, Leonardo del. Viage del Rey N. S. Felipe IV. el 
 grande a la frontera de Francia; funciones reales del desposorio; 
 vistas de los Reyes; juramento de la paz; y succesos de ida y 
 buleta de la jornada. 4to, pp. 22. Madrid, 1667. 
 
 Cean Bermudez, D. Juan Agustin. Carta de . . . a un amigo 
 suyo, sobre el gusto en la pintura de la escuela Sevillana, y 
 sobre el grado de perfeccion a que elevo Bartolome Estevan 
 Murillo; cuya vida se inserta, y se describen sus obras en 
 Sevilla. Small 8vo. 168 pp. Cadiz, 1806. 
 
 A translation of that part of the work that relates to Murillo is given 
 in Davies's Life of Murillo. 
 
 The most important work that has been written on the subject, and the 
 one that has supplied all subsequent writers with most of their facts. The 
 appendix contains the documents relating to the Academy of Seville, names 
 of the members, etc. The "amigo suyo " to whom the letter was addressed 
 was Don Gaspar Melchor de Jove-Llanos, who was at the time sick and 
 unjustly imprisoned. 
 
 Descripcion artistica de la Catedral de Sevilla. Pp. xxii, 
 
 200. Small 8vo. Sevilla, 1804. 
 
358 
 
 BIBLIOGRAPHY. 
 
 Cean Bermudez. Descripcion artistica del Hospital de la Sangre 
 de Sevilla. Pp. 29. Small 8vo. Valencia, 1804. 
 
 Diccionario historico de los mas ilustres profesores de las 
 
 Bellas Artes en Espana. Publicado por la Real Academia de 
 S. Fernando. 6 vols. Small 8vo. Madrid, 1800. 
 
 The life of Murillo is given in the second volume, under the title of 
 Esteban. It comprises 17 pages, of which one-half is occupied with a list 
 of his works. The life of Velazquez fills 25 pages, including the list of his 
 pictures, occupying 2 pages. It is greatly to be regretted that Cean rarely 
 mentions paintings by any artist, except such as existed in the royal 
 collections, or in the churches or convents of Spain. 
 
 It is needless to say anything in praise of this author. His writings 
 are the mines that have supplied the gold to all subsequent biographers of 
 Spanish artists. 
 
 Chabert, M. Galerie des Peintres, 011 collection de portraits des 
 peintres les plus celebres de toutes les ecoles. Accompagnee 
 de leur notice historique, de leurs dessins, et d'un discours sur 
 les arts. 3 vols. Folio. Paris, n. d. 
 
 Contains 2 lithographs after Velazquez and 2 after Murillo. 
 
 Clement, Clara E. A Hand-book of Legendary and Mythological 
 Art. 8vo. New- York, 187 1. 
 
 A useful vade mecum of information on the subjects treated of ; very 
 desirable for those who have not the more bulky volumes of Mrs. Jameson. 
 It includes mythological as well as religious legends, and contains many 
 outline engravings on wood, mostly copied from Mrs. Jameson. 
 
 Coleccion de las Estampas grabados a buril de los cuadros per- 
 tenecientes al rey de Espana. 48 plates. Folio. N. d. 
 
 Contains a selection of 48 of the engravings now published at the 
 Calcografia Nacional. 
 
 Coleccion Litografica. See Madrid, Museo del Prado. 
 Colon y Colon, J. Sevilla Artistica. i6mo. Sevilla, 1841. 
 
 See also Amador de los Rios. 
 Conca, Don Antonio. Descrizione odeporica della Spagna, in cui 
 spezialmente si da notizia delle cose spettanti alle Belle Arte 
 degne dell' attenzione del curioso viaggiatore. De Don An- 
 
BIBLIOGRAPHY. 
 
 359 
 
 tonio Conca, Socio delle Reali Accademie Fiorentina e de 
 Georgofili. 4 vols. 4to (8vo). Parma, 1793-97. 
 
 A work on the plan of Ponz, whom he closely follows, using often the 
 very words of that author translated into Italian. 
 
 Cook, S. S. Sketches in Spain during the years 1829-30-31-32, 
 etc. 2 vols. 8vo. London, 1834. 
 
 Couche, J. Galerie du Palais-Royal, gravee d'apres les tableaux des 
 differentes ecoles qui la composent : avec un Abrege de la vie 
 des peintres et une description historique de chaque tableau, 
 par M. l'Abbe de Fontenai. 3 vols. Folio. Paris, 1786-1808. 
 
 Cuadros Selectos de la Real Academia de las tres nobles artes de 
 San Fernando. Folio. Madrid, 187 1-2. 
 
 Four Cuadernos have been issued containing 5 plates each. They are 
 for sale at the Academia at 4 and 5 pesetas each Cuaderno. 
 
 Cumberland, Richard. Anecdotes of Eminent Painters in Spain 
 during the 16th and 17th centuries; with cursory remarks upon 
 the present state of arts in that kingdom. 2 vols. Sm. 8vo. 
 London, 1782. 
 
 The second edition, 1787, is sometimes accompanied by catalogues of 
 the pictures in the royal palaces of Spain, much the same as those given 
 by Ponz and Twiss, although the author says his lists were furnished him by 
 the King's special command. For many of his remarks on the pictures 
 the author was indebted to a discourse pronounced by Jovellanos before the 
 Real Academia de San Fernando, on the 14th of July, 1781. 
 
 Cunningham, Allan. The Cabinet Gallery of Pictures by the first 
 masters of the English and Foreign schools, in seventy line 
 engravings, with biographical and critical dissertations. 8vo. 
 2 vols. London, 1836. 
 
 Davies, Edward. The life of Bartolome E. Murillo, compiled from 
 the writings of various authors. Translated by Edward Davies, 
 Esq. late Captain in the first regiment of Life Guards. Pp. 
 ciii, 185. 8vo. London, 18 19. 
 
 A confused, slovenly, ill-arranged work, but valuable nevertheless, as 
 it contains, besides some notes by the author, all that relates to Murillo in 
 Cumberland. Anecdotes (p. xi-xxx). 
 
360 
 
 BIBLIOGRAPHY. 
 
 Bourgoing. Nouveau Voyage en Espagne (p. xxxiii-xxxvii). 
 D'Argenville. Abrege de la vie des Peintres (p. xlv-liv). 
 Palomino. Museo Pictorico, in Spanish (lvii-lxxii). 
 Ponz. Viage, in Spanish (lxxv-cii). 
 
 [This last is a muddy mixture in which the Captain's English notes 
 are mechanically suspended in the Spanish text, sometimes 
 without the slightest break, by way of parenthesis, paragraph, 
 or quotation marks, to indicate which is Ponz and which is 
 Davies. It must, however, be admitted that the notes, although 
 misleading, are interesting and valuable.] 
 
 Cean Bermudez. Carta, translated into slip-shod English (p. 9-154). 
 
 [With notes by the Captain as in the preceding. The documents 
 relating to the Academy of Seville; and the edict of Charles III., 
 issued in 1779, prohibiting the exportation of pictures from Spain, 
 are given in Spanish.] 
 
 Cean Bermudez. Diccionario. The Life of Murillo, with the list of 
 his paintings, in Spanish (p. 157-182). 
 
 Davillier, Baron Ch. Memoire de Velazquez sur quarante et im 
 tableaux envoyes par Philippe IV. a FEscurial. Reimpression 
 de l'exemplaire unique (1658). Avec Introduction, Traduction, 
 et Notes . . . et un portrait de Velazquez grave a l'eau-forte 
 par Fortuny. Pp. 64. 8vo. Paris, 1874. 
 
 Denon, Baron Vivant. Monuments des Arts du Dessin chez les 
 Peuples tant anciensque modernes,recueillisparle Baron Vivant 
 Denon, ancien Directeur- General des Musees de France. 
 4 vols. Folio. Paris, 1829. 
 
 Dohme. Kunst und Kiinstler. See Liicke. 
 
 Dresden Gallery. Recueil d'Estampes d'apres les plus celebres 
 tableaux de la Galerie Royal de Dresde. 3 vols. Folio. 
 Dresden, 1753— 1757— 1874. 
 
 Die vorzuglichsten Gemalde der Konigliche Gallerie zu Dres- 
 den auf Stein gezeichnet . . nebst Erklarungen, von J. G. A. 
 Frenzel; herausgegeben von Franz Hanfstaengl. Folio. 
 Dresden, 1836. 
 
 Die Dresdener Gemalde-Gallerie, Original-Radirungen von 
 
 Hugo Burkner und Andern. 25 etchings. 8vo. Dresden, 
 n. d. [1857-8]. (Rudolf Kuntze.) 
 
BIBLIOGRAPHY. 
 
 361 
 
 Dresden Gallery. Meisterwerke der Dresdener Gallerie . . durch 
 Karl Clauss. Folio. Dresden [1871]. 
 
 Die Konigliche Gemalde-Gallerie im Neuen Museum zu 
 
 Dresden, Beschreibung und Erlauterung sammtlicher Gemalde 
 nach der Ordnung der Raume, etc. 3 vols. 8vo. Dresden, 
 i860. 
 
 Duplessis, Georges. Les ventes de tableaux, dessins, estampes et 
 objets d'art aux xvii et xviii siecles (1611-1800) Essai de 
 Bibliographie. 8vo. Paris, 1874. 
 
 English Connoisseur, The. Containing an account of whatever is 
 curious in painting, sculpture, etc., in the palaces and seats of 
 the nobility and principal gentry of England, both in town and 
 country. 2 vols. Small 8vo. London, 1766. 
 
 Contains lists of the pictures in the following collections : 
 
 John Barnard, Belvidere, Kent, 
 
 Blenheim, Chatsworth, 
 
 Chiswick, Devonshire House, 
 
 Ditchley, Foot's Cray Place, 
 
 Hagley Park, Hampton Court, 
 
 Houghton, Charles Jennens, 
 
 Kensington Palace, Paul Methuen, 
 
 Okeover, Oxford, 
 
 Sir Gregory Page, Lord Scarsdale, 
 
 Stow, Wilton, etc. 
 
 Espanoles Ilustres. Retratos de los Espanoles Ilustres. Folio. 
 Madrid, 1791. 
 
 A series of 114 portraits, published at the Calcografia Nacional, 
 Madrid, where the prints are sold separately at I peseta 50c. each. 
 
 Farfan, Fernando de la Torre. Fiestas de la Sta. Iglesia 
 Metropolitana y patriarcal de Sevilla, al nuevo culto del Senor 
 Rey San Fernando. Folio. Pp. 6, 243, with 21 plates. Sevilla, 
 1672. 
 
 This work, published ten years before the death of Murillo, is the 
 first printed book in which the name of the artist is mentioned. He is 
 named five times, and is called the Apeles sevi llano, mejor Viziano, etc. 
 46 
 
362 BIBLIOGRAPHY. 
 
 Fer, P. De. Catalogue general des ventes publiques de tableaux et 
 estampes depuis 1737 jusqu'a nos jours. Contenant: 1°. Les 
 prix des plus beaux Tableaux, Dessins, Miniatures, Estampes, 
 Ouvrages a figures, et Livres sur les Arts. 2 . Des notes 
 biographiques, formant un dictionnaire des peintres et des 
 graveurs les plus celebres de toutes les ficoles. 2 vols. 
 Paris, 1865. 
 
 A work which would be valuable if the author had lived to complete 
 it, but unfortunately he was not able to finish the letter " B." 
 
 Filhol. Galerie du Musee Napoleon, publiee par Filhol, graveur, et 
 redigee par Lavallee Joseph. 10 vols. 8vo. Paris, an XII., 
 1 804-1 8 1 5. Galerie du Musee de France, tome XI. Paris, 
 1828. 
 
 Fiorillo, J. D. Geschichte der Zeichnenden Kiinste von ihrer 
 Wiederauflebung bis auf die neuesten Zeiten. 5 Bde. 8vo. 
 Gottingen, 1798-1808. 
 
 Volume IV. contains an account of the Spanish School, chiefly founded 
 on Cean Bermudez. Murillo occupies six, Velazquez fifteen pages. At 
 p. 464-70 is a list of some works on the subject. 
 
 Flores, El P. Fr. Henrique. Memorias de las Reynas Catholicas. 
 Historia genealogica de la casa real de Castilla, y de Leon, 
 todos los infantes ; trages de la Reynas en estampas ; y nuevo 
 aspecto de la Historia de Espana. Secunda Edicion. Madrid, 
 MDCCLXX. 2 vols. 8vo. 
 
 Ford, Richard. A Handbook for travellers in Spain. Third edition, 
 entirely revised, with great additions. London, 1855. 2 vols. 
 8vo. 
 
 The Paintings of Spain, in The Quarterly Review, No. clxv. 
 
 Article " Velazquez," in The Penny Cyclopedia. 
 
 Articles on the Louis Philippe and Standish sales, in The 
 
 Athenaeum, May 14, 21, 28, June 4 and 11, 1853. 
 
 Gault de Saint- Germain, Pierre Marie. Guide des Amateurs 
 de Peinture, ou histoire et proces-verbaux des auteurs, des 
 
BIBLIOGRAPHY. 
 
 363 
 
 collections generates et particulieres des magasins et des 
 ventes. ficole Italienne. Nouvelle edition. 8vo. Paris, 1835. 
 
 Gazette des Beaux Arts. Paris, 1859-1869. 25 vols. 8vo, and 
 2 vols, of Table. Second period, 1870-82. 26 vols. 
 
 Gonzalez de Leon, Don Felix. Noticia artistica, historica, y curiosa 
 de todos los edificios publicos, sagrados y profanos de esta muy 
 noble, muy leal, muy heroica e invicta Ciudad de Sevilla, y de 
 muchas casas particulares ; con todo lo que les sirve de adorno 
 artistico, antiguedades, inscripciones y curiosidades que 
 contienen. 2 tomes in 1 vol. 8vo. Pp. 277-400. Sevilla, 
 1844. 
 
 A very interesting and useful work, containing an account of Seville 
 as it then existed, as well as a notice of all the churches destroyed or 
 secularized, and an enumeration of the paintings and other works of art 
 they contained. 
 
 Gower, Lord Ronald. The Great Historic Galleries of England. 
 4to. London, 1880 — . In progress. 
 
 A series of photographs principally from inedited pictures. 
 
 Grabador al Agua Fuerte, El. Folio. Madrid, 187-. 
 
 Two volumes, containing 48 etchings each, and 35 etchings of the third 
 volume have appeared, but the work has been discontinued and the plates 
 transferred to the Calcografia Nacional, Madrid, where the prints are sold 
 separately at 2 pesetas each, or half that price for the entire collection. 
 About two-thirds of the subjects are from pictures not in the Museo del 
 Prado. The artists are among the best in Spain, Maura, Galvan, etc. 
 
 Grosvenor House. A Catalogue of the pictures at ... , with 
 etchings from the whole collection, . . . accompanied by 
 historical notices of the principal works. By John Young. 
 4to. London, 182 1. 
 
 Guia de Forasteros de la ciudad de Sevilla, par D. J. H. D. 
 (Herrera Davila). Sm. 8vo. Sevilla, 1832. 
 
 Hague, The. De voornaamste Schilderijen van het Koniklijk 
 Kabinet te 'sGravenhage door J. Steengracht van Oostkapelle. 
 8vo. 100 outline plates. 'sGravenhage, 1826-30. 
 
364 BIBLIOGRAPHY. 
 
 Hague, The. Les principaux tableaux du Musee Royal a la Haye, 
 graves au trait, avec leur description. 8vo. La Haye, 1826. 
 
 Hazlitt, William. Criticisms on Art, and Sketches of the Picture 
 Galleries of England. 2 vols. 121110. London, 1843-44. 
 
 Contains catalogues of the following galleries : National Gallery, 
 London; Dulwich; Windsor Castle; Hampton Court; Grosvenor House; 
 Wilton House; Earl of Pembroke; Colt Hoare, Stourhead; Earl of 
 Radnor, Longford Castle; Marquis of Exeter, Burleigh House; Blen- 
 heim; Bodleian Library; Fitzwilliam Museum; Stafford House; Lans- 
 downe House, and Bowood ; Lord Ashburton; Bridgewater Gallery; Sack- 
 villes, Knolle, in Kent; Apsley House; Sir R. Peel; S. Rogers; Sloane 
 Museum. 
 
 Head, Sir Edmund. A Handbook of the History of the Spanish 
 and French Schools of Painting. i2mo. London, 1848. 
 
 Article on the Spanish Painters, in the Foreign Quarterly 
 
 Review, No. xxvi. 
 
 Hermitage, The. Camille de Geneve. Galerie de PHermitage, 
 gravee au trait d'apres les plus beaux tableaux qui la composent. 
 2 vols. 4to. St. Petersburg and London, 1805-9. 
 
 Galerie Imperiale de l'Ermitage, lithographiee par des artistes 
 
 Francais, sous la direction de M. E. Huot. Chez Gohier Des 
 Fontaines editeur. St. Petersburg, 1844. 120 plates issued. 
 
 Houghton Gallery. A set of prints engraved after the most 
 
 capital paintings in the collection of her Imperial Majesty the 
 Empress of Russia, lately in the possession of the Earl of 
 Orford, at Houghton, in Norfolk, with plans, elevations, sections, 
 chimney-pieces, and ceilings. 2 vols. Folio. London, 1788. 
 
 See Waagen. 
 
 Hoskins, G. A. Spain as It Is. 2 vols. 8vo. London, 185 1. 
 Houghton Gallery. See Hermitage. 
 
 Jameson, Anna. Handbook to the Public Galleries of Art in 
 and near London. 8vo. London, 1845. 
 
 Companion to the most celebrated private galleries of art in 
 
 London, containing accurate catalogues arranged alphabeti- 
 
BIBLIOGRAPHY. 
 
 365 
 
 cally for immediate reference, each preceded by an historical 
 and critical introduction, with a prefatory essay on art, artists, 
 collectors, and connoisseurs. The Gallery of Her Majesty the 
 Queen; the Bridgewater Gallery ; the Grosvenor Gallery ; the 
 collection of the Marquis of Lansdovvne ; the collection of the 
 Rt. Hon. Sir Robert Peel ; the collection of Mr. Rogers. 8vo. 
 London, 1844. 
 
 Jameson, Anna. Sacred and Legendary Art. 8vo. Third edition. 
 London, 1857. 
 
 History of Our Lord. 8vo. Second edition. London, 1865. 
 
 Legends of the Madonna. 8vo. Fourth edition. London, 
 
 1867. 
 
 Legends of the Monastic Orders. 8vo. Fourth edition. 
 
 London, 1867. 
 
 Joyas de la Pintura. See Madrid, Museo del Prado. 
 
 Kugler, Franz. Handbuch der Kunstgeschichte. Vierte Auflage, 
 Bearbeitet von Wilhelm Liibke. 2 vols. 8vo. Stuttgart, 186 1. 
 
 Landon, C. P. Annales du Musee et de l'ficole moderne des 
 beaux-arts. Recueil de gravures au trait d'apres les princi- 
 paux ouvrages de peinture, sculpture, ou projets d'architecture. 
 41 vols. 8vo. Paris, 1803-27. 
 
 Lavice, A. Revue des Musees d'Allemagne. Catalogue Raisonne 
 des Peintures et Sculptures exposees dans les Galeries publi- 
 ques et particulieres et dans les Eglises. 8vo. Paris, 1867. 
 
 Musees d'Angleterre. 8vo. Paris, 1867. 
 
 Musees de Belgique, de Hollande, et de Russie. 8vo. Paris, 
 
 1872. 
 
 Musees de France. 8vo. Paris, 1870. 
 
 Musees dTtalie. 8vo. Paris, 1862. 
 
 Musees d'Espagne. 8vo. Paris, 1864. 
 
 This volume contains lists, more or less complete, of the pictures, 
 statues, etc., in the museums and churches of Barcelona, Burgos, Cadiz, 
 
366 BIBLIOGRAPHY. 
 
 Granada, Madrid, Malaga, Saragossa, Segovia, Seville, Toledo, Valencia, 
 and Valladolid; also in the private collections of Don Pedro de Madrazo, 
 and M. Manzano, in Madrid; and those of Arasabla, Balmaseda, Garcia de 
 Leaniz, and Lopez Cepero, in Seville. The volumes are apparently book- 
 sellers' jobs. The opinions and criticisms of the author are worthless, 
 but the descriptions of pictures may sometimes have a certain value. 
 
 Lebrun, J. B. P. Recueil de Gravures au trait, a l'eau forte, et 
 ombrees, d'apres un choix de tableaux de toutes les ecoles, 
 recueillis dans un voyage fait en Espagne, etc., 1807-8. 
 Pans, 1809. 2 vols. 8vo, with 178 etchings. 
 
 Lefort, Paul. Francisco Goya. Etude biographique et critique, 
 suivie de l'essai d'un Catalogue Raisonne de son ceuvre, grave 
 et lithographie. 8vo. Paris, 1877. 
 
 Useful for its list of the etchings by Goya after Velazquez, and the 
 notes concerning the different states of the plates. 
 
 Articles on Murillo et ses e'leves, in The Gazette des Beaux 
 
 Arts, 1875, and on Velazquez, lb., 1879-82. 
 
 It is the intention of M. Lefort to republish these articles in a separate 
 volume. 
 
 Lejeune, T. Guide theorique et pratique de l'amateur de tableaux. 
 3 vols. 8vo. Paris, 1864-5. 
 
 Leuchtenberg Galerie. Gemalde-Sammlung seiner Kaiserl. 
 Hoheit des Herzogs von Leuchtenberg in Miinchen. In 
 umrissen gestochen von Inspector J. N. Muxel. Zweite 
 Ausgabe mit umgearbeitetem Texte von J. D. Passavant. 
 4to, with portrait and 252 plates. Frankfurt am Main, 1851. 
 
 London National Gallery. The National Gallery of Pictures by 
 the Great Masters, presented by individuals or purchased by 
 grant of Parliament. 2 vols. 4to. London, n. d. (1836). 
 
 Etchings from the National Gallery, with notes by R. N. 
 
 Wornum. 2 vols. Folio. London, 1876-77. 
 
 The pictures by the Old Masters in the National Gallery, 
 
 photographed by Signor L. Caldesi ; with letter-press descrip- 
 tions, historical, biographical and critical, by Ralph Nicholson 
 
BIBLIOGRAPHY. 
 
 367 
 
 Wornum, Keeper and Secretary. 4to. London. N. d. 
 (Virtue & Co.) 
 
 Issued in (30?) parts, each containing 12 photographs, at £1 10s. the 
 
 part. 
 
 Lubke, Dr. Wilhelm. Denkmaler der Kunst, zur uebersicht des 
 Entwicklungsganges der bildenden Kunst von dem fruhesten 
 Werken bis auf die neuere Zeit. Oblong folio. Stuttgart, 
 1864. 
 
 Outlines of the History of Art, by Dr. Wilhelm Liibke. A 
 
 new translation from the seventh German edition. Edited 
 by Clarence Cook. 2 vols. Royal 8vo. New- York, 1880. 
 
 Liicke, Dr. Hermann. Bartolome Esteban Murillo. Royal 8vo. 
 Pp. 40, with 9 wood-cuts. Leipzig, 1877. Forming Lieferung 
 30 of Kunst und Kiinstler des Mittelalters und der Neuzeit, 
 von Dr. Robert Dohme. 
 
 Madoz, Pascual. Diccionario geografico-estadistico-historico de 
 Espana y sus posesiones de ultramar. 16 vols. 4to (8vo). 
 Madrid, 1845-50. 
 
 Madrazo. See Madrid, Museo del Prado. 
 
 Madrid, Museo del Prado. Coleccion Litografica ; or, Coleccion 
 de cuadros del rey de Espana que se conservan en sus reales 
 palacios, Museo y Academia de San Fernando, con inclusion 
 de los del real monasterio del Escorial ; obra litografiada por 
 habiles artistas baxo la direccion de D. Jose de Madmzo, con 
 el texto por D. Juan Agustin Cean Bermudez. 3 vols. Folio. 
 Madrid, 1826-36. 
 
 The text accompanying the first 46 plates is by Cean Bermudez, who 
 died in 1829. The rest are by D. Jose Musso y Valiente. There are 
 198 lithographs of paintings, besides 5 portraits, etc. 
 
 El Real Museo de Madrid y las Joyas de la Pintura en 
 
 Espana. Coleccion selecta de cuadros pertenecientes a la 
 corona, a la Iglesia, al Estado y a las mas notables galerias 
 particulares, copiados de los originales por los primeros 
 
368 
 
 BIBLIOGRAPHY. 
 
 dibujantes-litografos de Europa, y esplicados con noticias 
 
 historicas sobre el desarrollo y vicisitudes de la pintura, por 
 
 Don Pedro de Madrazo. Folio. Madrid, 1855. 
 
 The publication of this work was suspended when 25 plates had 
 been issued. 
 
 Madrid, Museo del Prado. Alabern, Camillo. Galleria de 
 cuadros escogidas del Real Museo de Pintura de Madrid; 
 grabado sobre acero por el sistema Aleman-Francais. 8vo. 
 Madrid, 1859. 
 
 Unfinished, and often incomplete. 
 
 Galeria Espanola del Bello Arte de la Pintura. Obr. 
 
 ilustrada con las copias grabadas al perfi] de los mejores cuad- 
 ros que se conservan en todos los museos de Espana. Madrid, 
 1879. Folio. 
 
 Three parts have appeared, containing 8 plates each, all after Velazquez. 
 
 Catalogo descriptivo e historico del Museo del Prado de 
 
 Madrid, seguido de una sinopsis de las varias escuelas a que 
 pertenecen sus cuadros, y los autores de estos, y de una noticia 
 historica sobre las colecciones de pinturas de los palacios 
 reales en Espana, y sobre la formacion y progressos de este 
 establecimiento. Por Don Pedro de Madrazo. Parte pri- 
 mera. Escuelas Italianas y Espanolas. 8vo. Pp. Ixiv, 713; 
 Madrid, 1872. 
 
 A most excellent catalogue, the best that exists of any gallery in 
 Europe. This volume comprises only the Italian schools, 578 numbers, 
 344 pages ; and the Spanish Schools, 567 numbers, 312 pages, besides sup- 
 plementary matter, tables, etc. The second part, which is intended to 
 include the German, Dutch, Flemish, and French schools, has not yet been 
 published, and the occupations of Senor Madrazo are such that its speedy 
 appearance cannot be looked for. 
 
 There is an abridgment of this catalogue by Don Pedro de Madrazo. 
 Madrid, 1878. 8vo. 499 pp. This volume includes the Dutch, French, 
 etc., as well as the Italian and Spanish schools, but it lacks the very interest- 
 ing biographies and historical notes. It enumerates 2525 pictures, includ- 
 ing some double numbers. 
 
 Madrid, Academia de San Fernando. See Cuadros Selectos. 
 Mariette, P. J. Abecedario. 6 vols. 8vo. Paris, 1857. 
 
BIBLIOGRAPHY. 
 
 369 
 
 Manchester Exhibition. See Blanc, C.j Burger, W.; Caldesi; 
 Scharf, G.; Waagen, G. F. 
 
 Miles Gallery. A Catalogue of the pictures at Leigh Court, near 
 Bristol; the seat of Philip John Miles, Esq., M. P., with etch- 
 ings from the whole collection . . . accompanied with historical 
 and biographical notices. By John Young. London, 1822. 410. 
 
 Minor, Ellen E. Murillo. Pp. 88. 8vo. London, 1882. 
 
 A handy little volume, based on Stromer, as Stromer is based on 
 Tubino. 
 
 Miranda, D. Vicente Alvarez. Glorias de Sevilla. En armas, 
 letras, ciencias, artes, tradiciones, monumentos, edificios, 
 caracteres, costumbres, estilos, fiestas y espectaculos. Three 
 parts in 1 vol. Pp. 172, 159, 134. Sevilla, 1849. 
 
 Contains numerous engravings on wood, of which 2 are after Murillo ; 
 also an account of the paintings in the churches, the Museum, and in the 
 galleries of Senores Aniceto Bravo, Lopez Cepero, Pedro Garcia, Jose" 
 Saenz, Jose Lerdo de Tejada, Jorge Diez Martinez, Jose Maria Suarez de 
 Urbina, and Joaquin Saenz. 
 
 M tiller, Hermann A. Die Museen und Kunstwerke Deutschlands. 
 2 vols. 8vo. Leipzig (1857). 
 
 Munich Gallery. Auswahl der Vorzuglichsten Gemalde der Pina- 
 kothek herausgegeben von der literarisch artischen Anstalt. 
 Folio. Miinchen (J. G. Cotta). 
 
 Koniglich Bayerische Pinakothek zu Miinchen und Gemalde 
 
 Gallerie zu Schleissheim . . in Lithographirten Abbildungen 
 herausgegeben in der Kunstanstalt von Piloty und Lohle. 
 Folio. Miinchen, 1837. 
 
 Koniglich-Baierischer Gemalde Saal zu Miinchen und Schleiss- 
 heim . . Lithographirt ,'von Strixner, Piloty, Hohe, Selb, und 
 Flachenekker. 2 vols. Folio. Miinchen, 1817-36. 
 
 Die K. Bayer. Gemalde-Galerie Pinakothek. Folio. Etchings 
 
 by J. L. Raab. Text in German and French by Herr von 
 Reber. In progress. Miinchen, 1882. 
 47 
 
370 BIBLIOGRAPHY. 
 
 Museo Espanol de Antiguedades. Bajo la direccion de D. 
 Juan de Dios de la Roda y Delgado. D. Jose Gil Dorre- 
 garray, Editor. Madrid, 1872. Folio. 
 
 In progress. About 13 volumes have been issued. 
 
 Nagler, Dr. G. K. Neues allgemeines Kiinstler-Lexicon, oder 
 Nachrichten von dem Leben und den Werken der Maler, etc., 
 etc. Miinchen, 1835-52. 22 vols. 8vo. 
 
 Neale, J. P. Views of the Seats of Noblemen and Gentlemen in 
 England, Wales, Scotland, and Ireland. 1 1 vols. 8vo. Lon- 
 don, 1822-29. 
 
 Noticia Historica de los principales monumentos artisticos de 
 Sevilla. i8mo. Sevilla, 1842. 
 
 O'Neil, A. A Dictionary of Spanish Paintings, comprehending 
 simply that part of their biography immediately connected 
 with the arts, from the 14th century to the 18th. 2 parts in 
 1 vol. 8vo. London, 1833. 
 
 Only 250 copies printed. It contains a list of the Spanish paintings 
 in the royal collections of Spain, including those in the Academy of San 
 Fernando. 
 
 Ortiz y Sanz, Don Joseph. Compendio cronologico de la historia 
 de Espafia, desde los tiempos mas remotos hasta nuestros dias. 
 7 vols. 8vo, besides 1 vol. of portraits of the Kings. Madrid, 
 1795-1803. 
 
 Ortiz de Zuniga, Diego. Annales eclesiasticos y seculares . . de 
 Sevilla, desde 1246 hasta 167 1. Folio. Madrid, 1677. 
 
 This work, published five years before the artist's death, contains four 
 references to the works of el famoso Bartolome Morillo. 
 
 Pacheco, Francisco. El Arte de la Pintura, su antiguedad y 
 grandesas. Pp. 644. Small 4to. Sevilla, 1649. 
 
 There is a reprint by D. G. Cruzada Villaamil. 2 vols. 4to. Madrid, 
 1866. This was published by the editors of El Arte en Espafia, mainly 
 for the benefit of the subscribers to that periodical. The work was hand- 
 somely executed, the edition limited, and it now sells for about 50 pesetas 
 in Madrid. 
 
BIBLIOGRAPHY. 
 
 371 
 
 A worthless abridgment by Mariano de la Boca y Delgado, 116 pages, 
 8vo, was published at Madrid in 1871. 
 
 The original edition is scarce, but not quite so scarce as Ford and Head 
 represent. Copies are in the British Museum, and in the Bibliotheque 
 Nationale at Paris, but I have been unable to find one in the Biblioteca 
 Nacional at Madrid. I saw a beautiful copy in 1 881, at a Madrid book- 
 seller's, priced at 400 francs, and Quaritch recently had one, not quite 
 perfect, priced at £\2. This is the only book published in the lifetime 
 of Velazquez in which his name is mentioned. 
 
 Palomino de Castro, y Velasco, D. Antonio. El Museo 
 Pictorico, y Escala Optica. Tomo I. Theorica de la Pintvra, 
 en que se describe sv origen, Essentia, Especies, y Qualidades, 
 con todos los demas accidentes, que la enriquezen, e ilustran. 
 Y se prveban, con demonstraciones mathematicas, y Filosoficas, 
 sus mas radicales Fundamentos. Pp. 306-46. Tomo II. 
 Practica de la Pintura, en que se trata de el modo de Pintar al 
 Olio, Temple, y Fresco, con la resolution de todas las dudas, 
 que en su manipulation pueden ocurrir. Y de la Perspectiva 
 comun, de la Techos, Angulos, Teatros, y Monumentos de 
 Perspectiva, y otras"^ cosas muy especiales, con la direction, y 
 documentos para las Ideas, o Assumptos de las Obras, de que 
 se ponen algunos exemplares. Pp. 230. Tomo III. El 
 Parnasso Espanol Pintoresco Laureado. Con las vidas de los 
 Pintores, y Estatuarios Eminentes Espanoles, qve con svs 
 heroycas obras han ilustrado la Nacion : y de aquellos 
 Estrangeros Ilustres, que han concurrido en estas Provincias, 
 y las han enriqvecido con svs Eminentes Obras; graduados 
 segun la serie de el tiempo, en que cada vno florecio. . . The 
 pagination is consecutive with that of Tomo II., and runs 
 from p. 231 to p. 498-18, besides 13 plates of outlines and 
 perspectives. 3 tomes in 2 vols. Folio. Madrid, 1715-24. 
 
 The work was reprinted by Sancha at Madrid in 1 795-6—7, with im- 
 pressions from the original plates, but no new matter. There have been 
 abridgments of the third tome, containing the biographies, as follows: 
 
 An account of the Lives and Works of the most Eminent Spanish 
 Painters, Sculptors, and Architects ; and where their several Performances 
 are to be seen. Translated from the Musaeum Pictorium of Palomino 
 Velasco. 175 pp. Small 8vo. London, 1739. [A wretched translation, 
 
372 
 
 BIBLIOGRAPHY. 
 
 reproducing from Palomino but little more than his blunders. Velazquez 
 is given the title of " Painter of the King's Bed-chamber." The translator 
 apologizes for the want of type in England to represent the Spanish " 
 for which reason he is compelled to write nigno for nino.~\ 
 
 Las Vidas de los Pintores y Estatuarios Eminentes Espanoles que con 
 sus heroycas obras han ilustrado la Nacion. Por Don Antonio Palomino 
 y Velasco. 8vo. Londres, 1844. 
 
 Histoire abregee des plus fameux Peintres, Sculpteurs, et Architectes 
 Espagnoles, avec une description exacte de leurs ceuvres. 2 tomes in 1 vol. 
 l2mo. Paris, 1749. [This is apparently a translation of the Spanish 
 abridgment, published at London in 1744, with the lives of Raphael and 
 some others added by another hand.] 
 
 Leben aller Spanischen und Fremden Mahler, Bildhauer, und Bau- 
 meister, etc. Pp. 367. 8vo. Dresden, 1781. 
 
 Palomino was Court Painter in the time of Philip V., and had the best 
 of opportunities for successfully executing the task he imposed on himself, 
 — opportunities of which it is to be regretted he did not make better use. 
 He is pedantic in style and inaccurate in statement, but as he is the earliest 
 biographer of the Spanish artists, all subsequent writers have drawn from 
 him largely. In preparing the life of Velazquez, he was greatly indebted 
 to his master, Juan de Alfaro y Gamez, a pupil and disciple of Velazquez. 
 At the death of Alfaro, his valuable manuscripts and documents came into 
 the possession of Palomino. 
 
 Parnasso, Espanol. Coleccion de poesias escogidas de los mas 
 celebres poetas Castellanos. 9 vols. 8vo. Madrid, 1768-78. 
 
 Parthey, G. Deutscher Bildersaal. Verzeichniss der in Deutsch- 
 land vorhandenen Oelbilder Verstorbener Maler aller Schulen 
 in alphabetischer folge zusammengestellt. 2 vols. 8vo. 
 Berlin, 1863. 
 
 Passavant, J. D. Kunstreise durch England und Belgien, nebst 
 einen Bericht iiber den Bau des Dornthurns zu Frankfurt am 
 Main. 8vo, with 10 plates. Frankfurt, 1833. 
 
 Tour of a German Artist in England ; with notices of Private 
 
 Galleries, and remarks on the state of art. With portrait and 
 plates. 2 vols. Crown 8vo. London, 1836. 
 
 Die Christliche Kunst in Spanien. Pp. vi — 184. 8vo. 
 
 Leipzig, 1853. 
 
 Pesth. Landes-Gemalde-Galerie in Buda-Pest (vormals Eszterhazy- 
 Galerie in Wien). Folio. 
 
BIBLIOGRAPHY. 
 
 373 
 
 In progress. Eleven lieferungen have been published, containing four 
 etchings each. 
 
 Ponz, D. Antonio. Viage de Espana, en que se da noticia de las 
 cosas mas apreciables, y dignas de saberse, que hay en ella. 
 1 8 tomes. Small 8vo. Madrid, 1772-94. 
 
 A very complete, thorough, and discriminating account of the pictures 
 and works of art in the churches, palaces, public buildings, and a few pri- 
 vate houses in Spain. Unfortunately, the author did not live to complete 
 the work, the last volume having been published after his death. Granada 
 and the Asturias are wanting. There are three editions of some of the 
 earlier volumes, and the paging of the different editions varies slightly. 
 
 See Bosarte, Isidoro. 
 
 Quilliet, F. Dictionnaire des Peintres Espagnols. 8vo. Paris, 18 16. 
 
 Raczynski, Comte A. Les Arts en Portugal. Lettres adressees a 
 la societe artistique et scientifique de Berlin, et accompagnees 
 de documens. 8vo. Paris, 1846. 
 
 Reid, G. W. Works of Velazquez; being a reproduction of 17 
 scarce and fine prints in the British Museum, photographed by 
 Stephen Thompson. Folio. London, 1872. 
 
 [Reiset, F.] Catalogue des livres sur les arts tousbien relies, composant 
 
 la bibliotheque de M. R * * # , Ancien directeur des Musees 
 
 nationaux, dont la vente aura lieu 15 Avril, 1879, etc. 8vo. 
 
 Contains titles of 2315 Sale and Gallery catalogues, many of them 
 very rare, and nearly all in fine bindings. A valuable contribution to the 
 bibliography of Art Sales. 
 
 Reveil. Musee de Peinture et de Sculpture, etc., dessinee et gravee 
 
 a l'eau forte par Reveil, avec des notices par Duchesne. 16 
 
 vols. 8vo. Text in French and English. Paris, 1828-34. 
 
 This work was republished by Morel et Cie., in 10 vols. Paris, 1872. 
 The plates, 11 72 in number, are classified by Schools and Masters, with 
 notes by Louis and Rene Menard. 
 
 Musee Religieux. Choix de plus beaux tableaux, etc., gravees 
 
 a l'eau forte sur acier, par Reveil. 4 vols. 8vo. Paris, 1836. 
 Contains a selection of plates from the above. 
 
 Ris, Le Comte Clement de. Le Musee Royal de Madrid. 150 
 pp. i2mo. Paris, 1859. 
 
374 
 
 BIBLIOGRAPHY. 
 
 Rodriguez de Monforte, D. Pedro. Descripcion de las honras 
 
 que se hicieron a la Catholica Magd. de Philippe Quarto, 
 
 Rey de las Espanas y del Nuevo Mundo. 4to. Madrid, 1666. 
 
 Contains several engravings by Villafranca, some of which are doubt- 
 less after Velazquez. 
 
 Sandrat, Joachimi de. Academia nobilissimae artis pictoriae, 
 
 sive de veris et genuinis hujusdem proprietatibus, etc. 2 parts 
 
 in 1 vol. folio, with portraits in medallion, engraved by 
 
 Sandrat, Collin, Kilian, and others. Noribergae, 1683. 
 
 This work, dated the year after Murillo's death, contains the first 
 biography of the artist. It is, however, utterly worthless, as almost every 
 fact is misstated. The author asserts that Murillo visited Italy and the 
 Indies, that he died in August, 1682, and was borne to the tomb by two 
 marquises and four knights. Velazquez, who had been dead 23 years, is 
 not named, nor is any other Spaniard except Ribera. 
 
 Scharf, George. A Handbook of the Paintings by Ancient Masters 
 in the Art Treasures Exhibition. Being a reprint of " Critical 
 Notices," originally published in the Manchester Guardian. 
 Crown 8vo. London, 1857. 
 
 Schepeler, K. P. von. Beitrage zu der Geschichte Spaniens; 
 enthaltende Ideen und Notizen liber Kunst und Spanische 
 Maler, etc. 8vo. Aachen, 1828. 
 
 Scott, William B. Murillo and the Spanish School of Painting. 
 
 4to. London, 1873. 
 
 Contains 1 engraving on steel and 8 on wood after Velazquez, and 11 
 on steel and 5 on wood after Murillo. Most of the plates originally 
 appeared in the Galerie Aguado. 
 
 Seguier, F. P. A critical and commercial dictionary of the works 
 of painters, containing 8850 sale notes of pictures and 980 
 original notes on the subjects, etc. 8vo. London, 1870. 
 
 Sevilla Pintoresca. See Amador de los Rios. 
 
 For other works on Seville, see Arana de Varflora ; Gonzalez de Leon ; 
 Guia de Forasteros; Miranda; Noticia Historica ; Cean Bermudez ; Colon 
 y Colon ; Farfan ; Lavice ; Ortiz de Zuniga. 
 
 Stafford House. A Catalogue of the collection of pictures of the 
 most noble Marquess of Stafford at Cleveland House, London, 
 
BIBLIOGRAPHY. 
 
 375 
 
 containing an etching of every picture, and accompanied with 
 historical and biographical notices, by John Young, Engraver 
 in mezzotint to His Majesty, and Keeper of the British 
 Institution. 2 vols. 4to. London, 1825. 
 
 Standish, F. H. Seville and its Vicinity. 8vo. London, 1840. 
 
 Stirling, William. Annals of the Artists of Spain. 3 vols. 8vo. 
 London, 1848. 
 
 Stirling needs no praise. These volumes are a monument, more en- 
 during than brass, of his diligence, accuracy, and taste. The edition con- 
 sisted of only about 250 copies, and the work now sells for five times the 
 price at which it was originally published. A few presentation copies were 
 printed, with a supplementary volume, containing photographs, now much 
 faded, by the Talbottype process. One of these copies is to be seen in the 
 British Museum. The work is indispensable to the student of Spanish 
 art, but a new edition is urgently demanded, with additional notes, giving 
 the results of recent discoveries and changes. 
 
 Velazquez and his Works. Small 8vo. London, 1855. 
 
 Velazquez et ses ceuvres, par William Stirling, traduit de 
 
 PAnglais par G. Brunet, avec des notes et un catalogue des 
 tableaux de Velazquez. Pp. xii, 296. i2mo. Paris, 1865. 
 
 This work is a translation and expansion of Stirling's Velazquez, and 
 by far the best yet published on the subject. 
 
 Essay towards a Catalogue of Prints engraved from the works 
 
 of Diego Rodriguez de Silva y Velazquez, and Bartolome 
 Esteban Murillo, by Sir William Stirling-Maxwell, Bart. Only 
 100 copies privately printed. Pp. xiv-137. Small 8vo. Lon- 
 don, 1873. 
 
 This volume is the result of the joint labors of Sir William Stirling- 
 Maxwell and his friend, Charles Morse, Esq., both of whom were zealous 
 collectors of engravings after Velazquez and Murillo. The collection of 
 Mr. Morse, probably the largest in works of these masters that had ever 
 been formed, was dispersed by Sotheby, Wilkinson, and Hodge, July 4, 
 1873, greatly to the enrichment of that of the present writer, as well as 
 that of Sir William Stirling-Maxwell, which is doubtless the largest now in 
 Europe. 
 
 Stothert, James. French and Spanish painters, with illustra- 
 tions on steel from famous pictures, and a critical and bio- 
 
376 
 
 BIBLIOGRAPHY. 
 
 graphical account of the artists. 4to (royal 8vo). London, 
 1877. 
 
 Stowe, Edwin. Velazquez. Pp. viii, 116, and 15 engravings on 
 wood. 8vo. London, 1881. 
 
 Stromer, Th. Murillo. Leben und Werke. Herausgegeben von 
 Th. Stromer. Eingefiihrt durch Dr. Max Jordan. Small 8vo. 
 Pp. i2i. Berlin, 1879. 
 
 A translation, or rather an epitome, of the life of Murillo by Tubino, 
 with but little new matter. 
 
 [Sweetser, M. F.] Murillo. Pp. 136. i6mo. Boston (James R. 
 Osgood & Co.), 1877. 
 
 Tapia y Robles. Don Juan Antonio. Ilustracion del renombre 
 de Grande, principio, grandeza, y etimologia, etc. 4to. 
 Madrid, 1638. 
 
 Thore, T. Etudes sur la peinture espagnole, Galerie de Marechal 
 Soult. 
 
 Articles published in the Revue de Paris in 1835. 
 
 See Burger, W. 
 
 M. Thore was an acute and conscientious critic, who interested him- 
 self especially in the Spanish School. An ardent democrat, and a bold 
 writer on political topics, he constantly embroiled himself with the govern- 
 ment, and was twice condemned by the tribunals for the freedom of his 
 language. After the coup d^etai of 185 1, he withdrew from Paris and lived 
 abroad for a time, devoting himself to art instead of politics. He after- 
 wards returned to Paris, where he died April 30, 1869. 
 
 Most of his writings on art were under the name of W. Burger, which 
 see. Besides the works there named, still using the signature of W. 
 Burger, he contributed to the Histoire des Peintres, by Charles Blanc, the 
 lives of Pantoja de la Cruz, Luis Tristan, Pareja, Carreno, Mazo, Claudio 
 Coello, and Cerezo. 
 
 Townsend, Joseph. A journey through Spain in the years 1786 
 and 1787 ; with particular attention to the agriculture, manu- 
 factures, commerce, population, taxes, and revenue of that 
 country ; and remarks in passing through a part of France. 
 3 vols. 8vo. London, 17 91. 
 
BIBLIOGRAPHY. 377 
 
 Tubino, D. Francisco M. Murillo, su Epoca, su Vida, sus 
 
 Cuadros. 301 pp. 8vo. Sevilla, 1864. 
 
 A careful and thorough biography, the best we have of the artist, con- 
 taining some new facts, copies of documents, etc., with an account of the 
 state of the arts in Seville before and after the time of Murillo, brief 
 notices of his principal followers, and a list of his paintings. 
 
 Twiss, Richard. Travels through Portugal and Spain in 1772 and 
 1773. 4to. London, 1775. 
 
 Contains incomplete lists of pictures in the royal palaces, Escorial, etc. 
 
 Viardot, Louis. Notices sur les principaux peintres de l'Espagne. 
 Ouvrage servant de texte aux gravures de la Galerie Aguado. 
 8vo. Paris, 1839. 
 
 Les Musees d'Espagne, d'Angleterre et de Belgique, etc. 
 
 i2mo. Paris, 1843. 
 
 and others. Illustrated History of Painters of all schools. 
 
 8vo. London, 1877. 
 
 Vienna, Belvedere Gallery. Kaiserliche Konigliche Bilder Gal- 
 lerie iru Belveders zu Wien, etc., von Carl Haas. 4 vols. 410. 
 Wien und Prag, 1821-28. 
 
 Die Kaiserl. Konigl. Gemalde Gallerie in Wien. Radirungen 
 
 von William Unger. Text von Carl Lutzow. Folio. Wien, 
 1877. In progress. 
 
 Waagen, G. F. Kunstwerke und Kiinstler in England. 2 vols. 
 8vo. Berlin, 1833. 
 
 Works of Art and Artists in England. 3 vols. 8vo. Lon- 
 don, 1838. 
 
 Kunstwerke und Kiinstler in Paris. 8vo. Berlin, 1839. 
 
 Treasures of Art in Great Britain ; being an account of the 
 
 chief collections of Paintings, Drawings, Sculptures, Illuminated 
 MSS., etc., etc. 3 vols. 8vo. London, 1854. 
 
 Galleries and Cabinets of Art in Great Britain. 8vo. Lon- 
 don, 1867. 
 
 48 
 
378 BIBLIOGRAPHY. 
 
 Waagen, G. F. Die Vornehmsten Kunstdenkmaler in Wien. 2 
 vols. 8vo. 1866. 
 
 A Walk through the Art Treasures Exhibition [Manchester] 
 
 under the guidance of Dr. Waagen. 121x10. London, 1857. 
 
 Die Gemaldesammlung in der Kaiserlichen Eremitage zu St. 
 
 Petersburg. Nebst Bemerkungen iiber andere dortige Kunst- 
 sammlungen. 8vo. Munich, 1864. 
 
 Young, John. See Grosvenor House; Miles Gallery; Stafford 
 House. 
 
 Zarco del Valle, M. R. Documentos ineditos para la historia de 
 las Bellas Artes en Espana. Forming part of Tomo LV. of 
 Coleccion de documentos ineditos para la historia de Espana. 
 8vo. Madrid, 1870. 
 
 This volume contains some notes concerning artists not mentioned by 
 Cean Bermudez, and numerous documents, chiefly from the royal archives, 
 relating to Spanish painters, etc., among them about 40 documents in which 
 Velazquez is named, and a fac-simile of a letter by him. 
 
ADDITIONS AND CORRECTIONS. 
 
 Hamilton Palace sale, at London, by Christie, Manson and 
 Woods, June 17, etc., 1882. Among the pictures were the following: 
 
 No. 9. Rubens. Portrait of the Duke of Olivares, in grisaille. 
 28X22 inches. ^472 10s., to Winckworth. A photographic process 
 reproduction of the engraving by Pontius after this picture is given 
 in the illustrated edition of the sale catalogue, and in LArt, 1882, 
 tome II. , page 137. See ante, page 73, No. 174. 
 
 No. 22. Rubens. Portrait of Philip IV., in a rich dress, with the 
 Golden Fleece. 30X25 inches. From a picture of Velazquez made 
 during the artist's journey to Spain. See No. 123 in the Catalogue 
 of Rubens' effects in Smith, Catalogue Raisonne, 11, 32. ^598 ioj., 
 to H. Stettiner. 
 
 No. 1 136. Velazquez. Portrait of Innocent *X. 25X18 inches. 
 ^110 5^., to F. Davis. 
 
 No. 1 137. Velazquez. Portrait of a Youth in a hat with feather. 
 28X21 inches. From the collection of the Marquis of Lansdowne, 
 and Fonthill. ^283 10s. 
 
 No, 1 1 38. Murillo. The Infant Christ. See ante, Murillo, No. 
 332. ^2,415. The two pictures last named were sold to and are 
 now owned by Matthias H. Arnot, Esq., of Elmira, New-York. 
 
 No. 1139. Murillo. St. Catharine. 16X13 inches. ^33 12^., to 
 W. Dyer. 
 
 No. 1 140. Velazquez. The Duke of Olivares, in black dress and 
 
 white collar. 29X26 inches. ^56 14^, to Shepherd Brothers. 
 
 No. 1142. Velazquez. Philip IV. (See ante, Velazquez, No. 117.) 
 " Taken from the palace of Madrid during the war, by the French 
 
38o 
 
 ADDITIONS AND CORRECTIONS. 
 
 General Desolle, from whose daughter it was purchased by Mr. Wood- 
 burn, and afterwards at Fonthill. Buchanan, i, 147." ^6,300, to the 
 National Gallery, London. 
 
 This portrait is identical with that in the Belvedere at Vienna 
 (see ante, Velazquez, No. 121), except that the Hamilton Palace por- 
 trait is full length instead of three-quarters length. The King, about 
 thirty years of age, stands three-quarters right, with bare head, wear- 
 ing a richly embroidered dress, a cloak falling from his right shoulder, 
 short breeches, white stockings, low shoes, and a golilla ; the Order 
 of the Golden Fleece is suspended on his breast. His right hand, 
 falling naturally, holds a folded letter bearing the signature of Velaz- 
 quez ; his left hand rests on the hilt of his sword ; at his left is a 
 table on which is his hat; a curtain behind. 78X44 inches. 
 
 A wood engraving is given in the illustrated edition of the 
 Hamilton Palace sale catalogue; in Z' Art, July 2, 1882, page 13; 
 and in Art and Letters, vol. I., 1882, p. 326. The catalogue asserts 
 that this is the portrait referred to by Buchanan, as mentioned ante, 
 Velazquez Catalogue, No. 274U. 
 
 The Hamilton Palace sale was begun while these sheets were in the printer's 
 hands. The objects were accumulated mainly by William Beckford of Fonthill, 
 one of the most industrious, lavish, and successful of collectors. This eccentric 
 gentleman was constantly buying, and selling again as the freak seized him. The 
 following sales were made during his lifetime : 
 
 1801, August 19. Sale at Fonthill lasting three days, chiefly of Furniture. 
 
 1801, October 7. Sale at Fonthill lasting two days, chiefly Furniture, and 
 eight Marble chimney-pieces. 
 
 1807, August 17. Sale at Fonthill lasting seven days, comprising Pictures, 
 Porcelains, etc. 
 
 1822, September 21. The sale of all the effects at Fonthill was advertised, 
 but before the day arrived the entire estate was sold by private sale to George 
 Farquhar for .£330,000, some books, pictures, and curiosities being reserved. 
 
 1823, September 9. Sale at Fonthill by Philipps, continuing to October 29. 
 There was realized for 3960 lots £22,684 1 $s. 
 
 The tenth Duke of Hamilton married a daughter of Mr. Beckford and suc- 
 ceeded to his artistic and literary property and tastes. The collection was greatly 
 increased by him, and by his successor, the eleventh Duke, who was a large 
 purchaser at the Northwick, Bernal, and other famous sales. 
 
 To the present Duke will attach the imperishable fame of having been the one 
 to scatter this vast wealth. 
 
ADDITIONS AND CORRECTIONS. 
 
 381 
 
 The collection was removed to London, and its sale is the greatest event ever 
 recorded in the history of Curiosite. The amount realized reached the incredible 
 sum of ,£397,562 oj. 6d. for 2213 lots, being £179 13s. for each lot. Besides these 
 articles, a valuable collection of Manuscripts was purchased by the German Govern- 
 ment for a sum not yet announced, but said to be £90,000. The library, which 
 was founded by Mr. Beckford, is also being dispersed as these sheets go to press. 
 The total amount of all the property sold will probably reach nearly £600,000, the 
 largest sum that has been realized from any artistic property that ever passed under 
 the auctioneer's hammer. 
 
 The result of the sale was a surprise to the public as well as to the owner of 
 the collection and his friends, whose expectations were exceeded, it is said, by 
 more than £100,000. There can be no doubt that many of the articles sold far 
 beyond their value, especially the pictures, which had never ranked very high as a 
 collection, and which included many that were inferior, doubtful, or false. 
 
 It will be interesting to compare this sale with some of the most important of 
 its predecessors. 
 
 M. de Julienne sale, March 30, 1767. Two hundred and ninety-seven pictures 
 produced 287,610 liv. 12s. Drawings, Engravings, Marbles, Vases, etc., raised the 
 total to 391,676 liv. 8s. 
 
 Due de Choiseul sale, April 6, 1772. The Paintings, 147 in number, sold for 
 448,544 liv. 19J. 
 
 M. Mariette sale, February I, 1775. Twenty-five Paintings were sold for 
 2i,iil liv. 4J-. Drawings, Engravings, Marbles, etc., made a total of 283,726 
 liv. 1 1 .r. 
 
 M. Randon de Boisset sale, February 27, 1777. One hundred and thirty-seven 
 Pictures brought 866,129 nv « ls - Marbles, Bronzes, Drawings, Vases, etc., carried 
 the amount to 1,229,692 liv. gs., or, according to another account, 1,263,000 liv. 
 
 Prince de Conti sale, April 8, 1777. The Pictures, 891 in number, produced 
 946,953 liv. Engraved gems, 43,620 liv. Drawings and Miniatures, 37,508 liv. 
 Clocks and Watches, 18,502 liv. Jewels, 13,238 liv. Total, 1,059,821 liv. 
 
 Houghton Gallery. The Pictures, 196 in number, after reserving some family 
 portraits, were separately valued by Messrs. West and Cipriani at £40,555, at which 
 sum they were sold in 1779 to the Empress of Russia. The payment was to be 
 made in three annual instalments, and apparently there was some abatement in 
 the price, since the Catalogue of the Hermitage (French edition of 1869, p. vi) says 
 the pictures cost £35,000. 
 
 " The whole collection made by my father, of which there have already been 
 three sales, cost but £40,000." Horace Walpole. Letters. 9 vols. 8vo. London, 
 1861. Vol. VII., page 175. 
 
 Comte de Vaudreuil sale, Nov. 24, 1784. The sum realized for 92 Pictures 
 was 381,920 liv. 19X. 
 
 Orleans Gallery. The Pictures of the Italian and French schools, 295 in num- 
 ber, were sold in 1792 for 750,000 liv. They were resold for 900,000 liv., and finally 
 purchased by the Duke of Bridgewater, Earl Gower, and the Marquis of Stafford in 
 
382 
 
 ADDITIONS AND CORRECTIONS. 
 
 1798 for ;£ 43,000. The Flemish, Dutch, and German pictures were sold in 1792 
 for 350,000 liv. 
 
 M. de Calonne sale, March 23, 1795. Three hundred and fifty-nine Pictures 
 produced £23,297. Total, including Drawings, Miniatures, and Prints, ^24,006 14?. 
 
 Citoyen Robit sale, May II, 1801, produced more than 650,000 f. 
 
 Fonthill sale, September 29, 1823. The sum realized for 3960 lots was 
 ^22,684 i$s. 
 
 Malmaison. The Emperor of Russia purchased, in 1814, from this collection 
 38 paintings for 940,000 f. 
 
 Bonnemaison sale, April 17, 1827, produced 253,412 f. 
 
 Chevalier Erard sale, August 7, 1832, realized 736,633 f. 
 
 Strawberry Hill sale, April 25, 1842. Total, ,£33,450 lis. gd. The Prints 
 Drawings, and Illustrated Books were not sold in their place, on the 7th and 8th 
 day of the sale, but were divided into smaller lots and sold by Mr. Robbins in 
 London, January 13 to 23, the following year. 
 
 Aguado sale, March 20, 1843. Three hundred and ninety-five Pictures and 
 fifty Marbles, Vases, etc., produced 501,644 f. 
 
 Saltmarshe (E. Higginson) sale, June 6, 1846, amounted to ^46,603. 
 
 Stowe sale, August 15, 1848, produced ^75,562 4j\ 6d. 
 
 King of Holland sale, August 12, 1850, 1,221,873 florins. 
 
 Marshal Soult sale, May 19, 1852. One hundred and fifty-nine Pictures and 
 three other lots brought 1,477,019 f., of which sum fifteen paintings by Murillo 
 amounted to 843,000 f. 
 
 Louis Philippe sale, May 6, 1853. The Galerie Espagnole, 501 pictures, 
 realized ^27,812 i6j\ 6d. The Standish Gallery, 249 pictures, including 5 not on 
 the catalogue, ^"9,859 19s. 
 
 Ralph Bernal sale, March 5, 1855. Amount realized for 4294 lots, ^62,690 
 i8j-. 2d., besides Books, Prints, and Furniture, making in all ;£ 70,954 4-r. lod. Of 
 this sum, the Pictures, Miniatures, etc., brought ,£10,838 is. 6d. 
 
 Samuel Rogers sale, April 28, 1856, and 18 following days, produced for 2121 
 lots, £49,73 1 l0s - 9^ 
 
 Alton Towers sale, July 6, 1857, and 29 following days. The pictures were 
 sold the first six days for upwards of £13,500. The entire sale comprised 3981 
 lots, including all the contents of the house, even the furniture of the kitchen, 
 servants' rooms, and stables. 
 
 Patureau sale, April 10, 1857, realized 864,656 f. 
 
 Comte de Pourtales-Gorgier sales, 1864-65, realized 2,820,000 f. There were 
 ten sales in all. The last three included only the Pictures and Drawings, and were 
 held March 25, etc., 1865. 
 
 Manley Hall (Samuel Mendel) sale, March 29 to April 24, 1875. The Pictures 
 produced £97,982 2s. 6d. The grand total amounted to £150,147. 
 
ADDITIONS AND CORRECTIONS. 
 
 383 
 
 VELAZQUEZ. 
 
 A Corregidor of Madrid. Frederick Leyland, Esq., Wool- 
 ton Hall, near Liverpool, Lancashire. A Corregidor of Madrid, 
 standing, with thick bushy hair, wearing a stiff square collar, a black 
 dress and a black cloak which, falling from his shoulders, half con- 
 ceals the rapier that is girt to his side ; in his left hand is his hat, a 
 scroll, and a pair of gloves ; his right hand is pressed lightly on his 
 breast, with the fingers spread apart. Brownish-gray background. 
 Full length, life-size. 
 
 This description is taken from an article on the Private Galleries of England, 
 in The Athenaeum, October 21, 1882, p. 534. The writer, probably Mr. F. G. 
 Stephens, a high authority in matters of art, pronounces the picture to be one of 
 the most important works of Velazquez out of Spain. 
 
 Can this be the Corregidor formerly in the Aguado Gallery ? See No. 229qq. 
 
 A Knight of Santiago. William P. Douglass, Esq., New- 
 York. A man of about 45 years of age, standing front, wearing a 
 golilla, with bare head, short hair, side whiskers, and long moustache, 
 the ends of which are turned up ; his gloved right hand, falling naturally, 
 holds a glove and grasps his gray hat, the opening of which is out- 
 ward ; his ungloved left hand protrudes from beneath his cloak, which 
 falls from his left shoulder, is wound around his waist like a girdle, and 
 is held beneath his arm ; the red cross of Santiago is on the breast of 
 his coat, and a similar cross on his cloak ; a baldrick embroidered with 
 silver crosses his breast, and his wristlets are similarly embroidered. 
 Landscape background. Three-quarters length, life-size. 
 
 This picture was purchased in Europe more than half a century ago by the 
 father of the present owner. It is now (1882-3) exhibited at the Metropolitan 
 Museum of Art, New-York. 
 
 A Knight of Santiago. Mrs. William H. Aspinwall, New- 
 York. A man about 35 years of age, with pleasing features, standing 
 three-quarters left, with bare head, wearing a broad lace collar with 
 scalloped edges, a buff-leather jerkin with embroidered silk sleeves, 
 short breeches, high soft buff boots trimmed at the top with lace, and 
 spurs ; his hands are gloved ; in his left, which falls naturally, is his 
 
384 
 
 ADDITIONS AND CORRECTIONS. 
 
 plumed hat ; his right grasps a pistol, the muzzle of which rests on 
 a table covered with drapery ; a sword is girt to his side by a broad 
 crimson scarf. On his breast is the red cross of Santiago. Full length. 
 72X44 inches. 
 
 Purchased about 1850 from a private collection in Palermo. This gentleman 
 is called, in the Catalogue of the gallery, a Knight of Malta, but the cross on his 
 breast shows that designation to be an error. 
 
 The Infanta Maria Theresa, afterwards Queen of France. 
 A. Febvre sale, Paris, April 17-20, 1882. Bust turned three- 
 quarters left; her hair, arranged in large rolls superposees, is adorned 
 with white plumes ; a large gauze collar covers a robe of dark silk 
 embroidered with silver; a jewel on her breast is attached by a chain 
 to a gold ornament on her shoulder. 66X56 cm. 
 
 From the collections of Villasante de Montija and Alfred Stevens. 3000 f. 
 See ante, p. 99, No. 252c 
 
 The description reads like that of Mariana, second wife of Philip IV., No. 242. 
 
 Henry G. Marquand, Esq., New- York, has recently purchased, 
 for ^2,000, the Portrait of the Infant Don Baltasar Carlos, 
 which was sold in the sale of Charles Sackville Bale. Size, 20*^ X 15 j£ 
 inches. See ante, page 59, No. 143. 
 
 The picture of the Boy Eating Soup, ante, page 35, No. 75, passed, 
 on the death of Senor Peleguer, to his wife, and thence to Senor 
 Cullen, and afterwards to the present owner, Don Ignacio Cancio. It 
 is now in New-York, and represents a boy, seen front, coarsely dressed 
 in a jacket laced with red ribbons, taking soup from the side of a 
 spoon which he holds to his mouth. Bust, life-size. 18X15 inches. 
 
 MURILLO. 
 
 The Assumption. Eyre Coote, Esq., West Park, Salisbury, 
 Hampshire. The Virgin, with long hair falling on her shoulders, 
 wearing a blue mantle, and a white robe with large open sleeves, 
 stands at full length on clouds, looking up to the right ; her hands 
 are crossed on her breast, the right hand uppermost ; the Dove and 
 
ADDITIONS AND CORRECTIONS. 
 
 385 
 
 eight heads are seen in the clouds above ; beneath are fifteen cherubs 
 bearing lilies and roses. 
 
 Purchased by Sir Eyre Coote about the end of the last century. See Murillo 
 Catalogue, ante No. 54f. 
 
 Ecce Homo. An engraving by Navarrete of a picture of this 
 subject is published at the Calcografia Nacional in Madrid. The 
 engraving bears the name of Murillo as the painter, which is a mis- 
 take. The original picture by Ribera is in the Academia de San Fer- 
 nando, and the error is inexcusable, inasmuch as the Calcografia and 
 the Academia are under the same roof. 
 
 Christ the Good Shepherd. Colonel William Stuart, of 
 London, has the picture mentioned ante, p. 187, No. i73g, and 173b. 
 It is a finished study for that belonging to Baron Rothschild, No. 167, 
 and was purchased by the father of the present owner at the sale of 
 Jeremiah Harmann. The size is 21^X15 inches. 
 
 Virgin and Child. Pesth Gallery. No. 688. A repetition 
 of the Virgen de la Faja, ante p. 156, No. 101. It is etched by 
 
 C. Rauscher, in the Gemalde Galerie in Budapest. 
 
 Virgin and Child and Priests. Pesth Gallery. No. 689. 
 
 See ante, No. 113. This picture is etched by 
 C. Rauscher, in the Gemalde Galerie in Budapest. 
 
 The church of Omnium Sanctorum at Seville formerly con- 
 tained seven original pictures by Murillo. These were exchanged 
 in the last century for a wretched retable with Christ at the Column, 
 and are now lost. Ponz, Viage, ix. 79. Gonzalez de Leon, 1, 44. 
 
 Don Francisco de Bruna had some pictures by Murillo. They 
 are referred to by Joseph Townsend. Journey through Spain, p. 322-3, 
 
 The Marques de Remisa owned in 1848 eight pictures by 
 Murillo and two by Velazquez. P. Madoz, Diccionario geograjico- 
 estadistico-historico de Espana. 
 
 The Duque de Lirios had two pictures by Murillo and two by 
 Velazquez. Ib. 
 49 
 
386 
 
 ADDITIONS AND CORRECTIONS. 
 
 Don Jimenes de Haro had some pictures by Velazquez and 
 Murillo. Ib. 
 
 Don Nazario Carriquiri had six pictures by Murillo. Ib. 
 
 St. Joseph and the Infant Jesus. The child Jesus, about 
 eight years of age, turned three-quarters right, caressing a lamb, with 
 St. [Joseph standing beside him on the right, and on the left a 
 fountain. Spurious. 
 
 Victor Desclaux, litho., 1.62X13.1 (1838), inscribed "Agnus Dei. Tire de la 
 galerie de M. V. Didoty 
 
 In the Genealogy of the royal family of Spain (ante, page 42, line 41) I have 
 given to the second wife of Philip IV. the name Maria — as she is styled by 
 Henrique Florez, and by Berni y Catala. The better authorities, however, 
 especially the later ones, call her Mariana, which name I have preferred to use in 
 describing her portraits at page 93, etc., in order to avoid confounding her with 
 other Marias painted by Velazquez, as often happens. In this I have followed, 
 among others, Ortiz y Sanz and D. Luis Vilar y Pascual. Diccionario genea- 
 logico . . . de las familias ilustres de la monarquia Espanola. 8 vols. 8vo. 
 Madrid, 1859-66. 
 
 ERRATA. 
 
 Page 35, 
 
 line 
 
 3> 
 
 for 
 
 Pelequer 
 
 read 
 
 Peleguer. 
 
 « 65, 
 
 «< 
 
 12, 
 
 tt 
 
 Dresden 
 
 tt 
 
 Berlin. 
 
 « 170, 
 
 <« 
 
 2, 
 
 u 
 
 Middlesex 
 
 a 
 
 Herts. 
 
 " 253, 
 
 « 
 
 3i, 
 
 a 
 
 it 
 
 a 
 
 a 
 
 " 176, 
 
 
 22, 
 
 u 
 
 Jose 
 
 a 
 
 Juan. 
 
 « 178, 
 
 
 18, 
 
 tt 
 
 Lincolnshire 
 
 tt 
 
 Leicestershire. 
 
 " 202, 
 
 « 
 
 6, 
 
 <« 
 
 Spinnocchia 
 
 tt 
 
 Spannocchia. 
 
 " 207, 
 
 « 
 
 19, 
 
 u 
 
 Stevens 
 
 a 
 
 Stephens. 
 
 " 220, 
 
 « 
 
 23, 
 
 tt 
 
 Lapey 
 
 a 
 
 Sapey. 
 
 " 295, 
 
 
 35, 
 
 it 
 
 Robinson 
 
 
 Robertson. 
 
 " 319, 
 
 « 
 
 23, 
 
 si 
 
 Carlyle 
 
 tt 
 
 Carlisle. 
 
 " 374, 
 
 
 36, 
 
 erase 
 
 Stafford House. 
 
 
INDEX. 
 
 V. refers to the Catalogue of the Works of Velazquez. 
 M. refers to the Catalogue of the Works of Murillo. 
 
 The figures in heavy-faced type (i, 2, 3, etc.) indicate that the pictures are now 
 in the collections named. 
 
 Abel, Mr. M. 425a, 434c!. 
 Abercorn, Duke of. V. 138. 
 Abrantes, Due d'. M. 82a, 435a. 
 Abria], engraving. M. 171. 
 Abril, Antonio. Page 315. 
 Academy. Bildenden Kunst. See Vienna. 
 
 of San Fernando. See Madrid. 
 
 of St. Luke. See Rome. 
 
 of Seville. See Seville. 
 
 Acciaj, Fedele. M. 85. 
 
 Acevedo, chromo by. M. 47. 
 
 Actor, The. V. 71. 
 
 Adlard, H., engravings. V. 27, 195. 
 
 M. 465. 
 
 Agar, Ellis. V. 134, 208. M. 161. 
 
 Agnew. M. 375b, 399g. 
 
 Aguado, M., notice of. V. 14c 
 
 Galerie. Page 353. V. 14c En- 
 gravings in V. 265, M. 8, 11, 
 12, 68, 103, 104, 116, 271, 300, 
 309, 425, 429, 462. 
 
 Sale. V. I4e, 35c, 36c, 81s, 
 
 8it, 8iu, 81 v, 85b, 85c, 89b, 91b, 
 229qq, 258c, 258f, 265. M. 8, 
 11, 12, 12b, 17a, 5oaa, 5obb, 68, 
 103, 104, H2gg, 116, 124(1, i24e, 
 146m, 151 i66i, 173c, 210I, 210m, 
 2ion, 219c, 236I1, 253q, 268, 271, 
 2 73g> 3°°> 3°7f, 3°7g> 3°9> 3°9b, 
 
 314a, 332g, 338d, 35811, 358P, 
 361b, 3731, 39id, 393a, 399a, 399I1, 
 399i, 40ig, 425, 429, 435c, 450k, 
 452 copy, 476X, 476y, 476Z, 476aa, 
 476bb, 476CC, pages 382, 383. 
 
 Pictures by Alfaro, page 329. 
 
 Carreno, page 325. Garzon, page 
 351. Gomez, page 342. Mazo, 
 page 320. Marquez, page 340. 
 Meneses, page 333. Pareja, page 
 328. Tobar, page 336. Villavicen- 
 cio, page 338. 
 
 Aguila, Conde del. V. 7, 8. M. 101. 
 
 Aguiar, Tomas de. Page 331. 
 
 Aguirre y Ayanz. M. 107a. 
 
 Ailesbury, Marquis of. M. 179. 
 
 Alabern, C. Galleria. V. 5, 30, 145. 
 M. 4, 174, 262, 303, 311. Pages 
 353* 368. 
 
 Engravings by. V. 30, 70, 96, 
 
 97, 137, M5- M - 262 3°3» 3»« 
 
 y Fatjo, engravings. V. 27, 35. 
 
 Alba, Duque de. Notices of. V. i6<> 
 note, I77d, 260. Pictures. V. 34, 
 254, 260. M. 232, 469. 
 
 Duquesa de. V. 25. 
 
 See Berwick ct Albc. 
 
 Albano. M. 273. 
 Alberg, Due d'. M. 50L 
 
388 
 
 INDEX. 
 
 Albuerne, engraving. M. 465. 
 Alcantara, Difiniciones de la Orden. V. 
 123. 
 
 Alcazar, Madrid. V. 21, 34, 36b, 41c. 
 Aldobrandini-Borghese. V. 274t. 
 Alegre, engravings. V. 12. M. 73d, 
 
 201, 465. 
 Alfaro family. V. 4 note. 
 
 y Gamez, Life and Works. 
 
 Pages 328, 345, 372. 
 
 Juan Ignacio de. M. 286b. 
 
 Alford, Viscount. M. 476V. 
 
 Alinari, photographs. V. 203. M. 85, 
 
 90, 119, 265. 
 Allais, engravings. V. 72. M. 156. 
 Allerton Hall. M. 52. 
 Allnutt, J. Sale. M. 88d. 
 Almanaque de la Ilustracion. V. 198. 
 Almodovar, Duque de. M. 444. 
 Almosnino, Extremos de Constantinopla. 
 
 V. 174. 
 Alstein, H. Van. M. 214c. 
 Altamira, notices of. V. 36a, 116, 166, 
 194. M. 84. 
 
 Gallery. V. 153 note, 166, 171, 
 
 I77d> J 93> 2 3 8 > 2 74b, 274P, M. 
 92. 
 
 Sale. V. 36a, 116, 143I1, 179b, 
 
 194, 234c. M. 37, 1631, I74q, 
 253", 338c, 359, 375S 379d, 392, 
 399f, 475- 
 Althorp. See Spencer, Earl. 
 Alton Towers. V. 107, 229XX. M. 
 
 77d, 112II, 300V, 394, 434, 460a. 
 
 Pages 338, 382. 
 Amador de los Rios. Sevilla Pinto. 
 
 Page 353. 
 Amazurino. M. 462. 
 American Art Review. M. 476. 
 Amettler, B., engravings. V. 86, 161, 
 
 195. M. 112, 387. 
 Amsterdam Museum. V. 143c M. 
 
 64. Page 356. 
 Anderdon, J. P. M. 178, 448. 
 Anderson, John. M. 334. 
 
 Matthew. Page 325. 
 
 Andre, engravings. M. 68, 177, 336a. 
 
 Andre-Geiger, engraving. M. 112a. 
 Andressen, Handbuch. Page 353. 
 Angel, S., engraving. M. 173. 
 Angelico, Fra. M. 192. 
 Angerstein, Catalogue. V. 150a. 
 Animals. V. 92, etc. 
 Anthony. V. I4d, 18. 
 
 W., sale. V. 211. 
 
 Antolinez, F. M. 161. Life and Works. 
 Page 342. 
 
 Jose\ Page 342. 
 
 Antwerp Cathedral. M. 300b. 
 
 Museum. M. 50m, 300c. Page 
 
 356. 
 
 An vers, D'. History of Art. M. 318. 
 Anversa, Isabel de. V. 194, note. 
 Apologia, engraving in. M. 283. 
 A. R. See Reveil. 
 
 Arana de Varflora, Compendio. Page 
 354- 
 
 Arasabla, Jose. Page 345. See Lavice. 
 
 Page 366. 
 Arco, Duchess of. V. 222. 
 Arcos, Duque de. V. 178. 
 Ardemans, Teodoro. Page 334. 
 Arezzo. V. 151. 
 Argenville, D'. M. 436. 
 
 Abrege. V. 196. M. 462. 
 
 Pages 354, 360. 
 Armagnac, Comte D'. M. 373g. 
 Armengaud, Galeries, engravings. V. 
 
 183. M. 90. La Russie. M. 427. 
 Armytage, J. C., engraving. M. 50I1, 
 
 167, 443- 
 
 Arnot, M. H. M. 332. Page 379. 
 
 Arrambide. M. 476dd. 
 
 Arriguey House. See Gray, E. 
 
 Art L\ V. 23, 30, 32. M. 476q. 
 
 Pages 379, 380. 
 Art Journal. V. 25, 27, 68, 86, 131, 
 
 135, 145, 265. M. 90, 116,425,426, 
 
 427, 429, 462. 
 Art Union. M. 426, 429. 
 Art and Letters. Page 380. 
 Artaria. V. 132a, 155. M. 123. 
 Arte en Espaila. V. 5, 30, 31, 33, 42. 
 
 Pages 354, 370. 
 
INDEX. 
 
 339 
 
 Artier, F. M. 146a, 234, 301, 308, 348. 
 Artillerist, The. V. 72. 
 Artista, EL V. 195. Page 354. 
 Artiste, L\ V. 207. 
 Arundel of Wardour, Lord. V. 214. 
 Asensio, J. M. M. 410. Page 354. 
 Ashburnham, Earl of. M. 301, 462. 
 Ashburton, Lord. M. 49, 82c, 322. 
 Page 364. 
 
 The Grange. V. 55, 74. M. 
 
 209, 397. 
 
 London. V. 40, 130. M. 208, 
 
 396. Page 364. 
 Aspinwall, Mrs. W. H. M. 34, 
 
 425bbb. Page 383. 
 Asselineau. V. 44. M. 174. Page 
 318. 
 
 Aston, Sir A. V. 158I1, 179a, 274g. 
 
 M. H2ss, 375b, 457. 
 Athawes, E. M. 434a. 
 
 S. M. 322, 442I1. 
 
 Athenceum, The. Page 362. 
 Audouin, P. V. 21. 
 Auldjo sale. M. I34d. 
 Aulnoy, Comtesse d'. Page 354. 
 Aumale, Due d'. M. 210, 343. 
 Aumont, Due d'. V. 1 7f, 8ii. 
 Aurajo, C. V. 42. 
 Austria. See Pesth; Vienna. 
 Axmann. M. 113. 
 
 Azara, Chevalier de. V. 187. M. 88b, 
 408a, 408b. 
 
 B., Mme., sale. V. 270. M. 5011, 372c 
 
 Bachillier, engraving. V. 36. 
 
 Bacon, F., engraving. M. 322. 
 
 Bagnols. M. 234. 
 
 Bailli de Breteuil. V. i9od. 
 
 Baillie, D., sale. M. 9b. 
 
 Col. H., sale. V. no, 143, 
 
 146, 171, 238. M. 5ohh, 92, 
 300W, 476I. Page 336. 
 
 Baillie- Hamilton R. M. igg. 
 
 Baker, I., engraving. M. 411. 
 
 Balbi Palace, Genoa. V. 104a. 
 
 Baldeschi Palace. V. 151b, 274m. 
 
 Bale, C. S. V. 143. Page 384. 
 
 Balestra, J., engraving. M. 373. 
 Balfour, J. M. 438. 
 Ball, Captain. M. 112, 339, 385c. 
 Ballero, G., engraving. M. 89. 
 Ballester, J., engraving. V. 12. M. 
 444. 
 
 Ballin, J., engraving. M. 27, 83, 113. 
 Balmaseda, F. M. 71, 352, 366a. 
 
 Pages 366, 338. 
 Baltasar Carlos, portraits. V. 131, etc. 
 
 Page 320. 
 
 Bankes, W. R. V. 22, 116, 154, 218. 
 
 M. 235, 261, 390, 439. 
 Bannermann, A. V. 19a. 
 Baranello. V. 180. 
 Barbarosa. V. 70. 
 Barber, T. V. 190L 
 Barbola, Maria. V. 21, 75c. 
 Barcelona. Page 365. 
 Bardi, Gal. Pitti. Page 355. 
 Baring, Mr. V. 9 1 h, 229p. M. 32, 
 
 421, 429, 457. See also Ashburton; 
 
 Northbrook. 
 Barnard, Sir John. Page 361. 
 Baroilhet sale. V. 258L 
 Barrett. Lee Priory. M. 113. 
 Barry, G., engravings. M. 71, 206, 
 
 344- 
 
 Bartsch, A. de, engraving. M. 332L 
 Basan. M. 426. 
 Bassano. V. 3. 
 Bastida, M. de la. M. 1 7jf. 
 Baudet, Ch. M. 401. 
 Baumgartner, F. G. M. 316b. 
 Baussac, J. M. M. 47. 
 Bavaria. See Munich. 
 Baxter, R. M. 269a. 
 Beauclerc. V. 241. M. 340b. 
 Beaujon sale. M. 168a. 
 Beaumont, Sir F. G. V. 143d. 
 
 W. B. M. 370. 
 
 Becker, Charactcrbilder. M. 233. 
 
 Kunst und Kiinstlcr. V. 13 f, 
 
 195. M. 26, 274, 322, 413, 465. 
 Beckford. Page 380. See Fonthill. 
 Bedford, Duke of. London. V. 810. 
 M. 105. 
 
390 
 
 INDEX. 
 
 Bedford, Duke of. Woburn Abbey. V. 
 179, 234. M. 468c. 
 
 Bedfordshire. See England. 
 Beggi, Dr. V. 651. 
 Bejarano, A. Page 352. 
 
 Cabral. Page 352. 
 
 F. Page 352. 
 
 M. Page 352. 
 
 Belgium. See Brussels. 
 
 Belisarius. M. 402. 
 
 Bell, R. C, engravings. V. 12. M. 
 
 233- 
 
 Belloso, Pedro. Page 314. 
 Belville, Marquis de. V. 229mm. 
 Belvedere, A. de. M. 318. 
 
 in Kent. M. 44, 127. Page 
 
 361. 
 
 See Vienna. 
 
 Benavente, Conde de. See Pimentel. 
 Bentinck, G. Cavendish. M. 336. 
 Bequet, engravings. M. 50I1, 83, 173c. 
 Beresford, Rev. J. G. M. 5or. 
 
 Lady. M. 68g. 
 
 Beresford-Hope, A. J. M. 205. 
 
 Beretta, J., engraving. M. 373. 
 
 Berger. M. 425H. 
 
 Berkshire. See England. 
 
 Berlin, Konigl. Lith. Inst. M. 476a. 
 
 Museum. V. 21 engraving. 
 
 108 copy, 151, 151a, 224, 229m, 
 245. M. 94, 243, 373a, 481L 
 Pages 319, 322, 335. 
 
 Photo Co. V. 151, 174, 224, 
 
 225. M. 243, 373a. 
 
 See Raczynski. 
 
 Berlyn, P. Page 355. 
 
 Bermudez. See Cean Bermudez. 
 
 Bernal sale. Page 382. 
 
 Berni y Catala. Titidos de Castilla. 
 
 Page 355. 
 Bernardo del Carpio. V. 26. 
 Berruguete. V. 48. 
 Bersiere, P., engraving. M. 253k. 
 Bertels. M. i63g, 425ee, 442f. 
 Bertinot, G. N. V. 190m 
 Bertrand. M. 332a. 
 Beule, Ernest. Page 355. 
 
 Berwick, Lord. M. 95, 425qq. 
 
 et Albe sale. V. 254, 260. M. 
 
 469. See Alba, Duque de. 
 Berwickshire. See Scotland. 
 Bessborough sale. V. 229UU. M. 8a, 
 
 54I, 82b, H2xx, 155a. 
 Bibliography. Page 353. 
 Bigotry. M. 135. 
 Bilder Brevier. M. 84, 386. 
 Billaudel. M. I54d. 
 Billings, R. W. M. 102. 
 Birch, C. V. 130m 
 Birchall, Mrs. T. M. 198. 
 Blackwood, John. M. 3, 33, 72, 139, 
 
 161, 200, 301, 462. 
 Blaisel, Marquis de. V. 258c, 258d. 
 
 M. 3a, 5off, I29e, 373L 
 Blamire, G. M. 222, 476g. 
 Blanc C, Peintres. Engravings. V. 23, 
 
 24,27,51,68,86, 114, 131, 145, 195, 
 
 243a. M. 29, 101, 156, 274, 300, 
 
 398, 411, 413, 429, 465. Pages, 318, 
 
 320, 323, 324, 325, 327, 328. 
 
 Works of. Page 355. 
 
 Blanchar, F. V. 13. 
 
 Blanchard, engravings. M. 14, 73, 
 
 359, 425, 429, 465. 
 Blanco, engravings. V. 27, 137, 261. 
 
 M. 367, 428, 433. 
 Blanzat, P. M. 83. 
 Blaschke, J. M. 325. 
 Blasco, A. V. 27. 
 
 Ruiz. M. 163. 
 
 Blathwayt. M. 450b. 
 Bled, Ch. de. M. 177. 
 Bleeck, Van. M. 450c. 
 Blenheim. Pages 361, 364. 
 Blood, E. M. V. 94. 
 Blot, engraving. M. 156. 
 Bloudoff, Comte. V. 9 if. 
 Bliimmer. M. 68. 
 
 Boadilla. V. 12 note. See Luis de 
 Borbon. 
 
 Carmelite Church. V. 193b. 
 
 Boca y Delgado. Page 371. 
 Bocanegra, copy. M. 268. 
 Bock, Anton. M. 441. 
 
INDEX. 
 
 391 
 
 Bodegones. V. 76, etc. 
 Bodleian, Oxford. Page 364. 
 Bohn, H. G. M. 144, 248, 290. 
 Boileau sale. M. 179. 
 Boilly. M. 14, 93, 112, 156, 164, 180, 
 317- 
 
 Boilvin. M. 68a, 129a. 
 
 Boix, E. M. 92, 173b, 358. 
 
 Bolton, Mr. M. 139. 
 
 Bonaparte, Joseph. V. 40, 74, 86. 
 
 M. 74, H2dd, H2pp, H2rr, 
 
 2iop, 33211, 373g, 40ii. 
 Lucien. V. 265. M. 131, 26id, 
 
 481. Gallerie, page 355. See 
 
 Fesch. 
 
 Prince. M. 1 12ww. 
 
 Bonifazio. M. 192. 
 
 Bonnemaison sale. V. 268. M. 50y, 
 
 124c, 292. Page 382. 
 Booth, R. M. 425k. 
 Bordeaux Museum. M. 476p. 
 Bordentown. See Bonaparte, Joseph. 
 Borghese Gallery. V. I77d, note. 
 Borgia, Cardinal. V. 17, 153, 154. 
 
 St. Francis. V. 17. 
 
 Borromee. M. 253k. 
 
 Bosarte, I. Viage. Page 355. 
 
 Boschi, Carlos. M. 4681". 
 
 Bouchardon sale. V. 120. 
 
 Bourdon, S. M. 476q. 
 
 Bourgeois, Sir F. M. 426. 
 
 Bourgoing. Voyage. Page 360. 
 
 Bourke. V. 52, 53, 54, 55. 
 
 Bourne. V. 65r. 
 
 Boursault. M. 123, 163k, 442c. 
 
 Boutatts, F. V. 238. 
 
 Boutelont, C. Estudio. M. 239. 
 
 Boutrois. M. 274, 41 1. 
 
 Bouvier,C. V. 158I. 
 
 Bovinet. M. 167, 373. 
 
 Bowood. See Lansdowne; also page 
 
 3 6 4- 
 
 Boydell. M. 2, 139, I46d. 
 Brabazon, H. B. V. 238. 
 Bracciano Palace. V. 190b. M. 373. 
 Bracho de Barreda. Page 314. 
 Brackenbury, Miss C. M. 245n. 
 
 Brackenbury, Sir J. M. V. 8iw, 199. 
 M - 35> 5°P> 77, 124k, 129a, i34d, 
 155b, 222, 283, 35 8e, 358V, 385b, 
 39 1 c, 409, 425 uu, 457. 
 
 Bracquemond. V. 257, 476dd. 
 
 Brandi. V. 191. 
 
 Brandt, C. M. 468a. 
 
 Braschi, Duke. M. 44. 
 
 Braun, A., & Co., photographs. V. 13, 
 97, in, 119, 122, 139, 142, 165, 
 230, 231, 249, 263, 268, 271, 272. 
 M. I5h, 28, 31, 57, 64, 91, 119, 
 169, 216, 237, 265, 269, 332i, 343, 
 344, 415, 442a, 45oi, 457, 472, 474. 
 
 Bravo, A., notice of. V. 9a, Pictures. 
 V. 9a, I7d, 65a, 65b, 65c, gig, 27 4 i. 
 M. 5of, 58b, 68b, 73c, 174s, 177, 
 213c, 232, 236c, 261b, 273, 273c, 
 273f, 284a, 284b, 307c, 310a, 358^ 
 372, 379b, 388, 403, 442a, 45oi, 470, 
 476d, 476m, 481c Pages 325, 332, 
 
 335> 338, 343, 35o, 35i, 353, 369. 
 
 Geronimo. M. 48 ig. 
 
 Breadalbane, Earl of. V. IX. M. 199. 
 Breen, J. E. M. 425hh. 
 Brera. See Milan. 
 
 Brett, J. W. V. 57, 273. M. 124I1. 
 Brevoort, H. M. 140. 
 Bridgevvater, Duchess of. M. 167. 
 
 Duke of. Page 381. 
 
 House. See Pages 364, 365. 
 
 See P311esmere. 
 Bridoux. M. 36, 135. 
 Brieva, S. M. 359. 
 Brieve. V. 158I. 
 Brignole — Sale Palace. M. 112b. 
 Bristed, J. J. A. M. 140. 
 British Institution. Page 355. 
 
 Museum, engravings in. V. 21, 
 
 72. 
 
 Brockhaus, Dr. V. 81a. 
 Broderip. M. 425^ 
 Bromley-Davenport, W. V. 7. M. 
 406. 
 
 Bromley, J. V. 195. M. 262, 445, 
 Brooks, R. M. 5011, 373c. 
 
392 
 
 INDEX. 
 
 Brooks, Mr. Sale. M. H2tt. 
 
 Bruna, F. de. V. 9, 191. M. 135. 
 
 Pages 348, 385. 
 Brunet, engraving. M. 146c. 
 
 G. Velazquez. Page 375. 
 
 Brussels Museum. V. 85c M. 40if. 
 
 See Lumley, Sir J. S. ; Cremer. 
 
 Bry, A. M. 73^ I5 6 - 
 
 Bryan. V. 35d. M. 50X, 54I1, 541, 
 
 54k, 105, ii2w, 178b, 332a, 340. 
 Bryan Gallery, New -York. V. 240. 
 
 M. 358c. 
 Buccleugh, Duke of. M. H2p, 336c 
 Buchanan, W. V. 34, nob, 124, 176, 
 
 201. M. 13, 29, 49, 96, II2Z, 
 
 I24f, 146a, 163c, 308, 309, 332f, 
 399, 406, 425Z, 442d. 
 
 Memoirs. Page 356. 
 
 Buchel. M. 386. 
 
 Buckingham, Duke of. V. 150c. See 
 Stowe. 
 
 Palace. V. 140, 143a. Page 
 
 365- 
 
 Buckinghamshire. See England. 
 Buda-Pest. See Pesth. 
 Bueno. M. 285. 
 
 Buen Retiro. V. 13, 65k, 75, 75c, 
 
 95b, I43g. M. 54p. 
 Bulkeley-Owen. V. 190c. M. 135, 406. 
 Bulletin des Arts. Page 356. 
 Bulteel, J. V. 104c 
 Bulwer, W. E. G. V. 252. 
 Burdet, engraving. M. 29. 
 Burdett-Coutts, Baroness. M. 252, 
 
 35*- 
 
 Burdon, W. W. V. 65p, 1431, 158a, 
 
 229SS. M. 176, 358q. 
 Burger, W., Writings of. Pages 355, 
 
 356. 
 
 Burgos. Pages 355, 366. 
 Burke, T. M. 146c. 
 Burkner. M. 386. Page 360. 
 Burley, Mr. M. 429. 
 Burleigh House. Page 364. 
 Burlington, Earl of. V. 185, 266. 
 Burnaby, E. M. 2b. 
 Burnet, G. R. V. 193. 
 
 Burnet, J. Portrait Painting. V. 108, 
 
 131, 145. Page 356. 
 Burrell, Sir P. M. H2cc. 
 Burt, C. M. 253L 
 Bute, Marquis of. V. 184. 
 
 Sale. M. 54q. 
 
 Butron, J. de. Discursos. Page 356. 
 Buxo, E., etching. M. 4. 
 Buzareingues, G. de. V. 84. 
 Byng. M. 134, 144, 300k. 
 Caballero, Juan. Page 314. 
 Cabinet de P Amateur. Page 356. 
 Cadiz. Capuchin Church. M. 25, 197, 
 233, 264, 291. Pages 312, 331, 364. 
 
 Cathedral, copies. M. 2g, 396, 
 
 340, 352. 
 
 Merced. Page 332. 
 
 Museum. M. 197. Copies. M. 
 
 101, 113, 258. Death of Mu- 
 rillo. M. 264. Pages 332, 334, 
 338, 352- 
 
 St. Philip Neri. M. 24. Page 
 
 352. 
 
 See Zulueta. 
 
 Calamatta. V. 195. M. 462. 
 
 Calatrava. Diffiniciones de la Orden. 
 V. 123. 
 
 Calcografia Nacional, account of. V. 
 230 note. 
 
 engravings. V. 5, 12, 12, 21, 
 
 23> 27, 30, 30, 31, 32, 32, 35, 
 36, 66, 67, 68, 69, 69, 69, 70, 
 
 7i> 73, 86 > 9 6 > 97> Io8 > I3 1 * J 45> 
 152, 161, 166, 174, 191, 195, 
 197, 230, 231. M. 112, 121, 
 137, 137, 147, 229, 230, 262, 
 274, 3i l > 3*4. 35 6 > 3 8 7, 402a, 
 423, 434*, 465. Pages 358, 361, 
 
 363, 3 8 5. 
 
 See also Coleccion de las Estampas; 
 Grabador al Agua Fuerte ; Es- 
 panoles Ilustres. Pages 358, 361, 
 
 363, 3*5- 
 Calcografia Roma. M. 373. 
 Caldesi, photographs. V. 135, 146, 
 
 238, 273. M. 13, 68, 95, 152, 167, 
 
 198. Pages 357, 366. 
 
INDEX. 
 
 393 
 
 Caldwell, J., engraving. M. H2cc. 
 Caledon, Earl of. M. 39, 458, 477. 
 Callery, M. V. 165. 
 Calonne sale. V. 35d. M. 105, 141, 
 
 174P, 402d, 426. Page 382. 
 Camail. V. 187. 
 
 Camaron, V. V. 229DDD. M. 174, 
 
 285, 314, 318, 393b. 
 Cambiaso, Luca. V. 3. 
 Cambridge, Fitzwilliam Museum. V. 
 
 91I, 160, 215. M. 117, 334. Page 
 
 3 6 4- 
 
 Camille de Geneve. See Hermitage, 
 
 Galerie de P . 
 
 Campana, Don. M. 236d. 
 
 Campbell, Mr. M. 135. 308. 
 
 Rose. V. 143d, 234a. M. 8b, 
 
 9a, 1 2d. 
 
 Campo, Diego del. M. 267c Page 313. 
 Campori, Raccolta. V. 150b, 202. 
 Campos, Andres de. Page 312. 
 Canada, Marques de. V. 16 note. M. 
 
 224d, 253^ 264, 332c, 385c, 393c, 
 
 448. 
 
 Canaveral, Jose. M. 300c 
 Cancio, Ignacio. Page 384. 
 Cano, Alonso. V. 14c, 16, 20. M. 
 
 50k, 292. Portrait of. V. 152. 
 
 J. J., notice of. Page 351. 
 
 Capel, General. M358d. 
 Carracci, Anibale. M. 273. 
 Caravelli, engraving. M. i66f. 
 Cardenas. V. 75e, I58g. 
 
 Juan de. V. 75d, 229I. 
 
 Carderera Valentin. V. 21. 
 
 Collection of Portraits. Pages 
 
 319, 320, 322, 323, 329, 347, 
 357- 
 
 Carducho. V. 36b. Page no. 
 
 Dialogos. Page 357. 
 
 Carey, Ch., engraving. M. 36. 
 Carignan, Prince. M. i63g, 332d. 
 Carlisle, Earl of. V. 2, g2, 149, 181, 
 
 239. Pages 319, 326, 328. 
 Carlo, Alberto. V. 129. 
 Carlos, II., portraits of. M. 476b. 
 
 Pages 318, 319, 322, 323. 
 
 5° 
 
 Carlsruhe Kunsthalle. M. 336d, 3gge, 
 425V. 
 
 Carmona, Carmelitas Descalzos. M. 
 146b. 
 
 Convent in. M. 54V. 
 
 J. A. S., engravings. V. 12, 
 
 137. M. 314, 423, 434*. 
 
 M. S., engravings. V. 12, 27, 
 
 86, 161, 191. M. 22, 107a, 137, 
 157, 174a, 282, 387, 465. 
 Carr, sale. M. 88c. 
 Carreno, Account of. Page 321. See 
 also V. 75a, 75c, 123, 165, 242, 243a. 
 M. 476b, 48 1 h. 
 Carriquiri, N. Page 386. 
 Carpio, Marques del. See Haro, Luis 
 de. 
 
 Carse, A., engraving. M. 436. 
 Carstansen, A. M. 368. 
 Cartoni. M. 85. 
 
 Cartwright, W. C. M. 3, 16, 33, 72, 
 
 200, 249, 335, 373d. 
 Casenave, engraving. M. 322. 
 Casomaner, F. Page 313. 
 Caspar, engraving by. M. 243. 
 Cassel Gallery. M. 442b. 
 Castelar, Marques de. M. 214c!. 
 Castel Rodrigo. V. 158I1. 
 Castella, Ramon de. M. 361a. 
 Castilleja, Count. M. 50n. 
 Castillo, Antonio del. Pages, 328, 345. 
 
 Agustin. Page 345. 
 
 Juan del. M. 117a, 318. Pages 
 
 3 o6 > 345- 
 
 L. de. Viage. Page 357. V. 
 
 123. 
 
 Castro. Vida de S. Fernando, engrav- 
 ing in. M. 283. 
 
 Cataneo Palace. V. 6a. 
 
 Caulaincourt. V. 81. 
 
 Caulet d'Hauteville. M. 425b!). 
 
 Cave, VV. ^ M. 13, 50, 191b, 345. 
 
 Caxes, Eugenio. V. 36b. Page no. 
 
 Cean Bermudez. V. 8, note, 21, 153. 
 
 Hooks by him. Pages 352, 357, 
 
 3 6o » 3 6 7- 
 
 Cecchi, G. B., engraving by. M. 373. 
 
394 
 
 INDEX. 
 
 Cecchini, engraving by. V. 195. 
 Celestino. V. 81b. 
 Cepero. See Lopez Cepero. 
 Cerezo. M. 373a. 
 Ceritari Gallery. V. 8in. 
 Cervantes, portrait. V. 158I. 
 Chabert, Galerie. V. 9c, 195. M. 
 
 26 1 e, 468a. Page 358. 
 Chalcographie du Louvre. V. 203d. 
 
 M. 55. 
 
 Chambers, T., engraving. M. 139. 
 Chamouin, engraving. M. 36. 
 Champernowne. M. 123. 
 Charles I., Prince of Wales. V. 150c. 
 Page 109. 
 
 pictures owned by. V. 113, 
 
 140, 1 77<i. M. ii2cc. 
 Charpentier, engraving. M. 274. 
 Chasuble of Murillo. M. 386. 
 Chataigner, engraving. M. 411. 
 Chatel, Marquis du. M. 138. 
 Chatsworth. See Devonshire, Duke of. 
 
 Also page 361. 
 Chevreuse, Duchesse de. V. 274c 
 Chevalier. V. 5. M. 274. 
 Chicano, J. G. Page 352. 
 Chinchon, Condesa. V. 12, 4id, 95g, 153 
 
 note. Page 320. See Luis de Bourbon. 
 Chiswick. See Devonshire, Duke of. 
 
 Also page 361. 
 Choiseul. V. 35c, 332d, 413. 
 
 Account of sales. M. 138 note, 
 
 413 note. Page 381. 
 Cholmondely, G. J. M. 134c. 
 
 Reginald. V. 8ip. M. 174m. 
 
 Choquet. M. 353U. 
 Christina of Spain. V. 104. M. 246, 
 265, 300m, 316c, 373k. 
 
 of Sweden. V. 104. 
 
 Church, F. E. M. 388. 
 Cigoli. M. 292, 393d. 
 Cinco Gremios. M. 15b. 
 Cisneros, engraving. M. 213d. 
 Citray, Diego Rodriguez. V. 193b. 
 Clare, Earl of. V. 83. M. 425yy. 
 Clarendon, Earl of. V. 58, 59, 193c. 
 
 M. 158, 338b. 
 
 Clark, W. G. M. 117. 
 
 Sir S. H. V. 130c M. 167, 
 
 322. 
 
 and George Hibbert. M. 
 
 16311, 227c, 322. 
 Claude Lorraine. M. 10, 476c. 
 Clauss, Dresden Gallery. M. 84, 386. 
 
 Page 361. 
 Clement IX. Pope. V. 155. 
 
 C, engraving. M. 36. 
 
 C. E. L. and M. Art. M. 
 
 116, 260, 278, 282, 307a, 318, 
 362, 385. Page 358. 
 Clemente de Torres. M. 29. Page 
 35 2 - 
 
 Cleopatra. M. 302b. 
 Cleeve, Bouchier. M. 456f. 
 Cleveland, Duke of. M. 213c, 267a. 
 Clive, H. V. 81 g. M. 300L 
 Clumber Park. M. 5oq. 
 Cockburn, R. M. 8a, 426. 
 Cock's Auction Rooms. V. 190c 
 Coello, C. M. 379h, 459. Page 323. 
 
 A. S. V. 131 . M. 260. 
 
 Coesvelt. V. 80, 125, 175. M. 37, 
 
 67, 357- 
 
 Coindros. M. 401 f. 
 
 Coit, Joshua. M. 140. 
 
 Coleccion de las Estampas. Page 358. 
 
 Coleccion Litografica, engravings in. V. 
 5, 9, 12, 13, 27, 35, 36, 44, 48, 49, 51, 
 96, 97, 108, 131, 137, 143a, 145, 166, 
 261. M. 4,26, 65, 66, 121, 137, 171, 
 174, 274, 282, 314, 318, 367. Pages 
 318, 327, 337, 347, 358, 367- 
 
 Collar y Castro. Page 330. 
 
 Collier. V. 23. M. 206, 372. 
 
 Collin, R., engravings. M. 462, 462. 
 
 Collot. V. I30f. 
 
 Colnaghi. V. 21, i3oq. M. 2ior, 
 253s, 358t. 
 
 Martin. V. 258m. M. 136. 
 
 Cologne. See Carstansen. 
 
 Elector of. M. 195, 196, 435a. 
 
 Colon y Colon. Pages 353, 358. 
 Colombini, engraving. V. 196. 
 Colonna, Carlos. V. 36a. 
 
INDEX. 
 
 395 
 
 Colonna, Maria. V. 274a. 
 
 Michele. V. 150b. 
 
 Colt Hoare. Page 364. 
 Coltier, engraving. V. 255. 
 Commonwealth sale of pictures. V. 
 
 113, 140. 
 Compeigne, D. V. 86a. 
 Conca, Descrizione. Page 358. 
 Coningham, W. M. 425W. 
 Conqui, engraving. V. 255. 
 Constable of Castile. V. 194 note. 
 Conti, Prince de. V. 35c. M. 168a, 
 
 179, 358k. Page 381. 
 Contreras, J. M. M. 264. 
 Cook, Clarence. Page 367. 
 
 Francis V. 20, 81, 84, 243. 
 
 M. 74, 201, 212, 218, 263, 296, 
 346, 377, 407, 467, 468. Pages 
 3I9» 3 20 - 
 
 S. S. Sketches in Spain. Page 
 
 359- 
 
 Cooke, G., engraving. M. 462. 
 Coolidge, Mrs. M. 140, 
 Coombs, engraving. M. 33. 
 Cooper, engravings. V. 160b. M. 
 
 167, 452. 
 Coote, Sir C. M. 456b. 
 
 Eyre. M. 54f. Page 384. 
 
 Copenhagen Museum. V. 245. M. 
 
 146c 
 
 Coquardon, engraving. M. ioi. 
 Cordova, St. Augustine Church. M. 
 
 II2g. 
 
 Franciscan Convent. Page 346. 
 
 Victoria Convent. M. 50. 
 
 Museum. M. 380 copy. 
 
 M. V. 234c, 243b. M. 107, 
 
 163. 
 
 Cornillet, engraving. M. 29. 
 Correggio. V. 14c, 149. 
 Corsini Palace. V. 190a. M. 90, 
 47611. 
 
 Corte, Juan de la. Life and Works. 
 
 Page 329. 
 Cortes, F. V. 72. 
 
 Joaquin. M. 380. Page 352. 
 
 Cos, E. C, engravings. V. 5, 9, 12, 
 
 13, 21, 23, 27, 30, 31, 32, 33, 35, 36, 
 
 72, 73> 96, 97, l 37, i45> l 5 2 > 
 
 166. Page 368. 
 Cosens, F. W. M. 457, copy. 
 Cotta, Munich Gallery. M. 436, 437, 
 
 443, 447, 453. 
 Cottier, Maurice. V. 75. 
 Cottin, engravings. M. 29, 112a, 344. 
 Cottrell, engraving. M. 78. 
 Couche, Gal. Pal. Royal. V. I, 2. 
 
 Page 359. 
 Courtney, Lord. M. U2aa. 
 Cousen, engravings. M. 426, 435. 
 Cousin, engravings. M. 29, 73, 271. 
 Couturier. V. 165. 
 Cowley, Lord. V. 21, 37, I04f, I58d, 
 
 229dd. M. 299, 425q. 
 Cowper, Countess. V. 39. 
 Cox. V. I43f. M. 238d, 253U, 289, 
 
 307I1, 476g. 
 Coxe, Edward. V. 35d. M. 82b, 
 
 II2XX. 
 
 Craene, F. De. V. 36. M. 4, 26, 56, 
 66, 274. 
 
 Craig. M. 299. 
 
 Cranstoun, Lady. M. 429. 
 
 Crawley. M. 48 m. 
 
 Cremer, copy. V. 26. 
 
 Croutelle, L., engraving. V. 66, 70. 
 
 Crosat, Notice of. M. 138. 
 
 Cruzado, J. M. F. Page 352. 
 
 Cuadros Seleclos de R. Acad, de S. 
 Fernando. M. 228, 229, 230, 270. 
 Page 359. 
 
 Cubells. M. 175, 239. 
 
 Cuevas, P. de las. Page 321. 
 
 Cuisinier, engraving. M. 73f. 
 
 Cullen, Senor. Page 384. 
 
 Culling— Hanbury, Mrs. M. 45, 127. 
 
 Cumberland. Anecdotes. Page 359. 
 picture. M. 336^ 
 
 Cunningham. Cabinet Gallery, engrav- 
 ings. M. 194a, 412. Page 359. 
 
 Cupid. V. 35a, 35b. M. 171. 
 
 Curtis, Charles E. M. 273. 
 
 Czernin, Count. M. 163c, 373a, 
 
 4 2 5 t. 
 
396 
 
 INDEX. 
 
 D * * * sale. M. 349. 
 
 Dalbou, A., engraving. M. 373. 
 
 Dalling and Bulwer, Lord. M. 263. 
 
 Daly, Lady H. M. 39, 458, 477. 
 
 Damman, etchings. M. 5cm, 55, 476q. 
 
 Danae. V. 35c. 
 
 Darby, Abraham. M. 2c. 
 
 Darmstadt Gallery. V. 22gy, 229Z. 
 
 M. 476s. 
 Daubeny. M. 370. 
 
 Dauzats, copy by. V. 8 note. M. 
 339- 
 
 Davenport. V. 190c. M. 328. 
 
 Bromley. V. 7, M. 406. 
 
 E. D. M. 4251. 
 
 Davidoff, O. M. 50 v. 
 
 Davies, E. M. 112, 224d, 236d, 264, 
 
 339> 3 8 5 c > 393 c > 442i, 468I1, 48 id. 
 
 Life of Murillo. Page 359. 
 
 Davilla, H. Guia. Page 363. 
 Davillier, Baron. Me'moire. V. 198. 
 
 Pages 329, 360. 
 Davis, F. Page 379. 
 Dawe, P., engravings. M. 425c, 425f. 
 Dawson-Damer, L. V. 8id. 
 Dean, J., engraving. M. 250. 
 Dean and Munday, engraving. M. 
 
 45°g- 
 
 Deblois, etching. M. 391. 
 
 De Craene, F., lithographs. V. 36. M. 
 
 4, 26, 56, 66, 274. 
 Defrondat, engraving. M. 274. 
 Delafield, W. M. 238b. 
 Delahante, A. V. 110a, 115, 130I1, 
 
 i3oi, 172, 234b. M. 8c, 402e, 470. 
 
 G. M. 321. 
 
 Quatre-Sols. M. 50Z, 142. 
 
 De Launay, engraving. V. 2. 
 Delboete, engraving. V. 195. 
 Delessert sale. M. 135a. 
 Delia Bella, engraving. M. 171. 
 Delia Bruna, engraving. V. 228. 
 Demidoff, Prince. V. 123. M. 253V. 
 
 Notice of sales. M. 244, note. See 
 
 also San Donato. 
 Denison, Evelyn. Page 323. 
 Denistoun, J. V. 158b. M. 259. 
 
 Denmark. See Copenhagen. 
 
 Denon, Baron. V. 9c. M. 6, 7, 26ie, 
 
 292, 309a. Page 360. 
 
 Monuments. V. 9c. M. 26 ie, 
 
 292, 309a. 
 Derbyshire. See England. 
 Deschamps. M. 227c. 
 Desclaux, engraving. Page 386. 
 Desenfans. V. 12b, 95c, 120. M. 78, 
 
 139, 212, 213b, 253m, 336g, 4o8g, 
 
 4 2 6, 435» 45 2 > 45 6d > 45 6e - 
 Desolle, General. V. 117. M. 34. 
 
 Page 380. 
 Devaux, T., engraving. M. 425bb. 
 Devonshire, Duke of Chatsworth. V. 
 266. M. 143, 402. 
 
 Chiswick. V. 185. 
 
 London. M. 13a, pictures by 
 
 Amoroso, 425c!, 434d. Page 361. 
 Diamantista, J. V. M. 50L 
 Dick, Herr. M. 40. 
 Dien, engraving. M. 104. 
 Didot, M. V. Page 386. 
 Digby, C. V. 85a. 
 Diogenes. M. 402c 
 Ditchley. Page 361. 
 Dixon, C. M. 300I1. 
 
 J. M. 45 of. 
 
 Dohme. Kunst und Kunstler. M. 4, 
 
 26, 174, 230, 240, 288, 413, 462. 
 
 Page 360. 
 Dollet, V., engraving. M. 413, 427. 
 Domenichino. V. 14c 
 Donjeux. M. 167. 
 Donovan sale. M . 425kk. 
 Dopter, engraving. M. 36. 
 Doria palace. V. 183. M. 434g. 
 Dornich, Von, sale. M. 425kk. 
 Dorsetshire. See England. 
 Dover, Lady. M. 456c. 
 Douglass, W. P. Page 383. 
 Dragendorf, engraving. M. 112a. 
 Drax. V. 20b. M. 9c, 54V, 68e, 
 I25i, 163^ 188a, 191b, 268b, 
 300t, 399b, 408k, 481a, 48 1 g. 
 
 J. S. W. S. Erie. V. 2of, 148c, 
 
 M. 166I, 308. Page 338. 
 
INDEX. 
 
 397 
 
 Dresden Gallery. V. 174, 225, 226. M. 
 
 84, 386, 443 copy. Page 360. 
 
 Galerie de. V. 225, 226. 
 
 by Clauss. M. 84. Page 
 
 361. 
 
 by Hanfstaengl. M. 84, 
 
 Page 360. 
 
 by Payne. M. 84. 
 
 Gemdlde Gallerie. M. 386. 
 
 Driendl, Th., engraving. M. 373. 
 Dubois sale. V. 104b, 146b, 150c M. 
 
 399i. 
 
 Dublin National Gallery. V. 14c!. M. 
 33 1 - 
 
 Duchatel. See Chatel. 
 
 Duclos, Mile., engraving. M. 167. 
 
 Ducollet, engraving. M. 36. 
 
 Dudley, Earl of. V. 16, 212, 262. M. 
 
 183, 185, 187, 189, 190, 192, 244, 
 
 268, 324, 361, 449. 
 Dulwich Gallery. V. 120, 131 copy, 
 
 22gx. M. 8a, 50I1, 5011, 78, 125a, 
 
 i63f, 168a, 236f, 379a, 426, 435, 
 
 452. Pages 327, 361, 364. 
 Dulwich Gallery Gems, engravings, M. 
 
 8a, 426. 
 Dumergue. V. 78. 
 Dundas, Sir L. M. 139, 154b, 161, 301, 
 
 435b, 462. 
 Dunmore, Earl of. V. 89. 
 Dupille sale. M. 124b. 
 Duplessis. Ventes de tableaux. Page 
 
 361. 
 
 Dupressoir, engraving. M. 174a. 
 Durand-Duclos. M. 154c. 
 Durham. See England. 
 Durlacher. M. 261b. 
 Dusseldorf Gallery. V. 203a, 229aa, 
 229bb. 
 
 Dustanville, Lady De. V. 39. 
 Dutartre sale. M. 3a, H2x. 
 Dyce Collection. V. 229ff. M. 157. 
 Dyck, Van. V. 104a, 150b, 166 note, 
 
 229p. M. 13a, 402. Page 306. 
 Dyer, W. Page 379. 
 
 Eardley, Sir C. M. 45, 127. 
 
 Earlom R., engraving. V. 131. 
 Eastlake, Sir C. L. M. 79. 
 E. B., Sir. V. 81m. M. 129c!, 385b. 
 Ecole des Beaux Arts, Paris, copies in. 
 
 V. 12, 23, 30, 32, 36, 69. 
 Eden, Sir W. M. 87, 97, 295. 
 Edinburgh National Gallery. M. 424. 
 Edwards, Francis. M. 4082. 
 E. G. sale. V. 243d. 
 Eichens, engravings. M. 29, 56, 112a, 
 
 136. 
 
 Eissenhart, etching. V. 153. 
 E.J. P., etchings. V. 10, 12. 
 Elcho, Lord. M. 278. See Wemyss, 
 Earl of. 
 
 Elector of Cologne. M. 195, 196, 435a. 
 Elgin, Earl of. V. 93, 168. M. 329, 
 420. 
 
 Ellesmere, Earl of. V. 118, 194, 200. 
 
 M. 193b. Pages 364, 365. 
 Ellice, E. sale. M. 88c. 
 Ellis, Wynn. V. 2oh, 65s, i3od, i5og, 
 158c, i58g, 258m. M. 41, 54y, 54Z, 
 68c, 74, 3581, 361c. 
 Elmira, New -York. See Arnot, M. H. 
 Elwick, J., sale. M. 481c 
 Ely, Bishop of. M. 58. 
 Eminente, J. F. M. 146a, 234, 301, 
 308, 318, 348. 
 
 Juan, portrait of. M. 479. 
 
 Emmerson, T. V. i3op, 234d. 
 Enfield. See Strafford, Earl of. 
 Engelmann, engravings. M. 112a, 411. 
 England, pictures in. See : 
 
 Bedfordshire. Bedford, Duke of; 
 
 Stuart, Col. W. 
 Berkshire. Overstone, Lord; Foster, 
 
 Edmund. 
 Bucks. Smith, W. H. 
 Cambridgeshire. Cambridge, Fitzwil- 
 
 liam Museum. 
 Derbyshire. Devonshire, Duke of, 
 
 Chatsworth. 
 Dorset. Bankes, W. R. 
 Durham. Cleveland, Duke of ; Eden, 
 Sir W. 
 
 Gloucestershire. Blathwayt; Holford, 
 
398 
 
 INDEX. 
 
 R. S.; Miles, P. W. S. ; Trimnell, 
 W. F. 
 
 Hampshire. Ashburton, Lord, The 
 Grange ; Normanton, Earl of. 
 
 Hertford. Blood, E. M. ; Cowper, 
 Countess ; Culling Hanbury ; Sea- 
 bright, Sir T. ; Stafford, Earl of. 
 
 Huntingdonshire. Wells, W. 
 
 Kent. Drax, J. S. W.; Lloyd, R. L.; 
 Perkins, G.; Sackville-West ; San- 
 dars, S.; Wood, W. 
 
 Lancashire. Birchall ; Feilden, Sir 
 W. L.; Fletcher, A.; Luce, Miss; 
 Leyland, F. 
 
 Leicestershire. Burnaby, E.; Rut- 
 land, Duke of. 
 
 Lincolnshire. Sutton, R. N. 
 
 London. See London. 
 
 Middlesex. Bohn, H. G. 
 
 Monmouthshire. Darby, A. 
 
 Norfolk. Bulwer, W. E. G.; Steph- 
 ens, Mrs. L. 
 
 Northampton. Booth, R. ; Cart- 
 wright, W. C; Exeter, Marquis of; 
 Spencer, Earl of. 
 
 Northumberland. Ogle, J. S. 
 
 Nottingham. Newcastle, Duke of. 
 
 Somerset. Gibbs, Mrs. W.; Miles, 
 Sir P.; Vivian, G. 
 
 Staffordshire. Hardy, Sir J. 
 
 Suffolk. Tomline, G. 
 
 Surrey. Cook, F.; Hampton Court ; 
 Huth, Mrs.; Lovelace, Earl of. 
 
 Sussex. Brabazon, H. B. ; Hankey,W. 
 A.; Leconfield, Lord; Smith, Mrs. 
 
 Warwickshire. Mills, J. T. ; War- 
 wick, Earl of. 
 
 Westmoreland. Lonsdale, Earl of; 
 Staniforth, T. 
 
 Wiltshire. Ailesbury, Marquis of; 
 Arundel of Wardour, Earl of; 
 Heytesbury, Lord ; Lansdowne, 
 Marquis of, Bowood; Methuen, 
 Lord; Neeld, Sir J.; Radnor, Earl 
 of; Seymour, A. 
 
 Worcester. Lechmere, Sir E.; North- 
 wick, Lord. 
 
 Yorkshire. Carlisle, Earl of; Morritt, 
 R.; Zetland, Earl of. 
 
 See also Ireland, London, Scotland. 
 English Connoisseur, The. Page 361. 
 Enguidanos, F. de la B. M. 135b, 465. 
 
 T. L., engraving. M. 402a. 
 
 Enriquez, engraving. V. 35. 
 Ensenada. V. S$g, 86a, 166. M. 314, 
 
 318. 
 
 Erard, Chevalier. V. 1 15, 193b, 229aaa. 
 
 M. 50Z, 125I1. Page 382. 
 Ereda, B., engraving. M. 462. 
 Erle-Drax. See Drax. 
 Errani, engraving. V. 101. 
 Escazena, J. M. M. 155, I56d, 227c, 
 
 239 note, 283, 320. 
 Escobar, Alonso de. Page 349. 
 Escorial. V. 3, 9c. 
 Escosura, P. M. 456L 
 Esop. V. 30. 
 
 Espagnac, Comtesse d'. V. 274I. M. 
 i66d. 
 
 Espanoles I lustres. V. 1 61, 174, 191, 
 
 195, 230 note. Page 361. 
 Espelosin. M. 245. 
 Espies, Marquis d'. M. 373^ 435d. 
 Espinar, A. M. V. 143c, 164. 
 Esquilache, Marques. M. 44. 
 Esquivel. V. 30, 32, 75b. 
 Este, Baron d\ V. 14c. 
 
 Ignacio d'. V. 202. 
 
 Esterhazy. See Pesth Gallery. 
 Esteve, R., engravings. V. 197. M. 
 
 14. 
 
 European Magazine. M. 442L 
 Eustace, Sir W. M. 153. 
 Everard. M. 124k. 
 Everwyn. M. 101. 
 Examples of Etching. V. 69. 
 Exeter, Marquis of. V. 229V, 229U. 
 M. 402e, 456a. Page 364. 
 
 Facho. See Fatcho. 
 
 Faccioli sale. V. 229WW. 
 
 Facius, engraving. M. 2. 
 
 Fajardo, J. A. Page 333. 
 
 Farfan. Fiestas. M. 283,410. Page 361. 
 
INDEX. 
 
 399 
 
 Farinelo. M. 88b. 
 Farquhar, George. Page 380. 
 Farrar, H. V. 114, 170, 200, 232. 
 Farthingales prohibited. V. 265. 
 Fatcho, engravings. V. 5, 96. See 
 
 Alabern. 
 Faulkner, George. M. 20. 
 Faviers. M. 3a, 54s, 106, H2dd, 154c, 
 
 I54d, 231, 268, 271, 309, 475a. Page 
 
 336. 
 
 Feart, A., engraving. M. 78. 
 Febvre, A., sale. Page 384. 
 Federiqui, Juan. M. 312, 476d. 
 Feilden, Sir W. H. M. H2uu, 434c 
 
 Sir W. L. M. 355. 
 
 Feillet, P. L. V. 5. M. 121. 
 
 Felices, Maria. M. 480. 
 
 Fer, P. de. Catalogue de Ventes. Page 
 
 362. 
 
 Fernan Nunez, Duque de. V. 132. 
 Fernandez, Jose. Page 352. 
 Fernando II. Page 42. 
 
 III. V. 244. 
 
 VII. V. 37, 86, 241, 373k. 
 
 ■ Thomas. V. 236. 
 
 Ferrant y Fischermans. M. 264. 
 Ferreri, C., engraving. V. 129. 
 Fesch, Cardinal. V. 158b. M. H2hh, 
 
 I46n. Notice of sales. M. H2hh. 
 Feztetits, Count. V. I30g. 
 Field, George. M. 320. 
 Fife, Earl of. V. 1 50c. 
 Fifeshire. See Scotland. 
 Filhol, Muse'e Napoleon. M. 30, 195, 
 
 411. Page 362. 
 Finocchi, L., engraving. M. 373. 
 Fiorillo, J. D. Geschichte. Page 362. 
 Fittler, J., engraving. V. 185. 
 Fitzgerald, E. M. 45og. 
 
 and Vesey. V. 130c. 
 
 Fitzgibbon, Colonel. M. 425P. 
 Fitzherbert, Alleyne. M. 78. 
 
 Sir W. M. I46d, 292. 
 
 Flack. V. 65p. 
 
 Flackenecker, W. M. 455. 
 
 Flameng, etchings. V. 26, 245. M. 
 
 244, 288. 
 
 Flamet, E., engraving. M. 108. 
 
 Fletcher, A. M. 52. 
 
 Fleury cabinet. M. 166b. 
 
 Florence, Pitti Palace. V. 26a, 101, 
 
 227, 228. M. 85, 8g. 
 
 Ufhzi. V. 97, 103, 195, 196. 
 
 Imp. e Real Galeria. V. 195. 
 
 Real Gal. di Firenze. V. 195, 
 
 196. 
 
 See Ceritari. 
 
 Flores, PI. Reynas. V. 238. Page 362. 
 Floridablanca, Conde de. M. 176. 
 Folger, engraving. M. 113. 
 Folo, J., engraving. M. 373. 
 Fo. Mo., engraving. V. 195. 
 Fonseca. V. 160a, 229jj. Page 109. 
 Fontanaels. M. 267f. 
 Fonthill. V. 274U. M. 73k, 154b, 
 
 210k, 332, 425pp. Pages 379, 380, 
 
 382. Account of sales. Page 380. 
 Foot's Cray Place. Page 361. 
 Forbes, Sir W. V. 204. 
 Forbin-Janson. V. 25, 130k. M. 
 
 ii2ee, 1 12mm, 135a, 247, 48 if. 
 Ford, Francis Clare. V. 177, 234, 
 241. M. no, 400. 
 
 Richard. V. 234c, 241. M. 
 
 204, 400. Writings by. Page 362. 
 Fordham. M. 213. 
 Foreign Quarterly. Page 364. 
 Forfarshire. See Scotland. 
 Formby, Mrs. M. 146k. 
 Forquemin, engraving. M. 83. 
 Forster, British Gallery. V. 185. M. 
 
 141, 167. 
 Fortuny. V. 32, 198. Page 360. 
 Foster. V. 65s. 
 
 Edmund. M. 54c, 153. 
 
 Fosseyeux, engraving. V. 72. 
 Fowler. M. i66g. 
 F. P., etching. M. 331. 
 Fraga. V. 69, 97. 
 
 France. See Aumale, Due d' ; Bor- 
 deaux ; Havre; Lille; Nantes; Paris; 
 Pau; Randan, Chateau de; Seine et 
 Oise; Toulouse; Versailles. 
 
 Franch. V. 30, 32. M. 228. 
 
400 
 
 INDEX. 
 
 Francillon. M. 251, 393d. 
 
 Francis I. of Moclena. V. 150b, 174. 
 
 Francisco de Asis. V. 8ir, 95. 
 
 Francolet. M. ii2t, 193a. 
 
 Frank, H., engraving. M. ill. 
 
 Frankfort, Stadel Inst. V. 153, 257. 
 
 Franquinet, W. M. 135. 
 
 French, W. M. 29, 2i9d. 
 
 Frenzel. M. 164. Page 360. 
 
 Frere, B. V. 4, 19, 65f. 
 
 Freyre, J. M. 361a. 
 
 Frias, Duque de. V. 194 note. 
 
 Frye, Miss. M. 323. 
 
 F. S., engraving. M. 386. 
 
 Fuensalida, Conde de. V. 21. 
 
 Fumaroli. M. 30oq. Page 342. 
 
 Gabriel, Don. V. 25. M. 20. 
 
 engraving. M. 146c. 
 
 Gagny, Blondel de. M. 332d, 426. 
 Gaignat sale. M. 130,411. 
 Gainsborough sale. V. 39. M. 336f. 
 Galitzin, Prince. M. 413. 
 Gallaeus, C, engraving. V. 174. 
 Gallart, engraving. M. 137. 
 Galle, C, engraving. V. 143c 
 Galeria Esp. de B. Arte. Page 368. 
 
 See Cos, E. C. 
 Galerie Espagnole. See Louis Philippe. 
 Hist, de Versailles. V. 207, 255. 
 
 M. 465. 
 
 Galliera, Due de. M. 112b, 126,300. 
 Gal van, etchings. V. 5, 23, 30, 33, 
 
 112. M. 229, 230. Pages 318, 320. 
 Gamborino, M. M. 349. 
 Gandia, Duchess of. V. 154. 
 Garcia, F., stolen picture. M. 239. 
 
 Madame. V. 65m. 
 
 Pedro. M. 261c, 268. Pages 
 
 333> 338, 340, 35 h 353> 366, 369- 
 Gamier, H., M. 47. 
 Garvah, Lady. M. 236g. 
 Garzoli, F. V. 128. 
 Garzon, Juan. Page 351. 
 Gato de Lema, N. V. 242. 
 Gaucher. M. 138. 
 Gaujean. V. 23. 
 
 Gault de St. Germain. Guide. Page 
 362. 
 
 Gazette des Beaux Arts, engravings in. 
 V. 23, 25, 26, 27, 32, 42, 43, 68, 71, 
 72, 76, 86, 109, 137, 166, 195, 244, 
 245, 255, 260, 268. M. 29, 55, 56, 
 171, 239, 268, 269, 288, 398, 413, 
 427, 464a. Pages 363, 366. 
 
 Gelves, Church of. M. 232. 
 
 Gems of Art. See Hall, S. C. 
 
 Genoa, Capuchin Convent. M. 13, 52, 
 123, 134, 368, 399. 
 
 See Balbi ; Cataneo Palace ; 
 
 Rosso Palace. 
 
 Geoffroy. M. 29, 73g, 82e, 101, 112a, 
 33 2a , 344, 35 8h > 3 62 > 468a. 
 
 Gerkens. V. 139. 
 
 German de Llorente, Life and Works. 
 Page 347. 
 
 Germany. See Bavaria; Carlsruhe; 
 Darmstadt ; Frankfort ; Prussia ; 
 Saxony. 
 
 Gessler, Comte de. V. 63d, 131. M. 
 
 124. Page 320. 
 Getatsch. V. I30g. 
 Ghigi. M. 131. 
 Gibbs, A. and Sons. M. 41. 
 
 H. H. M. 245, 297. 
 
 Mrs. W. M. 71, 352, 419. 
 
 Gibraltar. M. 18, 233. 
 Gideon, Sir S. M. 45, 127. 
 Gijon, Royal Inst. V. 31. 
 Gilbert. M. 29. 
 Giordano. V. 21. 
 Girard, F. M. 14. 
 Gladstone, W. E. M. 210s, 307. 
 Glairon. V. 35. 
 
 Glasgow Museum. M. 133. Page 335. 
 
 University. M. 173. 
 
 Gleditsch, engraving. M. 325. 
 Glorias de Sevilla. See Miranda. 
 Gloucestershire. See England. 
 Godefroy. M. 195, 425H. 
 Godolphin, Earl of. M. 402c, 454. 
 Godoy. See Prince of the Peace. 
 Gohier des Fontaines. See Hermitage. 
 
 Page 364. 
 
INDEX. 
 
 40I 
 
 Goitte, engraving. M. 12. 
 Goldsmid sale. V. 229ee. 
 Golilla. V. 121 note. 
 Gomez, S. M. 5411. Life and Works. 
 Page 340. 
 
 Gonzali de Sales. Petronii. V. 174. 
 Gonzalez, B. V. 96. 
 
 de Leon, portrait. M. 476L 
 
 Noticia Artistica. Page 363. 
 
 Mateo. Page 351. 
 
 Gonzenbach. M. 112a. 
 Gordon, Alexander. V. 190c. 
 
 J. D. M. 450I1. 
 
 Gounod. M. 261c 
 
 Goupil, photographs. M. 106, 231, 
 349- 
 
 Govantes, Juan. V. 91L M. I74d, 
 
 236b, 261a, 476k. 
 Gowen, Van der. Page 340. 
 Gower, Earl. Page 381. 
 
 Lord R. M. 222. Historic 
 
 Galleries. V. 181m. M. 193, 359, 
 392. Page 363. 
 Goya, copy of the Boar Hunt. V. 37. 
 Pictures owned by. V. 79, 153 
 note. Sale of his etchings. V. 
 230. Caprichos. V. 230 note. 
 Page 366. 
 
 etchings by. V. 21, 27, 30,32, 
 
 67, 68, 69, 70, 72, 75a, 96, 97, 
 131, 145, 166, 230, 231. 
 
 Grabador al Agua Fuerte, notice of. V. 
 230 note. Etchings in. V. 5, 12, 
 21, 23, 27, 30, 31, 32, 33, 67, 69, 72, 
 73, 112, 122, 128, 137, 143a, 144, 145, 
 166, 182, 229U, 244, 263. M. 86, 
 318. Pages 318, 320, 363. 
 
 Graham, W. M. 408. 
 
 Graille. M. 29. 
 
 Grammont, Duchesse de. M. 401c 
 
 Granada, Angel Convent. M. 173a. 
 Carthusian Convent. M. 50b. Bust 
 by Cano. V. 152. See Rosales. 
 Pictures in. Page 366. 
 
 Grand, engraving. M. 112a. 
 
 Grandjean, Mile. M. 173d. 
 
 Grant, Mrs. M. 308. 
 
 5 1 
 
 Grant, Sir Francis. M. 476W. 
 Grantham, Lord. V. 39. 
 Graphic, The, engraving in. M. 239. 
 Graves, H., and Co. V. 229qq. M. 
 
 41, 361c, 457. 
 R., engravings. M. 32, 78, 78, 
 
 167, 426. 
 
 Gray, E. V. 211. M. 49, 79, 80, 
 481. 
 
 Graystone. V. i5og. 
 
 Green, Valentine. V. 186, 229CC. M. 
 
 54, 122, 323. 
 Greffuhle, Comte de. M. 169. 
 Gregorio, Cardinal. M. 44, 214a. 
 Gregory, Sir W. V. 57. 
 Gremios, Cinco. M. 15b. 
 Grey, Earl De. V. 39. 
 Griffiths sale. M. 425kk. 
 Grimani. V. 229WW. 
 Grimoux. M. 167. 
 Grindley. M. 238b. 
 Gripsholm Palace. V. 104. 
 Gros CEuvre Villa. V. 14c 
 Grosvenor House. V. 134, 208. M. 
 
 10, 161, 328. Pages 363, 364, 365. 
 Grote, G. M. 238d, 345. 
 Gruner, L. V. 81a. M. 13a. 
 Gsell sale. V. I30g. 
 Guadignini. V. 227. 
 Guardia, Real, Marques de. V. 165. 
 Guell y Rente. M. 50m 
 GueVard, H., etching. V. 68, 69, 71, 
 
 119, 144, 145, 250. 
 Guercino. M. 14, 260. 
 Guerrero, J. A. Page 314. 
 Guglielmi, A. M. 65. 
 Guia de Sevilla. Page 363. 
 Guiche, Comte. M. 167, 322, 426. 
 Guido. V. 183. 
 Guignat, copy by. V. 69. 
 Guilain. M. 273 note. 
 Guillaume sale. M. 179. 
 Guise, Oxford. M. 450c 
 Guitaut. M. 383. 
 Guizot. M. 169. 
 Gurney, J. II. V. 160b. 
 Gurwood, Colonel. M. 55. 
 
402 
 
 INDEX. 
 
 Gutierrez, Francisco. Page 352. 
 
 M., engraving. M. 288. 
 
 J. S. M. 54n, 224, 457. Ac- 
 count of. Page 349. 
 Gwydir, Lord. V. 93d. M. H2cc, 
 
 33 6k - 
 
 Haas. Gal. de Vienne. V. 24. M. 325. 
 
 Page 377. 
 Hagley Park. Page 361. 
 Hague Museum. V. 65, 139, 143c 
 
 M. 82, 415. Pages 356, 363, 364. 
 
 Musee Royal. M. 82. 
 
 Principaux Tableaux. V. 139. 
 
 Hagwill, Andrew. V. 190c 
 Halbou. M. 454b. 
 
 Hall. Gems of Art, engravings in. M. 
 
 5oh, 322, 426, 435, 443. 
 
 James sale. V. 193. 
 
 H. B., engraving. M. 78. 
 
 Hamilton, Duke of. V. 117, 174. M. 
 
 332. Account of sale. Page 379. 
 
 Governor. M. 310b. 
 
 Sir W. V. 180. M. i66g. 
 
 Hamlet, T. V. 104a. M. 54g. 
 
 Hampshire. See England. 
 
 Hampton Court. V. 113, 233. M. 425W, 
 
 425X, 476b. Pages 323, 361, 364. 
 Hanbury. See Culling-Hanbury. 
 Hancock, R. V. 229bbb. 
 Hankey, W. A. M. 2gg. 
 Hanfstaengl. Dresden Gallery, engrav- 
 ings in. M. 443. Engravings by. M. 
 
 84,112a. Photographs by. V. 193a. 
 
 M. 294. Page 360. 
 Hardinge, Viscount. 40id. 
 Hardwicke sale. M. I46q, 174c 
 Hardy, Sir J. M. 9. 
 Harmann sale. M. 173. Page 385. 
 Haro, Antonia de. V. 260. M. 460, 
 460a. 
 
 Luis de. V. 163, 166 note, 260 
 
 note. 
 
 Harpers' 1 Weekly, engravings. M. 34, 
 239- 
 
 Harrach, Count. V. 150, 243a. M. 
 442. Page 323. 
 
 Harrington, Lord. M. 114, 150, 253b. 
 Harris. M. 32, 88b, 96, 146a. 
 Harvey, Eliab. M. 153. 
 Haseltine. M. 300U. 
 Hassel. M. 88a. 
 Hauber. M. 443, 447. 
 Hausouillier. V. 109. 
 Hautepool, Comte. M. 166c. 
 Hauteville, Caulet d\ M. 425bb. 
 Havre. See Baudet. 
 Hazlitt, W. Criticisms on Art. Page 
 364. 
 
 Head, Sir E. Page 364. 
 
 Heath, J. M. 141, 167. 
 
 Heathcote, W. V. 65m. 
 
 Hebert. M. 177, 336a. 
 
 Heliche, Marques de. V. 134, 163, 
 166 note. 
 
 Helsleuter, Van. M. 358I. 
 
 Henriquez. M. 83. 
 
 Henry IV. of France. Page 42. 
 
 Hermitage, St. Petersburg. V. 19a, 
 80, 115, 125, 131 copy, 172, 175, 
 186. M. 6, 7, 44, 54, 67, 122, 124, 
 129, 130, 138, 161 copy, 174a, 214, 
 247, 268 copy, 322 copy, 356, 357, 
 378, 380, 384a, 413, 414, 427, 441 
 copy, 446. Pages 318, 319, 324, 328, 
 330> 335> 338, 34i, 345> 3°4- 
 
 Gal. de V Hermitage. V. 19a. 
 
 Description de V Hermitage. M. 
 
 130. Page 364. 
 
 Galerie Imp. de P Ermitage. V. 
 
 19a. M. 54, 67, 174a, 322, 380, 
 4i3> 427- 
 
 Houghton Gallery. V. 19a, 186. 
 
 M. 54, 122, 129, 214. Pages 
 361, 364, 381. 
 Hermon, sale by. M. 52, I25f, 129b. 
 Herrera, Alonso de. M. 312. 
 
 F. the elder. M. 55, 11 2d, 254. 
 
 Pages 109, 344. 
 
 F. the younger. M. 14, 180. 
 
 Sebastian de. Page 325. 
 
 Hertford, Marquis of. V. 38. M. 29, 
 5°P> 53> 399- Page 357. See also 
 Wallace, Sir R. 
 
INDEX. 
 
 403 
 
 Hertfordshire. See England. 
 Hervey, Sir L. V. 38, 130b. M. 1461, 
 174I. 
 
 Heugh, J., sale. M. H2\vw. 
 Heytesbury, Lord. V. 28. M. 146, 
 
 148, 319, 444. 
 Hibbert, G. M. 179, 425m 
 Hick, B., sale. M. ii2ff. 
 Hickman. V. 18a. M. 184a, 191a, 
 
 212b. 
 
 Hicks, Mrs. M. 47611. 
 
 Higginson, E. V. 65c, 81k, 267. M. 
 
 123, 163k, 370, 442c. Page 382. 
 Hijar, Duque de. V. 12. M. 267a. 
 Hinds, P. V. 95b. M. 191c. 
 Hinestrosa, Conde de. M. 476c 
 Hinojosa, Marques de. M. 282. 
 Hirsch. M. 2531. 
 
 His de la Salle. V. 30. 69, 131. 
 Historical Gallery. M. 196, 462. 
 Holford, R. S., London. V. 29, 107, 
 
 124, 171, 22gp. M. 3321, 430, 460, 
 47i, 473. 
 
 Gloucestershire. M. 76, 77. 
 
 Holl, W. V. 150a. M. 2. 
 Holland. See Amsterdam ; Hague. 
 
 King of, sale. V. 115, 172, 273, 
 
 274r. M. 34, 146P, 338c Page 
 382. 
 
 House, London. M. 250. 
 
 Lord. V. 8 9 f. M. 154. 
 
 Honthorst, G. V. 2. 
 Hope, A. J. B. M. 205. 
 
 H. V. 1. M. 105, ii2bb, 141, 
 
 166, 310b, 330, 336h, 340, 351. 
 
 W. M. 88, 152. 
 
 Hornby, W. sale. M. 368. 
 
 Hoskins, G. A. V. 60, 193. M. 290, 
 
 353- Page 345. Spain as it is. 
 
 Page 364. 
 Hotellier, L\ M. 411. 
 Houghton. M. 112s. Page 381. See 
 
 Hermitage. 
 Houston, R. M. ii2cc. 
 Howe, Earl. M. 157. 
 Huard. Vies. M. 228. 
 Hudson, New-York. See Church, F. E. 
 
 Huerta, Serafin de la. V. 114a, 153 
 note. 
 
 Hulland, W. M. 68. 
 Hulse. V. 8iy. 
 Hume, Sir A. M. 475b. 
 Humphreys, W. M. 412. 
 Hungary. See Pesth. 
 Huntingdonshire. See England. 
 Huot. M. 54, 67. 
 Hunter, Dr. M. 173. 
 Hurter. M. 112a. 
 
 Huth, Mrs. V. 114, 170, 232. Page 
 328. 
 
 Huvert. M. 121. 
 
 Iconographic Encyclopedia. M. 84. 
 Illustrated London News. V. 8, 170. 
 M. 324. 
 
 Ilustracion Esp. y Amer. V. 21, 30, 
 
 34, 69, 131, 198. M. 464a. 
 Illustration, L\ M. 244, 268, 269, 
 
 378, 434d. 
 Inquisition. V. 34. See Seville, 
 lode, P. de. V. 141, 174. 
 Ireland. See Dublin ; Marlay, C. B. 
 Iriarte B. V. 41a, 153 note, I77d note, 
 229bbb, 245a. M. 465, 471. 
 
 Ignacio. M. 10. Life and 
 
 Works. Page 344. 
 Irvine. V. 190c, 204. M. 13, 123, 
 
 3 68 > 399- 
 
 Isabella II. V. 100. M. 169, 192. 
 
 Isidoro, Frey. Page 347. 
 
 Isturiez. M. 300m, 316c. 
 
 Italy. See Florence; Genoa; Milan; 
 Modena; Parma; Perugia; Prince 
 Pio ; Rome ; Turin ; Venice. 
 
 Jackson. V. 113. 
 
 J. R. M. 167. 
 
 Jacob, W. M. 399c. 
 Jacott. M. 29, 56, 288, 30on, 3581. 
 Jacquemart. V. 91. 
 Jaegermeyer. V. 243a. 
 James II. M. 476b. 
 Jameson, A. Madonna. V. 5. M. 21, 
 36, 73e, u 2a. Page 347. 
 
404 
 
 INDEX. 
 
 Jameson, A. Monastic Orders. M. 
 262, 263, 278, 282, 307a, 379I1, 
 395- 
 
 Our Lord. V. 10, 12. 
 
 Sacred and L. Art. M. 1 16, 
 
 260, 362, 372, 385. Page 325. 
 Jannin. M. 274, 344. 
 Jarves collection, New Haven. V. 221. 
 Jazet. M. 411. 
 J. C. M. 124I1. 
 Jeanrot. V. 203d. 
 Jendelle. M. 56. 
 Jennens. M. 157. Page 361. 
 Jennings. V. 17c 
 Jerez. See Gordon, J. D. 
 Jimenes de Haro. V. 77. Page 386. 
 Joannes. M. 156. 
 Johnson, C. M. 134. 
 Jollivet, J. V. 35, 96, 97, 131, 166. 
 Jones, John. M. 42. 
 
 National Gallery. V. 150a. 
 
 M. 412. 
 Josephine, Empress. M. 379I1. 
 Joubert. M. 37, 258. 
 Journal V Alburn. V. 207. 
 
 des Artistes. V. 19a. 
 
 Joussoupoff, Prince. M. 336c. 
 Jovellanos. V. 22, 31. M. 154. Page 
 
 325> 357, 359- 
 yoyas de la Pintura. V. 21, 27, 30, 
 
 31, 32, 66, 67, 69. M. 26, 137, 171, 
 
 303, 318, 428, 464a. Page 365. 
 Juan de Austria. Page 43. 
 
 The Artillerist. V. 72. 
 
 Juan de la Corte. V. 36a. Life and 
 
 works. Page 329. 
 Juez. M. 107a. 
 
 Julian Valcarcel. V. 166 note, 194. 
 Julienne sale. M. 179. Page 381. 
 Jullien. V. 207. M. 29, 386. 
 Justin of Nassau. V. 36. 
 
 Kaanitz, Prince. M. 77a. 
 Keene, B. M. 112s. 
 Kent. See England. 
 
 Mr. V. 150c. 
 
 Kensington Palace. Page 361. 
 
 Kernot. M. 8, 11. 
 Kerr, J. A. sale. M. 425ml. 
 Key worn by Velasquez. V. 195 note. 
 Kibble, Thomas. V. 14c. 60. M. 112m, 
 373*. 
 
 King, Lord. M. 323. 
 
 Kinnaird Castle. See Southesk, Earl of. 
 
 Lord. V. 206. M. 304. 
 
 sale. V. 206. M. 96, i66h, 304. 
 
 Kith, R. M. 268, 278, 347. 
 
 Kitto, Family Bible. M. 13a. Gallery 
 
 of Engravings. M. 2. 
 Klassiker der Malerei. V. 27, 86. 
 Klaus, J. V. 269. M. 441. 
 Knight, C, Gallery of Portraits. M. 
 
 139, 468a. 
 
 H. G. M. 205, 292. 
 
 John, sale. M. 227g. 
 
 Knolle. V. 81a. M. 45. 
 
 Konigl. Lith. Inst. M. 476a. 
 
 Koucheleff-Besborodko. M. 331. 
 
 Kovatsch, J. V. 24. 
 
 Kramp. M. 156. 
 
 Kugler, Handbook. Page 365. 
 
 Kunstkronijk. V. 139. M. 82. 
 
 La Fontaine. M. 261c 
 
 Lafosse. M. 33, 50I1, 68, 73f, 83, 101, 
 
 156, 171, 174, 2531, 274, 300Z, 318, 
 
 344- 
 
 Lagares, J. A. M. 476aa. Pages 305, 
 308. 
 
 La Guillermie. V. 30, 32, 36, 66, 67, 
 
 68, 69, 73. 
 Lake, E. W., sale. M. 163m, 425U. 
 Lalauze, A. V. 183, 254, 260. M. 
 
 273, 469. 
 Lamberg. V. 97. M. 441. 
 Lanark. See Scotland. 
 Lancashire. See England. 
 Lance, G., testimony. V. 37. 
 Lancedelli. M. 112a. 
 Landon. Annates du Musee. M. 83, 
 88e, 195, 196, 411, 434c. Page 
 365. 
 
 Biog. Universelle. M. 462. 
 
 J. M. 434. 
 
INDEX. 
 
 405 
 
 Landon, Pauline. M. 196. 
 Landscapes. V. 42, etc. M. 404, etc. 
 Landseer, Sir E. M. 48m. 
 Lane-Fox. M. 379X 
 Laneuville. V. 25. M. 247, 408a, 
 408b. 
 
 Langer, Th. M. 386. 
 Langlois, C. M. 437, 453. 
 
 Sieur. M. 83. 
 
 Langlumee. V. 72. M. 411. 
 Lansdovvne, Marquis of, Bowood. V. 
 53, 54. M. 470. Page 364. 
 
 London. V. 148, 176, 
 
 188, 201. M. 38, 75, 154, 165. 
 Pages 364, 365. 
 
 sale. V. 148, 176, 229yy. M. 
 
 I, 182, 193, 229, 230, 412, 481k. 
 Page 379. 
 Lanosa, Bishop of. V. 193. 
 Lapey. M. 26id. 
 
 Lapeyriere sale. V. 110a, 115, 130I1, 
 143b, I58f, 172, 252b. M. 142, 
 408I1, 408L 
 
 Lapilla, Marques de. V. 2293. 
 
 Larrazabal. M. 50c, 172, 210c, 391b, 
 476c Pages 333, 336, 338, 353. 
 
 Lasalle, E. M. 26, 146c, 206, 344. 
 J. J. sale. M. 425mm, 48 ih. 
 
 Lascano. M. 253k, 390. 
 
 Lasinio. V. 195, 196. 
 
 Lassay, Comte de. M. 167, 426. 
 
 Latour, A. Comment un tableau fut 
 vole. M. 239. 
 
 Laujol. M. 73I1, 101, 156, 344. 
 
 Laurent, J., photos. V. 3, 13, 82, 100, 
 105, in, 112, 114, 122, 128, 152, 
 161, 167, 182, 222, 230, 231, 235, 
 
 236, 237, 242, 246, 263, 264. M. 
 18, 19, 21, 22., 25, 26, 27, 61, 65,69, 
 86, 93, 98, 99, 118, 121, 159, 166a, 
 175, 180, 202, 215, 225, 228, 233, 
 
 237, 240, 241, 2531, 254, 255, 257, 
 270, 276, 277, 281, 286, 287, 291, 
 303, 311, 312, 316% 333, 339, 341, 
 342, 362, 364, 366, 373b, 374, 382, 
 395, 428, 459, 478. Pages 337, 340, 
 341- 
 
 Lavice, A., Muse'es. Page 365. 
 Lavigne. M. 29, 50I1, 66, 73f, 78, 83, 
 
 101, 135, 274, 344. 
 Lavos, C. M. 425g. 
 Lawrence, Sir T. M. 393d. 
 Laynes. V. 17. 
 
 Leatham, E. A. V. 78, 157, 211. M. 58. 
 Leathes, H. M. M. 454. 
 Lebrun, C. V. 203d. 
 
 J. B. P. M. 379h, 411, 421. 
 
 sales. V. 1, 14b, I30r, 143b, 
 
 i5od, I58f, 187, 229P, 229H, 
 229kk. M. 3a, 32, 49, 187, 408a, 
 408b, 408c, 4o8d, 468a. List of 
 sales. V. 1 58f, note. 
 
 Recueil. V. 14b, 143b, I58f, 
 
 187, 229P. M. 32, 88b, 332a, 
 379h, 408a, 408b, 408c, 4o8d. 
 Page 366. 
 Lecchi, Count. V. 204. 
 Leche y Sangre. M. 276. 
 Lechmere, Sir E. M. 25g. 
 Leconfield, Lord. V. 213. M. 401c, 
 463- 
 
 Lecouturier. M. 78. 
 
 Lecurieux sale. V. 243c. 
 
 Ledesma, Marques de. M. 390. 
 
 Ledieu. V. 249. 
 
 Ledoux. M. 173, 174. 
 
 Lee Priory. See Barrett. 
 
 Lefebvre sale. V. 252c 
 
 Lefebvre, engravings. M. 29, 68, 103. 
 
 Lefort, H., etching. V. 243d. 
 
 Paul. V. 32, 68, 69, 77. M. 
 
 14, 264. 
 
 writings of. Pages 355, 366. 
 
 Legancs, Marques de. V. 36a, 70, 71, 
 75d, 116, 153 note, 166 note, 194 
 note, 212, 229I, 270. M. 84. Page 
 325- 
 
 Leicester, Earl of. M. 47^f. 
 
 Rev. F. M. H2rr. 
 
 Leicestershire. See England. 
 Leigh Court. See Miles, Sir P. 
 Leipsic Museum. M. 88a. 
 
 See Prockhaus, Dr. ; Speck, 
 
 Baron. 
 
406 
 
 INDEX. 
 
 Leisnier. V. 158I. 
 
 Leiter, engraving. M. 170. 
 
 Lejeune. M. 79. Guide. Page 366. 
 
 Lemercier. M. 156. 
 
 Lemoine, A. V. 67, 69. M. 26, 137, 
 
 156, 171, 239, 303, 318, 344. 
 Lempereur sale. M. 168a. 
 Lemus, E., etching. V. 137. 
 Leonardo da Vinci. V. I4e, 16. 
 Leopol, P. de. V. 48, 49. M. 404. 
 Leopold I. Page 42. 
 Lepine sale. M. I46d. 
 Lerdo de Tejada. M. i66e. Pages 333, 
 
 343, 35i, 353, 369- 
 Lerida. V. 69. 
 
 Leroux. V. 265. M. 79, 104. 
 Lery, Gen. M. 300. 
 Leslie. M. 238c. 
 
 Sir John. M. 345. 
 
 Lethieres. V. 274L M. 468L 
 Leuchtenberg Gallery. V. 219. M. 
 
 112a, 170, 371, 385. Page 366. 
 Levasseur, E. M. 343. 
 
 J. G. M. 180. 
 
 Levy, Albert. M. 229. 
 
 Lewis, J. F. V. 207. 
 
 Leyland, F. Page 383. 
 
 Leyra, Manuel de. V. 16 note. M. 
 
 112, 224d, 253f, 264, 339, 385c, 393c, 
 
 448. 
 
 L'Hotellier. M. 411. 
 Lhuillier. V. 32. M. 167. 
 Liechtenstein, Prince. M. 373I, 42511. 
 
 Princess. M. 250. 
 
 Lightfoot, P. M. 426. 
 
 Lille Museum, copies. M. 229, 230, 
 
 396, 476q. 
 Lima, Archbishop of. M. 41. 
 
 Barefooted Friars. V. 9d. 
 
 Hosp. Desemparados. V. 9f. 
 
 See Santa Maria, Marques de. 
 
 Linage, J. V. M. 50a. Page 307. 
 Lincolnshire. See England. 
 Lindsay, Lord. V. I7g. 
 Lindsley. V. 8ix. 
 Lingee, E. V. 8, 72, 86. M. 50k. 
 Liria Palace. See Alba, Duque de. 
 
 Lirios, Duque de. Page 385. 
 Listowell, Earl of. V. 88. M. 60, 
 112k. 
 
 Liverpool Royal Institution. Page 349. 
 See Fletcher, A.; Luce, Miss. 
 
 Llanos, Marques de los. M. 257. 
 
 Llanta. V. 5. M. 29, 31, 36, 50I1, 
 83, 104, 112a, 156, I74n, 177, 273d, 
 30OZ, 336a, 336b, 344, 358g. 
 
 Lloyd, R. L. M. 40. 
 
 Loaisa, Canon. M. 478. 
 
 Loedel, J. C. V. 229aa. 
 
 Loeillet de Mars. M. 243. 
 
 Logrono. V. 17. 
 
 Lorn. M. 30. 
 
 London. National Gallery ; V. 8, 26, 
 37, 117, 123. M. 135, 322, 412. 
 
 Pages 364, 366, 380. V. 150a. 
 
 See Jones, National Gallery ; 
 
 Virtue, National Gallery; Wor- 
 num. 
 
 Buckingham Palace. V. 140, 
 
 143a. Page 365. 
 
 Kensington Palace. Page 361. 
 
 South Kensington Museum. V. 
 
 22gff, 251. M. 42, 157. 
 See Abercorn, Duke of. 
 
 Ashburton, Lord. 
 
 Bedford, Duke of. 
 
 Beresford-Hope, A. J. 
 
 British Museum. 
 
 Buckingham Palace. 
 
 Burdett-Coutts, Baroness. 
 
 Bute, Marquis of. 
 
 Caledon, Earl of. 
 
 Cavendish-Bentinck. 
 
 Clarendon, Earl of. 
 
 Colnaghi, M. 
 
 Cranstoun, Lady. 
 
 Davenport-Bromley. 
 
 Devonshire, Duke of. 
 
 Dudley, Earl of. 
 
 Dulwich College. 
 
 Elcho, Lord. 
 
 Ellesmere, Earl of. 
 
 Fitzherbert, Sir W. 
 
 Ford, F. C. 
 
INDEX. 
 
 407 
 
 London, See Frere, B. 
 
 Gibbs, H. H. 
 
 Graham, W. 
 
 Graves, H., & Co. 
 
 Gregory, Sir W. 
 
 Grosvenor House. 
 
 Holford, R. S. 
 
 Holland House. 
 
 Howe, Earl. 
 
 Lansdowne, Marquis of. 
 
 Leatham, E. A. 
 
 Leslie, Sir J. 
 
 Listowell, Earl of. 
 
 Massey-Mainwaring. 
 
 National Gallery. 
 
 Norfolk, Duke of. 
 
 Northbrook, Earl of. 
 
 Overstone, Lord. 
 
 Perkins, Mrs. G. 
 
 Robinson, J. C. 
 
 Rothschild, Baron. 
 
 Salting, G. 
 
 Somers, Earl. 
 
 South Kensington Museum. 
 
 Stafford House. 
 
 Stanhope, Earl of. 
 
 Wallace, Sir R. 
 
 Wellington, Duke of. 
 
 See also Middlesex. 
 Lonsdale, Earl of. M. 416, 442c 
 Lope de Vega. M. 476f. 
 Lopez, Cristobal. Page 347. 
 
 Josef. Page 351. 
 
 J. A. V. 108, 143a, 145. 
 
 Vicente. V. 256. M. 194a, 
 
 214a. 
 
 Lopez Cepero. V. 4 note, 89a, 
 
 95e, 241. M. 15a, 46, 5oee, 
 73b, 108 copy, 113, 172, 178c, 
 181a, 2iof, 2iog, 220, 233, 253g, 
 253n, 307d, 381, 39ie, 410c. 
 Pages 321, 325, 333, 338, 343, 
 
 345> 353» 356, 366, 369. 
 Lorenzotti, Count. V. 150b. 
 Loreto, Marques de. M. 476g. 
 Louis Philippe, notice of. V. 8 note. 
 sales. V. 8, 11, 14, 17c, 18a, 
 
 20a, 20b, 41, 60, 75b, 95b, 114, 
 130I, 152, 170, 207, 229U, 232, 
 234c, 243b. M. 9c, 36, 50, 54V, 
 68e, 101, U2ii, 1251, i63n, 174s, 
 177, 191b, 199, 206, 2ioq, 213c, 
 253s, 260, 263, 267a, 268b, 273b, 
 278, 290, 299, 300s, 30ot 300U, 
 3361, 339, 342, 343, 344, 345, 
 372, 377, 379f> 3 g 6, 398, 408k, 
 425XX, 457, 465, 479, 481 g. 
 Pages 319, 323, 325, 328, 329, 
 
 33 6 , 343, 345, 3 82 - 
 
 Standish sale. V. 7, 8 note, 
 
 18, 81c, 85d, 135. M. no, 
 H2kk, 136, 184a, 1 86a, 188a, 
 191a, 198, 212b, 228, 238c, 259, 
 26 if, 307, 340b, 353, 391, 399b, 
 466, 476g, 481a. Pages 343, 345, 
 382. 
 
 Louisa, wife of Carlos II. M. 481I1. 
 
 Pages 323, 325. 
 Loutrel. V. 31, 66. M. 464a. 
 Louvre. V. 25, iog, 165, 255. M. 
 29, 30, 31, 5° h , 55, 83, 156, 
 179, 182, 195, 196, 229, 230, 
 26id, 269, 274, 378, 411. 
 
 Pictures formerly in. See Louis 
 
 Philippe sale. 
 
 La Caze collection. V. 127, 250, 
 
 272. M. 472, 474. Page 324. 
 
 Drawings. V. 19a, 36. 
 
 Lovelace, Earl of. M. 323. 
 Lozano, Gio. V. 9b. 
 Lubke. Doikmaler der Kunst. V. 
 97, 137, 261. M. 36, 103, 243, 318, 
 429, 462. Pages 365, 367. 
 Lucas, E. V. 23a. 
 Luce, Miss. M. 219b. 
 Lucena, Diego de. Page 331. 
 Lucke, II . Murillo. Page 367. 
 Lucy, John. M. 425/z. 
 Luderitz. V. 255. 
 Luigi of Spain. M. I 74L 
 Luis de Borbon, notice of. V. 12 note. 
 See also Chinchon. 
 
 V. 12, 65g, 68a, 95g, 132, 153, 
 
 1 74f. M. 163b. 
 
INDEX. 
 
 Lurat, A. M. 341, 373c 
 Lumley, Sir J. S. V. 10. 
 Lusigniano. V. 229b. 
 Luynes, Duchesse de. M. 222. 
 
 M * * * sale, 1784. M. 300. Page 
 425dd. 
 
 M [uxel], engravings. M. 170, 371. 
 McArdell. M. 13a, 33, 301. 
 McClellan, A. M. 133. Page 335. 
 McClure and Macdonald. M. 454a. 
 McRae, J. C, engraving. M. 135. 
 Madoz, P. Diccionario. Page 366. 
 Madrazo, F. V. 195. Page 354. 
 
 Jose. V. 16 note, 41a, 133, 153 
 
 note, 166 note, 177c, 1 77<J, 193, 
 195, 229bbb, 245a, 274b, 274p. 
 M. 15b, 15c, 15c i5f, i5g, 50s, 
 88g, 183, 2i4d, 238c, 285, 35811, 
 375d, 401b, 402a. Pages 321, 
 345 , 3 66 > 3 6 7, 3 8 5- Notice of. 
 V. I77d note. See Lavice. 
 
 Luis de. M. 26. 
 
 Madrid. Academy of San Fernando. 
 V. 70, 121a, 123, 142, 186 copy, 
 241, 242 copy. M. 65, 99, 121, 
 228, 229, 230, 270, 274, 287, 
 369, 457 copy. Pages 324, 325, 
 334, 385. See Cuadros Selectos; 
 O'Neil, Dictionary. 
 
 Armory. V. no, 146. M. 284. 
 
 Ayuntamiento. Page 322. 
 
 Biblioteca Nacional. V. 21, 30, 
 
 72, 75a, 198, 231. M. 162I, 
 175, 380, 468b. 
 
 Capuchin Church. V. 12. 
 
 Convent in. M. 68e. 
 
 Carmelitas Calzados. M. 
 
 210b, 224b, 358b, 410a. 
 
 Carmelitas Descalzos. V. 
 
 17a. M. 32, 73a, 134a, 451. 
 
 Constantinople. M. H2ii. 
 
 Gongora. V. 130m 
 
 San Placido. V. 12. 
 
 Visitation. M. 275a, 379h. 
 
 Museo Nacional del Fomento. 
 
 Pages 322, 324, 327, 329, 330, 343. 
 
 Madrid. Museo del Prado. V. 5, 9, 12, 
 13, 2 *> 23, 27, 30, 31, 32, 33, 
 35, 36, 42, 43, 44, 45, 46, 47, 
 48, 49, 50, 51, 66, 67, 68, 69, 
 70, 71, 72, 73, 75a, g6, 97, 105, 
 108, in, 112, 122, 128, 131, 137, 
 142, 143a, 144, 145, 152, 161, 
 164, 166, 182, 222, 223, 22911, 
 230, 231, 235, 236, 237, 244, 
 246, 261, 263, 264, 271. M. 
 4, 26, 27, 28, 47, 56, 57, 65, 
 66, 69, 86, 91, 121, 137, 159, 
 171, 174, 184, 186, 188, 190, 202, 
 215, 216, 237, 257, 262, 282, 
 286, 303, 305, 306, 311, 314, 
 315, 316, 318, 337, 367, 373b, 
 374, 375, 404, 405, 4" copy, 
 428, 433, 459, 464a copy. Pages 
 318, 320, 322, 323, 327, 328, 334, 
 
 335, 337, 347, 3 6 7- 
 
 Recoletos Church. Page 327. 
 
 Royal Palace. V. 65b, 65i, 85g, 
 
 89d, 89c, 95h, 190k. M. 59, 77b, 
 147, 174b, I74e, 318 note, 423, 
 434.* Page 379. 
 
 San Lorenzo Church. M. 20. 
 
 Santa Cruz Church. M. 3581. 
 
 See Alba ; Fernan Nunez ; Gato 
 
 de Lema; Medina Celi; Uceda; 
 Villahermosa. 
 Maestre, Canon. M. 267c. 
 
 Diego. M. 461. 
 
 Nicolas. M. 293, 461, 480. 
 
 Magazin Pittoresque. M. 425a. 
 Maggi, lithographs. M. 50I1, 78, 79, 
 
 146c, 156, 300Z, 344. 
 Maggiolo. M. 300Z. 
 Mahon, Lord. V. 204. 
 Mailand sale. V. 25811. 
 Maison, Comte. V. 35b, 9id, 9ie, 95f. 
 
 Marshal. V. i5of. 
 
 Major, engraving. M. 167. 
 Malaga, pictures in. See Lavice. Page 
 366. 
 
 Malcampo, Isabel. M. 462. 
 
 Malesieux. V. 207. 
 
 Malmaison. M. 379I1. Page 382. 
 
INDEX. 
 
 409 
 
 Malvesi, Marchese. V. 150b. 
 Manara. M. I, 221, 4 76g. 
 Manchester Exhibition. Pages 357, 369. 
 
 See Scharf ; Waagen. 
 Mancion, P. M. 85. 
 Manet, E. V. 25, 109. 
 Manfrini Palace. V. 22gv. 
 Manners, Admiral. V. 65t. 
 Mannheim. M. 436, 437. 
 Mantz, Paul. Page 355. 
 Manville, photograph. M. 114. 
 Manzano, M., pictures. Page 366. 
 March, Esteban. V. 24. Page 320. 
 Marcille, C. V. 158c 
 
 E. V. 248. M. 253. 
 
 Margaux, Chateau. V. 14c 
 
 Maria of Austria, portraits. V. 235, etc. 
 
 Pages 318, 319, 328. 
 
 Louisa. V. 79. 
 
 Marie, Grand Duchess. V. 219. 
 Mariette, P. J. V. 19a, 36. Pages 
 
 368, 381. 
 Marigny. M. 411. 
 Marlay, C. B. V. 216. 
 Marquandj H. G. Page 384. 
 Marquez, E. M. 54m Life of. Page 339. 
 
 Joya, F. Pages 339, 340. 
 
 Mars, L. de. M. 243. 
 Marshall, J. W. M. 466. 
 Martelli, L. M. 89. 
 Marti, F. Paula. M. $oi. 
 Marti Jesi, Pero. V. 184. 
 Martin, C. M. 222, 476g. 
 
 J. M. M. 21, 292. 
 
 Martinet, A. M. 55. 
 Martinez, Abp. M. 40. 
 
 D. M. 26, 229, 230, 274. 
 
 Jorge Diez. V. 41b, 153 note. 
 
 M. 5of, 88f, i 4 6g, 232, 2536, 
 253^ 261b, 264, 273, 307c 388. 
 Pages 345, 353, 369. 
 
 J. J. V. 144, 145. M. 26. 
 
 Juan. V. 21, 27. 
 
 Sebastian. V. 16 note, 87 note, 
 
 119, 153 note, 243c, 262. M. 
 224d, 232c, 253f, 264, 339, 385c, 
 393c, 448, 449. 
 52 
 
 Martinez, Serafin. V. 87. 
 Mason, H. M. 107. 
 Massard, L. V. 5. M. 29, 36, 55. 
 Massey-Mainwaring, W. F. B. V. 205. 
 M. 48. 
 
 Massias, Baron. M. 88e, 434c. 
 Masson, A. V. 27, 207. M. 55, 411. 
 Mateos, F. M. 50m 
 
 J- V. 37. 
 
 Maule, Conde de. M. 466. 
 
 Maura, B. V. 12, 21, 23, 32, 36, 67, 
 
 68, 69, 71, 72, 73, 108, 128, 143a, 
 
 145, 152, 166, 182, 261, 263. M. 86, 
 
 137, 318. 
 Maurice. M. 29. 
 
 Maurin, A. M. 36, 5oh, 83, 156, 373. 
 
 L. M. 56, 7 3 f, 112, 156, 253!, 
 
 318, 344, 387. 
 Mauzaisse. V. 9c, 195. M. 309a, 465. 
 Mawson. M. 53, 212c. 
 Maximilian, of Mexico. M. 399d. 
 Maxwell, M. C. M. 336g. 
 Mayr, I. A. V. 219. 
 Mazarredo. V. 190I1. M. 31. 
 Mazo, Life of. Page 317. 
 
 Family of. Page 109. 
 
 pictures by. V. 24, 51, 108, 
 
 109, 114, 263. Page 318, etc. 
 Meade, Gen. John. V. 14a, 21, 63, 
 
 64, 177, 234, 241. M. 54U, I2 4 g, 
 
 163I, 236i, 238a, 3001-, 401 h. 
 
 R. W. V. 240. M. 358c, 402a. 
 
 Mealey, R. R. P. M. 21 or. 
 Medina Celi, Duque. V. 274I1. 
 Medina del Rioseco. M. ii2i, 125c, 
 
 267, 373C 
 
 de las Torres. V. 194 note. 
 
 Mejorada, Condesa de la. M. ii2h, 
 
 219, 223, 242, 396 copy. 
 Melbourne, Lord. V. 8 note. 
 Melfort, Lord. M. 454. 
 Menageot sale. V. 35c. 
 Mendel, chromo. M. 47. 
 
 Samuel, sale. Page 382. 
 
 Meneses, Osorio, Life of. Page 331. 
 
 pictures by. M. 195 note, 233, 
 
 264, 337"i- l^ge 331. 
 
INDEX. 
 
 Mengs, R. V. 23, 177c! note. M. 264. 
 Merian. V. 174. 
 
 Merighi sale. V. 258I1. M. 30OX. 
 Methuen, Lord. V. 190I. M. 81. 
 
 Page 361. 
 Muelen, Van der. V. 203d. 
 Mexico, convent in. M. 40. 
 Mey, Dr. de. M. 124a. 
 Meyer, H. V. 255. 
 Michael Angelo. Page 1 10. 
 Michel. V. 19a. M. 45od, 454c. 
 Middlesex. See England. 
 Miethke, photos. V. 76, 121, 126, 141, 
 
 147, 247, 253. M. 325. 
 Migneret. M. 30. 
 
 Milan. Ambrosian Library. V. 229s. 
 
 Brera. V. 22gt. M. 434f. 
 
 Miles, Sir P. V. 6, 99. M. 62, 132, 
 
 141, 226, 238, 338, 340. Page 369. 
 
 P. W. S. M. 62, 226, 309. 
 
 Milius. V. 23, 131, 253, 255, 270. 
 
 Miller, J. M. I46d. 
 
 Mills, J. T. M. 54a, 260. 
 
 Minguet, J. V. 195. 
 
 Minor, Murillo. Page 369. M. 193. 
 
 Miranda. Glorias de Sevilla. M. 46, 
 
 279, 273c Page 369. 
 
 y Quinonez. Page 314. 
 
 Juan de. V. 21. 
 
 Mitchell, George. V. 251. 
 Mitelli, Agostino. V. 150b. 
 Modena, Duke of. V. 103. 
 
 Gallery. V. 150b, 174, 202, 225, 
 
 226. 
 
 Mogalli, C. V. 103. 
 Mohn, E. V. 225. 
 Molina, Cardinal de. M. 14. 
 Moncornet, B. V. 141, 174. 
 Monforte. Honras. V. 123. 
 Monmouthshire. See England. 
 Montalba, Clara. V. 81m. 
 Montalembert. Ste. Elisabeth. M. 274. 
 Montcalm, Marquis de. M. 425WW. 
 Montehermoso, Marques de. M. 288. 
 Monterey, Conde de. V. 166 note. Page 
 337- 
 
 Condesa de. V. 274b. 
 
 Montesquiou, Marquis de. V. 229II. 
 
 Montija, Villasante de. Page 384. 
 
 Montmorillon. M. 112a. 
 
 Montpensier, Duque de, picture in 
 France. M. 177. 
 
 in Seville. V. 100, 167, 
 
 207. M. 101, 195 note, 
 206 copy, 2531 school of 
 Murillo, 263 copy, 342, 
 396 copy. Pages 332, 
 
 335, 343, 348. 
 Montrichard, Count. M. 54c 
 Moore. M. 353. 
 Morace. M. 423d, 434d. 
 Morales y Gutierrez, J. M. 160. 
 Moreau. M. 316c 
 Moret sale. M. H2hh. 
 Morgan, N. D. M. 214a. 
 Morghen, Raphael. M. 373. 
 Mornay, Marquis de. M. 217, 401. 
 Morny, Due de. V. 252d, 268. M. 
 
 5occ, 253t, 481b. 
 Morritt, R. V. 34. 
 Morse, C. V. 21, 30. M. 192, 396. 
 
 Page 375. 
 Moscoso, Cardinal. V. 165. 
 Moseman. V. 91I. 
 Moya, Pedro de. Page 306. 
 Moz, Marques de. M. 476r. 
 Mugica, C. M. 4. 
 Mulato, El. See Gomez, S. 
 Mulgrave, Earl of. M. 129c. 
 Midler, H. A., Museen. Page 369. 
 Mullins, E. M. 399c. 
 Mundler. V. 91a, 109. 
 Munich Gallery. V. 155, 193a, 203a, 
 22gbb. M. 294, 37gh, 436, 437, 
 443, 447, 453, 455- Pages 327, 
 338, 369- 
 
 See Cotta ; Piloty and Lohle. 
 
 Munro, H. A. J. V. d^x, 8iy, 1901, 
 
 25 8p. M. 181, 22 7i, 246, 30oy, 379g, 
 
 399g, 4o8n, 445. 
 Muntaner, F. V. 30, 32, 69. M. 262, 
 
 283. 
 
 Murcia, Antonio. V. 16 note, 224d. 
 Josef. M. 278b, 468g. 
 
INDEX. 
 
 Murguia. V. 12. 
 
 Murillo, B. E., Chronological Data. 
 Page 305. M. 469 note. Houses 
 occupied by him. V. 4 note. 
 Pages 305, 308. His name, page 
 305. His children. M. 469. Page 
 307. His will, page 311. Death. 
 M. 264. 
 
 etching by. M. 112I. 
 
 portraits of himself. V. 25. M. 
 
 183, 269, 272, 462 etc., 476dd. 
 
 pictures signed by him. M. 41, 
 
 112I, 117a, 140, 156, 176, 269, 
 320, 373 f > 373g> 373k, 391, 408, 
 410, 462, 476X. 
 
 his wife, portraits. M. 54p, 56, 
 
 468I1, etc. 
 
 Caspar. M. 465. Page 313. 
 
 Murray, C. O. M. 462. 
 
 Lady. M. 424. 
 
 Mtcsie Fran fats. M. 83. 
 
 Napoleon. See Filhol. 
 
 Religienx. M. 126, 137, 174, 
 
 182, 274. Page 373. 
 Museo Espanol. M. 47, 112I. Page 
 
 37°- 
 
 Musso y Valiente, Jose. Page 367. 
 Muxel, N. V. 219. M. 112a, 170, 
 371, 385. Page 366. 
 
 Nagler. Lexicon. Page 370. 
 
 Nancy Museum. Page 335. 
 
 Nantes Museum. M. 425a. 
 
 Nanteuil, C. V. 21, 27, 195. 
 
 Napier, of Glasgow. M. 54X. 
 R. M. sogg, 77c 
 
 Naples Museum, copy. V. 27. 
 Queen of. V. 2of. 
 
 Nardi. V. 36b. Page no. 
 
 Narischkine, E. M. 50W. 
 
 Nargeot. V. 5. M. 116. 
 
 Narros. V. 106, 159. M. 183. 
 
 National Gallery. See Dublin; Edin- 
 burgh ; London. 
 
 Navarrete, F. V. 197. M. 270. Page 
 385. 
 
 Navarro, F. V. 174. 
 
 Navia, J. G. de. V. 17b. M. 356. 
 Naya, photograph. M. I5d. 
 Nazzi. V. 91c 
 
 Neale. Views of Seats. Page 370. 
 
 Neeld, Sir J. V. 217. 
 
 Nelthorpe, Sir J. M. 440. 
 
 Neuilly sale. V. 8 note. 
 
 Neve y Yevenes. M. 29, 30, 470. 
 
 Pages 313, 315. 
 Newcastle, Duke of. M. 5oq. 
 New Haven. See Jarves collection. 
 New-York, Metropolitan Museum. V. 
 91. M. 140. 
 
 See Aspinwall, Mrs. ; Bryan 
 
 Gallery ; Church, F. E. ; Curtis, 
 C. B.; Douglas, W. P.; Mar- 
 quand, H. G.; Mason, PL; O'Sul- 
 livan, J. L.; Spannochia. 
 Nichols, R. P. V. 18. M. 34X, 253U. 
 
 W., engraving. M. 444. 
 
 Nieto, Jose. V. 21. 
 
 Nieuwenhuys. V. 107, 130c, 130k. 
 
 M. 49, ii2pp, 191c, 368, 465. 
 Nocchi, J. B. M. 373. 
 Noel, Mme. M. 411. 
 Nogaret. M. 358k. 
 Nollet, Mile. M. 82d. 
 Norfolk. See England. 
 
 Duke of. M. 2, 425b, 425c. 
 
 Normanton, Earl of. M. 15, 162, 236, 
 
 4251. 
 
 Northamptonshire. See England. 
 
 Northbrook, Earl of. V. g8. M. 32, 
 51, 131, 142, 398, 421, 422, 457. 
 
 Northumberland. See England. 
 
 North wick, Lord. V. 1, I7g, 26a, 38, 
 65m, 65n, 87a, i3oq, 148c, 163, 177a, 
 I90i, 205. M. 9, ii2nn, H2pp, 166I, 
 I78d, 259, 419, 474. Page 338. 
 
 Norton. M. 163I, 401k. 
 
 Noseda. M. 210s. 
 
 Noseret. V. 174. M. 282. 
 
 Noticia Historica. Page 370. 
 
 Nottinghamshire. See England. 
 
 Nugent, Lord. M. 153. 
 
 Oates, Mr. V. 2of. 
 
412 
 
 INDEX. 
 
 Ochoa de Chinchetru. Pages 325, 329. 
 
 Eugenio de. Page 354. 
 
 O'Crowley, Pedro. M. 288. 
 Ogle, J. S. V. 2 2 gq. 
 
 N. M. 227d. 
 
 Okeover, pictures. Page 361. 
 Okey, S. M. 434a, 434b. 
 Olabarieta, J. B. M. 112c 
 Olivar, J. de. M. 481c. 
 Olivares. V. 36a, 163, 166, 194, 274b, 
 274c. Pages 109, no, 335. 
 
 Condesa de. V. 274c. 
 
 Oliviera, B. M. U2r. 
 
 Olmedo, Jose. Pages 336, 353. 
 
 Omazurino. M. 462, 471. 
 
 Onate. V. 177c! note. 
 
 O'Neil, C. V. 2of, 89c. M. 174^308. 
 
 Mrs. Dictionary. V. 85a, 195. 
 
 M. 262, 465. Page 370. 
 Oppenheim sale. M. 425aaa. 
 Orford, Lord (Wolterton). V. 274c 
 
 M. 213. See also Houghton Gallery. 
 Orleans Gallery. V. 1, 2, 8 id. Page 
 
 381. 
 
 Orrente, Pedro. V. 16 note. 
 
 Ortiz y Sanz. Compendio. Page 370. 
 
 de Zuniga. Annates. Page 370. 
 
 Osmaston, J. M. 5011, 373c 
 Osorio. See Meneses. 
 Ossington, Lord. Page 323. 
 O'Sullivan, J. L. M. 275. 
 Osuna, Palace of the Inquisition. M. 
 381. 
 
 Duke of. M. 472, 473. 
 
 Duchess of. V. 274c 
 
 Ottley, W. Y. V. 203c. M. 156a, 
 
 2ioi, 2i2d, 456g. 
 Ouan de Ferrache. M. 373I1. 
 Overstone, Lord, Lockinge, Berkshire. 
 M. 79. 
 
 London. V. 8in. M. 35, 80, 
 
 95, 149, 204. 
 Ovid. Metamorphoses. M. 171. 
 Owen. M. U2rr. 
 
 H. D. M. 267b. 
 
 Pryce. M. 2a. 
 
 T. B. B. V. 190c. M. 135, 406. 
 
 Oxford. Pages 361, 364. See Guise 
 collection. 
 
 Pacheco, F. V. 24. Pages 109, no. 
 
 Arte de la Pintura. Page 370. 
 
 Juana. V. 261. 
 
 Padoue, Due de. M. 54d, 450. 
 Paes de la Cadena. M. 414. 
 Page, Sir G. M. 442 f. Page 361. 
 Paillet. M. ii2x, 413. 
 Pairon. V. 12. 
 
 Palacios, F., notice of. Page 330. 
 Palafox y Mendoza. M. 40. 
 Palais Royal sale. V. 8 note. 
 Palermo. V. 9b. 
 
 private gallery in. Page 384. 
 
 Palmaroli, C. V. 9. 
 
 Vicente. M. 50s. 
 
 Palmer. M. 476L 
 
 Palomino, Museo Pictorico. Pages 360, 
 371. 
 
 J. A. M. 468b. 
 
 Panneels, H. V. 123, 174. 
 Pannier, L. V. 207. M. 12. 
 Pantoja de la Cruz. V. 96. 
 Pareja, Admiral. V. 178, 179, 274g. 
 
 Juan de. V. 114, 180, 181, 
 
 229X. Pages 109, in, 319. Life 
 and Works. Page 326. 
 Paris. See Buzareingues, G. de. 
 Cottier, Maurice. 
 Delahante, G. 
 Ecole des Beaux Arts. 
 Espagnac, Comtesse. 
 Espies, Marquis de. 
 Galliera, Due de. 
 Greffuhle, H. 
 Guitaut. 
 
 Hautepool, Comte d\ 
 Louvre. 
 
 Luynes, Duchesse de. 
 Mornay, Marquis de. 
 Padoue, Due de. 
 Pozzo di Borgo, Due de. 
 Rosiere, M. de la. 
 Rothschild, Baron James. 
 Sedelmeyer. 
 
INDEX. 
 
 413 
 
 Paris. Thiers, Madame. 
 Parish, Sir W. M. 13b, 16a. 
 Parkes, J. V. 229qq. 
 Parma, Pinacotheca. M. 15c!. 
 Parnasso Espanol. V. 161, 191. Page 
 372. 
 
 Parrete, C. M. 340a. 
 
 Parthey, G. Bildersaal. Page 372. 
 
 Partington. V. 1300!. 
 
 Pascal. V. 158I. 
 
 Pasquier sale. M. 83, 316c 
 
 Passavant, J. D. Pages 366, 372. 
 
 Passerini Villa. V. 15 1. 
 
 Patrick. M. 11. 
 
 Patterson, G. M. 50I1. 
 
 Patureau sale. M. H2ee, 112mm. 
 
 Page 382. 
 Pau. See Sebastian, Don. 
 Paula, Marti. M. 50L 
 Pavia. M. 257 note. 
 Payne. Berlin Gallery. V. 151a. M. 
 243- 
 
 Dresden Gallery. M. 84. 
 
 Munich Gallery. M. 436, 455. 
 
 — — A. H. M. 2l9d, 243, 322, 426, 
 
 437, 443- 
 Pearce. V. 41. M. 300s, 425XX. 
 Peasants. V. 76 etc. M. 411, etc. 
 Pedroso, Marques del. M. 135, 475a. 
 Peel, Sir R. Pages 364, 365. 
 Peemans, V. M. 82. 
 Peleguer, V. V. 79. Page 384. 
 Penaranda, Conde del. V. 160a. 
 Penny Cyclopedia. Page 362. 
 Peral Gallery. V. 1 77<J note. 
 Pereda. Page 327. 
 
 Pereire, E. and I. V. 8a, 23a, 91c, 
 
 257. M. 389, 391, 403. 
 Perete, Pedro. V. 123. 
 Pereyra, portrait of. V. 229k 
 
 Canon. M. 117, 2iod, 307b, 
 
 372. 
 
 Perez, Andres, Life and Works. Pages 
 
 35o, 386. 
 Perfetti, A. M. 89. 
 Perier, the Architect. M. 230. 
 
 Casimir. V. 130m. M. 109. 
 
 Perier, Paul. V. 150c, 150!. 
 
 List of sales. V. 1501". 
 
 Perkins, G. and F. M. 37, 298, 302. 
 Persigny, Due de. V. 75. 
 Perthshire. See Scotland. 
 Peru, convent in. M. 140. 
 Perugia. See Baldeschi. 
 Pesth Gallery. V. 220. M. 113, 128, 
 151, 476. Pages 324, 330, 338, 
 372, 385- 
 
 Landes Gemalde Gallerie. M. 
 
 113, 128, 151, 476. Pages 385, 
 385. 
 
 Pether, W., engraving. M. 442f. 
 Philadelphia. M. 310b, 402a. 
 Philibert, Prince. V. 9b. 
 Philip IV., portraits. V. 97, etc. Pages 
 320, 328. 
 
 V. M. 5on, 358a. 
 
 J., sale. M. 457. 
 
 Phillipps, Sir T. V. 177a. 
 Pi, J. M. 174. 
 Pichler. M. 443, 447. 
 Pictorial Gallery of Art. M. 435. 
 Piloty. V. 155. M. 130, 436, 437, 
 443, 453, 455. 
 
 and Lohle, Munich Gallery. 
 
 Page 369. 
 Pimentel. V. 104, 182, 203d. 
 Pincon. M. 36, 398. 
 Pineda, etchings. V. 27, 31, 67, 69, 
 
 122, 22911, 244. 
 Pingot. M. 29, 253I, 344. 
 Pio, Prince. V. 158k. 
 Piquer. M. 284. 
 Pirie. V. 69. 
 
 Pistrucci. V. 265. M. 26id, 481. 
 Pitti. See Florence ; Bardi, L. 
 Pius VI. M. 44. 
 
 IX. M. 192, 265, 381. 
 
 Plasencia. V. 9b. M. 261. 
 Podolinski. V. 19a. 
 Poel, E. M. 433. 
 Poggi, G. V. 150b. 
 Poitou. Voyage. V. 105. 
 Poland, King of. M. 83. 
 Pomel. M. 373. 
 
4H 
 
 INDEX. 
 
 Pontius, P. V. 174. Page 379. 
 Ponz. Viage. Pages 360, 373. 
 Poole, James. M. 332c 
 Porter, Walsh. V. 17c M. 52, 134, 
 368. 
 
 Portfolio, The. V. 66, 69, 123. M. 
 
 322, 462. 
 Portilla, Luis. M. 273, 388. 
 Portole. M. 232. 
 Potemkin, Prince. M. 322. 
 Poulett, Earl. M. 4257. 
 Pound, D. J. M. 84. 
 Pourtales, Comtesse R. de. M. 106. 
 
 Souvenirs. M. 106, 231, 349. 
 
 sale. V. 26, i3or. M. 106, 
 
 2 3h 349, 35 8r - Pa g e 3 82 - 
 Poushkin. V. 258g. 
 Poussin. M. 10. 
 Powerscourt, Viscount. V. 20c. 
 Poynter, E. J. V. 10, 12. 
 Pozzo di Borgo, Due de. M. 272. 
 Praslin. See Choiseul. 
 Prat. M. 56, 78, 83, 89, 101, 136, 
 
 I5 6 » 344- 
 Prenner. M. 325. 
 
 Presle, Marquis de. M. 167, 179,322. 
 Preston. See Birchall, Mrs. 
 Pretendiente. V. 75a. 
 Preti. V. 35a. Page 336. 
 Prevost, copies. V. 30, 32. 
 
 Z. M. 300. 
 
 Price, G. E. M. 2. 
 
 H. C. M. H2qq. 
 
 Sir R. V. 146a, 177b. 
 
 Prince of the Peace. V. 12, 20k, 34, 
 
 4id, 176, 201, 230 note, 258c, 258d. 
 
 M. 82c, 134b, 163c, 212c, 236d, 380, 
 
 384a, 396, 425Z, 425 WW. 
 Prince of Wales. V. 150c. Page 109. 
 Prussia. See Berlin ; Cassel ; Cologne ; 
 
 Darmstadt ; Dusseldorf. 
 Puga. Life and Works. Page 330. 
 Purling. M. 227c 
 
 Purves sale. V. 162, 27411. M. 334, 
 381a, 401k. Pages 321, 325, 328, 
 
 333, 336, 338, 445- 
 P. V. B., engraving. M. 450c. 
 
 Quarterly Review. Page 362. 
 Quaglio, L. V. 193a. 
 Quelly. M. 65, 121, 159. 
 Quesada, Manuel. Page 352. 
 Quevedo. V. 191, 229bbb. M. 474. 
 Quilliet. V. 12. Dictionnaire. Page 
 373- 
 
 Quirios. M. 396 copy. 
 
 Raczynski, Comte. V. 75b, 8ir, 95. 
 
 M. 273. Page 325. 
 
 Arts en Portugal. Page 373. 
 
 Radnor, Earl of. V. 178, 180. M. 
 
 17. Pages 326, 364. 
 Radstock sale. V. 274c M. 408I. 
 Rainer. V. 139, 143c 
 Rajon. V. 72, 123. M. 476. 
 Randan, Chateau de. M. 177. 
 Randon de Boisset. V. 229gg. M. 83, 
 
 413. Page 381. 
 Raphael. V. 14c M. ii2cc, 260. 
 
 Page no. 
 Rates, Joseph. Page 327. 
 Raunheim. M. 26. 
 Rauscher, C. M. 128, 151. Pages 
 
 385, 385. 
 Ravenet, S. F. M. 45og. 
 Rayneval sale. M. 68, 379c, 425SS. 
 
 Pages 321, 333, 338, 345. 
 Read, W. M. 78. 
 Real, Manuel. M. 259, 316a. 
 Red in y Cruzat. Page 318. 
 Regnault. V. 36. M. 29. 
 Regnier. M. 156. 
 Reid, Mr. V. 229CC 
 
 G. W. Works of Velazquez. V. 
 
 68, 69, 70, 86, 103, 108, 128, 131, 
 137, 145, 166, 195, 231, 263. 
 Page 373. 
 Reiset, F. V. 130a. Page 373. 
 Rembrandt. V. 14c 
 Remisa, Marques de. V. 153 note. 
 
 Page 385. 
 Remy. M. 73!, H2u, 168a. 
 Reveil. Muse'e de Peinture. V. 5, 21, 
 
 2 3, 2 7> 35, 3 6 - M - h 4, 55, I26 > 
 137, 174, 182, 193, 272, 274, 373, 378, 
 
INDEX. 
 
 415 
 
 383, 447, 453> 456, 462. See also 
 
 Musee Religieux. Page 373. 
 Revil sale. M. 12a. 
 Reynolds. M. 167. 
 
 Sir Joshua. V. 34, 183. M. 8a 
 
 note, 425ff. 
 Rhodes. V. 229XX. 
 Rhone. M. 389. 
 Riall, Gen., Sir P. M. 11. 
 Ribalta. V. 192. M. 287. 
 Ribas, F. de. V. 192. 
 Ribera, F. V. 68. 
 
 Jose. V. 8, 16 note, 27. M. 
 
 9c, 378, 402a. Pages no, 385. 
 Ricaud. M. 50b, 101, 156. 
 Richeton. M. 322. 
 Rico, J. M. 253k, 390. 
 Ridgeway, W. M. 36. 
 Ridgway, Captain. V. 26a. 
 Ridley, Sir M. W. M. 156b. 
 Rinecker. V. 229ZZ. Pages 333, 336. 
 Rio Frio palace. M. I46g. 
 Rioja, F. de. V. 3, 135. 
 Rioseco, Medina del. M. H2i, 125c, 
 
 267, 373c. 
 
 Ris, C. de. Musee de Madrid. Page 
 373- 
 
 Rizi, F. V. 165. Page 322. 
 
 R. O., engraving. M. 203. 
 
 Robarts, A. J. M. 417. 
 
 Robertson, J. F. Great Painters. V. 
 
 25, 86, 207. M. 90, 240, 465. 
 Robillard, H. V. 19a. M. 156, 322, 
 
 380. 
 
 Robinson, J. C. V. 83, 192, 243. M. 
 478. Page 319. 
 
 J. H., engraving. M. 426. 
 
 Robit, Citoyen. M. 167, 179, 322, 340. 
 
 Page 382. 
 Roca, F. M. 292. 
 Rodenas. V. 241. 
 
 Rodriguez, Ana. M. 48ig. Page 314. 
 
 Catalina. M. 197. 
 
 E. V. 123. 
 
 J. G. M. 347 . 
 
 M. M. M. 47f. 
 
 de Monforte. Page 374. 
 
 Roe, Sir F. Page 345. 
 Rogers, J. M. 14, 68, 78, 322, 412, 
 435- 
 
 Samuel. V. 8 id, 98, 133. M. 
 
 252, 351. Pages 364, 365, 382. 
 Rohan, Maria de. V. 2741*. 
 Roman, Bartolome. Page 321. 
 
 Charity. M. 402a. 
 
 Senator. M. 229, 230. 
 
 y Codina. M. 396. 
 
 Romanet, A. L. M. 147. 
 Rome. Academy of St. Luke. V. igom. 
 M. 476c. 
 
 Capitol. V. 203. 
 
 Vatican. M. ng, 192, 265, 381. 
 
 See also Bracciano; Corsini; 
 
 Doria. 
 
 Romero, Jose. Page 352. 
 Romero, Manuela. Page 312. 
 Romre, Count. M. I25d. 
 Ronquillo. V. 75a, 193. 
 Rosalez. V. 36. 
 Rose. V. 150a. M. 206. 
 Rosebery, Earl of. M. 29, 163, 246, 
 425I. 
 
 Rosell, I. V. 108. 
 Rosi, A. M. 442a, 450L 
 Rosiere, M. de la. M. 15I1. 
 Rossi. V. 151a, 196. 
 
 Count, sale. M. 58a. 
 
 Rossini. V. 14c 
 
 Rosso palace. M. 112b. 
 
 Rothschild, Baron. London. M. 167. 
 
 Baron, James. Paris. V. 130a, 
 
 163, 258a. 
 
 Hannah. See Rosebery. 
 
 Rothwell, P. M. 13a. 
 
 Rottger, photograph. V. 125, 186. M. 
 
 44, 54, 67, 247, 356. 
 Rottiers, General. M. 415. 
 Rouarque. M. 156. 
 Rouge, use of. V. 236 note. 
 Roxas, Simon de. V. 229k. 
 Rubens, P. P. V. 14c, 21, 26a, 101, 
 
 103, 113, 174, 206 note, 225, 226. 
 
 M. 64, 135. Pages no, 379. 
 Rubira, Josef de. M. 135. Page 348. 
 
416 
 
 INDEX. 
 
 Rudd. M. 408I. 
 Rugby. See Mills, J. T. 
 Ruotte. M. 373. 
 Russell, J. W. M. 408I. 
 Russia. See St. Petersburg. 
 
 Empress. M. 29. 
 
 Rutland, Duke of. M. 114, 125, 150. 
 Rutlandshire. See Exeter, Marquis of. 
 Rutley. V. 78, 243b. M. 336^ 381a. 
 Ruysdael. V. 123. 
 Ryman. M. 166k. 
 Rynolds. M. 112a. 
 
 Sackville-West. M. 4253a. 
 Sadeler, R. Bavaria Sancta. M. 274 
 note. 
 
 Saenz, Jose. M. H2n, 253d, 30of. 
 
 Pages 333, 336, 35 1, 353, 369. 
 y Saenz, Jose. M. 46, 68b, 134b, 
 
 2iod, 219c, 253c, 307b. 
 St. Albans, Lady. M. U2cc. 
 St. Clou, Marquis de. M. 124L 
 St. Erentrudis. M. 274 note. 
 Saint-Germain's picture. M. 54X. 
 Gault de. Guide. Page 
 
 362. 
 
 St. Helens, Lord. M. 78. 
 
 St. Leonards, Lord. V. 130I. 
 
 St. Petersburg. See Davidoff, O. ; 
 
 Hermitage ; Joussoupoff ; Leuchten- 
 
 berg; Stroganoff. 
 Saint Raymond, E. V. 197, 244. M. 
 
 264. 
 
 Sainte-Foy. M. 411. 
 
 Salamanca, Marques de. V. 16 note, 
 
 20g, 100, 153 note, 166 note, I77d 
 
 note. M. 163b. 
 
 Sales. V. 16, 68a, 81b, 87, 95a, 
 
 114a, 119, i30r, 132, 153, 156, 
 212, 234c, 262, 270, 274q. M. 
 15b, 15c, 15c i5f, i5g, 5odd, 
 107, 163, 183, 185, 187, 189, 190, 
 2i4d, 238c, 268, 32iq, 324, 338^ 
 358U, 375d, 387, 449, 456L 
 Pages 320, 321, 325, 329. 
 Salcedo, Ana Maria. M. 48 ig. Page 
 
 312. 
 
 Sales. 1 79 1, March 14. M. 125c, 178a. 
 1804, Feb. 3. M. 425gg. 
 
 1807, April 28. M. H2y. 
 May 9. M. 117a. 
 
 1808, June 11. M. 54m. 
 1810, June 16. M. 54m 
 
 1813, April 13. M. I25f, 129b, 
 368. 
 
 1815, May 13. V. 86a. 
 
 June 3. M. I25g. 
 
 1827, June 9. M. 178c, 236a, 
 
 336!, 475c. 
 1833. V. 104c. M. 54r. 
 
 1845, May 24. M. 332I1. 
 
 1846, April. M. 40 1 i. 
 1850, June 30. M. 41. 
 
 1859, March 12. M. 9c. 
 June 18. M. 238d. 
 
 1860, July 13. V. 229qq. 
 
 1861, June I. M. 40. 
 
 1863, July 14. V. 229qq. 
 
 1864, June. M. 68g. 
 
 1865, March 11. V. 86a. 
 1867, June 8. M. 2d. 
 1871, June 3. M. 124k. 
 1874, June 12. M. 476]'. 
 1879. M. 300m, 316c. 
 
 Salle, His. de la. V. 30, 69, 131. 
 Salting, G. V. 83. M. 289. 
 Saltmarshe. See Higginson. 
 San Adrian y Santiago, Marques de. 
 
 M. 358. 
 San Carlos, Duke of. V. 26a. 
 San Donato sale. V. 91a. M. 244, 
 
 434d, 476dd. See also Demidoff. 
 San Fernando, Duke of. V. 12, 153 
 note. 
 
 Duchess of. M. 163b. 
 
 San Lucar, Duque de. See Olivares. 
 San Luis, Count. M. 338f. 
 San Telmo. See Montpensier. 
 Sandars, S. M. 20. 
 Sanders. M. 130. 
 Sanderson, R. M. 49, 481. 
 Sandoval. V. 165. 
 
 Sandrat. Academia. M. 462. Page 374. 
 Sands. M. 196. 
 
INDEX. 
 
 417 
 
 Sano. V. 123. 
 
 Sans de Tejada, Manuel. V. 8iz. M. 
 
 227k, 278a. 
 Santa Maria, Marques de. V. 20e, 8ix. 
 M. 41. 
 
 Luis de. Centenario. V. 
 
 123. 
 
 Santiago, Marques de. M. 10, 6, 7, 
 
 8b, 8c, 9, 9a, I2d, 95, 146a, 308, 
 
 358. See also San Adrian. 
 Santos, A. de los. M. 197. 
 
 F. de los. Escorial. V. 3, 123. 
 
 Saceghem, Van. M. 112mm. 
 
 Sapey. M. 26id. 
 
 Sarmiento, D. V. 21. 
 
 Sartain. M. 14. 
 
 Satyrs. V. 35a. M. 402d. 
 
 Saxony. See Dresden ; Leipsic. 
 
 Say, W. M. 78, 435. 
 
 and Sele, Lord. M. 45, 127. 
 
 Scarisbricke, C. V. 171. M. 68f, 
 
 460a. 
 
 Scarsdale, Lord. Page 361. 
 
 Schamp d'Aveschoot. V. 229nn, 274s. 
 
 M. 253P. 
 Scharf, G. Handbook. Page 374. 
 Schaub, Sir L. M. 4761". 
 Schaus, W. M. 239. 
 Schepeler, Von. V. 245. M. 94. 
 
 Beitrage. Page 374. 
 
 Schiller. M. 50I1. 
 
 Schleissheim Gallery. V. 229ZZ. 
 
 Schneider sale. V. 110, 146, 258b. 
 
 M. 49. 
 
 Schoenborn, Count. M. I46d. 
 Schbninger, L. M. 371. 
 Schubert. M. 468a. 
 Schuler. V. 150a. 
 Schultz. M. 821, 243. 
 Scorodumov. M. 322. 
 Scotch Baronet sale. V. 252c. 
 Scotland. Berwickshire. See Baillie 
 Hamilton. 
 
 Edinburgh. National Gallery. 
 
 Fifeshire. Balfour, J. ; Elgin, Earl 
 of. 
 
 Forfarshire. Southesk, Earl of. 
 53 
 
 Lanarkshire. Glasgow; Stirling. Mrs. 
 C. 
 
 Perthshire. Breadalbane, Earl of ; 
 Kinnaird, Lord ; Stirling-Maxwell, 
 Sir W. ; Wemyss, Earl of. 
 Scott, W. B. Murillo. V. 14c, 23, 
 25, 27, 68, 86, 131, 145, 195. M. 
 8, 11, 5oh, 90, 116, 300, 322, 413, 
 425, 426, 427, 429, 435, 443, 462, 
 465. Page 374. 
 Scriven. M. 468a. 
 
 Sebastian, Infant Don. M. 100. V. 
 75c, 256. M. 82a, 100, 112c, 284, 
 285. Pages 320, 323, 324, 325, 335. 
 
 Sebastiani, General. M. 10, 49, 82c, 
 208, 294, 396. 
 
 Sebright, Sir T. M. 54b. 
 
 Sedelmeyer. M. 68a, 129a. 
 
 Segovia, pictures in. Page 355. 
 
 Seguier, F. P. Dictionary. Page 374. 
 
 Seifert, F. M. 84, 386. 
 
 Seilliere. M. 456, 465. 
 
 Seine et Oise. See Padoue, Due de. 
 
 Seitz, W. M. 88a. 
 
 Selbe. M. 112a, 437. 
 
 Selma, F. M. 311. 
 
 Semmler, A. M. 84. 
 
 Serie di Ritratti. V. 196. 
 
 Serie degli Uomini. V. 196. 
 
 Sevestre. M. 177. 
 
 Seville, Academy of. M. 403. Pages 
 3°7, 339, 340, 342, 344, 349, 
 350- 
 
 Archbishop's palace. M. 14, 
 
 II2f. 
 
 Audiencia Territorial. V. 65I. 
 
 Biblioteca Columbiana. M. 281. 
 
 Capuchin Convent. M. 18, 61, 
 
 98, 112, 118, 203, 204, 220, 224, 
 224a, 22 4 e, 225, 233, 240, 241, 
 276, 277, 285, 288, 333, 341, 362, 
 366, 373m, 395. Pages 341, 351. 
 See also St. Justa and St. Rufina, 
 convent of. 
 
 Caridad. M. 1, 14, 16c, 63, 
 
 164, 180, 182, 221, 274, 317, 
 339, 37*>. Pages 307, 308. 
 
4i8 
 
 INDEX. 
 
 Seville, Carmelitas Calzaclos. V. 4. 
 M. 87, 210a. Page 337. 
 
 Casas Capitulares. M. 281. 
 
 Cathedral. M. 23, 55, 73, 73d, 
 
 154a, 163a, 174c, i74g, 175,206, 
 212a, 233, 239, 279, 280, 286a, 
 
 310, 312, 313, 360, 363, 364, 
 365, 380 copy, 384, 393, 478. 
 Pages 334, 341, 343, 349- The 
 stolen picture. M. 239. 
 
 Franciscan Convent, History of. 
 
 M. 268. Pictures. M. 21, 50a, 
 263, 268, 269, 270, 271, 272, 
 
 273, 28 7, 3°9> 3 8 3> 4°o, 401, 
 
 476I1. Page 306. 
 
 Inquisition. M. 380. 
 
 Madre de Dios. M. 155. Pages 
 
 307, 3i3- 
 
 Maese Rodrigo. M. 22. 
 
 Magdalena, La. Page 305. 
 
 Merced Calzada. M. 126, 174k, 
 
 194b, 228, 366a, 382, 385. Pages 
 
 311, 349, 351. 
 
 Merced Descalzos. M. 93. 
 
 Page 341. 
 
 Museum. V. 4, 152. M. 18, 
 
 19, ax, 22, 61, 93, 98, 112, 118, 
 214b, 225, 240, 241, 254, 255, 
 256, 276, 277, 288, 333, 341, 
 362, 366, 382, 395. Pages 332, 
 340, 341, 349, 350. 
 
 Omnium Sanctorum. Page 385. 
 
 Quemadero. M. 176. 
 
 Regina Angelorum. M. 117, 
 
 117a. Page 349. 
 
 Sangre, Hospital del. M. 113 
 
 copy, 166a. Page 339. 
 
 St. Andres Church. M. 174I1, 
 
 213c, 284a, 310a, 403. 
 
 St. Augustin Convent. M. 254, 
 
 255» 2 5 6 > 2 5 8 > 26oq, 236a, 396, 
 398. Page 339. Copies in. M. 
 1, 182, 193. 
 
 St. Catalina. M. 267d, 273a. 
 
 St. Clara. M. 25311, 386. 
 
 St. Diego. M. 176, 253a. 
 
 Seville, St. Francis. See Franciscan 
 Convent. 
 
 St. Francis de Paul. M. 307. 
 
 St. Hermengild. M. 180. 
 
 St. Ildefonso. M. 380. 
 
 St. Isidore M. 105, 167, 322. 
 
 Page 334. 
 St. Jerome of Buenavista. M. 
 
 50c. 
 
 St. Jose. See Mercenarias 
 
 Descalzos. M. 93. 
 St. Justa and St. Rufina. M. 
 
 5od, 219a. 
 St. Leandro. M. 176, 177, 
 
 I7 8 ^ 259, 334. 
 St. Luke, Chapel of. See St. 
 
 Andres. 
 
 St. Maria la Blanca. M. 30, 
 
 73, 156a, 194. 227c, 227g, 229, 
 
 230, 231. Page 336. 
 St. Maria de las Cuevas. M. 
 
 1741, 338a. 
 
 St. Martin. M. 156. 
 
 St. Peter of Alcantara. M. 243. 
 
 St. Philip Neri. M. 307. 
 
 St. Thomas, Colegio. M. 117a. 
 
 Terceros Convent. Pages, 339, 
 
 349- 
 
 Trinidad Convent. M. 54n, 
 
 68b, 227f. Page 339. 
 Venerables Sacerdotes. M. 29, 
 
 H3> 376. 
 See also Asensio, J. M. 
 
 Kith, R. M. 
 
 Lerdo de Tejada. 
 , Maestre, N. 
 
 Mejorada, Condesa de. 
 
 Morales y Gutierrez. 
 
 Montpensier, Duque de. 
 
 Olivar, J. de. 
 
 Quirios, R. de. 
 
 Real, Manuel. 
 Sevilla Pintoresca. M. 232, 442a, 45oi, 
 
 48 1 e. Page 374. 
 Seymour. M. 408m 
 
 Alfred. V. i8g. M. 4680!. 
 
INDEX. 
 
 419 
 
 Sharp, W. W. M. 194a. 
 Shaw, W. J. M. 273, 388. 
 Shepherd Brothers. Page 379. 
 Sibyl. M. 402c. 
 Sichling. M. 465. 
 Sicily. M. 44. 
 
 Siebel d'Elberfelt. V. 229hh. 
 
 Silenus. V. 27, 75c. 
 
 Silvestre sale. M. 425m 
 
 Simmons. V. 85a. 
 
 Simone. V. 28. 
 
 Simonel. M. 167. 
 
 Sixdeniers. M. 173d. 
 
 Sloane Museum. Page 364. 
 
 Smart, T. W. V. 65m 
 
 Smith. M. 178. 
 
 E. M. 78. 
 
 J. A. M. 163b. 
 
 W. H. M. 102. 
 
 Smith-Barry. V. 35a. 
 
 Smyth, T. P. V. 162. 
 
 Snare, J. V. 150c. 
 
 Snyers, J. A. M. 300c. 
 
 Solis, Antonio de. Page 329. 
 
 Somers, Earl. M. 165. 
 
 Somerset. See England. 
 
 Somerville, J. M. 78. 
 
 Souchon, copies by. M. 229, 230. 
 
 Soult, Marshal. V. 17, 36. M. 1, 
 14, 30, 113, 182, 228, 229, 230, 
 243, 258, 267d, 269, 274, 3 i6e, 
 40id, 431. 
 
 sale. M. 29, 55, 73, 79, 126, 
 
 174a, 180, 217, 253^ 258, 267d, 
 268, 272, 376, 378, 383, 401, 
 456. Pages 327, 333, 335, 341, 
 343, 348, 3 82 - 
 Negotiations for sale of his pic- 
 tures. M. 1, 29. Removes a 
 picture with the aid of soldiers. 
 M. 243. Pictures presented to 
 him by the City of Seville. M. 
 230. 
 
 South America. See Lima, Peru. 
 Southeran. V. 229XX. 
 Southesk, Earl of. V. 8g. 
 
 South Kensington Museum. See Lon- 
 don. 
 
 Soyer. V. 19a. M. 88e, 228, 288, 
 434C 
 
 Spain, pictures now in. See Cadiz ; Es- 
 corial ; Jerez ; Madrid ; Medina del 
 Rioseco ; Seville ; V alencia ; Valla- 
 dolid. 
 
 Spanish Gallery. See Louis Philippe. 
 Spannocchia. M. 214a. 
 Speck, Baron. M. 77a, m. 
 Specterschen Auktien. V. 274c. 
 Spencer, Earl. V. 8ih. M. 408L 
 
 462, 481I1. Page 324. 
 Spilsbury. M. 129, 214. 
 Spinocchia. M. 214a. 
 Spinola, Abp. M. U2f, 475. Pages 
 
 337, 338, 338. 
 
 Isabel. V. 194 note. 
 
 Marques de. V. 36. Page no. 
 
 Paolo. V. 274a. 
 
 Sprick, J. M. 425b. 
 
 Stadel Kunst Inst. V. 153, 257. 
 
 Stafford House. V. 15, 17, 52. M. 
 
 1, 50k, 120, I46f, 167, 193, 251, 
 
 326, 327, 359, 392, 431, 475. Pages 
 
 3 6 4, 3 Sl - 
 Staffordshire. See England. 
 Standish Collection. See Louis Philippe. 
 
 F. H. Seville. V. 8 note. 
 
 Page 375. 
 
 Mrs. M. 238c. 
 
 Stanhope, Mr. M. 114, 150, 253I1. 
 
 Earl of. V. 204. 
 
 J. B. V. 148b. 
 
 Staniforth, Rev. T. M. 139. 
 
 Stanley, T. Sloane. M. 425m. 
 
 Starling. V. 150a. 
 
 Steenhuys, Comte II. de. M. 214c. 
 
 Steffan. M. 112a. 
 
 Steinla. M. 89. 
 
 Stephens, Mrs. L. V. 119, 268, 274q. 
 
 M. 231, 344. 
 Stephenson, J. M. 435. 
 Stepney, Lady. V. 65L 
 Stettiner, II. Page 379. 
 
420 
 
 INDEX. 
 
 Stevens, Alfred. Page 384. 
 Steyaert de Bruges. M. 54t. 
 Stirling, Mrs. C. V. 190. 
 
 William. Annals. V. 12, 27, 
 
 48, 67, 195. M. 1, 36, 112, 233, 
 339, 444, 45 x > 465- Page 375. 
 Velazquez. V. 195, 199. Page 
 
 375- 
 
 Stirling-Maxwell, Sir W. Catalogue of 
 Prints. V. 196. Page 375. 
 
 Pictures. V. 63, 64, 90, 91k, 
 
 199, 274. M. 155, 224, 394, 
 409, 451, 468e, 481. Pages 
 324, 335- 
 
 Engravings. V. 21, 30, 68, 
 
 69, 96, 97, 131, 166, 230. M. 
 192, 396, 468e. 
 Still Life. V. 90. M. 409. 
 Stockholm Museum. V. 2od, 104, 
 
 181a, igop, 22g. M. 411, 425^. 
 Stocks, L. M. 322. 
 Stothert. F. and S. Painters. V. 109. 
 
 M. 288. Page 375. 
 Stow, pictures at. Page 361. 
 Stow, J. M. 322. 
 
 Stowe sale. V. 160b. M. 53, 166k. 
 Page 382. 
 
 E. Murillo. Page 376. 
 
 Strafford, Earl of. V. 56. M. 134, 
 300I, 348. 
 
 Stratford de Redclyffe. M. ii2vv, 125b, 
 4o8p. 
 
 Strange, R. M. 173. 
 Strangford, Viscount. M. 218. 
 Strawberry Hill sale. Page 382. 
 Stroganoff. V. 229gg. M. 1731, 332b, 
 442g. 
 
 Stuart, Lady. V. 229W. M. 425U, 
 450m. 
 
 W. M. 173I1. Page 385. 
 
 Stromer. Murillo. Page 376. 
 
 Strubing. M. 125c 
 
 Sturges, S. M. 292. 
 
 Suarez de Urbina. M. 224c, 375a. 
 
 Pages 333, 353, 369. 
 Suermondt. V. 108, 224, 245. M. 
 
 94, 399^, 476r. Pages 320, 322. 
 
 Suffolk. See England. 
 
 Earl of. M. 54 w, 54aa. 
 
 Su Lienzo. M. 395. 
 Sunderland. V. 8ih. M. 4o8f. 
 Surrey. See England. 
 Sussex. See England. 
 Sustermans. V. 150a. M. 481L 
 Sutherland. See Stafford House. 
 Sutton, R. N. M. 440. 
 Sweden. See Stockholm. 
 Sweetser. Murillo. Page 376. 
 
 Tacca. V. 97, 101, 103, 117. 
 Talaban. M. 312. 
 Talbot. M. 1 86a. 
 
 Tallard, Due de. M. 731, H2u, 138, 
 
 2ioh, 332d, 425CC, 425H. 
 Talleyrand, Prince. V. 130L M. 425yy. 
 Tapia y Robles. Renombre. V. 123, 
 
 174. Page 376. 
 Taranto, Bishop of. M. 213. 
 Tarral, C. V. 258I. M. H2hh. 
 Tatistcheff. M. 446. 
 Tavernier. M. 309. 
 Taylor, Baron. V. 7, 8, 75b, 207. M. 
 29. 
 
 F. V. 12. Page 327. 
 
 G. Watson. V. i9of. M. 358m, 
 
 470, 481m. 
 Tejada. See Sans de Tejada; also 
 
 Lerdo de Tejada. 
 Ternante, copy by. V. 183. 
 Terron, F. Page 312. 
 Teschier. M. 246. 
 Tessier, S. V. 3a. 32. M. 36, 303. 
 Testa, Fulvio. V. 103, 150b. 
 Thane. V. 37. 
 Thelluson. M. 139. 
 Thielly. M. 47. 
 Thibaudeau. V. 258g. 
 Thiers, A. M. 108. 
 
 Baron. See Crozat. 
 
 Thomas, N. M. 89. 
 Thompson, G. Escorial. V. 3. 
 Thore, I. Page 376. See Burger. 
 Thornley, G. W. V. 25. 
 Thornton, Lt.-Gen. M. 50I. 
 
INDEX. 
 
 421 
 
 Thurn, Count. M. 442. 
 
 Thys, Pierre. V. 162. 
 
 Tilliard, J. B. M. 138. 
 
 Tintoretto. V. 223. 
 
 Titian. V. 3, 14c, 16, 34, 225, 226. 
 
 M. 210, 373c, 464a, 468c 
 Tobar. M. 60, 101, 125c, 130, 147, 
 166a, 167, 322, 464a. 
 
 Life and Works. Page 333. 
 
 Tofanelli. M. 373. 
 
 Tomline, G. M. 182, 258, 354. 
 
 Tooth. V. 86a. 
 
 Torado. V. 9. 
 
 To rlon ia. M. 373. 
 
 Torre, Countess de la. M. 36. 
 
 Torres, Clemente de. Page 352. 
 
 Toulouse Museum. M. 271. 
 
 Town end. M. 73, 376. 
 
 Townsend, J. Journey. Page 376. 
 
 Townshend, Lord C. V. 229mm. M. 
 
 425yy- 
 
 Trastamara, Conde de. M. 92. 
 Trevino Geronimo. Page 314. 
 Tricher, P. M. 138. 
 Triere, P., engraving. V. I. 
 Trimnell, W. F. M. 450a. 
 Tristan, Luis. V. 12, 16. 
 Tronchin sale. V. 120. 
 Troward. M. 54W. 
 Trumbull, John, sale. M. 332d. 
 Tubino, F. M. Murillo. Page 377. 
 Tugny, President. M. 138. 
 Tupper. M. 42. 
 Turgis, engraving. M. 50I1. 
 Turin Gallery. V. 129, 274a. Drawing. 
 M. 114. 
 
 Turner, C, engraving. M. 50I, 96. 
 Twiss. Travels. Page 377. 
 
 Uceda, Duque de. M. 163d, 391a. 
 Udney, R. M. 227I1. 
 Uffizi Gallery. See Florence. 
 Ugalde. M. 305. 
 Ulloa, Marcela de. V. 21. 
 Unger, W. V. 24, 76, 147. M. 325. 
 Page 377. 
 
 Univers Illustre. V. 8. M. 177. 
 United States. See Elmira ; Hudson ; 
 
 New Haven ; New York. 
 Unknown, engravings by. V. 160b, 
 
 196, 238. M. 3i6d, 452, 476a. 
 Uomini Illust. nella Pittura. M. 462. 
 Urbina, Pedro de. M. 476I1. 
 Urbino, Princes of Art. M. 468a. 
 Urquais. V. 8a, 23a, 91c, 257. 
 Urquijo. V. 26a. 
 Urzais. M. 391. 
 
 Valbuena, Pedro de. M. 254, 279. 
 Valcarcel, Julian. V. 194, 166 note. 
 Valderrama, Fernando. Page 354. 
 Valdes Leal. M. 239, 457, 476g, 481c 
 
 Page 352. 
 Valdivieso, D. V. 27, 35. 
 Valencia, Convent in. V. 194a. 
 
 Museum. V. 192, 198. M. 
 
 468f. 
 
 del Po. V. 36a. 
 
 Valenciennes Museum. Page 328. 
 Valladolid, pictures. Page 355. 
 
 Museum. V. 82. M. 316.* 
 
 Vallebriga, Teresa. V. 12 note. 
 Vallejo, E. M. V. 75c. 
 
 J- V. 5, 31, 33. M. 137. 
 
 Vallet, C. H. M. 83, 156. 
 
 Vandergucht sale. M. 8a, H2v, 168a. 
 
 Vander Meulen. V. 203d. 
 
 Van Kessel. V. 75b. 
 
 Vanloo, L. M. V. 22ggg. 
 
 Vargas, Luis de. V. 16 note. 
 
 Varin, engraving. M. 73f. 
 
 Vatican. See Rome. 
 
 Vaudreuil, Comte de. M. 83, 195, 196, 
 
 358k. Page 381. 
 Vaughan. M. 62, 226. 
 Vayron, engraving. M. 101. 
 Vazquez, Archbishop. M. 40. 
 
 P>. V. 67. M. 27. 
 
 Veils prohibited. V. 265. 
 Veitia Linage, Jose. Page 307. 
 Velasco, Isabel de. V. 21. 
 
422 
 
 INDEX. 
 
 Velazquez Diego. Chronology. Page 
 
 109. Family. V. 24. 
 
 Etchings by. V. 27, 274c. 
 
 Velazquez Diego. Inventory of. V. 
 
 274k. 
 
 Memoir e de. V. 198. Pages 
 
 329, 360. 
 
 Pictures signed by. V. 9, 28, 
 
 6sp, 156, 178, 183, 184, 204. 
 
 Portraits of. V. 25, 26a, 36, 
 
 40, 195 to 203d. 
 
 School of. V. 114, 143a. 
 
 Wife of. V. 24, 261, 262. 
 
 Children of. V. 16, 24, 263. 
 
 Followers of. Page 317. 
 
 General. V. 206 note. 
 
 Venice. See Manfrini Palace. 
 Venturi, A. V. 103, 150b. 
 Vereker, C. S. V. 229U. 
 Vernon sale. V. I90g. 
 
 T., engravings. M. 78, 182. 
 
 Versailles palace. V. 183 copy, 203d, 
 242. M. 468a. 
 
 Gal., Hist. de. V. 207, 255, 
 
 4°5- 
 
 Verrue, Countess of. M. 167 note, 
 
 413, 426. 
 Vgalde, J. B. M. 305. 
 Viardot, L. V. 29, 250. 
 
 History of Painting. V. 27, 86. 
 
 M. 274. 
 
 Writings of. Pages 355, 377. 
 
 Vienna, Akademie. V. 97 copy, 269. 
 M. 300a, 426, 441. Pages 324, 
 338. 
 
 Albertina. V. 97. 
 
 Belvedere. V. 24, 76, 121, 126, 
 
 141, 147, 247, 253. M. 325. 
 
 Pages 377, 380. 
 
 Gemdlde Galerie. V. 24, 76, 
 
 147. M. 325. 
 
 See Czernin ; Haas ; Harrach ; 
 
 Liechtenstein. 
 Vigarani, Cte. V. 150b. 
 Vigneron de la Haye. M. 273b. 
 Vilamil. M. 282, 373b. 
 
 Villaamil, G. Cruzada. Page 370. 
 Villafranca, P. de. V. 123, 165. 
 Villahermosa, Duque de. V. 12, 106, 
 
 159, 173, 259- M. 70, 201, 207. 
 
 Page 319. See also Carderera collec- 
 tion of portraits. 
 Villain. V. 9c. M. 26ie, 468a. 
 
 G. R. Le. V. 31. 
 
 Villamanrique, Marques de. M. 10, 
 
 359. Page 344. 
 Villasante de Montija. Page 384. 
 Villavicencio, Pedro de. M. 441, 455, 
 476L Pages 313, 315. 
 
 Life and Works of. Page 336. 
 
 Villaviciosa, Real casa de. V. 95g. 
 Villerey, engraving. M. 411. 
 Villot, F., etching. 425a. 
 Viola. V. 8 1 a. 
 Violante, Juan. M. 264. 
 Virtue, G. M. 167, 173. 
 
 & Co. V. I4e, 37. 
 
 Vista Alegre. V. 16 note. 
 Vitali. V. I77d note. 
 Vittoria, church in. M. 227a. 
 
 See Montehermosa. 
 
 Vittoria della Rovere. V. 150a. 
 Vivian, G. M. 43, 166, 330. 
 Vogt, engravings. M. 56, 274. 
 Vouet, F. V. 151a. 
 
 Waagen, C. M. 399k. 
 
 G. F. Bibliography. Page 377. 
 
 Waanders, F. B. M. 82. 
 
 Walesby. V. 157. 
 
 Walker, J. M. 130. 
 
 Wallace, Sir R. V. 38, 102, 133, 135, 
 
 136, 169, 258, 265, 267. M. 13, 53, 
 
 59, 68, 88, 92, log, 115, 116, 123, 
 
 152, 399- 
 
 Wallis, G. A. V. 34, 89^ 92. M. 
 
 10, 95, 146a, 406, 425d, 442d. 
 Walters. V. 65s. 
 Waltner. V. 255. M. 171. 
 Ward, W. M. 412. 
 Warren. V. 185. 
 W T arrenden, Sir G. V. 138. 
 
INDEX. 
 
 423 
 
 Warwick, Earl of. M. 418. 
 
 Warwickshire. See England. 
 
 Watson, C. M. 425b, 425c. 
 
 Watt. M. 412. 
 
 Webb, J., sale. M. 68d. 
 
 Weber. M. 50I7, 83, 156. 
 
 Weigel. Kiinstsammlung. V. 229aa. 
 
 Weinhold, G. M. 21, 71. 
 
 Weis, B. M. 447. 
 
 Weisbrod. M. 413, 427. 
 
 Wellesley, Sir H. M. 146I1. See 
 
 Cowley, Lord. 
 Wellington, Duke of. V. 12 note, 61, 
 
 62, 85, 86, 158, 187, 191, 209. M. 
 
 5, 211, 227, 239 note, 266, 379, 448, 
 
 464. Page 364. 
 Wells, W. M. 372, 432. 
 
 W. (Redleaf) sale. V. 136. M. 
 
 399, 43 2 - 
 
 Wemyss, Earl of. V. 210. M. 145, 
 
 168, 278. 
 Wendell, John. M. 345. 
 Wentworth, F. W. V. 160b. 
 West. M. 304, 373L 
 
 Benjamin. M. 310b. 
 
 F. B. sale. M. 332f. 
 
 Sackville. M. 425aa. 
 
 Westall, R. sale. M. 12c, 16b. 
 Westminster, Duke of. V. 222. See 
 
 Grosvenor House. 
 Westmoreland. See England. 
 Wetherell. M. 176, 334. 
 Weyer, J. P. V. 12a. 
 Whatman, J. V. I4d, 229CCC 
 Whitcombe. M. U2nn. 
 Whiting, H. M. 173d. 
 Wiedenbaum, S. M. 443. 
 Wilkie, Sir D. V. 133, 148a, 193, 
 
 229m 
 
 Wilkin sale. V. 65q, 86a. M. 213a. 
 Willcox, B. A. M. 8a note. 
 Willett, J. W. M. 456h. 
 Williams, Edwin. M. 474. 
 
 II. M. 146I. 
 
 Julian. V. 9c, 18. M. 5og, 
 
 8 7, 97, *35 b > I3 6 , 184a, 
 
 204, 2ioe, 213c, 236c, 253b, 259, 
 273C, 295, 297, 30od, 307, 307c, 
 377, 3 8 5a, 397, 400, 465, 47% 
 476i. Pages 345, 353. 
 
 Wilson, A. M. 328. 
 D. M. 358s. 
 
 Wilton, paintings. M. 423d. Pages 
 
 3 6l > 364- 
 Wiltshire. See England. 
 Winckworth. Page 379. 
 Windsor Castle. M. 50t. Page 364. 
 Wolkonski, Count. M. 58a. 
 Wollett, W. M. 442h. 
 Wolterton. See Orford. 
 Wood, Western. M. 320. 
 Woodburn. V. 117, 133, 203b. M. 
 
 20, 29, 34. Page 380. 
 Woolnoth, T. M. 450c 
 Worcester. See England ; Whiting H. 
 Wornum, R. N. V. 123. Page 366. 
 Worthington, W. H. M. 194a. 
 Wortley, Stuart. M. 368. 
 Wuleman, P. M. 50m. 
 Wurzbach, Klassiker der Malerei. V. 
 
 27, 86. M. 55. 
 Wyatt, R. M. 425II. 
 Wyndham, Col. See Leconfield, Lord. 
 Wynn, Sir W. M. H2q. 
 
 X. etching by. V. 254. 
 X. sale, 1861. V. 258k. 
 Xeres, Cartuxa. V. 3a. 
 See Gordon, J. D. 
 
 Yale College. V. 221. 
 
 Yarborough, Earl of. V. 81I, 8iq. M. 
 
 379c, 402b. Page 328. 
 Yates. M. 406. 
 Yonge, Sir G. M. 45of. 
 Yorkshire. See England. 
 Young, J. See Grosvenor House; Miles 
 
 Gallery; Stafford House. 
 Ypres, convent. M. 82, 89. 
 
 Zachary, M. V. 229pp. M. 38, 300g, 
 412. 
 
424 
 
 INDEX. 
 
 Zaragoza. V. 48, 51. M. 338c 
 
 Juan de. M. 220. 
 
 Zarco del Valle. Documentos. Page 
 
 378. 
 
 Zeitschrift fiir B. Kunst. V. 245, 269. 
 
 M. 441. 
 Zetland, Earl of. M. 210. 
 
 Zichy, Count. M. 434d. 
 Zoellner, L. M. 137. 
 Zucchi. V. 226. 
 Zulueta, A. M. 350. 
 Zuniga, Ortiz de. M. 476I, 476m. 
 Zurbaran. V. 8, I7g, 95b, 241. 
 55, 173 note, 468L Page 345. 
 
 THE END.