Part 9 (2/2)

'Beauty, like all other qualities presented to human experience, is relative.'--WALTER PATER.

'The art of Spain was, at the outset, wholly borrowed, and from various sources: we see heterogeneous, borrowed elements a.s.similated sometimes in a greater or less degree, frequently flung together in illogical confusion, seldom, if ever, fused into a new harmonious whole by that inner welding fire which is genius; and we see in the sixteenth century a foreign influence received and borne as a yoke, because no living generative force was there to throw it off; and finally we meet this strange freak of nature--a soil without artistic initiative bringing forth the greatest initiator in modern art--Diego Velazquez.'

These words, which form a portion of the address delivered by the late Lord Leighton to the students of the Royal Academy Schools, in the year 1889, epitomise the salient points in the artistic history of Seville.

An almost impenetrable gloom shadows the early records of her art. Only one work remains to testify to the skill of her artists, during the thirteenth century. This is a rare old Bible, written on vellum and richly illuminated. It was transcribed for Alfonso, the Wise, by Pedro de Pampeluna, in the thirteenth century, and its numerous miniatures represent the pristine efforts of the Sevillian school of painting.

During the fourteenth and fifteenth centuries, the artists of Seville were wholly dominated by the Flemish school. The great master of the Low Countries, Jan van Eyck, visited the Peninsula, and from that time the Flemish influence continued to increase in potency. Flemish works of art were largely imported into Spain, and three Flemish artists, according to Professor Carl Justi, were employed in the court of Isabella la Catolica. The Gothic characteristics of the Northern school are manifest in all the pictures of this period. They may be readily recognised by their long lean figures, their definite, almost harsh outlines, and their rich colours, which are frequently embellished with gold.

The pictures painted during these years bear little trace of Italian influence, although we know that in the year 1466 a Florentine painter, Dello, who belonged to the school of Giotto, was living in Seville. No authentic works from his hand remain, but he ama.s.sed great wealth, as a proof of which we are told that he always painted in an ap.r.o.n of stiff silk brocade.

Many of these paintings, dating to the fourteenth and fifteenth centuries, bear no signature. They are cla.s.sified without distinction as the _Escuela Flamenca_, and the Spaniards apparently regard them with scant reverence. They are all interesting, while many of them possess great charm, and reveal well-developed artistic power. The Gothic influence is dominant, but a distinctly Spanish tendency can frequently be discerned. Local dress and customs are often depicted, and the pictures are executed with the relentless vigour, which is the specific characteristic of the early Spanish school. Examples of these Hispano-Flemish pictures will be found in the Museo, in the _Cap de Santa Ana_ and the _Cap de la Antigua_, in the Cathedral, and in many of the churches.

The earliest Sevillian artist of whom we have any distinctive record is Juan Sanchez de Castro, who lived in the city from 1454 to 1516. Sir W.

Stirling-Maxwell calls him 'the morning star of the school of Andalusia.' He quickly absorbed the Flemish influence, and his works are wholly Gothic, both in conception and manner of treatment. No details of his life are extant, but the wreckage of time has spared his work, and we can still study both a fresco and a panel painting executed by his hand.

In the Church of San Julian, situated in the _plaza_ of that name, is a giant San Cristobal, painted by Sanchez in 1484. It is executed in tempera upon the wall of the church, close to the princ.i.p.al entrance.

The figure of the saint is of enormous size, entirely subordinating the remainder of the composition, thus producing an effect of exaggeration and lack of proportion. The fresco has unfortunately been repainted, and little of the old master's work remains, except his signature and the date 1484.

Of infinitely greater value is his painting on panel, preserved among the pictures collected by the late Senor D. Manuel Lopez Cepero, which may now be seen in the house of Murillo, described elsewhere in these pages. The picture is painted upon a panel of wood, covered with canvas and carefully prepared plaster, as was the manner of the early masters, who did none of their work hurriedly, and devoted much time to the painstaking preparation of their materials. The picture may be regarded as a typical instance of the Hispano-Flemish manner. The conventional grief, symbolised by the drooping eyelids, falling tears and set countenances of the women; the harsh outlines; the extreme length of the reclining figure of the Christ, all bear the imprint of the Gothic school. The picture deserves much study. Its decorative proportions, extreme simplicity and harmony of colour can hardly be praised too highly. It is a meritorious herald of the work of the Sevillian artists.

Juan Nunez, the pupil of Sanchez, continued to imitate the manner of his master. His finest work is a composition, representing the _Pieta_. It was painted for the Chapter of the Cathedral, during the latter half of the fifteenth century, and now hangs in the _Sacristia de los Calices_, where many of the choicest treasures of art are preserved. The Virgin supports the dead body of the Christ; St. Michael and St. Vincent are at her side, while kneeling ecclesiastics pray below. The Flemish manner still prevails, and the Gothic stiffness of the Saviour's figure bears a strong resemblance to the work of Sanchez. Cean Bermudez praises the picture very highly, and states that it is not inferior to Albert Durer in colour and arrangement of the drapery. Like many of the early religious painters, Nunez appears to have been dest.i.tute of a sense of humour, and in a picture of St. Michael and St. Gabriel, painted for the Chapter of the Cathedral, he depicted the saints adorned with gaily-coloured peac.o.c.ks' wings.

The Hispano-Flemish manner was perfected by Alezo Fernandez, who came from Cordova, in 1525, to work in Seville Cathedral. Lord Leighton considers him 'the most conspicuous among the Gothic painters,' and without doubt, his work marks a further advancement in the development of the Andalusian school. It bears testimony to advancing knowledge. For the first time we perceive clearly the growth of a distinctive Spanish style. The Flemish manner is still strongly visible, but from out of this eclecticism emerges that forceful effort after truth and natural expression, which is the conspicuous characteristic of the Spanish school. His finest picture is the Virgen de la Rosa, in the Church of Santa Ana, at Triana. The charm of this work is very great. The mellow splendour of its tones, and the lofty spirit in which it is conceived render it a study of high merit. Other pictures by this master may be seen in the Palacio Arzobiscopal, where hang the Conception, the Birth of the Virgin, and the Purification, three works of great interest; and in the Church of San Julian, where there is a fine altar-piece. The figure of San Pedro depicted upon the left of the composition is one of the ablest; beside him is San Antonio, while San Julian and San Josef stand upon the left. Over the altar are representations of the Incarnation and the Crucifixion.

During the opening years of the sixteenth century a new influence from without was imposed upon the Spanish school of painting. The Italian Renaissance extended to Spain, and this movement, which in Italy produced the brilliant group of the _quatrocentisto_, fell upon the artistic genius of Spain as a deadening blight. It was alien to the temper of the Spanish nation. The simple, truthful directness of their early mode was forgotten; gradually their art became steeped in a hopeless mannerism.

Luis de Vargas, who was born in Seville in 1502, was the first Andalusian artist, whose work testifies to the Italian influence. He spent many years studying in Italy. He was a devout Catholic, and like all the artists of Seville was supported by the munificence of the Chapter of the Cathedral. Unfortunately his frescoes, upon which his reputation, according to Cean Bermudez, largely rested, have been almost entirely obliterated. Dim traces of them may be seen upon the Giralda Tower, and upon the outer wall which encloses the Court of the Oranges; but it is impossible to appraise the work of De Vargas from these time-spoilt relics.

Of his panel paintings only a small number have been preserved. They are simple, yet powerful in design; the colour is fresh, and the drawing is good. They are specially noteworthy for the charm with which women are portrayed, a characteristic unusual among the artists of Spain. The earliest known work of De Vargas was The Nativity, which was painted for the Chapter of the Cathedral, in 1555, and placed over the Altar del Nacimiento, where it still hangs. Sir W. Stirling-Maxwell says that the figure of the Virgin, as she stands gazing upon her babe, 'bears a simple dignity not unworthy of Raphael.' The grouping of the figures is admirable. Notice especially the peasant, as he kneels and offers his basket of young doves. The care bestowed upon the execution of the details shows that De Vargas had not yet forgotten the example of the early masters. The goat, the sheaf of corn, the Spanish pack-saddle, all the accessories are painted with Flemish accuracy.

The Temporal Generation of our Lord, in the south transept of the Cathedral, adjacent to the colossal figure of San Cristobal, is generally considered the masterpiece of Luis de Vargas. It is an allegorical composition, representing Adam and Eve adoring the infant Christ, who rests in the arms of the Virgin. The picture is lacking in charm, but the figures are finely conceived, and executed with power.

Indeed, the life-like drawing of Adam's leg has given the picture its name of _La Gamba_ (the leg). It is reported that the Italian Perez de Alesio, the painter of the giant San Cristobal, exclaimed when gazing upon his handiwork, 'The whole of my figure is of less merit than the leg of Adam.'

Greater than Luis de Vargas was the Flemish painter Pedro Campana, who came to Spain and settled in Seville in the year 1548. He had spent many years in Italy, studying in Rome, and his pictures bear the impress of a combined Flemish-Italian influence. He stayed in Seville for twenty-four years, and is always identified with the artists of Andalusia. His finest picture, The Descent from the Cross, was painted for the Church of Santa Cruz in the year he came to Seville, 1548. The strength and realism of this work are truly majestic. It is, without doubt, the finest picture painted by the Italian mannerists in Seville.

It exerted great influence upon the artists of a later day. Pacheco declared that its realism was so overmastering that he did not care to be left alone with it in the dimly-lighted chapel. Murillo spent long hours in earnest contemplation of the picture. He was wont to perform his devotions before it, and once, when asked why he sat watching the picture so intently, he is reported to have answered, 'I am waiting until those men have brought the body of our Blessed Lord down the ladder.' It was beneath this picture that the favourite master of Seville chose to be buried. The picture now hangs in the _Sacristia Mayor_ of the Cathedral. It was rescued from the Courts of the Alcazar, where it had been wantonly flung by the French, during the War of Independence, and tolerably restored by Joaquin Cortes, in 1882.

Seville contains many other works by the Flemish master. In the _Cap de Mariscal_, in the Cathedral, is a very beautiful Purification of the Virgin. The charm and simple grace of the fair-haired maiden, who stands upon the left of the picture, contrasts vividly with the form of the beggar beneath. The half-length portraits of the Mariscal Don Pedro Cabellero and family, which also hang in the chapel, are individual and life-like. There is little trace of Italian influence in the rendering of these figures; they are all painted with Flemish carefulness. Other works of Campana may be seen in the Church of San Pedro and the Church of Santa Ana, at Triana. The individuality of Campana can hardly be too strongly emphasised. His pictures possess many of the essential and distinctive attributes, which characterise the work of the greatest of the Sevillian artists.

Contemporary with Luis de Vargas and Pedro Campana--the masters of the early Italian mannerists--worked a group of artists of lesser fame.

Antonio de Arfian, 1537-1587, a native of Triana, painted frescoes for the parish church of St. Mary Magdalen. Juan Bautista Vasquez, in 1568, executed an altar-piece for the Church of Our Lady of the Pomegranate, in the Court of the Oranges; and other works since destroyed, for the Cathedral. Alonso Vasquez painted many pictures for the Cathedral and the Convents of St. Francis and St. Paul. The few of these works which remain may be seen in the Museo, where they hang neglected, fast rotting in their frames. These artists closely imitated the style of De Vargas.

More individuality is revealed in the works of Pedro Villegas Marmolego, 1520-1597, an artist whose pictures are extremely rare. The Virgin visiting Elizabeth, which hangs over the _Altar de la Visitacion_ in the Cathedral, is a good example of his work, and displays his charm as a colourist. The garments of both the Virgin and Elizabeth are beautiful with radiant harmony. The works of Francesco Frutet--like Campana a Flemish artist trained in Italy, who came to Seville, about the year 1548--will be noticed in the account of the Museo.

Another foreigner, who worked in Seville during this period, was Sturmio, probably a German, who, in 1554, painted nine pictures on panel for the _Cap de los Evangelistas_, in the Cathedral. These studies are important, for they afford the earliest instance of the fine brown tones distinctive of the Sevillian school. The central picture depicts St. Gregory saying Ma.s.s, while around him are grouped the fourteen evangelists, and the saints of the city. Santas Justa and Rufina, the holy maids, frequently portrayed by the artists of Seville, are among the best.

The work of all these artists, who may be cla.s.sified as the early Italian mannerists, reveals a distinctive personality. The individuality of the artist constantly breaks forth, through the strong Italian bias, while traces are often revealed of the truthful expression of the early Hispano-Flemish mode.

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