Albert Frederick Calvert

“ Seville is the home of religious art. The habit of her painters was serious; in their profound religious sense, in their adherence, almost brutal at times, to facts, as well as in those interludes of sensuous sweetness that now{112} and again, as, for instance in the art of Murillo, burst out so strangely like an exotic bloom, they reflect the temper of Spain. It is contended sometimes that these pictures in Seville are wanting in dignity, wanting in beauty. But are we not too apt to confine beauty to certain forms of accepted expression? Surely any art that has life; has dignity, has beauty ”

“ Only in portraiture does he say what he has to say for himself. The portrait of Fernando de Contreras, in the Sacristía de los Calices, is a portrait of sincerity and character, in which is the Spanish insistence on detail, unpleasant detail even, as in the ill-shaven cheeks rendered with such exact care. Contrast this portrait with his other pictures, so extravagant, with such futile gesticulation, to understand how a really capable painter lost his sincerity, as just then it was lost in all Spanish painting. ”

“ This is why Herrera’s pictures claim notice from the student of Andalusian art to-day: they form a link in the unbroken chain of the national pictures.
Now turn to Zurbarán.
You pass at once into a world of realism, a world in which facts, obvious facts, are set forth with a downright passion of statement that for a moment tricks us; we think we have found life, and, instead, we have the outward form, too monotonously literal, and without suggestion. Upon Zurbarán lies the weight of the sadness of Spain. ”

“ No one has ever painted ecstasy with quite the facility of Murillo. And in the Museum, where the Capuchin Series and other famous pictures are gathered, you can learn all that is essential to his art; his happy Saints swim before you in mists{132} of luscious colour; cherubs flutter around as they minister to beggars clad in rags carefully draped; Virgins, garbed in the conventional blue and white, their feet resting upon the crescent moon, vanish into luminous vapour, their robes rustle in the air, and their sun-lighted faces repeat the very complexion of Seville. ”

“ And, when we come to the next century, which gives us Alonso Cano, sculptor, architect, and painter, described admirably by Lord Leighton as “an eclectic with a Spanish accent,” many of whose facile, meaningless pictures may be seen in Seville, to the much inferior work of the younger Herrera, and to the exaggerated over-statements of Juan de Valdés Leal, in whose art Sevillian painting may be said to die, we realise into what degradation pseudo-Italianism had dragged painting.
But there is a reverse side to the picture. The spirit of Spain was too strong to sleep in an art that was borrowed. ”

“ Rarely, indeed, shall we find a picture in which the idea of beauty, whether it is the beauty of colour or the beauty of form, has stood first in the painter’s mind; almost{108} in vain shall we search for any love of landscape, for any passage introduced just for its own sake. For, let it be remembered, in Andalusia art was devotional always. “The chief end of art,” says Pacheco, the master of Velazquez, in his Arte de la Pintura, “is to persuade men to piety and to incline them to God.” Pictures had other purposes to serve than that of beauty. ”

“ The Moors left their beloved capital at the height of its prosperity, in the full flower of its beauty; change has not affected its material importance, and time has not staled its infinite variety. A Christian Cathedral now stands on the foundation of the great mosque of Abu Yakub Yusuf; but the Moorish Giralda, the most expressive monument of the Mohammedan occupation, still beckons the distant traveller onwards to the promised land; the Alcazar breathes the spirit of its Oriental masters ”

“ But first we find ourselves carried away from the reality and darkness of life back to a happy childhood of art, as we look at the three fourteenth-century frescoes of the Virgin—the “Antigua,” in the chapel named after it in the Cathedral, “Nuestra Señora del Corral” in San Ildefonso, and “Señora Maria de Rocamador” in San Lorenzo—an art when the painter, less conscious of life and of himself, was content to paint beautiful patterns. In these three pictures—all that are left to us—we see the last of Byzantine art in Spain. ”

“ Go to the suburb of Triana, and in the Church of Santa Ana there is the sweetest Madonna and Child, in which we find a new suggestion in the joy of the Mother in her Babe, a human attitude, making the picture something more than mere illustration. And we notice a delicate care for beauty found very rarely in Seville, perhaps never as perfectly as in the work of this painter. ”

“ This is the reason why a Spanish painter had to treat a vision as a real scene. We have pictures horrible with the sense of human corruption{110}—such, for instance, are the two gruesome canvases of Valdés Leal, in La Caridad. Again and again is enforced the Catholic lesson of humility, expressing itself in acts of charity to the poor, so essential an idea when this life is held as but a threshold to a divine life. We find a sort of wild delight in martyrdom; a joy that is perfectly sincere in the scourging of the body. All the Spanish pictures tell stories. ”

“ The successors of the sainted king made their home in the Alcazar, and adapted themselves to an environment created by their traditional foes. The personality which looms largest in the history of the city is that of Don Pedro I., surnamed the Cruel, or, by his few admirers, ‘the Justiciary.’ What Harun-al-Rashid is in the story of Bagdad is this ferocious monarch in the annals of Seville. Countless are the tales, the ballads, and traditions of which he is the subject. ”

“ In these first years of the Sevillian school, when art was sincere and young, many pictures were painted, all strong work, all interesting, in lesser or greater measure, to the student, even if not to the art lover, as showing the growth of a national style. In many cases the names of the artists are unknown; no painter has left much record of himself. These pictures, which may be recognised very readily, are found in the Museo de la Merced, in the Cathedral, and still more in the churches, the true museums of Seville. ”

“ The main desire of the sixteenth-century painters was, as it were, to wipe the artistic slate. All pictures painted in the old style were repudiated as barbarous, cast aside as an out-of-date garment. The country became overrun by third-rate imitators of the Italian grand style, of Michael Angelo, of Raphael and his followers. The decorations, as you can still see them, of the Escorial, may be taken as typical of Italian art as it was transplanted into Spain. All national art that was not Italian in its inspiration was looked upon as worthless. ”

“ In Seville, perhaps to a greater extent than in any city, even in Spain, the country of passionate individualism, art is the reflection of the life and temper of the people; and to understand Seville we must know her painters. As we look at the pictures of the Spanish primitives, at the emphatic canvases of Juan de las Roelas and Herrera, for instance ”

“ The Palacio de las Dueñas, more properly the Palace of the Dukes of Alba, and sometimes called Palacio de las Pinedas, is a vast and once splendid mansion, partaking of the mixed style of the two buildings last described. It boasted at one time eleven patios, with nine fountains, and over one hundred marble columns. A fine patio remains, surrounded by a gallery with graceful columns. The staircase, with its vaulted roof, recalls that of the Casa de Pilatos. In the lower part is a chapel of the fifteenth century, which has fared very badly at the hands of restorers or rather demolishers. ”

“ And if these larger pictures have not quite the fresh charm of the “Madonna of Santa Ana,” in each one we find a real{118} understanding of beauty, and with it the Spanish gift of presenting the sacred stories as drama, just as the painter felt it all must have happened. Each figure in these scenes has life, has character. No lover of Spanish painting can afford to neglect any picture of Fernandez, and no estimate of the early art of the country can be true that does not include his work. ”

“ Seville lives. Cordova is dead, and Granada broods over her past. These are cemeteries of a vanished civilisation. Alone among the ancient seats of Moorish dominion, Seville has maintained her prosperity. Her wharves, as in the days of Al Mansûr, are still the resort of sailors from many lands. There is still wealth in her palaces and genius in her schools. To-day she holds the first{2} place in native art, and Garcia y Ramos, Sanchez Perrier, Jimenez Aranda, and Bilbao not unworthily continue the traditions of Murillo and Zurbarán. ”

“ You traverse them with a glance from floor to ceiling, and it seems that you could almost count the moments it would take for the eye to climb them.... In the central aisle, another cathedral, with its cupola and bell-tower, could easily stand.”
Lomas, who is no great admirer of the building, admits that “the first view of the interior is one of the supreme moments of a lifetime. The glory and majesty of it are almost terrible. No other building, surely, is so fortunate as this in what may be called its presence.” ”

“ Despite its Doric and Ionic columns and Renaissance style, it does not mar the beauty and harmony of the whole building, and is itself a remarkably graceful work. The entablature of the second stage or storey bears the words Turris fortissima Nomen Domini. The whole fabric is surmounted by the bronze statue of Faith, executed by Bartolomé Morel in 1568. It stands fourteen feet high, and weighs twenty-five hundredweights, yet so wonderful is the workmanship that it turns with every breath of the wind. Hence the name applied to the whole tower—Giralda—from que gira, “which turns.” ”

“ In the meantime the germs of Arabian culture had fallen upon a kindly soil, and a new school of art and letters was in process of formation in Spain. The imposing monuments of Roman, Greek, and Byzantine civilisation, which the victorious hosts of Islam found ever in their path, were not without influence upon their conceptions of the beautiful in form. The fusion of the Hispano-Goths and Arabs likewise tended to produce a commingling of spirit, and ultimately to give birth to an art and a culture racy of the soil. ”

“ It is a picture of pure convention in which is no effort to carry the mind beyond what is actually seen; it makes its appeal just as so much decoration. This fresco, as well as the “Antigua” and “Nuestra Señora del Corral,” have been much repainted—the ill-fortune of so many early Spanish works.
But, in the fifteenth century, a new spirit came into art; and with the work of Juan Sánchez de Castro the school of Seville may be said to begin. No knowledge has come down to us of his life; we know only that he was painting in Seville between 1454 and 1516. ”

“ Over the arches runs a flowing scroll with Arabic inscriptions, among them being “Glory to our lord the Sultan Don Pedro; may God lend him His aid and render him victorious”, and this very remarkable text, “There is but one God; He is eternal. He was not begotten and does not beget, and He has no equal.” This is evidently an inscription remaining from Musulman days, and spared in their ignorance by the Christian owners of the palace. ”

“ Of this first period, the Mezquita at Cordova is the finest monument. Seville is peculiarly the city of the second, or true, Moorish period. Byzantine and Oriental influences disappeared and were supplanted by the African or, more properly, Berber, character. The new conquerors of Andalusia were a rude, hardy race, and we find something virile and coarse in their architecture. “Beside the Giralda of Seville,” remarks Herr Karl Eugen Schmidt, “the columns of the mosque of Cordova seem small; the pretty halls of the Alhambra have something weak and feminine.” ”

“ On coming to the work of Murillo it is quite another phase of the religious sentiment of Spain that we see developed: we gain an over-statement of sweetness, not an over-statement of facts. The spirit in which he painted was happier, more{131} trustful, more personal than was that of Zurbarán; he is more Andalusian and less Spanish, and certainly better equipped as a painter.
Murillo forms part of your life while you are in Seville, he is more or less around you everywhere ”

“ The Almohade architecture displays that debased taste which is imitative rather than instinctive, and which creates only by exaggerating forms to a degree inconsistent with the design—differing from the Mudejar work of the thirteenth to the fifteenth centuries, which reveals an instinctive feeling for the beautiful in ornament, which never loses sight of the graceful, the elegant, and the bold, and which consequently never betrays any aberration. ”

“ From the Patio de la Monteria we pass into the Patio del Leon. In the fifteenth century, we read, tournaments were often held here. Our attention is at once directed to the superb façade of the main building or Alcazar proper—the palace of Don Pedro. It is a splendid work of art. The columns are of rare marble with elegant Moorish capitals. ”

“ His Madonnas are peasants whose emotions are purely human. More perhaps than any painter Murillo’s work is personal—he translated the divine life and made it his own common human life—the fault is that his personality is not interesting. And seeing these pictures, and, even more, his other work—pictures hanging still in the churches for which they were painted, where they seem to share in the pervading religious emotion and to take their part in the life of the building—the “Vision of St Anthony of Padua” in the Baptistery of the Cathedral, for instance, or the great pictures of La Caridad ”

“ The reign of the Abbadites was brought to a close by the advent of the Almoravides (a word{16} allied to Marabut) , who, at the invitation of the Andalusian amirs, invaded Spain in the last quarter of the eleventh century. It was a story common enough in history. The Africans came at first as the friends and allies of the Spanish Arabs, and effectually stemmed the tide of Christian successes; but in 1091, Yusuf, the Almoravide leader, annexed Ishbiliyah and all Andalusia to his vast empire. The city became a mere provincial centre, the appanage of the Berber monarch. ”

“ Abu-l-Ala, Al Adil’s brother, who had been left as governor in Ishbiliyah, declared himself Khalifa on learning the accession of Yahya. He was the last of the race of Abd-ul-Mumin to rule in the city. He was driven from Spain—to found a wider empire in Africa—by Mohammed Ben Yusuf, variously styled Ben Hud and Al Jodhami.
The storm-clouds were gathering fast over the beautiful city by the Guadalquivir. Spain’s great national hero, St Ferdinand, now wore the crown of Castile. He routed the Moors at Jerez, and in 1235 wrested from them their most ancient and glorious metropolis, Cordova. ”