6 SPANISII SCHOOL,
fragments of the vest are touched with boldness, for no one can properly point rags ; tlie flesh
is modelled with care; tlio rongh and snnbnrnt skin, and the calions soles of tire fcet, sufficiently
indicato tlio truant habits of tlio vagabond, and liis liorror of work and clean water. Unis lias
Mnrillo involuntarily charactcrised tlio Spanish poople by tlio single figure of this nrcliin eqnally
froc from care and trouble, who, after nnconscionsly sitting for his portrait, prondly holds np his
heacl, and is at least as abstentions as lie is idle. The picture itsolf is really a curions and
agreeable object to look at.
That talent which served to inake Mnrillo the most popnlar painter of Spain, had already
brought him so ninch into notice, that in a short finie lie acquired fortune enough to be deemed
worthy of esponsing a lady of distinction (una persona de convenienciasj of the city of Pilas, Doîïa
Beatrix do Cabrera y Sotomayor.* * * § This marriage took place in 1G48, from which finie Mnrillo
found his famé rapidly increaso, at the sanie finie that lie felt liis genins more fnlly develope
itself. The originality of the painter at length threw off the shacklos of imitation. Vandyck,
Ribera, Titian, and oven Velasquez, ail the models at first so ingenionsly imitated, faded by
degrccs from the memory of their admirer, and on their vanished traces arose a now artist, a
master in his tnrn, who now displayed a character, a stamp, and a signature of his own ; this
was Esteban Mnrillo.
This was his third and last transformation.f The violent light and shade, which lie had
borrowod from Ribera, sensibly softened and gaincd in transparency what it lost in force, his
tonch grew more mcllow, his style became fixed, and nothing remained to him of the great
Velasquez but the art of graduating his tints, to paint the air, as finely expressed by Moratin.
Ho fnrthcr preserved that excellent gray tone of his which generally serves as a backgronnd to
the portraits of Velasquez, in which the gravity of the personages habited in black combines so
harmonionsly with those cool and tranqnil tints, in which still lingers that glow which makes
the coldest tones of Spain approach even the warm hnes of Northern conntries.
In spito of the tierce rivalship of Valdés Leal, and the jealousy of Herrera the yonnger,
Mnrillo ascendod without difficulty to the first position in Seville. Peoplo flocked to him from
ail parts to give him commissions for Virgins, for inonks praying, for Saviours, and other
dovotional snbjccts—so trnly did ho paint them in accordance with the impassioncd feelings of
the Spaniards. Thcre was not a commnnity of Capnchins, of Augnstins, of Franciscans, that
was not anxions to hâve the image of its patron saint from the hand of Mnrillo ; nor was therc a
high altar of a cathédral, or a chapcl of renown, which was not reserved for one or other of the
innumerable “ Conceptions,”J as rapidly composed by Mnrillo as they were varied in character.
It iniglit be almost said that this striking miracle continnally enlightened his imagination. The
rapt Virgin always appeared to him clothed in bhie and white,§ the invariable apparel which,
* Cean Bermudez : Diccionario Historico de los mas ilustres Profesores de las Bellas Artes en Espana, vol. ii.
pp. 51, 52.
f “ Mnrillo had three styles : the Frio, his earliest, being based on Ribera and Caravaggio, was dark, with a
decided outline. Of these were the pictures in San Francisco. His second manner was his Calido, or warm, when
liis colouring was improved, while his drawing was still well defined and marked. His third style was the Vaporoso,
or misty, vaporous and blcnding. This he adoptée! partly because Herrera el Mozo had made it the fashion, and
partly because, being stinted for time from the increased orders, he could not finish so highly. Thus, to get more
quickly over his work, he sacrificed a somewhat of his préviens conscientious drawing.”—A Handbook for Travellers
in Spain, page 50. London: John Murray, 1847.
J What we call “ assumptions,” the Spaniards call “ conceptions.”
§ Captain S. S. Cook, R.N., an English traveller, observes that the costume of Murillo's virgins is always the same,
“being invariably painted with blue and white drapery.”—Sketches in Spain during the Years 1829-30-31-32.
2 vols. 8vo. London, 1843. Vol. ii. page 199.
6
fragments of the vest are touched with boldness, for no one can properly point rags ; tlie flesh
is modelled with care; tlio rongh and snnbnrnt skin, and the calions soles of tire fcet, sufficiently
indicato tlio truant habits of tlio vagabond, and liis liorror of work and clean water. Unis lias
Mnrillo involuntarily charactcrised tlio Spanish poople by tlio single figure of this nrcliin eqnally
froc from care and trouble, who, after nnconscionsly sitting for his portrait, prondly holds np his
heacl, and is at least as abstentions as lie is idle. The picture itsolf is really a curions and
agreeable object to look at.
That talent which served to inake Mnrillo the most popnlar painter of Spain, had already
brought him so ninch into notice, that in a short finie lie acquired fortune enough to be deemed
worthy of esponsing a lady of distinction (una persona de convenienciasj of the city of Pilas, Doîïa
Beatrix do Cabrera y Sotomayor.* * * § This marriage took place in 1G48, from which finie Mnrillo
found his famé rapidly increaso, at the sanie finie that lie felt liis genins more fnlly develope
itself. The originality of the painter at length threw off the shacklos of imitation. Vandyck,
Ribera, Titian, and oven Velasquez, ail the models at first so ingenionsly imitated, faded by
degrccs from the memory of their admirer, and on their vanished traces arose a now artist, a
master in his tnrn, who now displayed a character, a stamp, and a signature of his own ; this
was Esteban Mnrillo.
This was his third and last transformation.f The violent light and shade, which lie had
borrowod from Ribera, sensibly softened and gaincd in transparency what it lost in force, his
tonch grew more mcllow, his style became fixed, and nothing remained to him of the great
Velasquez but the art of graduating his tints, to paint the air, as finely expressed by Moratin.
Ho fnrthcr preserved that excellent gray tone of his which generally serves as a backgronnd to
the portraits of Velasquez, in which the gravity of the personages habited in black combines so
harmonionsly with those cool and tranqnil tints, in which still lingers that glow which makes
the coldest tones of Spain approach even the warm hnes of Northern conntries.
In spito of the tierce rivalship of Valdés Leal, and the jealousy of Herrera the yonnger,
Mnrillo ascendod without difficulty to the first position in Seville. Peoplo flocked to him from
ail parts to give him commissions for Virgins, for inonks praying, for Saviours, and other
dovotional snbjccts—so trnly did ho paint them in accordance with the impassioncd feelings of
the Spaniards. Thcre was not a commnnity of Capnchins, of Augnstins, of Franciscans, that
was not anxions to hâve the image of its patron saint from the hand of Mnrillo ; nor was therc a
high altar of a cathédral, or a chapcl of renown, which was not reserved for one or other of the
innumerable “ Conceptions,”J as rapidly composed by Mnrillo as they were varied in character.
It iniglit be almost said that this striking miracle continnally enlightened his imagination. The
rapt Virgin always appeared to him clothed in bhie and white,§ the invariable apparel which,
* Cean Bermudez : Diccionario Historico de los mas ilustres Profesores de las Bellas Artes en Espana, vol. ii.
pp. 51, 52.
f “ Mnrillo had three styles : the Frio, his earliest, being based on Ribera and Caravaggio, was dark, with a
decided outline. Of these were the pictures in San Francisco. His second manner was his Calido, or warm, when
liis colouring was improved, while his drawing was still well defined and marked. His third style was the Vaporoso,
or misty, vaporous and blcnding. This he adoptée! partly because Herrera el Mozo had made it the fashion, and
partly because, being stinted for time from the increased orders, he could not finish so highly. Thus, to get more
quickly over his work, he sacrificed a somewhat of his préviens conscientious drawing.”—A Handbook for Travellers
in Spain, page 50. London: John Murray, 1847.
J What we call “ assumptions,” the Spaniards call “ conceptions.”
§ Captain S. S. Cook, R.N., an English traveller, observes that the costume of Murillo's virgins is always the same,
“being invariably painted with blue and white drapery.”—Sketches in Spain during the Years 1829-30-31-32.
2 vols. 8vo. London, 1843. Vol. ii. page 199.
6