DOI Page / Citation link:
https://doi.org/10.11588/diglit.49256#0025
MURILLO.
9
midst of a dazzling glory ; and the pions hermit, on his knees, enlightened by the apparition,
throws up his arms in an indescribablo transport of lovo for the Deity resplendent with
light and beauty, towards whom lie stretches ont his arms as for a loving embrace.* Ne ver was
the force of passionate expression carrièd beyond this point by any painter, nor ever was theio
produced, with brush and colours, skies more transparent or features of more seraphic sweetness.
The management of the chiaro-oscuro is no less astonishing here than the faith of the visionary
monk. It is inconceivable how the painter lias been able, by the mero power of light and
shade, to obtain so luminous an effect, and by what infinité gradation of treatment he lias
been able to pass from the intensity of the sun’s rays to the peaceful obscurity of the
hermit’s cell.f
But before quitting the cathédral of Scville, there romains to be secn the chapter bouse, the
Works of which were directed by Murillo in 1G67 and 1668. Provided the cicerone be a woll-
informed canon—and sonie may yet be found among the Chapter—ho will not fail to assert with
a feeling of becoming pride, that for the “ Saint Anthony of Padua” the artist received 10,000
reals, equal to 60,000 at the présent day and as the life of the great painter of Seville is well
known in that city rather by tradition than by reading the works of Palomino, the travcller will
learn, on the subject of the beautiful “ Conception” painted for the dôme of the Franciscans, the
history of the curions contest which took place between Murillo and the révérend fathers. A
picture destined always to be seen at a distance, must be conceived and treated with the broad
style suited to décoration. It must be clrawn squarely, and touched with great vigour. In
putting in his contrasts roughly, the painter confides to distance the care of restoring them to
their just proportions; and if he handles his colours with rude ability, he calculâtes on the
gradations of aerial perspective to produce an appropriate harmony. Murillo had been careful
not to forget the principles which he had occasionally seen so well applied in the learncd practice
of Velasquez. When the holy fathers had a close view of what they should only see at a
distance, they exclaimed against the coarseness of a painting that seemed ail a mass of confusion,
and which they doubtless thought was painted with the handle of the brush. They refused to
receive it, in short ; but the artist, before he carricd away his picture, demanded and obtained
leave to raise it for a moment to its proper position. In proportion as the canvass ascended, the
figures became disentangled, the outlines softened by littlc and little, and the colours mingled ;
that which before was careless appeared finished, what was harsh became soft, and when the
canvass reached its proper height, the most perfect harmony cnchantcd every eye. The good
« Figura al Santa medio arrodillado y absorto con las bracos levantados, esperando al nino Dios, que baxa de la
alto en uno gloria de Angeles, para estrecharle en supecho.”—Vide the Description artistica de la Catédral de Sevilla,
p. 79.
t Mr. Stirling, in his admirable work, entitled Annals of the Artists of Spain (London: John Ollivier, 1848),
vol. ii. p. 841, gives the following interesting details relative to this picture :—“ Appreciating the genius of the great
artist, the Chapter gave him another order in the following year (1656) ; in compliance with which he painted, for the
price of 10,000 reals, a large picture of Saint Anthony of Padua, one of his most celebrated works, and still a gem of
the Cathédral, hanging in the chapel of the baptistery. Kneeling near a table, the shaven brown-frocked saint is
surprised by a visit from the infant Jésus, a charming naked babe, who descends in a golden flood of glory, walking
the bright air as if it were the earth, while around him floats and hovers a company of cherubs, most of them children,
forming a ri ch garland of graceful forms and lovely faces. Gazing up in rapture at this dazzling vision, the saint
kneels, with arms outstretched, to receive the approaching Saviour. On the table at his side there is a vase containing
white lilies, painted with such Zeuxis-like skill, that birds, wandering amongst the aisles, hâve been seen attempting to
perch on it and peck the flowers ; and to the left of the picture, an arch discloses the architectural perspective of the
cloister. In 1833 this noble work was repaired, which in Spain means repainted, so that many a délicate touch of
Murillo’s pencil has disappeared. Enough, however, is left to show the genius of the original design, and the
splendour of the original colours.”
J Cean Bermudez : Description artistica de la Catédral de Sevilla.
9
9
midst of a dazzling glory ; and the pions hermit, on his knees, enlightened by the apparition,
throws up his arms in an indescribablo transport of lovo for the Deity resplendent with
light and beauty, towards whom lie stretches ont his arms as for a loving embrace.* Ne ver was
the force of passionate expression carrièd beyond this point by any painter, nor ever was theio
produced, with brush and colours, skies more transparent or features of more seraphic sweetness.
The management of the chiaro-oscuro is no less astonishing here than the faith of the visionary
monk. It is inconceivable how the painter lias been able, by the mero power of light and
shade, to obtain so luminous an effect, and by what infinité gradation of treatment he lias
been able to pass from the intensity of the sun’s rays to the peaceful obscurity of the
hermit’s cell.f
But before quitting the cathédral of Scville, there romains to be secn the chapter bouse, the
Works of which were directed by Murillo in 1G67 and 1668. Provided the cicerone be a woll-
informed canon—and sonie may yet be found among the Chapter—ho will not fail to assert with
a feeling of becoming pride, that for the “ Saint Anthony of Padua” the artist received 10,000
reals, equal to 60,000 at the présent day and as the life of the great painter of Seville is well
known in that city rather by tradition than by reading the works of Palomino, the travcller will
learn, on the subject of the beautiful “ Conception” painted for the dôme of the Franciscans, the
history of the curions contest which took place between Murillo and the révérend fathers. A
picture destined always to be seen at a distance, must be conceived and treated with the broad
style suited to décoration. It must be clrawn squarely, and touched with great vigour. In
putting in his contrasts roughly, the painter confides to distance the care of restoring them to
their just proportions; and if he handles his colours with rude ability, he calculâtes on the
gradations of aerial perspective to produce an appropriate harmony. Murillo had been careful
not to forget the principles which he had occasionally seen so well applied in the learncd practice
of Velasquez. When the holy fathers had a close view of what they should only see at a
distance, they exclaimed against the coarseness of a painting that seemed ail a mass of confusion,
and which they doubtless thought was painted with the handle of the brush. They refused to
receive it, in short ; but the artist, before he carricd away his picture, demanded and obtained
leave to raise it for a moment to its proper position. In proportion as the canvass ascended, the
figures became disentangled, the outlines softened by littlc and little, and the colours mingled ;
that which before was careless appeared finished, what was harsh became soft, and when the
canvass reached its proper height, the most perfect harmony cnchantcd every eye. The good
« Figura al Santa medio arrodillado y absorto con las bracos levantados, esperando al nino Dios, que baxa de la
alto en uno gloria de Angeles, para estrecharle en supecho.”—Vide the Description artistica de la Catédral de Sevilla,
p. 79.
t Mr. Stirling, in his admirable work, entitled Annals of the Artists of Spain (London: John Ollivier, 1848),
vol. ii. p. 841, gives the following interesting details relative to this picture :—“ Appreciating the genius of the great
artist, the Chapter gave him another order in the following year (1656) ; in compliance with which he painted, for the
price of 10,000 reals, a large picture of Saint Anthony of Padua, one of his most celebrated works, and still a gem of
the Cathédral, hanging in the chapel of the baptistery. Kneeling near a table, the shaven brown-frocked saint is
surprised by a visit from the infant Jésus, a charming naked babe, who descends in a golden flood of glory, walking
the bright air as if it were the earth, while around him floats and hovers a company of cherubs, most of them children,
forming a ri ch garland of graceful forms and lovely faces. Gazing up in rapture at this dazzling vision, the saint
kneels, with arms outstretched, to receive the approaching Saviour. On the table at his side there is a vase containing
white lilies, painted with such Zeuxis-like skill, that birds, wandering amongst the aisles, hâve been seen attempting to
perch on it and peck the flowers ; and to the left of the picture, an arch discloses the architectural perspective of the
cloister. In 1833 this noble work was repaired, which in Spain means repainted, so that many a délicate touch of
Murillo’s pencil has disappeared. Enough, however, is left to show the genius of the original design, and the
splendour of the original colours.”
J Cean Bermudez : Description artistica de la Catédral de Sevilla.
9