DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0212
168
THE SUTHERLAND GALLERY.
central division are hung the two great pictures by Murillo,
il The Angels’ Visit to Abraham,” and “ The Return of
the Prodigal Son.” Each picture is surmounted by the
bust of Murillo, crowned by two reclining genii, life size,
bearing palms. These pictures are of unequal merit. In
the first-named, a superhuman subject is treated in a most
sublunary fashion; the last, in which a subject altogether
earthly and domestic is rendered sublime through energy of
conception and feeling, may be pronounced, with reference
to the style of art, perfection. Certainly in point of truth
of expression, and in execution, Raphael himself never ex-
ceeded it. Placed thus together, these two fine pictures
are invaluable exemplifications of the Seville school, of all
that Murillo could do, and all that lay beyond the limit of
his powers— I will not say of his genius, for that I believe
to have been capable of reaching at whatever lay between
heaven and earth; but with him, as with Raphael, the
form of the manifestation was determined by extraneous
influences.* Of this more hereafter. Opposite to the
Murillos, hang some of the finest pictures in the collec-
tion; for instance, that wonderful portrait called “ Titian’s
Schoolmaster,” which every painter must look at with a
sort of desperation;—at least I know not one who would
dare to stand before it and whisper even to himself, “ an-
ch’io sono pittore!” I recollect only two heads which have
left a similar impression of inimitable excellence and mira-
* I should not think of naming the two painters together, but that others
have done so ; and, in truth, if we divide all painters into the two comprehen-
sive classes, the Idealists and the Naturalists, Raphael will stand at the head of
the first, and Murillo at the head of the last. To my own taste, he is far above
Rubens. In the travels of the Marquis, de Custine, (“ L’Espagne sous Ferdi-
nand VII.”) are some very eloquent and just remarks on the genius of Murillo.
He says,—“ Je le crois aussi grand peintre que Raphael, mais il n’est pas un
aussi grand homme.” “ Raphael dedaigne de flatter 1’oeil, quoiqu’il ne le
blesse jamais. Murillo le flatte et le blesse pourtant quelquefois. Raphael a
peint comme les Grecs ont batt; la noblesse de ses ceuvres est due a la source
d’ou decoulent ses idees ; et la noblesse de Murillo est due au but ou tendent
les siennes.” This is better far than the cut and dried criticism one usually
meets with.
THE SUTHERLAND GALLERY.
central division are hung the two great pictures by Murillo,
il The Angels’ Visit to Abraham,” and “ The Return of
the Prodigal Son.” Each picture is surmounted by the
bust of Murillo, crowned by two reclining genii, life size,
bearing palms. These pictures are of unequal merit. In
the first-named, a superhuman subject is treated in a most
sublunary fashion; the last, in which a subject altogether
earthly and domestic is rendered sublime through energy of
conception and feeling, may be pronounced, with reference
to the style of art, perfection. Certainly in point of truth
of expression, and in execution, Raphael himself never ex-
ceeded it. Placed thus together, these two fine pictures
are invaluable exemplifications of the Seville school, of all
that Murillo could do, and all that lay beyond the limit of
his powers— I will not say of his genius, for that I believe
to have been capable of reaching at whatever lay between
heaven and earth; but with him, as with Raphael, the
form of the manifestation was determined by extraneous
influences.* Of this more hereafter. Opposite to the
Murillos, hang some of the finest pictures in the collec-
tion; for instance, that wonderful portrait called “ Titian’s
Schoolmaster,” which every painter must look at with a
sort of desperation;—at least I know not one who would
dare to stand before it and whisper even to himself, “ an-
ch’io sono pittore!” I recollect only two heads which have
left a similar impression of inimitable excellence and mira-
* I should not think of naming the two painters together, but that others
have done so ; and, in truth, if we divide all painters into the two comprehen-
sive classes, the Idealists and the Naturalists, Raphael will stand at the head of
the first, and Murillo at the head of the last. To my own taste, he is far above
Rubens. In the travels of the Marquis, de Custine, (“ L’Espagne sous Ferdi-
nand VII.”) are some very eloquent and just remarks on the genius of Murillo.
He says,—“ Je le crois aussi grand peintre que Raphael, mais il n’est pas un
aussi grand homme.” “ Raphael dedaigne de flatter 1’oeil, quoiqu’il ne le
blesse jamais. Murillo le flatte et le blesse pourtant quelquefois. Raphael a
peint comme les Grecs ont batt; la noblesse de ses ceuvres est due a la source
d’ou decoulent ses idees ; et la noblesse de Murillo est due au but ou tendent
les siennes.” This is better far than the cut and dried criticism one usually
meets with.