ty AHR * iene py Pieptsiet we + os) Bits Hel S PA Nae HISPANIC 30 Gitta Peewee AR SERTES Oe AME Ret CA a a4 A) Vs HISPANIC NOTES & MONOGRAPHS ESSAYS, STUDIES, AND BRIEF BIOGRAPHIES ISSUED BY THE HISPANIC SOCIETY OF AMERICA PENINSULAR SERIES EL GRECO ELIZABETH DU GUE TRAPIER Corresponding Member of The Hispanic Society of America THE HISPANIC SOCIETY OF AMERICA NEW YORK 1925 | Peete NTS CONTENTS PAGE Introduction: The Greek of Toledo. . 1 Chapter I El Greco in Venice.—The Clovio let ter.—Portrait of Clovio.—Rome an the Farnese Palace.—The Healing of the Blind.—The Adoration of the Magi.—The Purification of the Temple —Portrait of Anastagi—Saint Je- rome.—Portrait of a Lady.—El Greco RES We VS es a 7 Chapter II Toledo. The house of El Greco. The contemporaries of the artist.— The retablo for the Church of Santo Domingo el Antiguo.—The Annuncia tion. — Pieta. — The E-xpolio. — EI] Bape reno CoN O TES eee i LG Ree Greco’s quarrel with the Chapter of Toledo Cathedral 9s 18 Chapter III The Escorial and Philip the Second.— Artists in Spain.—Supposed Portrait of Pompeo Leom.—Saint Maurice commissioned by the King.—Portratt of a Man.—Portrat of a Doctor.— Supposed Portrait of the Duke of Benavente.— Portrait of Cardinal QOutroga.—Portrait of an Old Man.— Portrait of an Artist—Portrat of Nitio de Guevara.—Portrait of the Lady of the Flower.—Portrat of Paravicino. — Two miniatures. — The supposed Family of El Greco.— The son of El Greco.—Francisco Preboste’ 2 same 2 eco ee eas Chapter IV The Burial of the Count of Orgaz one ncn aa eg a 63 Chapter V El Greco and Spanish mysticism.— ae HIS P A NAG ee ora BN .T S Vil Christ Embracing the Cross.—Christ Bestowing a Blessing—The Cruci- fixion.—Saint Peter.—Saint Ildefonso. —Saint Sebastian.—Saint Dominic.— Saint James the Great.—Saint Jerome. —Saint Mary Magdalene.—The Tears of Saint Peter.—Saint Francis.—Holy Fanuly.—Saint Louis.— Supposed Por- Hirai Git ACOMETO. .0. 2s 79 Chapter VI The increasing mannerisms in _ the works of El Greco.—The Colegio de Dona Maria de Aragon, Madrid.— The retablo for the Chapel of San José, Toledo.—Glory of Philip the Second.—The retablo for the Colegio de San Bernardino, Toledo.—The re- tablo for the Church of the Hospital of Nuestra Senora de la Caridad, Illescas.—His work for the Church of the Hospital of San Juan Bautista, LS ae 95 Chapter VII The characteristics of the last works AND MONOGRAPHS | | E Li -GeR Eee by El Greco.—The Prayer in the Gar- den.—The Adoration of the Shepherds. —The Pentecost.—The Immaculate Conception—The Opening of _ the Fifth Seal—Laocoon.—View and Plan of Toledo.—Toledo in a Storm.—El Greco receives a visit from Pacheco. —The inventory of the artist’s pos- sessions. — His will. — His death. — Sonnet by Gongora in honour of EI o © © |@ )e lei) le jen (ee ol 16m lee tae one! a a ee ee ee ee ee OR eye Phy eh oh oh ee 6 eee ey teers © © 8. Je, “ay 0)” ie. Ce) 6, hednes 1a eae Ce ee TO a Pa er Pee HIS PANT Gael ioe ed a GEASS HOLY FAMILY (New Vork. Pivenaaspeiie Society of America) Frontispiece THE ADORATION OF THE MAGI (Vienna. Katserliche GEMIAC GUI ETIE Yo icc ics te ey aes THE PURIFICATION OF THE TEMPLE (Richmond. Sir Fred- PROMEEC OR Oe eee peck ena e's Taper URIFPICATION OF THE EME ii (New “York. Frick GSES) A A Po nero VINCENTIO ANASTAGI “(New York. Frick UA TAINS ba a Pobaieall OrewA LADY .(Lon- don. Sir John Stirling-Maxwell, re RE sy ss co Sosa a 4 5 2 toe ASSUMPTION OF THE VIRGIN (Chicago. The Art In- ree eR eee Pe tin, oss. <'s's mg x0 se © THE TRINITY (Madrid. Museo I FIA Vad eg Lg ih ak os wv aw se PLATE Payee wh ON OG RA PES E- Ls Gone PIETA (New York. The Hispanic Society of America). eee THE EXPOLIO (Toledo. Cathe- Ural) 0. vn cc an eae eee SAINT MAURICE = (Escorial. Salas Capitulares) .. eee PORTRAIT OF AN OLD MAN (Madrid. Don Aureliano de Beruete.y Moret)- 2.42.20 PORTRAIT OF “PERNA NINO DE GUEVARA (New York. Havemeyer Collection).... PORTRAIT OF (BRA Seo TENSIO FELIXO SPAR. CINO Y ARTEAGA (Boston. Museum of Fine Arts)-.. 22a MINIATURE OF A MAN (New York. The Hispanic Socicty of America) -.. MINIATURE OF A LADY (New York. The Hispanic Society of America) 3.4. donee THE BURIAL OF THE COUNT OF ORGAZ (Toledo. Church of Santo Tomé) 2.3 aan CHRIST EMBRAUCINGS3 ioe CROSS (Madrid. Don Aurcliano de Beructe vy Moret)... THE CRUCIFIXION. Sia Musée National du Louvre).... XVIII a HISPANT CUNO. XIII XIV XV XVI XVII Peete tS X1 SAINT DOMINIC (New York. The Hispanic Society of Amer- Oi Se Ee ee SAINT JAMES THE GREAT (New York. The Hispanic Soci- PE ETC) shines kn Ge a SAINT JAMES THE GREAT (New York. The Hispanic Soci- PERO F SG AINCTICE Vo. ba isdn es « SAINT JEROME (New York. The Hispanic Society of Amer- CaSO A a ae HEAD OF SAINT FRANCIS (New York. The Hispanic Soci- Fl Mie 0 aa) © 2 re SAiNe ShOUIS (Paris; Musée Waettonal du Louvre).......6..5% Cee Ar lism OF CHRIST (Madrid. Museo del Prado).... THE RESURRECTION (Madrid. WE USCOOOCI TT TOGO). vig o6 cis ons Dain Le MARTIN AND THE BEGGAR (Philadelphia. Waide- COU ETON 4 elas bs se us cos o> Pores PHILIP . THE SECOND (Escorial. Salas Capi- PLATE XIX XxX XXI XXII XXIII XXIV XXV XXVI XXVII LURES * ca IO XXVIII Pree ere CARDINAL TAVERA (Toledo. Church of the Hospital of San Juan DIRE eat! aul. Osta) canes a's 33 8 ase AP MONOGRAPHS XH EL SG Ree: |THE PRAYER IN THE GAR- DEN (London. National Gal- lery) ..0. 534, ee XXX THE ADORATION») OF +i SHEPHERDS (New York. Metropolitan Musewm of Art).. XXXI1 THE IMMACULATE {CONGE. TION (Toledo. Church of San Vicente) .<. tee XXXII THE OPENINGS OF = FIFTH SEAL (Parts, Don Ignacio Zuloaga y Zanora)....XXXII1 LAOCOON (Munich. Alte Pina- kothek. On loan eee ee XXXIV TOLEDO IN A STORM (New York. Havemever Collection)... XXXV EL GRECO ve od ie d- Mi y sh as nv) a i t i} % AND MONOGRAPHS | ae at as Prec ROE: C O INTRODUCTION GA GREEKOR- TOLEDO Unique in the history of art El Greco cannot be easily classified as belonging to any school. He has for that reason and many others remained a mystery, an unsolved riddle as puzzling to the artist as to the layman. We are concerned here, not so much with the technique of El Greco, which, after all, the pictures themselves best explain, as with the tem- perament of the artist, the effect his sur- roundings had upon him, the atmosphere jin. which he created his strange and beautiful pictures. Born on one of the Greek islands, educated in Renaissance Italy, and led by chance into the heart of Catholic Spain, he reveals in his works a forceful and disturbing personality. vi ’ bade lu Ver chiens. “NN Pee ee Le, NOLES i Ignoring contemporary opinion, scornful of criticism, following no school, he stands alone, out of favour with King and Court, isolated by his genius, his independence, and his stormy spirit. Quite comprehensible is his abandon- ment of the traditions of the Venetian school soon after his arrival in Spain, but inexplicable and mysterious are the mannerisms which he afterwards devel- oped. It is this peculiar individualism which has caused the controversy as to whether he was mad, astigmatic, a dis- ciple of the art of Byzantium, or a Toledan mystic. Visible to some extent in his earlier works these mannerisms become very marked as he reaches his last period. The most notable thing in this change is, perhaps, his tendency to lengthen certain of his figures until they are entirely out of proportion, mounting into the air like thin vapours. That El Greco had mastered the technique of figure drawing is not to be doubted. Why then did he resort to this deliberate HISPAN ICR Pel RoE CO distortion of the human form? ‘The question was answered after his death by the laconic designation “mad”. Though this idea of his insanity persist- ed for many years as a popular belief, it} is, of course, without foundation. An- other solution of the problem has been suggested by the oculists, who now as- sert that the master was afflicted with astigmatism, a defect which grew upon him with his increasing years, altering his vision and causing him to draw heures of great height and slenderness. Il Greco’s elongated, often emaciated personages, with their small heads, their garments falling in many folds, resemble closely the saints and apostles of Byzan- tine art, described by Dalton as follows: “The clearly outlined figures, their con- tours filled with colour boldly massed, possess a mystical and superhuman quali- ty in presence of which anatomical de- fects appear of no account” (1). El Greco obtained this same result by his disregard of rules, by his elimination of PaO NOG RA PHS Ely (GtReha all trivial details, and by his method of detaching his figures from surroundings which might distract the eye. The Byzantine influence may be traced in The Expolio and The Burial of the Count of Orgaz, possibly the most important two pictures the artist ever painted. And so it may be seen that though admittedly Spanish in style he vet retained the heritage of the art of Byzantium left him by his Greek ances- tors. Asa child in Crete, as a youth in Venice, he must have been impressed by the great jewel-like domes of the churches gleaming through the dusk and incense. The figures, with their rich colouring and majestic simplicity, re- mained in his memory and influenced his hand. Is it surprising that isolated in the hills of Castilla he should sometimes have turned for inspiration to the reli- gious symbolism associated with his youth, to the art and traditions of Crete and the Veneto-Byzantine palaces? Another problem presents itself con- HISPANT OS Pee eee Lt CO cerning the effect of Spanish mysticism upon the artist. Sefior Unamuno justly asserts that Spain passed through the Renaissance without allowing herself to become contaminated by its paganism and rationalism; that Castilian spiritu- ality was mystic, unworldly, and medi- of the Renaissance, perceived that Italian idealism was unfitted for Castilla and would be stifled in austere Toledo. He contrasts the “spirituality, concen- trated, violent and tormented” of some of El Greco’s works with the “pagan breath of the Italian Renaissance” (2). El Greco expresses this spirit of mysticism when he portrays the grave Toledans conteinplating with solemn rapture the glory appearing in the heav- ens above them, or the gentle Christ fervently embracing the cross held up- right in His arms. His figures seem to soar into the air as though endeavouring to attain the felicity awaiting them among the clouds. miro Os RAP ES AND eval; that El Greco, knowing the Italy| 4 EL Gio A strange contrast is presented in the artist’s work, for although closely as- sociated with Spanish mysticism he seems never to have escaped entirely from the formalism of his race. HISPAN CGNO I Born at Candia in the island of Crete, I] Greco from his earliest youth came in contact with the Byzantine school. Without knowledge of the reason for or the date of his departure from Crete and his arrival in Venice, it is permissible to think that he chose Venice because of its colony of Greek artists who were fol- lowing the Byzantine tradition. For many centuries before El Greco’s ar- rival, Venice had taken her culture largely from Constantinople and the East. The Cathedral of Saint Mark was a fine example of Veneto-Byzantine art and many of the palaces along the Grand Canal showed traces of it in their fa- cades. That a strong impression was made upon the mind of the young artist by contact in his own land and then in Venice with the rich art of Byzantium Poo OWN OG R*A PHS EI Geakwi aa is shown by the fact that years later in distant Toledo he reverted to it for in- spiration. In comparison, the influence of the great Venetians, Titian, Tintoret- -§., ;to, and Bassano, left but a fleeting in im- \print upon his Woe His sojourn in Venice was not of long duration, and Rome became his next goal. The one authentic document in regard to El Greco’s life during this period is a letter from Julio Clovio, the miniaturist, to his patron, Cardinal Alessandro Farnese, who was noted tor his love of art and literature. It was in the Roman palace of this illustrious member of the Farnese family that El Greco probably spent several years of his life. In the letter, dated November 16th, 1570, it ap- pears that El Greco, who is spoken of as “a young Candian, a pupil of Titian”, came to Rome, where he painted a por- trait of himself. The painters of Rome were much astonished by this work. Clovio requests his patron to provide for |the young artist a room in the Farnese HISPANIC NOTES Ppa lee CO Palace for a short time, that is until he can establish himself (3). Julio Clovio was in Rome in 1569, an old man broken in health. It was prob- ably about this time that El Greco painted the portrait of him described by Justi: “In this portrait the painter is seated in front of ‘a plain wall, at the left of an open window; with the forefinger of his right hand he points to an open book, which he holds in his other hand, and in which one can see two minia- tures; the theme recalls Titian’s Strada. Perhaps this book might be the Office of the Madonna, a work which took nine years of labour, and was painted for the Cardinal . . . ‘The face shows a broad, high forehead, surrounded by gray hair combed back, an energetic aquiline nose, | and brown eyes. These features, as well as the hands, are of a modeling as fine as it is expressive. The delicate yellow tonality of the skin and the draw- menerecall.;lintoretto most of . all. Pe eve NN OG RA PES EL Gaia ee Through the open window one sees a landscape swept by wind, full of light and air and glowing in the warm tones of a late afternoon, blue sky, distant mountains, swiftly moving clouds touched with gold; in the foreground a frail tree budding with green sprouts” (4). Both this canvas and the genre of a boy lighting a candle were at one time attributed to Clovio. Originally in the Farnese Collection they are now in the] Museo Nazionale at Naples. In regard to the portrait of Clovio an interesting document was published in the Gagette des beaux-arts (1884, v.I1.), giving an inventory of the art collection of Fulvio Orsini, who died in 1600. It is thought that the following numbers refer to works done by El Greco in Italy: ““No. 39. A picture framed in walnut with a landscape of Mount Sinai, by the hand of a Greek, a pupil of Titian sssubhdhsneeeetsnareemencenlaneti ee 10 (escudos) HIS PAN DG ee Nod woe 7 oP, hes « = “a . sir —— oor ae a ; *% . the P a> ie j oa ¢ 14 by c = a ty ‘ ’ thy = ‘ wid oh te A é ‘ ; f . oe A « Sey ; asajpbaplpuay ayIyaaswy ‘“puuary IDVW AHL AO NOILVUYOGV AHL I ALV Id Peete ECO ce 43. A picture framed in walnut engraved with a portrait of don Giulio miniaturist, by the hand of the above INeENntiGiee eee are... 20. “ "4a. A little picture framed in wal- nut with gold with the portrait of a young man in a red biretta, by the hand eh ea Ast cpyS.s ol Ge Tele Ge e 5. “ “45. Four circulars of copper with the portrait of cardinal Farnese, S. Angelo, Bessarione cardinal, and Pope Marcello, by the hand of the SANIGS cuaeere ee eee eee eo. TO. (5), The circular portrait on copper of Cardinal Farnese is of special interest. Unfortunately no trace of it has been found, nor can any of the works listed in the inventory be-identified with any certainty. The same Farnese family who protect- ed the young Greek were the patrons of Cellini, though they found it expedient on occasion to place him for safe keep- ing in the Castle of Sant’Angelo. Cellini’s Autobiography describes the Wishes NO TES I2 Rome of the years just preceding the ar- rival of El Greco. Michael Angelo, whose death occurred only a short time before El Greco came to Rome, de- signed the court in the Farnese Palace, that court described by Vasari as the finest in Europe. It was probably in this magnificent palace that El Greco painted the three pictures which show most clearly the influence of the Venetian school upon his work. The first of these, The Healing of the Blind (Dres- den. Gemaldegalerie), was for a long time attributed to Leandro Bassano, the resemblance between the early works of El Greco and those of the Venetian master being_werygreat. The composi- tion of this painting and that of El Greco’s beautiful Adoration of the Magi jA(Vienna. Kaitserliche Gemaldegalerie. {Plate I) conform to the best traditions of the cinquecento Venetians. They are both pervaded by a feeling of spa- ciousness, a calm and tranquil beauty. A comparison of the various replicas HISPA NPGS ie YOO) YIsapasy 415 “puomyory ATdWAL AHL AO NOILVOIIGNd AHL auoy ‘uossapup *q ydvsBojoyd II ALVId Peete ety CO of The Purification of the Temple is of extreme importance because they show the inexplicable change which took place in the artist’s manner of painting. The Cook (Plate II) and Yarborough ex- amples were probably painted during his first years in Rome. Those in the Frick Collection (Plate III) and the National Gallery belong to a later period. The first two paintings might be attributed to Veronese or Tintoretto,,so characteristic are they of the Venetian school. In the last two examples the great columns of the stately palace seem to recede and lose their distinct outlines, becoming merely a background for the dynamic figures of Christ and the merchants. All the conventional paraphernalia of dove cages and books have vanished. Under the arches at the right appears the figure of a woman, slender and exquisite, her left arm raised in a graceful curve as she balances a basket upon her head; her right foot advances and she scems to sway forward. She is prophetic of 7) ( Duapm q PAA. He mn, Wh Vor Aw Lati«‘e 'V Casa Peay, Jy An. : y™~\ eee ets ONO OST ES E LD Gakgie ae that spiritual type which El Greco was to develop later to such perfection. What a contrast to the opulent charms of the Venetian women of the earlier replicas with their uninteresting poses, their studied grace, and conventionally arranged draperies! : Dating from this early period is the splendid full-length painting of Vincentio Anastagi, governor_of Citta Vecchia. during the siege of Malta (New York. Frick Collection. Plate IV). Anastagi is clad in halt armour, on the breastplate of which is the white icross of the knights of Saint John of Jerusalem. He wears full knee breeches of green velvet ornamented with gold stripes, and white ruffs at his neck and wrists. His buff-coloured shoes are adorned with small brown bows, and his stockings are white. From his side is suspended a sword with a gilded hilt. The light from a window in the upper left-hand corner of the picture accentu- ates the shining armour covering his HIS PAN TD CaS left shoulder and gives it a green tone, placing the whole figure in a harmony of greens. A high light is also reflected from the morion on the floor. In the background is a dark red curtain draped across a light brown wall. The face with its brown eyes, dark beard, and mustache resembles in type many of the portraits painted by the artist at a later date. The portrait of El Greco mentioned in Clovio’s letter to Cardinal Farnese has disappeared, but another painting prob- ably belonging to these years is that of an old man with piercing dark eyes and a long white beard which has been vari- ously identified as Cardinal Gaspar Quiroga, archbishop of Toledo, as Luigi Cornaro, author of the famous Discorsi della vita sobria, and as Saint Jerome. The latter attribution seems to be the only safe one, as a comparison with authentic portraits of Quiroga and Cornaro proves. Of the five examples of this portrait the signed one in the Pee viO N ©.G R APES I ly (Ga Frick Collection is the most important. Beruete describes the portrait, in the Stirling-Maxwell Collection (Plate V), erroneously known as The Daughter of El Greco, as follows: “This work has caused many doubts and controversies among the critics. They agree only upon its beauty and merit. The doubts refer especially to its authenticity. While some consider it without doubt a Greco, others think it is only a Venetian work, and we are forced, to recognize that) the characteristics of this school are very marked and definite in this portrait, that no one but a Venetian, and I even believe that it might be stated definitely Tintoretto himself, was the author of the work. The colouring is very different from that peculiar to El Greco even im these eativeycan., and above all that touch, peculiarly his, that restless brush stroke, nerv- ous, vacillating, incorrect if you wish, but very expressive and very peculiar, HISPANIC NOTES U0144I9TJIOD YAY “YAO X MIN ATdNAL AHL AO NOILVOIMIENd AHL y40 KX MaN “KADAQIT aouasafay YI ayy fo Ksaqanoy) Ill ALV Id Pee CO does not appear here anywhere. The portrait of this lady, indeed, has a great analogy with the works of El Greco, at least in its external part; that close re- semblance which this painter has to the Venetians, his masters and early inspira- tion” (6). Why did El Greco leave Italy for Spain? Is it possible that Cardinal Farnese told him of that summer spent in Spain when at the age of nineteen he was sent there on a diplomatic mission by Paul the Third? Of that Clovio, old and infirm, himself“inable to accept the invitation of Philip the Second to work at the Escorial, encouraged the young artist to try his fortunes at the Court of the Spanish monarch? Pitas boneN El C NO Es I 18 EL GRE S Il “Esta es, Senora, la 1wm- perial Toledo, Que el Tajo de cristal a sus pres tiene, Y parece que en sombras se detiene”’ (7). Lifted high upon the crest of a great cliff, barren and beautiful, Toledo rises like a mirage from the plains of Castilla. At her feet the blue Tajo flows beneath ancient bridges. Above the closely massed roof tops appears the grim form of the Alcazar. The narrow streets turn and twist bringing up suddenly against the great walls of the Cathedral or leading to the entrance of some Ara- bic mosque. Through doorways glimpses of enchanting patios reveal the half-Moorish life of the people. Cross- ing the wide square of the Zocodover one passes under the Archway of the HI S' BAN (GC Peek TC O Blood of Christ and so to the Posada de la Sangre, the inn which Cervantes has made famous. Across the city in a direct line from this inn is the Paseo del Trdnsito on the edge of the cliff over- looking the ravine of the Tajo. Facing this paseo is the Casa del Greco, vine- covered and with terraced gardens. Many legends are associated with this house. It was originally the palace of the rich Jew, Samuel Levy, who lived in the stirring times of Peter the Cruel, and who is supposed to have concealed his treasures within its vaults. Accord- ing to tradition the same storing place was used later for the laboratories of alchemy and sorcery of Don Enrique de Aragon, popularly known as the Marquis of Villena. There has been some dis- cussion as to whether the building, re- Marquis of Vega-Inclan, is actually where FE] Greco lived or if his home was situated in another part of the Paseo del Transito. Peso NeG GRAPHS EL Gans The house has an inner court with a wooden gallery supported upon pillars. From this patio a covered stairway leads to the small apartments on the upper floor. In the little kitchen, with its brightly coloured tiles and shelf of old cookbooks, is a huge chimney piece. \From the upper gardens and terraces there is an extensive view of the hills where once the high dignitaries of the irichest cathedral in Spain owned country houses called cigarrales. Here among gardens of flowers, rare fruits, and shade-giving trees they creat- led an atmosphere of repose and culture not unlike that known to the fifteenth century Florentines.. These prelates were the Medici of this proud Castilian town, patrons of art and learning, gen- erous with the rich spoils which came to them. Not only were the archbishops interested in art and literature, but many of the priests were noted dramatists and poets. Here Lope de Vega presided at a contest called poetical joustings, in HIS PAN PGs eee PLATE IV MAD ETVRCD ave NEL. ASS nA VAIICHEDEN ROSH TROARQWE-ADV Oenivionnicom, DOPE, VOLE ADL MPAQIE DITA PVSACENEMAGe Daavaaitornnal NPIVR AR ise PORTRAIT OF VINCENTIO ANASTAGI New York. Frick Collection Pape Ril © O 1605. Mariana, the distinguished author of the Historia de Espana, and an im- portant member of the Jesuit order, es- tablished himself here in 1574. It was in Toledo at the Posada de la Sangre that Cervantes wrote the Ilustré fregona (ca. 1606) celebrating the vir- tues of a Toledan maid. He describes her in these words: “She confesses and communicates monthly, she can write and read, and there is no greater lace- worker in Toledo, she sings without ac- companiment like an angel...” (8). Another contemporary of El Greco, Francisco Pisa, writes of the beauty and honesty of the women and the ability and industry of the men; their devotion to the Christian religion “. . . which is proved by the great frequency. . . with which they listened to sermons and masses... making it seem as though Holy Week lasted all through the year” (9). He gives an enchanting pic- ture of Toledo, writing of the fresh and subtle breezes which cooled the city, the Meo ti NO TES Zk E LG jhe clear and serene sky, and the sweet waters of the Tajo. Toledo had absorbed the art of Chris- tian and Arab alike. The mosque of El Cristo de la Luz, the synagogue of Santa Maria la Blanca, the Gothic Cathedral of the Christian were all representative of the architecture of the many races which dwelt together within her walls. She gave them refuge, wayfarers from other lands, but in return, she, the Im- perial City, demanded of them the best in their art; they must embellish her narrow streets with buildings of beauty and dignity. She cast a charm over mosque and synagogue until they seemed part of her, built for her adornment, no longer expressive of an alien civilization. Did she not have the same effect upon El Greco, a stranger from a far country, forcing him to reveal the soul of her people, to depict her hillsides in their austere loveliness? So little is known of El Greco’s tastes and preferences that it is interestirig to HISPAN TOs Peewee CO come upon an inventory of his posses- sions and to discover that he had a good library of Greek books including copies of Homer, Aristotle, and Plutarch. He seems to have brought many books from Italy, among them editions of Tasso, Petrarch, and Ariosto. He had, besides, as many volumes of romance in his libra- ry as had Don Quixote. Pacheco testi- fies to El Greco’s learning when he writes: “,... in our century there are many learned men, not only in_ painting, but in the Humanities ... like Micael Angel, by whom we can read many compositions in verse, Leonardo de Vinci, El Broncino, Iorge Vasari, and Dominico Greco, who was a great phi- losopher, of witty sayings, who wrote about painting, sculpture, and architec- ture” (10). | In Spain his name was abbreviated to El Greco, although he continued to sign documents and many of his pictures with varying forms of his Greek name, eee nO O GRAPHS EY Ls Doménicos Theotocopoulos. Borja de San Roman states that El Greco left Italy under contract to paint the pictures for the Church of Santo Domingo el Antiguo in Toledo, basing his opinion upon the fact that in a law- suit over The Expolio it appeared that IX] Greco came to Toledo to do work ,{upon the refablo of this church. But in SwIthis same lawsuit El Greco asserts that he is not obliged to say why he came to the city of Toledo. A pious woman by the name of Dojiia Maria de Silva had left a sum of money for the purpose of demolishing the old building and erecting this new church. She named as her executor Don Diego de Castilla. Documents lately discovered prove that, contrary to the prevalent opuuon, it was Juan de Herrera, and not Vergara or E1 Greco, who was the archi- tect of this chirch: This retablo of Santo Domingo el Antiguo raises the question as to whether El Greco was ever an architect HISPANL OS - 7 ) ‘ ‘Oa a et i) % i = ¥- ¥ ge , PLATE V PORTRAIT OF A LADY London. Sir John Stirling-Maxwell, Bart. Peer hor CO or sculptor. Borja de San Roman thinks it most unlikely and gives among many reasons the logical one that not one of his contemporaries mentions him as )e- longing to either profession, adding that it was only after his death that they were attributed to him. A contract, dated September 11th, 1577, between Don Diego de Castilla and Juan Bautista Monegro, a sculptor of Toledo, proves that though El Greco made the sketches for the three retablos and the five statues, they were actually executed by Monéegro. Senor Lampérez y Romea disagrees with any statement which denies that El Greco was an architect. He brings forward as proof in support of his opinion the fact that the retablo shows traces of Italian influence, that the artist’s son was an architect, that he had in his library nineteen books on architecture, and other reasons equally unconvincing. me Whether or not one agrees with the assertion of Sefior Lampérez y Romed fear coae ae NIC NOT Hs 20 E L »Gaksiaga that the retablo of Santo Domingo el Antiguo introduced into Spain a type of altarpiece popular in Venice when El Greco was there, it is certain that its central painting, The Assumption (Plate V1), has strong Venetian accents. The composition as a whole recalls the As- sumptions of Titian and Tintoretto. The Virgin is very similar as with out- stretched arms she floats upon clouds surrounded by angels. She has great dignity, even majesty, but her face is lacking in expression, and her heavy and voluminous robes seem to hold her down to earth. She has not ascended far above the apostles, who, gathered about her empty tomb, seem to be dis- cussing matters of interest to themselves, showing little astonishment at the miracle taking place above them. It is only upon remembering an Jimaculate Conception painted by El Greco not many years before his death that one realizes all the spiritual force that is lacking in this picture. The other HISPAN TCO Peer ne © O Virgin is a mystic being soaring up- wards through clouds of glory, her body like a torch burning in a steady Hame of adoration, her exalted ex- pression almost painful in its fervour.. The Assumption of Santo Domingo, which is signed and dated 1577, is no longer in the church for which it was painted. It has been placed in The Art Institute at Chicago. Cossio asserts that above this canvas was originally The Trinity (now in the Prado) (Plate| VII) and not The Adoration of the Shepherds which has taken its place. The latter picture has all the manner- isms of the last period of the artist’s work while The Trinity reveals its rela- tionship with Italy. It is interesting to note that Ribera painted a Trinity which was certainly influenced, as regards com- position, by this one. A _ full-length painting of Saint John the Baptist is on the left side of the retablo and Saint John the Evangelist, another figure of heroic proportions, is on the right. Pe OS ON'O.GRAP HS Above them were Saint Benedict and Saint Bernard (now replaced by copies). Cossio is certainly mistaken when he dates the Prado Saint Benedict as 1584-94. It is probably the original painted tor Santo Domingo el Antiguo, as a comparison with its companion piece, Saint Bernard, goes to prove. The pediment is broken by two figures of cherubs holding a medallion bearing a painting of The Holy Face. The Resurrection painted for a side altar at the left, and still’ in place) shows Italian influence. A Veronica and an Adoration of the Shepherds are upon side altars. ‘ Two small paintings have also been assigned to this early period. One is The Annunciation in the Prado, the other the Pieta in the collection of The Hispanic Society of America (Plate VIII). The Annunciation is more Ital- ian than Spanish in sentiment with its graceful kneeling Madonna, its Angel Gabriel floating upon clouds, and its HIS PANG eee PLATE VI Copyright by The Art Institute, Chicago THE ASSUMPTION OF THE VIRGIN Chicago. The Art Institute Be eRe CO cherubs. Once again, and perhaps for the last time, El Greco uses as a back- ground the long vistas, the archways, and tiled pavements so characteristically Venetian. Theterietas 3iso (adheres to the traditions of Italy, conforming closely to the composition used by Michael Angelo in his Entombment (Florence. Duomo). A group of four intertwined figures stands out against a blue sky, overcast with gray clouds which are suffused with a faint pink glow. The central figure is the dead Christ, supported on His left side by Saint John robed in egreen-blue and white, and on His right by Mary Magdalene clad in yellow, carmine, and blue. Behind the figure of the Christ can be seen the head and shoulders of the Virgin, draped in blue, part of her red tunic visible. Across a brown landscape is a hill on which stand three crosses, half veiled in overhanging clouds. Cossio says of this painting: “The Piedad is a small picture full of HISPANIC NoTES | | intense dramatic interest, conceived and executed in the heroic spirit of the time; with the same severe Virgin as in The Annunciation, but with an expression heart-rending in its grief; the same angels and the same Christ as in The Trimty, but of more tragic aspect; the same tonality as in both paintings, but with more carmine reflections; and with an execution more feverish and much less careful” (aye To this period belongs one of the most important works painted by El Greco. In the book of expenses of the Cathedral of Toledo it is stated that on July 2nd, 1577, he received 13,600 maravedis on account for a picture which he was to paint for the sacristy of the Cathedral. The picture was. The Expolio (Plate IX), and it 18 Still Gn the@plecemron which it was painted. Mélida compares The Expolo with a twelith century Byzantine mosaic in the Cathedral of Monreale, Sicily. The composition is, indeed. similar. In the painting as in HIS PAN 1) Oyo PobeeGekok CO the mosaic, the Christ is the central figure facing directly towards the specta- tor; behind Him is a surging multitude ‘who seem to press forward, crowding about Him. Above the heads of the mob are the spears of the Roman sol- diers outlined against the sky. This mo- tive which appears also in the mosaic was used by El Greco not only in The Expolio but in the Saint Maurice. It would be interesting to establish a con- nection between these various examples and the famous Surrender of Breda by Velazquez. In the mosaic the figures form a compact mass arranged in sym- inetrical rows. In the painting the treatment is, naturally, less formal and archaic, more realistic. In the left-hand corner of the canvas the three women watch with interest the man who is bor- ing a hole in the wood of the cross. The noble and resigned face of the Christ is in strong contrast to the angry, mocking expressions of those about Him. In the crowd are men with heavy, brutal Pee Oe veO NOG RA P HIS Eee features, wrinkled brows, half-parted, jeering lips, a type of face made famil- iar by the painters of the Netherlands in their representations of the Passion. Sentenach, after praising The Expolio as the most perfect work ever painted by El Greco, goes on to explain how the artist solved the numerous colour proh- lems which were presented: “Knowing the different effects of warm and cold colours, he knew how to imitate nature in this, that he places safe reds and yellows in the foreground, veiling the most distant in a blue haze in which they are shaded the better to aid the perspective. This is well observed in the admirable Expolio, in which the planes are graduated by means of the tones, reserving for the figure of the Saviour the vivid red of His tunic, which draws the attention from the first moment and which detaches Him from all the other numerous personages who surround Him” (12). In 1579 it was necessary to value this HISPAN UC Nie PLATE VII Photograph D. Anderson, Rome THE TRINITY Madrid. Museo del Prado Pee CO painting. Nicolas de Vergara and Luis de Velasco were named by the Cathedral Chapter, Diego Martinez de Castafieda and Baltasar de Castro Cimbron by El Greco, so that each side was represented by a sculptor and a painter. The ap- praisers on El Greco’s side declared that it was so fine a picture that it was be- yond all price but that considering the hard times and the estimation in which such works were held, it was worth 900 ducados (13). On the other hand the representatives of -the Chapter considered that the price placed on the picture was excessive, that it was worth only 2,500 reales because the subject had not been treated according to Bib- lical history. They cited as their chief objection the fact that the three Marys had been brought into the scene, which was not according to the scriptural text. As neither side could come to an agreement the decision was left to an arbitrator, Alejo de Montoya, a silver- smith, who ordered that the Chapter pay Pitter ©. NO) T E-S El Greco 3,500 reales and who left the impropriety of the presence of the three Marys for the learned theologians to settle. Although notified of this decision El Greco delayed his response, and the Chapter became anxious. Suddenly they realized that this Greek, a stranger in their city, had not only the picture in his possession but all the money which they had paid him on account. They hastened to assure him that if he would make the required changes in the paint- ing all could be arranged to his satis- faction. They even appealed to the alcalde of Toledo to force Eh) Greco to comply with the decision of the arbi- trator. The artist admitted mina had received the money, that he was not a native, and that he did not under- stand Castilian very well. As he was a stranger, he was asked to give security and, at last, he was threatened with imprisonment. The result was that the Chapter waited two years HISPAN PGS before they paid him the full sum. Like Michael Angelo El Greco knew the worth of his masterpieces. He held out stubbornly against any effort on the part of their purchasers to depreciate their value. Above all, he refused to change any details, so that the three women remain in the foreground in spite of the scandalized objections of the Chapter. El Greco then began the retablo for The Expolio, receiving various sums on account as the work progressed. On February 20th, 1587, it was valued by Esteban Jordan for El Greco and by Sebastian Hernandez and Diego de Aguilar for the Cathedral Chapter. The price paid for the retablo was higher than that paid for the picture. In 1601 Cardinal Sandoval y Rojas described the 6c Telaolguasea .. . decoration of pilas- ters, pedestals, capitals, and facades, all gilded; and on the base some sculptured figures also gilded, which represent Our Lady bestowing the chasuble upon eNews ON © GRA PHS E L (Gokee ae c, Saint Ildefonso” (14). As late as 1790 the retablo was seen by Cardinal Lorenzana, but since then it has been replaced by one of marble and bronze. If the group, which is now in the Cathedral, of the »Virgin sand eoaime Ildefonso identified by Lafond and Cossio as the one in the Seminario is authentic, then El Greco must be considered as a sculptor of small figures in wood. In the next few years the artist’s work was to extend beyond Toledo to where Philip the Second dwelt in the grim Escorial. HIS’ PANT Shia. Peay he GO Ill | “King Philip’s in his clos- et with the Fleece about his neck (Don John of Austria ts armed wpon the deck.) The walls are hung with velvet that ts black and SOE LAS.) Stil, And little dwarfs creep out of it and little dwarfs creep i’ (15). Among the foothills of the moun- tain range which divides Old and New Castilla is the Escorial — palace, tomb, and monastery. Seen from a distance this enormous pile of gray stone is very impressive. Constructed of granite from a nearby quarry it seems part of the rocky Sierra de Guada- rrama which rises like a wall behind it. With its severe architectural lines and its innumerable small windows it is like a fortress built to defend a moun- tain pass. ew NON OGRA PHS E L. GR Characteristic of its founder, the Escorial expresses the religious fanati- cism, the sombre and isolated soul of that melancholy descendant of the Hapsburgs: Philip the Second. Ac- cording to tradition it was built by Philip to fulfill a vow made on Saint Laurence’s Day at the Battle of Saint Quentin. The first stone for the Escorial was laid on April 23rd, 1563. The architects were Juan Bautista de Toledo, and, after his death, Juan de Herrera. The following account given’ by Fray José de Sigtienza, prior of the monastery in the time of Philip the Second, is interesting because it re- veals the spirit of the times (16). He relates that when the King wished to choose a good site he sent a group of his -subjects to a place in the Sierra de Guadarrama. While they were yet climbing upward a violent wind arose doing much damage and causing them to believe that it was sent by the Devil, HISPAN TGA PLATE VIII PIETA New York. The Hispanic Society of America eas a] Peete CO 39 who was in a rage that they should plan to erect a strong building in which to make war with him, since in other iparts of the world so many princes were destroying churches and ridicul- ing the relics of the saints. The souls of those who had come to explore the ground were dismayed and saddened by this tempest. But upon hearing their misgivings the religious members of the company, being men _ experi- enced in combats with the Devil, urged them forward. As they mounted and the air became milder, they were pleased with the chosen site. Another day brought a letter from the King entreating them not to be astonished by the tempest as also in Madrid there had been a strong wind. They all marveled at the care and thought of His Majesty, judging that he was en- tering into the negotiations with much fervour. This minute attention to detail was typical of Philip’s attitude during the building and decoration of Pasa COON OT ES 40 the Escorial. The King imported a vast army of foreign craftsmen, most of them from Italy, to assist in this tremendous un- dertaking; the work of the Italian painters was on the whole disappoint- ing as they were men of mediocre ability. Only by purchasing the pic- tures of Titian, Veronese, and other masters of the Venetian school was he able to obtain the best examples of Italian art. Spanish painting was in- fluenced to a great extent by this inva- sion just as it had been ,a century earlier by the art of the Netherlands. In far-off [stremadura, Morales was painting exquisite Italian Madonnas and tragic Pietas. At Toledo Luis de Velasco, Blas de Prado, and Luis de Carbajal, like their compatriots in An- dalucia, became exponents of the new manner so much in favour at court. Rome and not Venice was the source from which the school of Andalucia drew its inspiration. Many of the HIS PAN PO hs@r i Peek EC O 4I native artists went to Rome to study, admiring especially the works of Raphael and Michael Angelo, returning to Sevilla thoroughly imbued with the Italian spirit. One of the first of these was Luis de Vargas, whose altarpiece The Genealogy of Christ can be com- pared with the works of Raphael. Besides Pedro de Campafia, who painted in the Italian manner, there was Pablo de Céspedes of Cordoba, a poet, architect, and sculptor, as well as a painter, who had spent many years in Italy. Among these Spanish followers of the Italian school was one called the Tiziano espanol, Juan Fernandez Navarrete, el Mudo, who alone was a sang his praises in the Laurel de Apolo. He died at Toledo about two years fter El Greco’s arrival there. The influence of the Netherlands rather than that of Italy was para- ount in the work of the portrait painters of this period. From the AND MONOGRAPHS disciple of the Venetians. Lope de Vega. ED «GR canvases of Antonio Moro, Sanche Coello, and Pantoja de la Cruz the som bre faces of Philip and the royal famil gaze forth. These three artists wer great favourites with the King and on owes to them the long line of portraits excellently handled, though with a treatment stiff and conventional, which illustrates a whole period of Spanish history. In these paintings the women, in their gowns of rich material trimmed with gold and silver galloon, wear cnormous lace-edged ruffs anc jewelry of heavy design. The men in armour or court costume are dignified, melancholy, and defiant. Here stands Don John of Austria, a lion crouched at his feet; here the sickly Prince Don Carlos, decked in plumes and ermine, rests one hand upon his jeweled sword- hilt. Among many illustrious person- ages are seen the stern-visaged Mary Tudor, Isabel of the Peace, adorned with pearls, and the famous: Duke of Alba in the armour which he wore in HIS PA NGOs eee PLATE IX THE EXPOLIO Toledo. Cathedral Peete CO many a combat. Philip the Second appears as a young man, at the time of his marriage to Mary Tudor, dignified and almost handsome; later, a dismal figure clad in black, the Philip of the Escorial. It has been suggested that El Greco was brought to the notice of the King by Pompeo Leoni, an Italian sculptor, who was dividing his time between Toledo and the Escorial. This theory is based on the fact that El Greco painted, supposedly at this period, a portrait of Leoni at work on a marble bust of Philip. As the identity of this portrait cannot be established with any certainty it seems more probable that El Greco was introduced by Monegro, who had worked in close connection with him on the retablo. of Santo Domingo el Antiguo, and who was a favourite with Philip. In 1579 El Greco was commissioned by His Majesty to paint a picture of Saint Maurice and his companions ieee ele oN OT ES 44 E L. GeRebeGee (Plate X) to adorn analtar an ie Church of the Eseoriaie ae aro order dated April 25th, 1580, the King directs the venerable prior of the monastery to give to the artist, who for lack of money and fine colours was unable to continue his work, the colours that he needed, especially ultra- marine, and to see that he was paid on account the money that he required, saying characteristically, = gee De cause in my service it is fitting that things be done with as much quickness as possible) #2 at bya When the painting was completed it did not find favour with the monarch. He refused to place it on the altar for which it had been ordered, selecting instead a picture on the same subject by Romulo Cincinnato, an _ Italian painter of very inferior merit. That even in El Greco’s time his picture caused contention among the critics is shown by the following quotation from Sigtienza: HIS PAN PCRs PLATE X Photograph D. Anderson, Rome SAINT MAURICE Escorial. Salas Capitulares Pelee ht GO 45 “Of a certain Dominico Greco, who now lives and does excellent things in Toledo, there remained here a picture of Saint Maurice and his soldiers, which he did for the altar of this saint; it did not content His Majesty (it is no wonder) because it pleased few people, though some said it was great art, and that its author knows much, and that this is seen in the excellent things by his hand” (18). It is not difficult to understand that the composition of this painting, with its two distinct scenes overcrowded with figures, was bewildering to the eyes of the Spaniards who were accus- tomed to have the martyrdoms of their saints portrayed in a much _ simpler manner. For a clear understanding of El Greco’s intention in presenting the story, it is necessary to -recall the legend of Saint Maurice and the Theban legion. The martyrdom is supposed to have taken place a few leagues from the shores of Lake Geneva, where part PeateetiervN Ono N Oct S E lp [Gao of the Roman army had halted on its march into Gaul. Among the legions was one composed entirely of Chris- tians and commanded by Maurice, a Christian of noble birth. Refusing to obey the Emperor’s commands to sacri- fice to the gods and to fight against their fellow believers, the whole legion suffered martyrdom. The artist has divided his composi- tion into two separate groups. Saint Maurice is the central figure in both. In the foreground of the painting several men are engaged in conversa- tion. In spite of his fantastic costume the figure of the saint is not without dignity. His expression is of great nobility, his large dark eyes gaze re- proachfully at the Roman who faces him. Behind Saint Maurice are grouped his soldiers, no Theban legion but good citizens of Toledo, their portraits painted with care and accuracy. To the right is the standards beareras. splendid figure in his pseudo-Roman HISPAN LG fee CO armour. His right hand is extended, the fingers slightly bent in the expres- sive gesture that El Greco was so fond of using. Above his head the heavy folds of a banner lift to the breeze. The light from a glory in the heavens flashes upon the steel of the halberds outlining them against a dark sky. To the left, in the middle foreground, is the scene of the martyrdom. Here the figures are drawn on a much smaller scale but with great care for detail. As the executioner does his work Saint Maurice receives into his own hands the heads of his faithful legion. The soldiers extend in a winding line far into the background, their banners un- furled as they advance to the last sacrifice. Lances rise against a hill upon which are small white buildings. Heavy clouds hang above the horizon. From the radiance in the sky long shafts of light descend upon the martyrs. Floating upon the swirling clouds are angels with wreaths and Pah Oe wON O.G RA PtH'S EL GaR eae palms of victory, as beautiful as those angeis painted a century earlier by Melozzo da Forli. In the lower right- hand corner of the picture a snake holds in its mouth a white paper upon which is the artist’s signature in Greek letters. , El Greco did not again come into con- tact with the King and the Court, but he appeared before the Inquisition at Toledo in 1562 as the interpreter for Miguel Rizo Carcandil, or Calandil. In the Archivo Histérico Nactonal the following information is obtained: ““Tyominico Teéotocopoli, a native of the city of Candia, a painter resident in this city, who swears to interpret well and faithfully that which passes in this audience: . .” (19): During this period El Greco painted the portrait of a man of about thirty years of age, which is now in the Prado, known as the Caballero de la Mano al Pecho. This portrait is easily recognizable as belonging to the HIS P ANS eNO PLATE XI PORTRAIT OF AN OLD MAN Madrid. Don Aureliano de Beruete y Moret Pees EC O 49 = first Toledan period. Beruete sees in the romantic figure of this unknown! caballero the type of the nobles of the Court of Philip the Second. Ignoring the dramatic events which took place in their time they were concerned only with the salvation of their souls. Of interest also is the Portrait of «a Doctor in the same collection. He is represented as an elderly man clad in black, with white ruffs at his neck and wrists. The fact that he wears a large ring on his thumb is probably the reason that he has been known as a doctor, for according to Quevedo’s de- scription medical men wore “ ‘a finger- ring on the thumb, with a stone so large, that when the pulse was taken the patient thought of his tombstone’ ” (20). Allende-Salazar and Sanchez Canton offer the suggestion that this is Rodrigo de la Fuente, a doctor who lived in Toledo in the time of El Greco. A comparison of this portrait with one of Doctor de la Fuente discovered by = | aia NOU ES ears E L Gsker {Rodriguez Marin shows that there is some basis for the supposition. In a literary controversy held in Toledo in 1587 Doctor de la Fuente appears as a Latin poet, receiving as a prize a finger-ring of small emeralds. Cer- vantes mentions him in the IJlustre fregona as the most famous doctor in Toledo. The portrait supposed to be that of the Duke of Benavente in the Musée Bonnat, Bayonne, portrays him with black hair, pointed mustache, and olive complexion. A _ sinister glance from his dark eyes reminds one that the fires of the Inquisition were still burning. An interesting contrast to this master- ful but repellent portrait is that of the benign old gentleman with the quizzical expression known as Cardinal Gaspar Quiroga (Munich. Alte Pinakothek). In the collection of Senor Beruete y Moret is a portrait of an elderly per- son considered by many to represent the artist himself (Plate XI). As no HIS PANG NO ia PLATE XII PORTRAIT OF FERNANDO NINO DE GUEVARA New York. Havemeyer Collection PeteaGek LC -O inconvenient evidence has yet been dis- covered it is unnecessary to see in this weary and embittered old man _ the creator of some of the most brilliantly original paintings in the history of art. His emaciated body seems lost in the fur-trimmed garment which envelops him. The white ruff only accentuates his wan face, high forehead, and point- ed beard. His melancholy eyes gaze upon the follies of the world from a great distance. Sentenach justly analyzes these por- traits when he writes: “E] Greco, as a portrait painter, is 1n- deed insuperable. No one has offered to 91is9-a4s he fas, “stich expressive images of the persons whom he had to place upon canvas; in them indeed he showed that he knew how to recognize and appreciate all the anatomical and asymmetric variations which-character- ize and differentiate faces, and, what is more, the racial character, and tem- perament of those men... Pete tere CIN OT ES E L (Ga eEeae “In the simple and sober portraits, devoid of all useless detail, he succeeded in simplifying his treatment of the most expressive and characteristic points. The racial type and the illustrious and chivalrous character of these person- ages were immortalized by his brush with touches of supreme mastery” (21): It would be difficult to prove that the Portrait of an Artist in the Museo Pro- vincial, Sevilla, represents either El Greco or his son. The face framed in the enormous white ruff is that of a young man with delicate features. In his hand he holds a palette and brushes. Of the portrait of Fernando Nino de Guevara in the Havemeyer Collection (Plate XII) Beruete writes: “This prince of the Church) a» Dole- dan by birth, of aristocratic lineage, a famous inquisitor, El] Greco has repre- sented to us with an ostentation and pomp which one rarely encounters in the series of portraits which we owe to HIS PANDO re Piety hE C. O his hand. It is a marvel of colour, and if there are evident in it the gray ton- alities, so characteristic of the painter, they are here necessarily and premedi- tatedly modified by the domination of the red tone of the costume outlined aeainst the chair of red velvet. Such a display of colour is compensated for by the white lace, seen wherever pos- sible. The personality and expression of this person who looks at us through his spectacles is one sign more of the realistic vigour which El Greco knew how to give to the countenances which he portrayed. In a careful study of that which Velazquez learned from El Greco, a great part would be occupied by a comparison between this work and that immortal portrait which Ve- lazquez did in Rome of Pope Innocent X. It shows clearly how much the Sevillian painter learned from the Greek in regard to technique, in connection with his manner of observing life and, above all, in the colouring and general Peewee AN OG RAP Hes 54 EL Gaeta tonalities. It would not be so, on the other hand, in that which refers to the conception of the work, for while in Velazquez all is serene, thought out, classic in every sense of the word, in the work of El Greco that which most attracts the attention is the lack of tranquillity, the movement, the nega- tion of all ruléese i229, The portrait with the romantic title, The Lady of the Flower, is in Scotland in the possession of Stirling-Maxwell. As in representations of royal person- ages her hair is drawn back from her forehead and rolled high upon her head, but in place of the plumes and pearl ornaments which formed the elab- orate coiffures of the women of the court she wears a single star-shaped} flower. The extreme simplicity of her costume, the transparent white headdress, the pale green flower in her dark hair, all combine in producing a singularly effective frame for her narrow oval face, arched brows, and large dark eyes. HISPA N PGe Ose oe : PLATE XIII ue J Courtesy of the Museum of Fine Arts, Boston PORTRAIT OF FRAY HORTENSIO FELIX PARAVICINO Y ARTEAGA Boston. Museum of Fine Arts Poet CO 59 | | One of El Greco’s most famous por- traits is in the Museum of Fine Arts, Poston) tate ) X11). , It represents Fray Hortensio Félix Paravicino y Arteaga, a popular orator, a writer of distinction, and a favourite of two kings. He is shown seated in a chair which has a green leather back. He wears the black scapular and white tunic, with the red and blue cross, of the Order of Shod_ Trinitarians. The white cowl forms a striking background for. his idark, vivid) face: and his mass of rumpled black hair. His lips curl slightly beneath the narrow line of his black mustache—a sad face, more Spanish than Italian in spite of his Ital- ian parentage. A sonnet by Paravicino expressing his admiration for the artist’s portrayal of him shares the fame of this portrait (23). In addition to the small portrait of ‘Doctor Pisa belonging to the Marquis of Vega-Inclan there are two oval mini- atures in the collection of The Hispanic Pee send NOTES 56 E LG (Geer ae Society of Amefica, One oft then 112 portrait of a man (Plate XIV), is rem- iniscent of those other unknown cava- liers who gaze down from the walls of the Prado. The same sombre garb is surmounted by a stiff white ruff, and the one lock of hair is arranged in the middle of a high forehead. The mus- tache and beard are cut in a similar manner. The portrait shows a man but little past the prime of life; traces of light brown are still visible in his dark mustache and. beard, his olive complexion has a ruddy glow, his black eyes are large and penetrating. The delicate brush strokes, the exquisite handling of each minute detail betray the accomplished _ miniaturist. In this distinguished piece of work it is evident that El Greco benefited by his contact in Rome with the famous Julio Clovio. This portrait which Venturi attributes to the last period is signed. The other portrait is that of a Spanish lady (Plate XV). Like the infantas in the HISPANLG NOG Es paiiines! by Pantoja de Ja Cruz and Sanchez Coello she has a_ disdainful hir. The enormous lace ruff, the rich jewelry, the exaggerated headdress all Foclaim:hetrallady of the court, Her face is a pale oval. Her lips are scar- et. Her red-brown hair is piled high and adorned by a jeweled ornament. The brown eyes are scornful and a ittle crafty. Her nose is aquiline and ver chin pointed. Something about her »xpression recalls that of the Infanta [Isabel Clara Eugenia in the Prado por- rait by Liafio. A genre painting known as The ‘amily of El Greco belongs to a period arlier than that of the portraits just lescribed. For several reasons its au- henticity must be doubted. The picture has no analogy with his other works, rith the possible exception of an wun- signed genre painted in Rome during his early years. The painter of the mystical Assumptions and Annunciations vas opposed by his very temperament mye MONOGRAPHS EL (G7 to painting genre subjects. It seems strange that the work should have been assigned to this century as genre paint- ing was not cultivated in Spain and Italy, to any extent, until a much later date. If El Greco painted this family group. the awkwardness of the com- position reveals that the artist was unfamiliar with this type of subject. The painting is long and narrow, and the heads of the persons depicted are arranged in a stiff row almost on a level with each other. The contours of the faces are rounded, having the full outline characteristic of the Flemish school. In the centre of the group is a young woman sewing. From her costume she is thought to be the mistress of the house. On the left is a serving maid holding a distaff. Behind her a solemn cat gazes thoughtfully into space. On the right is an old woman wearing a close-fitting headdress and spectacles. Another serving maid holds a baby who wears a lace-edged apron and a minute HISPANDTC PLATE XIV MINIATURE OF A MAN New York. The Hispanic Society of America eet ruff. This child is supposed to be the son of El Greco. Numerous are the writers who have tried to identify in the paintings of El Greco the various members of his family. This rather thankless task has led them to suppose that the artist’s son was the model for the young Saint Martin on horseback and also the youth who holds the map in the View and Plan of Toledo. His purely mythical daughter is variously identified as the page in The Burial of the Count of Orgaz and the lady in the Stirling-Maxwell portrait described in the first chapter. It is impossible to recognize in the central figure in The Family of El Greco the wife of the artist because Llaguno’s statement that he contracted matrimony in Toledo is absolutely without foundation. Since the publication of Cossio’s ex- haustive work new light has_ been brought to bear on the family of El Greco. In a document dated March 31st, 1614, the artist gives the power to fe ein ON OCLE.S ae ees} | 60 E DL GeReE Ga make his will to his son, Jorge Manuel. In the contents of this document is found the followings) == Sie jorce manuel mi hijo y de la dha dona ger." de las \cueUdsiae ares contrary to custom, he does not say “my wife’, this brings one to the conclusion that Dofa Geronima de las Cuebas was not his wife but the mother of his ille- gitimate son, Jorge Manuel. No men- tion is made of other children in the numerous documents published by Borja de San Roman. A document dated June 3rd, 1610, gives the age of Jorge Manuel as thirty-two, thus prov- ing that he was born in 1578. He was probably taught painting by his father, who may also have instructed him in other arts. In architecture he became especially distinguished. He married Dona Alfonsa de los Morales (died 1617) and had one son, Gabriel. A few years later, after the death of his first wife, he married Dofia Gregoria de Guzman (died 1629), by whom he HIS P ACN Nee ? PLATE XV MINIATURE OF A LADY New York. The Hispanic Society of America Peete tC © OI had three children, Claudia, Maria, and Jorge. He was appointed master contractor of the Casa de Ayuntamiento, Loledgs (Qn - March 1o0th,-. 1625, ~ the Chapter of Toledo made him the maestro mayor and sculptor of the Cathedral. Soon after this he laid out the plans for ine cupola, and lantern of the Capilla Mozdarabe. Jorge Manuel died when still young. Of his work as a painter there remains a replica of The Expolio, signed by him, and a copy of the lower part of The Burial of the Count of Orgazg, both in the Prado. At- tributed to him are The Purification of the Temple (Jerez de la Frontera. Don Ramon Diaz) and Jesus in the House of Simon (New York. The Hispanic Society of America). It is probable that a portion of his work remains unidentified. Closely connected with the household was Francisco Preboste, the servant whom El Greco probably brought with him from Italy. Among the many peer N IG NOE ES - EK. Le (Geka Ga documents in which Preboste’s name figures is one in which he was author- ized to undertake a certain work in case of the death of his’ master. (He was probably to El Greco what Pareja was to Velazquez, both pupil and ser- vant. The Virgin with the Crystal Dish in the collection of The Hispanic Society of America has been attribut- ed to Preboste. Luis Tristan, though considered as El Greco’s pupil, fails so completely to attain to the master’s excellence that his works hold little of interest. wees a9) HISPAN [Ug meee KE CO LN, There lived in Toledo in the time of Sancho the Brave a pious and illustrious caballero, who, having no children, devoted his time and money to the erect- ing and repairing of churches. He was Chancellor of Castilla and tutor to the Infanta Beatrice. His name was Gon- zalo Ruiz de Toledo, Count of Orgaz. He interceded so successfully with the Queen on behalf of the monks of the Order of Saint Augustine that she grant- ed them a new church, which at his re- quest was named in honour of Saint Stephen. He also rebuilt the small Church of Santo Tomé at his own ex- pense. When the saintly Count of Orgaz died (ca. 1323) Saint Augustine and Saint Stephen showed their grati- tude by a miracle which occurred in the following manner: wee N OGRA PS EL GRE owe “At this time, we find that the blessed father Saint Augustine wished for the glory of our Spain, to appear in the Imperial City of Toledo, and how himself favourable to the in- habitants of that city, the occasion was his. That very Christian and virtuous avalier, Don Goncalo Ruyz de Toledo f whom we spoke before, died full of ious works, and much Christianity, and hey carried him to be interred in a parish church of the same city called sancto Thome: which he had founded nd dowered, and after celebrating the ffices which the church is accustomed o use for the dead, at the time when they wished to place him in his sepul- hre, there was seen in the church a ereat light, and in the midst thereof the protomartyr Saint Stephen, and our ather Saint Augustine, and approaching he body, one at the head, and the other at the feet, they took it and placed it in he sepulchre, saying these words: such reward the man receives who serves ee HISPANIC NOTES 1b PLATE XVI Photograph D. Anderson, Rome THE BURIAL OF THE COUNT OF ORGAZ Toledo. Church of Santo Tomé Patek IE CG O God and the saints, and immediately dis- appeared: for this from that time on his successors fix a tax in the village of Orgaz for the said monastery, because on the day of Saint Thomas Apostle a monk of the Order preaches, and he 1s obliged] — to recount the miracle: but in this year of 1568 those of Orgaz have objected, forgetful of so great an honour, as that of having so illustrious a man for sefior. But the Church of sancto Thome has started a lawsuit against them, moved by the diligence of the very religious priest of this parish, called Andres Mufioz [!] de Madrid: who still wished to do more to refresh the memory about this event, by placing again on a stone this miracle and history. . .” (25). When this same Andrés, Nufiez de Madrid, who seems to have had the fame of his parish church much at heart, de- sired to have a picture painted to portray the miracle, he asked permission of the Council of the Government of the Arch- bishopric of Toledo. The Council gave Meee iN) CON OTES 66 E ds SGq eee , its consent in a decree dated October 23rd, 1584. The picture was ordered to be finished by Christmas Day, 1586. As was the usual custom it was to be valued by two appraisers, one for the painter and one for the parish. El Greco was selected as the artist who was to reveal anew to the Toledans the miracle of the pious Count of Orgaz (Plate XVI). Contrary to “general opinion this picture was not begun in 1584 but in 1586, according to a contract dated March 18th, 1586. He finished it before the end of the year. Upon the handkerchief of the little page, in the painting, appear El] Greco’s signature and the date 1578, a date that is quite in- comprehensible, as the picture for many reasons could not have been painted in that year. On the other hand 1578 was the year in which the son of El Greco was born. It is therefore probable that the little page represents Jorge Manuel at the age of eight. When El Greco had finished the HISPANTO( | ats igs be tad ae 2 7 Pi - im Pet, ap “y PLATE XVII CHRIST EMBRACING THE CROSS Madrid. Don Aureliano de Beruete y Moret Pees ne tL. CO) picture he asked the Council to value the work so that he might receive his money. The appraisers named, Luis de Velasco and Hernando de Nunciva, estimated the work at 1200 ducados.. As this was most unsatisfactory to the parish they asked to have it revalued. New ap- praisers were appointed, Hernando de Avila and Blas de Prado, but instead of reducing the amount they raised it to 1600 ducados. A lawsuit finally resulted in an edict of the Council (May 30th, 1588), in which they sentenced the priest and treasurer (mayordomo) of Santo Tomé to pay EI Greco the sum of 1200 ducados before nine days were up, thus conforming to the first valuation but cannily ignoring the second. El Greco, feeling himself abused, appealed to His Holiness the Pope asking for the 400 ducados which he had not received. Probably nothing came of this appeal as a few weeks later he agreed to take the original sum in payment. To understand the full significance of Hep aN LC ON O.TE S 68 ME EL Gees the picture it must be considered as a whole. Writers have been apt to divide it into two distinct parts, the realistic lower and the mystic upper one. They have criticized each separately as though no connection existed between the two. Thus they failed to appreciate the def- initely planned composition or to inter- pret the subject correctly. The picture seems to be composed of a series of curves, of harmonious lines which sweep upward until they reach their highest point: the white-robed figure of Christ. By this treatment the artist obtains an effect of motion, of the souls of men striving upward, of angels actually hovering between heaven and earth, and of torches flaming to the skies. In the foreground the bending bodies of the two saints, the curved and lifeless form of the dead Count, the bowed head of the Franciscan monk, all assist in creating a feeling of lineal rhythm. From left and right massive clouds rise in sloping lines above the heads HISPAWN TG PLATE XVIII Photograph Hanfstaengl, Munich THE CRUCIFIXION Paris. Musée National du Louvre of the mourners, parting in the centre of the picture, pushed asunder by the ascending form of an angel who holds in its arms a tiny being, so delicately and vaguely outlined that it seems formed of cloud and mist. It is the soul of the dead Count, and from the protecting arms it ascends to the glory awaiting it. Above, upon the clouds, the Virgin bends forward to re- ceive it, and opposite her kneels Saint John the Baptist, his arms outstretched in a gesture of supplication. These two figures repeat the lines of the bending saints in the foreground. The Burial of the Count of Orgaz has little in common with the balanced per- fection, the static qualities of Raphael’s Disputa and still less with the paganism of Michael Angelo’s Last Judgment. And yet, El Greco must have seen both paintings in Rome. Although this painting by El Greco does not represent a Last Judgment, is it not possible that he obtained his inspiration for the upper Piste cee Co NOP iS 70 E Lb Gite ae part of the picture from a Byzantine source and that this is the symbolic group known as the Deésis? Intro- duced from the East at an early period, the Deésis is described as follows: “Our Lord is enthroned in the centre; the two other figures stand turned to- wards him, each holding out both hands in an attitude of supplication . . . what- ever the origin, the group ultimately be- came apocalyptic, and forms the centre of the Last Judgement. The Virgin was held to represent the Church of the New Dispensation mediating between the Saviour as Judge and the world: St. John represents the Old Dispensation. Examples of this subject, which were especially popular from the tenth century onwards, occur in mosaics, enamels, and ivory carvings. The Deesis appears in Western art as a result of Byzantine influence. Christ, the) V item eandmse John the Baptist in the Deesis arrange- ment appear in a few Western Dooms” (26). ae HISPAN BGs It is not unreasonable, therefore, to conclude that El Greco drew his inspira- tion from the Byzantine art of Crete and from the mosaics and carvings which he must have seen at Venice. Until a few years ago writers, mistak- ing Saint John the Baptist for a repre- sentation of the Count appearing in heaven, voiced their indignant objections to this unclothed figure entirely out of proportion, who kneels before’ the Geist ihey iorzot that from the thirteenth century the souls of the dead were depicted in art as little human be- ings. In the Spanish primitives Saint Michael balances his scales, weighing upon them little kneeling figures repre- senting souls; in the Triumph of Death in the Campo Sanio, Pisa, angels carry souls in their arms. The Dormition of the Virgin, a subject popular in Byzan- tine art, portrays the soul of the Virgin as a diminutive being in the arms of her Son 4 27.): The Burial of the Count of Orgaz is PoeeeekirON OGRA PHS EL. PGS Rea worthy of a detailed description, as it is El Greco’s supreme achievement; in it his art has reached its apogee. In the immediate foreground the aged Saint Augustine in his magnificent cope, stiff with gold embroidery, bends tenderly above the dark head of the lifeless Count. In the black and gold damascened armour of Orgaz there is a note of dark splendour which contrasts admirably with the brilliance of the rich dalmatic worn by the young Saint Stephen. At the left, kneels a page clad in black. He holds a lighted torch in one hand and points with the other as though to draw attention to the miracle. Forming a background to this central group are “all the nobles of the city”, courtiers in sombre black, some wearing the red cross of Santiago, monks, and _ ecclesiastical dignitaries. At the extreme left, the light from flaring torches falls upon the pale face of an Augustinian friar shrouded in his black habit and half reveals the HISPANT?@ NO PLATE XIX SAINT DOMINIC New York. The Hispanic Society of America Pee ly CO pensive expression of a Franciscan shadowed in his gray cowl. At the right, preserving the balance of the composition, is the tall figure of the priest who reads the burial offices. The death’s head grins upon his funeral cope. Beside him the processional cross lifts its crucifix into the clouds. The mayor- domo turns his broad back to the specta- tor as he stands gazing at the glory in the sky. Dim vistas open in the clouds revealing at the left a group of musi- cians, at the right a man with arm up- raised, a Magdalene lifting a crystal vase. Behind the Virgin is Saint Peter with the keys. Our Lady is here repre- sented as a divine and tender woman, not as the regal Queen of Heaven. Be- hind Saint John the Baptist are saints, apostles, and the great multitude of the blessed. It.is the mystic rose of the Paradiso; El Greco dreaming of Dante created this vision. “Upon this side, where perfect is the flower Pave Nl Cr N. Ooh ES EL GRR With each one of its petals, seated are Those who believe in Christ who was to come. Upon the other side, where inter- sected With vacant spaces are the semi- circles, Are those who looked to Christ already come. And as, upon this side, the glorious seat Of the Lady of Heaven, and the other seats Below it, such a great division make, So opposite doth that of the great John, Who, ever holy, desert and martyr- dom Endured, and afterwards two years in Hell” (28). It is the Spaniard, Sefior Unamuno, who best interprets the spirit which radiates: from the cavaliers surrounding the dead Count: HIS PA Ni Cae Peie Ge ke CO “They seem all united, but only be- cause they depend on the same death — of which the Count is an expression — and upon the same sky which opens above their heads . . . These men whom El Greco paints, fortified within them- selves, severe and rigid, seem to say with our Fray Juan de los Angeles: ‘I for the Lord and the Lord for me, and noth- ing else in the world!’ ... The cava- liers of the Burial are silent, as silent as the Count of Orgaz, who is to be buried. Only their hands speak... “They speak, the winged hands which El Greco painted. One can call them ‘winged’, as Homer called the word. One must listen to them, those winged hands, poised upon the breasts of the cavaliers or of the saints, or fluttering in fantastic foreshortenings. There is one, above all, that seems a mystic dove, a messenger of the secret of death. It is that hand which seems to belong to one of the cavaliers in the Burial, and ap- pears in it,ascending, enclosed in a wrist- Pewee ONMCO N O1G RAP THS band of lace, from the shadows, between Saint Stephen and Saint Augustine, above the corpse of the Count of Orgaz, as though to salute it in its departure from this world” (29). As to the identification of the various illustrious men of Toledo who are por- trayed here, that is a dificult’ matter At the left is an elderly man with a short beard and high forehead. He is probably Diego de Covarrubias, an eminent theologian, a lawyer, and a friend of Saint Theresa. As he died in 1577 El Greco must have based this portrait on an earlier one. Next to the /Dominican in his white cowl is the sad face, supposed for some reason to be a portrait of the artist: At)thesriga, the noble head almost in profile with the short white beard is possibly that of Antonio Covarrubias, the brother of Diego. He, also, was a learned scholar and a friend of El Greco, who painted him again years later. The priest with the book who reads the burial offices HISPANTOC AiG PLATE XX SAINT JAMES THE GREAT New York. The Hispanic Society of America Peieeerens CO is thought to be Andrés Nufiez de Ma- drid, who played such an important part in the history of the parish of Santo Tomé. The mayordomo in his white surplice may be Juan Lopez. — According to Kehrer, who not only attempts the identification of the cava- liers but extends his investigations to the blessed who are grouped behind Saint John, there appear in the heavenly company the Archbishop of Toledo and Pope Sixtus the Fifth. Now as the Pope died in 1590 and the Archbishop (Gas- par de Quiroga) in 1594 there is some difficulty in reconciling their deaths with their appearance in heaven in a picture painted in 1586. Perhaps it was the artist’s method of flattering the great men of his time by giving them an as- sured place among the host of the re- deemed. One is led to believe that EI Greco may have stooped to this piece of courtly adulation by the fact that the third person from Saint Thomas, with his carpenter’s square, is a man with a fee NLC N Ol ES aoe EL (Giket eae short white beard and high forehead — a man who, in strange contrast with the flowing robes of the saints about him, wears armour and a white ruff. Com- pare this portrait with that of the King in El Greco’s Glory 07 2 miiipeeine Second; the resemblance is striking. And yet, Philip did not die until 1598, fully twelve years later. HISPA N CGe ees. V The painter of The Burial of the Count of Orgaz, that most perfect ex- pression of Spanish mysticism, had among his friends Archbishop Quiroga, Diego Covarrubias, and other Toledans, who, if not mystics themselves, were favourable to the exponents of the doctrine. Mysticism in Spain reached its highest point of development during the lifetime of El Greco. The mystics, watched by the Inquisition, often at- tacked and imprisoned, succeeded in influencing some of the most notable men and women of their time and in producing a literature imbued with lofty sentiments. Saint Theresa was sent into a retreat at Toledo, Luis de Leon was kept in prison at Valla- dolid, Juan de la Cruz was placed in a AND MONOGRAPHS Bide dungeon at Toledo, and yet mysticism, that delicate flower of Castilian spiritu- ality, continued to flourish. Something of this doctrine which taught a closer union between God and man, a union which might be obtained through prayer, meditation, and ecstasy, is expressed in the words of Fray Luis de Leon: “Ah me! my soul, what baleful chain Holds back thy freeborn spirit’s flight ? Oh break it, disenthrall’d from pain, And mount those azure depths of light” (30). It is to El Greco’s religious pictures that one turns for an understanding of the reaction upon him of Catholic To- ledo. There is a striking difference in his treatment of certain subjects and the Spanish Catholic conception of the same thing, which leads one to believe that he painted not Spain of the Inquisition but Spain of the mystics. For example, the Spaniards preferred to show the exhausted Christ bending HISPAN PCOyNee i PLATE XXI SAINT JAMES THE GREAT New York. The Hispanic Society of America beneath His heavy cross. The Via Crucis was a popular subject among them. They were aroused to pious enthusiasm by realistic representations of suffering and martyrdom. A people accustomed to the ferocious scenes of the auto-da-fé did not fail to demand in their art presentations of torture Gard brutality;- El “Gfeco has chosen to represent the sorrowful figure in a quite different manner in his Christ Embracing the Cross (Plate=XVIl)_ the head «is slightly raised, the tearful eyes shine with for- giveness, the cross is held upright. The shadow of the Calvary is upon the pic- ture, but one is spared the hopeless suf- fering of those other Christs stagger- ing beneath their heavy burdens. This is the gentle Saviour to whom Saint Theresa addressed her petitions. If in this painting El Greco reveals his tendency towards mysticism, in the Christ Bestowing a Blessing he shows the majestic Christ Pantokrater of Deere LN OvTeE S sd fe Byzantine art. As in the mosaics, this figure faces with hieratic ‘solemnity directly towards the front, the right hand raised to bestow a blessing. The Crucifixion in the Louvre (Plate XVIII) might be called a devotional picture as it does not portray an actual event. It has a special place among the artist’s works because of its balanced composition, its absolute simplicity of design, its sombre and harmonious tonalities. Christ is represented upon the cross as a symbol of suffering and redemption, not as the dying Lord sur- rounded by His weeping followers. His body is firmly modeled, there is nothing about it to suggest death, the muscles do not sag but remain taut. The head, instead of being bowed in grief and anguish, is raised, the eyes gaze upward with infinite longing. There is a superb tranquillity about the figure. It is the Christ of Byzantine art, triumphant even upon the cross. The background creates a fecling of vast spaces across HIS PAN G@e oe PLATE XXII SAINT JEROME New York. The Hispanic Society of America Peel. © © which move slowly and majestically gray and white cloud-forms, parting above the cross to reveal the intense blue sky. The introduction of the two donors emphasizes the devotional character, of the “subject.: . They: are worthy to rank with the famous portraits in The Burial of the Count of Orgas. The cavalier, at the right, is in black with narrow white lace ruffs at his neck and wrists. His black hair is touched with gray; -At the: left:is a’ cleric in a black cassock and white surplice. Per-|. haps this is Juan Lopez of the Orgaz picture, his hair now turned white. As it is impossible to describe in de- tail the large company of saints which the artist painted, one can only select some of those most representative. A description by Dalton of Byzantine mosaics might apply quite as well to El Greco’s saints: “The figures that ennoble these walls often seem independent of earth; they owe much of their grandeur to their Maes goeN LG. NOTES EL GREGO detachment. They exert a compelling and almost a magical power just because they stand upon the very line between that which lives and that which is abstracted” (31). As isolated as the tall saints of the mosaics is the Saint Peter in the Escorial. El» Greco's “tendeney 7 to lengthen his figures is very notice- able here, but he has undoubtedly obtained a certain impressive dignity by this method. Quite different in treat- ment is the companion piece to this, Saint Ildefonso, also known as Eugene. The saint is clad in splendid vestments; in contrast to the simple folds of Saint Peter's mantle, every detail of” the embroidery is depicted with marvelous accuracy. A comparison of. the three Saint Sebastians shows the gradual change which took place as his mannerisms developed. The one painted during his first years in Toledo (now in the Cathe- dral at Palencia) shows the saint as a Pe HISPAN PORN pelea LCC) beautiful youth fastened to a tree. Nothing in the position of the body sug- gests suffering. His expression is com- posed, almost indifferent. There is a landscape background. In the work dating from the second period (Buchar- est. Pinacoteca) the landscape has dis- appeared; there remains only the tree trunk. The sky forms the background. Though drops of blood fall from the arrows which pierce him, his body is not distorted by pain. The head, with its ‘dark mass of hair, the dreamy mystical expression, the slender body, all reveal the type peculiar to this period. In the last variant (Madrid. Casa-Torres) clouds sweep across the sky. The grace- ful, bending position of the figure in the Bucharest canvas is here changed, and the body of the saint is so arranged that it is in a more direct line with the tree trunk, in this way producing the vertical effect so sought after by the artist in his last years. The expression of the face is now very different. The nose is tilted AND MONOGRAPHS EL Gaia at a peculiar angle, the mouth is open, the neck swanlike in length. All the strange mannerisms are here evident. In the painting known as The Tears of Saint Peter (London. National Gal- lery) the gray-haired saint, clad in a yellow cloak and blue tunic, raises his sorrowful eyes to heaven and clasps his hands in a gesture of supplication. He seems to be in that state of ecstasy de- scribed by the mystic Fray Luis de Granada: ‘’,. and so the soul, kindled by this celestial flame, is lifted out of itself, and exerting itself to rise with ardour from earth to heaven .. purnsiwitn a fervent desire for God, and so hastens with impetuous speed to unite with Him, and stretches its arms upward trying to reach the One whom it so loves; and as it cannot reach Him nor abandon its desire to do so, it faints with the great- ness of unfulfilled desire, and there remains no other consolation, than sending heartfelt sighs and longing to HISPA N Ge PLATE XXIII HEAD OF SAINT FRANCIS New York. The Hispanic Society of America PerouGrene fC ©) 87 ”? Beavene, 20632). A painting in the collection of The Hispanic Society of America which probably represents Saint Dominic (Plate XIX) shows him kneeling up- on the ground, with clasped hands and bowed head, before a crucifix which is supported upon two stones. He is clad in the white tunic and black cloak of his order. In the right-hand corner is a hilly landscape painted in tones of brown. The sky is overcast with gray and stormy clouds. Also in the collec- tion are two representations of the patron saint of Spain. In one of them (Plate XX) Saint James the Great in the garb of a pilgrim wears a blue tunic over which is draped a yellow mantle. His gray hat is ornamented with pilgrim’s shells and fastened by a cord over his right shoulder. -He holds the staff of a pilgrim in his left hand” “A cloudy gray sky forms the background. In the other picture (Plate XXI1) Santiago is represented as a full- Pepeveees NC NODES Bes EK Lo Gane length figure in a white tunic and red mantle. Over his left shoulder is strung a gray hat. He holds in his right hand a pilgrim’s staff, in his left, a book. On a stone at his feet appear the initials 60. The landscape painted in blue, brown, and gray blends into a sky of the same tones= bike wiic pilgrims who came to visit his shrine at Compostela he seems ready to start upon a long journey. In the half-length painting of Saint Jerome (Plate XXII) in the same col- lection the saint appears as an aged philosopher with white hair and a long white beard. His yellow and emaciated body stands out in striking contrast to the blackness of the background. Only: at the extreme left is this sombreness relieved by a cardinal’s red hat and a glimpse of cloudy gray sky. A fold of red drapery appears below his right arm. He holds in his right hand a stone, in his left, a brown crucifix, upon which his gray eyes gaze with a fanatical devotion. HIS PA Nd Cee eae Paik © O He is seated, ‘and before him are two books, an hourglass, and a skull. The ivy which hangs over the entrance to the cave has been repeated so often by the artist that it is almost as much of a signature as the Greek letters upon a piece of paper in the right-hand corner. Among the numerous paintings of Mary Magdalene is one in the collection of The Hispanic Society of America attributed to El Greco. Enveloped in a voluminous red mantle she kneels at the mouth of a cave before a crucifix. Her long yellow hair falls to her waist. A skull, the symbol of mortality, lies upon a rock. The blue sky is overcast with eray clouds. It is Francis, above all other saints, whom the artist has chosen for his own. Many are his canvases showing the leader of, “. . those barefooted meek ones, Who sought God’s friendship in Miencord (33). In the hermit kneeling at the entrance AMONG GRA PHS E Db Gah oa to a rocky cave before a skull and cruci- \fix one fails to see the Saint Francis of the Italian legend, the little brother of all living things. Without doubt the cowled head of a monk in the collection of The Hispanic Society of America (Plate XXII) represents the saint. The profile outlined against a dark back- ground recalls other representations of Saint Francis painted during different periods of the artist’s life. Berenson’s condemnation of Fra Bartolommeo’s prophets and apostles as spiritually insignificant (34) applies quite as well to the works of many of El Greco’s contemporaries in Spain. Of this, at least, the Greek can never. be accused, for however inaccurate the drawing and sombre the colour, his emaciated saints are the quintessence of spirituality. Without dates or documents concern- ing many of the pictures considered in this chapter it is difficult to place them! in any special period. Von Loga assigns HISPANOS PLATE XXIV Photograph Flili. Alinari, Florence SAINT LOUIS Paris. Musée National du Louvre The Holy Family in the collection of The Hispanic Society of America (Frontis- piece) to El Greco’s first Toledan period and Cossio to his second period. In de- scribing the picture Cossio calls it the most beautiful Holy Family by El Greco and adds: “. . . In its types, as well as in execu- tion and in its tones, although the latter are somewhat colder, it bears a close relationship to the Virgin of the Chapel of San José, of Toledo. In the former canvas, as in this, the poetic charm of the scene, the supreme elegance of the types, the constructive force, the intense vitality, the magic of the colouring dominate. In its expressive nudes, there is the frank naturalness, without affecta- tion, of the primitive painters; and in the carmine, the dark blue and yellow of the draperies, the artist has perhaps succeeded in the most fortunate dis- covery of the tonalities, a little violent, which he has been seeking since the Saint Maurice. The white mantilla on Meee oN CON. OD ES 92 | E LU Gaeen aa | the head of the Virgin is, from the spontaneity of its execution, the note in the picture which places it most definite- ly in this period. But, above all, it has, perhaps more than any other, that air of universal and eternal realism, which, wherever it is found, makes us forget the subject and the period, to regard the work as one of our own day” (35). The Virgin wears a deep pink tunic and a dark blue-green mantle with a yellow border. Over her brown hair is a transparent white mantilla. She watches with lowered eyes the brown- haired Child upon her lap. At the right is Saint Joseph in his traditional yellow mantle. His hair and beard are dark brown. In the background gray clouds drift across a blue sky. Another undated picture is the one in the Louvre supposed to represent Saint Louis (Plate XXIV). The saintly King is clad in a suit of armour across which is twisted a red mantle. Upon his brown hair touched with gray is a green- HISPANIC PLATE XXV Photograph Hanfstaengl, Munich THE BAPTISM OF CHRIST Madrid. Museo del Prado baie aGeRiE CO gold crown. His expression is unre- lieved by a gleam of intelligence or humour. Over his dull visage has fallen the shadow of the Hapsburgs; he has a long nose, heavily lidded brown eyes, lntee” eats, “and. a full lower. lip. Although the mother of Saint Louis was Blanche of Castilla this transformation of a French king into a Spaniard of the sixteenth century is hardly excus- able. As in the miniatures representing A sceptre surmounted by a fleur-de-lis is in his left hand. The little page who bears his helmet wears a gray jacket trimmed with dull gold buttons. His white sleeves are adorned with gold stripes. About his neck is a white lace ruff. In the background is a gray- green column. Saint Louis again appears in a paint- ing of a knight of Santiago and his patron. In spite of the inscription on the picture the identity of this kneeling figure covered by a white cloak, the red Saint Louis he holds the hand of state. | | } i f ; meer eAN 1. Some. EoD “GQ aReeeee cross of the order upon his breast, has not been definitely established as that of Julian Romero. At his side ts a tall man in armour from whose shoulders falls a mantle adorned with lilies. The crown at his feet makes it seem possible that Fl Greco is again portraying Saint Louis. At least, so thinks Cossio.} Georgiana Goddard King suggests that this may be a knight of Alcantara pre- sented by Saint Julian (36). Why then does he wear the red cross of Santiago and why has Saint Julian the attributes of a French king? HISPAN POO PeteieGak HL CO Vi In an earlier chapter reasons were suggested for the markedly individual traits which appeared in the artist’s work as he advanced in years. This new phase can best be studied in the pictures belonging to the period about to be con- sidered. Whether the mannerisms can be attributed to astigmatism, mysticism, or Byzantine influence, the fact remains that the pictures exert a strange fascina- tion and are in many ways the most individual of the artist’s productions. In regard to the method employed by El Greco it is of interest to note that Vasari writing of Michael Angelo said: “T have myself secured some drawings by his hand... He would make his figures of nine, ten, or even twelve heads long, for no other purpose than the Popo eh ON OGRAPHS obs 96 ET) (GER erate research of a certain grace in putting the parts together which is not to be found in the natural form, and would say that the artist must have his measur- ing tools, not in the hand but in the eye, because the hands do but operate, it is the eye that judges .. 7) (37); As Michael Angelo did much to enrich the Farnese Palace in Rome, it is logical to suppose that El Greco may have seen some of these drawings while staying there, For the Colegio de Religiosos Calza- dos de la Orden de San Agustin, Madrid, El Greco executed a retablo. In honour of its founder, a lady ef the’ Court of Anne of Austria, this colegio was generally known as that of Dofia Maria de Aragon. Cean Bermudez writes that the retablo was done in 1590, but the only evidence to support this statement is the fact that mass was said there for the first time on April 11th, 1590, proba- bly after the completion of the retablo. The church was not finished until 1599. oe Hi'S PANY GaGa J | ae ; a fie Lad Bae i ee i PLATE XXVI._ Photograph Hanfstaengl, Munich THE RESURRECTION | Madrid. Museo del Prado As usual there was a lawsuit. El Greco did not receive his payment of 65,300 reales until the year from 1598 to 1600. The Baptism, now in the Prado (Plate XXV), was painted for the colegio. and to this three more pictures -are added by Cossio because of the similarity of their technique and colouring. They are The Annunciation in the Museo Balaguer at Villanueva y Geltru, The Resurreciiow. (Plate XXVI1).and The Crucifixion in the Prado. So little docu: | mentary evidence has come to ght in regard to them that one can only agree that in conception and tonality they resemble The Baptism. | Cossio writes that: “On remounting the paintings, there have been discovered, fortunately, the lateral margins of the canvases, where the artist cleaned his brushes. These brush strokes, in which ochre “and dark red dominate almost exclusively, explain the opaque and earthy tonalities! of the flesh tones and of the atmosphere teeter LC ON OE S of this group of pictures...” (38). One cannot agree with Sefior Mélida that The Baptism resembles the same subject as treated by Byzantine artists. Here the Christ is seen in profile; in Byzantine art He is depicted almost in- variably full face, nor is He immersed in water. Upon the banks of the river stands Saint John the Baptist. From a shell he pours water upon the head of the Christ who kneels upon one knee. A red mantle held by a group of angels forms a background for His figure. The Dove hovers in the clouds over the central group. In the heavens appears God the Father clad in shining white and surrounded by angels. It is of interest to observe that these same angels are repeated in The Immaculate Conception (Munich. Heinemann Col- lection) belonging to Fl Greco’s last period. In The Annunciation the Angel Gabriel, winged like some gigantic bird, completely dwarfs the figure of the HIS PA NDC eee Wo Ng, Tg a sea Oe @) Virgin as he approaches upon a curious- ly rounded cloud. Awkwardly he folds his arms upon his breast. Instead of flowing draperies he is clad in a rather close-fitting garment of some dark iateria.. In’ contrast, the Virgin is altogether charming. As she turns from her prie-dieu to receive his salutation, her mantle falls back revealing her dark hair and delicate profile. In the midst of a confusion of clouds and. cherubs the white Dove sweeps down from heaven. A rushing wind seems to have invaded the room bearing with it a group of angels playing upon musical instruments. In The Resurrectton the Roman soldiers, instead of being half asleep about an empty tomb, leap into the air in wild astonishment, brandishing their unsheathed swords. They raise their arms in fantastic gestures as though to touch the ascending figure so soon to vanish out of their sight. In the centre foreground is a soldier who has fallen periomnia) NO GuR'A PIES backwards upon the earth, still clutch- ing his sword. It is this figure which assists in creating the effect of ascending ‘|lines for which the artist was evidently striving. Only in the Christ is found repose. Majestically He ascends, His mantle floating about Him, a banner in His left hand: The vradianecweore: mandorla surrounds Him. The subject? oof) tierce wien rendered with such restraint in the painting in the Louvre is here marred by the mannerisms of El Greco. Unlike the lonely Christ in the other painting, the Redeemer is accompanied by the Virgin and Saint John, while at the foot of the cross kneels the Magdalene. Angels receive the blood from His wounds. The sombre sky reflects the tragic feeling emanating from _ the canvas. The artist’s next work was connected with the Chapel of San José at Toledo. According to a Latin inscription on the facade this was the first church dedicat- HTS .P AN DG ee PLATE XXVII SAINT MARTIN AND THE BEGGAR Philadelphia. Widener Collection aa Peek EC. © Sats r ed to Saint Joseph. To this chapel had come Saint Theresa, whose patron was Saint Joseph, and her Shod Carmelite nuns. It is singularly appropriate that not manysyears later El ’Greco, himself steeped in the mysticism of the times, should have executed a retablo in a place which had once given shelter to the greatest of Spanish mystics. The re- tablo was begun on November 2oth, 1597 jand finished two years later. Again El Greco became involved in a lawsuit, this. time with Martin Ramirez, the nephew of the founder of the chapel. Fearful of the high cost of continuing the suit and perhaps aware of the artist’s per- sistency in affairs of this kind, Ramirez consented to pay El Greco the 31,328 reales originally agreed upon. So it is stated in a document dated December 13th, 1599. Cossio believes that a sum which Ramirez paid on behalf of the artist to a linen draper had been spent on canvas for the pictures which were to adorn the retablo. Although these Prensa eC NO TE S se ED AGakeiieteee paintings are not mentioned in the docu- ment, there is little doubt that they were executed at this period and for this chapel. In the centre of the retablo is a large painting of the titular saint of the place. Like the Saint James in the collection of The Hispanic Society of America, Saint Joseph stands upon the crest of a hill, wrapped in the many folds of his mantle and grasping a staff in his right hand. Detached from his surroundings, his elongated figure appears enormous. The Christ Child at his left seems to cling to him for protection from the perils of the road. The Child’s figure is decidedly puzzling as it is impossible to realize the structure of the body beneath the garments. His arms and hands are not those of a child. Above the head of the saint, angels scattering flowers descend in a whirlwind of clouds. As in the Saint James, the hills of Toledo are seen in the background. This motive of E! Greco’s adopted city is introduced from HISPAN DOs Ooie | a Peer GO time to time until it reaches its culmina- tion in the landscape of Toledo painted during his last years. The Coronation of the Virgin is placed above the Saint Joseph in the retablo. The figures in the foreground, which do not appear in the Madrid and Illescas variants, detract from the beauty and simplicity of the composition. It has been suggested that they represent the founder and his family. This is hardly admissible as no respected citizen of Toledo would appear in flowing mantle and without his ruff. Undoubtedly they are six of the apostles as it is possible to identify Saint James the Great at the extreme left’ and the two Saint Johns, one at the right and the other at the left. Velazquez probably received his inspiration for The Coronation of the Virgin, in the Prado, from this painting. The Virgin with Saint Agnes and Another Saint, now in the Widener Col- lection, came originally from the Chapel Peres MONOGRAP HS 104 E LGR eae a of San José. There is little about this Virgin that is reminiscent of the peasant Madonnas of Italy or the golden-haired maidens of the Netherlands in jeweled | crowns, representing the Queen of Heaven. Rather is she the sensitive type of Toledan woman of the sixteenth century. Her dark hair is drawn back from her high forehead and half-veiled by a transparent white mantilla. Over her red tunic is draped a blue mantle. The delicate contours of her oval face and her slender, pointed fingers reveal her innate elegance and beauty. With her left arm she supports the Infant whose little hand, with a very natural gesture, reaches out to clasp her fingers. On either side, clad in pink and green garments, are adoring angels. Murillo has equalled but never surpassed these two youthful figures with their rounded forms, their curly hair, their innocent faces. They might have been painted during the master’s early period, so lacking are they in the peculiarities of HIS PA No GNSS PLATE XXVIII Photograph D. Anderson, Rome GLORY OF PHILIP THE SECOND Escorial. Salas Capitulares Pie GRECO 105 his last manner. Below the Virgin and Child, at the left, is a saint in a blue tunic and yellow mantle, bearing the palm of victory, her right hand resting upon the head of a lioness. On the forehead of the beast are the initials 60. Wty thes right, “Saint. Agnes ini. a: -red. mantle, holding a white lamb, looks down in proud humility. Saint Martin and the Beggar (Plate XXVII) is another painting which has been transferred from the Chapel of San José to the Widener Collection.! Tite Saint,’a young crusader clad in damascened armour, bears himself gal- lantly as he rides upon a prancing white horse. Leaning towards the beggar at his side he severs his green cloak with a blow of his Toledan blade. His ex- pression is so melancholy, so distrait, that he seems in a trance, like a wander- ing knight whose crusade is never ending. The blue sky is flecked with clouds, and far in the distance is seen Toledo upon her green hilltops. Books Pee nN DONO TES EL Gah of chivalry had not yet been held up to ridicule by Cervantes. All Spain read avidly of adventuring knights and dis- tressed maidens. Stored in El Greco’s library were many romances, them those of Ariosto and Bernardo Tasso’s Amadigi (39). The chivalric spirit breathes from this painting; it is the most romantic of El Greco’s con- ceptions. iss : ~ Beruete is inclined to date The Dream, or more correctly the Glory of Philip the Second, in the Escorial (Plate XXVIII), from this period and not as having been painted before the Saint Maurice. It inevitably recalls the Glory painted by Titian for the Emperor Charles the Fifth. Because of its con- _ {qj |ception and handling, Cossio, also, aor though unable to produce documentary ym evidence, does not hesitate tovassion cit _ to ca. 1600. In support of this he offers *”— Iseveral facts. For instance, Sigiienza published the third part of his Historia de la Orden de San Gerénimo in 1605, HIS PANT OCRN Gewese containing a detailed description of the Escorial, but he failed to mention the Grory eee whitest’ time it is given by Santos in his work on the Escorial it is described as being in the sacristy of the Pantheon. After the failure of the Saint Maurice it is thought that the King would have hesitated to com- mission the artist to paint such an important picture as the Glory. He comes to the conclusion that the order for the picture to be placed over the tomb came from the Comunidad years after the death of the King. Santos writing in the seventeenth century says: “A Glory by Dominico Greco, one of the best which he painted, though always with want of taste in the |colours; but here he has the excuse that it is not easy to find those suitable for painting the Glory of God; for the most vivid cannot succeed in represent- ing the might of that Supreme Majesty, neither seen, nor heard by men. Usually Pew ON OGRA P HS BL AG See this canvas is called the Glory of Greco, because of a fragment of glory which one sees in the upper party) ine wished to represent to us here that conceit of Saint Paul: In nomine Jesu jomne genu flectatur Ce lestium, Terres- trium, & Infernorum. It is a subject executed with all excellence; the skill of the artist’s drawing is already well known, and here he shows taste in the positions, and elegant attitudes, which’ |the figures have, with naturalness and ease, without the multitude becoming jconfused” (40). The Glory of Philip the Second recalls illuminated title-pages by its innumer- able details, its vari-coloured and gem- like qualities. There is a marvelous richness as well as variety within a. small space. Like the minute figures in the Ejecutorias Philip kneels with clasped hands, a black silhouette out- lined against a brilliant background. His sombre costume, his excessive pallor, are emphasized by the cruel contrast. HISPANIC NO > ‘PLATE XXIX PORTRAIT OF CARDINAL TAVERA Toledo. Church of the Hospital of San Juan Bautista Peete CO O With what pleasure has El Greco painted the glowing red of the Cardinal’s cloak, the blue, green, and carmine of the garments of the saints, the yellow robe trimmed with ermine, the brocaded cushion, and the carpet upon which the blessed kneel! Behind the elect an in- numerable throng of the redeemed ex- tend across the plain. The picture is crowded with incident. At the right, hell is represented by the open jaws of ja monster, inside which the tormented struggle against leaping flames. In the background the red glare from the burn- ing lake tinges with colour the gray clouds which divide the heavenly from the earthly scene. Above in the sky a crescent of kneeling angels gazes upon a monogram I H S in the centre of a golden glory. It is significant that the form in which the name of Jesus appears is that chosen by the Jesuits as the symbol of their order. Opposed to the Society of Jesus during the greater part of his reign, Philip the eee N CaN OY ES 109 E Lb Gage Second came to regard them with favou before his death. In 1603 El Greco began the retablo for the Colegio de San Bernardino, Toledo, and completed it on September 12th of the same year. To this retablo belongs the Sait Bernardino of Siena, now in the Museo del Greco. Several years later he drew a plan for the facade of the colegio. In his next lawsuit he appears as the champion of the noble art of painting, declaring it free from “all taxation, Palomino and others are wrong when they assign the year 1600 as the date of this lawsuit, since the retablo for the Church of the Hospital of Nuestra Sefiora de la Camdad, at llileseas, over which the discussion raged, was not contracted for until June 18th, 1603. The tax scollécton ean iescas placed .a «tax “of fiity 7 etioucand maravedis upon this retablo, which sum the artist with characteristic independ- ence refused to pay—hence the lawsuit. HIS PA Neti Ailsa ‘er ae C4ayvy ouoyvoN ‘uopuoT NdduvO AHL NI WHAVAd AHL uopuoT ‘kK4azjvy jouoynn ayy fo fsazanoy) XXX ALVId Peek CO When a decision was reached it was found that El Greco had gained the victory. Since painting was declared free of tribute, his fellow artists rejoiced with him. The legend that El Greco never sold a picture but only leased it to escape the tax has been entirely disproved. In 1604 Pompeo Leoni, Eugenio Patricio, and two others came from Madrid to appraise the work. El Greco was not satisfied with their evaluation and instituted a lawsuit which dragged on for several years, terminat- ing finally in 1607. The general plan of the Hospital was the work of Nicolas de Vergara and not of El Greco; Ponz, Palomino, and others to the contrary. The four statues in the capilla mayor assigned by Cossio to El Greco were probably drawn by him but executed by someone else. The Convent of San Francisco, also at Illescas, is supposed to have been constructed by El Greco, but as it has entirely disappeared it is impossible to ieee COON OC ES II2 E Ly GRBs say to whom it should be assigned. It contained two sculptured tombs of the founders attributed to the artist, but they have vanished. El Greco painted for the Church of the Hospital of Nuestra Senora de la Caridad five pictures: Charity, The Coronation of the Virgin (resembling the one in Madrid), The Annunciation, The Nativity, and Saint Ildefonso Writ- ing. Cossio thinks that to this group may also belong The Betrothal of the Virgin in the Pinacoteca, Bucharest. The most important picture is the one depicting Ildefonso, who was held in great esteem by the Toledans as one of their patron saints. A vision which ap- peared to him is described in Flos sanc- torum: 66 . as one time the holy Arch- bishop was reading the book which he had composed, on the virginity and ex- cellency of the glorious Mother of God,| she appeared to him visibly, and said, I come to thank you for the pains which HISPANT @ WO ae Peete ke CO 112 you took for love of me in this book which you have written in praise and defense of me” (41). In the painting the artist has chosen the moment when the saint was still engaged in writing his book; the Virgin had not yet appeared to him. He is seated at a table holding in his right hand a quill pen. His left hand rests upon an open book. His head is raised as though he had stopped writing for a moment, lost in holy meditation. .How admirably has El Greco portrayed this venerable white-haired man. His lean face is full of spirituality, his rapt gaze is that of a scholar and a mystic. The room in which he is seated reveals the rich furnishings of the houses of the wealthy in the sixteenth century. The table is covered by a red velvet cloth trimmed with gold braid, the chair is adorned with red silk tassels. Of fine workmanship are the various articles for writing placed upon the table. On a pedestal against the wall is a statue of AND PION) GR Earls Ki Toe ee the Virgin and Child. Rarely did El reco use as a background the narrow confines of a room. He preferred the wind-swept hills of Toledo or some cave overhung with green ivy where dwelt an emaciated saint. The five scenes from the life of Mary Magdalene, and a Holy Face, thought at one time to have been painted by the artist for the retablo mayor of the Church of Titulcia or Bayona, are now attributed to his son. Although EI Greco undoubtedly assisted him in this undertaking, documents dated 1609 and 1612 prove that Jorge Manuel was the painter and Giraldo de Merlo the sculp- tor of this retablo. The best known among the pictures is Jesus in the House of Simon, In a contract dated November 16th, 1608, El Greco undertook the construc- tion of the retablo mayor and _ side altars of the Church of the Hospital of San Juan Bautista, at Toledo. He can be held responsible only for the original HISPA NPG re PLATE XXXI Courtesy of the Metropolitan Museum of Art, New York THE ADORATION OF THE SHEPHERDS New York. Metropolitan Museum of Art plan, because at his death, in 1614, it was found that he had made but little progress with the work. His son next undertook to complete it, but following in his father’s footsteps he became in- volved in a lawsuit in 1630, with the result that Gabriel de Ulloa was ap- pointed in his place. Borja. de San Roman, who by publishing numerous documents has solved many problems in regard to El Greco’s share in the work, thinks that the pictures which are now on the walls of the church were not originally painted for the place. Among these is the large Baptism of Christ which the artist left unfinished. The Holy Family is assigned to an earlier date and The Annunciation attributed to Gabriel de Ulloa. Besides the ones given by Borja de San Roman there are at present in the church the Por- trait of Cardinal Tavera (Plate XXIX), The Tears of Saint Peter, and a. Saint Francis. It is hardly necessary to add that the statues of the retablo mayor, Peete CCN Ol ES EL) Go though probably drawn by EI Greco, were not executed by him. The sculp- ture representing Jesus crucified, the Virgin, and Saint John are assigned to a much later period in Spanish art. The work tor the Churcimon tie Hospital of San Juan Bautista was one of the last contracts which EI Greco undertook. His life was drawing to a close, but his indomitable spirit was un- changed, his genius more markedly in- dividual than ever. Life had failed to conquer him, HIS PANDO NeGs a PeieGeR ECO 117 Vil “Here all of Greco that can be confined Doth Pict» lay; here bur- ics, and here seals; Gently dispose him, gent- ly, so he feels No footsteps stir the part he left behind! His fame no silence upon earth shall bind Where men are born; though envy’s breast be stecl’s Against it; for no other star reveals Such radiant glow on our horizon blind. The wiqher fe he wrought,—not mere ap- plause,— Greater Apelles!—and the wonderment Of ages shall invoke hts stranger wavs! Crete gave him birth; the brush with which he draws, Toledo;—and a _ better land is bent To grant him rest eter- nal to his days’ (42). The works painted during El Greco’s Peel? NLON OG RA PHS EL Gea J last years show plainly his increasing tendency to escape from the conven- tionality about him. He chooses his subject with greater freedom. His in- terest in landscape takes form in two views of Toledo. Like Saint John he sees visions of the Apocalypse as he nears the end. The Immaculate Concep- tions and the Pentecost are filled with an unearthly ecstasy. His figures grow taller, becoming more — spiritualized. They seem to say with Fray Luis de. eons “O were it mine, Ruiz, to grow The wings of heaven, and out of bondage here, Ascend beyond the life we know Unto that outmost crystal sphere Where Truth itself shines ever pure and clear) aay Among the variants of El Greco’s Prayer in the Garden the strangest and perhaps the most beautiful is the one in the National Gallery, London (Plate XXX). The striking originality of the HIS PA NGS treatment can be best appreciated after considering a painting on the same subject by Mantegna in another part of the Gallery. In the work of the Italian master the garden lies in the midst of a gay and enchanting landscape. A stream flows from distant mountain peaks. In the background are the far towers of a walled city. Beneath a dazzling blue sky the three apostles sleep profoundly; (eter atee's in prayer upon a hill. Like a band of wandering minstrels, in bright array, the Roman soldiers ap- proach, led by Judas, who has the air of a young nobleman. Later in the works of El Greco’s Venetian masters this same lack of harmony between the landscape background and the subject Of ihe picture was still evident. In The Prayer in the Garden El Greco has used the landscape to intensify the feeling Of suspense, of isolation, of innocence about to be betrayed. A sharply curved rock rises abruptly behind the Christ, who, clad in a rose- Se MON OGRAR HS 120 E L. GaReEs ee coloured tunic and _ kneeling upon a blue mantle, is the central figure. Upon a white cloud like a snow bank floats an angel with gray wings bearing a golden chalice. In a rocky cavern to the left sleep the three apostles, their bodies twisted in strangely graceful attitudes. To the right, the white moon- light, shining through luminous gray- blue clouds, reveals Judas and the Roman soldiers advancing in the still- ness of the night along a road which winds through barren hills towards the lonely garden. The painting is at once astonishingly modern and bewilderingly primitive. Equally permeated with mysticism but more nervous and intense is The Adora- tion of the Shepherds in the Metropoli- tan Museum of Art, New York (Plate XXXI). The Virgin, Saint Joseph, and the shepherds are grouped in atti- tudes of worship about the Child who lies upon a shining white cloth in the centre of the picture. This cloth seems ee HISPAN DG] ) Ot PLATE XXXII THE IMMACULATE CONCEPTION Toledo. Church of San Vicente Pele at hk. CO 127 to reflect the light upwards throwing a subdued illumination over the group. It accentuates their sharp profiles and casts strange flickering shadows upon the dull greens, yellows, pinks, and white of their garments. It reveals in the darkness at the left a little Toledan donkey. Above the central group are three small cherubs bearing a scroll. Beneath the archway at the right a shepherd with raised arms gazes upward at the light in the sky. In The Pentecost in the Prado the Byzantine influence again becomes evi- dent. Iconographically it is closely re- lated to The Pentecost in the Syriac Gospel of Rabula (44). The Virgin has} the place of honour; grouped about her are the apostles and a woman in a white mantilla. Tongues of flame leap upwards above their heads. From a dome which curves over them the Dove descends in a golden light. The motive of the wavering line of flames in the background, used in the Rabula Pente- nee ACN UC ON OYEES a EL 4 ae ieee HISPAN PO @h Or cost, is rarely seen in Spanish primitives, where heavy gold halos seem to take its place. Though presentations of the Pentecost. are found “withieeeeese frequency among the Spanish primitives, the artists of the sixteenth and seven- teenth centuries were so concerned with the dogma of the Immaculate Concep- tion, then at the height of its popularity, that they neglected to some extent the other events in the life of the Virgin. Not until a few years before his death did El Greco choose the Immaculate Conception as a subject for his brush. Cossio and others have classified the paintings in the Church of San Vicente and in the Heinemann Collection as Assumptions, but a careful study of the attributes in the foreground of both pictures will verify the statement that they represent the Immaculate Concep- tion. of the Virgin. The one painted for the Church of San Vicente, Toledo, (Plate XXXII) was begun in 1608 and finished in 1613. It is marvelously PLATE XXXIII THE OPENING OF THE FIFTH SEAL Paris. Don Ignacio Zuloaga y Zanora ieee cel) CO beautiful. Again the Divina commedia is brought to mind. The Virgin is a “crowned flame” soaring upwards (45). Dante might have been describing the angel with the great wings when. he WEOLE: “Lo! how straight up to heaven he holds them reared, Winnowing the air with those eternal plumes.. ...” °(46). El Greco’s very exaggerations here tend to produce a thrilling sense of movement. A rushing wind seems to sweep all before it: the cloud mists, the tall white lilies, the swirling draperies of the musicians. Differing in every essential from the placid girl Virgins by Murillo, La Inmaculada seems not a living person but the embodiment of an ideal, the spirit of mysticism mounting to heaven, no longer to be detained on earth. The other Jmmaculate Conception (Munich. Heinemann Collection) is a prototype of a long series of paintings on a subject which was to become more Pee aCe oN OT ES IZ E lL (GiR ae iand more popular in Spain. Though it resembles them in composition and in feeling it is forever separated from them by the mannerisms which stamp it as a work of El Greco’s last period. Instead of the rosy cherubs in the paintings by Murillo, Carrefio de Muranda,° and Valdés Leal, the Virgin is here accom- panied by angels with long limbs and sharply pointed features. Like great birds they circle about her. The Virgin's expression is mysterious and reserved; her body is swathed in the folds of a heavy mantle. Strangely enough the details in the immediate foreground, the flowers, the fountain, the temple, the little ship, are treated with a care more characteristic of Valdes Leal than of the Greek. And then, as though weary of paint- ing saints and Madonnas at the command of reverend personages, he indulges his fancy and places upon canvas a star- tlingly disconcerting vision. This paint- ing known as Profane Love has now HIS PAN TL CRG Peet kk CO to Cn been identified as The Opening of the Fifth Seal, in the Apocalypse (Plate pew) elt, -orithe sketch for it, is listed in the inventory made of the artist’s possessions after his death as, “Un S. Ju’ abangelista q be los misterios del apocalipsi pequefio” (47). In the Book of Revelation Saint John’s vision is described as follows: “And when he opened the fifth seal, I saw underneath’ the altar the souls of them that had been slain for the word of God, and for the testimony which they held: and they cried with a great voice, saying, How long, O Master, the holy and-true, dost thou |not judge and avenge our blood on them that dwell on earth? And there was given them to each one a white robe; and it was said unto them, that Pieyesiould: rest yet for a little merce (AS); The seven nude figures then are ‘the souls of them that had been slain’. A great billowing mantle has descended Peer eVON OGRA PES 126 E L «GRan ae upon them; it seems about to envelop them, but they raise it aloft with their uplifted hands. Some kneel upon the ground. Their bodies make a fantastic wavering pattern against the dark back- ground. Storm clouds sweep above them. They are but spectres in a dream. The Saint John, kneeling at the lei: alone is human. Tle towers over them, his tremendous figure draped in a vo- luminous mantle, his arms lifted high above his head. Another painting equally foreign in subject to El Greco’s other works is the Laocoon (Plate XXXIV), also painted during this period. It will be remem- bered that since the famous marble Laocoon was found in 1506 the artist must have seen it in Rome. Although the figures in this group are not inter- twined as in the Vatican masterpiece, the same effect of unity is obtained by the curving lines of the bodies and the twisting coils of the serpents. In the centre foreground Laocoén is _ lying HISPANT G03 ap le epee hs ed i ‘ UDOT UQ ‘“YayJoyouig ap “YyIUHy NOOOOV'I AIXXX ALV Id Peer tt, LC. O E27 among the rocks. The serpent which writhes beneath him is about to attack. Behind him is one of his sons whose position recalls that of the soldier in the Prado Resurrection... To.the left, the other son stands with his body swaying backwards and his outstretched hands holding the coils of a serpent away from him. Quite apart from the main action are two nude figures at the extreme right. Probably introduced into the composition to balance the standing figure of the son at the left, their com- plete indifference to the tragedy being enacted before them leads one to believe that the artist intended them to represent gods, possibly Pallas and Neptune. Toledo and not Troy appears in the background. A little white’horse (the wooden horse of Troy?) halts near the Visagra Gate. El Greco must have passed through this gate very often on his way to the Hospital of San Juan Bautista. The same gate again appears in the Pere Ee ON OIC E.S E DL (GeRer ae View and Plan of Toledo, which was painted from almost the same spot as the Laocodn. To the left the city slopes sharply downhill to where the Tajo ows beneath the Alcantara Bridge. To the right outside the city walls the hills) sweep away into the distance. Above the massed buildings, the Alcazar, the Cathedral spire, and the many church towers stand out against a cloudy sky. In the heavens is the Virgin, surrounded by angels, carrying, as she did in the legend, the chasuble to Saint Ildefonso. In the centre foreground is a small model of the Hospital of Sax Juan Bautista, to the left of which is an allegorical figure of the river Tajo. A young man, at the right, spreads out a plan of the city in such a way that the winding river and narrow streets can be easily traced. That this plan is techni- cally correct is vouched for by Lampérez y Romea. Upon the plan appears this rather bewildering explanation in the artist’s own words: HIS PAN VGN OF ie c Pee het CeO “It was necessary to place the Hospital de Don Joan Tavera in the form of a model because not only did it almost cover the Gate of Visagra but the domes and cupola ascended in a way to surpass the city and so once placed as a model and moved from its position it seemed to me to show the facade rather than any other part and as concerns the rest how it is arranged in relation to the city will be seen in the ground plan. ““Also in the history of Our Lady who brings the chasuble to Saint Ildefonso for his adornment and in making the large figures I have taken advantage in a certain way of the fact that they are celestial bodies as we see in the lights which seen from afar, however small they may be, appear to us large’” (49). More interesting from some points of view is the wild and beautiful landscape sometimes known as Toledo in a Storm (Plate XXXV). Only a part of the PENUEMONOGRAPHS Dae Bee Cre ce fa oe city is seen: the great ravine through which winds the Tajo, the Castle of San Servando, and the abrupt cliff sur- mounted by the Alcazar. The lofty spite of the Cathedral rises from the hillside below the Alcazar instead of from the centre of the town. But it matters little, as El Greco never intended this to be an accurate view of Toledo like the other} painting. Though the artists of the Netherlands excelled in landscape paint- ing in the sixteenth century, it is im- possible to recall any Spanish artists ot the same period, or earlier, who produced works of this kind. El Greco may be considered as a pioneer in this field. A few years before his death he received a visit from a fellow artist, Francisco Pacheco, the author of the Arte de la pintura.. Pacheco gives a confused account of El Greco’s method of working and adds that in reply to the question which was the more diffi- cult, colouring or drawing, the master HIS PAN DG SNe eieoe PLATE XXXV TOLEDO IN A STORM New York. Havemeyer Collection —— Pere CC) 131 replied: colouring. He goes on to relate that “Dominico Greco showed me in the year 1611. a cupboard of clay models by his hand, which he made use of in his| work. And what was most remarkable, the originals of all that he had painted in his life, painted in oils on smaller canvases, in a room, which, by his order, his son showed me. What will the presumptuous, and lazy say to this, will they not fall dead hearing of these examples °” (50). According to the inventory of El Greco’s possessions, published by Borja de San Roman, Pacheco’s statement that the artist had “the originals of all that he had painted in his life” is a decided exaggeration of the facts. There are listed thirty modeis of clay and wax and twenty of plaster. One fails to find in this inventory any of the numerous portraits. It was Jorge Manuel Theotocépult who on April 12th and July 7th, 1614 wrote out this inventory of his father’s worldly possessions. The document is Peewee N 1 Gy NOTES Ree ine E DL 1Gakeea of great interest as it gives a detailed account of the pictures, books, personal belongings, and household goods. Borja de San Roman sees in it a direct denial of the assertion that the artist lived in luxury. It is no longer possible, then, to credit the much quoted statement of José Martinez in regard to El Greco that “. .. he gained many ducats, but wasted them in excessive ostentation on his house, even to having salaried musi- cians so that when he ate he should enjoy all delights” (51). On March 32ist, 1614, El Greco, being | upon a bed of sickness, gave to his son the power to make his will. He named him as his executor together with Luis de Castilla, Dean of the Cathedral of Cuenca, and Fray Domingo Banegas (Venegas?) a monk of the Monastery of San Pedro Martir, Toledo. Jorge Manuel was his sole heir. Not until January 2oth, 1616 did his son draw up the will. This document, published by Borja de San- Roman, gives an account HISPAN TGS Ole BL of the various brotherhoods which were to accompany the body to the church and of the masses to be said for the soul of the dead. The church which contained his first Toledan picture was enosen to receive his body after death (52). In the Libro de entierros of the parish of Santo Tomé is found the brief notice of his death on the seventh of April, 1614. It is stated also that he left no will, that he received the sacraments and was interred in the’ Church of Sanio Domingo el Antiguo (53). * Although the splendid tomb described by Luis de Gongora is but a flight of fancy, the sonnet written by the poet in honour of El Greco is a fitting tribute to his undying genius: “Stranger, this glittering tomb of porphyry fair Imprisons now that master’s hand, which drew On canvas or dull board with touch so true, Mme eMONOGRAPHS E L 2GaReiie As if the breathing forms of life were there: His name, which loud-voiced heralds nught declare In tourney-field of Fame with chal- lenge bold, Is now content to gild this marble cold; Pass on, but greet it first with rever- cnt prayer. The famous Greek rests here, whom Nature led To Art, Art taught him study; light and hues He learnt from sun and rainbow; fancy tree Smiled on his dreams. Let pious tears be shed, And cheer the sullen urn with spicy dews, Press'd from the bark that shrouds the Arabian tree” (54). HIS PAN PGS see. NAO ES NOTES (1) Dalton, O. M. Byzantine art and archaeology. Oxtord, 1911. p. 252. © . (2) Unamuno y Jugo, Miguel de. Il Greco in Rassegna darte. 1914. v. 1, p. 75, tr. (3) “Al Card. Farnese. Viterbo A’di 16 di 9bre 1570. FE’ capitato in Roma un giovane Candiotto discepolo di Titiano, che a mio giuditio parmi raro nella pittura; et, fra l’altre cose, egli ha fatto un ritratto da se stesso, che fa stupire tutti questi Pittori di Roma. Io vorrei trattenerlo sotto l’ombra di V. S. Tl.™* et Rev.™" senza spesa altra del vivere, ma solo de una stanza nel Palazzo Farnese per qualche poco di tempo, cioé per fin che egli si venghi ad accomodare meglio. Pero La prego et supplico sia contenta di scrivere al Co. Lud.*° suo Maiord.°, che lo pro- vegghi nel detto Palazzo di qualche stanze Gaeta che V. 9. IIL™* fara -un’opera virtuosa degna di Lei, et io gliene terrd obligo. Et Le bascio con reverenza le mani. eye. 1 * “et Rey:™* humilissimo cen Don Julio Clovio” Pare Oe kTON OG-R Agr HS 135 136 E L SG Cossio, M. B. El Greco. Madrid, 1908. v. 1, p. 8-9, note I. | (4) Justi, Karl. Los comiengos de El Greco in La Espata moderna. November 1914. afio 26, p. 76-77, ir. (5) S, J. A. Retratos 4 patsaje™ det Greco pintados en Italia in Sociedad espafiola de excursiones. Boletin. 1916. ano XXIV, p. [93] tr. (6) Beruete y Moret, Aureliano de. Fi Greco pintor de retratos. [Madrid, 1914?] p. 14-15, tr. (7) Vega Carpio, L. F.de. Por la puente, Juana in Comedias escogidas. Madrid, 1855. Ni 2p 0AG. (8) Cervantes Saavedra, Miguel de. The omplete works. v. VIII. Exemplary novels. Glasgow, 1902. we2Z pe (9) Pisa, Francisco. Descripcion de la civdad. de Toledo. Toledo, 161/247 sii. (10) Pacheco, Francisco. Arie wde wa pintvra. Seuilla, 1649. p. 446, tr. (11) Cossio. Ves puiocee (12) Sentenach y ‘Cabanage aren. Técnica pictorica del Greco in Sociedad espafiola de excursiones. Boletin. March 1916. afio XXIV epee (13) “In all these computations, the equiv- alent is 34 maravedis for a real, and 11 ‘eales for a ducado.” Cossio: -v. 1, p. 185: “notesijar: NOES (14) Cean Bermudez, J. A. Diccionario. Madrid, 1800. v. 5, p. 4, fr. (15) Chesterton, G. K. Lepanto in Poems. London, 1915. p. 18. (16) Sigtienza, José de. Historia de la Orden de San Jerénimo. Madrid, 1909. v. 2, p. 410-411, tr. (17) Llaguno y Amirola, Eugenio. Noticias de los arquitectos y arqutectura de Espana. Madrid, 1829. v. 3, p. 349, tr. (18) Sigtienza. v. 2, p. 634, ir. (19) Marti y Monso, José. Dominico Theotocopult interprete griego in Sociedad castellana de excursiones. Boletin. Novem- ber 1903. afio I, p. 147, tr. (20) Allende-Salazar, Juan, and Sanchez Canton, F. J. Retratos del Museo del Prado. Madrid, 1919. p. 100, tr. (21) Sentenach y Cabafias. p. 8-9, fr. (22) Beruete y Moret. p. 18-19, tr. (23) “Al mismo Griego en vn retrato que hizo del Autor. SONETO. DIuino Griego de tu obrar, no admira, que en la imagen exceda al ser el arte, sino que della el cielo por templarte la vida, deuda a tu pinzel retira. No el Sol sus rayos por su esfera gira, como en tus liencos, basta el empefiarse, en amagos de Dios, entre a la parte naturaleza que yencer se mira. Emulo de Prometheo en vn retrato, mae MONOGRAPHS 138 eae Rawal peas} EK DL Sash ‘ no afectes lumbre, el hurto vital dexa, que hasta mi alma a tanto ser ayuda. Y contra veinte y nueue afios de trato, entre tu mano, y la de Dios, perpleja, qual es el cuerpo.en que ha de viuir duda.” Paravicino y Arteaga, H. F. Obras posthumas. Madrid, 1641. f° 63. (24) Borja de San Roman y Fernandez, Francisco de. El Greco en Toledo. Madrid, (910. p.- 187; ; (25) Roman, Jerénimo. Chronica de la Orden de los ermutanos del glorioso padre Sancto Augustin. Salamanca, 1569. f° 64. ifs (26) Dalton. p. 664-666. (27) “Your business is to paint the souls of men — Man’s soul, and it’s a fire, smoke. . no it’ $ mopeneee It’s vapour done up like a new-born babe — (In that shape when you die it leaves your mouth)” Browning, Robert. Fra Lippo Lippi in The poems and plays of Robert Browning. London and New York [1908]. p. 296. (28) Dante Alighieri. Divine comedy. Paradiso. Canto XXXII. Tr. by Longfel- low. Boston and New York [°1895]. p. 596-597. (29) Unamuno y Jugo. p. 76, 78-79. (30) Leén, Luis de. The Ascension in HIS.PA NW GS eo ES 139 Churton, Edward. Gongora. London, 1862. v. 2, p. 249. (ole dalton. =p. 35. (32) Granada, Luis de. Obras. Madrid, 1848. v. 1, p. 59, tr. (33) Dante Alighieri. The divine com- rove oredise. ©Canto XIf. ‘Tr: by Cary. New York [°1897]. p. 372. (34) Berenson, Bernhard. The Floren- tine painters of the Renaissance. New York and London [°1908]. p. 78. (ecawossio, Viol. p. 327, tr: (36) King, G. G. A brief account of the military orders in Spain. New York, 1921. Kt, (37) Vasari, Giorgio. Lives of the most eminent painters, sculptors, and arclitects. Lendon,.1852. vy: 5, p. 335. (38) Cossio. v. 1, p. 294, tr. (39) As an edition was printed in. Venice in 1560 he may have purchased it there. (40) Santos, Francisco. Descripcion breve del monasterio de S. Lorenzo el real gel Escorial, Madrid, 1667. v° f° 162, tr. (41) Vega, Pedro de la. Flos sanctorvm. Alcala de Henares, 1572. wv° f° clxxviij. (42) Paravicino y Arteaga, H. F. Sonnet on the tomb of the painter who was El Greco of Toledo in Walsh, Thomas. Hispanic anthology. New York and London, 1920. (43) Leén, Luis de. To Felipe Ruiz Walsh, Thomas. The pilgrim kings. New Sire Sy py. 123. ie MON O:-G RAPES 140 EL 2G Ra (44) Dalton. fig. 408. (45) Dante Alighieri. The divine com- edy. Paradise. Canto” Xie oaeey Cary. New York [*°1897]. p. 419. (46) Dante Alighieri. The divine com- edy. Purgatory. Cantoy li site byecacy. New York [°1897]. p. 188. (47) Borja de San Roman y Fernandez. p. 191. (48) Bible. N. T. Rev. 6: 9-11. (49) Cossio. v. 1, p. 455-456, tr. (50) Pacheco. pisos ies (51) Martinez, José. Discursos practi- cables del nobilisimo arte de la pintura. Madrid, 1866. p. 183, tr. (52) As early as August 26th, 1612, Jorge Manuel had taken possession of a vault and altar in the Church of Santo Domingo el Antiguo to be used as a burial place for his father and himself. Borja de San Roman devotes a chapter in El Greco en Toledo to a discussion of the exact location of this vault in the church. That the spot is now occupied by a baroque retablo and that Juan and Pedro Alcocer were buried in the place chosen by El Greco and his son complicates the matter. It is possible that atter the burial in Santo Domingo el Antiguo of Jorge Manuel’s first wife, in 1617, the fam- ily no longer owned the vault. In her will dated 1629 his second wife declares that she wishes to be buried “ . . . in the vault which the said Jorge manuel and I hold in the HISPA NIT Clie Pec Lob S Ce of san torcas [San Torcuato]. (Borja de San Roman y Fernandez. p. 212, tr.) Borja de San Roman had the vault in Santo Domingo el Antiguo opened but he found it impossible to come to a definite conclusion as to which were the remains of the famous Greek. (53) ““dominico greco En siete del fa- lescio dominico greco no hizo testam*®: Recibio los sacram*t®* enterrosse en Sto domingo el antiguo dio belas.’” Cossio, M. B. El Greco. Barcelona [19-]. (El arte en Espana) p. 6. (54) Gongora y Argote, Luis de. On the painter, El Greco in Churton, Edward. Gongora. London, 1862. v. 2, p. 230. moe MONOGRAPHS PARTIAL Dl SiO eyo alae The paintings which are starred are described in the text. AUSTRIA VIENNA Avuspirz, STEPHAN VON Portrait of San Ignacio de Loyola also known as Luis de Gonsaga IXAISERLICHE GEMALDEGALERIE *The Adoration of the Alagi Portrait of a Man (Attributed) CANADA MONTREAL VAN Horne, The late Str WILLIAM Portrait of a Nobleman of the House of Letva FHead of Saint Maurice Holy Tamily (Attributed) ENGLAND BARNARD CASTLE. Bowrs MUsEuM The Tears of Saint Peter (N c ren HIS PAN@D Gee ce ie On KS LoNDON , Carrax Gatrery CAod Xana Ue») Genre Scene Davies, Miss GERTRUDE Head of Saint John the Baptist The Expolio Harris, Lionet, Esquire (remy Christ’s Farewell to the Virgin «sul. The Crucifixion Sel. The Tears of Saint Peter av 6 C wy lnm Cre. um iL aS Nat TONAL GR GALLERY ; ~ Sb *The Purification of the Temple Saint Jerome "Lhe Tears of SaméePeter™ cf § wp va *The Prayer in the Garden 4 P Head of Saint Peter STIRLING-MAXWELL, Sir JOHN *Portrait of a Lady Portrait of a Man VINCENT, Sir Epcar Supper im the House of Simon (At- tributed) YARBOROUGH; Lory” My VARLE. Mis ; *The Purification of the vicina & RICHMOND (SURREY) Coox, Sir EFreperiek fer be, *The Purification of the Temple fe DaNMON OGRA PHS A. Ph. 144 E iL. 2G ghee FRANCE BAYONNE MusEE BONNAT ni Saint Jerome 4 1 *Supposed Portrait of the Duke e Bena- { vente LILLE 0 Must&e DE LILLE p Saint Francts - The Prayer in the Garden Lyon Of, Musk&e pe Lyon ' ¢ The Expolho PARIS CHERAMY COLLECTION ctl - i. \ *Saint Bernard \ CHERFILS COLLECTION mA Genre Scene Errazu, Don LuIs DE ON *Supposed Portrait of Julian eee OLLE rly) Qu Dir. Bust Portrait of Fernando Nino de Guevara MusEE NATIONAL DU LOUVRE *The Crucifixion *Saint Louis also known as Ferdinand of Aragon Manzi, M. Lours (nemnty) ee HITS PANT CSO Wye iS Fly . Saint Martin. ‘Ge. Derwhauw | Lanse? ZuLOAGA Y ZANoRA, Don IGNnacio V Saint Francis coeadidianeaY bon The Annunciation *The Opening of the Fifth Seal also known as Profane Love Holy Family STRASBOURG Mus&te MUNICIPAL DES BEAUX-ARTS Head of the Virgin GERMANY DRESDEN GEMALDEGALERIE | *The Healing of the Blind MUNICH ALTE PINAKOTHEK The Expolio *Portrait of Cardinal Gaspar de Quiroga *Taocoon (On loan) (at pele) HEINEMANN COLLECTION *The Immaculate Conception HUNGARY BUDAPEST bano~ Herzoc, M< von Saint Andrew The Prayer in the Garden SZEPMUVESZETI MUZzEUM Page vrON OGRA:PHS TE TD (GekS Eee Saint Mary Magaalene . ITALY NAPLES Musto NAZIONALE *Boy Lighting a Candle *Portrait of Julio Clovio PARMA REALE GALLERIA *The Healing of the Blind ROME Draco, PRINCE DEL The Expolio GALLERIA NAZIONALE. PALAZZO CORSINI The Baptism of Christ The Adoration of the Shepherds ROUMANIA BUCHAREST PINACOTECA Portrait of Diego Covarrubias *Saint Sebastian *The Betrothal of the Virgin The Adoration of the Shepherds RUSSIA PETROGRAD HERMITAGE ; Portrait of a Poet (Attributed) HISPA NPGS Os WeO-R KS : SCOTLAND Vf NE IKEIR (DunrRiks) STIRLING-MAXWELL, ARCHIBALD, Esquire *Supposed Portrait of Pompeo Leoni *Portrait of the Lady of the Flower Glory of Philip the Second also known as The Dream of Philip the Second SPAIN AVILA CATHEDRAL Supposed Portrait of Don Garcia Ibanez de Mugica Bracamonte CUDILLERO (PROVINCE or tHr AstuRIAS) Sricas! Don Forrunaro pr ” Cee The Immaculate Conception Et Escorrau Reat Monasterio pE SAN Lorenzo DEL EScORIAL SALAS CAPITULARES *Saint Maurice *Glory of Philip the Second also known as The Dream of Philip the Second Saint Francis . . \ Saint Francts ee en SACRISTIA *Saimt Peter *Samt Ildefonso also known as Saint Eugene mre ON O.GRAPHS GRANADA BARRECHEGUREN, DoN RAMON +r Saint Francis Caro R1ANo, Don AcustTin ; , Saint Francis ‘ y~—CoLecio Novicrapo DE LA COMPANIA DE ‘Jesus 9 (ed mth | HY Saint Francis uw. ele Grw ILLESCAS ? ax CHURCH oF THE HospiTaAL or NUESTRA SENORA DE LA CARIDAD *Charity *The Coronation of the Virgin *The Annunciation *The Nativity *Saint Ildefonso Writing Maprip ra ALBA, DUKE OF (| Wf The Crucifixion BERUETE Y Moret, DoN AURELIANO DE *Portrait of an Old Man also known as Portrait of the Artist ? ne ) | *Christ Embracing the Cross BIBLIOTECA NACIONAL Saint John the Evangelist (A sketch) CasA-Torres, Maroulis oF The Tears of Saint Peter *Saint Sebastian eg ba We HISPANT CRN Oi po WVSOCR KS L Bust Portrait of Fray Hortensio Félix Paravicino y Arteaga CASTRO SERNA, MARQUIS OF Saint Jerome CERRALBO, Margulis oF Saint Francis Saint John the Evangelist CHURCH oF SAN GINES. CONGREGACION DEL S™° SACRAMENTO The Purification of the Temple (Attri- buted ) GaRciA, The late Don R. Saint Francis ee HErrs or SENOR } Christ Bestowing a Blessing INSTITUTO DE VALENCIA DE Don JUAN Allegory of the Hermit Life of the Camaldulians TURBE, SENORA DE Christ Bestowing a Blessing MEnNGs, SENoR Christ Embracing the Cross Montejo, SENoRA Saint Jerome Moret y QuINTANA, SENOR Saint Francis MUSEO DEL PRADO *The Annunciation ee ear O NO GRAPHS E LoGehe ee *The Trinity *The Baptism of Christ *The Crucifixion *The Resurrection *The Coronation of the Virgin *The Pentecost Christ Embracing the Cross Holy Family (Attributed) *Saint Benedict Saint Francis Head of the Virgin Saint Anthony of Padua Saint John the Evangelist and Saint Francis Saint John the Evangelist Saint Paul Portrait of a Monk Portrait of a Man Portrait of a Man Portrait of a Man Portrait of a Man also known as The Licentiate Jerénimo de Ceballos Portrait of Rodrigo Vazquez *Portrait of a Doctor possibly Don Rodrigo de la Fuente *Portrait of a Man Portrait of a Man Navas, Don LuIs Christ Embracing the Cross PaARCENT, DUCHESS OF Christ Bestowing a Blessing HISPA NT GgNSOee WORKS PERINAT, MARCHIONESS OF Saint Peter and Saint Paul PIDAL, MARQUIS OF Saint Francis D Quin To,...Don.. Ricarno..PascuAL. Saint Francis RETANA Y GAMBOA, SENOR Christ Embracing the Cross Rota, VISCOUNT OF Angel Musicians SALVATIERRA, MARQUIS OF Saint Francis SANTAMARIA DE SILVA, MARQUIS OF Saint Jerome ToRRECILLA, MARQUIS DE LA Portrait of a Shod_ Trinitarian Urguijo, MARQUIS OF The Annunciation VeEGA-INcCLAN, MARQUIS DE LA Saint Louis also known as Ferdinand of Aragon OLoT (PROVINCE OF GERONA) ParisH CHURCH Christ Embracing the Cross enemas ON O-G RAP HS Ch 152 EL) GRE PALENCIA CATHEDRAL ‘i = * Saint Sebastian SEVILLA CASTRO, SENOR Saint Francis Musro PROVINCIAL *Portrait of an Artist also known as (\ < Portrait of the Son of the Artist SITGES 5 Musr& DE CAU FERRAT The Tears of Saint Peter ~ Sait Mary Magdalene ‘| TOLEDO CASA DEL GRECO ni Saint Francis Pay The Tears of Saint Peter 7 Portrait of Don Diego Covarrubias (At- a tributed) : CATHEDRAL SACRISTIA p\ *The Expolio k Christ Bestowing a Blessing F ; Saint Andrew Saint Philip Saint Simon Saint John the Evangelist HISPAN DG NOs Saint Thaddeus Saint Matthew Saint Paul Saint Peter Saint James the Less Saint James the Great (Santiago el Mayor) Saint Bartholomew Saint Thomas The Tears of Saint Peter Saint Dominic ‘. *Virgin Giving the Chasuble to Saint Ildefonso (Attributed) Polychrome wooden relief, estofado ANTESACRISTIA Saint Francts Tesoro ( % wary The Expolio C Syma } CHURCH OF LA MAGDALENA Saint Joseph and the Christ Child CHAPEL OF SAN JOSE *Saint Joseph and the Christ Child < *The Coronation of the Virgin CuHurcH or SAN NicotAs (V SPA De Saint Dominic The Crucifixion The Annunciation CuurcH oF SAN RoMAN The Immaculate Conception PD MONOGRAPHS ~~) » ie > 154 E LGU ata. CHURCH OF SAN VICENTE *The Immaculate Conception CyHurcH or SANTA LEOCADIA V cromca The Expolio CuurcH or Santo DoMINGo EL ANTIGUO *The Adoration of the Shepherds *The Adoration of the Shepherds *The Holy Face *The Resurrection *Saint John the Baptist *Saimt John the Evangelist *V eronica CHURCH OF SANTO TOME *The Burial of the Count of Orgaz CoLEGIO DE DONCELLAS or DE LOS REMEDIOS Saint Francis CHURCH OF THE HospIraL or SAN JUAN BAUTISTA *Portrait of Cardinal Tavera *Holy Family *The Tears of Saint Peter *The Baptism of Christ *Saint Francis Saint John the Baptist and Saint John the Evangelist HOosPITAL OF SANTA ANA Holy Family (Attributed) HIS PAN PC Oh MuSEO DEL GRECO Portrait of the Blessed Juan de Avila Portrait of Don Antonio Covarrubias Portrait of Don Antonio Covarrubias Portrait of Don Diego Covarrubias The Crucifixion *Saint Bernardino of Stena *View and Plan of Toledo *Christ Bestowing a Blessing Saint Andrew Saint Bartholomew Saint Philip, Saint John the Evangelist Saint Thaddeus Saint Matthew Saint Paul Saint Peter Saint Simon Saint James the Great (Santiago el Mayor) Saint James the Less Saint. Thomas VeEGA-INCLAN, MARQUIS DE LA *Portrait of Doctor Pisa VALENCIA SANZ BremMOn, SENOR Saint Dominic VILLANUEVA y GELTRU (PROVINCE OF BARCELONA) Musrto BALAGUER *The Annunciation Peeve MONOGRAPHS I) Ly -GaReeae UNITED STATES (OR Aiki OSTON, MASSACHUSETTS Museum oF FINE Arts *Portrait of Fray Hortensio Félix Para- vicino y Arteaga Saint Dominic Cuicaco, ILLINOIS THe Art INSTITUTE *The Assumption IMERION, PENNSYLVANIA Tue Barnes IfoUNDATION The Expolho tyy-Ww New Yorx, New Yorxk BLUMENTHAL, GEORGE, ESQUIRE Pm 9 PrytoO . Wt -* me o* The Adoration of the Shepherds : DurAND-RUEL GALLERIES Yn Saint Francis “ Supper in the House of Simon (At- | FR tributed) FRicK COLLECTION *Portrait of Vincentio Anastagi *The Purification of the Temple *Saint Jerome HAVEMEYER COLLECTION *Portrait of Fernando Nino de Guevara *Toledo in a Storm HIS PAIN Gah ee $8369 383939 828 QV BD Seo 65S SOUS TS WORKS 157 THE HIspANic SOCIETY OF AMERICA Dy *Holy Family * Picks Ph *Miniature of a Lady | As *Miniature of a Man *Saint James the Great (Santiago el ae Mayor) . *Saint James the Great (Santiago el p Mayor) h. *Saint Jcrome Rh *Head of Saint Francis ty *Saint Dominic ihe *Saint Mary Magdalene (Attributed )}——_|- The Virgin (Attributed) 0 Saint John (Attributed) ! qe ee .7 NT hy JILTON x 5 LIN ’ =~ Si An Evangelist also known as The Holy Rh . Simeon LeHMAN, Putt, Esquire Saint Jerome Merrovotiran Mustum or ArT *The Adoration of the Shepherds re Holy Family (Attributed) (Deaciwylol\) PHILADELPHIA, PENNSYLVANIA JOHNSON COLLECTION Portrait of a Lady Prieta AS PENNSYLVANIA MusruMmM or ArT ? The Crucifixion fee ON O.G RA PHS E Ly G Ree ieee WIDENER COLLECTION *The Virgin with Saint Agnes and An- other Saint *Saint Martin and the Beggar *The Family of El Greco (Attributed) '|ProvipENcE, Ruope IsLAND RuopE IsLtAaND SCHOOL oF DESIGN Saint Andrew WASHINGTON, DistTRICT OF COLUMBIA PHILLIPS MEMORIAL GALLERY The Tears of Saint Peter WorRCESTER, MASSACHUSETTS WorceEsTER ART MusSEUM Saint Mary Magdalene lana dat healla vty ma (pm). HISPAN I Coho Geourvardk Poul ; is LA An (Coy CO J ‘Ulety a VAN b Ww t| C - (2p vv Mrnmcistaane 'S, Van. LP? Oe Pewee OG RAPHY Peper Ou nA PHY R. ACADEMIA DE BELLAS ARTES DE SAN Since the present volume went to press, the Portrait of an Old Man (Plate XI), referred to on pages vi, x, 50, 51, 148, and 180, has been acquired by the Metropolitan Museum of Art, New York, and An Evangelist also known as The Holy Simeon, mentioned on page 157, has been acquired by The Hispanic Society of America, New York. : veuvrrevvvviveyv dad castellana de excursiones. Boletin. October 1914. v. VI, p. 510-515. Bertaux, Emile. Notes sur le Greco. I. Les portraits de famille in La Revue de Part ancien et moderne. June 1911. v. XXIX, p. [401]-411. Notes sur le Greco. II. L’Italianisme in La Revue de l’art ancien et moderne. mee aT ONOGRAPHS ae E L ty RoE ae WIDENER COLLECTION *The Virgin with Saint Agnes and An- other Saint *Saint Martin and the Beggar *The Family of El Greco (Attributed) PROVIDENCE, RHODE ISLAND Ruope IstaNnpD SCHOOL oF DESIGN 1 + mae HISPAN POS tee L Fat ri Gur'yvork Paul : <} Dan COng So, rr | CRUANNS On Guco" Tony 4 hee em he free hl ie Gtrameisterave 'S, Yan. b peers Ont, RAP TY Peeper is aek A. P EY R. ACADEMIA DE BELLAS ARTES DE SAN FERNANDO, Madrid. Catdlogo de la ex- posicién de cuadros del Greco. Madrid [1909?]. Un admirador del Greco en el siglo XVII in Sociedad espafiola de excursiones. Boletin. Jane-1917. aho X XV, p. 105. ALLENDE-SALAZAR, Juan, and SANCHEZ Canton, Francisco Javier. Retratos del Museo dél Prado. Madrid, 1919. Barres, Maurice. Greco; ou, Le secret de Pode. Paris, 1912: Barres, Maurice, and Laronp, Paul. Le Greco. Paris [1944?]. ae, Flouny. Brrogui, Pedro. Adiciones y correcciones al catdlogo del Museo del Prado in Socie- dad castellana de excursiones. JSBoletin. October 1914. v. VI, p. 510-515. Bertaux, Emile. Notes sur le Greco. I. Les portraits de famille in La Revue de Part ancien et moderne. June 1911. v. XXIX, p. [401]-411. ——Notes sur le Greco. Il. L’Italiamisme in La Revue de l’art ancien et moderne. Pen NOGRAPH S oe December 1912. v. XXXII, p. [401]-410. —Notes sur le Greco. III. Byszantinisme in La Revue de lart ancien et moderne. January 1913. v. XXXIII, p. [29]-38. BerueEteE, Aureliano de. Velazquez. London [1906 ?]. BERUETE y Moret, Aureliano de. El Greco, pintor de retratos. [Madrid, 1914?] Spanish painting. London, New York Pete det Oe ie BLAKE, Justin. El Greco, modern old mas- ter in International studio. August 1924. v. LXXIX, p. 309-318. Borenius, Tancred. The Magdalen in The Burlington magazine. May 1922. v. XL, p. 208. BoryJA DE SAN RoMAN y _ FERNANDEZ, Francisco de. El Greco en Toledo. Madrid, 1910. Butron, Juan Alfonso. Discursos apologe- ticos, en que se defiende la ingenvidad del arte de la pintvra. Madrid, 1626. CALVERT, Albert Frederick, and GALLICHAN, Catherine Gasquoine (Hartley) “Mrs. W. M. Gallichan’. El Greco. London, New York, 1909. Carpbucci, Vincenzio. Didlogos de la pintura. [Madrid] 1633. CEAN BERMUDEZ, Juan Agustin. Diccionario. Madrid, 1800. 6 v. Cote, Timothy. Old Spanish masters. New HISPANTO Gholi Peer G RA Por Y¥ York, 1907. ConsTaABLE, W. G. The new El Greco tin the National Gallery in The Burlington magazine. March 1920. v. XXXVI, p. 142-145. Cortissoz, Royal. Art and common sense. New York, 1913. Cossio, Manuel Bartolomé. El Greco. Madrid, 1908. 2 v. Barcelona [19-]. (El arte en Espana) CueEsta-So., Marqués de. Santo Domingo él antiguo o el Greco en su enlace con Itaha in Bética. November 1915. DomenecH, Rafael. La casa del Greco. Barcelona, 1913. (El arte en Espana) El Greco en Italia in Sociedad espanola de excursiones. Boletin. March 1917. afio aoe, p70. Exias, F. Sobre el estilo pictorico de “El Greco” in Museum. 1920. v. VI, p. 335- 342. Ene. Exposicion de obras del Greco in Blanco y negro. June 7th, 1902. no. 579. Fry, Roger Eliot. Some pictures by El Greco in The Burlington magazine. Oc- tober 1913. v. XXIV, p. 3-4. Vision and design. New York [19—]. GaRNELO, José. Caracteres de la obra pic- torica de “El Greco” in La Ilustraci6n es- panola y americana. April 8th, 1914. afio meV vMONOGRAPHS ; 162 EL) Bore LVI; p. 222-(225 Gautier, Théophile. Voyage en Espagne. Paris, 1853: Grott1, Federigo. Domenico Theotocopulos (Il Greco) in Emporium. May 1914. v. XXXIX; p. f352)-36G Goncora y Arcote, Luis de. Obras poéti- cas. New. York; 192 gaa Hunexer, James Gibbons. Promenades of an impressionist. New York, 1910. Jorcz, Ricardo. El Greco in Universidade da Coimbra. Revista. December 1912. v. I, p. [648]-694. Justi, Karl. Los comiensos de El Greco in La Espana moderna. November 1914. afio 26, p. [66]-85. —— Diego Velasquez and lis tunes. Lon- don, 1889. —— El Greco en Toledo in La Espana mo- derna. November 1914. afio 26, p. [86]- 108. Keurer, Hugo Ludwig. Die kiunst des Greco. Miinchen [°1914]. KNOEDLER AND Company, New York. Cata- logue [of] loan exhibition of paintings by El Greco and Goya. [New York, 1915] Konopy, P. G. Two wnknown pictures by El Greco in The Connoisseur. June 1922. v. LXIII, p. 95-98. Laronp, Paul. La chapelle San José de To- léde et ses peintures du Greco in Gazette de beaux-arts. November 1906. v. XXXVI, HIS’ PAN ] GeisOens. MGMerOmRAPEY | 163 p. [382]-392. Domentkos Theotokopuli dit Le Greco oe: in Les Arts. October 1906. 5. année, p. [1}-32. Domenikos Theotokopuli, sculpteur in Revue hispanque. April 1916. v. XXXVI, p. [301]-307. Etudes et documents sur le Greco. La chapelle de ’hépital de Afuera a Toléde in Gazette des beaux-arts. December 1907. 49. année, p. [482]-490. Etudes et documents sur le Greco. Le “Christ en croix’ de Prades in Gaszette des beaux-arts. March 1908. 50. année, p. [177]-182. Exposition d’ceuvres du Greco a l’Aca- dénue San Fernando, a Madrid in Gazette Cee~ des beaux-arts. June 1909. 51. année, p. [532]-538. Le portrait du Docteur Pisa par le Greco in Revue hispanique. April 1916. v. XXXVI, p. [308]-310. LAMPEREZ Y ROMEA, Vicente. Un pro- blema: El Greco y la arquwutectura in Sociedad castellana de excursiones. ade March 1916. v. VII, p. [337]- 341. LLAcuNo y AmfroLa, Eugenio. Noticias de los arquitectos y arquitectura de Espana. Madrid, 1829. 4 v. Loca, Valerian von. Los comuensos del Greco in La Espana moderna. May 1914.}. afio 26, p. [109]-117. mee DANO NOG RA PHS ae Crater Grate Gr (ik WB) iy 164 EL Ga RAE 1 Los cuadros de la “Hispanic Soctety of America” in Museum. 1913. v. III, p. 119-134. Lonpon. New GaAtrery. Exhibition of Spanish art. [London] 1895-96. Lonpon. Roya ACADEMY OF Arts. E-x- - hibition of Spanish paintings. London, 1920-21. —— ——lllustrations. [London] 1920-21. Loncut, Roberto. Jl soggiorno romano del Greco in L’Arte. July-August 1914. afio XVII, p. [301]-303. LOPEZ DE AYALA Yy ALVAREZ DE TOLEDO, Jeronimo, Conde de Cedillo. De la reli- giosidad y del misticismo en las obras del Greco. Madrid, 1915. Sat Lyncu, Hannah. Toledo, London, 1898. Maprazo y LOPEZ DE CALLE. Tintoretto y Greco in Toledo. July 15th, 1918. ajo IV, ps [157] sl4e Maprazo, Pedro de. Dominico Theotocopuli (El Greco) in Almanaque de La Ilustra- ction. .. 1880. 18792) ato” VE e 4 Maprip. Museo NACIONAL DE PINTURA Y Escuttura. Catdlogo. Madrid, 1920. Marti y Mons6, José. Dominico Theoto- copult interprete griego in Sociedad caste- Ilana de excursiones. Boletin. November 1903. v. I, p. 146-149. MarTinez, José. Discursos practicables del nobilisimo arte de la pintwra. Madrid. 1866. HISPANT CN Oi Peete A PSH Y Mayer, August Liebmann. Los cuadros del Greco y de Goya de la coleccién Nemes en Budapest in Musewm. 1911. v. I, p. 459- 468. Geschichte der spanischen maleret. Leipzig 1913.2’ v. —El Greco. Minchen [°1916]. v Paintings by El Greco in America. Pt. 1 in Art in America. August 1916. v. IV, p. [244]-257. — —Pt. 2 in Art in America. October P16 y. LV.) p, 311-327. MEIER-GRAEFE, Julius. Greco peintre ba- va roque in Art décoratif. October 1912. v. 28, p. 213 - 248. MELIDA Y ALINARI, José Ramon. El arte an- ; tiguo y el Greco in Sociedad espafiola de| _“ excursiones. Boletin. June 1915. ajfio XXIII, p. [89]-103. MoraLepA y ESTEBAN, Juan. Dos Grecos mas en Toledo. Toledo, 1910. Moreno Vita, J. El San Mauricio, del Greco. Su antecedente en Venecia in La Umon hispanoamericana, July 11th, 1919. afio IV, p. [8]-9. New documents concerning El Greco in The Burlington magazine. July 1912. v. XXI, p. 233-234. PacHeEco, Francisco. Arte de la pintvra. Seuilla, 1649. Pere vic) NO GRA Pr s pee 166 E Lo Gee PALOMINO DE Castro y VELAsco, Aciscle Antonio. Las vidas de los pintores y esta- tuarios eminentes espanoles. Londres, 1742. PARAVICINO y ARTEAGA, Hortensio Félix. Obras posthuvmas, divinas, y hvmanas. Madrid, 1641. Parro, Sixto Ramén. Toledo en la mano. Toledo, 1857. PENE pu Bots, Guy. Greco and taste im art in Arts and decoration. April 1915. v. 5, p. 227. L——Greco, Goya and Velazquez in Arts net and decoration. March 1915. v. 5, p. 181- | 184. Pérez SEDANO, Francisco. Notas del ar- chivo de la catedral de Toledo. Madrid, 1914. e PERKINS, F. M. Tre quadri inediti del Greco V in Rassegna d’arte. 1914. anno XIV, p. 86. Ponz, Antonio. Viage de Espana. Ma- drid, 1782-94. any IREPULLES y VARGAS, Enrique. “El Greco”, arquitecto y escultor in La Ilustracion es- paola y americana. April 8th, 1914. afo LVI, pp. 2i5-222. Rfos pE LAmpgérEz, Blanca de los. Infliujo de la mistica, de Santa Teresa singular- mente, sobre nuestro grande arte nacional. [Madrid? 19—] HISPA NIT GRN og S mann ; Por ud ‘ U0. "ere Cel PI o~ F eh ae a ee Q&? lena. ¢ Cds fom sv, . e re " nae Pepe KR A P HY RusINOL, Santiago. Impresiones de arte. [Barcelona, n. d.] S., J. A. Retratos y paisaje del Greco pinta- dos en Italia in Sociedad espafiola de ex- cursiones. Boletin. March 1916. afio AXIS pe 193}: SANTOS, Francisco. Descripcion breve del monasterio de S. Lorenzo el real del Es- corial. Madrid, 1667. SENTENACH Y CABANAS, Narciso. Los grandes retratistas en Espana. Madrid, 1914. —— La pintura en Madrid. Madrid [1907]. San Juan Evangelista, por el Greco in Sociedad espafiola de excursiones. Boletin. March 1917. ano XXV, p. [17]-21. Técnica picto6rica del Greco in Sociedad espafiola de excursiones. Boletin. March 1916. afio XXIV, p. 1-10. | SIGUENZA, José de. Historia de la Orden de San Jerénimo. Madrid, 1909. v. 2. STIRLING-MAXWELL, Sir William, bart. An- nals of the artists of Spain. London, 1848. a Tatitock, R. R. St. John the Baptist in The Burlington magazine. May 1922. v. XI,, p. 208-213. Tortepo. Musto pet Greco. Nueva sala del Museo del Greco. Madrid, Toledo, 1921. Unamuno y Juco, Miguel de. JI Greco in Rassegna darte. 19142 anno’ sX1V— p. Peewee ON.O-G RAPHS ea 168 | E LL Gakan oa Vauvrecy. Vie de Domenico Théotocopul el Greco in L’Esprit nouveau. December 1920. No. 3, p. [268-283]. VENTURI, Lionello. La formacién del estilo fa del Greco in Sociedad espafiola de excur- siones. Boletin. December 1918. afio XXVI, p. [229]-240. ——Uw'opera sconosciuta del Greco in L’Arte. January-April 1920. afio XXIII, p [70=S A755 X. La coleccién Nemes in Museum. 1914- 15. -v. TV, (pei ZARCO DEL VALLE, Manuel Remon. Docu- mentos de la catedral de Toledo. Madrid, 1916 2 ve HISPANTO io Pee Xx INDEX PAG} iemaworattonwaOTethe Magli ic .ce op ec » The Adoration of the Shepherds (New York. Metropolitante Museum)? 5. 652 cae ek 120-121 The Adoration of the Shepherds (Toledo. Santo Domingo el Antiguo. Attic). The Adoration of the Shepherds (Toledo. Santo Domingo. el Antiguo. Side altar) AGNES ee SaINt. WR EVTeSEMtatiOll, issue cise Aoutlarne Diego de. .s ss. 3, SSS ieee PAN Dame UCCuaO Lee ieer ai ale oie cece te feiensi cos ee oo, the a's Alcantara Bridge, Toledo coisa Coe SE Sore ee Alcantara, Knight of. Representation Lae iar Alcazar, eee Re Ue ylas: eo PMG GEA MMMITTA TIONS Semaye vere fine, oon cae s bs seo eke ee eee ns Po vices coca cswe Allende-Salazar, Juan, ete edimar nanan emcees 61s 49, 137 Alte Pinakothek, ee Pease ee cs cca ere 's Anastagi, Vincentio. ‘Portrait Heh eencrs Nrodthapene Pee Pachonle os ook. vc ea ove sn wugeles.- juan .de los; quoted .:.2....:.... Pete One ASELGLIOR ATCT clea. ¢ c-ells,iecs + ocuel esis eloits STINE MeO Me NTIS LGA racie eit; <.0, 210s. o.ns nie acess Sua Nera rete in Cia kiteae steerer pate ees ac eye Gis ae diene boos The Annunciation. (Illescas. Nuestra Seiora eam MG OF UCLG,) crater wake, wis) oh 6K. 8 aelan ood ie! The Annunciation (Madrid. Prado)...... 28-30 The Annunciation (Villanueva y Geltru. NIGCSC OM OO OWET \icisi sere ccs 4 cise Susie a 97-99 POMPNE UAE SOMME PE REE Aaust cso hai’, Sic eiaueice Se writ. ou US eel 25 Aragon, Po aMt TG TICUN CCM te te Anca 6, x sia sales gs eeatate. 9 LOOT OTe MATION NCE. o's) s atvis a ce oc! «dos 9 Archway of the Blood of Christ, Toledo net 18-19 eo MONOGRAPHS 170 E L Ge EAaG® Aristotle ..-.c5cace anal sna eer renee a3 Art, Byzantine <1 eee eee 354; S07, OZ Art, Italian 2.3 0.ci meee ete ee eee 40, 41 Art, Veneto-Byzantine 9 o.5 00s hee ea ee a The Art. Institutes Chicacomen nee een 27 Assumption ©) 0). Scnctete sl apeioieeaee en mene emene ZO Teo, The Assumpttow eects ie ead eee EA Seeetariok Ais Augustine, Saint® socks ae eee 6s 64 Order Of \..s.. asce See eae 63 Representations: >... a.1a> ame ore ene ote THE Auto-da-f6 0. sssca siete reteset 81 Avila, Hernando: de. ime eee eee ees 67 Banegas, Domingo see Venegas, Domingo The Baptism” (Madrid. Prado) seen ee 97-98 The Baptism (Toledo. San Juan Bautista) 115 Bartolommeo,. Pra 927 ane een 90 Bassano, Leandro @32e.-- sheen oe reyes IP Battle of Saint Ouentiiitesu seer 38 Bayona de Tajuna see Titulcia (Madrid). Church Bayonne: Musée Bonnat W245. aces 50 Beatrice; Infanta-4.5 ci eee ee ee 63 Benavente, Duke of. Supposed Portrait. 50 Berenson, Bernhard) =) ciiedasaces tee "90, 139 Beruete y Moret, Aureliano de, cited 49, 106, 136, 137 UOTE ices cco vee oe oie een nee oe 16- 17; 52- 54 Madrid .. 3 y2c-4.s abate cutee eee eee 50 Bessarione, Cardinalaye Portraits eee 1 The Betrothal of -thesV wows eee 112 Bible. N.« Ti Rev. cited see er renee 140 Quoted — os ie. .5 7 eaieieiene weenie eae ects near eae 125 Bibliography... io nen eee 159-168 Blanche of. Castillay eee e eee oe 93 Borja de San Roman y Fernandez, [Francis- co, cited. .24, 25, 60, 115, 131, 132, 138, 140-141 quoted 2...) cA. ae eee 60, 125, 140-141 Boston. Museum of? Pinew Arise 3s ee 55 Boy Lighting a-Candlepnaa ese 10 Bronzino, Alessandro eee eee Ze Browning, Robert. Fra Lippo Lippi, quoted 138 Bucharest. Pinacotecam a eee ee 85, 112 The Burial of the Count of Redes 4, 59, 66- 79, 83 Byzantine antl \2 epee ois 70-71, 82, 98 HISPA NDGA Oia Rye atl Ne mAMOSAIES merrier) die t.0 ouesnc < es 9s iz time pe CHOC ee ieee cis © 6 2 9.00805 4.1054 so eu, Sai pare edrOm CE) peters acne .elacece else eee 4. 0 018 41 Re aac terete eee eee auee on i eeeee he ironasé ere sities: a0 3) sles os 7, 48 Meaclyeaycul Smet a UI Sol Contes Srectnts te sec sg sha'e scale 40 Carlos, Infante Don. Representation...... 42 Carrenorde, Mararicda’, PUA. lass ci os aie-0 22 124 USL EG TE COyer DOlEU Om a cca ne Geb eeas 19-20 Casa-lorres, Marquis of. -Madrid......... 85 (ASRS 0: 8 coadconsc he ophei tito eae ent ae ae Ne hse ASS RIE Aas till james OMe meena Aeigteiee «ee sc 0re e0 24, 25 TSE e Aeee SUS acl O bum eptteteiseiel«. basic) s.8u8.00.8;6 9 ie, e-8 132 Castle of San Servando, Toledo .......... 130 Castle of Sant’Angelo, Rome ............. 11 Gastromeiapron: Baltasar, de... co ccs0 sue ees 33 Cathedral vor Saint “Mark. Venice.......... a Cean Bermudez, Juan Agustin, cited ..... 96, 137 Celliminme DCHVENIMLO To. ceed pice fe ce ew ws 11 ue DIOG HUPW Vm ELCEM ha ieral oi vise sees ele 0.0 3 11 Cervantes Saavedra, Miguel de .........-. 19, 106 UUOCSE REET TCU OMGPUCILEC sso \e 0s, oo sie os sie-0 50 ose eee eee eee eee eee eee esses eeeees Chapel of San ey UiGled Op ene sia axe OFM Ne eee anetetens ates Gis einincicies ce wee © 112 pees TEL CMM LOL E MEM Cate cuainc cis c 8% @ < Siecs «cdc 106 Chesterton, G. K. Lepanto, cited.......... 137 PURO R UMM eerie Teale, bias as. © 4 4a oe #0 vis 0, 010 37 80-82, 92, 98, 100, 102, 104, 105, 114, 119- 120 Christ Bestowing a Blessing pla avas ulece tants 81 Gigwise moracing. the CrOSsS ..csc.sccevees 81 Christ Pantokrater. Representation ...... 81 (Ghurveh ot San. Torcuato, Toledo ........s+ 141 Church of San Vicente, Toledo ........... 122 Church of Santo Domingo el Antiguo, Toledo diqete Aer hae ae 24-28, 43, 133, 140,141 Church of Santo Tomé, Toledo .....63- 65, 77,133 Church of the Hospital of Nuestra Sefiora de lam Caridad. lMWeseds ini. 0%. ce oes 103, 110-112 Church of the Hospital of San Juan Bautista, Mea OMe eee eis 5 os boo hae a ties 114-116 Churton, Edward, cited .......... aGieteiere 139, 141 met MUON O.G RACP HS EL. Gist oi Cincinnato, Romulo Citta Vecchia Clovio, Julio Portrait (lost) (Naples. Museo Nazionale) Coello, Alonso Sanchez see Sanchez Coello, Alonso Colegio de Religiosos Calzados de la Orden Agustin, Madrid Colegio de San Bernardino, Compostela see Santiago de Compostela Constantinople Convent of San Francisco, Cook, Sir Frederick. Richmond (Surrey).. Coronation of the Virgin (1llescas. Nuestra Seiiora de la Cartdad)....103, 112 The Coronation of the Virgin (Madrid. Prado) The Coronation of the Virgin (Toledo. José) Cossio, Manuel Bartolomé, cited ....27, 28, 36, *39 91, 94, 97, 100, 1L06 jie, 122, 136, 139, 140 quoted ..29-30, 91-92, 97-98, 129, 135, 136, 141 Covarrubias, Antonio de 76 Covarrubias, Diego de , Toledo (Madrid. Prado) (Paris. Louvre) Cruz, Juan de la Cuebas, Dofia Gerénima de las Cuenca. Cathedral Dalton, O. quoted Dante Alighieri. quoted The Daughter of El Greco see Porivatt of” a Lad Deésis Diaz, Ramon. HISPANIC NO PEs. The Dove, Representations of The Dream of Philip the Second see Glory of Philip the Second Dresden. Gemdaldegalerie Ejecutorias Tel Escorial. Real Monasterio d Sa Lorenzo del Escorial ...17, 36-38, 40, 43, 107 Church 44 Sacristia Salas Capitulares Escorial see El Escorial Estremadura The Expolio The Family of El Greco Farnese, Cardinal Alessandro....8, 9, 15, 17, oe Portrait : Farnese Collection, Rome Farnese f Florence. Florentines Fra Bartolommeo Francis, Saint Representations Frick Collection, New York Fuente, Rodrigo de Gabriel, Angel. Representations Gate of Visagra, Toledo Gaul Glory of Philip the Second God the Father, Representation of Gongora y Argote, Luis de. On the painter, El Greco, cited quoted me EMONOGRAPHS E Gene ieee Granada, Luis de, cited quoted Grand Canal, El Greco Architect ).2.92¢0 e332 ose eee 24-25, 111 Astigmatism, Theory = oli eee eee Zia i 1.7748, 17. 135 Characteristics 2, 13, 27, °84-86,7 7°95, 100 jee l Looe. Contemporaries .... 20-21, 25, 41, 49, 76, 79, 90 Death Education The Expoho quarrel Family Form of name Influence of Byzantine art 2,.4,. 6, 2,00, 315220, Jano ama Influence of Italian art 12) 13 el 7 2-29 Influence of Spanish mysticism 5; 6,0 81,, 86, O5euei0 1eeOr i 3 Insanity, Theory of Inventory of possessions Lawsuits Learning Library Manner of living Personality Pupils Sculptor Technique .. 1-4, 16, 30 32, 51-54, 56, 90, 91, 95, 97-98, 108; 130- 131 Tomb ill Works, Partial list of Guadarrama, Sierra de see Sierra de Gua- darrama Guevara, Fernando Nifio de. Guzman, Dofia Gregoria de HISPAN PG Ose INDEX 175 = Havemeyer Collection, New York ........ 52 PHOTO MO |e MSLUIDE ORI 1g B IUCE SIAR ceitiehs 6G. acs eo 6 os, whe 90 VEC MEL CAV OR Of MELE = VUNG. reese cs sue s\ere ieee sie WZ Heinemann Collection, Munich ...... Oh. Shes, a lernanideZ ma SeDAStIAN. Gslltelae seis sc «+ 60 sae iplSaerda. ; Iitieee: aS = GIs ais Seen cane ee 24, a The Hispanic Society of America, New Grek ees pee ZeQeoo-90, Oly 62, 87-91, 102 The Holy IRGSD’ .o Bech AS ORE Ge eee 28 Holy Family (New York. The Hispanic DOCLCLYMOLMEATIOTICay) iis etc. SeG ews eds 91-92 Holy Family (Toledo. San Juan Bautista) 115 IBIGERESE » & aio bis Bentree-o tem hae Et Oro rata Cocco 23 (ONG! a5 daa Bie ier cleat ones os Sc ee 75 Hospital of Don Joan Tavera see Hospital of San Juan Bautista, Toledo Hospital of Nuestra Senora de la Caridad, DU eeeeh 0S etca Ms alnance: Chara Oe ee Ae eae 111 Hospital of San Juan Bautista, Toledo....127- ce EU liaaatlg GEG Mees seh ASIEN Co ha ai dec hsiicke fol 0. ee ilbelervernerey. SEE 5. Soe Sic 3. Acree Ue rea ea an 229 IRNEMRESCIbALLOUS IM a spats ei aic cles «oie Gs Wg Aalig. WAS Tllescas Church of the Hospital of Nuestra Senora MP= Ua LOCH IANGT OS” = Sitesi Sac eRe LOSs) VOI t2 Gomvent mol, Naw CL OMCUSCO . hos. tiv cus ee s 111 Hospital of Nuestra Seiora de la Caridad 111 MUGUSERC = | TEU ONO per CALE | xin vie Sv alvin we e's 50 AGREG LOOM eee cesestel cua at iciystis folole sds v Sie eces we Guede rn 21 Immaculate Conception -......... ia, Patonamder lane Mam fe cee eo cree Ae, Sy] [Paravicino y Arteaga, Hortensio Félix. Al mismo Griego en vn retrato que Iizo ae Mingo, CHS cooks aoe Gea Omer om 55 Rit Ee om iiace Risla oe c ctace oe sep ns 137-138 TRYOGEREEEE Sug a pene oanenane cece Oat aC a Be Sonnet on the tomb of the painter who was El Greco of Toledo, cited ....... 139 ete eM oe eine ese simichs woe vis 2 slo nisin e 117 Preme gaa PUA ME. wie ce et te eee ee ees 62 Paris. Musée National du Louvre ...82, 92, 100 SCO CON SUEG ae OLEGON iste «vcs alle eo 19 eM RAS STON Rice rsnnclie aisis)eicue sie /aits eieseia iss Bie atneiree, IDO noe oon a0 2OUo OO oom 111 UGS AAG Ost Se Sir ea ae 108 eatiee He anitd= OMes wiscire ss... .ee cee +s ily E\STeVRSCUISS 4G oyieeeneuo co Gactonnad Clo en One no RCE RG enORSE ECR 118 MM CMETILOCO SH Neue rotate ce reel lictio) Sick Sela esate: x03 121-122 Peter. saint. Representations ..........-- 73, 84 Hemet em GitiGlise cists © sainieis on liaa se cos mee a 19 Eee AUTIO MMMM O I SENSE er cpa ec < tow sce = oleic: ein ite © 'etinle Pa Philadelphia. Widener Collection ....... LOS, 05 Papeete OCCONC wake eee ee eo eee 17, 36-40, 42-45, 48, 49, 78, 107, 109-110 Wenrecentatiom “OL) wi... 6 eee eee ees 108 act Me ree rag rena s Gicvnic.a se Wier bs eva evens 40 WOH) 4G Boek Epc ee I eo Oe One De re 28-30 Pipe ortors Portrait... e ste ee eee Ss Serer) N OGRA PHS 180 IY i Gee aa) Pisa, Francisco, cited 2s seine 136 quoted. .4 ssc genie a .oeieie el cual eee 21 Pisa. Campo Santo. ossce cn eee a Plutarch | :...f2.s ates ene ole cen eres eee eee 23 Ponz, Antonio, cited ce =e eects nen eee a ant Portravt of -a° Doctor wee) eee 49 Portrait: of a) Lady a see eee 16-17, 59 Portrait of a Man _ (Caballero de la Mano al Pecho).. aioe ae 48-49 Portrait of a Young Man in a Red Biretta ib Portrait of an “Artist have cee eee 52 Portrait of an Old Mane see one 50-51 Portrait of Cardinal Alessandro Tarnese .. Til Portrait of Cardinal Bessarione ......... 11 Portrait of Cardinal Gaspar de Quiroga ... 50 Portrait of Cardinal >) avera eee en 145 Portratt. of Doctor Rist pero 55 Portrait of Fernando Nino de Guevara.... 52-54 Portrait of Fray Hortensio Félix Paravicino y Arteaga. cons aie cae eee 55 Portrait of Julidn Romero see Supposed Portrait of Julidn Romero Portrait of Julio Clowio Gosh) ene 11 Portrait of Julio Clovio (Naples. Museo Nazionale)” “Sea. Soe ae 10 Portrait of Pompeo “Leonie eee 43 Portratt of Pope Marcello... eee 11 Portrait of S. Angelo [Cardinal Farnesio Ranuccio] (2.0 tise ene ae eee 11 Portratt of thevAritsiy a. ae 8,0) 5235 Portrait of the Daughter of El Greco see Portrait of a Lady Portrait of the Duke of Benavente, see Sup- posed Portrait of the Duke of Benavente Portrait of the Lady of the Flower...... 54 Portrait of Vancentio\ Anastagie eee 14-15 Posada de la Sangre, VoledG eee ee 195 °21 Prado, Blas de [er2ee eee 40, 67 The Prayer in the Garden. ©. «ss eee 118-120 Preboste, ‘Francisco, jones eee 61-62 The Virgin with the Crystal Dish (Attri- buted) . schicceteversesccete ee pare ene ee Primitives; Spanishiyecs cae eee Zila Wee Ai Love see The Opening of the Fifth 1 The Purification of the Temple (London. HISPANIC Ge National Gallery) The Purification of the Temple (London. ‘ Lord Yarborough) 13 The Purification of the Temple (New York. Frick Collection) 13 The Purification of the Temple (Richmond. Sir Frederick Cook) gel Quentin, Battle of Saint Quevedo y Villegas, Francisco Gomez de, quoted Quiroga, Cardinal Gaspar de Portrait Quixote, Don abula see Syriac Gospel of Rabula Ramirez, Martin Disputa Renaissance 5 The Resurrection (Madrid. Prado) 97, 99-100, 127 The Resurrection (Toledo. Santo Domingo el Antiguo) Ribera, José. The Trinity Richmond (Surrey). Sir Frederick Cook.... Rizo Calandil, Miguel AQ ee 419-53, Castle of Sant’ Angelo Farnese Collection Farnese Palace Sha WL, ONG, SIS) Vatican 126 Romero, Julian Supposed Portrait Ruiz de Toledo, Gonzalo, Count of Orgaz Peo MON O-G RAP AS EL Gah ee S., Ji Aj; cited) 55 cui ct > ree ieee 136 quoted — x. 5 sis. eam Hace o> al mee ee 10-11 Saint Angelo. Portrait) seen eee me Saint Benedict “ieee 2 eee 28 Saint Bernard ~~. seen senses ease gan eee 28 Saint Bernardino of Siena .......--++++---- 110 Saint Dominic Sine oo ee ee ih Saint Eugene see Saint Ildefonso Saint Franct§ se ian ae ee eee 115 Saint Ildefonso 225 were sensing te et eee 84 Saint Ildefonso Writing, oro se ee eee 112-114 Saint James the Great (New York. The Hispanic Society of America) ........ Saint James the Great (full-length) (New York. The Hispanic Society of America) ©. scsi) ome once eens 87-88, 102 Saint Jerome (New York. Frick Collection) 15: 16 Saint Jerome (New York. The Hispanic So- ciety. of America) Sig forme e steer 88-89 Saint John of Jerusalem, Knights of...... 14 Saint John the Baptis™ ©). eee ee a7 Saint John the Evangelist 723-1 eenae 27 Saint Joseph 2s vices ase ee eee 102 Saint DLaurence’s —) Daye aacute iene een 38 Saint: Louis sei tb eee pede ee ee 92-93 Saint Martin and the Beggar ........ 59, 105- ee Saint Mary Magdalene sae. rete Saint - Maurice eee 31, 45-48, 91, 106- 107 Saint Peter. —. o. é occ edrene se eee ee eee Saint Quentin, Battles ot sc. eee 3 Saint Sebastian (Bucharest. Pinacoteca)... 85 Saint Sebastian (Madrid. Marquis of Casa- TOTres) ss qcel etd eecliene ne eney cates slots remem 85, 86 Saint Sebastian (Palencia. Cathedral)...... 84-85 San Servando, Castle of. Toledo .......... 130 Sanchez Canton, Francisco Javier, cited ... 49 Sanchez Coello, Allomso serine ses oats ee Sy! Sancho the Brave) eect een 63 Sandoval y Rojas, Cardinal’ quoted =). mu. sane 35-36 Sant’ Angelo, Castle of. Rome’ {..4 2 ee ‘i Santa Maria la Blanca, Toledo ............ 22 Santiago, Knight of. Representation ...... 93 Santiago. de Compostela siren eee 88 Santos, Francisco, Cited mci taennieneens 107, 139 Guoted 2... Sule svidieleue elelte ee peten teenie eee ie renee 107-108 Sebastian, Saint. Representations ........ 84-86 HIS PA NiPGsSieG ries ben ost Xx Sentenach y Cabafias, Narciso, cited ...... GMS, a US W/ ICES REO | a5 5 eee gen Pe Ca a ee Re a, Silay SiGROUUE “Ss wee Son 0 Be ley cnc eae eee 41 WAGUSE Om OULITGLGE. Uo) sitvain sou sediee ei + wins 90s wi eae pi Shod Cartielite Nuns, Order of .........%. 101 Shodm@irinmitariams, “Order Of... <5. %. «ss os 55 Serta Wah VE a8 reer a ee Se ne ee 14 er rauecleorn Glad DEnatitaiatee a ceiele.s alee le lcis a) «vel a < SN Site Sigttenza, José de. Historia de la Orden de San Geronimo, cited ...... 38, 44, 106-107, 137 COCCI MEN wertrne abt ciara Giaiete sats se ete. s owWiacs 45 Sugg DIST. UE pry Tc Ceca eae eR ee 24 Sinai, Mount see Landscape of Mount Sinai SX CUS mete ETE Hine Wo OMEm catsctyshece: «scene, « or sieves O7sae si. Society of Jesus see Jesuits SSTUIGY > a.00ct GH RNSRHONE ©)-o1G.0, CICERO RRC A eNO Ree? rar ie SO eliiaeeo 26, 5, 04,279, 80, 875-90, 106, 124 DS pamishensCHOOliy saison cree elke wis a ala oe ce G 40-42, 130 Pi eticesGr, Lraliat yattege ce ote siete areiee eels ei 40, 41 Influence of the School of the Netherlands ce Pe dy cee cS oie Sada , 41 Ree MRM ETE eel nia cine easie Sesee lane sve ¢suvce alates 63, 64 lenresentationsia crest. cise cals. eisls3s ssa sas ee IG Stirling-Maxwell, Archibald. Keir (Dum- SUED), |S a he AES ee 54 Stirling-Maxwell, Sir John, Bart. London..16, 59 Supposed Portrait of Julian Romero........ 93-94 Supposed Portrait of the Duke of Benavente 50 Syriac Gospel of Rabula. The Pentecost. .121-122 CLE G ye eae oe One ee aoe eee Sel Ole 2 2 et 28 SO TAGS A Ste ca Gee One 1c ata nN On RE COC a ae 23 PAOD hy CICER) ee ec te eee seas 106, 139 avera, Cardinal. Portrait ........... weaa 185 The Tears of Saint Peter (London. National ALLS tay MMA oneee ercreig eee toe. oi oo, oraiel de) s aisle re The Tears of Saint Peter (Toledo. Church of 5 the Hospital of San Juan Bautista) .... als heban legion, Legend of Saint Maurice MATRA es cats, ok akd sau ae vido Sl wigs Vg 45-46 feotocopul, Claudia. .....000s.- sree een 61 heotocdpuli, Doménico see El Greco HeotecOpuli, Gabriel 2... 2.5602 ces eee cine ns 60 heotocopuli, Jorge... .6 21 ceccs en cecece 61 moe MONOGRAPHS 183 E LY G@ Rabe Theotocopult; Jorze” Manvela-=as) eee Bes tehe Fak 25, 52, 59-61,.66, lI4 015, bode oo The Burial of the Count of Orgaz ...... 6 The Expolto 4ow.s 2 os ne eee 61 The Holy Face (Attributed ite eee iene 114 Jesus in the House of Simon (Attributed) (New York. The Hispanic Society of Ameria) ~4./2)s:sjeauensiel weeeokcn cies nee eae Jesus in the House of Simon (Attributed) (Titulcia; ‘Church)2 oy .-aaclee e The Purification of the Temple (Attri- leyehi= 0 MMPI eA CA Ge ea omm sb acs Saint Mary Magdalene (Attributed)..... 114 Theotocopult, Maria) 5.2 aces enka 61 Theresa,: Saint 23 -eeeeeeeee (049-20 Lavo Tintoretto......... 2. cae eee eee 8. Fess 6 The Assumption oes ee 26 Thomas, Day of )Sainta.. 2 65 Thomas, Saint. Representation s-mei tres 16) Titian «ai iisiss

ss mah siecs 25-4 ale tS 112-113 Mesa Carpio, Lope Félix de ..........6.. 20 Poierl de ADold. Cited «2... esc sn eve has 41 Por la puente, Juana, cited ............. 136 AND MONOGRAPHS 185 i, Lo GR Vega-Inclan y Flaquer, Benigno Marquis of Vega-Inclan Toledo Velasco, Luis de Velazquez, Diego Rodriguez de Silva y The Coronation of the Virgin Portrait of Pope Innocent the Tenth.... The Surrender of Breda Venegas, Domingo Venetian School 2.8; 125 13s aeons ee aes 26, 40, ai. ee Cathedral of Saint Mark Grand Canal Venturi, Lionello, cited Vergara, Nicolas de Veronese Veronica Via Crucis Vienna. Kaiserliche Gemaldegalerie View and Plan of Toledo Vinci, Leonardo da Villanueva y Geltru. J/useo Balaguer.. rf Virgin, Representations of the 6-30, 35, 40, 69-71, 73. 74, 92,00" 104, 105, 112 114, 116, 120- 124, 128, 129 Virgin Giving the Chasuble to Saint Ilde- fonso 35-36 The Virgin with Saint Agnes and Another 91, 103-105 Walsh, Thomas, cited Widener Collection, Philadelphia Yarborough, Lord. London .... Zocodover, Toledo HLSPANT GS HIS PAS oe HISPANTC $ Ore Poe ont LAR SERIES Opn AW: Eke ek gH; 4 7 pres o ee = $y eh ras : tr , Be Spee) zat + ay! Sptrtrtrt toe. + ¥ HS: = Bit uy i heat sts} a 9, pats hee ~ ne, iz a i pagers i: ty ee i ian y ks eit ithe : te : Sasi ie i ny + . pes easiness i if Pie! Bt arts me pa rar ary aa +p: yi Wakes ees $ i Si terres. panegetes seiatitey Hattiss a es ae esarhes #35 tke. x4 Mazi Fst; 3 eecete ore oe fF ite Bb at J r; 7; ‘yapenat a tpettt : * $t: Snes tj $3 betatee beOristers