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 CATALOGUE SERIES 
 FRANCISCO DE ZURBARAN 
 

 

 
 
 
 
 
 
 
 
 
 HISPANIC 
 
 NOTES & MONOGRAPHS 
 
 ESSAYS, STUDIES, AND BRIEF 
 BIOGRAPHIES ISSUED BY THE 
 HISPANIC SOCIETY OF AMERICA 
 
 CATALOGUE SERIES 
 
 
 
 
 
 
 
 
 

 

 
 PORTRAIT OF FRANCISCO DE ZURBARAN 
 
 Attributed to José de Ribera 
 
 Brunswick. Museum 
 

 
 
 
 ZURBARAN 
 
 IN 
 THE COLLECTION OF 
 THE HISPANIC SOCIETY 
 OF AMERICA 
 
 
 
 THE HISPANIC SOCIETY 
 OF AMERICA 
 NEW YORK 
 1925 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
COPYRIGHT, 1925, BY 
 THE HISPANIC SOCIETY OF AMERICA 
 
 CORNELL PUBLICATION PRINTING CO. 
 ITHACA, NEW YORK 
 

 
 
 
 CONTENTS ue 
 
 
 
 
 
 CONTENTS 
 
 PAGE 
 BIOGRAPHICAL PREFACE. I 
 I Carruustan Monk READING 7 
 II MicuE. DEL Pozo : 9 
 
 ITI A Saint or Sevitia also known as 
 Saint Lucy . eee T 
 IV Saint AGATHA . ; : nel 
 V Sarnt RvFIna . : ; iret a 
 NoTES : ; cael 7 
 BIBLIOGRAPHY . : ; A eers €) 
 
 
 
 HISPANIC NOTES 
 
 
 
 
 
ot 
 
 
 

 
 PREFACE 
 
 
 
 
 
 BIOGRAPHICAL PREFACE 
 
 Francisco de Zurbaran was born at 
 Fuente de Cantos, Badajoz, and was bap- 
 tized on November 7th, 1598. His parents, 
 Luis de Zurbaran and Isabel Marquez, 
 apprenticed him to Pedro Diaz de Villa- 
 nueva, an image painter of Sevilla, from 
 1614 through the year 1616. The Immacu- 
 late Conception, signed and dated 1616, is 
 generally considered his first work. After 
 executing the paintings for the retabdlo of the 
 Chapel of San Pedro in the Cathedral of 
 Sevilla, he went to Llerena in Extremadura. 
 He was recalled to Sevilla to paint a series 
 of pictures for the cloister of the Convent 
 of the Order of Mercedarios Calzados 
 depicting scenes from the life of Saint 
 Peter Nolasco and a Crucifixion for the 
 sacristy of the Convent of San Pablo. 
 Completing this work in 1629 he was re- 
 quested by the Council of the city of Sevilla 
 
 
 
 
 
 
 
 
 
 
 
 HISPANIC NOTES 
 
 
 
 
 

 
 
 
 % 
 
 ZURBARAN 
 
 
 
 
 
 
 
 POOL OF BUEN RETIRO AND VESSEL 
 
 EL SANTO REY DON FERNANDO 
 Detail from a map of Madrid by 
 Pedro Texeira. 1656. 
 
 New York. The Hispanic Society of America 
 
 a 
 
 HISPANIC AND 
 Jeera 
 
 
 
 
 
 
 
PREFACE 3 
 
 to take up his residence there. Not long 
 after this he painted The Apotheosis of 
 Saint Thomas Aquinas (Sevilla. Museo 
 Provincial), one of his finest achievements. 
 The Adoration of the Shepherds (1638), 
 painted for the Carthusian monastery at 
 Jerez de la Frontera, was signed with the 
 title Painter to the King,- but it is not 
 known in what year this title was con- 
 ferred. It is possible that he received this 
 honour as a reward for his decoration of 
 El Santo Rey Don Fernando, the famous 
 ship which the people of Sevilla sent as a 
 present to Philip the Fourth of Spain in 
 1638. Sentenach writing of this gift says 
 thatit was ‘“‘. . . thought that it would be 
 very effective as a relaxation for the King 
 and pleasing to the favourite, the Count- 
 Duke of Olivares, to send them a ship in 
 which the splendour of the naval construc- 
 tion of the time should reach its highest 
 point, so that the King of Spain could sail 
 in it on the extensive pond of the Retiro, 
 recently constructed, imagining that he was 
 plowing the seas of his extensive domains. 
 
 
 
 
 
 
 
 
 
 AND MONOGRAPHS 
 
 
 
 
 
 
 

 
 
 
 ZURBARAN 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 “The ship was constructed with every 
 luxury in the workshops of the Alcazar of 
 Sevilla . 
 
 “Finished under the direction of Captain 
 Lucas Guillén de Veas and with the collabo- 
 ration of the best Sevillian artists for its 
 embellishment and adornment, foremost 
 among them Zurbaran, it was launched in 
 the Guadalquivir, on one of the first days of 
 June 1638, and afterwards transported to 
 Madrid, being delivered to the King, 
 through the mediation of the Count-Duke, 
 in the early part of July of the same year. 
 
 “Captain Lucas Guillén wrote various 
 letters giving an account of the great effect 
 created by the ship at the Court of Madrid 
 at the sight of its splendour in the lake of the 
 Retiro with all of its apparatus of sails, rig- 
 gings, pennons, cannon, flags and lanterns, 
 the taste and perfection of its details, being 
 admired above all, and principal among 
 these the pictures, entrusted to the skill of 
 Alonzo de Deza and Francisco de Zurbarén, 
 the latter having received 914 reales for what 
 he executed by hand in the famous ship. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 HISPANIC NOTES 
 
 
 

 
 
 
 
 
 PREFACE 
 
 “These pictures must have been allegor- 
 ical and well coloured, when they attracted 
 so much attention that the King felt im- 
 pelled to give the title of Painter to the 
 King to the artist; and it is probable that 
 the great Velazquez was not unconcerned 
 with the decision, since on every occasion 
 he was disposed to show favour to the 
 painters, who were his fellow countrymen, 
 as he showed to as many as had recourse to 
 him, for they were always satisfied by his 
 amiability and protection” (1). Zurbardn 
 was not able to go to court with the gift 
 possibly on account of the illness of his 
 wife, Dofia Beatriz de Morales, who died in 
 1639. According to documents recently dis- 
 covered he married again on January 20th, 
 1644. His second wife, Dofia Leonor de 
 Torderas, bore him many children. His 
 biographers differ as to the date of his 
 appearance at court, some placing it as 
 late as 1650. From 1639 to 1659 he painted 
 few pictures. To this last period belong an 
 Immaculate Conception, a Holy Family (both 
 in the Museum of Fine Arts at Budapest), 
 
 me vONOGRAPHS 
 
 
 
 
 
 
 
 
 
 
 

 
 ZURBARAN 
 
 
 
 
 
 
 
 
 
 
 
 and a Saint Francis of Assisi in the collec- 
 tion of Sefior Beruete in Madrid. Zurbaran 
 was alive on February 28th, 1664. The 
 date of his death is unknown. Cascales 
 y Mufioz writes “. . . that this artist 
 
 . cultivated almost exclusively por- 
 traits and religious scenes, that all of 
 his subjects are copied directly from 
 nature, that is from the living model, 
 
 . that his manner of painting habits, 
 especially those of white wool, is graceful 
 and perfect, through the fidelity of the 
 tonality and the suavity with which they 
 are painted, that his compositions are 
 generally simple and of few figures, all of 
 them in serious and dignified attitudes, 
 made sometimes from single studies, the 
 details being treated with exaggerated 
 care, and that he took pleasure in finishing 
 the figures of the foreground with strong 
 contrasts of light and shade, producing an 
 admirable effect, which was diminished 
 gradually in the figures occupying the 
 background”’ (2). , 
 
 
 
 
 
 
 
 HISPANIC NOTES: 
 
 
 
 
 
 
 
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PLATE I 
 
 
 
 A9Q7 
 
 CARTHUSIAN MONK READING 
 

 
 CARTHUSIAN MONK READING 
 
 
 
 I 
 CARTHUSIAN MONK READING 
 
 A monk with black hair and eyes, clothed 
 in the white woolen habit of the Carthusian 
 Order, is seated on a chair, against a dark 
 background. He holds in his hands a letter 
 to which is affixed a seal. The red covering 
 of the chair is visible. Von Loga writes of 
 this painting: 
 
 “The quality of the drapery, so detailed 
 in its folds; the dexterity of the chiaro- 
 scuro; the naturalness of the posture; the 
 life which radiates from the face with its 
 firm gaze and pensive forehead; the hands 
 so correctly drawn are qualities sufficient 
 for recognizing the interest of this paint- 
 Lag erate Ca 
 
 Moines de Zurbaran, blancs chartreux 
 qui, dans l’ombre, 
 
 HISPANIC NOTES 
 
 7 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ZURBARAN 
 
 Glissez silencieux sur les dalles des 
 morts, : 
 
 Murmurant des Pater et des Ave san 
 nombre, 
 
 
 
 Quel crime expiez-vous par de si 
 grands remords? (4). 
 
 Oil on canvas. Height 141 em.—Width 96 
 em. Formerly in the collection of George 
 Donaldson, Esquire, London. Exhibited at 
 the New Gallery, London. Exhibition of 
 Spanish art, 1895-96; at the Corporation of 
 London Exhibition. Guildhall, London, 1901. 
 Reproduced in Blaikie Murdock, W. G. The 
 Hispanic Museum, New York in The Connois- 
 seur. September 1917. p. 27; Cascales y 
 Mufioz, José. Francisco de Zurbaran. Tr. by 
 N. S. Evans. New York, 1918. frontispiece; 
 Diario de la marina. March 5th, 1922; 
 Kehrer, H. L. Francisco de Zurbaran. Miin- 
 chen [°1918]. plate 20; Loga, Valerian von. 
 Los cuadros de la ‘Hispanic Society of Ameri- 
 ca’ in Museum. 1913. v. III, p. 135;—— Die 
 malerei in Spanien. Berlin, 1923. abb. 139; 
 Mayer, A. L. Zurbaran in America in Arts and 
 decoration. March 1916. v. 6, p. 222. 
 
 
 
 
 
 
 HISPANIC NOTES 
 

 
PLATE II 
 
 
 
 Ag6 
 
 MIGUEL DEL POZO 
 

 
 
 
 MIGUEL DEL POZO 
 
 
 
 I] 
 MIGUEL DEL POZO 
 
 This three-quarter length portrait rep- 
 resents a monk of the Order of Mercedarios| 
 Calzados. He wears a white cowl and a 
 white tunic with tight sleeves. His long 
 white scapular is fastened together in front 
 by the coat of arms of the Order. His hair, 
 beard, and eyes are brown, and he holds in 
 his left hand a wooden crucifix. Ona table 
 in the left-hand corner of the picture are 
 the symbols of the monastic life, a yellow 
 death’s head, a scourge of knotted cord, a 
 small brown cross set with nails, four 
 books, two of which have titles in black 
 -|letter on the back, one reading as follows: 
 Peniten|cia]. The background is dark. 
 Mayer says of this work,“ . . . [it] is 
 striking on account of its stupendous nat- 
 uralness and its powerful silhouette, and 
 
 
 
 
 
 
 
 HISPANIC NOTES 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 Io 
 
 
 
 
 
 
 
 ZURBARAN 
 
 interesting also with its still life on the left- 
 hand side of the picture” (5). The Order 
 of Our Lady of Mercy for the Ransom of 
 Prisoners, originally founded as a military 
 order by Saint Peter Nolasco, chose a habit 
 of white cloth to facilitate their entry 
 among the Moors to ransom Christians. 
 
 Oil on canvas. Signed at upper left-hand: 
 El Be P.e P.° F. Miguel del Pozo F.° Zur- 
 ba[ra]n 1630. Height 102.5 em.—Width 84cm. 
 Presented to The Hispanic Society of America 
 on August 26th, 1921. Exhibited at the San 
 Francisco Museum of Art. Loan exhibition of 
 paintings by old masters. 1920. Reproduced 
 in Kehrer, H. L. Francisco de Zurbaran. 
 Miinchen [¢1918]. plate 22; Mayer, A. L. 
 Zurbaran in America in Arts and decoration. 
 1916. v. 6, p. 219; San Francisco Museum of 
 Art. Loan exhibition of paintings by old 
 masters. 1920. plate facing p. 35. 
 
 
 
 
 
 HISPANIC NOTES 
 
PLATE III 
 
 
 
 AQ4 : 
 A SAINT OF SEVILLA also known as SAINT LUCY 
 
Seon eOr SEVILLA Il 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Ill 
 
 
 
 A SAINT OF SEVILLA also known as 
 SAINT LUCY 
 
 
 
 Saint Lucy wears a black bodice, the 
 revers turned back and lined with yellow 
 material, and a pearl gray taffeta skirt, the 
 hem of which is embroidered in gold and 
 trimmed with a row of pearls. A pink silk 
 scarf is draped about her. A small gold cir- 
 clet set with rubies and fastened by a brown 
 rosette binds her dark brown hair. She 
 wears a pearl necklace with a gold pendant 
 set with a green stone. Her eyes are brown. 
 She carries in her left hand a large white 
 cloth with a yellow border,.in her right a 
 salver of silver. The background is dark. 
 Saint Lucy was originally one of the 
 saints in a series painted by Zurbaran for 
 the Hospital de Ja Sangre, Sevilla. Blanc 
 writes of this series: 
 
 
 
 Peo eN Lo NOTES 
 

 
 I2 
 
 
 
 
 
 ZUR BAR 
 
 ee coe a | 
 
 “When. . . he painted the innumer- 
 able saints of legend, he gave them an un- 
 expected sweetness, even when mingled 
 with that indomitable Spanish pride which 
 causes the delicate virgins of the martyrol- 
 ogy to appear like archduchesses of the 
 Court of Toledo, or the princess of Asturias. 
 I remember that like a strange and imposing 
 procession, there was in the old Spanish 
 Museum of the Louvre a long series of 
 standing figures, who, with the names of 
 Saint Cecilia, Saint Catherine, Saint Agnes, 
 Saint Lucy, Saint Ursula, brought to life 
 again, with the most brilliant tones, all of 
 the types of old Spain”’ (6). 
 
 Oil on canvas. Height. 182.5 em.—Width 
 I11.5cm. Presented to The Hispanic Society 
 of America on August 26th, 1921. Formerly 
 in the Hospital de la Sangre, Sevilla; the 
 Galerie espagnole du Louvre, Paris. Exhibited at 
 the San Francisco Museum of Art. Loan exhi- 
 bition of paintings by old masters. 1920. Re- 
 produced in The Boston Herald. March toth, 
 1917; Mayer, A. L. Zurbaran in America in 
 Arts and decoration. March 1916. v. 6, frontis- 
 piece; Cascales y Mufioz, José. Francisco de 
 Zurbaran. Tr. by N. 8S. Evans. New York, 
 1918. plate facing p. 66; Kehrer, H. L. Fran- 
 cisco de Zurbardn. Miinchen [¢1918]. plate 69. 
 
 
 
 
 
 
 
 
 
 HISPAN TGgN Oe 
 

 
PLATE IV 
 
 
 
 Ag8 
 
 SAINT AGATHA 
 

 
 paseN PeAGATHA |x 
 
 IV 
 
 SAINT AGATHA 
 
 
 
 
 
 Saint Agatha is here represented as a 
 patron saint bearing on a salver the symbols 
 of her martyrdom. Her gown is of rose- 
 coloured taffeta; her cape of old gold is of 
 the same material. Her hair and eyes are 
 brown. She stands against a dark back- 
 ground. Saint Agatha is probably one of 
 the series of saints painted by Zurbaran for 
 the Hospital de la Sangre, Sevilla, and de- 
 scribed by Mayer as follows: 
 
 ‘‘All these women are extraordinarily rich- 
 ly and nobly apparelled, [and] the costumes 
 have throughout something worldly and 
 luxurious. But still the costume treated 
 with great care, perfectly harmonizes with 
 the head, which emphasizes, with all the 
 freshness of life, not in the first place 
 the purely sensual beauty of the young 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Piven CON OTES 
 
 
 

 
 
 
 14 
 
 
 
 
 
 ZURBARAN 
 
 Andalusian, but her sincere piety which 
 speaks to us out of her large melancholy 
 eyes” (7). 
 Comme dans les tableaux ot le vieux 
 Zurbaran, 
 Sous le nombre d’une sainte, en habit 
 sévillan, 
 Représente une dame avec des pen- 
 deloques, 
 Des plumes, du clinquant et des modes 
 baroques (8). 
 
 
 
 
 
 Oil on canvas. Height 84.5 em.—Width 56 
 em. Presented to The Hispanic Society of 
 America on October 14th, 1921. Reproduced 
 in Kehrer, H. L. Francisco de Zurbaradn. 
 Miinchen [¢1918]. p. 59; Mayer, A. L. Zur- 
 baran in America in Arts and decoration. March 
 {Q16, 1V¥2 G6, p.2e2. 
 
 
 
 
 
 HISPANTC2N Oa 
 
 
 

 
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 Ate 
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 7 
 
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PLATE V 
 
 
 
 A1r8o1 
 
 SAINT RUFINA 
 

 
 
 
 
 
 
 
 Souk UE EN A 
 
 T5 
 
 
 
 
 
 V 
 SAINT RUFINA 
 
 In this painting the saint wears a gray- 
 green costume embroidered in gold and 
 silver thread. A rose-coloured mantle falls 
 in heavy folds from her shoulders, and 
 across her throat is a transparent white 
 scarf. Her dark hair is parted in the 
 middle. Of delicate workmanship are her 
 gold and pearl earrings. She stands against 
 a dark green background and holds in her 
 hands a book upon which rest some lumps 
 of clay indicative of her work in a pottery 
 of Sevilla. It is probable that Saint 
 Rufina was painted for the Hospital de la 
 Sangre at Sevilla. Lefort writes of Zur- 
 baran that “...he knew how to use 
 methods more flexible, less fixed, and even, 
 at need, full of charm and grace, when he 
 had to represent some beautiful figure of 
 
 
 
 
 
 
 
 
 
 
 
 Peo NTC NOTES 
 
 
 
 
 
 
 
 
 

 
 cae 7 
 16 ZURBARAN 
 ead 
 
 
 
 martyr or saint. He liked to paint them in 
 rich or picturesque costumes, and he sought 
 out on his palette the most vivid and 
 vibrant tones to render the silks and 
 satins trimmed with gold in which they 
 appeared”’ (9). 
 
 Oil on canvas. Height 172 em.—Width 105 
 cm. Presented to The Hispanic Society of 
 America on June 4th, 1925. Reproduced in 
 Cascales y Mufioz, José. Francisco de Zur- 
 bardn. Tr. by N. 8. Evans. New York, 1918. 
 plate facing p. 64; Kehrer, H. L. Francisco de 
 Zurbaran. Miinchen[* 1918]. plate 68; Mayer, 
 A. L. Zurbaran in America in Arts and deco- 
 ration. March 1916. v. 6, p. 220. 
 
 
 
 
 
 
 
 HISPAN DON Oa 
 
 
 

 
 
 
 
 
 NOTES 
 
 17 
 
 
 
 NOTES 
 
 (1) Sentenach vy Cabafias, Narciso. Fran- 
 cisco de Zurbaran in Sociedad espafnola de 
 excursiones. Boletin. September Ist, 1909. 
 
 v. XVII, p. 195-196, ¢r. 
 (2) Cascales y Mufioz, José. Francisco de 
 Zurbardn. Madrid, 1911. p. 65-66, ir. 
 
 (3) Loga, Valerian von. Los cuadros de la 
 “Hispanic Society of America’ in Museum. 
 1913. v. III, p. 127-128, tr. 
 
 (4) Gautier, Théophile. Poésies in Geuvres. 
 Paris, 1890. [v. 2] p. 152. 
 
 (5) Mayer, A. L. Zurbaran in America in 
 Arts and decoration. March 1916. v. 6, p. 221. 
 
 (6) Blane, Charles. Histoire des peintres. 
 Paris [n. d.]. p. 5-6, ér. 
 
 (7) Mayer. p. 22. 
 (8) Gautier. p. 105-106. 
 
 (9) Lefort, P. A. La peinture espagnole. 
 Paris [1893]. p. 162, tr. 
 
 MNO ONOGRAP HS 
 
 
 
 
 
 
 

 
 ew 
 
 Z1U Ri Bae 
 
 
 
 a 
 
 
 
 
 
 
 
 eee 
 
 
 
 BIBLIOGRAPHY 
 
 CascaLes yY Muwftoz, José. Francisco de 
 Zurbaran. Madrid, 1911. 
 
 —  — Tr. by N.S. Evans. New York, 1918. 
 
 Kenrer, Hugo Ludwig. Francisco de Zur- 
 baradn. Minchen [°1918]. 
 
 
 
 Laronp, Paul. Ribera et Zurbardn. Paris 
 [1909]. 
 
 Lonpon. Royat AcADEMY OF ARTs. Eahibi- 
 tion of Spanish paintings. London [19207]. 
 
 — — Illustrations. [London, 1920] 
 
 Mayer, August Liebmann. Geschichte der 
 Spanischen malerei. Leipzig, 1913. v. 2. 
 
 — Die Sevillaner malerschule. Leipzig, 
 IQII. 
 
 — Zurbaran in America in Arts and deco- 
 ration. March 1916. v. 6, p. 219-222. — 
 
 Montoto y SkgpaA, Santiago. Zurbardn, 
 nuevos documentos para ilustrar su biografia 
 in Arte espanol. 1921. v. V, p. 400-404. 
 
 
 
 
 
 HISPANIC NOTE 
 
 
 

 
 Pie RA. PH Y 
 
 19 
 
 
 
 
 
 SENTENACH y CapaNas, Narciso. Francisco 
 de Zurbaran in Sociedad espafiola de 
 excursiones. Boletin. September Ist, 1909. 
 v. XVII, p. [194]-198. 
 
 Los grandes retratistas en Espafia. Ma- 
 drid, 1914. 
 
 — The painters of the school of Seville. 
 London, New York [19—]. 
 
 
 
 
 
 
 
 AND MONOGRAPHS 
 
 
 
 
 
 
 
 
 
 
 

 

 

 
 
 
 
 
 
 
 
 
 
 
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