PANELS FROM THE TOMB OF DON GARCIA OSORIO IN THE COLLECTION OF THE HISPANIC SOCIETY OF AMERICA PRINTED BY ORDER OF THE TRUSTEES NEW YORK 1926 HISPANIC NOTES & MONOGRAPHS ESSAYS, STUDIES, AND BRIEF BIOGRAPHIES, ISSUED BY THE HISPANIC SOCIETY OF AMERICA : 7 : rs Dial re (= ee a = ’ a : xo, : ie Courtesy of the Victoria and Albert Museum EFFIGIES OF DON GARCIA OSORIO AND DONA MARIA DE PEREA also known as DON RODRIGO DE CARDENAS AND DONA TERESA CHACON London. Victoria and Albert Museum PANELS FROM . THE TOMB OF DON GARCIA OSORIO IN THE COLLECTION OF THE HISPANIC SOCIETY OF AMERICA PRINTED BY ORDER OF THE TRUSTEES NEW YORK 1926 ° Z << on] = lS CONTENTS CONTENTS PREFACE ESCUTCHEON OF DoNA MARIA DE PEREA PUTTO SUPPORTING A SHELL PUTTO SUPPORTING A SHELL PUTTO SUPPORTING A SHELL PUTTO SUPPORTING A SHELL Notes BIBLIOGRAPHY PREFACE PREFACE The town of Ocafia, near Aranjuez, was ceded to the Order of Santiago by an agree- ment with the Order of Calatrava towards the end of the twelfth century, and in it was fixed the residence of many of the grand masters. Like Uclés and the Mon- astery of San Marcos at Leén, it served as a meeting-place for the chapters-general. The Church of San Pedro, founded at about the time when the Knights of Santi- ago came into possession of Ocafia and re- built in the fifteenth century, served as the chapel of their order. The Cardenas family was responsible for the erection of the main chapel, and the Osorios built that of the Sangre de Cristo. In the centre of this latter chapel was placed the tomb of Don Garcia Osorio (1), commander of Villa- nueva and a trece of the Order of Santiago, Ocafia Church of San Pedro 2 GARCIA OSORIO TOMB Courtesy of the Worcester Art Museum SAINT CATHERINE Worcester. Art Museum | Pete le A OT and of his wife, Dofia Maria de Perea. His testament was dated December 14th, 1502 and that of his wife, June 18th, 1490. The Count of Cedillo, who visited the church before it was torn down, describes this tomb as follows: “In this chapel of the Osorios, placed in the right-hand corner as one entered, there was a sepulchral monument, that of the proprietors of the chapel: D. Garcia Osorio and his wife, consisting of a com- mon sarcophagus and two recumbent effigies, all of white marble. He was a knight of Santiago, with a cap on his head and on it a shell; complete armour and the cloak of his Order. Both feet rested on a helmet, but one of them disappeared, as well as the sword which the knight held. The lady, lying at his right, was dressed in a simple, long gown. Both effigies were in the centre of the chapel until the year 1870, when they were moved to the spot where I succeeded in seeing them. Be- cause of their new and inconvenient situa- tion only two sides of the sarcophagus Tomb of Don Garcia Osorio GARCIA OSORIO TOMB Courtesy of the Worcester Art Museum PRUDENCE Worcester. Art Museum Pen A CE were visible. The lengthwise side was adorned with the representation of Tem- perance (in Gothic characters /éperag¢a); with a figure of Saint Catherine (santa caterta) ; with two angels, and in the centre with an escutcheon supported by two more angels, with a charge of two wolves passant; with more angels, shells, and various fig- ures. The end, corresponding to the head, had a figure which represented Prudence (prudencya); an angel, and between both figures an escutcheon supported by two angels which showed as a blason five hearts. Doubtless the two hidden sides were adorned with a similar decoration and with the representations of the other two cardinal virtues” (2). To this chapel from their niches in the main chapel were brought, in the nine- teenth century, the effigies of Don Rodrigo de Cardenas and his wife, Teresa Chacon. When the church was torn down early in the twentieth century, the tombs were scattered. Two effigies now in the Victoria and Albert Museum, London, are identified Similarity to tomb of Rodrigo de Cardenas GARCIA OSORIO TOMB Courtesy of the Worcester Art Museum TEMPERANCE Worcester. Art Museum PREFACE as Rodrigo de Cardenas and his wife, but the minute descriptions given by the Count of Cedillo prove that they represent rather Garcia Osorio and Maria de Perea. The period and the general characteristics of both sets of statues were the same. Both ladies were modestly gowned and held rosaries. Both warriors were clad in armour and cloaks displaying the warlike device of Saint James of the Sword, but, although the phrase “a beardless warrior sear of countenance and stern of expres- sion”’ applies equally well to the figure un- der consideration, it is recorded that the Cardenas pair had at their feet a lion anda dog instead of the damsels, leaning against helmet and books, who grieve for Don Garcia and his lady. There are other minor differences. It happens, for further confusion, that the houses of Cardenas and Osorio both bore for arms or, two wolves pas- sant in pale, but on the one they are sable and on the other, gules. The escutcheons of Teresa Chacén and Maria de Perea have nothing in common. Panels from the fi 8 GARCIA OSORIO TOMB Courtesy of the Worcester Art Museum FORTITUDE Worcester. Art Museum PREFACE 9 Osorio tomb are to be found in various collections (3). In addition to the coats of arms, Virtues, and angels mentioned in the preceding account, there are figures of puttt supporting shells. The angels, in atti- tudes of grief or of pious resignation, have either straight hair spreading about their shoulders or a mass of loose curls. Their robes, like those of the Virtues, fall closely about their meagre forms, with strongly accented diagonal folds. The tomb was probably sculptured soon after the death of Don Garcia, within the first decade of the sixteenth century. The effigies in the Victoria and Albert Museum were tenta- tively assigned to the sculptor Pablo Ortiz, but recently the attribution has been changed to Gil de Siloe, the sculptor of the} Attribution royal tombs at Miraflores, in agreement ee me with an opinion given by Mayer. This de- cision cannot be accepted as final since the sculpture of the Osorio tomb reveals, in spite of certain likenesses, a slightly later art and one differing in many points from that of Siloe. It is stillin the Gothic style, GARCIA OSORIO TOMB AMES RRETRO SORR TSR rs ’ Courtesy of the Metropolitan Museum of Art, New York AN ANGEL New York. Metropolitan Museum of Art PREFACE and the little angels are entirely within that tradition, but the putti show an ac- quaintance with the Italian Renaissance which distinguishes them from the gro- tesque urchins who scramble among the foliage in the tomb of the Infante Alonso. The effigies themselves, austere and simply clad, have nothing in common with the elegant figures of John the Second and Isabel, robed in jewel-encrusted, embroid- ered garments. The florid Gothic traceries and pinnacles which frame Siloe’s work have given place to simple mouldings and unadorned backgrounds. Pages and ladies- in-waiting seated at the feet guarding the helmet and reading are characteristic of the late fifteenth and the first years of the sixteenth century both in Old and New Castilla. The angelic shield supporters are merely pledges of the North European in- fluence then prevalent throughout Spain. The original attribution to Pablo Ortiz is more in accord with the general character of the Osorio tomb, although the lack of information about that sculptor makes it ih i Attribution to Pablo Ortiz 12 GARCIA OSORIO TOMB Courtesy of the Metropolitan Museum of Art, New York AN ANGEL New York. Metropolitan Museum of Art PREFACE 13 difficult to form an estimate of his work. Nothing is known of him beyond the fact that he executed the tombs of Alvaro de Luna and his wife for the Chapel of San- tiago, Toledo Cathedral, in the year 1489 (4). The figures of Garcia Osorio and Maria de Perea resemble those of Alvaro de Luna and Juana Pimentel, but the type, especially that of the armoured knight of Santiago with his cloak thrown back, is of frequent occurrence at that period in Toledo and in other towns of New Cas- tilla, while it is not to be found at Burgos. The sculpture of the decorative figures is quite similar, although not identical with that of the tomb from Ocafia. Another parallel is the tomb of Constanza de Cas- tilla (5) from the Convent of Santo Domin- go el Real, Madrid, with figures of Virtues which resemble those on the Osorio tomb. The monument to Don Garcia and his wife is a product of the Castilian school of the late fifteenth century with those North European influences, whether Flemish, German, or Burgundian, which both Gil Conclusion GARCIA OSORIO TOMB de Siloe and Pablo Ortiz held in fee from their artistic forbears and kinsmen, the masters “‘of Cologne” at Burgos and the Egases from Brussels and Gias at Toledo. The Burgundian elements, not directly traceable to any of these antecedents, are especially to be noticed. The geographical position of Ocafia as well as the character of the tomb point to a closer relationship with Toledo than with Burgos. Courtesy of the Metropolitan Museum of Art, New York ESCUTCHEON OF DON GARCIA OSORIO Or, two wolves passant in pale gules New York. Metropolitan Museum of Art PLATE I D307 ESCUTCHEON OF DONA MARIA DE PEREA Or, five poplar leaves in saltire vert New York. The Hispanic Society of America ESCUTCHEON I ESCUTCHEON OF DONA MARIA DE PEREA Two angels stand on pedestals with leaf- crocketed shafts supporting the coat of arms, which bears five poplar leaves or, the “hearts” of the Count of Cedillo’s de- scription. The shield is further sustained by a putto kneeling below it. The angels are clad in loose, belted garments. Their straight hair is bound with fillets and gilded. The panel is surrounded on three sides by a moulding which rounds the up- per corners. A row of circles in relief decorates the fascie of two sides. A sloping shelf is placed at the bottom of the panel and just above it is a moulding. At the height of the tops of the pedestals is a row of corbeling. In the spandrels of the GARCIA OSORIO TOMB upper corners are a grotesque human- headed animal figure and a leopard, in low relief. High relief; alabaster, with traces of gilding. Karly sixteenth century. Height 66 cm.— Width 71 cm. From the tomb of Don Garcia Osorio in the Church of San Pedro, Ocaifia. Courtesy of the Metropolitan Museum of Art, New York ESCUTCHEON OF DONA MARIA DE PEREA New York. Metropolitan Museum of Art PLATE II D308 PUTTO SUPPORTING A SHELL New York. The Hispanic Society of America Peel O II PUTTO SUPPORTING A SHELL A putto, facing front, holds with his left hand the edge of a shell above his head, his face almost concealed in the shadow. The shell is gilded. His right hand rests on his hip. A broad ribbon falls over his right shoulder. The moulding which frames the panel rounds the two upper corners. The puito stands on a sloping shelf at the bottom of the panel. A mould- ing and a row of corbeling are placed above this shelf. High relief; alabaster, with traces of gilding. Early sixteenth century. Height 65.5 cm.— Width 29 cm. From the tomb of Don Garcia |Osorio in the Church of San Pedro, Ocafia. GARCIA OSORIO TOMB Courtesy of the Metropolitan Museum of Art, New York PUTTO SUPPORTING A SHELL New York. Metropolitan Museum of Art ¥. PLATE III D309 PUTTO SUPPORTING A SHELL New York. The Hispanic Society of America Pet: 1 O TL PUP PPORTING A SHELL A putto with a ribbon tied about his head stands in profile, holding with his left hand the bottom of a large shell. His right hand supports his left arm. The shell and the boy’s hair are gilded. The frame is like that of number D308. The recurrence of the cockle shell, the badge of Santiago, is due to the fact that Garcia Osorio was a knight of that order and that the Church of San Pedro was their chapel. Repaired. High relief; alabaster, with traces of gilding. Early sixteenth century. Height 65.3 em.—Width 29 cm. From the tomb of Don Garcia Osorio in the Church of San Pedro, Ocafia. 20 GARCIA OSORIO TOMB Courtesy of the Worcester Art Museum AN ANGEL Worcester. Art Museum D310 PUTTO SUPPORTING A SHELL New York. The Hispanic Society of America melt O IV PUTTO SUPPORTING A SHELL A putto, facing left, grasps with his right hand the lower edge of a shell. His left hand and right foot are propped against the moulding at the side. A long drapery touches the edge of the shell and falls over his right shoulder to the ground. The shell is gilded. The frame is like that of number D308. High relief; alabaster, with traces of gilding. Early sixteenth century. Height 66 cm.—: Width 30 cm. In pencil at upper right-hand: Ocafia. From the tomb of Don Garcia Osorio in the Church of San Pedro, Ocafia. 21 GARCIA OSORIO TOMB Courtesy of the Metropolitan Museum of Art, New York PUTTO SUPPORTING A SHELL New York. Metropolitan Museum of Art PLATE V PUTTO SUPPORTING A SHELL New York. The Hispanic Society of America V PUTTO SUPPORTING A SHELL A putto, with his back turned, seizes with both hands the lower edge of a shell. A drapery is wound about his waist and right leg. The shell is gilded. The frame is like those of the other panels, except that the corbeling is omitted. - High relief; alabaster, with traces of gilding. Early sixteenth century. Height 65 cm.— Width 30 cm. From the tomb of Don Garcia Osorio in the Church of San Pedro, Ocafia. 24 GARCIA OSORIO TOMB Courtesy of the Victoria and Albert Museum AN ATTENDANT London. Victoria and Albert Museum NOTES NOTES (1) This Garcia Osorio was the son of Lope Alvarez Osorio, commander of Socobos in the Order of Santiago, the first of the family of the marquises of Astorga to come to Ocafia, and of his wife, Constanza de Cardenas. Ac- cording to Diaz Ballesteros (Historia de la villa de Ocafia. v. 2, p. 205), Don Garcia was with Alonso de Cardenas, his cousin, in the Battle of Albuera and the disastrous expedi- tion of the Ajarquia, and was also present at the important events of the Vega of Granada. (2) Cedillo, Jerénimo Lépez de Ayala, conde de. La iglesia de San Pedro, de Ocafia in Sociedad espafiola de excursiones. Boletin. January 1920. v. 28, p. 36-37. _ (3) In addition to those in the collection of The Hispanic Society of America, portions of the tomb of Garcia Osorio are to be found in the following collections: Cambridge (England). Fitzwilliam Museum Putto supporting a shell 25 26 GARCIA OSORIO TOMB London. Victoria and Albert Museum Effigies of Garcia Osorio and Maria de Perea New York. Metropolitan Museum of Art Escutcheon of Garcia Osorio Escutcheon of Maria de Perea Putto supporting a shell Putto supporting a shell An angel An angel Worcester. Art Museum Fortitude Prudence and Saint Catherine Temperance An angel (4) Orueta has also attributed to Ortiz, be- cause of similarities with the Toledo tombs, the effigy of Rodrigo de Campuzano in the Church of San WNicolds, Guadalajara, and Mayer, the tomb of Beatriz de Pacheco in the Monastery of el Parral, Segovia. (5) After Dofia Constanza’s death in 1478, the community erected her tomb. It is now in the Museo Arqueolégico Nacional, Madrid. Peabo G R.A PH Y 27 BIBLIOGRAPHY CEDILLO, Jerénimo Lépez de Ayala, conde de. La iglesia de San Pedro, de Ocafia in Socie- dad espafiola de excursiones. Boletin. January 1920. v. 28, p. [32]-38. Diaz BAuLEesTEROoS, Miguel and Lariz vy Garcia SuEtTo, Benito de. Historia de la villa de Ocafia. Ocafia, 1868-73. 2v. in I. Lérrz DE Haro, Alonso. Nobiliario genea- logico de los reyes y titvlosde Espanta. Madrid, EG22 227. Mayer, August Liebmann. EI escultor Gil de Siloe in Sociedad espafiola de excursiones. Boletin. December 1923. v. 31, p. [252]-257. Micuei, André. Histoire de lart. Paris (aro05- |. .v.-6,.2° ptie. OrveETA y Duarte, Ricardo de. La escultura funeraria en Espana. Madrid, 1919. QuapRApDO, José Maria. Castilla la Nueva. Barcelona, 1885-86. v. 3. (Hspafa, sus monumentos y artes, su naturaleza é historia. [v. 7]). 28 GARCIA OSORIO TOMB | ———- RADES Y DE ANDRADE, Francisco de. Chronica de las tres ordenes y cauallerias de Sanctiago, Calatraua y Alcantara. Toledo, 1572. W., R. Spanish sculpture in Worcester. Art museum. Bulletin. April 1920. v. II, p. 9-10. Hispanic Notes and Monographs Paeial List ELGRECO by Elizabeth du Gué Trapier. p. xii + 186. Frontispiece and 35 plates. Price 3.75. GREGORIO FERNANDEZ by Beatrice I. Gilman. p.xiv + 179. Frontispiece and 34 plates. Price 3.00. JET IN THE COLLECTION OF THE HISPANIC SOCIETY OF AMERICA. p. v + 20. Frontis- _ piece and 6 plates. Price .25. | LIST OF PAINTINGS IN THE COLLECTION OF _ THE HISPANIC SOCIETY OF AMERICA. --p. 37. Frontispiece. Price -15. LIST OF WATER COLOURS AND DRAWINGS IN THE COLLECTION OF THE HISPANIC SO- CIETY OF AMERICA. p.. 42. Frontispiece. | Price: 25.03! - LIST OF WOOD- CARVINGS, DP. 30. Frontispiece. Price .20. RIBERA IN THE COLLECTION OF THE HIS- PANIC SOCIETY OF AMERICA. p. v + 10. _. Frontispiece and 2 plates. Price .25. VELAZQUEZ IN THE COLLECTION OF THE HIS- PANIC SOCIETY OF AMERICA. p. v + 22. | Frontispiece and 5 plates. Price .25. _ _ZURBARAN IN THE COLLECTION OF THE HIS- PANIC SOCIETY OF AMERICA. p. v + 109. tf 2 _ Frontispiece and 5 plates. Price .25. 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