(ORPORflTiON or London 71 rt Gallery 1 rsMTflLOGlJE OF THE LOAN COLLECTION of Pictures 1901 . Price Sixpence. From die Library of Frank Simpson CATALOGUE OF THE Exhibition of the Works of SPANISH PAINTERS. . ’ 1 «y- • Under Revision. a Art Gallery of the (Corporation of London. DESCRIPTIVE AND BIOGRAPHICAL CATALOGUE OF THE Exhibition of the Works OF Spanish Painters. BY A. G. TEMPLE, F.S.A., Director oj the Art Gallery of the Corporation of London . WILLIAM ROME, Esq., F.S.A., Chairman . 1901. •X - Blades, East & Blades, Printers, 23, Abchurch Lane, London, E.C introduction. The present is the Tenth Exhibition held at the Guildhall. The First was in 1890, of works of the Flemish, Dutch and British Schools, and was visited by . . . The Second was in 1892, of works of the Flemish, Dutch, Italian and British Schools, and was visited by The Third was in 1894, of works of the Dutch and British Schools, and was visited by . . . The Fourth was in 1895, of works of the Dutch and British Schools, and was visited by... The Fifth was in 1896, of Water Colours of the British School, and was visited by The Sixth was in 1897, of works by Painters of the British School during the Queen’s reign, and was visited by The Seventh was in 1898, of works of the French School, and was visited by The Eighth was in 1899, of the works of J. M. W. Turner, R.A., and his contemporaries, and was visited by The Ninth was in 1900, of the works of living British Painters, and was visited by io 9>3 8 3 persons. 236,362 5J 300,366 5> 262,810 JJ 124,271 )) 248,093 >> 206,746 5J 223,132 201,456 JJ Total 1,912,619 In addition to the above number, the permanent Collection of the Corporation has been visited, since 6 its establishment in 1886, by 690,341 persons, bring- ing the total number of visitors to the Gallery to 2,602,960. The Exhibition now open is composed of the works of Spanish Painters, and the examples exhibited have been brought from private Collections in Madrid, Seville, Barcelona, Paris, Nice, Biarritz, Venice, Berlin, New York, and various places in England, Scotland, and Ireland. The Library Committee of the Corporation of London desires to express its sincere thanks to the owners of these works for the kindness with which many distinguished and valuable examples have been placed at its disposal. The Exhibition will be open from Tuesday, the 30th April, to Wednesday, the 31st July, inclusive. Week Days, 10 a. m. to 7 p.m. Sundays, 3 p.m. to 6 p.m. The Admission will be free. Guildhall, April \ igoi. A. G. TEMPLE, Director. Committee THE RIGHT HONOURABLE THE LORD MAYOR. WILLIAM ROME, Esq., F.S.A., F.L.S., Chairman. Sir REGINALD HANSON, Bart., M.P., LL.D., F.S.A., Alderman. Sir JOSEPH SAVORY, Bart. Sir ALFRED J. NEWTON, Bart. Sir JAMES THOMSON RITCHIE, Knt., Alderman. JOHN POUND, Esq., Alderman. GEORGE WYATT TRUSCOTT, Esq., Alderman. FREDERICK PRAT ALLISTON, Esq., Alderman, L.C.C. THOMAS HENRY ELLIS, Esq. RICHARD OSMOND HEARSON, Esq. HARVEY EDWARD PREEN, Esq. EDWARD ANSTED, Esq. WILLIAM ROGER CALDWELL MOORE, Esq. EDWIN FREDERICK FITCH, Esq., JOHN EDWARD WALFORD, Esq., Deputy. OSCAR COHU BERRY, Esq., F.C.A. THOMAS JAMES IVE, Esq. DAVID BURNETT, Esq., F.S.I. ALEXANDER RITCHIE, Esq., J.P. WALTER OWEN CLOUGH, Esq., M.P. CHARLES WALLINGTON, Esq., F.C.A. JOHN REXWORTHY, Esq. CHARLES EDWARD ATKINS, Esq. GEORGE BRIGGS, Esq. JAMES LAKE, Esq. CUTHBERT FREDERICK CORBOULD-ELLIS, Esq. JAMES JUDD, Esq., J.P., F.R.H.S. BENJAMIN TURNER, Esq. ALPHEUS CLEOPHAS MORTON, Esq. CHARLES THOMAS HARRIS, Esq., Deputy, Past Chairman. OCTAVIUS DIXIE DEACON, Esq. JOHN HARRIS, Esq. CHARLES JOHN TODD, Esq. HENRY HODSALL HEATH, Esq., Deputy, MATTHEW WALLACE, Esq., J.P. JOSEPH HENRY BATTY, Esq., Index of Contributors HIS MAJESTY THE KING, 119 HIS IMPERIAL MAJESTY THE GERMAN EMPEROR, 46 HER MAJESTY THE QUEEN REGENT OF SPAIN, 107 ABERCORN, DUKE 0 F 5 K.G., 114 AGRASOT Y JUAN, SENOR DON JOAQUIN, 1 87 ALVAREZ, ILMO SENOR DON LUIS, 1 89 ANITUO, SENOR DON ALEJANDRO DE, 35 BAUER, SENOR DON GUSTAVO, 3, 1 3, 59, 140, 1 44, 14s, 184, 185, 190, 192 BEER, MRS., 5, 196 BEIT, ALFRED, ESQ., 95 BERUETE Y MORET, H.E. SENOR DON AURELIANO DE, 6 *. 7 °. 75 . 17 °. r 93 BILBAO, SENOR DON GONZALO, 39, 48 BONNAT, MONSIEUR L&ON, 49 BOSCH, SENOR DON PABLO, 37, 41, 52, 82, 183 BOWES MUSEUM, TRUSTEES OF THE, 60, 66, 90 BRABAZON, HERCULES B., ESQ., 113 BRISTOL, MARQUESS OF, 85, 97, 120 BUTLER, CHARLES, ESQ., 86 CAMPBELL, LADY COLIN, 99 CARCANO, THE MARQUISE DE, 1 6, 1 77 10 CARLISLE, EARL OF, 115 CASA-TORRES, H.E. SENOR MARQUES DE, 6 1, 63, 6 5> 67, 93? 96, 165 CASTRAMONTE, H.E. SENOR MARQUES DE, 68, 1 48 CHECA, SENOR DON ULPIANO, 28 CLARK, SENATOR WILLIAM A., 180 COLLEY, MR. ALDERMAN, 151 COLNAGHI, MARTIN H., ESQ., 83 COOK, EXECUTORS OF THE LATE SIR FRANCIS, 102, 104, 108, I33 CREWS, C. T. D. ESQ., 76 DEVONSHIRE, DUKE OF, K.G., 106 DONALDSON, GEORGE, ESQ., 53, 74 DU CROS, HARVEY, ESQ., 8, 2 2 DUNTHORNE, R., ESQ., 199, 206 ERHARDT, H. C., ESQ., F.R.G.S., 56, Il8 ESPELIUS, SENOR DON MANUEL, 21 FLORENCE, H. L., ESQ., 138, 163, 167, I97 FLOREZ, SENOR DON CARLOS, 58 FORD, MRS. RICHARD, 50, 1 26, 1 35 FORTUNY Y MADRAZO, SENOR DON MARIANO, 2, 45 GAMBART, E., ESQ., I, 19, 20, 23, 26, 30, 33, 36, 40, 139, 143, 147, ISO, 152, 153, 154, 155, 157, 158, 160, l6l, 164, 168, 169, 175, l8l, 186, 188, 194, 195, 204 GARCIA RODRIGUEZ, SENOR DON MANUEL, I I GARCIA VELA, SENOR DON LORENZO, 27 1 73, 1 74 GARCIA Y RAMOS, SENOR DON JOSE, 191 GARGOLLO, SENOR DON J. DE FONTAGUD, 1 49 GARNELO ALDA, SENOR DON JOStf, 47 y- 1 1 HEEREN, THE COMTE DE, 1 42 HOLFORD, CAPTAIN, 1 24, 1 36 HUTH, EDWARD, ESQ., 1 1 7, 1 29, 130 LANSDOWNE, MARQUESS OF, K.G., IOI, 105 LARRAIN, SENOR DON DE, 171 LA VEGA, H.E. SENOR MARQUES DE, 64, 69 LEATHAM, A. W., ESQ., Ill, 1 23, 1 32 LEGGATT, E. E., ESQ., 1 98 LEVENSTEIN, MONS., 24 LINDEN, MONS. GASTON, 5 1 , 54, 88 MACQUOID, MRS. PERCY, 1 62 MADRAZO, SENOR DON RICARDO DE, 44, 205 MCCORKINDALE, D., ESQ., 89 MCCULLOCH, GEORGE, ESQ., TO, 29 MCKAY, W., ESQ., 72 MAGUIRE, MISS, 73A MELIDA, SENOR DON RAMON, 3 1 MORENO CARBONERO, SENOR DON JOS£, 1 72 MORGAN, J. PIERPONT, ESQ., 131 NORMAN, PHILIP, ESQ., F.S.A., 207 NORTHBROOK, EARL OF, G.C.S.I., 94, Il6 OROSCO, GENERAL, 1 76 ORTEGA MOREJON, SENOR DON MARIANO DE, 31, 43, I46, 200, 201, 202, 208 PAWLE, F. C., ESQ., 1 82 PRADILLA, SENOR DON FRANCISCO, 4 QUILTER, SIR CUTHBERT, BART, M.P., 84, 1 34, 1 37, I 4 I 12 ROBERTS, HUMPHREY, ESQ., 1 79 ROBINSON, SIR J. C., C.B., 79, 87, IIO SALA, SENOR DON EMILIO, 25, SANDERSON, ARTHUR, ESQ., 1 8, 57, 1 1 2, I 28, 1 56, 159 SANTO MAURO, H.E. SENOR DUQUE DE, 55 SOLER Y ALARC6N, SENOR DON MANUEL, 7 1 SOROLLA Y BASTIDA, SENOR DON JOAQUIN, 6, 12 SOUSA, SENOR DON FEDERICO DE, 34, 203 STANHOPE, THE EARL, 109 STIRLING-MAXWELL, SIR JOHN, BART., M.P., 77, 92 TOOTH, ARTHUR, ESQ., 1 7, 42 VAN RAALTE, CHARLES, ESQ., 9, 38 VAN RAALTE, MARCUS, ESQ., 1 78 VARGAS, SENOR DON D. R., 1 5 VASQUEZ Y ABEDA, SENOR DON CARLOS, 1 4 WALLIS, T., ESQ., 1 66 WANTAGE, LORD, V.C., K.C.B., 73, 78, 80 WARRINGTON, CORPORATION OF, 7 WELLINGTON, DUKE OF, 98, IOO, 103, 12 2, 1 25 WESTMINSTER, DUKE OF, 8l, 1 2 1 , 1 27 Index of Artists AGRASOT Y JUAN, JOAQUIN, 1 87 ALVAREZ CATALA, LUIS, 21, 46, 1 89 BARBUDO SALVADOR, SANCHEZ, 1 9, 2 2, 1 43 BARRAU, LAUREANO, 37, 4 1 BENLLUIRE, JUAN ANTONIO, I BENLLUIRE Y GIL, JOSE, 32, 1 88, 1 94, 1 96 BERUETE Y MORET, AURELIANO DE, 1 93 BILBAO, GONZALO, 39, 48 BRULL, JUAN, 1 83 CASADO DEL ALISAL, JOS£, 1 76 CHECA, ULPIANO, 24, 28 COELLO, CLAUDIO, 92, COELLO, ALONSO SANCHEZ, 57, 65, 86 DOMINGO, JOSE, 30, 145, 155, 160, l8l FALERO, LUIS, 151 FONDEVILA, ARCADIO MAS Y, 9 FORTUNY Y MADRAZO, MARIANO, 2, 45 FORTUNY, MARIANO, 5, 7, 1 8, 1 37, 1 42, 1 44, 148, 149, 156, 159, 162, 166, 177, 178, 179, l80, 200, 201, 202, 208 GALLEGOS, JOS^, 1 7, 38 GALOFRE, BALDOMIRO, 1 63, 167 GARCIA Y RAMOS, JOS^, 42, 1 58, l6l, 168, 173, 191 GARCIA Y RODRIGUEZ, MANUEL, ll H GARNELO ALDA, JOSE, 47 GARRIDO, E. L., 1 38 GIMENEZ ARANDA, JOS^, 34, 43, 170, 203 GOYA Y LUCIENTES, F. JOS£ DE, 49, 5 1, 54, 59, 60, 61, 63, 66, 68, 69, 70, 71, 72, 90, 93, 96, 207 GRECO, EL, 52, 64, 75, 77, 89 HERRERA, FRANCISCO DE, 50 LOPEZ Y PORTANA, VICENTE, 58, 67 MACCARI, C., 14 1 MADRAZO Y KUNTZ, FEDERICO DE, 20$ MADRAZO Y GARRETA, RICARDO DE, 35, 44 MARCH, VICENTE, 1 39, 1 47 MAZO, DEL, 79, M^LIDA, ENRIQUE, 3 1 MORALES, LUIS DE, 82 MORENO CARB6NER0, JOSE, 3, 1 7 1, 1 7 2, 1 85 MURILLO, 56, 62, 76, 78, 80, 8l, 83, 84, 88, 94, 95 PALMAROLI, VICENTE, 140, 1 86 PANTOJA DE LA CRUZ, 55 PERALTA, FRANCESCO, 157 PRADILLA, FRANCISCO, 4, 8, IO, 23, 33, 146, 152, 153, 154, 182, 198 PINAZO, IGNACIO, 1 84 RICO CIJUDA, T., 197 RICO Y ORTEGA, MARTIN, 1 95 ROSALES, EDUARDO, 27 RUIPEREZ, LOUIS, 1 75 SAINZ, CASIMIRO, 190, 1 92 SALA, EMILIO, 1 5, 25, 1 74 i5 SENET, RAFAEL, 150 SERRA, ENRIQUE, 204 SILVETA, MATEO, 20 SOROLLA Y BASTIDA, JOAQUIN, 6, 12, 1 65 SPAGNOLETTO, LO, 73A, 85, 87 TUSQUETS, RAMON, 1 3, 26 VASQUEZ Y ABEDA, CARLOS, 1 4 VELASQUEZ, DIEGO RODRIGUEZ DE SILVA Y, 53. 73 98-136 VILLEGAS Y CORDERO, JOSE, 29, 36, 40, 1 64, 1 69 ZAMACOIS, EDOUARDO, 1 6 ZURBARAN, 74 GALLERY I. GALLERY I. i. A FISHER GIRL.— Sorente. By JUAN ANTONIO BENLLIURE. Canvas 71 x 3 7 inches. Lent by E. GAMBART, ESQ. 2. INNOMINATA. By MARIANO FORTUNY Y DE MADRAZO. Canvas 34^ x 29 inches. Lent by SENOR DON MARIANO FORTUNY Y DE MADRAZO. 20 GALLERY I. 3. DON QUIXOTE AND THE MERCHANTS. By JOS^ MORENO CARBONERO. Canvas 24 x 37 inches. Lent by SENOR DON GUSTAVO BAUER. HE scene is where Don Quixote, in the early part of his adventurous journey, meets a company of merchants of Toledo, who were on their way to buy silks in Murcia. They were all screened with umbrellas, and were attended by four servants on horseback and three muleteers on foot. Don Quixote at once called on them to acknowledge and confess the superlative charms of the peerless Dulcinea del Toboso. Their in- ability to do so (they not having seen the lady), so roused the poor knight that he charged down on them recklessly, but his horse stumbled and fell, and one of the grooms promptly snatched the fallen lance, and having broken it to pieces, so belaboured Don Quixote that, in spite of his armour, thrashed him like a wheatsheaf. Senor Don Jose Moreno y Carbonero, living painter, born at Malaga ; pupil of the School of Fine Arts, Malaga, and of Bernardo Ferrandiz; Medals, Madrid 1881 and 1884, Munich and Vienna 1888, Vaticano and Buda-Pest 1890, and Grand Diploma of Honour, Berlin 1891 ; is represented in the Museum of Modern Art, Madrid, by three works. GALLERY I. 21 4. THE SAD DUENNA By FRANCISCO PRADILLA. Water-colour 17 x 22 inches. Lent by SENOR DON FRANCISCO PRADILLA. 5. HEAD OF A NEGRO OF MOROCCO. By MARIANO FORTUNY. Canvas 30 ]/ 2 x 24 inches. Painted 1861. Lent by MRS. BEER. STUDY for one of the heads in the pic- ture “ La Bataille de Tetuan,” now in the possession of the municipal authorities of the City of Barcelona. Profile, facing the left ; red cap ; white ber- nouse round the head. (From Don Quixote). 22 GALLERY I. 6. THE COAST OF ALICANTE. By JOAQUIN SOROLLA Y BASTIDA. Canvas 19 x 38^ inches. Lent by SENOR DON JOAQUIN SOROLLA Y BASTIDA. 7. ACROBATS AT TETUAN. By MARIANO FORTUNY. Canvas 21 x 43 inches. Lent by the CORPORATION OF WARRINGTON. 8. BOABDIL SURRENDER- ING THE KEYS OF GRANADA TO FERDI- NAND AND ISABELLA. By FRANCISCO PRADILLA. Canvas 71 x 1 1 1 inches. Painted 1882. Lent by HARVEY DU CROS, ESQ. T HE kingdom of Granada was the last bul- wark of the Moors in Spain. With a powerful Christian state almost within bowshot GALLERY I. 23 of its borders, its existence as a kingdom could not last for long, and the union of Aragon and Castile, by the marriage of Ferdinand and Isabella, in 1469, was its note of doom. Two such Sovereigns could not leave the Moors un- disturbed for any length of time in their corner of the peninsula. A bitter warfare ensued, which lasted for eleven years, in which every inch of ground was disputed by the Moors. Wherever their feet could hold, they stood firm against the Spaniards. Then the time came when there was nothing left to them but their capital, and within its walls they shut themselves up in sullen despair. Famine did the work which valour could not effect. On the 25th of November, 1491, the act of capitulation was signed* At the foot of the Hill of Martyrs, Boabdil, attended by a small band of horsemen, met the royal procession of the enemy. He de- livered to Ferdinand the keys of Granada, and turning his back on his beloved city, passed on to the mountains. Senor Don Francisco Pradilla y Ortiz, living painter, born at Villanueva de Gallego, Saragossa, 1847, pupil of the Academy of Fine Arts of San Luis, of Saragossa, and of the Higher School of Painting, Madrid ; ex-Director of the Museum of the Prado, * The original deed is still preserved among the National Archives at Samancas, near Valladolid. 24 GALLERY I. Madrid, and of the Spanish Academy of Fine Arts at Rome ; Member of the Institute of France. Medal of Honour, Paris, 1878, for his painting “Doha Juana la Loca” (here exhibited, No. 33), and numerous other Medals and Diplomas, including the Grand Cross of Isabel the Catholic, the Legion of Honour, and the Prussian Order “pour le merite”; is represent- ed in the Museum of Modern Art, Madrid, by one example. A large version of this picture is in the Senate House in Madrid. 9. IN THE CATHEDRAL. JBy ARCADIO MAS Y FONDEVILA. Canvas 54 x 40 inches. Lent by CHARLES VAN RAALTE, ESQ. Senor Don Arcadio mas y Fondevila, living painter, born at Barcelona; is represented in the Museum of Modern Art, Madrid. GALLERY I. 25 10. BOABDIL’S FAREWELL TO GRANADA. By FRANCISCO PRADILLA. Canvas 77 x 118 inches. Lent by GEORGE MCCULLOCH, ESQ. H AVING surrendered his beloved city to Ferdinand and Isabella, Boabdil and his retinue passed on their way into the mountains. There, at Padul, on a spur of the Alpuxarras, Boabdil stood and gazed back at the kingdom he had lost; the beautiful Vega, the towers of the Alhambra, the gardens of the Generalife. The spot where he took this farewell look at the city from which he was banished for ever, bears to this day the name of “ El ultimo sospiro de Moro ” — the last sigh of the Moor. “ Beautiful Granada, the flower of thy chivalry lies low in the land of the stranger ; the soft note of the lute no longer floats through thy moonlit streets ; the serenade is no more heard beneath thy balconies ; the lively castanet is silent upon thy hills. The light of the Alhambra is set for ever.” Signed: Granada, 1872; Roma, 1892. 26 GALLERY I. ii. A GARDEN AT SEVILLE IN NOVEMBER. By MANUEL GARCIA Y RODRIGUEZ. Canvas 26 x 37 inches. Lent by SENOR DON MANUEL GARCIA Y RODRIGUEZ. Senor Don Manuel Garcia y Rodriguez, living painter, born at Seville ; pupil of the School of Fine Arts at Seville. 12. PORTRAIT OF THE ARTIST’S DAUGHTER. By JOAQUIN SOROLLA Y BASTIDA. Canvas 46 x 32 inches. Lent by SENOR DON JOAQUIN SOROLLA Y BASTIDA. GALLERY I. 2 7 13. THE ROMAN CAMPAGNA. (Peasants working in the Field). By RAMON TUSQUETS. Canvas 51 x 10 1 inches. Lent by SENOR DON GUSTAVO BAUER. Ramon Tusquets, living painter, bom at Barcelona ; pupil of the School of Fine Arts, Barcelona, and of Fortuny in Rome; Medals, Madrid 1866 and 1871. 14. THE COURT OF THE MYRTLES IN THE ALHAMBRA, GRANADA. By CARLOS VASQUEZ Y ABEDA. Canvas 27 x 36 inches. Lent by SENOR DON CARLOS VASQUEZ Y ABEDA. Sknor Don Carlos Vasquez y Abeda, living painter, born at Ciudad Real ; pupil of the Academy of San Fernando, Madrid, and of Leon Bounat. Medals, Madrid, 1899, Barcelona and Paris Universal Exhibition, 1900. 28 GALLERY I. 15. PORTRAIT OF MADAME V. By EMILIO SALA. Canvas 45 x 31 inches. Lent by SENOR DON R. VARGAS. Emilio Sala y Frances, living painter ; born at Alcoy ; pupil of the School of Fine Arts at Valencia. 16. AN INTERIOR. By EDOUARDO ZAMACOIS. Canvas 27 x 39^ inches. Lent by the MARQUISE DE CARCANO. A SPACIOUS and elegantly furnished apart- ment, in which, on a white couch, is seated a lady in white, said to be a portrait of the owner of the picture, and who is the owner also of the famous picture by Fortuny of “ The Spanish Marriage ” here exhibited (No. 176). Senor Don Edouardo Zamacois, born at Bilbao, 1843, died 1871 ; pupil of Balaco, and of the Madrid Academy ; and later in Paris under Meissonier ; Medals, Paris 1867; Munich 1870; is represented in the Museum of Modern Art at Madrid by one example. y GALLERY t. 29 17. FRIDAY. By JOSE GALLEGOS. Canvas ig )4 x 36 inches. Lent by ARTHUR TOOTH, ESQ. 18. IN THE ARENA. By MARIANO FORTUNY. Canvas 39 x 26 inches. Lent by ARTHUR SANDERSON, ESQ. 19. FESTA DEL SAN SALVATOR. By SANCHEZ BARBUDO SALVADOR. Canvas 39 % x 79 inches. Lent by E. GAMBART, ESQ. 30 GALLERY I. 20. KING LEAR. By MATEO SILVETA. Canvas 25 x 20 inches. Painted 1866. Lent by E. GAMBART, ESQ. Senor Don Mateo Silveta, living painter, born at Madrid ; pupil of Casto Placencia. 21 . STAR OF THE MORNING (Stella Matutina). By LUIZ ALVAREZ. Canvas 98 x 42 inches. Lent by SENOR DON JOSE* MANUEL ESPELIUS. 22. A STATE CONCERT. By SANCHEZ BARBUDO SALVADOR. Canvas 39 x 79 inches. Lent by HARVEY DU CROS, ESQ. Senor Don Sanchez Bardudo Salvador, born at Seville ; pupil of Jose Villegas. Resides in Rome. GALLERY I. 31 23. THE RUBENS HAT. By FRANCISCO PRADILLA. Canvas 28j^ x 20 inches. Lent by E. GAMBART, ESQ. 24. THE VICTOR’S RETURN. By ULPIANO CHECA. Canvas 20 x 31 inches. Lent by MONSIEUR LEVENSTEIN. Etched by Maurice Deville, and published by Messrs. L. H. Lefevre & Sons. 25. FROM EARTH TO HEAVEN. By EMILIO SALA. Canvas 49 x 34 inches. Lent by SENOR DON EMILIO SALA. 32 GALLERY I. 26. A ROMAN SHEPHERD. By RAMON TUSQUETS. Canvas 87 x 59 inches. Painted 1878. Lent by E. GAMBART, ESQ. 27. A BOY OF THE ROMAN CAMPAGNA. By EDUARDO ROSALES. Canvas 39 x 30 inches. Lent by SENOR DON LORENZO GARCIA VELA. Senor Don Eduardo Rosales, historical painter, born in Madrid, 1837 ; pupil of the Royal Academy of San Fernando ; studied the Old Masters in Sienna and Rome ; was director of the Spanish Academy in Rome. Medals, Madrid, 1862, 1864 and 1871; Paris, with the Legion of Honor, 1867. His great work of “ Isabella the Catholic dictating her Will,” is in the Museum of Modern Art at Madrid, with three other works. He died in Rome, 1873. GALLERY I. 33 2 8. THE INVASION OF THE BARBARIANS. HE appearance on the northern shore of the Sea of Azof of a horde of squalid savages from the steppes of Asia, changed the whole current of men’s thoughts. These were the ter- rible Huns, whose ferocity flamed forth against the Goths. In their advance into Europe, all whom they met fell victims to their fury, and five distinct nations were swept away in that whirlwind of savage tribes. Headed by their famous King Attila, they crossed the Julian Alps, A.D. 452, and invested the hitherto impregnable City of Aquileia. The siege was protracted, but eventually a breach was made in the walls, and the barbarians swarmed in, slaying and pillaging and reducing the fair city to ruins ; all the sister cities, beautiful and stately, which were mirrored in the waters of the north-western Adriatic, sharing a like fate. The picture shows them in their frantic triumph, carrying all before them in their first rush into the city. This is the finished study for the large picture (13 feet x 23) in the Museum of Modern Art, Madrid. By ULPIANO CHECA. Canvas 26 x 43 inches. Lent by SENOR DON ULPIANO CHECA. E 34 GALLERY I. Senor Don Ulpiano Checa, living painter, born at Colineuar de Oreja, Madrid; pupil of the Higher School of Painting, Madrid, and of Alejandro Ferrant and Manuel Dominguez. Medal, Madrid, 1887; is represented in the Museum of Modern Art, Madrid, by two works. 29. PALM SUNDAY.— Procession in St. Pietro Castello, Venice, XVth Century. By JOSE VILLEGAS Y CORDERO. Canvas 26 x 41 inches. Lent by GEORGE MCCULLOCH, ESQ. 30. THE FAIR AT SEVILLE. By JOSE DOMINGO. Canvas 83 x 64 inches. Lent by E. GAMBART, ESQ. Senor Don Jose Domingo, living painter, pupil ot Meissonier, whose style he follows. His small genre works have realised at times as much as ,£3,000. Fortuny greatly admired his work. GALLERY I. 35 31. THE COMMUNION OF THE NUNS. * By ENRIQUE MELIDA. Canvas 27 x 45 inches. Lent by SENOR DON RAMON MELIDA. Senor Don Enriqu£ Melida y ALfNARi, born at Madrid ; pupil of Jose Mendez, and in Paris of Meissonier; Medals, Philadelphia 18 , Vienna 18 and Madrid 1876; is represented in the Museum of Modern Art, Madrid, by one example, and in the Luxembourg, Paris. 32. THE CARNIVAL IN ROME. By JOSE BENLLUIRE Y GIL. Canvas 33 x 40 inches. Lent by SENOR DON MARIANO DE ORTEGA MOREJON. 36 GALLERY I. 33. THE MAD JOANNA. By FRANCISCO PRADILLA. Canvas 78 x 118 inches. Lent by E. GAMBART, ESQ. T OANNA, daughter of Ferdinand and Isabella, was born 1479, and married Philip, Arch- duke of Austria, in 1496, each being then seven- teen years of age. She ascended the throne of Spain in 1504. Her husband, a dissolute and worthless character, soon ceased to treat her even with outward respect, and the wretched life she led resulted in her insanity. In 1506, two years after she became Queen, her husband died, of a malignant fever, at the age of twenty- seven. The Queen sat in silence and gloom by his bedside during the whole of his sickness, no tear dimmed her eye, no words of lamentation escaped her lips. When he had breathed his last she still remained immovable in the chamber of death, her head resting upon her hand, and her features expressive of the profoundest melan- choly. She was requested to give her signature, which was needed for the assembling of the Cortes. Sadly she replied : “ My father will attend to these ; he is much more conversant with business than I am. I have no other duties now than to pray for the soul of my departed GALLERY I. 37 husband.” Three months after his death she determined to remove his remains to Granada, and insisted upon the coffin being opened that she might view his body. Without a tear she gazed upon the revolting spectacle, and placed her hand upon the mouldering brow. It is said she was never known to shed a tear after she discovered her husband’s infidelity to her. The procession left Burgos for Granada on the night of the 20th December, 1506, and moved along only during the hours of darkness. Every morning before dawn the body was deposited in some church or monastery, where funeral cere- monies were performed. In the disordered state of her intellect, she cherished the same jealousy of her sex which had embittered her days during her husband’s lifetime. On one occasion the body was taken into the courtyard of a convent which she supposed to be occupied by monks, to her horror she found it to be a nunnery, and in the ut- most haste she ordered the remains to be taken to the open fields. The light was fading, and a high wind was blowing, and here the party en- camped, as seen in the picture. Continuing the journey, they at length reached their destination, and the remains were deposited in the monastery of Santa Clara. Here the poor crazed Queen remained at her melancholy watch for the forty- seven years she survived him. She never left 38 GALLERY I. the walls of her palace, until at the age of seventy-five, in 1555, she was borne in burial to moulder by the side of her unfaithful husband. Painted 1878. This painting gained the Medal of Honour at the Paris Universal Exhibition, 1878. 34. A SAINT’S DAY (Handing Sweets). By JOSE GIMENEZ ARANDA. Panel 23 x 32 inches. Lent by SENOR DON FEDERICO DE SOUSA. 35. A TELLER OF STORIES, TANGIERS. By RICARDO DE MADRAZO. Canvas 24 x 33 inches. Lent by SENOR DON ALEJANDRO DE ANITUO. GALLERY I. 39 36. GIORNATA DE BURASCA, VENICE. By JOSE VILLEGAS Y CORDERO. Panel 16 x 25 inches. Painted 1889. Lent by E. GAMBART, ESQ. Senor Don Jose Villegas y Cordero, living painter, born at Seville, 1848 ; pupil of the School of Fine Arts at Seville, and of Jimenez Aranda and de Cano ; Director of the Spanish Academy at Rome ; is represented in the Museum of Modern Art, Madrid, by two works ; resides in Rome. 37. SADNESS. By LAUREANO BARRAU. Canvas 18 x 22 inches. Lent by SENOR DON PABLO BOSCH. GALLERY I. 38. THE CHRISTENING. Canvas 29 x 47 inches. Lent by CHARLES VAN RAALTE, ESQ. Sen or Don Jose Gallegos, living painter, bom at Jerez de la Frontera, Province of Cadiz ; pupil of Federico de Madrazo. By GONZALO BILBAO. Canvas 34 x 25 inches. Lent by SENOR DON GONZALO BILBAO. T HREE-QUARTER length figure, in bright attire ; turned slightly to the left. By JOSE GALLEGOS. 39. A WOMAN OF ANDALUSIA. 40. THE BRIDGE OF SIGHS, VENICE. By JOSE VILLEGAS Y CORDERO. Panel 16 % x 25 inches. Painted 1871. Lent by E. GAMBART, ESQ. GALLERY I. 41 41. REVERIE. By LAUREANO BARRAU. Canvas 2 1 x 26 inches. Lent by SENOR DON PABLO BOSCH. Don Laureano Barrau, living painter, born at Barcelona ; pupil of J. Leon G^rome ; Medal, Madrid, 1892 ; is represented in the Museum of Modern Art, Madrid, by one example. 42. THE INTERRUPTED PROCESSION. By JOSE GARCIA Y RAMOS. Canvas 27 x 40 inches. Lent by ARTHUR TOOTH, ESQ. Senor Don Jos £ Garcia y Ramos, living painter ; born at Seville, pupil of Jos£ Jimenez Aranda ; has been awarded numerous medals at Madrid and other cities. 42 GALLERY I. 43. THE READING. By JOSE GIMENEZ ARANDA. Canvas 39 x 44 inches. Lent by SENOR DON MARIANO DE ORTEGA MOREJON. 44. SENORA DE MADRAZO. By RICARDO DE MADRAZO. Canvas 81 x 39 inches. Lent by SENOR DON RICARDO DE MADRAZO. Senor Don Ricardo de Madrazo y Garreta; living painter ; pupil of his father, Federico de Madrazo, and of Mariano Fortuny ; Medals, Madrid 1881 and 1884, and Paris Exposition Universelle, 1889 ; is represented in the Museum of Modern Art, Madrid, by two works. i GALLERY I. 43 45. THE FLOWER MAIDENS (from Wagner’s “ Parsifal.”) By MARIANO FORTUNY Y DE MADRAZO. Canvas 48 x 50 inches. Lent by SENOR DON MARIANO FORTUNY Y DE MADRAZO. 46. THE SEAT OF PHILIP II. By LUIS ALVAREZ. Canvas 129 x 188 inches. Lent by HIS MAJESTY THE GERMAN EMPEROR. T HE Silla del Rey is a group of high rocks about thirty miles from Madrid, which commands a view of the surrounding country; some rough seats were cut in these rocks to which the name of “ the Chair of Philip II.” was given, and the King often despatched matters of State in that remote place. It was from here that he surveyed the progress of the building of the Escorial, which occupied twenty-one years, and on which incredible wealth and labour were lavished. 44 GALLERY I. 47. THE PLEASANT SIDE OF A BULL-FIGHT. By JOSri' GARNELO Y ALDA. Canvas 60 x 48 inches. Lent by SENOR DON JOSE GARNELO ALDA. Senor Don Jose Garnelo y Alda, living painter, born at Euguera, Province of Valencia ; pupil of the Higher School of Painting, Madrid, and of Eduardo Cano and Casto Plasencia; Medals, Madrid 1887, 1890 and 1892, and Chicago 1892; Professor of the School of Fine Arts, Barcelona; is represented in the Museum of Modern Art, Madrid, by one example. 48. THE LITTLE MOTHER. By GONZALO BILBAO. Canvas 65 x 42 inches. Lent by SENOR DON GONZALO BILBAO. Senor Don Gonzalo Bilbao, living painter, born at Seville ; pupil of Jos6 Villegas and Pedro Vega. GALLERY II. w 49. PORTRAIT OF GOYA. By GOYA. Canvas 22 y 2 x 16 y inches. Lent by MONSIEUR LEON BONNAT. 50. A PARTRIDGE ON THE WING. By FRANCISCO HERRERA EL VIEJO. Canvas 19 x I2J^ inches. Lent by MRS. RICHARD FORD. Acquired by Mr. Richard Ford, in Seville, in 1831. T HE painter of this picture was the first master of Velasquez. “ The principles of Herrera’s method are to be traced in all the works of his pupil, improved 4 8 GALLERY II. indeed by a higher quality of touch and inten- tion” — Richard Ford. Francisco de Herrera el Viejo was born at Seville, about 1576, and became one of the most original and famous masters of his time in Spain. He attracted numerous pupils, among whom was Velasquez, who, however, soon left him owing to his violent temper. He was accused of coining false money, and took refuge in the Jesuits’ College, Seville, where he painted the noble altar-piece, “St. Hermengild in Glory,” now in the Seville Museum, on seeing which Phillip IV granted him a free pardon. He died in Madrid in 1656. By GOYA. Panel 3 7*4 x 26 inches. Lent by MONSIEUR GASTON LINDEN. HREE-QUARTER figure, seated facing the right ; pale grey coat, white cravat and white vest, with a blue pattern. 51. DR. PAYREL. GALLERY II. 49 52. A PORTRAIT. By EL GRECO (Domenico Theotocopulo). Canvas 13^ x 10 inches. Lent by SENOR DON PABLO BOSCH. 53. TWO YOUNG PRINCESSES. Attributed to VELASQUEZ. Canvas 44 x Z 7 l A inches. Lent by GEORGE DONALDSON, ESQ. T WO little girls in pale pink and white ; one standing, with flowers in her hand; the other seated on a green cushion, playing with a black dog. Green curtains suspended from above. 50 GALLERY II. 54. THE DUQUE DE OSUNA. By GOYA. Canvas 44 x 33 inches. Lent by MONSIEUR GASTON LINDEN. HREE-QUARTER figure, standing facing the right; dark purple coat, white cravat and vest, and white hair; he holds in his right hand a letter on which is inscribed “ El Duque de Osuna, par Goya.” 55. A LADY OF THE DUCAL HOUSE OF MEDINACELI. By PANTOJA DE LA CRUZ. Canvas 81 x 40 inches. Lent by the DUQUE DE SANTO MAURO. Juan Pantoja de la Cruz was born in Madrid in 1551, and became a pupil of Alonso Sanchez Coello, whom he succeeded as Court painter to Philip II. He died at Madrid in 1609. GALLERY II. 51 56. A WOMAN WITH A DISTAFF. By MURILLO. Canvas 18 x 15 % inches. Lent by H. C. ERHARDT, ESQ., F.R.G.S. ROM an open window, the shutter of which is thrown back, a woman is leaning, and looking into the street below. Above is the window-curtain of matting, and beneath the win- dow-sill is a shelf with some earthenware jars and a vase of roses. 57. PORTRAIT OF MARIA, FOURTH WIFE OF PHILIP II OF SPAIN. By ALONSO SANCHEZ COELLO. Canvas 79 x 43 inches. Lent by ARTHUR SANDERSON, ESQ. F ULL-LENGTH, life size, facing spectator ; in elaborate v/hite dress, richly ornamented with jewels ; large white ruffle. Formerly in the Collection of Prince Ester- hazy. 52 GALLERY II. 58. THE FIVE CHILDREN OF THE COMTE DE CASA FLOREZ. By VICENTE LOPEZ. Canvas 79 x 59 inches. Lent by SENOR DON CARLOS FLOREZ. Vicente Lopez y Portana was born at Valencia, in 1772. In the Madrid Gallery are several pictures by him, among them a portrait of the painter, Francisco Goya. He was a pupil of the Franciscan monk, Villanueva, and of Maella, in Madrid ; he became Director of Valencia Academy, and was made Court painter in 1802. In 1814 he went to Madrid, and instructed the second and third Queens of Ferdinand VII ; he was also appointed Director-General of the Madrid and Saragossa Academies, and died at Madrid in 1855 (1850?). GALLERY II. 53 59. THE DUCHESS DE BENAVENTE Y DE OSUNA. By GOYA. Canvas 40 x 30 inches. Lent by SENOR DON GUSTAVE BAUER. HREE-QUARTER length, life size, stand- ing towards the left ; powdered hair ; large white hat, trimmed with pink ribbons and white feather. The slight figure is clad in a pale blue gown, adorned with white lace, pink ribbons and flowers. She. is wearing white gloves, and holds a fan in her right hand. 60. INTERIOR OF A PRISON. An Incident of By GOYA. On tin 16 x 12 inches. Lent by the TRUSTEES OF THE BOWES MUSEUM. the Inquisition. 54 GALLERY II. 6 1. THE MAYPOLE. By GOYA. Canvas 32 x 40 inches. Lent by the MARQUES DE CASA-TORRES. 62. DON DIEGO FELIX DE ESQUISEL. By MURILLO. Canvas 81 x 43 inches. Lent by H.E. SENOR DON AURELIANO DE BERUETE Y MORET. F ULL length, life size, in black costume ; white sleeves, collar and hose. He holds a hat and gloves in his right hand, while his left rests on a chair. GALLERY II. 55 63. LA SENORA DE CEAN BERMUDEZ. By GOYA. Canvas 44 x 31 inches. Lent by the MARQUES DE CASA-TORRES. HRE E-QUARTER length, life size, seated to the left ; arrayed in blue and white costume ; black velvet bracelet on each wrist, and on her knees is a crimson casket, with an open paper, on which her hands rest. 64. PORTRAIT OF THE PRINCESS OF EBOLI. NA DE MENDOZA Y DE LA CERDA, Princess of Eboli, was born in 1540, and wedded, at the age of thirteen, the tutor of the unhappy Don Carlos, son of Philip II. Her beauty, and her genius for intrigue gave her an ascendancy at the Spanish Court. Her charac- ter is faithfully portrayed in Schiller’s drama By EL GRECO. Panel 15^ x 13 inches. Lent by the MARQUES DE LA VEGA. “ Don Carlos.” 56 GALLERY II. 65. A LADY OF THE DUCAL HOUSE OF OSUNA. By ALONSO SANCHEZ COELLO. Canvas 53 x 40 inches. Lent by the MARQUES DE CASA-TORRES. HRE E-QUARTER length, life size, stand- ing toward the right ; black costume, richly adorned with jewels ; large white ruffle. In her right hand is a handkerchief, and her left rests on a chair; a crimson curtain in elegant folds, forms the background. 66. PORTRAIT OF JUAN ANTONIO MELENDEZ- VALDEZ ; a Spanish Poet. By GOYA. Canvas 17 x 15 inches. Lent by the TRUSTEES OF THE BOWES MUSEUM. GALLERY II. 57 67. DON ESTEBAN DE AGREDA. By VICENTE LOPEZ. Panel 12 x 10 inches. Lent by the MARQUES DE CASA-TORRES. 68. PORTRAIT OF DON VENTURA RODRIGUEZ. By GOYA. Canvas 41 x 31 inches. Lent by H.E. SENOR MARQUES CASTROMONTE. T HREE-QUARTER length figure, in a grey coat and waistcoat, frill and cuffs edged with lace ; in the left hand he holds the plans for the Palace of Bobadilla which the Infante Don Luis de Borbon ordered to be built ; and he points to them with his right ; they are inscribed “ Don Ventura Rodriguez, architect of the Sermo Sr. Infante D. Luis (son of Philip V. and Elizabeth Farnese), painted by order of His Highness’s wife, by D. Franco, de Goya, in the year 1784. 58 GALLERY II. Don Ventura Rodriguez was a celebrated architect, born in Madrid 17 17; died 1785. He executed many public works. He reconstructed the Walk of the Prado, and prepared the plans for the Palace of Bobadilla del Monte ; he also commenced the erection of the palace of the Counts of Altamira, which, it is said, was stopped owing to a fear that it would compete in gran- deur and sumptuosity with the Royal Alcazar. Formerly in the Collection of the Counts of Altamira. 69. THE DUCHESS DEL PARQUE. By GOYA. Canvas 65 x 49 inches. Lent by the MARQUIS DE LA VEGA. 70. PORTRAIT OF A LADY. By GOYA. Canvas 44 x 29 inches. Lent by H.E. SENOR DON AURELIANO DE BERUETE Y MORET. GALLERY II. 59 71. DON EVARISTO PEREZ DE CASTRO (Presidente del Conseje de Ministro y Diplomatico). By GOYA. Canvas 39 x 2; inches. Lent by SENOR DON MANUEL SOLER Y ALARCON. 72. THE BULLS. By GOYA. Canvas 20 x 32 inches. Lent by W. McKAY, ESQ. Francisco Jos£ de Goya y Lucientes was born at Fuendetodos in Aragon in 1746. At the age of sixteen he entered the studio of Jose Luxan Martinez. He afterwards visited Italy, and in Rome became the friend of the French painter, Louis David. In 1774 he returned to Spain. His works are imaginative and have great execution ; they are numerous, and include portraits, frescoes, oil paintings and incidents in life of a peculiar and fantastic character. The British Museum has a fine collection of his etchings and aquatints. He died at Bordeaux in 1828. 6o GALLERY II. 73. AN ARMENIAN GIRL. HE face of the girl is turned towards the left, and the head is wrapped with white drapery, brought close to the face and under the chin, and falling on to the shoulders. Over this is some drapery, brown in colour, towards which her right hand is raised as if to adjust it, while with the other she holds some white drapery. Formerly in the Ceritari Gallery, Florence, and in the Collection of the Rev. Mr. Sanford. Curtis. Velasquez and Murillo, No. 8 IN. 73A. CHRIST SCOURGED. By lo SPAGNOLETTO (Josef Ribera). Canvas 75 x 50 inches. Lent by miss maguire. Attributed to VELASQUEZ. Canvas 14)2 x 11 inches. Lent by LORD WANTAGE, V.C., K.C.B. GALLERY II. 6l 74. A DOMINICAN FRIAR. By FRANCESCO DE ZURBARAN. Canvas 56 x 38 inches. Lent by GEORGE DONALDSON, ESQ. T HREE-QUARTER figure, life size, seated toward the right, in the white gown and cowl of the Dominican order. Francesco de Zurbaran was born at Fuente de Cantos, a small town of Estremadura. He was bap- tized on November 7th, 1598, probably the day of his birth. His father was a husbandman, and intended his son for the same employment, but soon released him when he showed an aptitude for painting, and sent him to the school of Juan de Roelas, at Seville. He has been called the Caravaggio of Spain, as he copied that master’s style, and like Velasquez he imitated nature exactly. In 1650 he was called to Madrid, by Philip IV, where he executed, for a room at Buenretiro, ten works called “ The Labours of Hercules.” It is said that Philip frequently visited there, and that one day, laying his hand on his shoulder, he called him “ Painter to the King, and king of painters.” It is supposed that he died at Madrid in 1662. He was held in great esteem during his life, and his merits gained him the highest rank among the artists of Spain, 62 GALLERY II. 75. CHRIST DRIVING OUT THE TRADERS FROM THE TEMPLE. By EL GRECO (Domenico Theotocopuli). Canvas 16 x 20 inches. Lent by H.E. SENOR DON AURELIANO DE BERUETE Y MORET. 76. THE VIRGIN AND CHILD. ARY and Joseph are on either side of the straw couch, on which lies the Infant Saviour on white drapery ; two oxen are seen in the rear. Above are two boy angels, bearing a scroll on which is inscribed “ Gloria in excelsis Dei, et interra, pax homini.” By MURILLO. On marble 15 x 13^ inches. Lent by C. T. D. CREWS, ESQ. GALLERY II. 63 77. THE ARTISTS DAUGHTER. By EL GRECO (Domenico Theotocopuli). Canvas 25 x ig }4 inches. Lent by SIR JOHN STIRLING-MAXWELL, BART., M.P. H ALF-LENGTH figure, life size, turned slightly to the left, looking at the spec- tator. She is wearing an ermine-trimmed mantle and white hood, and her hand grasps the mantle. “ She is painted in the prime of life and love- liness ; her dark eyes and rich complexion are finely set off by the white-furred mantle drawn over her head ; and her countenance, in depict- ing which her fond father has put forth all his skill, is one of the most beautiful that death ever dimmed, and that the pencil ever rescued from the grave .” — Sir William Stirling-Maxwell. Formerly in the Collection of King Louis Philippe, at the sale of whose pictures, in 1853, it was acquired by the father of the present owner. In the sale catalogue was a note : “ Purchased of M. Serafino, at Mad- rid.” 64 GALLERY II. This picture was No. 259 m the 1838 catalogue of the Louvre. Domenico Theotocopuli, called also El Greco and El Griego, painter, sculptor and architect, is supposed, from his name, to have been of Greek origin, although he is included among the artists of Spain, and the greater number of his pictures were painted in Spain ; many distinguished Spanish painters were among his scholars, or were his disciples. He was born about 1548, and it is supposed that he was a pupil of Titian’s, at Venice ; the manner of his early pictures are after the style of Titian, though later Tintoretto became his model, and it is possible that Robusti was his true master. In 1577 he was working at Toledo, and from there was called by Philip II to Madrid, to work in the Escurial. He died at Toledo in 1625. By MURILLO. Canvas, oval, 19^ x 15 inches. Lent by LORD WANTAGE, V.C., K.C.B. HE Santa Faz, or Holy Face, is the name given in Spain to the representation of the face of our Lord, as impressed (according to the legend) on the Kerchief (Sudarium) of Santa Veronica. In this example the face of Christ is seen on 78. LA SANTA FAZ. GALLERY II. 65 a napkin, the texture of which is but indistinctly indicated. It is turned slightly to the left, and crowned with thorns ; the eyes are downcast, the beard short and doubly-pointed, the hair falling low. It is probable that this picture came from the Capuchin Convent, outside the Cordova Gate, at Seville, which contained twenty-one paintings by Murillo, of his best period, and was considered the richest and most highly adorned of any temple of the Capuchins. On the approach of the French troops, in 1810, they were transferred for safety to the Chapter of Seville Cathedral, by whom they were packed up and sent to Gibraltar. On the return of this valuable charge to Seville, in 1813, two of the pictures had disappeared ; one, the St. Michael, which had hung at the end of one of the lateral aisles ; the other, La Santa F az, one of the ten paintings which adorned the retablo of the high altar, and presumably the present picture. It corresponds almost exactly with a coarse- but rare engraving executed by R. O. in 1792, evi- dently in Spain, and from the painting which then hung in the Capuchin Convent in question. Formerly in the Collections of Don Julian Williams and Mr. Richard Ford (the author of “ The Handbook of Spain ”). Curtis. Velasquez and Murillo, No. 204. 0 66 GALLERY II. 79. PORTRAIT OF DON BALTAZAR CARLOS. By DEL MAZO. Canvas 33 ]/^ x 22 inches. Lent by SIR J. ROBINSON, C.B. O MALL, full-length figure of the young prince, clad in armour, and wearing high buff boots. Large crimson curtains draped be- hind him on the left ; a landscape on the right 80. THE VIRGIN AND CHILD. By MURILLO. Canvas 64 x 42^ inches. Lent by LORD WANTAGE, V.C., K.C.B. HE Virgin, life size, is seated towards the right on a stone bench. She wears a robe of reddish-brown hue peculiar to Murillo, show- ing white under-sleeves, with dark blue drapery over the knees. Her long, dark hair falls over the right shoulder, from whence white drapery GALLERY II. 67 passes underneath the Infant Saviour, upon whom she tenderly looks, as she holds Him on her lap with one hand, letting the other fall at her side. The Child, who is almost unclothed, catches playfully at his mother’s hair, his other hand seizing the neck of her dress. The back- ground is of a luminous dark brown tone. This picture formed the altar-piece of the Chapel in the Palace of the Marquis de Sant Iago, at Madrid, and was considered the finest small picture by the master in the Spanish capi- tal. It was acquired and brought to England in 1 809, with two other important works by Murillo, viz., the great picture of the “ Meeting of Jacob and Laban,” now at Grosvenor House, and the “ Virgin and St. Joseph, with the Infant Saviour.” These three pictures were with difficulty con- veyed to England, via France and Antwerp, being detained at the latter place during its siege by the English. On their arrival in this country, in 1809, the present picture was purchased by Lord Berwick. Formerly in the Collection of Lord Berwick. Museo Pictorico, Polomino Velasco, 1715, Vol. Ill, p. 421. Buchanan’s Memoirs, Vol. II, pp. 221 and 234. Curtis. Velasquez and Murillo, No. 95. 68 GALLERY II. 8i. THE INFANT JESUS By MURILLO. Canvas 20 x 31 inches. Lent by the DUKE OF WESTMINSTER. TIE child lies on his right side, almost un- * clothed ; a red curtain is looped above his Formerly in the possession of Mr. Blackwood, who brought it from Spain in 1760, and afterwards in the Collections of Sir Law- rence Dundas and Mr. Ellis Agar. Etched by John Young. Curtis. Velasquez and Murillo, No. 161. 82. VIRGIN AND CHILD. HE Virgin, clothed in red, with blue drapery descending from her right shoulder and over her knees, is seated to the left, and holding the Infant Christ, who is clad in white drapery. ASLEEP. head. By LUIS DE MORALES. Panel 33 x 25 inches. Lent by SENOR DON PABLO BOSCH. GALLERY II. 69 Luis de Morales was born early in the sixteenth century, at Badajoz. His pictures generally represent the head of Our Saviour crowned with thorns, or that of the Madonna in grief ; on this account he was known as “El Divino.” He was in Madrid in 1564, when he painted one picture for Philip II, afterwards returning to his native town, where he died in 1586, it is supposed in great poverty. His large works are mostly to be found in churches in Spain ; his smaller pictures are generally painted on wood or copper. 83. ST. FRANCIS. By MURILLO. Canvas 47 ]/ 2 x 35 inches. Lent by MARTIN H. COLNAGHI, ESQ. S T. FRANCIS, with thick black hair and beard, and wearing the cord and brown habit of his Order, is seated, holding in his right hand, which is marked with the stigmata, a large crucifix and rosary ; with his left be turns the page of a large book, which rests upon a skull. Formerly in a Franciscan convent in Seville, and afterwards in the Collection of King Louis Philippe and of Mr. W. A. Hankey. Curtis. Velasquez and Murillo, No. 299. Stirling-Maxwell. Annals, p. 1,039. 70 GALLERY II. 84. THE IMMACULATE CONCEPTION. By MURILLO. Canvas 83^ x 54 inches. Lent by SIR CUTHBERT QUILTER, BART., M.P. F ULL-LENGTH, life-size figure of the Vir- gin, floating in the air on clouds, against a flood of golden light, a crescent moon beneath her feet. She is clothed in a white robe, with a rich blue cloak, which hangs from her shoulders. Her hands are together, as she looks upwards in adoration. Twelve stars circle above her head, and three cherubs, beautiful in face and form, hover among the clouds at her feet. Painted for Carlos II., King of Spain, and given by Philip V. to Don P'eliciano Mateos, as a testimony of his gratitude for the hospitality he received on the occasion of his visit to Anda- lusia. It was hung in the apartment which the King had occupied during his visit, and it re- mained there carefully protected in a position which prevented its being affected by too bright a light, and this accounts doubtless for its present purity. Not many years ago it passed from the Count Castilleja, a descendant of Feliciano Mateos, to His Excellency Don Jose Guel y GALLERY II. 71 Rente, brother-in-law of the ex-Queen of Spain, on whose recommendation it was sold to render a service to the Count of Castilleja (now the Duke of Valencia), who, during the Queen’s reign was several times President of the Council of Ministers, and rendered the Queen many valuable services. Curtis. Velasquez and Murillo, No. 50N. 85. SIMEON AND THE INFANT SAVIOUR. By LO SPAGNOLETTO (Josef Ribera). Canvas 48 l / 2 x 40 inches. Lent by the MARQUESS OF BRISTOL. LOTHED in an ample brown robe, and wearing the High-Priest’s mitre, he is looking upwards as he bears on a white cloth the unclothed figure of the Infant Saviour. Josef de Ribera, called “ Lo Spagnoletto,” was born in 1588, at Xativa (now San Felipe), near Valencia. He was educated at Valencia for the profession of literature, which he soon abandoned for that of art, and entered the school of Ribalta, where he made great progress. Though without resources he determined to visit Italy, and for years led a life of many vicissitudes. Fortune at last smiled upon him 72 GALLERY II. in Naples, where he married the daughter of a rich picture-dealer. He died at Naples in 1656. The rulers of Naples at that time being Spanish, Ribera en- joyed great favour, and was appointed painter to the Viceroy, who recommended him to Philip IV. It was here, too, that he made the acquaintance of Velasquez, who visited him in 1630 on his first journey to Italy, and who nineteen years later (1649), on the occasion of his second expedition to Italy, renewed his acquaintance by another visit. In 1630 he was a member of St. Luke, and in 1644 received the decoration of the Order of Christ from the Pope. He was much patronized by the Jesuits, and painted many pictures for churches and religious houses. 86. PORTRAIT OF A LADY. By ALONSO SANCHEZ COELLO. Canvas 43 x 34 inches. Lent by CHARLES BUTLER, ESQ. HREE-QUARTER length figure, life size, standing toward the left, but glancing at the spectator ; dark hair, and deep brown eyes. She wears a white satin bodice and sleeves, with a heavy gold chain lying loosely round the waist ; black velvet jacket, and coloured lace at the wrists ; wide ruffle and broad white lace frill round the head ; pearl necklace. Her right hand extended forward, holds a handkerchief ; with GALLERY II. 73 the left she carries a small black dog. Dark background. Alonso Sanchez Coello was born in Valencia, about 1513. He is supposed from his colouring to have studied in Italy. In 1541 he became the friend of Sir Antonio Mor, and accompanied him to Lisbon. He afterwards became painter to Philip II, and executed many portraits of him, and of others of the Royal Family and aristocracy of Spain. He became very rich and successful. He died at Madrid in 1590. 87. HEAD OF A MAN. Ly LO SPAGNOLETTO (Josef Ribera). Canvas, circular, 19 x 19 inches. Lent by SIR J. ROBINSON, C.B. 88. LA DOLOROSA (Our Lady of the Augustines). By MURILLO. Canvas 65 x 42 inches. Lent by MONSIEUR GASTON LINDEN. L IFE-SIZE figure, seated, with her hands ex- tended as if in supplication and looking upwards. She is clothed in blue, red and brown drapery, and the suggestion of a halo is around her head. 74 GALLERY II. 89. THE NATIVITY. By EL GRECO (Domenico Theotocopuli). Canvas 64^ x 42 inches. Lent by D. McCORKINDALE, ESQ. 90. PORTRAIT OF THE PAINTER’S BROTHER. By GOYA. Canvas 29 x 21^ inches. Lent by the TRUSTEES OF THE BOWES MUSEUM. GALLERY II. 75 91. A PORTRAIT. Painter unknown. Canvas 19 x 17 inches. Lent by the MARQUES DE CASA-TORRES. 92. A ROYAL INFANT. By CLAUDIO COELLO. Canvas 30 x 39^ inches. Lent by SIR JOHN STIRLING-MAXWELL, BART., M.P. A N infant, wrapped in a richly-embroidered robe, lies on a broad couch, supported by two rich cushions. Brown curtain in background. Claudio Coello was of Portuguese parents, but was born at Madrid about 1621. In conjunction with Josef Donoso, his master and friend, he painted frescoes at Madrid and Toledo, and executed the triumphal arch for the entrance of the Queen, Maria Louisa of Orleans. He became famous, and was made painter to Philip IV, by whom he was employed at the Escurial. He never left Spain, so his great gifts as an artist are known chiefly in that country. Many of his best works are to be seen in the churches and convents at Madrid, Saragossa and Salamanca. 76 GALLERY II. It is said that he died of grief, at Madrid, in 1693, because the painting of the grand staircase in the Escurial was entrusted to Luca Giordano. The famous altar-piece in the sacristy of San Lorenzo in the Escurial, “ The Adoration of the Miraculous Host,” is an immense work, and took him seven years to complete, and it may be compared to the great works of Titian and Rubens. He was the last of the notable Spanish painters of that time. Formerly in the Collection of John Aid jo, at the sale of whose pictures, in 1859, it was acquired by the father of the present owner. 93. CARDINAL DON LUIS ANTONIO DE BOUR- BON (Infante of Spain). By GOYA. Canvas 79 x 44 inches. Lent by the MARQUES DE CASA-TORRES. GALLERY II. 77 94. OUR LADY OF THE IMMACULATE CON- CEPTION. By MURILLO. Canvas 77 x 58^ inches. Lent by the EARL OF NORTHBROOK, G.C.S.I. IGURES full-length, small life-size. The Virgin, looking down, with her hands joined in prayer, floats on a crescent in the clouds. She wears a white dress, an amber veil round her neck, and over her left arm a blue mantle, which falls behind to her right. Round her head there is a silvery nimbus, composed of rays, and of two large circles ; on either side of it are six winged angels’ heads on clouds. Below are ten cherubs, one carrying a branch of palm (indicating her holiness), another a lily (her vir- ginity), a third three roses (her beauty), a fourth a mirror (her freedom from all stain). There is a halo of bright light round the figure of the Vir- gin, and pale blue sky behind. Formerly in the Convent of Barefooted Car- melites, Calle de Alcala, Madrid ; and after- wards in the Collections of M. Le Brun and Sir Thomas Baring. 78 GALLERY II. Curtis. Velasquez and Murillo, No. 32. Stirling-Maxwell. Annals, p. 140. Buchanan’s Memoirs, Vol. II, p. 255. Bartolome Esteban Murillo was bom at Seville, 1618. After receiving some education, he was placed with Juan del Castillo, a relation, to learn painting. In his twenty-fourth year he went to Madrid, where he was kindly treated by Velasquez, and where he studied the works of Titian, Rubens and Vandyke. He returned to Seville in 1645, where his first works were a series of paintings illustrating the life of St. Francis, and though unknown in his native place up to that time, he thenceforth became the head of the School of Seville. In 1648 he married a lady of fortune, of Pilas, and from that time his house became the favourite resort of people of taste and fashion. His last work was the large altar-piece of St. Catherine, painted at Cadiz for the church of the Capuchins. This picture he never completed owing to his falling from the scaffolding while engaged upon it ; he was forced to return to Seville, where he died not long afterwards, April 3rd, 1682. He surpassed all other Spanish painters by the depth of feeling in his religious compositions, and is unequalled in the rendering of religious ecstacy and enthusiasm. Engraved by M. S. CARMONA and R. GRAVES. GALLERY II. 79 95. THE PRODIGAL SON FEASTING. By MURILLO. Canvas 41 x 53 inches. Lent by ALFRED BEIT, ESQ. EATED at a table, wearing a red doublet and a plumed hat, the prodigal son is entertaining five guests. He is in the act of re- ceiving a cup of wine on a salver, offered him by a page ; his left hand is on the shoulder of a courtesan, who is seated beside him ; on the right, at a corner of the table, another courtesan is seated ; behind her is a servant with a plate ; in the foreground, on the left, is a musician play- ing a guitar ; a dog thrusts his head from be- neath the tablecloth ; the background consists of a red curtain, fastened to columns ; on the right is seen a landscape and the entrance to a Formerly in the Collections of the Duke of Salamanca and the Earl of Dudley. Curtis. Velasquez and Murillo, No. 187. park. 8o GALLERY II. 96. COUNT FLORIDA BLANCO. By GOYA. Canvas 74 and 45 inches. Lent by the MARQUES DE CASA-TORRES. 97. PORTRAIT OF A BOY. SPANISH SCHOOL. Canvas 60 x 36 inches. Lent by the MARQUESS OF BRISTOL. BOY of about nine years old, standing facing the spectator, and holding a large dog by a cord ; black velvet costume, lined with rich red silk ; coral necklace ; large shock of dark hair. Heavy curtain behind, richly embroi- dered. Juan Bautista del Mazo Martinez was born at Madrid, about 1610. At an early age he entered the school of Velasquez, whose daughter he afterwards married. In 1661 he was appointed, on the death of his master, Court painter to Philip IV. He excelled in all subjects, but particularly in hunting scenes, and he copied the works of Velasquez and other painters with such extraordinary excellence that they are frequently mistaken for the originals. He died in 1687. GALLERY III. Brief Notice of the Life of Velasquez. IEGO RODRIGUEZ DE SILVA Y Velasquez was born at Seville, in 1599. He was of gentle birth on both his father s and his mother s side, his mother being a daughter of a Sevillian noble. His family were reckoned hidalgos , or members of the petite noblesse , and entitled to the use of the style of Don. His parents acquiesced from the first in his pursuit of art as a profession, and allowed him, at the age of thirteen, to leave his studies at the Grammar School at Seville in order to enter the studio of Francisco de Herrera, whose work is instanced in the present Collection (No. 50), and whose vigorous handling left a decided impress on the art of Velasquez. The rough temper, however, of Herrera soon drove his young pupil 8 4 GALLERY III. from him, and when he was fourteen he became a pupil of Francisco Pacheco, to whom his industry, allied to his gentle birth and promising talents, so commended themselves, that in his nineteenth year his marriage was sanctioned with the young daughter of his master, Juana de Miranda. It was just before this date that the two pictures, known by the term of “ bodegones,” were painted : — The Steward (No. no). Two Young Men at a Meal (No. 103). To the period closely following his marriage, viz., between 1618 and 1620, belong the two notable examples : — The Water Carrier of Seville (No. 100) and An Old Woman making an Omelet (No. 102). He must have thought highly of The Water Carrier of Seville, for he took it with him on his first visit to Madrid, and his opinion of its merits was shared by others, for it was secured for the adornment of one of the rooms of the New Palace of Buen Retiro. On the occasion of the accession of Philip IV to the throne of Spain, the Count Olivares GALLERY III. S5 became his first minister. The Count was a native of Seville, where he was popular as a pa- tron of poets and artists, and his attention was now drawn to Pacheco's gifted son-in-law. Called to Madrid, Velasquez, in 1623, executed an equestrian portrait of Philip with such success that he was appointed a Court painter to the King, which carried with it a substantial payment per month, in addition to separate payments for each completed work. Here he was associated with other Court painters, Carducho, Caxesi, and Gonzalez, each of them his senior by many years, but he out- shone them all. At this time, about 1623, it may be pre- sumed, he painted the interesting portrait of the young wife of Philip, then in her nineteenth year : — Isabel de Bourbon (No. 126), and the Still Life, Peacock, &c. (No. 133), while a year or two later he produced The Beggar with the Globe (No. 104). The King from the first treated Velasquez in the most friendly manner, visiting him almost every day, in the historic studio of the Court painters, in the eastern wing of the old Alcazar Palace, a secret passage connecting the studio with the royal apartments, where a special chair 86 GALLERY III. was reserved for the King’s use. The portraits painted of Philip at this period are in the Museum of the Prado, and Velasquez’s work at this time is illustrated in the present Collection by the por- traits of his warm and generous friend : El Conde Duque de Olivares (No. 129). El Conde Duque de Olivares (No. 136). In 1628, when Velasquez was under thirty, the great Flemish painter, Rubens, his senior by twenty-two years, arrived in the Spanish capital. He was given a room in the Palace, and for nine months was in constant intercourse with the King and Velasquez. During his stay he painted many portraits, seven of which are now in the Prado Museum, besides nearly sixty other works of sacred, mythological, and other subjects ; and he copied all the King's Titians. He seems to have formed a very high opinion of Velasquez, whose genius, however, was of so original a kind that no trace of direct reflection of the great Fleming can be observed in any of his work. It was in the summer of the following year that Velasquez, by the advice of Rubens, paid his long wished-for visit to Italy, where in Venice he studied the works of Titian, Tintoretto, and Paul Veronese, and in Rome, where he remained for a whole year, the great treasures of the Vatican. GALLERY III. 87 He returned to Madrid in 1631, after an absence of two years, and among other completed works which he brought with him were the famous Forge of Vulcan, now in the Prado Museum, and Joseph’s Coat, now in the Escorial. This journey to Italy, with its widening influence upon his artistic vision, may be said to close the first period of the painter’s career. The second or middle period may be con- considered to range from 1631 to 1649, during the whole of which time he was working un- interruptedly at the Spanish Court. To the year of his return from Italy may be ascribed the Portrait of Philip IV (No. 124). Portrait of Don Francisco de Quevedo (No. 98), and a few year’s later the King’s little son, Baltazar Carlos, born 1629, came upon the scene. There are many portraits of this brave little fellow, who, to his country’s sorrow, died at the early age of seventeen ; three are in the Prado Museum, and one of these (the equestrian portrait) the Corporation of London was hopeful at one time of including in the present Collection, but, although the Spanish Government regarded the subject of its loan with favour, objections 88 GALLERY III. of a legal character proved- an insuperable obstacle. The four pictures which represent him on the present occasion are Portrait of Don Baltazar Carlos (No. 1 14). Portrait of Don Baltazar Carlos (No. 120). Portrait of Don Baltazar Carlos (No. 1 19). The Riding School (No. 127). the two first of which were painted, presumably, about 1636, the third in 1639, and the last-named about 1641. Two years previously, viz., 1639, was probably the date of the painting of the great work, now in the Prado Museum, which ranks perhaps as his highest achievement, The Sur- render of Breda, or, as it is more familiarly known, Las Lanzas. This celebrated work exhibits in the loftiest degree, the brilliant capacity of the painter and the chief characteristics of his art alike in his power of design, dignity of expres- sion, and mastery of technique. In 1641 Velasquez received Murillo, also a native of Seville, into his studio as a pupil. Murillo was then twenty-three and he himself GALLERY III. 89 forty-two, and to this year, or to the year following, belong probably the Portrait of El Conde Duque De Olivares (No. 135), Portrait of a Boy (No. 118), and the Portrait of Isabel de Bourbon (No. 117). then about thirty-eight years of age. Two years later, viz., in 1643, occurred the disgrace of Philip’s powerful minister, Olivares, and it testifies to the painter’s kindly feeling and gratitude to his old friend and supporter, as well as to the independence of his character, that, disregarding the etiquette of the Court, he visited the fallen minister in his exile. To 1644 is ascribed the small study for the great picture, now in the Prado Museum, Philip IV. on Horseback (No. 116), and also The Head of a Boar-Hound (No. 99). and then in 1649 his second visit to Italy was undertaken. In Rome he met many painters of note, among them Salvator Rosa and Nicolas Poussin, and he painted the cele- brated portrait of the Pope Innocent X, which now hangs in the large entrance hall of 90 GALLERY III. the Doria Pamfili Palace in Rome. Before he at- tempted this important piece of portraiture, he gave practice to his hand by painting his servant, and this portiait is in the present Collection : — Juan de Pareja (No. 115). He also made studies of the Pope, and one of these, possibly the second he made, is here seen : — Pope Innocent X (No. 122), a slight study, in a rapid, sketchy manner, presumably the first he made, being now in the Hermitage Gallery, St. Petersburg, a work of exceptional brilliancy and vitality, the loan of which was sought from His Majesty the Czar for the present Exhibition, but its condition is such that its removal to London was not con- sidered advisable. Honours fell thickly upon him on his return to Madrid in 1651. He was appointed Grand Marshal to the Palace, a position of considerable honour, and had the duty of arranging the royal journeys, Court festivities and tournaments. Philip had lost his wife, Isabel de Bourbon, in 1644, and five years later he contracted a second marriage with his own niece, the Grand Duchess Mariana of Austria, a girl of fourteen, whose portrait was frequently painted by Velasquez. The year of this marriage was the GALLERY III. 91 commencement of the third and last period of the painter’s career, and the work in this Col- lection illustrating that period is instanced by : — Portrait of the Infanta Maria Teresa (No. 1 3 1). Portrait of Philip IV. (No. 130). Portrait of Queen Mariana of Austria (No. 134). Bust Portrait of Queen Mariana of Austria (No. 113). Portrait of Himself (No. 108). The date of the last-mentioned portrait, 1659 — determined by the date when the Cross of Santiago was bestowed on him by the King, and which he is portrayed as wearing — was the year also of the two vivacious and delightful portraits in the Belvidere Gallery at Vienna, of Philip’s two children by his second wife, Don Philip Prosper and Margarita Maria, in neither of which is any abatement dis- cernible of his extraordinary power. The following year, 1660, in the month of August, his life closed, at the age of sixty-one. Dressed in the habit of a Knight of Santiago, his body lay in state for twenty-four hours. It was then carried to its last resting place in the Church of St. John the Baptist, where it was deposited in the vault of Fuensalida. GALLERY III. 98. PORTRAIT OF DON FRANCISCO DE QUEVEDO. By VELASQUEZ. Canvas 24 x 22 inches. Painted about 1630. Lent by the duke of Wellington. L IFE-SIZE, bust, looking at the spectator ; black costume, narrow linen collar ; abund- ant greyish frizzled hair ; large double eyeglass on the nose, and the cross of Santiago on his breast. Don Francisco de Quevedo y Villegas, poet and novelist, was born 1580, and died 1645. “ His words have still a living force for the modern Spaniard. With one hand he scattered 94 GALLERY III. great truths ; with the other he painted, with a brush Zola himself might envy, the foulest dregs of Spanish Society. He injured his sight by incessant reading, in bed, at his meals, and on his journeys, when he carried about in a leathern pouch a hundred very small volumes, some in oriental type ." — JustL Engraved by carmona in Vol. IV of “the Spanish Parnassus," and by brandi. Most probably this is the portrait mentioned by Palomino, Vol. Ill, p. 333, in which Quevedo is described as with eyeglasses. Formerly in the possession of Don Francesco Bruno, at Seville. R. Twiss. “Travels through Spain," London, 1775, p. 308. Curtis. Works of Velasquez, No. 191. Justi. Velasquez and his times, p. 227. A. De Beruete. Velasquez, p. 89. “ The Grandees in Spain wore eyeglasses as broad as one’s hand ; and a certain Marquess of Astorga insisted that a pair should be placed on the marble nose of his statue. Permission to wear spectacles was the sole reward which a young friar who had done his convent an im- portant service, thought of asking his superior.” — Madame D Aublay. GALLERY III. 95 99. HEAD OF A BOAR- HOUND. By VELASQUEZ. Canvas 11 x 14 inches. Lent by lady colin Campbell. Painted about 1644. Formerly in the Collection of Edmund M. Blood, Esq. 100. THE WATER CARRIER OF SEVILLE. Painted by Velasquez. Canvas 38-^ x 32 inches. Painted at Seville about 1619. Lent by the duke of Wellington. A SUNBURNT, wayworn seller of water, dressed in a tattered brown doublet, with his left hand on a large earthen jar ; he is handing a glass of water to a boy, who stands beside a table on which is a smaller jar ; another boy is quenching his thirst from a pipkin. 9 6 GALLERY III. “ The next step of Velasquez in his progress of self-instruction, was the study of subjects of low life, found in such rich and picturesque variety in the streets and on the waysides of Andalusia, to which he brought a fine sense of humour and discrimination of character. To this epoch is referred his celebrated picture ot ‘The Water Carrier of Seville.' ” — Sir Win. S tirling- Maxwell. Velasquez took this picture with him when he first went to Madrid, and it hung originally in the Palace of the Buen Retiro, being removed afterwards to the new Bourbon Palace, where it was seen in 1755 by the Italian, Caimo, in the Serenade Hall. In 1780 it was in the Alcaza Quarto del Rey. In 1813 it was stolen by Prince Joseph Bonaparte in his flight from Madrid, and was captured by the British at the rout at Vittoria, being found in the Prince's carriage, with a quantity of the Bourbon plate and jewels. The Duke of Wellington proposed to restore it to Spain, but King Ferdinand VII begged his acceptance of it as a personal gift. Engraved at Madrid by Blas Amettler. Curtis. Works of Velasquez, No. 86. Justi. Velasquez and his times, p. 69. Stirling-Maxwell. Annals, p. 667. A. De Beruete. Velasquez, p. 17, GALLERY III. 97 i o i . LANDSCAPE. By VELASQUEZ. Canvas 16 x 12 inches. Lent by the marquess of lansdowne, k.g. T WO cavaliers meeting on the road, appear to be enquiring their way of a peasant, who is standing by ; two persons are seated behind. In the distance on the right is a grove, and behind is a high cape stretching into the sea. Formerly in the Alcazar at Madrid, and brought to England in 1814 by Mr. Bourke, the Danish Minister in Spain. Curtis. Works of Velasquez, No. 53. Justi. Velasquez and his times, p. 334. Stirling-Maxwell. Annals, Vol. Ill, p. 1,408. 98 GALLERY III. 102. THE OMELET. By VELASQUEZ. Canvas 39 x 46 inches. Painted about 1619. Lent by the Executors of the late sir francis COOK, BART., VISCONDE DE MONSERRATE. A N aged woman seated, is making an omelet in an earthen pan ; on the left is a boy with a melon under his arm, who is offering her a wine-flask. In front are various utensils. Curtis. Works of Velasquez, No. 84. Justi. Velasquez and his times, p. 72. A. De Beruete. Velasquez, p. 16. GALLERY III. 99 103. TWO YOUNG MEN AT A MEAL. By VELASQUEZ. Canvas 25^ x 41 inches. Painted about 1616. Lent by the duke of Wellington. IFE-SIZE figures of two boys seated at a table ; the one on the right in a buff jacket is drinking from a bowl, the other is observing him ; the table is laden with dishes and a jar surmounted by an orange. Curtis. Works of Velasquez, No. 85. Justi. Velasquez and his times, p. 72. A. De Beruete. Velasquez, p. 15. D 2 IOO GALLERY III. 104. A SPANISH BEGGAR. By VELASQUEZ. Canvas 44 x 36 inches. Painted about 1624. Lent by the executors of the late sir FRANCIS COOK, BART., VISCONDE DE MONSERRATE. T HREE-QUARTER length figure of a man in a ragged dress, leaning on a crutch, and holding in his right hand a wine-flagon, which rests on a globe on which is depicted a landscape with peasants dancing before a bodega. The globe is intended to reflect the memory of the old man, who, in his youth, was prone to pleasant pastime, and himself danced before the bodega ; but whose only remaining source of pleasure now is the wine-flagon. On the frame is inscribed “Viva el vino leche de los viegos.” (Long live wine, milk of the old men.) Brought from Spain by the French Officer General Caulaincourt, and purchased of him by an English Officer at Genoa in 1818. Curtis. Works of Velasquez, No. 81. Justi. Velasquez and his times, p. 73. A. De Beruete. Valesquez, p. 16. GALLERY III. IOI 105. LANDSCAPE. By VELASQUEZ. Canvas 16x12 inches. Lent by the marquess of lansdowne, k.g. T HREE cavaliers, two ladies and two dwarfs are in front ; a little distance off is another group near some trees. In the land- scape beyond is a sunlit water, with distant hills. Formerly in the Alcazar at Madrid, and brought to England in 1814 by Mr. Bourke, the Danish Minister in Spain. Curtis. Works of Velasquez, No. 54. Justi. Velasquez and his times, p. 334. Stirling- Maxwell. Annals, Vol. Ill, p. 1,408. 102 GALLERY III. 106. A LADY WITH A MANTILLA. By VELASQUEZ. Canvas 38^ x 19 inches. Painted about 1639. Lent by the duke of Devonshire, k.g. H ALF-LENGTH figure, life size, dressed in a lemon-coloured silk gown ; with black lace volants on the under-skirt and sleeves ; white lace collar ; pearl necklace. She holds a rich lace mantilla or kerchiel. The veil of manto, or mantilla, was one of the most effective articles of the Mandrilena's wardrobe, often cursed by husbands and fathers, once even denounced by the censure of a Royal Edict, dated 13th April, 1639, by which it was ordered “that no woman should appear with her face covered, but that she should leave it exposed, so that she might be recognized by her husband, relatives, etc." By a simple movement of the fingers they could either completely veil themselves or coquettishly show just one eye. Curtis. Works of Velasquez, No. 266. Mentioned in a manuscript catalogue of the Collection at Chiswick House, belonging to the Earl of Burlington, who died 1753. GALLERY III. 103 107. A BISHOP’S HAND. By VELASQUEZ. Canvas g ]/ 2 x I0 X i n ches. Lent by her majesty the queen regent OF SPAIN. T HE hand holds a paper on which is inscribed the name of Velasquez. The work is probably a fragment of some lost picture. It is lent from the Royal Palace at Madrid. A. De Beruete. Velasquez, p. 208. 108. PORTRAIT OF VELASQUEZ. By VELASQUEZ. Canvas 24 x 19! inches. Painted about 1659. Lent by the executors of the late SIR FRANCIS COOK, BART., VISCONDE DE MONSERRATE. 104 GALLERY III. 109. PORTRAIT OF A SPANISH NOBLEMAN. By VELASQUEZ. Canvas 40 x 31^ inches. Lent by earl stanhope. H ALF-LENGTH, life-size figure, of a man about forty-five years of age, facing the spectator ; with long brown hair and moustache, and wearing a black dress. His right hand holds his watch guard, his left falls at his side ; dark background. Signed Diego Velasquez. Formerly in the Collection of Count de Lecci of Brescia, from whom it was purchased, in 1845, by Lord Mahon, afterwards the first Earl Stanhope. Curtis. Works of Velasquez, No. 204. GALLERY III. 105 no. THE STEWARD. By VELASQUEZ. Canvas 41 x 49 inches. Painted about 1615. Lent by sir j. c. robinson, c.b. A MAN, seated at a table, facing the specta- tor, and holding with both hands a bowl of soup. Before him, on the table, are fish, poultry, meat and a flagon, with some coins and a pack of cards ; dark background. HI. A SLEEPING BOY. By VELASQUEZ. Canvas 21 x 39 inches. Painted about 1623. Lent by A. w. leatham, esq. T HE boy, life size, lies at full length, asleep ; his head is on his hands, which rest on a white pillow ; on the right is a black and white dog, and red drapery. Formerly in the Collections of M. Dumergue and Mr. E. A. Leatham. Curtis. Works of Velasquez, No. 78. io6 GALLERY III. 1 1 2 . PORTRAIT OF A LADY. By VELASQUEZ. Canvas 30 x 25 inches. Lent by Arthur sanderson, esq. ALF-LENGTH figure, life-size, facing the spectator ; dark brown hair with curious white feathers adorning it on either side ; black dress with lace collar ; pearl necklace. A red curtain is suspended from above. Formerly in the Collections of Prince Kaunitz, Prince Esterhazy, and Dr. P. H. Desvignes. GALLERY III. 107 1 13. PORTRAIT OF MARIANA OF AUSTRIA, second wife of Philip IV. By VELASQUEZ. Canvas 29 x 24 inches. Painted 1658. Lent by Hercules b. brabazon, esq. HIS portrait is a replica of the bust of the full-length portrait in the Museum of the Prado, where she is represented at about twenty-four years of age, dressed in Court mourning, for the death of her infant son, Don Fernando Thomas ; black silk dress ; scalloped lace collarette ; gold chain. Her face is pro- fusely rouged, her red hair is arranged in ringlets which fall over one another regularly, each tied at the end with red ribbon ; a long white feather falls over her hair on her left. This portrait is said to have been once in the Altamira Gallery. It was afterwards in the Collection of Mr. Hugh Baillie. Curtis. Works of Velasquez, No. 238. ioS GALLERY III. 1 14. PORTRAIT OF DON BALTAZAR CARLOS. By VELASQUEZ. Canvas 6 z\ x 5 2\ inches. Painted about 1636. Lent by the duke of abercorn, k.g. F ULL-LENGTH, life-size figure, standing in a piazza, facing the spectator. He wears a black plumed hat, black dress embroidered with gold, lace collar, long black hose, shoes and gauntlets, and with his right hand he holds a gun. A large dog lies on the left, and two greyhounds are on the right ; his left hand is on his sword, which hangs by an embroidered baldric ; a landscape and sky are in the back- ground, and a crimson curtain above. Curtis. Works of Velasquez, No. 138. Justi. Velasquez and his times, p. 325. Formerly in the Collection of Sir George Warrender. GALLERY III. 109 1 1 5. PORTRAIT OF JUAN DE PAREJA. By VELASQUEZ. Canvas 29 x 24-^ inches. Lent by the earl of Carlisle. Painted 1649. B UST, life-size, standing to the right, but looking at the spectator ; grey doublet, broad white collar. Juan de Pareja, known as the “ slave ” of Velasquez, and who subsequently became his pupil, was born at Seville, in 1606. When Velasquez went to Madrid, in 1623, Pareja accompanied him, and he remained in his service until the death of the great painter, when he entered the service of the daughter of Velasquez, with whom he remained until his own death in 1670. It was not until Pareja was forty-five that Velasquez discovered that his faithful follower could paint. It was then that the King gave him his freedom, and the colour-grinder and brush cleaner became the pupil of Velasquez. Curtis. Works of Velasquez, No. 181. Stirling-Maxwell. Annals, p. 710. A. De Beruete. Velasquez, p. 117. I IO GALLERY III. 1 1 6 . PORTRAIT OF PHILIP IV ON HORSEBACK. By VELASQUEZ. Canvas 24 x 18 inches. Painted 1644. Lent by the earl of Northbrook, g.c.s.i. P HILIP is represented on a bay horse and wearing dark armour inlaid with gold, over which flows a crimson scarf; narrow linen collar ; large black hat with pointed brim and red plume. In his right hand he grasps a commander's baton. The horse, evidently a portrait of some favourite of the Royal stud, is galloping to the right and has white legs and face. Landscape background with a range of distant hills. Formerly in the Collection of Samuel Rogers, the poet, at whose sale in 1856 it was acquired by Thomas Baring, Esq., who be- queathed it to its present owner. It is stated to be the finished sketch for the great picture in the Museum of the Prado, beneath which it used to hang in the Palace of the Buen Retiro. The picture was painted to commemorate Philip's entry into the town of Lerida. Curtis. Works of Velasquez, No. 98. GALLERY III. Ill 117. PORTRAIT OF ISABEL DE BOURBON. By VELASQUEZ. Canvas 79 x 44 inches. Painted about 1642. Lent by edward huth, esq. CULL-LENGTH figure, life-size, standing, * turned to the left, wearing a black head- dress, with a white feather, white ruff, black hooped dress, with border of leaves of gold ; in left hand a Chinese fan ; her right on the back of a chair ; curtain in the back -ground. “She was not exactly a beauty. Beneath a high broad brow, two large earnest, cold eyes, a touch of dashed hopes and weariness, the quiet grief of splendid misery ; the lower face somewhat compressed, slightly hanging under- lip, cheeks swollen below — such is Velasquez's picture." — Justi. Formerly in the Collections of King Louis Philippe, Mr. Henry Farrer and Mr. Henry Huth. Curtis. Velasquez and Murillo, No. 232. 1 12 GALLERY III. 1 18. PORTRAIT OF A BOY. By VELASQUEZ. Canvas 52 x 34 inches. Lent by H. C. ERHARDT, ESQ., F.R.G.S. ULL-LENGTH figure, life size, standing near a pillar, facing the spectator ; loose dark brown costume, with white shirt and collar ; long dark brown hair ; light leather boots, lined with red. He holds in his right hand a black hat, with a large black feather ; landscape back- ground. GALLERY III. US 1 19. PORTRAIT OF DON BALTAZAR CARLOS. By VELASQUEZ. Canvas 83 x 43! inches. Painted about 1639. Lent by his majesty the king. F ULL LENGTH, life size, standing towards the left, bareheaded, with a baton in his right hand, while his left rests upon a sword ; he wears armour enriched with gold, a lace collar, red scarf, red embroidered breeches, and gauntlets of mail. On his right is a red velvet chair ; on his left a table covered with red velvet, on which is a casque. This Picture is said to have been presented by Philip IV to King Charles I of England. Curtis. Works of Velasquez, No. 143A. GALLERY III. 114 120. PORTRAIT OF DON BALTAZAR CARLOS. By VELASQUEZ. Canvas 60 J x 36 inches. Painted about 1636. Lent by the marquess of Bristol. F ULL-LENGTH, life-size figure, standing, of a boy about seven years of age, wearing a black plumed hat, black dress embroidered with gold, lace collar, black hose, shoes and gauntlets, standing in a landscape facing the spectator, and holding with his right hand a gun by its muzzle. A large dog lies on the left and two greyhounds are on the right. Hilly land- scape in background. Don Baltazar Carlos, eldest son of Philip IV and Isabel de Bourbon, was bom 1629, died 1646. GALLERY III. 115 1 2 1. PORTRAIT OF A YOUNG MAN. By VELASQUEZ. Panel 21 x 17 inches. Lent by the duke of Westminster. B UST, life-size, looking over his right shoulder at the spectator. He wears a fur cape and orange-coloured coat, and a dark cap adorned with crimson ribbons. Formerly in the Wellbore Ellis Agar Col- lection. Curtis. Works of Velasquez, No. 208. GALLERY III. 116 122. PORTRAIT OF POPE INNOCENT X. By VELASQUEZ. Canvas 32 x 28 inches. Lent by the duke of Wellington. Painted 1649. H ALF-LENGTH, life-size, turned slightly to the right, and looking at the spectator ; red cap and cape and white collar. Giovanni Battista Pamfili was born 1574; became Pope 1644 ; died 1655. This portrait is probably the study on which the large three-quarter length portrait was founded which now hangs beneath a canopy in the large entrance hall of the Doria Pamfili Palace, Rome. In token of his approval of the large portrait, Pope Innocent presented Velasquez with a gold chain and medal, bearing his own likeness in relief, a distinction which is commemorated on the painter's tomb. It is also said that when the Pope sent his Chamberlain to pay Velasquez for the portrait, he demurred receiving the money, saying that King Philip, his master, always paid him with his own hand. “ How absolutely alive, with all his past, and such potentialities as are left to him, the old GALLERY III. ii 7 man is. The suspicious cunning, the not unreserved sensuality, the vindictiveness, the emancipation from work-a-day honesty which allowed the Cardinal Pamfili to pilfer rare books he could not buy ; the glance almost of appre- hension which betrays one undergoing a new or at least unfrequent experience, are all there." — Sir Walter Armstrong. Curtis. Works of Velasquez, No. 187. Justi, p. 361: “As the measurements agree, this portrait may be regarded as the one men- tioned by Palomino, as being in the Collection of the Chevalier d’Azara, formerly Minister at Rome, part of which Collection was purchased in Madrid by M. Lebrun ; and D. Antonio Pouz, in his ‘Viage de Espana’ (published 1772-1794), records among Lebrun's pictures, one which d’Azara discovered in Rome, and which was considered to be the first study for the larger work now in Rome." A. De Beruete. Velasquez, p. 12 1. 1 1 8 GALLERY III. 123. PORTRAIT OF A YOUNG MAN. By VELASQUEZ. Canvas 27 x 22 inches. Lent by a. w. leatham, esq. B U ST portrait, with long, very dark hair ; turned to the left, but looking up to the right ; grey coat with many buttons, and cloak ; broad lace-edged white collar and loose white sleeves. Formerly in the Collections of Mr. W. Anthony and Mr. E. A. Leatham. Curtis. Works of Velasquez and Murillo, No. 211. GALLERY III. 119 124. PORTRAIT OF PHILIP IV. By VELASQUEZ. Canvas 82^ x 4 7 ^ inches. Painted about 1631. Lent by captain holford. F ULL-LENGTH, life size, standing toward the right, wearing a short buff doublet over a coat of chain armour ; brown leather gauntlets, long light leather boots with gold spurs ; over his right shoulder and breast is a crimson scarf with gold embroidered ends falling behind ; his right hand holds a baton, and the left is on his sword. His plumed hat lies on a table before him. Philip IV, son of Philip III and Margarita of Austria, was born 1605, ascended the throne of Spain 1621 ; married Isabel de Bourbon 1615, and Mariana of Austria 1649. He died in 1665. Formerly in the Collection of W. Nieuwenhuys. Curtis. Velasquez and Murillo, No. 107. Justi. Velasquez and his times, p. 112. 120 GALLERY III. 125. PORTRAIT OF A MAN. By VELASQUEZ. Canvas 30 x 25^ inches. Lent by the duke of Wellington. L IFE-SIZE bust, turned towards the left; black dress ; narrow linen collar ; moustache and whiskers. Curtis. Works of Velasquez, No. 209. A. De Beruete. Valesquez, p. 71. 126. PORTRAIT OF ISABEL DE BOURBON, FIRST WIFE OF PHILIP IV. By VELASQUEZ. Canvas 25 x 20 inches. Painted 1623. Lent by MRS. richard ford. B UST, life size, turning towards the left, in a black embroidered dress and ruff ; ribbons in her hair ; and a row of pearls cross- ing her breast and shoulders. GALLERY III. 1 2 1 Isabel de Bourbon, eldest daughter of King Henry IV of France and Mary de Medici, was born at Fontainebleau in 1602. At the age of 13, she married Philip, who six years later became Philip IV of Spain. She died in 1644. “She was the star of the Court and the loveliest subject of the pencil of Velasquez/' — Justi. This portrait was painted about the time when Charles I of England was in Madrid, seek- ing the hand of King Philip’s sister, the Infanta Maria. Formerly in the Collection of General Meade at Madrid, from whom it was acquired by the late Mr. Richard Ford, author of the “Hand-book of Spain," and husband of the present owner. Curtis. Works of Velasquez, No. 234. Justi. Velasquez and his times, p. 275. 122 GALLERY III. 127. DON BALTAZAR CARLOS IN THE RIDING SCHOOL. By VELASQUEZ. Canvas 5 6J x 38 inches. Painted 1641. Lent by the duke of Westminster. D ON BALTAZAR CARLOS, the eldest son of Philip IV and Isabel de Bourbon, is represented at about twelve years of age. He wears a dark costume enriched with silver and gold, a crimson scarf and a plumed black hat. The scene is in a couit of the Palace. He is mounted on a prancing pony and attended by several officers, among whom is Olivares, who is in the act of receiving a lance from an attend- ant The King and Queen are seen at a balcony of the building in the background — probably the Royal Mews. “ The young prince showed from the first a talent for horsemanship which naturally de- lighted his father. Philip often referred to the matter in his correspondence with his brother Ferdinand, who on his part sent encouraging presents, such as a suit of armour and two GALLERY III. 123 Italian greyhounds. There also came a pony, described as ‘ a little devil/ who, before being mounted, was to be carefully bridled, and to receive half-a-dozen lashes, after which ‘ he would go like a little dog/ Perhaps this is the identical pony on which the prince is mounted in the scene where he is represented taking his first lessons in the riding-school/' — Justi . Formerly in the possession of the Marquis de Liche, nephew of the Conde Duque de Olivares. Curtis. Works of Velasquez, No. 134. Justi. Velasquez and his times, p. 324. Stirling-Maxwell. Annals, p. 630. In 1 828 Sir David Wilkie saw in the house of Jose Madrazo, Director of the Museum of the Prado, a duplicate of this picture, and on his recommendation it was purchased for the poet Rogers, from whose Collection it passed to the Marquess of Hertford, and is now in the Hertford House Collection. 124 GALLERY III. 128. PORTRAIT OF A GIRL. By VELASQUEZ. Canvas 19 x 15 inches. Lent by Arthur sanderson, esq. Formerly in the Collection of Sir William Knighton, Bart. 129. PORTRAIT OF EL CONDE-DUQUE DE OLIVARES. By VELASQUEZ. Canvas 81 x 43 inches. Painted about 1627. Lent by edward huth, esq. F ULL-LENGTH figure, life size, standing toward the left. Richly embroidered black dress, over which is a short cloak, bearing the green cross of Alcantara ; linen collar, low shoes, and a broad gold chain across his breast. In his right hand he holds a wand, the badge of GALLERY III. 125 his office as Master of the Horse ; his left hand is on his sword. A table is on the left, covered with a red cloth. Don Caspar de Gusman, Conde Duque de Olivares, Conde de San Lucar la Mayor, was born in Rome, 1 587. He was originally intended for the Church, and studied in the University of Salamanca, but a more brilliant prospect opened before him on the death of his elder brother, and he lived for some years in great splendour at Seville. He rose to be first Minister to Philip IV, 1622, and for twenty-two years he was supreme in Spain, “ the most powerful, laborious, unscrupulous and unfortunate Minister of the seventeenth century.” It has been said of him that “ few Conquerors have ever gained territories so extensive as those which he lost to the Spanish Crown.” He fell from power 1643, and died an exile in 1645. “ The high- bred noble, the sleek favourite, the adroit politician.” He was a friend to literature and the fine arts, and his library was one of the largest and most curious in Spain. Curtis, No. 170. Justi. Velasquez and his times, p. 117. A. De Beruete, Valesquez, p. 98. 126 GALLERY III. 130. PORTRAIT OF PHILIP IV. By VELASQUEZ. Canvas 81 x 48 inches. Painted about 1655. Lent by edward huth, esq. F 'ULL-LENGTH, life size figure in black dress, wearing the Order of the Golden Fleece, cloak thrown back over his shoulder ; left hand, which rests on his sword, holds his hat. A paper is in his right hand inscribed “ Senor ; ” both hands are gloved. On the right, through an open door is an inner room, at the end of which is a pyx on a table. Philip IV, son of Philip III and Margarita of Austria, was born 1605, ascended the throne of Spain 1621, married Isabel de Bourbon 1615, and Marie of Austria 1649. He died in 1665. Formerly in the Collections of King Louis Philippe, Mr. Henry Farrer, and Mr. Henry Huth. Curtis. Works of Velasquez, No. 114. This portrait is identical with the one in the Museum of the Prado. That portrait was formerly ascribed to Velasquez, but is now GALLERY III. 127 attributed in the Madrid Catalogue to the School of Velasquez, and some consider it to be by Juan de Pareja, though it seems rather to resemble the style of Del Mazo. Curtis says it is more likely to be a copy by Del Mazo of the original portrait by Velasquez, belonging to Mr. Huth, which is the one here exhibited. 13 1. PORTRAIT OF THE INFANTA MARIA THERESA. By VELASQUEZ. Canvas 58 x 39^ inches. Painted about 1650. Lent by j. pierpont Morgan, esq. F ULL-LENGTH figure, life-size, of a child, standing toward the left, but looking at the spectator ; with blonde crimped hair enclosed in a red net. She wears a black dress dis- tended with hoops, and trimmed on the bodice and lower hem with silver embroidered bands of chess-board pattern ; deep lace collar, red ribbon in front ; red cap, and the usual neck- lace of large pearls. Her right hand rests on a 128 GALLERY III. King Charles spaniel which lies on an arm chair on a gold-fringed cushion ; her left, falling naturally, holds a cord and tassel. Grey back- ground, with red curtain on the right. Maria Theresa, daughter of Philip IV and Isabel de Bourbon, was bom 1638, and married Louis XIV of France, 1659, the two Courts meeting at the Isle of Pheasants in the river which marks the frontier between France and Spain. When Louis XIV first saw her incognito in the apartment on Pheasant Island in the Bidosoa River, although appalled at her costume, he still thought “ that she nevertheless possessed much beauty, and that he would find it easy to love her.” As Louis’ devoted wife she “ had no will but his, no wish but to please him ; ” yet she failed to fix his affections amid the vivacious and witty ladies of the gay French court. Her mind was too contracted, and her education was not above the level of ordinary Spanish women. “ Her monastic devotion, her simple childlike sensitiveness, excited ridicule in some and pity in others, who recognised her gentle, pure nature. From the first Louis found her somewhat wearisome, although when she was gone he declared that her death was the first pain she had ever caused him,” GALLERY III. 129 Formerly in the Collections of the Duke de Morny and Mrs. Lyne Stephens. Engraved on wood in the “ Gazette des Beaux Arts," 1863. Curtis. Works of Velasquez, No. 268. Justi. Velasquez, p. 404. Exhibited at the Palais Bourbon, 1874. 132. PORTRAIT OF A CARDINAL. By VELASQUEZ. Canvas 28^ x 24 inches. Lent by a. w. leatham, esq. B UST portrait, life-size, in red; holding a square red cap in his right hand and some papers in his left. Formerly in the Collections of Mr. Walesby and Mr. E. A. Leatham. Curtis. Works of Velasquez and Murillo, No. 157. E 130 GALLERY III. 133. STILL LIFE, WITH PEACOCK, FRUIT AND POULTRY. By VELASQUEZ. Canvas 89^ x 64-^ inches. Painted about 1620 — 25. Lent by the executors of the late SIR FRANCIS COOK, BART., VISCONDE DE MONSERRATE. Formerly in the Collections of Cardinal Fesch and Mr. R. Cholmondeley, of Condover Hall, Shrewsbury. GALLERY III. 131 134. PORTRAIT OF DONA MARIANA OF AUSTRIA, second wife of Philip IV. By VELASQUEZ. Canvas 58 x 47^ inches. Painted about 1658. Lent by sir cuthbert quilter, bart., m.p. T HREE-QUARTER length figure, life-size, facing the spectator. She is dressed in Court Mourning for the death of her infant son, Don Fernando Thomas ; black dress with silver stripes, large hoops. Her right hand is on the back of a chair, her left falls at her side and holds a handkerchief. Her face is profusely rouged, and her hair is arranged in ringlets, each ringlet tied at the end with a red ribbon. A long white feather falls over the hair on the left. In the background is a gilt clock on a table, and a red curtain hangs on the right. Mariana of Austria was the daughter of Ferdinand III of Austria and of Maria, the sister of Philip IV. She was bom 1635, and married Philip IV of Spain 1649 (having pre- 132 GALLERY III. viously been betrothed to Philip’s son, Don Baltazar Carlos). “ She had little taste and few accomplish- ments, and was as inferior to her predecessor Isabel in the qualities of her mind as in the graces of her person. But her disposition was amiable and joyous, and her girlish laughter was sometimes a source of vexation to her solemn lord ." — Sir William Stir ling- Maxwell, “ Rouge was used to such an excess about the time this portrait was painted, that ladies put it on the cheeks, chin, eyelids and ears, and under the nose, and on the hands, fingers, and shoulders, and this they did as well on retiring as on rising. Even the statues of women in the royal palace were rouged on the cheeks and shoulders." — Mad, d! Aublay, Voyage d’ Espagne. Formerly in the Collections of Lord Dover, at Whitehall, and of the Viscount Clifden. GALLERY III. 133 135. PORTRAIT OF EL CONDE DUQUE DE OLIVARES. By VELASQUEZ. Canvas 28 x 23^ inches. Painted about 1642. Lent by mrs. richard ford. DUST, life-size, turning towards the left, wearing a black dress, over which is a a cloak, partly concealing the green cross of Alcantara on his breast ; white linen collar. Formerly in the Collection of General Meade at Madrid, from whom it was acquired by the late Mr. Richard Ford, author of the “ Hand-book of Spain,” and husband of the present owner. Curtis. Works of Velasquez, No. 177. 134 GALLERY III. 136. PORTRAIT OF EL CONDE-DUQUE DE OLIVARES. By VELASQUEZ. Canvas 87^ x 54-^ inches. Lent by captain holford. Painted about 1627. F ULL-LENGTH, life size, standing towards the left, wearing a richly embroidered black dress, over which is a short cloak bearing the green cross of the order of Alcantara, a project- ing linen collar, short breeches, long hose, low shoes, and a broad gold chain across his breast ; his right hand holding a wand ; the commander’s staff, the badge of his office as Master of the Horse, rests on a table covered with red cloth ; his left hand is on his sword belt ; from the girdle peeps out the Lord Chamberlain’s gold key ; red drapery in the background Said to have originally been in the Altamira Gallery. Formerly in the Collections of Hugh Baillie, Esq., and Charles Scarisbrick, Esq. Exhibited at the British Institution, 1855. Curtis. Velasquez, No. 171. Justi. Velasquez and his times, p. 117. A. De Beruete. Valesquez, p. 98. GALLERY IV. Brief Notice of the Life of Fortuny. Mariano Jose Maria Fortuny y Carbo was born at Rkus, in Catalonia, in 1838. Showing very early in life great artistic promise, he was enabled by the generosity of a local magnate to study at Barcelona and later at Madrid. He became the pupil of Palau and Claudio Lorenzalez, and of the Academy at Barcelona, where, at the age of eighteen, he won the Prix de Rome. At Rome, to which city he betook himself in 1858, and which thenceforth became his chief place of residence, he studied Raphael and others of the great masters, devoting the daytime to that study and the evening to the Academy Chigi, where he sketched in crayon, ink, and water colour. In 1859 occurred his first visit to Morocco, whither he went as one of the staff of General Prim, and here it was that he may be said to have freed himself from all methods suggestive of the school. He returned to Rome at the conclusion of the campaign, and executed several works which he sent to Barcelona. At Florence, which he now visited, he was much impressed with the colour of Morelli’s works, and from that date a difference was noticed in his manner. 138 GALLERY IV. A commission was given him at this time by the City of Barcelona to paint a picture of the Battle of Tetuan, at which he had been present, but he was so long in executing it, that Barcelona became impatient, and Fortuny, who had begun the work on a magnificent scale and was working devotedly at it, became angry and gave it up, returning the money he had received on account, and no persuasion could ever induce him to resume it. The work in its unfinished state is now in the Municipal Buildings at Barcelona. One of the finished studies he made in Morocco for this picture is in the present Collection, “ Head of a Negro of Morocco ” (No. 5). From i860 to 1865 may be regarded as the period during which he developed as a designer and came to have a distinctly individual tendency. The “ Moorish Farriers” (No. 144), painted in 1865, shows the mastery of technique to which he had now attained. From 1865 to 1870 the effects of composition and of mise en scene occupied him. He was in Paris in 1866, and executed a picture for the decoration of Queen Christine’s Parisian Hotel, and he then resided for a time in Madrid, where he studied the works of Velasquez, Ribera and Goya. He here became the friend of Federico Madrazo, who was at that time Director of the Museum of the Prado, and in 1867 he married Madrazo’s daughter Cecilia. Among other works which he painted while in his native city was the ’‘Mariposa,” here exhibited (No. 148), and “The Serpent Charmers,” which is now in the Metropolitan Museum, New York. His works were now much sought after, and his means were such as to enable him to gratify his tastes. GALLERY IV. 139 In his studio at Rome he was surrounded with costly arms, rich draperies and tapestries, bronzes and faiences, copies of the works of his favourite masters, and sketches given to him by his friends — and fresh flowers always. It was in 1869 that he brought to completion the famous picture of “ The Spanish Marriage,” here exhibited (No. 177) — several well known portraits are in this picture, Madame Fortuny, the Duchess Colonna, and the ill-fated painter Henri Regnault, whose brilliant career was brought to a close in the Franco-German War. It became, through Messrs. Goupil, the property of Madame de Cassin, now the Marquise de Carcano, who still owns it. To the year 1869 also belongs “The Espada” (No. 178). From 1870 to 1874 may be regarded as his fourth period, when he developed the truly original expression of his genius. 1870 was the year of the appearance of the “Selection of a Model” (No. 180), while three years later “The Garden of the Poets” (No. 142) was completed. It is said to have been the last work he entirely finished. To Granada are the studies due for the garden he there depicts. One of the happiest periods of his life was his stay in Granada, he worked as if he wished to express in his sketches the entire country and all it contained, and he only left it on the death of the servant who had charge of his affairs in Rome, and which decided him to return to that city. In 1873 he took a villa at Portici by the sea, and seemed to recover from the ill-health he had had in Rome, and he worked incessantly. In November, 1874, he returned to Rome, where he imprudently worked in the open air in damp weather, and con- 140 GALLERY IV. tracted an illness which on the 21st of that month brought to a close the life of great achievements and high promise, at the early age of thirty-six. He was buried in the Cemetery of San Lorenzo, in the Campo Vascano, in a Mausoleum presented by the City of Rome. Fortuny’s individuality was such that many sought admission to his atelier, not a few of whom have since risen to distinction. It will be observed that in the present Exhibition are two works by his son, Mariano Fortuny y de Madrazo, Nos. 2 and 45. GALLERY IV. 137. A MOORISH GUARD. By MARIANO FORTUNY. Water-colour 12 x 7 l / 2 inches. Lent by SIR CUTHBERT QUILTER, BART., M.P. 138. READY FOR THE BALL. By EDUARDO LEON GARRIDO. Panel 24^ x 18 inches. Lent by H. L. FLORENCE, ESQ. Senor Don Eduardo Leon Garrido, living painter, born at Madrid; pupil of Vicente Palmaroli and of the Special School of Painting, Madrid ; resides in Paris. 142 GALLERY IV. 139. THE MOUNTEBANK. By VICENTE PALMAROLI. Panel igj 4 x 25^ inches. Lent by SENOR DON GUSTAVO BAUER. N a red-covered couch a lady is reclining in a dainty attitude ; two gentlemen are standing behind her, and the three are listening to a lady in black and pink, who is seated with her feet on a green cushion, playing a guitar. Senor Don Vicente Palmaroli v Gonzalez, genre and portrait painter, born at Zarzalejo, Province of Madrid, 1835 ; pupil of Federico de Madrazo and of the Academy of San Fernando. Member of the Academy of San Fernando and Director of the Spanish Academy in Rome from 1872. Died 1894. By VICENTE MARCH. Canvas 13^ x 20^ inches. Lent by E. GAMBART, ESQ. 140. A CONCERT. GALLERY IV. 143 141. AT THE WINDOW. By C. MACCARRI. Water-colour 20 x 13 inches. Lent by SIR CUTHBERT QUILTER, BART., M.P. 142. THE GARDEN OF THE POETS. By MARIANO FORTUNY. Canvas 26 x 48^ inches. Painted 1873. Lent by the COMTE DE HEEREN. POET is repeating a part to an actress ; and a little distance away is a critical audience of eight persons, one of whom is a lady. They occupy a couple of stone benches, at the end of a rough cobbled path, and all are in the gay and picturesque attire of the reign of Louis XV. The poet, in bright red coat, and standing on an Oriental carpet, is so engrossed in his reading that he scarcely regards the lady, who is falling, en abandon , with the whole weight of her figure, on his right arm. Another couple, a little further to the left, are seen between the trees, 144 GALLERY IV. engaged with some papers and pictures ; the lady in the richest of blue costumes. The company are in a garden, luxuriant with tropical plants, and abounding in varied flowers in full bloom. Some delicately-tinted holly- hocks near the performing couple are a feature in this brilliant growth. The background is a high grey, stone wall, tapestried with creepers. Two tall, narrow tree stems are conspicuous in the com- position ; the one on the left with silver bark, the other, on the opposite side, of a rough brown ; while further to the right is an orange-tree and the tall wrought-iron railings and gates of the demesne ; with a glimpse of blue sea. Near to the group of critics is a marble statue of Apollo. Fortuny lived for two years at Granada, lodg- ing at a celebrated inn, known as the Siete Suelos, situated in the precincts of the Alhambra itself, and possessed of a very beautiful garden. Later, he took a house which also had a garden of ex- ceptional beauty, and of these two gardens he made a number of studies and sketches, which he combined at last in the present picture. The model for the poet is said to have been F ortuny’s brother-in-law, Don Ricardo de Madrazo. The title he originally gave to the picture was “ Recitation in a Garden,” but it is now known as “ The Garden of the Poets.” GALLERY IV. H5 143. THE CONVALESCENT. By SANCHEZ BARBUDO SALVADOR. Canvas 15 x 25^ inches. Painted 1887. Lent by E. GAMBART, ESQ. 144. MOORISH FARRIERS. By MARIANO FORTUNY. Canvas 17^ x 25^ inches. Painted 1865. Lent by SENOR DON GUSTAVO BAUER. Formerly in the possession of Mr. Sanz, of Madrid. 145. FLOWERS. By JOSE DOMINGO. Canvas 2ij^ x 16 inches. Lent by SENOR DON GUSTAVO BAUER. 146 GALLERY IV. 146. AN ABDUCTION IN THE SIXTEENTH CENTURY. By FRANCISCO PRADILLA. Canvas 24 x 17 inches. Lent by SENOR DON MARIANO DE ORTEGA MOREJON. 147. THE BELLE OF THE VILLAGE. By VICENTE MARCH. Canvas x 20 % inches. Lent by E. GAMBART, ESQ. Senor Don Vicente March y Marco ; living painter; born at Valencia; pupil of the School of Fine Arts at Valencia. GALLERY IV. 147 148. A BUTTERFLY. By MARIANO FORTUNY. Water-colour 23 x 15 inches. Painted 1865 and signed. Lent by H.E. SENOR MARQUES DE CASTRAMONTE. By MARIANO FORTUNY. Lent by SENOR DON J. DE FONTAGUD GAR- GOLLO. HIS is the only fan Fortuny painted, and it was a commission by the late Senor Don Gargollo to Fortuny, for presentation to Madame Gargollo. 149. A FAN. 148 GALLERY IV. 150. COURTYARD AT TOLEDO. By RAFAEL SENET. Panel 12x8 inches. Painted 1877. Lent by E. GAMBART, ESQ. Rafael Senet, living painter, born at Seville ; pupil of Eduardo Cano and Jose Villegas. 1 5 1. THE MERMAID. By LUIS FALERO. Canvas 16 x 8 inches. Lent by MR. ALDERMAN COLLEY. Senor Don Luis Falero, born in Toledo in 1851; was originally in the Spanish Navy ; studied painting in Paris, but ultimately took up his residence in London, where he died in 1896. He was well versed in astronomy, and illustrated Flammarion’s astronomical works. His allegorical pictures of the stars procured him considerable reputation, the most popular work of this kind being “ The Marriage of a Comet.” GALLERY IV. 149 THREE SCENES IN ROME’S CARNIVAL. By FRANCISCO PRADILLA. 152. The Corso. Panel 11x7 inches. 153. The Carneval. Panel 10x14^ inches. 154- The Course of the Barbarians. Panel 11x7 inches. Painted 1880. Lent by E. GAMBART, ESQ. 155. A CARD PARTY. By JOSE DOMINGO. Panel 11 x n inches. Painted 1888. Lent by E. GAMBART, ESQ. GALLERY IV. 150 156. LANDSCAPE. By MARIANO FORTUNY. Panel 3 y 2 x 6 inches. Lent by ARTHUR SANDERSON, ESQ. 157. IN A GARDEN AT SEVILLE. By FRANCISCO PERALTA. Panel 20 x 14 inches. Painted 1877. Lent by E. GAMBART, ESQ. Senor Don Francisco Peralta del Campo, bom at Seville ; pupil of Eduardo Cano and the School of Fine Arts at Seville ; resided in Rome ; died 1897. 158. A WORKMAN. By JOSE GARCIA Y RAMOS. Panel 10 x 6 inches. Lent by E. GAMBART, ESQ. GALLERY IV. 151 159. AN ARAB. By MARIANO FORTUNY. Panel 4x5 inches. Lent by ARTHUR SANDERSON, ESQ. 160. THE STUDIO OF GOYA. By JOSE DOMINGO. Panel 13^ x 10 inches. Painted 1888. Lent by E. GAMBART, ESQ. 161. A DANCER. By JOSE GARCIA Y RAMOS. Panel 10 x 7 l / 2 inches. Lent by E. GAMBART, ESQ. 152 GALLERY IV. 162. A MATADOR. By MARIANO FORTUNY. Water-colour 10 x 7 inches. Lent by MRS. PERCY MACQUOID. 163. THE MARKET PLACE, GRANADA. By BALDOMERO GALOFRE. Panel x 9 % inches. Lent by H. L. FLORENCE, ESQ. 164. CANALE PRESSO LA SALUTE, VENICE. By JOSE VILLEGAS Y CORDERO. Panel 15 x 23 inches. Lent by E. GAMBART, ESQ. GALLERY IV. 153 165. A PASTORAL. By JOAQUIN SOROLLA Y BASTIDA. Canvas 14 x 20 inches. Lent by the MARQUES DE CASA-TORRES. Senor Don Joaquin Sorolla y Bastida, living painter, born in Valencia ; pupil of the School of Fine Arts at Valencia and of Francisco Pradilla ; Medals, Madrid, 1884 and 1890, 1892 and 1895 ; Chicago, 1892; Munich, 1892; Paris, 1893; Gold Medal, Berlin, 1896 ; is represented in the Museum of Modern Art, Madrid, by one work. 166. IN A GARDEN. By MARIANO FORTUNY. Canvas i8j^ x 9 inches. Lent by T. WALLIS, ESQ. Formerly in the Collection of the Marquis de Sauturce. 154 GALLERY IV. 167. A FAIR IN ANDALUSIA. By BALDOMERO GALOFRE. Panel 12^ x 19 inches. Lent by H. L. FLORENCE, ESQ. Senor Don Baldomero Galofre, living painter, born at Reus ; pupil of the School of Fine Arts, Barcelona. 168. A PEASANT. By JOSE GARCIA Y RAMOS. Panel 10 x 7 inches. Painted 1875. Lent by E. GAMBART, ESQ. 169. BACINO DE SAN MARCO, VENICE. By JOSE VILLEGAS Y CORDERO. Panel 15 x 23 inches. Painted 1889. Lent by E. GAMBART, ESQ. GALLERY IV. 155 170. THE MAD WOMAN. By JOSE GIMINEZ ARANDA. Canvas 18 x 14 inches. Lent by H.E. SENOR DON AURELIANO DE BERUETE Y MORET. 1 7 1. MORNING OF THE CHASE, ANDALUSIA. By JOSE MORENO CARBONERO. Canvas 15 x 17 inches. Lent by SENOR DON DE LARRAIN. 172. A CORNER IN MALAGA. By JOSE MORENO CARBONERO. Canvas 1 1 x 17 inches. Lent by SENOR DON JOSE MORENO CARBONERO. GALLERY IV. 156 173. A SPANISH COURT- SHIP. By JOSE GARCIA Y RAMOS. Canvas 21 x 13 inches. Lent by SENOR DON LORENZO GARCIA VELA. 174. THE RENDEZVOUS. By EMILIO SALA. Panel 7x12 inches. Lent by SENOR DON LORENZO GARCIA VELA. GALLERY IV. 157 175. MULETEERS IN POSADA. By LOUIS RUIPEREZ. Panel 1 1 x 1 5 inches. Painted 1866. Lent by E. GAMBART, ESQ. Senor Don Louis Ruiperez, born at Murcia, in Spain ; genre painter ; pupil of Meissonier ; died By JOSE CASADO DEL ALISAL. Canvas 14 x 20 inches. Lent by GENERAL OROSCO, guardian of SENORITA DE PRENDERGAST. HE old city of Huesca, in Arragon, lies midway between Saragossa and the Pyre- nees. In 1136, King Ramiro II, being thwarted by an insolent and dangerous aristocracy, con- sulted a certain Abbot Frotardo, who was walk- ing in his garden when the royal messenger 1866. 176. THE BELL OF HUESCA. 158 GALLERY IV. arrived, and simply, by way of answer, cut off with his stick the tallest cabbages. Ramiro thereupon summoned to his court, at Huesca, his turbulent nobles, on the pretext that he had fabricated a mighty bell, the tolling of which should be heard throughout his realm. A royal banquet was held on their arrival, but shortly before the feast, fifteen of the most formidable were silently seized and decapitated in a vault beneath the palace. At the conclusion of the banquet the remaining guests were invited to inspect the bell, and were conducted, for that purpose, to the vault where the executions had taken place. Here they found the King stand- ing with dignified mien, and protected from their individual assault by a huge dog, which he held in leash ; around him, on the floor of the vault, were strewn the heads of the defiant nobles, while affixed to an iron ring suspended from the roof of the vault was the head of the traitor- ous archbishop, representing, as it were, the clapper of the bell — for, at the time of his death, he was found to have been the centre of a fresh conspiracy threatening the downfall of the king. “ This,” said Ramiro, “ is the Bell by which re- fractory subjects are called to order.” The scene that ensued is well pictured by the painter. The terrified nobles at the bottom of the stairs endeavour to force their way back, but are pre- vented by those who have not yet come within GALLERY IV. 159 sight of the terrible spectacle, and are pressing down, impelled by the imprecations and ejacu- lations of those below. The ruins of the vault, originally a Moorish dungeon, still exist, practically unchanged, be- neath the Palacio de los Reyes. The floor is a concrete mass of dark sand, damp and slippery ; the walls are almost black, and the ring, still seen in the centre of the roof, is said to be the identical one from which the arch- bishop’s head was suspended. Senor Don Jos£ Casado del Alisal, history and genre painter; born in Valencia, 1832; pupil of the Royal Academy of San Fernando, Madrid, and of Federico de Madrazo; Prix de Rome, i860; Medals, Madrid, 1862, 1864 and 1881 ; was director of the Spanish Academy at Rome. Died 1895. He was represented in the International Exhibition, London, 1862. The present work is the finished study for the large picture (139 x 182) for which the painter was awarded the Grand Cross of the Order of Isabel the Catholic. It was purchased by the Spanish Government, and is now in the Museum of Modern Art at Madrid. i6o GALLERY IV. 177. THE SPANISH MARRIAGE (La Vicaria.) HE scene is in the Sacristy of a church in Spain, and represents a bridal party at the conclusion of the marriage ceremony, completing the formalities by the signing of the church re- gisters. Their rich and brilliant attire is that of the time of Louis XV, and contrasts curiously with the sombre character of the sacred interior. The bridegroom is in the act of signing, and the bride, a little aside, is half-opening a blue fan, as she listens to a young friend who bends to speak to her, and whose pink skirt, in its rustling finish, is a marvel of painting. The couple behind, arm- in-arm, are evidently the parents of the bride, and on their right stands a lady, who holds an open fan, and whose dazzling complexion, black hair, vivid red rose and high head-gear, with its green comb, have the finish of a miniature, and at the same time the broad completeness of a great painter. The picturesque company to the extreme right of the picture occupy a lower posi- tion in life than the central group ; the couple By MARIANO FORTUNY. Panel 24 x 3 7 % inches. Lent by the MARQUISE DE CARCANO. GALLERY IV. 161 seated together on the long wooden bench are waiting presumably their turn to approach and sign their names, having been also newly wedded. The man, no longer a youth, is clad in the gor- geous costume of a bull-fighter, while the woman, in yellow dress, and wearing the becoming man- tilla, is contentedly fanning herself. The painting of the Sacristy itself is a lovely artistic performance, with its tapestried wall on the right, and its high, wrought-iron railings in front, surmounted by beaten brasswork. The whole scene is relieved, with the greatest skill, by the effect of cool grey light, against which the lean figure of the church dignitary stands. Fortuny was but thirty-one when this picture was painted, and on its exhibition in the spring of 1870 it met with great applause, u?ia explosion de entusiasmo. It has never since been publicly exhibited. Painted 1869-70. Signed and dated, 1870. F 162 GALLERY IV. 178. THE ESP ADA. By MARIANO FORTUNY. Canvas 24 x 20 inches. Painted 1869. Lent by MARCUS VAN RAALTE, ESQ. HE Suerte de Matar is the third and last act in the drama of a bull-fight The Espada, armed with a red cloth and a sword, teases the bull, by waiving the cloth, and en- deavours by various devices to get it into a posi- tion to receive the death blow ; he meets the rush of the bull, steps nimbly aside at the precise moment, and plunges the sword downwards through the animal’s neck, and if this difficult stroke be properly dealt, the bull falls at once, but it rarely succeeds at the first attempt, ex- cept by the most experienced hand. The Espada is here saluting the public after receiving their applause for his brilliant achievement ; fans, cigars, and all kinds of things are thrown to him in testimony of their approbation. GALLERY IV. 163 179. AT THE GATE OF THE SERAGLIO. 180. THE SELECTION OF A MODEL. By MARIANO FORTUNY. Panel 21 x 32^ inches. Lent by SENATOR W. A. CLARK, of New York. HE Academicians of St. Luke, forming a group of ten, are standing in various atti- tudes, and with critical gesture, before a marble table, on which is gracefully poised, for their judg- ment, the nude figure of a woman. Their costume is that of Louis XV., and exhibits all the rich materials and brilliant colours of that period. The apartment is impressive in its stateliness, being graced by massive columns of marble and por- phyry, about the capitols of which sumptuous draperies are gathered, and it is lighted by richly By MARIANO FORTUNY. Panel 10^ x 8 inches. Lent by HUMPHREY ROBERTS, ESQ. 164 GALLERY IV. stained glass windows. The walls are adorned with polished brass, and by a large mirror, with a rich Venetian frame ; elegant brackets serve for the display of marble busts. The splendid architecture of the apartment is said to have been studied from the beautiful entrance-hall of the Palazzo Colonna, at Rome ; the painter introducing into it, for the embellish- ment of his work, several objects which he bor- rowed from the Vatican. Finished in Rome, 1870, having been com- menced many years before. Formerly in the Collection of Mr. A. T. Stewart. 18 1. THE TERRACE, ST. GERMAIN. By JOSE DOMINGO. Panel 18- x 22 inches. Painted 1888. Lent by E. GAMBART, ESQ. GALLERY IV. 165 182. A MATADOR. By FRANCISCO PRADILLA. Panel 13 x 10 inches. Lent by F. C. PAWLE, ESQ. 183. OPHELIA. By JUAN BRULL. Canvas 26 x 17 inches. Lent by SENOR DON PABLO BOSCH. Senor Don Juan Brull y Vinolas, living painter ; pupil of the School of Fine Arts at Barcelona. 184. AN IDYLL. By IGNACIO PINAZO. Canvas x 17 inches. Lent by SENOR DON GUSTAVO BAUER. Senor Don Ignacio Pinazo y Camerleng ; living painter ; born at Valencia ; Pupil of the School of Fine Arts at Valencia. 66 GALLERY IV. 185. DON QUIXOTE’S FIRST SALLY. By JOSE MORENO CARBONERO. Panel 10 % x 14 inches. Lent by SENOR DON GUSTAVO BAUER. O one morning before day, in the greatest heat in July, without acquainting anyone with his design, with all the secrecy imaginable, he armed himself cap-a-pie, laced on his ill-con- trived helmet, grasped his lance, mounted Rozi- nante, and, at the private door of his backyard, sallied out into the fields, wonderfully pleased to see with how much ease he had succeeded at the beginning of his enterprise.” 186. NEAR THE STAGE. By VICENTE PALMAROLI. Panel 19 x 13 inches. Lent by E. gambart, ESQ. GALLERY IV. 167 187. AT A FAIR IN MURCIA. By JOAQUIN AGRASOT. Canvas 17 x 33 inches. Lent by SENOR DON JOAQUIN AGRASOT Y JUAN. Senor Don Joaquin Agrasot y Juan, living painter; born at Orihuela, Murcia; pupil of the School of Fine Arts, Valencia, and of Francisco Martinez ; Medals, Madrid 1864 and 1866, and at the Phila- delphia Exhibition ; is represented in the Museum of Modern Art, Madrid, by two works. 188. THE CARDINAL IN HIS STUDY. By JOSE BENLLUIRE Y GIL. Panel 15 x 21 inches. Lent by E. GAMBART, ESQ. GALLERY IV. 1 68 189. A REUNION OF AN ARISTOCRATIC SPANISH FAMILY. By LUIS ALVAREZ. Canvas 24 x 36 inches. Lent by ILMO SENOR DON LUIS ALVAREZ. Ilmo Senor Don Luis Alvarez Catala, living painter, born at Monasterio de Hermo, Oviedo; pupil of the Higher School of Painting, Madrid, and of Raimundo Madrazo ; Director of the Museum of the Prado, Madrid. Medals, Madrid 1862, 1864 and 1890, and Munich, Berlin, and Paris 1890; is repre- sented in the Museum of Modern Art, Madrid, by two works. 190. LANDSCAPE. By CASIMIRO SAINZ. Canvas 8^ x 5 inches. Lent by SENOR DON GUSTAVO BAUER. Senor Don Casimiro Sainz y Saiz, born at Matamorosa, Province of Santander; pupil of the Higher School of Painting, Madrid, and of Vicente Palmaroli; Medals, Madrid 1876 and 1881 ; is repre- sented in the Museum of Modern Art, Madrid, by two works. He died 1896. GALLERY IV. 169 1 91. CIGAR MAKERS LEAVING THE MANUFACTORY. By JOSE GARCIA Y RAMOS. Panel 17 x 21 inches. Lent by SENOR DON JOSE GARCIA Y RAMOS. 192. LANDSCAPE. By CASIMIRO SAINZ. Canvas Z ]/ 2 x 5 inches. Lent by SENOR DON GUSTAVO BAUER. K 193. NEAR TOLEDO. By AURELIANO DE BERUETE. Canvas 19 x 32 inches. Lent by H.E. SENOR DON AURELIANO DE BERUETE Y MORET. H.E. Senor Don Aureliano de Beruete y Moret, living painter, born at Madrid ; pupil of Carlos de Haes and Martin Rico ; Medals, Madrid 1878 and 1884, and Chicago 1893 ; is represented in the National Museum, Madrid, by three works. Author of a work on Velasquez, published 1898. 70 GALLERY IV. 194. THE ARMOURY. By JOSE BENLLUIRE Y GIL. Panel 15 x 21 inches. Lent by E. GAMBART, ESQ. 195. VENICE. By MARTIN RICO Y ORTEGA. Canvas 27 x 19 inches. Lent by E. GAMBART, ESQ. Senor Don Martin Rico y Ortega, living painter, born at Madrid ; pupil of Federico Madrazo ; gained in 1862 the first Prix de Rome ever given at Madrid for landscape; Medals — Madrid 1862, 1864, and 1866; awarded the Legion of Honour 1878; is represented in the Museum of Modern Art, Madrid, by three works. Resides in Paris. GALLERY IV. 171 196. IN A CATHEDRAL. By JOSE BENLLUIRE Y GIL. Panel 24 x 20 inches. Lent by MRS. BEER. Senor Don Jose Benlluire y Gil, living painter, born at Canamelar, Valencia; pupil of the School of Fine Arts, Valencia, and of Domingo y Marques ; Medals, Madrid, 1876, 1878, and 1887; is re- presented in the Museum of Modern Art, Madrid, by one example ; resides in Rome. 197. EVENING PRAYER. ' - / By T. RICO CIJUDA. Panel 9 x 5^ inches. Lent by H. L. FLORENCE, ESQ. 198. THE HARPIST. By FRANCISCO PRADILLA. Water-colour 13 x 10 inches. Lent by E. E. LEGGATT, ESQ. 172 GALLERY IV. I 99* ETCHING by r. w. macbeth, a.r.a. From the painting of '‘The Spinners; interior of the Tapestry Manufactory of St. Isabel, of Madrid,” by Velasquez, in the Museum of the Prado, Madrid. Published by R. Dunthorne, The Rembrandt Gallery, 5, Vigo Street, London. Lent by R. DUNTHORNE, ESQ. 200 . ETCHING by MARIANO FORTUNY of a r;,an playing a guitar. Lent by SENOR DON MARIANO DE ORTEGA MOREJON. 201 . ETCHING by MARIANO FORTUNY of a Baccha- nalian. Lent by SENOR DON MARIANO DE ORTEGA MOREJON. GALLERY IV. 173 202 . ETCHING by MARIANO Fortuny of a piping boy, with a goat lying beside him. Lent by SENOR DON MARIANO DE ORTEGA MOREJON. 203. THE VISION OF FRIAR MARTIN (from the poem by Gaspar Nunez de Arce). By JOSE G1MENEZ ARANDA. Black and white drawings ; three in one frame ; e