LIFE OF
FORTUNY
W»TH HIS
WORKS AND CORRESPONDENCE,
FROM TH i FRENCH OF
BARON DAVILLIER,
WITH NOTES AN^D REMINISCENCES
BY A* i'RIEND.

PHILADEQ
PORTER
i88d
'.PHIA:
;L- COATES.
FORTUNY.
WORKS AND CORRESPONDENCE.
PREFACE.
IHAVE been singularly happy in enjoy-
ing the friendship of one of the greatest
artists of our day; untimely stricken down
at the early age of thirty-six, just as a new
phase of his marvelous genius burst forth.
The press of both worlds has for months
unanimously mourned his great and early
loss; there has been much written about
Fortuny, and I have collected more than a
hundred articles hurriedly published by
those who did not know or were only
slightly acquainted with him. I feel I
cannot do justice to a talent which has
given a new movement and feeling to the
artistic world. But I will try to show the
man and artist as he was. In this I have
been aided by most of his friends, and to
them I feel the expression of my thanks is
due. First I name his earliest instructors,
(7)
176748
8
M. Claudio Lorenzale and M. Buenaven-
tura Palau, whom he tenderly loved, and
who have honored me with their friendship.
MM. Domingo Talarn, Escriu, his brother-
in-law, Juan Roig y Soler, Domingo Sobe-
rano, have also kindly given me most re-
liable information. I can say the same of
his friends and companions at Rome:
Simonetti, d'Epinay Moragas, Tapiro,
Ferrandiz, also of MM. W. H. Stewart,
De Goyena, Rico, and De Madrazo, his
brother-in-law, who have kindly handed
me letters of their friend. I have trans-
lated them, as well as those he addressed
to me, and I trust their publication will
give pleasure, as they will aid in making
him better known, who gained so much by
being well known. Madame Fortuny has
also greatly assisted me, and I beg her to
accept this dedication to her of my work,
as a feeble tribute to the memory of a
friend whom I shall never forget.
BARON DAVILLIER.
I.
FORTUNY.
Childhood of Fortuny—His Debut at Reus, 1838.
He Starts with his Grandfather for Bar-
celona—He Follows the Courses at the Aca-
demie de Bellas Artes, and enters the Studio
of Claudio Lorenzale—His various Works—
Drawings on Wood, Lithography, etc—Insur-
rection at Barcelona—The Provincial Town
Council Founds a Living at Rome for Young
Painters—Fortuny Obtains the Prize—He
Starts for Rome.
REUS is a small town in the Province of
Tarragona, three leagues from the old
Roman city. The admirable fertility of the
soil, and its industrious inhabitants, a strong
and laborious people, make it one of the
most prosperous centres in Catalonia.
Mariano Fortuny was born at Reus, June
nth, 1838,* at six in the morning, No. 36
* Here is the literal translation of his baptismal cer-
tificate, which I have in my hand:—" nth June, 1838
(9)
10
Street of Arrabal de Robuster. He first
went to a primary school, kept by D.
Simeon Fort—Plaza del Castillo.
"I was his school-fellow/' M. Juan Roig
y Soler, de Barcelona, writes to me, "and I
remember that even then he amused himself
by making drawings for his playmates; his
master often reprimanded him when he
found him drawing instead of writing. At
this time I think he had not had one lesson
in drawing."
His grandfather, who was also named
Mariano Fortuny, a cabinet maker by trade,
a good and handy workman, had a cabinet
of moving wax figures with which he made
the circuit of Tarragona and Lerida. The
young Mariano assisted his grandfather, of
whom he was very fond; sometimes when
at the baptismal font of the Parish Church of St. Peter the
Apostle, of the Town of Reus, Archbishopric of Tarra-
gona—Mariano Jose-Maria Bernardo was solemnly bap-
tized by me, the Licentiate, Juan Yxart, Parish Priest of
this Church. He was born at six o'clock, this morning.
His parents were the married couple, Mariano Fortuny,
cabinet maker, and his wife, Teresa Marsal.
[Signed] Juan Yxart."
II
he spoke to me about him he would be
ready to burst into tears. It never entered
into his head to blush at these childish re-
membrances, and often dwelt on them in
talking with his intimate friends. I re-
member the last time we traveled together
(it was in London, June 4th, 1874); we had
gone to the wax works of Madame Tus-
saud, as we descended the stairs he slapped
me on the shoulder and said, laughingly:
"There was a time when I did just such
work." He told his friends other stories
of his boyhood; for instance, it sometimes
happened that he was compelled to sleep
under the tables of the fish market, and
that he was dreadfully frightened when the
watchman went by, or dogs came too near
him.
Towards 1847, when he was hardly nine
years old, he left the primary school and
soon entered a public school of design,
about that time opened at Reus.
Shortly afterwards, M. Domingo Sober-
ano, who had a decided taste for painting,
took him with him and fostered his draw-
12
ing talent. During many years Mariano
spent hours every day with the young
amateur painter. Among the pictures
which at twelve years old he had painted,
a certain number of ex-voto might be found
which he had done in order to gain a little
money—the greater part of them repre-
senting "Notre Dame de Misericordia de
Reus." An amateur of Barcelona has one
representing a ship. Later, in memory of
these works of his boyhood, he amused
himself by painting one in caricature, and
showed it to me in his studio.
At the age of fourteen Fortuny left Reus
for Barcelona, accompanied by his grand-
father, whose ambition was to see him a
student at the academy. My regretted
friend told me this journey was a long and
fatiguing one, because, for economy's sake,
instead of going by diligence they walked
the whofe distance, more than sixty miles.
The good old man had placed his grand-
son under the care of M. Roig y Soler, who
presented him to the statuary, M. Domingo
Talarn. This was in September, 1852.
13
Three small works of his were shown to
this artist, one of which was "A Pilgrim,"
well known throughout the country, show-
ing a small chapel (one of those called in
Spain, Santeros, or shrines), the other two
were landscapes, telling him they were done
by a poor orphan boy. Astonished by his
precocious talent, M. Talarn endeavored to
enable him to enter the academy. He
succeeded, thanks to the assistance of P.
Man Font and of two priests, one of whom,
M. Felipe Verges, is still living. From the
1st of January, 1853, until the beginning
of the year 1857, they paid his board, 160
reaux, or 42 francs per month, in addition
to the expense of teaching.
On the 3d of October, 1853, the young
Mariano was placed on the rolls of the
Academia de Bellas Artes de Barcelona, fol-
lowing the regular course until the end of
the year 1856. He worked at the same
time in the studio of M. Claudio Lorenzale,
a distinguished painter of the school of
Overbeck; during his life he had a lively
recollection of his first master, and never
failed mentioning him when telling of his
early struggles, and it is to his introduction
I owe the kind reception M. Lorenzale ex-
tended to me in Barcelona. M. Pablo Mila
y Fontanals was Professor of aesthetics and
composition at the academy. Sometimes
he made his pupils the judges—the one of
the other—of their productions, and re-
minded them (referring to Fortuny) of the
bon mot of Haydn speaking of Mozart:
"This young man will astonish us all."
This expressed opinion caused great jeal-
ousy in the academy, to such an extent,
that M. Mila resigned, to the great regret
of his pupils, who presented him with an
album as a mark of their esteem.
But the monthly allowance the young
painter received did not suffice for his
maintenance; to add to his poor income,
he colored photographs, and made designs
for architects and jewelers, and occasionally,
portraits. Early on Sunday mornings, he
drew from nature, in the environs of the
town. His companion on these occasions
was our mutual friend, Jose Tapiro. One
15
morning he called for him as early as five
o'clock, and found him asleep, with the
door open. "Don't let us shut it," said
Fortuny to him, "let us see if the thieves
know where our money is; as for us, we
know nothing about it." Another day,
when they and other friends went on a
boating excursion outside the Mole, and
all, with the exception of Tapiro, had
jumped overboard, Fortuny, who had be-
come almSst exhausted, would certainly
have drowned, had not his friend brought
the boat to his rescue, and caught him by
the hair.
In 1854 the cholera appeared in Barce-
lona. Fortuny went to Reus, thence to
Berga, and to Queralt, in one of the most
mountainous parts of Catalonia, to-day in
the possession of the Carlists. On his re-
turn to Barcelona, thanks to the influence of
M. Talarn, church-warden of San Augustin,
he received, on the occasion of the fetes
of the Immaculate Conception, the order
for a Gloire, intended to cover the whole
front of the high altar. This vast compo-
16
sition, which he painted in distemper,
helped in the technical work by the advice
of a scene-painter, showed God the Father,
surrounded by a great number of angels.
It no longer exists (I believe it was de-
stroyed by a fire), but M. Galceran, of
Barcelona, has a sketch of it, one metre
wide. This painting was much admired, and
its success suggested to the Town Council
the idea (realized a little later) of founding
a Prize at Rome for the encouragement of
young artists. The next year he painted, at
Barcelona, a canvas, 1.20 metre high by
0.80 wide, LApparition de la Vierge de la
Misericorde, with seven medalions surround-
ing it, representing works of mercy. He
gave it to M. Soberano, of Reus, who still
owns it.
This year, 1855, Fortuny first saw litho-
graphs by Gavarni, a series of six stand-
ing figures, published in 1853, called Cele-
brites contemporaines, among others, of
Descamps, J. B. Isabey, Alfred de Musset.
These drawings, stamped with life-like
proof, much impressed the young artist,
17
and he frequently copied them, which
caused much talk in the academy and made
him the butt of his fellow-students. Shortly
afterwards one of his friends lent him some
other lithographs of Gavarni, all of 1853.
These new drawings increased his resolve
to seek in every direction—at the theatre,
and during his promenades—characters and
scenes of every-day life. This was what
he called "fishing for types" (pescar tipos).
He filled his albums with these, and there
are but few among his friends of this epoch
who have not one or more of these sketches.
In 1855 he painted for the Academie Salon
a grand work, St. Paul speaking before the
Court of Athens', and the following year
Charles of Anjou on the Beach at Naples,
watching the Burning of his Ships, by Roger
De Lauria. I have seen a sketch of it in the
studio of M. Lorenzale. Nothing in these
compositions, nor in the drawings and
lithographs, of which I shall soon speak,
indicated that original talent which later
compelled admiration.
During the insurrection of Barcelona in
3
i8
1856, Fortuny was in great danger. The
Street of San Rafael, where he lived, was
held by the mob, But that did not hinder
his drawing; he went out on a balcony to see
better. A Mozo de la Escuadra fired at him,
and he heard the whistling of the balls. The
houie was soon in the possession of the in-
surgents; it was riddled by the balls of the
troops, and the occupants had but just time
to escape. After this sad business he was
much discouraged, and thought so lightly
of his works that he wanted to burn them,
and let whoever would, have his albums and
drawings, saying to his grandfather, "Since
he destroyed his children, there is nothing
left for me but to eat mine," and took in
his arms one of the waxen figures, and sold
it to buy dinner.
On the 24th of November of the same
year, he began to prepare for a competition
offered by the Provincial Council for the
prize of a pensioner at Rome. It was about
this time that he drew on wood, for the
Galeria Serdfica or Vida de San Francisco
de Asis, a certain number of subjects, after
19
Viladomat, representing scenes in the life
of this saint. Passing from sacred to pro-
fane, he made ten lithographs for a trans-
lation of Les Trois hommes Forts, a romance
by Alexander Dumas, filsy published at
Barcelona in 1857, octavo size, under the
name of El Mendigo hipbcrita (The Hypo-
critical Beggar). These plates did not
show that power of illustrating that he
afterwards possessed. To make amends,
there is a very interesting one, called El
Conde Federico, for it is the likeness of the
artist at eighteen years of age. Many a time
he said to me, speaking of what he called
"the follies of his youth/' that he would
be glad if all were destroyed. There were
other lithographs he would not show me.
Let us further mention some drawings he
made of Don Quixote\ which have not been
engraved, among them the episode of the
windmills; others for a religious work, and
a large drawing, which has been engraved
en taille douce at Barcelona in 1858 by E.
Lechard. This plate is 50 centimetres high
by 33 in width, and is called Milagrosa
20
imagen de la Santisima Virgen de Queralt,
Patrona y singular Protectora de la Real
Villa de Berga. In the foreground a shep-
herd in ecstasy, and a crowned woman hold-
ing the shield of Berga; in the distance a
hermitage on the summit of a mountain,
and above, a gloire with a choir of angels
surrounding the Virgen de Queralt, richly-
dressed in the style of the Spanish virgins.
He made yet another drawing, which was
engraved at Madrid in 1858 by Domingo
Martinez, for the diploma of a member of
the Academy of San Miguel, founded by
P. Claret, of which the object in view was,
the " Triumph of Religion by the aid of Art."
I have not seen this engraving, but M.
Lorenzale writes me it was an allegorical
design with many figures: In the middle,
the Immaculate Conception; above, the
Trinity; at the feet of the Virgin, a choir
of Angels and Saints; below, a grand
Gothic doorway, with Saint Michel, etc.
On the 6th of March, 1857, tne Prix de
Rome was unanimously given to Fortuny.
The subject of the competition was "Ray-
21
mond III nailing the arms of Barcelona
on the tower of the Castle of Foix."*
The pension granted was 8000 reaux
(about 2080 frs. a year); for two years the
pensioner engaged to send six drawings
from nature, one copy in oil of an old mas-
ter; in the last month of the term, six simi-
lar figures and a painting in oil, the sub-
ject to be taken from the history of Cata-
lonia. The young laureat was informed
he could leave for Rome, but private rea-
sons obliged him to defer his departure.
His grandfather, whom he looked upon as
a father, was dangerously ill, nor could he
leave until he had served his turn as a con-
script, nor had he wherewith to hire a sub-
stitute. His grandfather asked the Coun-
cil to provide the necessary security, with-
out which he could not start, but he could
* (Barcelona, 1857, 2 vols, in 8vo.) This contains
50 engravings on wood, after pictures painted for the
Convent of San Francisco by Antonio Viladomat, of
Barcelona (1673-1755). Fortuny, one day, looking at
these engravings with me, said he could not recollect
those of which he had made wood-cuts.
22
not obtain it Fortuny determined to go
to Reus, where he painted portraits in oil,
to obtain a sum sufficient to pay the ex-
pense of the journey, and leave something
with his grandfather. Finally, the Council,
on the 12th of September, advanced him
three months pay, and M. Andres de Bofa-
rull, his fellow-citizen, lent him 6000 reaux
—the cost of a substitute. He then bade
adieu to his relations and friends, and started
for Rome, on the 14th of March, 1858.
II.
1858—1863.
Arrival of Fortuny—His Letter to M. Loren-
zale—His First Works and What He Sent.
He Becomes an Habitue of the Academy
of Gigi—Death of His Grandfather—The
Town Council of Barcelona Propose That
He Should Accompany the Spanish Army on
Its Expedition to Maroc—Arrival of For-
tuny at Tetouan—Battle of Wad-Ras (Te-
touan)—The Danger He Runs—He is Taken
by the Moors of Riff—His Studies on the
Battle-field—The Town Council Congratu-
late Him at Rome—Fortuny's Answer—His
Second Journey to Maroc—He Returns to
Rome, having Made a Visit to Barcelona
and Reus.
FORTUNY arrived at Rome March 19th,
1858. The next day he wrote to his
grandfather, informing him of his safe ar-
rival. "Rome," he said in his letter, "has
affected me as a vast cemetery visited by
strangers/' Neither did he forget his pro-
(*3)

24
fessor. "Although still very young," wrote
the latter to me (he was not yet twenty),
"he had already determined on his career,"
The following letter in my possession,
written some weeks later to M. Lorenzale,
justifies the opinion he had of his pupil.
Rome, May 3d, 1858.
My Much Esteemed Master:
After saluting you, I hope this letter
finds you in good health, surrounded by
-your-dear family^ I trust you will pardon
me for not writing to you during the month
I have passed in Rome, but I thought it
better to wait, that I might give you my
impressions of this great city.
What I admire above all are the fres-
coes of Raphael at the Vatican, particu-
larly Mount Parnassus, the School of
Athens, the Dispute on the Holy Sacra-
ment, and the Burning of Bergo. The
other masters did not impress me as I ex-
pected. What I call a well-painted pict-
ure, and which I place above all others,
is a portrait of Innocent X by Velasquez.
25
I know that it is necessary to exercise
great prudence in the choice best adapted
to one's talent, for, by reason of the many
opportunities one has, it is as easy to re-
trograde as to obtain good results. I say
this, because I am discouraged by seeing
how little it profits many among the paint-
ers, who pass entire months in these gal-
leries, copying the great masters, and who
afterwards do not know how to draw a face
from memory. As I see things, those who
profit most are the German pensioners. In
general, the Spaniards paint well from life,
but their compositions are altogether bad.
Such is the opinion I formed of their work.
Taking all this in view, I recognize the value
of your advice; I hope to profit better by it,
and not to lose myself in a maze of errors.
During these last few days I paid a visit
to Mr. Overbeck; the porter told me I must
renounce the hope of seeing him, as he was
dangerously ill, and that there was but little
chance of saving him, but since then I have
had the satisfaction of hearing he was bet-
ter. My remembrances to my fellow-stu-
4
26
dents, and the love to you of your devoted
pupil, Mariano Fortuny.
It was at Rome the talent of this young
painter began to develop itself, "and that,"
as M. St. Gautier justly said, "more by
the blooming of his natural gifts, than by
the direct influence of the great masters,
whom the world goes to admire, and
copies on its knees." "Don't let us in the
least blame this worship," adds the critic,
"but it is good sometimes to follow the
bent of our own nature, and to see with
one's own eyes." Fortuny adored sun-
light and nature. Many a time, he told
me, that after his arrival at Rome he found
great difficulty in forgetting the traditions
of the modern German school, the influence
of which was then felt at Barcelona, and
which, since then, he had to unlearn. He
went to work with ardor. In this year, he
found a faithful friend in Simonetti, a pain-
ter of talent, his pupil, and the companion
of troublous times, and whom he had taken
into his little studio. M. d'Epinay, who
27
was also one of his companions, tells me that
after having worked all day he would go in
the evening to the well-known Academy of
Gigi, to make two hours study with a naked
model, and two hours with the model
clothed. Gigi assured M. d'Epinay that dur-
ing eight years Fortuny had rarely missed
an evening as to the studies he made. He
thought them of so little value, that he
generally left them on the drawing board,
as only fit to throw in the waste basket.
I remember, about 1867, seeing some
twenty of these on the wall, for sale at a
few francs. I bought some of them, for
I imagined to what greatness the artist
would arrive. At this epoch he sold his
aquarelles for 100 francs (which he never
thought good enough to be sold). One of
his first pictures was bought at this price
by a Russian amateur.
Seven months had already slipped by
since his arrival; he then sent two pictures
to M. Pedro Bover, of Reus, one represent-
ing a view of the Tiber, with the Castle of
St. Angelo in the distance, the other Ne-
28
reides sur un lac at the skirts of a wood.
What these works might sell for was in-
tended for his grandfather. Unhappily, the
poor old man could not accustom himself
to the absence of the child he loved so
much, of dear Marian, as he called him in
his Catalan dialect. He was taken sick
and died on the 19th of March, 1859, a vear
to a day after the arrival of his grandson at
Rome, and just as the latter was about to
send him a Saint Mariano. Fortuny has
often told me of the grief he felt on learn-
ing this loss. From what M. Simonetti
has told me about this period, he made a
painting of Bacchantes.
War was declared between Spain and
Maroc. The Town Council of Barcelona
wrote to Fortuny on the 10th of January,
i860, proposing he should go to Africa,
and to paint there, while accompanying the
army, studies designed as souvenirs of this
campaign. The conditions were honorable
to the Council, and to the pensioner. He
accepted, and left by the first steamer.
Shortly after his arrival at Barcelona the
29
Town Council, on account of his appoint-
ment, opened a credit in his favor for 45,000
reaux with letters of introduction to O'Don-
nell, Commander-in-Chief, and also for
Generals Ros d'Olano, and Prim, and for a
dozen other distinguished personages.
Fortuny left Barcelona on the 2d of Feb-
ruary with M. Jaime Escriu, who remained
with him during the whole campaign, and
who afterwards became his brother-in-law.
It is to the latter I am indebted for the par-
ticulars of this expedition, in perfect accord-
ance with what Fortuny himself told me.
After touching at Valencia, at Malaga and
at Gibraltar, the two companions embarked
at Alger, arrived at Rio de Tetuan on the
12th, and some days afterwards (not with-
out great trouble) at the encampment of
Prim, who granted to them, on their applica-
tion, the permit, refused to civilians, to enter
Tetouan. For some days Fortuny was
steadily at work without intermission. He
told me that in spite of his letters of intro-
duction, he was in want of everything, suf-
fering from hunger, and sleeping on the
3°
bare ground, until he met certain Catalans,
his countrymen, who procured him at once
a little more comfort. On leaving Tetouan
he returned to Prim's camp, and was allowed
to mess with the staff, which aided him
much in his work.
On the nth of March, began the spirited
affair of Samsa. Fortuny wishing to see
what a battle was, advanced so far to the
front, that a ball raised the dust at his feet.
"Ah," said a soldier, near by, "that was
meant for the painter."
Negotiations for peace having been
opened, Fortuny had an opportunity, one
day, of making a rapid sketch of Muley-
Abbas, in the act of mounting his horse.
It was soon determined that war should
continue, and Fortuny was told he could
leave; he replied that he would finish the
work he had undertaken, and go with the
army. On the 23d of March, the bloody
battle of Wad-Ras was fought, the Span-
iards obtaining a glorious victory. The
sight of the wounded borne from the field,
and the burying of the dead, deeply im-
3i
pressed the young painter. A few days af-
terwards, he and his friend, having strag-
gled from the camp, were surprised by a
band of insurgent Moors, from Riff, who
aimed at them and drew their yataghans.
Happily M. Escriu had the presence of
mind to say they were English. "Yo fn-
glis /" he cried out; and endeavored to
make them understand that they were trav-
elers from Gibraltar. The fraud was suc-
cessful, and, fortunately, the Moors let them
go. On returning to the camp, their adven-
ture was much known and talked about,
and later, caused the report at Barcelona
and Reus, that they had been taken prison-
ers, and decapitated. During this first visit
of two months and a half in Maroc, For-
tuny made many drawings, aquarelles, and
sketches in oil: Arabs, soldiers, Catalans,
volunteers, Jews, horses, landscapes, build-
ings, and interiors. One day, after dinner,
he drew all the officers, seated around the
General's table. These sketches were after-
wards of great use to him. The time had
come to think of leaving.
32
On the 23d of April, he and his friend
started, and stopped at Castillejos, where
they examined the battle-field; they em-
barked at Ceuta, for Alicante, and reached
Madrid at the same time as the staff of the
army of Africa. Although suffering from
a sprained foot, an accident of the 10th of
March, Fortuny, from a day after his arri-
val, visited the environs, round which the
troops were encamped, and there made
many sketches, as well as one of the Plaza
de la Lena. I was introduced by M. Au-
gustin Rigalt to M. Federico de Madrazo,
who, seven years afterwards, gave him his
daughter, Cecilia, in marriage, and who
much admired his studies of Maroc.
Shortly after he left for Barcelona, and after
stopping at Almanza, and Valencia, where
he made drawings of churches, arrived
in the capital of Catalonia on the eve
of the Fete-Dieu. One day, while making
one of a hunting party on the borders
of Llobregat, he again sprained his foot,
in jumping a brook. He had to be car-
ried on a litter as far as the station on
33
the Tarragona and Barcelona Railroad. He
suffered for many years from the effects of
this fall. Meanwhile, the studies of For-
tuny were publicly exhibited at Barcelona,
and universally admired. On the 27th of
June, the Town Council sent the following
address to the Governor of the Province:
"The Painter Fortuny has happily returned
from Africa, where he collected, at the cost
of great danger, and with a perseverance
and zeal worthy of all praise, subjects of the
highest interest, which he will doubtless
use in the work the Town Council has en-
trusted to him. Your Excellency has seen
his portfolios of sketches, souvenirs, and im-
pressions, and will understand the great
effect these drawings, so simple in appear-
ance, will one day produce. So exactly do
they show us the places where our heroic
army has accomplished great deeds of arms
—also the dress, character and manners of
our adversaries in this African war.
"Fortuny to this time has well done his
honorable task, but this is not all—in order
that the young painter may finish his noble
5
34
work, for the glory and honor of his coun-
try, it is necessary his genius should feed
upon, strengthen itself, and grow prolific
by study of the great masters. The Town
Council feels that it is needful that he
should visit Paris, Munich, Berlin, Brussels,
Milan, and Florence, to the end, that, throw-
ing a rapid coup d'ceil on their museums
and artistic monuments, he can better rec-
oncile with the principles of art, his concep-
tions, as yet crude. A trip of six or eight
weeks, with a companion so imbued with
passion for the beauties of art, will suffice
to accomplish what the Town Council pro-
poses."
This idea was only partly realized. For-
tuny while returning to Rome remained
some days at Paris, and visited the Museum
at Versailles, to see the Sma/ak, of Horace
Vernet, a painting in which he took a lively
interest, because he was about commencing
one on a similar subject, and of nearly the
same size, by order, for the Town Council
of Barcelona. On his return to Rome, he
showed his friends the sketches made of his
travels, which excited general admiration.
35
Said lately a painter, M. Vertunni, over
his tomb: "Nothing could surprise us
as much as did his sketches made on
the battle-field. When he left us he was
only a student; after a short absence, he
came back a finished artist." He con-
tinued his life of constant work. His
modest studio was then in the Via di Ri-
pettay near the Tiber. At the end of the
year he wrote to Barcelona, asking to have
his Morocco album sent to him, as well as
the costumes and other things, the use of
which he needed for his large painting.
In the following year, 1861, he painted
a negro wearing a burnous. This canvas,
superb in execution, which belongs to Mr.
Stewart, shows that Fortuny had learned
already to paint life-size figures. He also
produced an Odalisque, reclining on a divan,
and smoking; by her side an eunuch playing
on a mandoline—an oil painting on paste-
board, which he sent to the Academy at
Barcelona, where it may be seen to-day.
I have yet to name, by information given
me by M. Simonetti, an aquarelle, The Little
36
County a personage in the costume of the
last century, in a garden. He often went
to the Academy of France, as well as that
of St. Luc, where he copied for one of his
consignments—A Boy painted in fresco by
Raphael. He also copied the Lucretia of
Guido Cagnacci, in the original size; vari-
ous subjects after Ribera and Bassano; the
Three Graces, after Rubens, etc. He also
made a study of the Apparition of Mar-
guerite to Faust in the laboratory of
Mephistopheles. He also painted a bust
of himself, three-quarters life-size, with a
piece of ancient tapestry thrown over the
shoulder, a Sacrifice to Bacchus, and a num-
ber of other subjects.
To rest from his work, in the summer of
1861, he went to Florence, and visited the
museums of this city with De Frances de
Valles, and other countrymen, and with one
of my friends, M. Cuadras, a Cuban painter.
On the 3d of February, 1862, the Academy
at Barcelona sent to the Town Council seven-
teen drawings from nature, and the copy in
pil after Guido Cagnacci. This delay in
37
Fortuny's consignments was owing to cir-
cumstances over which he had no control,
and was largely compensated by supple-
mentary work, as he gave more than his
contract called for. The Town Council of
Barcelona proposed to Fortuny that he
should again visit Morocco, in order to
freshen his impressions and to collect new
material that might prove useful. He soon
sent his acceptance by the following letter
to the president, accompanied by a painting:
Your Excellency :—
As a poor specimen of the works which
I propose to paint of the war in Africa, I
have the honor to offer you the accompany-
ing picture of a domestic scene in a Mo-
rocco dwelling. If my first work meets
your Excellency's approval, I beg, in the
first place, you will do me the favor of ac-
cepting it as one of the small sketches
representing episodes in this great contest,
and to place it in the Provincial Museum,
as the first offering of a Catalan painter. I
beg you afterwards to procure me funds for
38
my journey to Africa, which will enable me
to collect details, and materials, for the great
picture I have already sketched out, and of
which I have had the pleasure of sending a
photograph to the director of the Academy,
M. Claudio Lorenzale, my very distinguished
and worthy master.
Mariano Fortuny.
Three weeks later, Fortuny received the
following answer:
"The Town Council with great pride (for
the fame of its protege is reflected on his
province) accepts the painting of the Oda-
lisque presented by you to the Provincial
Museum of State Painting, and received, in
accordance with your expressed wish, as
the first work offered by a Catalan painter.
The Town Council is especially well pleased
to testify to you how much it is gratified
by the feeling you express in your letter of
February 14th, and your consenting again
to return to Africa to refresh your memory
for the painting of the Battle of Wad-Ras,
39
of which it cannot too much admire the
exactness and grand composition, shown in
the photograph of the sketch you forwarded
through M. Lorenzale. You can always
feel sure of the support of this popular
assembly, which you have made always
your debtor by this remarkable union of
color, drawing, and composition. The Town
Council, whose interest in you makes it de-
sirous to insure your safety, feels it a pa-
ternal duty to advise your immediate de-
parture for Africa, in order that you may
gain the object for which you travel, before
the evacuation of Tetouan by the Spanish
troops. God protect you, etc."
Filled with enthusiasm for this second
journey, Fortuny was very busy getting
ready, and in his leisure moments began to
study a little Arabic. He left Rome in
September, 1862, and lost no time in reach-
ing Africa. His intention was to push as far
as Fez; but, not having been able to over-
take a person who was making this jour-
ney, he was obliged to forego his intention.
During his visit, which lasted two months,
40
every moment was employed in making
drawings and studies in oil and water colors
for his great picture. Thanks to the Arab
dress he wore, he was enabled to make
many excursions in the environs of Tanger,
and twice went by sail from this city to
Tetouan, in passing Fondach and Wad-Ras.
Notwithstanding the heat and fatigue, he
enjoyed perfect health, and reached home
without accident. The only annoyance
that happened was the loss of a box of
colors, and a few sketches in oil which were
stolen at Tanger, and which were fortun-
ately recovered, thanks to a negro named
Farragi, one of those called "King's Moors,"
who was his model on his first journey, and
whose portrait, as I have said before, is
now in the collection of M. W. H. Stewart.
On his return from Africa, in the month
of December, he remained for some months
in Barcelona, where the new studies he
brought from Morocco made a sensation
among the amateurs. During this visit he
painted The Powder Fantasy (Fantasia de
la Poudi'e) at the home of Buenaventura
41
Palau, his protector and adviser, and who
always was his devoted friend. He pre-
sented this picture to his son on his fete
day, March 19th, 1863. Fortuny, who
had a high esteem and great affection for
M. Palau, gave me a letter of introduction
to him, and I owe to this excellent and hon-
orable man many valuable details regarding
our mutual friend. Fortuny spent some
days at Reus during Carnival time, and
there painted an Arab Sentinel (Sentinelle
Arabe), wearing a white burnous, and hold-
ing a long gun in his hand. This little
painting in oil on pasteboard, belongs to one
of my friends in Tarragona. Shortly after-
wards he went back to Rome, taking with
him the friend of his youth, Jose Tapiro,
who was always devotedly attached to him.
6
III.
1863—1869.
The Town Council of Barcelona Continues the
Allowance to Fortuny—It Gives Up with
His Consent the Painting of the Battle of
Tetouan (Wad-Ras), which It afterwards
Acquired—-The Studio of "Papa Giulio"—
First Trip to Naples—Sketches of Fortuny
at Transtivere—He Paints a Ceiling for
Queen Christine—The Duke de Rianzares
Continues the Allowance He Made Him at
Barcelona—Journey of Fortuny to Madrid;
His Works in This City; His Copies at the
Museum—He Goes to Paris—Zamacois Intro-
duces Him to M. Goupil—Fortuny Returns
to Madrid—He Marries Mlle. Cecelia de
Madrazo—Regnault Goes to His Atelier,
and is Enthusiastic over His Works—M. W.
H. Stewart Visits Him at Rome—First At-
tacks of Fever.
AFEW days after his arrival at Rome,
the Academy of Barcelona advises
Fortuny of its determination to continue his
pension. "The Town Council, at its meet-
(42)
43
ing this day, (March ist, 1863) has unani-
mously resolved to continue for two years,
the annual pension of 8000 reaux, which
the young Fortuny was enjoying when he
was invited to go to Africa, to study inci-
dents during the Morocco War, and has
taken into consideration that this young
painter, by the special qualities of genius
revealed in his works, promises to add
much honor to his country—by qualities
of which the artistic world has already
formed a high opinion. Moreover, moved
only by a love of art, his life exposed to
serious danger, he made a second voyage
to Africa, remained four months at Tetouan
and Tanger, studying the country, its man-
ners and customs, in order to finish the
great painting of the battle of the 4th of
February, which he made at Rome for the
Town Council; for this end he has consumed
his small savings, and finds himself without
means to continue his studies in the capi-
tal of the Catholic world, and to meet the
always increasing expense of models, draw-
ings, etc."
44
On the 17th of March following, the
artist wrote to express his gratitude to
the Council, which, on the 8th of April,
advised him as follows, addressed by its
third commission to the Civil Governor
at its meeting of March 31st:
"When V. E., at the beginning of the
year 1860, sent the young Mariano Fortuny
to Africa, to study on the battle-field the
stirring events of this glorious contest, and
convey them on his canvas, so that the re-
membrance might be handed down to pos-
terity, this artist was more impressed by
lofty sentiments than by mere self-interest
Now, after the second journey made by
Fortuny to Africa, and his conscientious
studies in the very theatre of the war, and,
taking in view the great progress made
in his painting of the battle of Tetouan,
it may well be said that V. E. has gained
what it desired, which was to foster the
genius of the artist, and to obtain a paint-
ing which will perpetuate the glorious
deeds of the Spanish army. The commis-
sion deems it now time to relieve Fortuny
from the obligations laid upon him."
45
At the end of this paper his engagements
were enumerated, which were to forward
four large paintings and six of moderate
size, representing incidents in the war with
Africa, and made manifest the disproportion
that existed between his work and the sum
of 40,000 reaux, absolutely insufficient for
the expense of traveling, of models, can-
vas and other items, and plainly saying that
to act otherwise would be consigning the
young painter to want and misery in place
of assuring his future, etc. The Town
Council agreeing to this, Fortuny had only
to think of his great painting, and energet-
ically went at it, devoting every hour to
the work. But the task he had undertaken
proved much more weighty than he at first
suspected it would be. Time slipped by,
and the large canvas, though well advanced,
could not be finished by the time named.
It was settled that Fortuny should keep it,
repaying the money advanced, which, in
fact, he did. All those who have visited his
studio in the Via Flaminia could but admire
this vast panorama, where is displayed the
46
great feat of arms that awakened the en-
thusiasm of all Spain, enthusiasm which at
this time I witnessed. In the centre of
this picture, the foreground is devoted to
Muley-Abbas,and many Morocco horsemen,
who are flying in disorder. In the midst,
the Commander-in-Chief of the Spanish
army, General O'Donnell, surrounded by
his staff, is calmly giving his orders, and,
with sword in hand, points out to the in-
fantry the route they should follow. General
Prim is likewise easily recognized; the
Generals Ros d'Olano and Echague are
seen a little farther off. To the left you
see in the distance the white tents of the
Spanish camp, which stand out in bold re-
lief upon the verdure. On the opposite
side, clouds of smoke show the artillery
have already begun action. The sea and
the high mountains fill the background of
this composition. On both sides of the
foreground are the tents of the Morocco
camp, the entrenchments of which are
already in possession of the army; dead
and wounded lie stretched on the ground;
47
camels and buffaloes are jostled by horsemen
—in their headlong flight, overthrowing old
men and half-clothed women. The skilful
composition, brilliant coloring, and harmony
of this work prove that the painter, though
still very young, already felt that he had
the ability to attempt the greatest subjects.
When Fortuny was so unexpectedly
taken away, the Battle of Tetouan still re-
mained in his studio. It was quite natural
that this fine and important picture, painted
for the Provincial Town Council of Barce-
lona, should finally belong to this town.
M. Claudio wrote to me, proposing, in the
name of the Town Council, that I should
act as negotiator in the acquisition of this
work. I eagerly accepted this flattering
commission. One of the present members
of this distinguished assembly, M. Pablo
Mila, whom I have already mentioned as
one of Fortuny's professors, proposed, in
the meeting of the 15th of March, 1875,
backed by several of his colleagues, to pur-
chase for the city the largest of his works.
This motion having passed, the vice-
48
president, M. Jose Vilaseca y Selogas, in-
formed me of it by a dispatch I received
the same day. I answered that I rejoiced
I had been able to aid in assuring to the
handsome capital of Catalonia this remark-
able work of the great Catalan artist, a
work which will transmit to posterity the
souvenir of a feat of arms, glorious for
Spain, and particularly so for the brave
Catalan volunteers.
In 1863 Fortuny made use of the leisure
moments, left him by his large picture, to
visit Naples for a few days, in company
with his faithful Simonetti. It was during
this trip he became acquainted with Morelli,
a Neapolitan painter, whose work he had
noticed at the Exposition in Florence, in
1861; he thought highly of him personally
and of his talent, and was always his
friend.
On his return to Rome, he made a small
painting of three odalisques^ and sold it for
100 francs to a Russian lady; he thought
he was well paid, for, to tell the truth, it
was but a slight sketch. I will name
49
another—An Arab shoeing an Ass in a
Stable—a picture painted in clair obscur
(clairo obscuro), as were many others he
painted about this time. M. Sanz, one of
his painter friends, owns a sketch of it. He
made an eau-forte, of which I have seen a
proof, very fine in effect, and which has
never been published. He painted also,
"The Amateur of Engravings" {Amateur
d'estampes), and exchanged it for a Sardi-
nian gun with Vincenzo Capobianchi, the
son of a dealer in curiosities in the Via
Babuino, who afterwards let M. Goupil have
it. After the latter had sold it to M. W.
H. Stewart, Fortuny retouched it, adding a
striking likeness of this amateur, and M. Fol
has a copy, for which he paid the artist
2500 francs.
Fortuny was never idle a moment; dur-
ing the day, when not at work in his studio,
he made sketches in the environs of the
city, accompanied by some friend. Simon-
etti relates that one dark night they were
attacked by several of those fierce dogs
who watch the flocks of the herdsmen
7
SO
(pecorari) of the Campagna around Rome.
In spite of the danger, he was very cool;
using their color boxes as bucklers, the
two painters, while walking backwards,
found shelter in a neighboring cabin. Again,
under other circumstances, he had occasion
to show his coolness and courage, but the
sight of dead bodies deeply impressed him.
One day, one of his artist friends, by name
Visconti, pensionnaire at Florence, was
drowned while bathing; Fortuny saw his
corpse when laid on the beach, and was
affected to such a degree, that for two
months, it seemed to him this horror was
constantly before his eyes.
On Sunday evening he generally supped
at the Osteria of Trastevere, at, for instance,
Cucciarello's, and there found many curious
types to draw. During the week he spent
most of his evenings in working from the
model, or sometimes at those superb eaux-
fortes, so sought for by amateurs. His first
copy-plate, which is dated 1861, is of very
small size (H. 97™ L. ?2m)\ it is Arabs
squatted before a door, over which is a
Si
horse-shoe arch; in the distance a street
of old houses with projecting roofs; below,
on the right, the signature, "Fortuny,"
scarcely legible. This eau-forte is fine in
color, and, in effect, recalls Descamps. It
is a pleasure to me to present it as the
first attempt of a young man, who was later
as remarkable an aquafortist as he was a
painter. The second in date is "The Mo-
rocco Family" [Famille Marocaine), which
was published by Goupil & Co., and is the
last in number of the suite of nine eaux-
fortes, published by this house, the only
ones (together with the Portrait of Velas-
quez, which Fortuny dedicated to me) which
have as yet been published.
In the evening, Fortuny often etched
on copper-plates from the live model, and
often continued at work until late at night.
Another eau-forte is given in this volume
which was made during these evenings, and
already marks a very skilful point. It rep-
resents a man naked to the waist, the head
bent down, supporting a drapery with his
hands, a pose suggesting the Pouelleux of
52
Murillo (H. issm, L. 96*). It will not
do to forget a curious souvenir of the
artist's excursions in the Trastevere, the
large eau-forte of Meo-Patacca (H. 396111,
L. 302m) where the popular person illus-
trated by Pinelli is represented singing
his loudest with a swaggering air, his vest
over his shoulder, on his head a long felt
hat, set off by flowers and feathers; two
Trasteverins, in pointed hats, strut proudly
behind him, accompanying him with man-
doline and chitarrone with metallic cords; a
lantern hanging above the party casts fan-
tastic gleams on this night frolic. Fortuny
also gave the same subject in sepia.
Later, in 1865, he engraved the Victoire
and the VIdylle, and the year following The
Arab watching the body of his dead friend,
and The dead Arab, both admirable
plates, and both published by the Goupils;
another, a smaller one, "The Fortune Tel-
ler" with the signature; another smaller
one, The Fortune Teller, dated, "Roma,
1876, Trastevere." I only here incidentally
mention these eaux-fortes. I shall have
53
an opportunity of referring to them again
di'-Hng the progress of this work, and more
fully so in the catalogue of the engraved
works of Fortuny, which I intend hereafter
to publish.
Among his works of this epoch is the
canvas he painted for Queen Christine,
which was intended for the ceiling of one
of the salons of her hotel, in the Avenue of
the Champs-Elysees; this painting, which
was Queen Christine reviewing her troops
in the environs of Madrid, is still to be
found in its original place. Unfortunately
it has been cut in the centre to make an
opening for the chain of a chandelier.
When Fortuny was at work on this paint-
ing he had been installed for some years in
his studio in the Via Flaminia, which was
some hundred steps from the Porta del
Popolo, on the ground where formerly stood
the old Vigna di Papa Giulio, so called,
because Pope Julius III (towards the mid-
dle of the sixteenth century) had had a
pleasure house built there by Vignole.
To-day it is the Villa Riganti. A large
54
and almost uncultivated garden attached to
the atelier enabled the artist to paint-from
his models in open air. He placed them
at the desired distance, according to the
place they should fill in the picture, and
amused himself in directing their change
of place by "blast of bugle free." His
model at this period was Cugini, better
known by his surname of Arlecchino, whom
he brought to Paris in 1873. While work-
ing at the ceiling intended for the hotel in
the Champs-Elysees, Fortuny gave lessons
to the Princess del Drago, daughter of
Queen Christine; he also began the por-
trait of his pupil which he never finished.
When the town of Barcelona ceased paying
his pension, it was continued by the Due of
Rianzares, the husband of Queen Christine,
until 1867.
Fortuny generally left his house early
for the Studio di Papa Giulio, so he called
his atelier; he sometimes slept there all
night, stretched upon the straw, when he
wished to begin work at daylight, always
saying, he cared little for comfort. One
55
night, one of the large rooms which com-
posed the atelier took fire just where this
straw lay, and in a moment all was burnt
UP* By good fortune the fire did not ex-
tend to the other rooms; the loss was only
of some sketches, paintings, and materials
burned, and a monkey suffocated by the
smoke.
Fortuny already showed consummate
ability in water colors. He never let a
day pass without hard work in that line.
The Sleeping Arab, now belonging to M.
W. H. Stewart, proves that at this time he
was complete master of this branch of art.
Simonetti states that in July, 1865, while
on his way to Nettuno for sea bathing, he
was taken with a stomach complaint, so
severe that he was forced to put his pencils
between his teeth, while painting a water
color. He happily recovered after a few
days of strict diet.
Fortuny lived at this time at No. 25 in
the Via d'Avignonesi, together with his
friends and countrymen, Moragas and
Agrasot He was soon after obliged to
56
move, and went to the corner of the
streets Delia Puriftcazione and San? Isi-
doro. In the summer of 1866 he went to
Madrid. He took with him the picture of
which I am about to speak—The Ama-
teur of Engravings, which was much ad-
mired. M. Del Pallacio drew public atten-
tion to the young painter by an article in
the illustrated journal of Madrid, of July
8th. This was doubtless one of the first
articles written about him. He utilized
this visit to the capital, as also that of the
year after, by making many copies at the
Royal Museum, principally in water colors,
of works by Titian, Tintoret, Greco, Velas-
quez, Goya, and other masters.
In the autumn of the same year he went
again to Paris, and met several painters—
his countrymen—settled in this city, par-
ticularly Rico, Ferrandiz and Zamacois.
The last named took him to M. Goupil,
who at the first glance perceived his pro-
foundly original talent, and forthwith
bought many of his water colors, and,
moreover, gave him orders at higher
57
prices than he had as yet received for his
works, and opened for him a credit of
24,000 frs. per year. Still later, after For-
tuny's marriage, M. Goupil proposed a
similar arrangement such as he had prac-
ticed for many years with other painters of
great renown—notably with Paul de la
Roche and Gerome—that is to say, the
purchase of his works at a fixed price,
any profit in excess of this to be divided
between him and Goupil.
In 1867 Fortuny again went to Madrid.
His marriage with Mile. Cecilia de Ma-
drazo, daughter of M. Federico de Ma-
drazo, director of the Royal Museum, was
already arranged, and he wrote to one of
his countrymen at Rome:
Madrid, August 5th, 1867.
Dear Moragas:
I have but little to tell you. I beg you
to do me a favor, without which I cannot
marry. The Church asks for a document
proving that I am a single man. I trust
you can obtain it for me, after you have
8
58
made the necessary inquiries—it is, they
tell me, a very simple matter. My mar-
riage should take place in September, or
October, at the latest; after which, I am off
for Rome. I wish I were there now, to go
quietly to work, for just now I can scarcely
paint at all. Say to L— not to worry him-
self, but to despise such low envy, for he
has talent enough to overtop such co-
temptible competitors. Thine,
Fop
He has told me that it was
going to the sacristy of his pan, ^rch
that the idea of his Spanish Marriah „■ origi-
nated. He there made a slight sketch of it
on a note of grayish tint, which was but the
embryo of the picture, which afterwards be-
came so celebrated. During his stay of
several months at Madrid he frequently
went to the museum, and made, among
other copies, two fine water colors from
Velasquez, and another after Vandyck.
Among the pictures he copied in oil are
the JEsop, and Minnipe, of Velasquez; the
59
Family of Charles IV, and several portraits
of Goya, the Saint Jerome of Ribera, and
many others. At this period he produced
certain enrapturing water colors, particu-
larly the Mariposa (Butterfly) and the
Arabs Feeding a Vulture, now the prop-
erty of M. Gargollo, at Madrid. A copy
of the first belongs to M. Goyena, of Se-
ville, and another, in oil, of the Mariposa, to
M. Federico de Madrazo. He made two
other subjects of the Carnival, one of which
M. W. H. Stewart has; the other, an Idylle,
same subject as his eaux-fortes—the Interior
of a Harem, which he exchanged for an an-
cient sword with an antiquary of Madrid,
and which belongs to the same amateur.
During a trip to Seville he painted in oil
studies from the Plaza de Toros, of the
Porte de VAcazar, and of the courtyard of
this building. Also a superb sketch of
the Brindis del Espada, that is to say, the
salute of the bull-fighter, who, before killing
the bull with the sword thrust, makes his
bow to the President. On his return to
Madrid he made a very fine drawing on
6o
wood of some Arabs smoking. This
block, wonderfully cut by Bernardo Rico,
a brother of the landscape painter, was
published in 1873 *n a Madrid paper—the
Ilustracion. While in Madrid, Fortuny
from time to time wrote to his friend
Simonetti. He had lent his studio to
Zamacois, and had sent, by him, to his
friend Simonetti, (with charge to install
him,) the following letter, accompanied by
a map indicating the Corso, the streets Ba-
buino, and Ripetta, at the Place du Peuple,
and an elevation of the front of the studio
of Papa Giulio.
Madrid, March i8tk, 1868.
Mon Cher Attilio :—I believe you will
be happy in making the acquaintance of the
bearer, M. Zamacois, my friend, and of
placing my studio at his disposition, should
he wish to work there. You know what a
good friend he is, and I know you well
enough to know I need say no more in his
favor. Your heart friend,
Fortuny.
6i
Henri Regnault was then at Rome; Za-
macois was installed in Fortuny's atelier.
He wrote on trie nth of March to M. A.
Duparc: "I have seen some of Fortuny's
studies, which are prodigies of color, and
bold painting. Ah! what a painter that
boy is! I have also seen two ravishing
eaux-fortes by him. His pupil, Simonetti,
who works in his studio, has shown me
some charming things now under way.
Two fine fellows, and how well they get on!
What skill—how pleasing in color—what
true genius—what spirit in the touch!"
Fortuny again wrote to his friend :—
Dear Attilio :—You know how much it
pleases me to have news of my friends;
write often to me, and renew in me the sou-
venir of our dear Rome. I see Zamacois
has come to confirm what I have so often
told you, and hereafter doubt not your fut-
ure; and by God's help I can this time re-
joice with you, in spite of our false friends.
Work, work courageously. Strive to make
yourself perfect in art. I have bought two
62
engravings by Rembrandt, some by Ribera,
very scarce, and some unpublished by Goya.
I am paying court now to two charming
little paintings of Tiepolo. I have received
some photographs of Gerome's works, and
good news from Paris. Adieu. Write to
me, and say good day for me to Zamacois,
and to Moragas.
Fortuny.
Shortly after, Fortuny again wrote to his
friend, Simonetti, to ask for some serious
advice. He already thought of leaving
Madrid, to plant and sow his garden for the
spring, so that his wife might be favorably
impressed on her arrival at Rome. He
soon after informed him when he would
leave:
Madrid, May 28th, 1868.
My Dear Attilio :—I start for Rome
next Monday. I have already forwarded
my baggage. I wait now only for news of
its shipment. I long to be at home and in-
stalled in my atelier. You will do all you
63
can to have everything in order—I mean
cleaned—and all useless things gotten rid
of. Tell the frame-maker to have all ready
against my arrival, so that I can at once
hang the studies I have made at Madrid.
(Following are the sizes of thirteen frames:
om 42 by om 59 to im by 2m 20). Among
the old curiosities I have bought, are some
swords; ask Corvisieri if it is necessary to
have a permit for their entrance.
Believe me your friend,
Fortuny.
On his return to Rome, he went to work
without a moment's loss of time. His
"Spanish Marriage" took much of his
time, which, however, did not prevent his
finding odd hours for water colors and pen-
drawings, at which he generally worked in
the evening. Among them I will mention
the portrait of his friend, M. d'Epinay. He
also made portraits of his friends and coun-
trymen, Villegas, Moragas, and Frances.
He made a short journey to Tuscany, and
returned towards the end of the year to
64
Rome, from whence he wrote to his brother-
in-law, M. de Madrazo:
Rome, Dec. joth, 1868.
Dear Raymundo:—The Goupils have
visited my atelier, and, it would seem, are
pleased with "The Spanish Marriage."
Goupil has proposed that I should go to
Paris, where he offers to build me an atelier
after my own taste; he talks much of the
success of my painting, etc. He says that
at Rome everybody imitates me, which is
disgusting, and that, under these circum-
stances, I ought to leave here. I will be very
glad to see M. W. H. Stewart, and as you
are very intimate with him, you might ask
him, when he comes^taput a small painting
by Meissonier, or Stevens (if he has one), in
his portmanteau, for we all wish to see good
work which might improve us all—me,
at least, for I lose my desire to paint, per-
haps, because I see nothing pre-eminent.
The water-color paper is excellent. I al-
ready work in the evening. I have spent
eight days at Florence, Pisa, and Leghorn.
Fortuny.
65
In the month of March, the year follow-
ing, Henri Regnault, who had made the ac-
quaintance of the Spanish painter, of whose
water colors he had already been struck, at
Madrid, wrote again to M. A. Duparc, of
the impression he had experienced while in
his atelier: " Day before yesterday I passed
the whole day with Fortuny, and that has
broken my arms and legs—he is wonderful,
that fellow! What marvels are in his
house! He is master of us all. If you
could see the two or three pictures he is
now finishing, and the water colors he has
recently completed!!! It is that which
disgusts me with mine—Oh, Fortuny! I
can't sleep for you!" As to water colors,
he wrote later: "I am not proud; Fortuny
makes me pale with fear." It is something
worthy of remark that the two artists, who
mutually loved each other, never had the
slightest feeling of envy, as too often hap-
pens. If Regnault was modest, Fortuny
was not less so; he was equally interested
in his friend's work. "Tell me," he wrote
from Rome in 1869, to his brother-in-law,
9
66

Raymundo Madrazo, "how you like Prim's
portrait by Regnault?" "It was with me,"
(M. d'Epinay writes to me) "that Regnault
first visited the atelier of Fortuny. It was
a revelation to Regnault—a thunderbolt.
This visit was the spark that fired a loaded
mine, just ready to explode. 'He is our
master/ cried he; 'I can no longer see
what I have done, or what I am doing; I
shall tear my water colors. Look how a
water color should be painted—what color,
what charm, what drawing! Long live
Spain—long live the East—long live For-
tuny—immortality for Fortuny!' Indeed,"
adds M. d'Epinay, with true, sincere enthu-
siasm—"I give you his very words." M.
W. H. Stewart came to Rome and saw For-
tuny, who had promised him a water color.
He wrote soon to his new friend to tell him
of it, and at the same time to thank him for
some objects intended to ornament his ate-
lier.
Dear Sir and Friend :—I have the dou-
ble pleasure of informing you that I have
i
67
sent the water color to Goupil, and in
thanking you for your valuable present of
Japanese armor and the two bronzes; I will
tell you in my next letter what effect they
have in my atelier. I long to be in Paris
that I may see you, and enjoy your fine
collection of pictures.
Your friend,
Fortuny.
Piazza, Monte d'Oroy 94.
In two letters, written shortly after to
Simonetti, Fortuny speaks of having had
several attacks of fever:
Rome, June i8tk, i86p.
My Very Dear Simonetti :—
I have had a second attack of fever, which
seems to take the tertian form. I thought
I would have an attack to-day, but it
missed me; if I escape it on Sunday, I in-
tend spending eight days at Naples, to see
if the sea air will rid me of it. I have no
news to tell you. I have changed the at-
68
tendants in my studio. Regnault has cut
his beard off; Moragas starts for Spain, and
the Sirocco blows all the time.
Rome, July, 1869.
While going into the churches looking
for a background for my picture, I caught
a fever, rheumatic at first, but it ended in a
severe attack of pernicious fever. Happily,
it yielded to quinine, and I am now out of
danger, but very weak. I hope to gain a
little strength before starting, and perhaps
we may meet at Paris. Adieu! take care
of yourself.
FORTUNY.
It will be noticed that the word "per-
nicious" is underlined in the second of
these letters. It is probable Fortuny did
not suspect how serious are these treacher-
ous attacks of fever, so frequent in the cli-
mate of Rome, the return of which is, un-
happily, almost always fatal.
IV.
1869—1871.
Fortuny Lives a Year in Paris—He Works in
Gerome's Atelier—His Intercourse With
Meissonier — "The Spanish Marriage" is
Shown to Goupil—Extraordinary Sensation
Caused by this Picture—Article by Theo-
phile Gautier—" The Serpent Charmer "—
"The Carpet Seller "—" The Library," etc.
Leaves for Madrid, Seville and Granada.
Fortuny is Installed near the Alhambra—
His Letters to His Friends—His Taste for
the Curious—His Purchases—His Sympathy
for France During the Franco-German War.
His Work at Granada.
SETTING out for Paris in the month of
July, 1869, Fortuny was established,
soon after his arrival, in the studio of Ge-
rome, who had offered it to him during his
absence. He could work to better advantage
there than at M. Goupil's, who lived during
the summer in the country, and had lent
him his apartment, situated not far off. He
(69)
70
rapidly progressed, while there, with the
"Spanish Marriage," which he finished at
the Maison Valliny No. 69, Avenue des
Champs E/ysees, where he remained until
the month of November following. It was
there he painted his Serpent Charmers,
belonging to. M. Ed. Andre, and for M.
Goyena a smaller one of an Arab, as well
as several water colors, among which two
are all beauty—the Carpet Merchant and
The Library, I remember I was not
pleased with the background, and that we
went to the Cabinet des Estarnpes, of which
the sculpture exactly suited him, and where
he returned many times to finish his work.
At this period he saw Meissonier from
time to time, for whose talent he had great
admiration, and whom he one day asked to
lend him one of his studies that he might
copy it. Meissonier posed one day before
his young brother in art for one of the fig-
ures in the "Spanish Marriage.,, Fortuny
made another portrait of him, the likeness
of which is very striking. In this portrait,
which I have seen in the studio of the
7i
Via Flaminia, Meissonier is represented as
bending backwards, and girt with a large
curved sabre. I frequently saw Fortuny at
this period of his stay in Paris, the longest
he ever made there. A common taste for
objects of art, which had first brought us
together, strengthened our intimacy. As I
spoke and wrote his mother-tongue, we
could talk and write freely to each other,
which was not so easy to him as with some
of his Paris friends, for his natural timidity
increased his embarrassment in expressing
himself in French. He dined often with
me in company with his wife, his brother-
in-law and a few Spanish friends; on these
occasions all etiquette was laid aside, and
the evening was spent in talk, or in singing
seguidilles, jotas, and malaguenas. Pagans
let us hear his charming voice, accompanied
by Rico, as skilful with the guitar as with
the pencil, and we never separated until the
repertoire was exhausted. Gustave Dore
was sometimes of the party, as also was
Eduardo de Beaumont, who was to the last
one of Fortuny's best friends. Between
72
two rondeaus we discussed the shape of a
sword, or an armor of the fifteenth century.
Fortuny and Beaumont changed pencils,
and sheets of paper were soon covered
with sketches. One evening at Zamacois',
Fortuny began the portrait of this painter
on a plate of copper, to teach him the pro-
cess of making eaux-fortes, and afterwards
finished it in a few sittings. The author of
the Education of a Prince, is there shown
in profile, seated before a table. It was also
in 1869 that he made three fine eaux-fertes
in Rome, not as yet published: Saint
Jerome in the Desert, The Amateur of Plants
and The Poet. He had made, the year
before, an eau-forte of an Old Man, after a
veteran of the war of Independence, the
porter of M. Federico de Madrazo.
Fortuny made pen drawings with won-
derful skill. He delighted in illustrating
the letters he wrote to intimate friends. M.
W. H. Stewart, M. De Goyena, and the
author of this book have a great number
of these, which they preserve as valuable
souvenirs. In the following, addressed to
M. Stewart, are two charming pen drawings,
dashed off with uncommon spirit. One is
of a marriage at a mayor's office in Paris,
with types of the married couple and guests
taken from life. In the other the artist has
sketched himself and his brother-in-law,
Ricardo de Madrazo, both buttoned up to
the throat, crossing the Champs Elysees in
the rain, while on the way to the wedding
of our friend Rico.
Here is a letter which I translated from
the Spanish, as I have done with those that
follow:
Paris, last day 0/1869.
To M. W. Stewart.
Dear M. Guillermo:—I desired yester-
day to wish you a happy New Year, but it
was so cold, and I suffered so much from
it the whole day, and the time slipped by I
know not how. It is true that Rico's wed-
ding was very tedious. As you were not
there, I send you a sketch of one of the
benches of the mayor's office—the bench of
the married couples. Jesus! in all my life
10
74
I have never seen such ugly people. Your
picture of the model arrived to-day. I ex-
pect to go to work at it as soon as I have
finished the Spanish Marriage; it wants
but little done, and I hope to give it to you
in fifteen days.
Yours,
Fortuny.
His stay in Paris did not make him forget
his friends at Rome, as a letter to Simonetti
proves. This last was, one may say, his
only student, and he advised him, with the
frankness of a true friend. "I do not pre-
tend," he writes, "to make these remarks as
your teacher, but I beg you to receive them
as from a friend.,,
Fortuny, who could not abide etiquette
and ceremony, saw but little of the world
at Paris. "I go nowhere/' he wrote to M.
d'Epinay, on the 19th of February, 1870;
"the other day Alexander Dumas, jils,
brought me an invitation from the Princess
Mathilde, and I don't even want to go there."
It has been reported in regard to this, that
75
the painter refused the Princess' invitation
because he did not have a dress coat; this
is not exactly true. One morning Dumas
did call to say, the Princess invited him to
breakfast with her, but Fortuny had a hor-
ror of the black habit, white cravat, and
stove-pipe hat. I remember one day, he
told me of the anxiety he had felt on this
subject, after his marriage, and how pleased
he was when permitted to dispense with the
exactions of fashion. He then told Dumas
he was in despair, for he had no dress coat;
"Well, then, come in a frock-coat"—and he
went in a frock-coat to breakfast with the
Princess Mathilde. At last Fortuny finished
his Spanish Marriage. Exposed at Gou-
pil's in the spring of 1870, this marvelous
picture created extraordinary interest in
Paris; a talent so original, so new, could not
fail in exciting the enthusiasm of Theophile
Gautier, which ably burst forth in his feuil-
leton of the official Journal of May 19th,
1870 :—
"The name which has been the oftenest
spoken for the past four months, in the
76
world of art, is surely that of Fortuny. One
question never failed, when artists and ama-
teurs met—' Have you seen Fortuny's
paintings?' For Fortuny is a painter, so
marvelously original, of finished talent, sure
of himself, although the artist was barely
within the age of a competitor for the Prix
de Rome, It is an unexpected revelation, a
sudden bursting forth for Paris, at least, that
Fortuny has but to pass over. The trav-
eled artists, and the students who came
back from the Villa Medici, speak most
highly of a young man admirably gifted,
whom they consider of great force, working
at Rome in a fantastic way, beyond all in-
fluence of schools. But the foreign name
they mentioned, unsupported by any work,
was not remembered. The Spanish Mar-
riage, the Serpent Charmer—easel paint-
ings ; the Carpet-Seller in Morocco, the Cafe
of the Swallows, The Kief,—water colors, of
a strength of tone that compete with oil,
give an incontestable value to the name of
Fortuny, and prove that the reports about
him have not at all been exaggerated. Be-
77
fore placing under the eyes of our readers
(in so far as words can represent form and
color), these original and charming works,
a few lines of biographical notice of Fortuny
may be proper."
Then follow some particulars, mostly in-
correct, but nevertheless reiterated for some
months past, in sundry necrological articles
—thus Gautier gives the year of Fortuny's
birth as 1839, instead of 1838, and adds that
he gained the Prix de Rome in 1856, when
it should be 1857. I will here add several
details little known, concerning the picture,
the description of which we are about to
read. The scene does not represent the
Spanish Marriage in Madrid, nor in any
known sacristy. The painter borrowed his
background from different churches; for
instance, the railing belongs to the Cathe-
dral of Granada, and other details to a
church in Rome—that in which he con-
tracted the dangerous fever in 1864. Two
of the female figures are portraits of Ma-
dame Fortuny and Mile. Isabel Madrazo,
her sister. It was Meissonier who posed
/
78
or the Senor, of whom Gautier speaks:
"he who holds himself so proudly, in a
dress the color of green cabbage, with long
skirts, belted with a wide belt, from which
hangs a long cavalry sword."
"The Marriage, which Fortuny painted,
took place in the sacristy of a church in
Madrid, a vast hall, hung with old leather
of Cordova, faded in color, sparsely em-
bossed in gold. A railing, worked with a
marvelous richness of foliage and ara-
besques, in the style of the Spanish, called
churrigtieresco, and which is similar to what
the French call rococo (old-fashioned), sepa-
rates the sacristy from the Church. Lamps
hang from the ceiling. Paintings of mar-
tyrs, Venetian mirrors, with oval edges
richly sculptured; wooden benches, curi-
ously carved, and polished like metal, from
long usage; a book-case, breast high, in
which, in rows, are the missals, the gospels,
the liturgies, and all these venerated works
in folio, with copper corners and clasps,
opened only on the reading-desk; large
and small tables; a brasero of exquisite
79
workmanship, completes the furniture ot
this room, in which marriage certificates
were signed; for there was not then, nor is
there now, civil marriage in Spain. The
costumes show that the scene is laid at the
end of the last century or the beginning of
this; the style somewhat like that in which
Goya dresses the characters of his Caprichos.
"He is an old beau, still preserving some
remains of elegance, about to marry a poor
and pretty girl. He leans over the table
in an attitude of affected ease, the leg
stretched backwards, the feet turned out
like a dancer, and places his signature
just where an obsequious scrivener di-
rects. The bridegroom wears a dress ot.
deep pale lilac a la francaise, of the most
fashionable cut, carrying under his arm a
claque flattened into a half-moon shape;
in bending forward it becomes apparent
that he is slightly bald. The young bride
thinks of nothing but her bridal dress,
which is the freshest and most coquettish
in the world: a robe of white satin covered
with lace, in which flowers sparkle like
8o
spangles; in her black, disheveled hair is a
little cluster of orange flowers. While a
friend is speaking to her, she gazes with
an absent air at the colored drawing on
her fan, the handsomest she ever owned.
It would be hardly possible to imagine a
more piquant head, or one more truly
Spanish, with her long lashes which re-
mind one of black butterflies fluttering over
roses. Her friend is also very pretty, in
her puffed petticoat of the brightest rose
color. On the other side stands the
mother, one of those old women who, in
Spain, are familiarly called Auntie To-
masas or Auntie Pelonas, and suggests a
m witch, draped in "touch-me-not" clothes,
from the Rastro, the old-clothes market
of Madrid. A mantilla of black lace covers
her head and shoulders, her narrow hips are
confined by a close bodice, and her feet
wobble about in old, loose shoes. A little
in advance of the group stands proudly
bent back a gentleman in a cabbage-green
dress, with long skirts girded by a broad
belt, from which hangs a cavalry sword.
8i
He is a friend of the groom, or, perhaps, a
godfather of the bride. Some women,
showily dressed, are seen flirting their
fans, among whom one distinguishes a
lovely blonde drawing near to have a bet-
ter view of the bride. One of these women
is turning to give a piece of money to a
penitent, who begs for souls in purgatory.
A strange phantom is this masked penitent,
naked to the waist, furrowed by cuts from
the scourge of discipline, with his thin legs
encased in black breeches. He carries on
a waiter, in which to receive alms, a little
soul, carved in wood, emerging from a
fiery flame. In the corner of the same
side is seated an old gentleman, whose
shining spectacles in the blinding light
give him the air of an owl. To the right
in the foreground stretches, on a high-
backed, wooden bench, a sturdy young
fellow, with whiskers trimmed to a semi-
circle on his cheek, in a clubbed queue, and
wearing the embroidered vest, the sash, the
short breeches and silk stockings of a bull-
fighter. He must be an espada of some
ii
82
fame, judging by the richness of his cos-
tume, and the proud nonchalance of his
manner. Near him is a dark-skinned ma-
nola, in a flaring toilet, lolling with a pre-
tentious air, and stretching out her feet, clad
in high-heeled slippers, from under a straw-
colored petticoat dotted with red roses. One
hand plays with the fringe of the corsage,
while the other flirts a large fan. On the
back of the bench, some men lean with an
air of respectful familiarity, clothed in the
dress of a majoy who appears to belong to
the company of bull-fighters. Nothing
connects this group with the other, and
all parties seem to be there on their own
business; the bull-fighter and the manola
await their chance to pass on. We must
not forget in this description the priest, who
stands near the table on which the old beau
is leaning as he signs. It is a masterpiece
of truth and skill! Let us point out two
other priests, or sacristans, of wonderfully
natural movements, who are arranging
papers on a little desk, placed further to
the left. The brasero, placed at the left
83
angle of the tableau, very skilfully fur-
nishes this corner of the composition,
which the artist, to avoid a too exact sym-
metry, has not crowded with as many fig-
ures as on the right side. Here we have,
as near as possible, the plan and get up of
the picture, but what is more difficult to
describe, is the charming taste, the per-
fect grace, and unwonted originality of this
painting, which has all the freshness of a
sketch and all the finish of a most precious
masterpiece. By the side of some bits
broadly painted, are contrasted details of
extraordinary finish, which determine and
measure the mass, without detracting from
their movement and suppleness. The fair-
est idea that could be given of this remark-
able painting would be the sketch by Goya,
taken and retouched by Meissonier. In
truth, one finds here all the fantastic free-
dom of the Spanish painters, and all the
conscientious truthfulness of the French: to
that must be added the individuality of For-
tuny, which makes the note vibrate between
these two influences, neither of which domi-
84
nate. What harmony of color, in its daring,
which fears not to borrow its tones from the
Japanese palette, tones of rare exotics, reviv-
ing pearl grays and neutral brown! What
lightness of touch, so spirituelle, so express-
ive! What knowledge of drawing in the
small figures, so elegantly posed, so natural
and so true in movement, in gesture so
expressive!" One can add nothing to the
wonderful description of Theophile Gautier,
who has made sacred the reputation of
Fortuny.
In the month of June, 1870, Fortuny left
Paris for Madrid, where he remained a
month, after having stopped at Seville,
where he made a study of the Escalier de
la Casa de Pilatos. He then went to
Granada to live, and installed himself at
the Fonda de los Siete Suelos, on the same
hill as the Alhambra, some minutes walk
from the ancient palace of the Moorish
kings. The quiet of the place, which had
so charmed Henri Regnault, the beauty of
the climate, the ease of living, the poesy of
the Moorish monuments—all delighted him
85
at Granada, and more than once he told me
that the two years he passed there were
among the happiest of his life. "Figure
to yourself/' he wrote to Simonetti soon
after his arrival, "the Villa Borghese on the
summit of a mountain, surrounded by
Moorish towns, and in the midst the most
beautiful Arab palace, the elegance and in-
genuity of ornament so great, that the walls
seem to be covered with Guipure lace!
No suffering from heat, and one lives with
such freedom that you might believe you
were at home. I expect to remain until
September; afterwards I shall go to Seville,
then to Morocco, where Regnault and
Clairin are now settled and working."
The taste and search for objects of art was
at Granada, as at Rome, the favorite relaxa-
tion of Fortuny; his principal diversion
was his work. Arms, stuffs, ancient em-
broideries, and, above all, the Hispano-
Moresque porcelain were the objects of his
preference. It was the history of these
Faiences, published by me in 1861, that first
led to our intimacy. At our first meeting
86
it seemed as if we had been long acquainted.
Now and then, in leisure moments, the
painter turned potter. One day he told
his brother-in-law the result of these at-
tempts. "Dear Raymundo,,, he wrote to
him, "I went to a pottery the other day to
attempt metallic reflections, and, notwith-
standing the bad condition of the furnace,
they turned out well. I have succeeded in
getting one of them of a color and strength
seen in but few dishes; thus it is not diffi-
cult He who desires to follow it would
soon reach perfection." He always had a
notion of amusing himself by painting on
porcelain, but he never carried it out.
In the letter he wrote from Granada soon
after reaching there, Fortuny speaks of a
magnificent vase of porcelain which he had
discovered and hoped to buy. In the
meantime he bought some splendid stuffs
and a marvelous French manuscript of the
fifteenth century. About this time the
Franco-Prussian war began; France had
already met with serious repulses; ancient
hatred, that time should have effaced, re-
87
vived in Granada against a neighboring and
friendly nation. Fortuny remembered the
welcome he had received in Paris. His
noble heart and lofty spirit were angered
at such spite, and thus he wrote to M. De
Madrazo, who, without fear, remained with
us in Paris:
Dear Raymundo :—
I am sorry not to have heard from you,
and to have had no news from Paris, par-
ticularly under the present circumstances.
... I understand how sad the case is, but
I would a thousand times rather be where
you are than in Spain, where I witness par-
tiality for Prussia and ill-will for France.
I have not yet heard anyone who does them
justice, or speaks with judgment. All—all
wish the French defeated, and already see
the Prussians in Paris. I tell you I have
to blush at being a Spaniard in presence ol
the rascally sentiments of our countrymen.
By chance comes news from Spain, over
which they squabble, and then alter it. They
deny what is favorable, while all that is
88
Prussian is puffed and glorified; finally,
when the French are spoken of, it is only
with a smile of pity. Add to this, that the
Carlists have entered at different points, and
that the Republicans think their last day
has come. The Government pays nobody,
not even the night watchman. Here in
Granada they owe nine months for gas, in
such a way, that the day the gas company
loses patience, we shall be in darkness.
Thine,
Fortuny.
Rome had become the Capital of Italy,
and the son of Victor Emanuel mounted
the throne of Spain. This event was the
cause of his writing to his friend, Martin
Rico, then at Madrid:
Granada, Nov. i8tk, 1870.
My Dear Martin :—
If I have not written to you ere this, it
is because of my habitual laziness; so do
not be surprised at my doing so to-day, for,
according to a newspaper I have just read,
89
it would seem that we Spaniards are all
jubilant on account of the proclamation of
King Amadeus, and that for such good
news we should congratulate each other.
What a pity you are not here to celebrate
this happy event with seguidilles of four
couplets each from your repertory.
We work enough, and desire to have our
winter profitably employed, for subjects for
pictures are not scarce here. I get good
models very cheap. My painting is almost
as good as that of . Come, then,
my dear, and you will do a charitable ac-
tion; we will encourage each other and not
retrograde, which might easily happen in
this blessed country. I am here because
there are no painters here. It is more pic-
turesque than Seville; living is cheaper by
one-half, and one is entirely independent.
I have a whole house for an atelier. One
can paint in the open air without neighbors.
I overlook the Vegay with all its grand and
magnificent effect of sunshine and shadow.
Thine,
Fortuny.
12
06
Granada, Nov. 25th, 1870.
Dear Martin:—I am delighted to learn
that you feel inclined to come here. I
think we can spend the winter profitably.
We can paint courtyards and gypsies, when
we please. Don't trouble yourself about
Zamacois. He will not come, and if he did
come he would not stay two weeks in Gra-
nada. You know his nature. This quiet
and want of bustle would not suit him. I
will trouble you to ask at the Escurial Li-
brary for an Asiatic manuscript of the year
1400, on the game of Chess; it is illumi-
nated with miniatures, certainly Italian; see
if it contains costumes, arms, and other de-
tails, suitable for paintings; in case it
should I will have copies made for a small
picture I intend to make.
Thine,
Fortuny. -
Fortuny could never again meet his poor
friend, Zamacois, who was carried off by an
attack of angina pectoris. He spoke of his
grief to M. W. H. Stewart:
9i
Granada, Jan. 30th, 18j1.
Dear M. Guillermo :—I wished to write
to you of the death of Zamacois, but I was
so full of sorrow, that my courage failed.
I cannot yet believe that I shall never see
him again, and it will be hard to fill his
place in my remembrance. We work hard,
and I will soon send something to Goupil.
I have thought much of you and of your
advice—thus you will see a little picture,
with little figures, after the style of Meis-
sonier, but without his merit
Your friend,
Fortuny.
The small picture of which he speaks in
this letter, and which belongs to M. W. H.
Stewart, represents the "Halte des Voya-
geurs;" it is painted with marvelous ele-
gance. M. de Goyena has a very pretty
pen drawing of it. Fortuny wrote a letter
after this time to this friend;
92
Granada, Feb. 28th, 1871.
Dear Friend Goyena : — Raymundo
writes us that he is in good health, and
that he suffered but little during the siege.
He gave us sad news—the death of our
friend, Regnault, who fell on the battle-field
in the last sortie. What a misfortune!
What will become of his old father and his
friend, Clairin? We heard, too, to-day, of
the death of Giraud. A fatal year for art-
ists. I have finished two pictures, and I
send you a sketch of the smallest, to give
you an idea of it. Rico, who is with us,
enlivens us with his guitar, and thanks you
for your letter. When I shall have for-
warded my pictures, I will play truant and
run off to Seville. I think this will be to-
wards the end of the month of March. .
Yours,
Fortuny.
The war was scarcely ended, ere it was
followed by a more doleful struggle. For-
tuny wrote to me asking news of his friends.
93
Granada, March, 1871.
Fonda de los Siete Suelos.
A Monsieur le Baron Davillier.
My Dear Friend:—I am happy that
nothing has happened to you, in the midst
of such misfortunes. I need not tell you
how anxious I have been during the whole
war in thinking of you; am hardly at ease
now, for lo! the Commune again makes me
tremble for you. And friend Beaumont, I
trust he is well. As for me, I have some
pictures begun, and many planned. Gran-
ada is an inexhaustible mine; but you know
it and I will not dwell on it. I have a pict-
ure under way, and I hope it will turn out
well, but it will be by making use of you
for documents and details; no one at Paris
can aid me better in this matter than you.
In regard to objects of art which I have
met with, I will especially mention a very
fine manuscript of the fifteenth century, or-
namented with many well-preserved minia-
tures, and of the best style, with the arms
and portrait of the owner, etc. I will have
94
photographs of it made, and send them to
you, that you may give me your opinion
about it. I have some books on fencing,
for Beaumont, and a curious note relating
to arms copied from a paper of the four-
teenth century. Keep me posted as to
news in art and curiosities.
Yours,
Fortuny.
The vase Fortuny coveted he at length
got possession of, and it was the ornament
of his atelier in Granada. It is an extraor-
dinary piece, which equals in size and
beauty the famous vase of the Alhambra,
and has, over the last named, the advantage
of being complete. Another vase, also very
curious, but imperfect, he obtained as a com-
panion to the first. The happy amateur
told his friends of his acquisitions. He
sent a sketch of it to Simonetti, to M. de
Goyena, and to Rico, and I received in a
folio letter, the charming drawing of the
vase, of which I have given a fac-simile in
the catalogue of his sale.
95
Granada, November 2jth, i8yi.
A Mons. le Baron Davillier.
My Dear Friend :—You cannot conceive
the pleasure I have in receiving news of
you. I wished to reply immediately, but I
have been so occupied the last few days,
owing to moving our residence, and ar-
ranging my atelier; I have been longer at it
than I ought to have been. At last I am
settled, and I can offer you my house when-
ever you will make use of it. I would have
been glad to have been with you in Madrid,
and also to have seen friend Dore; but
when I come back from Africa, I shall hope
to have at another time, the pleasure of see-
ing him in Spain. I shall be glad to see
the ewer of enamelled glass you have
bought; you know I am at your orders to
make an eau-forte of it for you ; only I beg
of you not to delude yourself in regard to
my skill; at any rate I will do the best I
can. And have you bought many things
in Spain? Here almost nothing is left;
however, I cannot complain, for the little I
96
»
have found is good. Here is the sketch of
an Arab vase; it is very handsome, and
moreover in good condition; it is in color
a yellow bistre, with reflections of mother
of pearl and violet,; it pleases me much,
on account of its ornaments, which are in
the best Moorish style. I believe the Azu-
lejo is equally interesting, which I have
drawn for you below, and which measures
only the trifle of om.95 by om4S ; it also has
metallic reflections, and the ornamentation
is of exquisite taste; as yet I don't know
the meaning of the inscriptions. In regard
to armor, the sketch of this casque will
please you; it is very plain, but of good
shape and marvelously chiseled.* I shall
* This magnificent vase is in the catalogue of Fortuny's
sale, and the drawing in question is thus produced in fac-
simile.
This square of faience, as rare from its size as from
the beauty of its ornamentation, is of the fourteenth cen-
tury, and bears on it this inscription: "Gloire a notre
maitrele Sultan Aboul Hadjhadj Nacirl'din Illah," (Glory
to our Master, the Sultan Aboul Hadjhadj, l'din Illah).
It appeared at Fortuny's sale, as also did the handsome
(Casque de Parement) dress helmet casque of the time
of Charles V.
97
have the pleasure of showing it to Beau-
mont. The little vase is of glass, and ap-
pears curious to me, because the workman-
ship resembles that of the glass of Murano.
The shape is pure Spanish-Arabic, the glass
is greenish and thick. Tell me your
opinion of all this. Keep me posted in
news of art and curiosities. I am here as
if in a village—the days are all alike, and
one knows nothing. On the subject of my
works, what shall I tell you? I have just
about finished a little picture, which I think
of sending to Goupil, and with which I am
not very well satisfied; but he is insatiable,
and I must always send him something. I
have, in addition, several pictures sketched;
there is one of them for which I hope to
obtain success, particularly, because it is a
view of the Court of Myrtals of the Alham-
bra. The motive is quite new. I want to
represent an Arab guard-room, or entrance-
hall of the Palace, and for that I need in-
formation about the costumes; you know
the scarcity of these documents, and how
few remain in Spain. I have had the
13
98
manuscripts overlooked in the Escurial,
and have found but very little, that is why
I do not hesitate to ask you, when you go
to the Library, to inquire for the Seances
de Hariri, and to see if there is among the
miniatures some Arabic or Moorish cos-
tumes; I shall be very grateful, and you
will be of great use to me. Accept the love
of your friend, Fortuny.
My house is at your disposal—Realejo
Bajo, No. i.
Granada, Dec. 26th, 1871.
To Monsieur Le Baron Davillier.
Dear Baron:—I have received your
kind letter, which I will take as* much care
of as if it were a lump of gold, on account
of the documents and notes it cc>ntains. I
have found nothing in the way of Christian
objects. It is necessary I should see M.
Gongora, an antiquarian of this place. You
know of the inscriptions found on the
Sacro Monte, and the celebrated lawsuit
of P. Echeverria about the counterfeit
Christian antiquities. For the objects left
99
by the Catholic kings, Ferdinand and Isa-
bella, we are more happy, for if all have
not been preserved, there remains at least
something. They still preserve in the
Capilla Real, the objects you see here (fol-
lowing are four drawings representing the
sword of Ferdinand, his crown, the sceptre
and the coffer of Isabella). There is, be-
sides, a book of hours of Isabella, the Cath-
olic; the altar piece of her high altar for
the country; the standards, carried off after
the taking of Granada, and her magnificent
terno* embroidered with the arms of Cas-
tile and Aragon, of unique taste and rich-
ness. There were also tapestries, of which
I have some fragments in very bad condi-
tion. I have in view a coffer of ivory of
the same epoch as yours, but of a different
shape; it is sufficiently well preserved, but
the owner will only let me have it in ex-
change for a picture. How much have you
paid for yours? I have no idea how much
* This is the name given in Spain to a complete ec-
clesiastic costume composed of the chasuble and two
dalmatics.
IOO
I should pay, be it in money, or other-
wise. If you should wish to have the
cover of your coffer restored, I have an
exact drawing of the one that was sold at
Cordova.
I have collected some faiences ornamented
with blue, with metallic reflections, exactly
similar to those called Siculo-Arabes; never-
theless they are, without doubt, of Granada
origin. I have met with some fragments
of Arabic glass, which existed in the Sala
de Banos, and of which Navagiero speaks.
One sees nothing, in fact, of Arabian glass,
though some of it has been found in some
layers babucheros, uncovered by accident.
I can say as much of some Arabic manu-
scripts with their envelopes of tafilete. The
jewel, which represents a dragon, has not,
I believe, its equal. (Follows the drawing
of a jewel of enameled gold, from my col-
lection, which Fortuny made from memory.)
My paper is used up, and I still have many
things to tell you and ask you. I have
already treated you badly enough in send-
ing you such an illegible letter. The win-
IOI
ning number of the lucky house, for which
you have taken a ticket, has fallen to the
owner. This house was not worth much,
but the view from it is charming, and one
might call it the balcony of the kingdom of
Granada; I have lived in it for a year. My
remembrances to our friends Beaumont and
Pagans.
Your friend,
Fortuny.
The above letter is accompanied, as are
most of those Fortuny addressed to me,
by pen drawings, charming in execution.
Among those which date from his sojourn
in Granada, there are two which appear in
this volume, one of which I ought particu-
larly to point out. There is a little girl
looking at a dead bird, which he drew one
evening by lamplight at the table of the
Fonda de los Siete Suelos. This precious
drawing, which is the portrait of his daugh-
ter Marie Louisa at the age of three years,
belongs to M. Federico de Madrazo. The
other drawing belongs to M. De Goyena,
102
to whom Fortuny had presented it, adding
thereto its dedication to him. It represents
an Andalusian bull-fighter resting on a
table, and whose bronze complexion be-
longs to the gypsy race. The head, framed
in thick whiskers, is covered with a little
black velvet cape, the "marseilles," or vest,
covered with embroidery, is thrown over
his shoulder, the short breeches and silk
stockings complete the traditional costume.
It is impossible to see anything more spirit-
ually elegant than this ravishing little draw-
ing. Neither should I forget a very beautiful
drawing on wood, done with a split reed,
such as those which the Arabs use, and
which was engraved for a paper at Madrid,
under the name of Le Rangonneur.
He had for a model one of those half-
free galley slaves, employed on the works
at the Alhambra, whom he made to pose
in the position of a malefactor bound to a
chair by ropes. There is another model
of whom I should also say a few words,
because he made use of him for many of
his pictures and studies; he is a water
103
carrier of Granada, with a drunken face,
whom he dressed in the costume of the
personage he wished to represent. He fig-
ures notably in two of the charming pict-
ures in the collection of M. W. H. Stew-
art, the Arquebusier and The Drunkard.
Moreover, Fortuny never worked without
a model; when any subject drew his atten-
tion, he first traced it rapidly, and immedi
ately availed himself of nature to complete
his first impression. He thus recalled a
scene that had forcibly impressed him in
Granada: The burial during the Carnival.
Some maskers in grotesque costume are
dancing in the open street; they meet the
funeral of a young girl whose body is car-
ried in an open coffin, as is the custom in
Spain, and on whose face is the pallor of
death. This great picture, which is of start-
ling realism, remains unfinished, as does that
of The Cavalier, a very fine impression, a
souvenir of the last journey Fortuny made
to Morocco at the end of the year 1871,
and of which I will now say a few words.
Leaving Granada in the month of October
104
he embarked at Malaga with the painters
Ferrandiz and Tapiro, his friends. After
touching at Gibraltar they landed at Sangir,
where they found Clairin, whom Fortuny
had known with Regnault, their mutual
friend, and who acted as cicerone for them
with the greatest kindness. Fortuny has
spoken to me several times of this sojourn,
during which he began his picture of The
Knife Grinders. He particularly remem-
bered an Arabian fete Clairin gave the three
travelers at his house.
They afterwards made a journey on
horseback to Tetouan, and Fortuny ex-
plained to them, on the battle-field of Wad-
Ras, all the ups and downs of fortune in
the fight from which the Spaniards came
forth conquerors. Besides the excursion
of fifteen days to Morocco, Fortuny made
another to Guadiz with Clairin, who had
been to Granada to pay him a visit; the
grand outlines of this mountainous country
impressed him forcibly. According to his
habit, he always had his pencil in hand,
quickly sketching while his animal was
ios
being saddled, or whilst eggs were cooking
at the inn. We will follow Fortuny to the
end of his sojourn in Granada, too soon
interrupted, alas! by an unexpected cir-
cumstance.
V.
1872—1873.
Continuation of Fortuny's Stay in Granada—
His Works and Amusements—His Skill in
Forging and Inlaying Arms—His Sword or
Moorish "Alfange"—He Goes to Seville
for "la Feria" — An Unforeseen Event
Obliges Him to Return to Rome for some
Days—He Returns Definitely in the Month
of November, 1873—A Store-House of Petro-
leum Under His Atelier—The Disgust He
Feels for the New Capital of Italy—His
Desire to Return to Spain—Journey to
Naples—Fortuny Works at the Academy
of St. Luc and at the Garden of the
"Arcadiens "—He Installs Himself in the
"Villa Martinori"—He Engraves in "Eau-
forte" Several Portraits by Velasquez.
ORTUNY continued to live happily and
X quietly at Granada, in the midst of his
family and some friends. Some time since
he had left the fonda de los Siete Suelos,
shortly before occupied by Henri Regnault,

(106)
107
and installed himself in a large house in the
Realejo Bajo, at the foot of the hill on the
summit of which is the Alhambra. You
enter into a vast yard, surrounded by a
colonnade, found in most of the houses of
Granada. This court-yard served for an
atelier, when he wished to work in open
air. On one side a garden, from which
was a splendid view, then the offices and a
number of rooms; all this cost hin. ^ Juro
(5.25 frs.) per day rent—a price considered
exorbitant in Granada. The time he stole
from his work was employed in forging,
chiseling and inlaying arms, works for
which he had a strong passion, and which
he executed with rare taste and skill, or
in still further excursions in Granada, in
search of his much-loved curiosities, and
in correspondence with friends in Spain,
Paris and Rome, whom he kept well in-
formed as to his works, discoveries, and
his acquisitions. Let us permit him to
speak for himself; he will keep us posted
as to his labors and recreations.
io8
Granada, January 2dy 18J2.
A Monsieur de Goyena.
My Dear Goyena :—I am ashamed that
I have been so long without writing to you,
but I had not time, having been obliged to
make, in all haste, a picture to be sold for
the benefit of the victims at Chicago—the
sale takes place in New York. I have also
to write to Davillier on the subject of cer-
tain documents, but one finds nothing that
one wants on the Christian inscriptions of
the first centuries, etc. I send you a slight
sketch of my picture of the Tribunal de
P Alharnbra. This picture is sufficiently
luminous, and I believe that it gives a
good idea of the aspect of the place (such
as it might have been at that epoch). I
have also sent, besides the little picture for
the Chicago sale, a small Arquebusier to
please Goupil (who asks me for small
things), and a little study of chickens,
which Raymundo asks of me for M.
Stewart. Your friend,
Fortuny.
log
Granada, January ioth, 1872.
To Mons. Martin Rico.
Dear Martin :—We are always very
well here. I work enough, and in the
evening I paint Aquarelles. I have
sketched an interior with Arab musicians,
and possibly it may turn out tolerably
well, but I am so tired of making an-
cient Moors, that I think of stopping
them. It is possible I may attempt to
paint some modern subject. Goyena has
sent me some very interesting embroid-
eries, one altar-piece and some chasu-
bles, which I believe to be of the time of
Isabella, the Catholic, and perhaps even
more ancient. It is a tissue woven with
shackles of gold, like that which covers
the cuirass, said to be Boabdil's, in the
armory at Madrid.
Your friend,
Fortuny.
Granada, March, 1872.
A Mons. Le Baron Davillier.
My Dear Friend :—I have received
no
your letter. I rejoice to learn that you
intend visiting Andalusia. I will go to
the Feria of Seville, and we will certainly
see each other. On the subject of the
aquarelle that some one has asked you
to submit to me, I regret to have to tell
you that I strongly doubt its authenticity.
You will understand that if it was by me,
I would have signed it, for there is not a
painter, however humble he may be, who
would offer anyone an aquarelle without
signing it. I am sorry for M. , for
no one likes to own a doubtful thing, espe-
cially when he has paid dearly for it. Be
sure, however, that if it was by me I would
sign it with pleasure, and retouch it if
necessary.
Great news! I have bought an Arab
vase of the same character, and possibly
by the same hand, as that at the Alhambra,
It is blue and ornamented with two stags,
or gazelles, but in bad condition. I will
send you a sketch of it, also a book on
fencing for Beaumont. When you come
do me the favor to bring me the eaux-fortes
Ill
that Jules Jacquemart has made after the
collection of arms of M. de Nieuwerkerke.
A thousand things to friends, and altogether
Yours,
Fortuny.
Shortly after I went to Seville, where
Fortuny awaited me, and when he saw the
aquarelle that a certain person had begged
me to submit to him, he laughed, saying it
was a copy, and that he knew perfectly who
did it. It appears this kind of industry
has lately increased at Rome. "There is
here now," one of his friends recently
wrote me, "a workshop of false For-
tunys, which are the joy and delight of
foreigners!" *
It was the time of the Feria of Seville,
that celebrated fair which attracts every
year thousands from every part of Anda-
lusia, where types and the most picturesque
costumes abound. Raymundo de Madrazo
* To avoid similar frauds they have printed in red, on
all the works offered at Fortuny's sale, a round stamp,
having on it the red fac-simile of his signature*
112
was with us; the two brothers-in-law started
in the morning, taking with them their
color boxes, and rivaled each other in
charming studies of popular types: such
as bronze complexioned Gypsies, and pretty
bunoleras in parti-colored costumes, who
displayed many coquettish tricks to draw
passers-by to their tents, where they cooked
fritters in oil. A little while afterwards
Fortuny started again for Granada, where
I soon went to join him. He knew to its
minutest details, this town so curious and
so rich in souvenirs, that I had visited
several times, and which I thought I thor-
oughly knew, but I was not long in con-
vincing myself I had made a mistake.
There was not a day he did not show me
some interesting spot unknown to tourists.
The old Moorish city had inspired him
with such passion that, to do its honors to
me, he neglected his studio. I was obliged
to exact a promise from him that he should
return to his work, too long interrupted
by our promenades, and from which he had
already stolen many hours while forging
H3
arms. He showed me at this time a su-
perb sword, or alfange, of Moorish shape,
already well under way, and of which he
afterwards made a weapon, fit for the use
of a king of Granada. His intention was,
as the letters which follow show, to pass
the coming winter at Granada; unhappily,
as will soon be seen, an unlooked for circum-
stance prevented his doing so, and even
obliged him to make a fatiguing journey of
eight days to Rome, before bidding farewell
forever to Granada.
Granada, May jdt i8j2.
To Mons. Martin Rico.
Dear Martin :—I have learned you in-
tend coming here to pass the winter. I
shall be very glad of it, because then we
will not go to Italy, where, I believe, one
would be badly off just now. Davillier is
here; the Arab vase pleased him very
much. Tell us all about what is going on,
for you know we live here as if in Thebes.
Thine,
Fortuny.
is
U4
Granada, May ijtk, 1872,
To Mons. W. H. Stewart.
My Dear Mons. Guillermo:—I have
received your last, and without loss of time
I have written to Simonetti to take from
my studio The Negro's Head and to take
it to you when you are in Paris. I doubt
much whether this study will please you,
when compared with the good things you
have recently acquired, but you know it
is a study without pretense, and I shall
not be vexed if it does not please you.
We continue painting, and I have begun a
modern subject of to-day, but it seems bad
to me; we will see what Raymundo says
of it when he comes. One sees that the
taste for painting grows, for here, where
there are no painters, buyers are numerous;
above all, foreigners who come to see the
Alhambra. Lately I have had a chance of
being unfaithful to Goupil I have
a desire to see your gallery, and since you
are so kind, I will accept, if you still have
them, the photographs of your late acquisi-
us
tions. Perhaps this will be a stimulus to us
to work harder. Your friend embraces you,
Fortuny.
Granada, May, 1872.
To Mons. Le Baron Davillier.
My Very Dear Friend :—I regret not
to have known that you passed by Valla-
dolid; I would have begged you to go and
look at a lion of Arab bronze, for which I
am in the market, that you might tell me
whether it is an interesting object, and if it
is worth the price asked for it. Nothing
new at my house, unless it is, that, for the
last five days, I have been packing my
goods for Rome. I shall not start before
a week, and I shall rejoice to find you still
at Madrid, or else, I shall have the pleasure
of seeing you in Paris, where I expect to
remain a week.
I am glad to have at last the rings and
the Arab coffer, that we went to see to-
gether. I paid well for them, but I much
prefer that than to have given a picture in
n6
exchange; especially now that Goupil has
made me an offer for the pictures I have
commenced. Do you know how much?
450,000 francs!!! It seems to me, I have
no reason to be sorry for my stay in Gra-
nada. I have also bought a dish with me-
tallic reflections, the oldest and largest of
those I own. They have brought here
more than 200 modern ones, but ancient
in appearance. A goldsmith of Cordova
has bought 22,000 ounces of melted silver,
coming from one of the oldest cathedrals
in Spain. Imagine how many beautiful
things forever lost! I have bought some
beautiful embroideries.
Always your friend,
M. Fortuny.
The preceding letter led me to hope for
a short visit at Paris, but it will be seen by
the one which follows, addressed fo a com-
mon friend, that he went to Rome without
effecting this intention, limiting himself to
a stay of one day at Madrid, and one at
Nice:
117
Granada, June, 18/2.
To Mons. Martin Rico.
Dear Martin:—My chance is gone, in
consequence of the death of my servant;
all my plans are defeated. You know how
I rejoiced in thinking of the pleasant winter
we would spend somewhere in Spain, and
how much I had promised myself to work.
I must now renounce all that, and go to
Rome to definitely arrange my affairs. You
cannot conceive how wearisome is the
journey I have made, and what I have had
to expend to keep my studio one year more.
Figure to yourself that they have doubled
my rent by depriving me of half my
grounds. The worst of it all is, that they
take advantage of the opportunity to
squeeze my purse, but all the while with
much politeness. My dear friend, it pains
me much. I have rented a house for a
year, anc^not without a great deal of trou-
ble, at 450 francs a month. Rome is unen-
durable, with its affectations of being a new
Capital. I had intended to pass through
Paris on my way home, but the journey is
n8
so tiresome that I wanted to get through
with it, as soon as possible, and I only-
stopped a day at Madrid to see the Museo
Arqueolbgico,
I regret that M. W. H. Stewart has taken
the trouble to send me a souvenir, as the
Tete de Negre was not worth the pains.
Just think, it is one of my earliest pictures,
and I don't know how it could have pleased
him; having seen it hung from a distance,
he might have thought it something better.
1 continue painting; I am about finishing
some little pictures, and, by that means,
progress with others, which I will finish at
Rome—piano, piano.—And Gerome, what
is he doing? Regards to all.
Thine,
Fortuny.
Granada, July 8th, 1872.
To Mons. W. H. Stewart.
Dear Mons. Guillermo :—Simonetti has
arrived, and brought me the souvenir you
spoke of to me. I don't know how to
thank you; there was no necessity for this,
ii9
to prove to me the friendship you have so
often manifested to me. As to the pictures
of which Rico speaks, I do not know to
which he refers, for I have six under way,
and to be more certain will send you the
photographs in the order in which I finish
them. I am delighted that you have the
picture of the Alhambra. Simonetti has
said to me that it produces a good effect.
If you should have it photographed, I will
be obliged to you for a copy, for I have
not a sketch, or souvenir, of it.
From what you say, I see your collection
is increased by some good pictures, and
especially by one which pleased me much;
it is La femme au Parroquette by Ray-
mundo (a small chef-d'oeuvre of M. de Ma-
drazo, the brother-in-law of Fortuny). For
certain we will stop in Paris all the month
of October, on our way to Rome, where we
will remain a year to settle my affairs. I
much regret leaving Granada, because here
I can go on better with what I have begun,
and also, because this town is much more
agreeable for me to work in, than Rome.
120
I want to know the pictures of Alma Ta-
dema and those of Petenkofen; if you can
send me photographs or engravings of
them, I shall be grateful.
Your friend,
Fortuny.
Granada, August 24-th, 1872. .
To Mons. Le Baron Davillier.
Dear Friend :—I was very happy when
I received your letter, for, in truth, I was
very uneasy about you. As for me, as you
know, I met with a misfortune at Rome.
I started the same day I heard of it, fearing
I should find everything upside down, and
pillaged in my studio, but as they say,
there is nothing so bad but that some good
may come of it. It chanced, then, that
the man who looks after my affairs, feeling
indisposed, laid down on the lounge in my
studio, after having locked himself in, and
suddenly died there. His body remained
there three days, until the authorities opened
the doors. All remained in order, thanks
to my friend, Vincenzo Capobianchi, who
121
took charge of everything. I remained but
eight days in Rome, and with great trouble
was occupied in hunting a house for this
winter. This country is very distasteful
to me, with its pretention of being the
Capital of Italy; everything is dearer than
at Paris, with much less comfort, and always
fevers in the summer. We will pass the
next season there, and we will find out
whether we ought to remain there, or re-
turn to Spain. Frankly, do you not think
that in our country (patriotism apart), one
can find grander subjects, and, above all,
more novelties? Shall I receive the agree-
able news, of the acquisition of the Gazette
des Beaux Arts, for I will greatly rejoice
thereat? Naturally, you will put me under
contribution to aid you with drawings,
perhaps, or with documents, though with
these last, I much fear the want of power.
A thousand regards to Ed. de Beaumont,
and that he should come to see me in
Granada. Receive the regards of all of us,
and particularly of your friend,
Fortuny.
16
122
Granada, August, 1872.
To Mons. Martin Rico.
Dear Martin :—We work much. I have
already finished a picture in the costumes
of to-day; and I have another representing
Moors, which I do not expect to finish
here, but I have drawn the figures that I
might profit by the light of my court-yard.
I believe I need to move about a little more,
in order to see something more in the way
of painting. And the attempt against the
king—what a farce!! Here, the members
of the International make great stir, and it
seems to me something or other will hap-
pen. Here are nothing but strikes, and
threats, nobody wants to work.
Thine,
Mariano.
Rome, December 28th, 18J2.
To Mons. Le Baron Davillier.
My Very Dear Friend :—As you know,
it is now a good many days since our re-
turn after a pleasant journey; but on arriv-
123
ing here, everything impressed me so un-
favorably, that it makes me very sad. After-
wards I had to endure the ridiculous pre-
tentions of the owner of my studio, who,
not satisfied with the improvements I had
made at my own expense, has taken from
me half my grounds, all the while doubling
the amount of my rent, and has turned the
ground-floor into a store-house for petro-
leum. Imagine to yourself how tranquilly
I could sleep, knowing, that all that which
has cost me so much trouble to collect,
could at any moment be blown into the
air. Such are the civilities of the Italians
of the new Capital. I am partly glad of
what has happened, for it will hasten my
return to Spain. Frankly, I don't know
why I came here, knowing what it was.
Finally, I am already resigned, and will go
to work, and forget what country I am in.
I have received your photograph of the
portrait of Velasquez; the part in shadow,
and the hair, are the least distinguishable.
But I have begged my father-in-law, M. de
Madrazo, to send me a drawing he has
124
made of the original, which will save my
clearing up the obscure points. When I
get it, I will begin the eau-fortet and if my
hand is not too clumsy, I can make an
interesting work of it.
In the way of antiquities, I have seen
nothing curious during my journey, except
the arms in Turin, and the exposition of the
Bargello at Florence. I have seen Castel-
lani, who was very friendly with me. He
has some beautiful Italian faiences with
metallic reflections, a large Hispano-Arab
basin, of the same style as the dish with
blue ornaments that you own, some Greek
vases that you know, some handsome
enough stuffs, but, nevertheless, less so
than mine. I am very well satisfied with
what little I have, for if I had to buy the
same to-day, I would have to pay double
or more, if even I had the luck to find
them. Judging from the drawing you have
sent, the Arab lamp seems to me not bad.
I will take it, if it is permitted at a price
that may seem reasonable to you. You
will pardon my sending you such a long
125
letter; but you will understand, that, taking
so much pleasure in talking to you, of all
my affairs, it is but natural that I should
impose upon so good a friend.
Yours,
Fortuny.
The reading of the above letter shows
that the new Capital of Italy was no longer
for Fortuny his dear Rome of former times.
The city where his talent was developed
—where he had passed so many calm and
happy days,—he found shaken by turbulent
and pretentious politics. This repulsion
consequently could not but increase, and a
good number of his letters testify to the
desire he had to settle in Spain. The fol-
lowing letter is accompanied by a pen-draw-
ing, in which one sees a section of his
studio; the artist himself, is there shown,
seated before a picture, palette in hand.
The ground floor is filled with numerous
barrels, arranged as in a store-house, and
on which is marked Petroleo.
126
Rome, December, 1872.
To Mons. W. H. Stewart.
My Dear Mons. Guillermo:—I hope
affairs progress as well on your side, as
they do badly here with us. I have finished
the picture for M. Gibson, and I have be-
gun nothing new, for I wish, in the first
place, to finish what I have brought from
Spain, in order to go afterwards to my own
country. I am weary of Rome, which
every day loses some of its character, and I
much prefer being in Andalusia, where life
is so pleasant.
Your friend,
Fortuny.
The picture of which there is mention in
the preceding letter, and which belongs to
Mr. Gibson, of New York, represents the
ancient town hall of Granada, a very pictur-
esque old building, with balconies covered
with flowers, and invaded by a luxurious
vegetation; it is a marvel of color.
127
To Mons. le Baron Davillier.
Rome, February i8tk, iSyj.
My Very Dear Friend :—I have just re-
ceived your very agreeable letter; I answer
without rising from my seat, before being
hindered by visits and the distractions of
the Carnival. The lithographs I made
while at Barcelona, for the romance of Du-
mas (Les Trots Hommes Forts), translated
with the title of El Mendigo Hiprocata {The
Hypocritical Beggar), has been published
by a person named Busquets; I believe
it will be easy to find this romance at
Barcelona—unfortunately for me—because
it is very bad. I wish there was no longer
a copy in existence. Lo and behold we are
Republicans! But I think with you this is
not final — we will see. God grant my
country may not be a Tower of Babel, in
which we cannot understand each other.
What will become of the museums, the
churches, the monuments? I much regret
not being in Spain at this moment. The
Italians cannot digest their political change.
My best remembrance to friend Beaumont;
128
tell him not to forget to send me the re-
ceipt for gilding iron, I am busy at
this moment in coloring an ivory handle
I have made for my Arab sword. I still
have the petroleum store-house under my
studio, but I think I have a way (a VItal-
ienne) to tire out the owner. At any rate,
I hope to remain but a short time in this
atelier, and it seems to me that Rome
doesn't suit me. When you get the pho-
tographs of your Spanish glasses, send them
to me, taking care that they shall be of
the size in which I shall engrave them,
in order to simplify my work. I have not
yet commenced the other eaux-fortes I had
projected, being much occupied with my
paintings; but as soon as I shall be at lib-
erty I will go to work at them with pleasure.
During the last few days, I had almost de-
cided to start for Sicily, in order to see the
Arab vases that are in the Cathedral, at
Mezzara, but I will go later. The large
manufactory of arms and ancient bronzes
that I have found here, continues on a large
scale; I also know a goldsmith who makes
129
Etruscan figures in gold, and it seems he
has sold them for antiques. Take care, be-
ginners! You, happily, are safe. Do you
know that the manuscript of Piccolpasso
also gives the way to make metallic reflec-
tions? Monsignor Cajani has given me a
copy of the receipt, which has not yet been
published; it differs very slightly from the
attempt I made at Granada; it is in the fur-
nace that all the difficulty lies. A thousand
remembrances to all. Your friend embraces
you.
Fortuny.
The eaux-fortes of which Fortuny speaks
in the preceding letter, were intended to
accompany a work that I prepared on The
art of glass making in Spain. He was to
engrave a set of eaux-fortes from the prin-
cipal objects in his collection; he frequently
spoke to me of this design, which, unhap-
pily, he had not time to realize.
Rome, February 28th, 1873.
To Mons. Le Baron Davillier.
My Very Dear Friend ;—I have orna-
17
13°
merited with Arabic characters, the handle of
ivory which I have made for my Arab sword,
and it has sufficient style. Here is the shape
of another sword I think of mounting [here
a drawing of the sword, and another of the
ivory handle]. I thank you for the knob
you offer me, although I have no need of
it at this moment, but some day it will be
of use to me. The Carnival is over, and I
am going to work hard to make up for lost
time. You are right in telling me that it
is unpardonable in me not to work, but
what would you? Life in large cities
is not agreeable to me, it is always the
same thing. As soon as I begin work, ci
va altro. I am disappointed to find so few
pictures of mine in Spain; all sell them,
whilst foreigners give for my paintings
prices which I cannot understand; in short,
no man is a prophet in his own country.
I have brought from Capobianchi two ivory
coffers which appear to me to be Persian
or Arabian; I shall make you a sketch of
them that you may enlighten my uncer-
tainty [the sketches follow]. What news
i3i
have you from Spain? It seems to me
affairs are too much complicated, for the
short time we have had a Republic; it will
be a happiness if it does not end in anarchy.
Much remembrance to all, and a thousand
things for my family.
Your friend,
Fortuny.
Rome, March 5th, 187j.
To Mons. Le Baron Davillier.
My Dear Friend:—I compliment you
on your purchase of the buckler, which
should be magnificent, and I hope you will
send me a photograph of it. Affairs in
Spain displease me much; from what you
told me in your last letter, I fear more seri-
ous events. Believe me, it costs me much
to prolong my stay in Italy, when I see my
country on the eve of a convulsion, and on
the point of being a subject of shame to
us, who are in a strange country. Here is
the sketch of a small Byzantine enamel,
pretty enough, that my friend Capobianchi
has bought, and of which he wishes to
132
know the value; will you inform me?
Nothing decided upon, as yet, on the sub-
ject of our leaving for Venice. I work,
and I do not wish to leave off, until hot
weather drives me from Rome. I have had
news by Rico. It seems that when we go,
we must employ some one to look for
apartments for us. Little news in the way
of antiquities. The manufacturer of false
arms, whom I took you to see, not far
from where I live, continues to thrive; they
also make their coffers of chiseled iron,
new bucklers, repousses, etc. ... I have
already placed my vase on a bronze foot
that I myself modeled in wax, and it seems
to me that it does not look at all badly. I
will send you a sketch in my next, that you
may tell me what you think of it.
Your friend,
Fortuny.
Rome, April 27th, 1873.
To Mons. Le Baron Davillier.
My Very Dear Friend:—We came
back yesterday from Naples, where we
133
spent some days with Rico and his wife.
Thanks for your kind letter. I have sent
one to friend Beaumont with some notes.
As it is in Spanish, do me the favor to
translate it to him. ... I have seen in the
Museum at Naples a superb bust in bronze
of Ferdinand of Aragon, of which here is
the sketch. It is very interesting, and one
can see it has been taken from nature by an
artist of talent. What a pity it is not for
sale! Affairs in Spain do not seem to
settle. Where, then, can one travel safely?
Your friend embraces you.
Fortuny.
Rqme, May 26th, 1873.
To Mons. Le Baron Davillier.
My Very Dear Friend:—I have re-
ceived your letter from Madrid. Your
tapestry proves to be very handsome; after
having been washed, the gold and silver
have been entirely restored; the color has
gained in freshness and strength. You can
be easy, and, as we say in Spain, "You
will have a handsome jewel." You have
134
no doubt heard of the theft of the crown
of San Fernando ! * What a misfortune if
it be true! When I was at Seville with the
Emperor of Brazil, it was taken down, and
I had the pleasure of holding it in my
hands. Without any doubt, it dates from
the time of this prince. Its richness and
its preservation were wonderful. After all,
I hope the news is false, and that this will
prove to be but a farce, to put the crown
out of danger by a coup de main. What
events we pass through! I work much,
and we will soon start for Venice. Do you
still think you also will come? I should
be enchanted!
Yours,
Fortuny.
Rome, June, i8?j.
To Mons. W. H. Stewart.
My Dear Mons. Guillermo:—I have
received your two letters, and I am en-
chanted that the last little picture is to your
* The news was only too true; the crown was stolen;
the jewels alone have been recovered.
135
taste. I continue to work at the picture of
the Academicians and at that of the garden.
{The Academicians of Saint Luc examining
a Model, or La Modela, belonging to M.
W. H. Stewart, and the Garden of Area-
diens, belonging to M. Heerin.) Peten-
kofen has come here, and we have parted
very good friends. It appears, that my
painting pleases him; he has even wished
to see my most trifling sketches, and in re-
turn he has shown me nothing at all. It
is true that his family even do not see his
paintings, for he has, they say, a habit of
effacing all he does. A thousand thanks
for the advice you gave me in regard to my
money. As to the 40,000 francs for M.
Gibson's picture, if you do not wish to
take care of them, you can place them in
account current in any banking house you
please. Dispose of your true friend,
Fortuny.
Rome, July 12th, 1873.
To Mons. Le Baron Davillier.
My Dear Friend :—Two words only, to
136
tell you that the cholera is at Venice.
Here is the Official Bulletin of to-day. I
cannot then suppose the report not true.
Notwithstanding the pleasure I promised
myself in spending the summer with you,
I believe it would be better to postpone our
project for the present. At Rome we have
an atrocious heat, and my studio seems to
me an oven. Nevertheless I work on. Do
you think of visiting the Vienna Exposi-
tion? Your friend,
Fortuny.
Rome, Augustf 1873.
To Mons. Martin Rico.
Dear Martin :—We are not badly off
here, better than I hoped; and if the heat
is excessive, the house is cool. I paint in
the studio, and the evening in the garden
is very pleasant. I have already almost
finished the picture of La Modela. As to
the garden, the figures are well advanced.
I have painted some flowers of the natural
size from nature, and some trifling studies.
It won't do to speak of Spain, and I believe
137
it will be a long time before we can quietly
return there. With all that, I would prefer
to be there, for, frankly, I am ashamed to
be away under present circumstances. Do
you think of going to Vienna in September?
If it is possible, I would like well to see a
universal exposition once in my life. I do
not know whether you have received the
Illustrations of Madrid. The engraving of
the Moor Smoking has appeared, and you
can write on my behalf to Bernardo Rico
that I am well pleased. It is a pity that
he has worked so hard on a drawing already
old. Thine,
Fortuny.
Rome, August, i8?j.
To Mons. Le Baron Davillier.
My Dear Friend:—It is a long time
since I am without news of you, but I hope
that you are always in good health. I
have nothing of importance to tell you. . .
I can only tell you that, having determined
to pass the winter here, I have leased a
villa adjoining my studio, in order that I
18
138
shall lose no time, and utilize my mornings
and evenings, for I do not think any one
will come to keep company and gossip
with us. Therefore, J will commence in
the month of October the series of eaux-
fortes of which I have spoken to you. I
think, if circumstances permit, of going
to the Exposition at Vienna, passing by
Venice; you can tell me in that case if I
can be of any use to you. Has my friend
Simonetti been to see you on my part?
Take care of yourself and dispose of your
friend, Fortuny.
Rome, September jtk, 1873.
To Mons. Le Baron Davillier.
My Dear Friend:—I thought to send
you the eau-forte (portrait of Velasquez)
by the end of the month, but I could not
work at it these last few days, being very
busy in getting ready my winter quarters,
and in ornamenting my studio. I have
used for that, my stuffs, and other objects,
in order that I may have before my eyes
139
the little I possess. When all is arranged,
I will start for Venice or Vienna to idle
away a few days, while waiting for winter.
What have you new? A thousand thanks
to our friend Beaumont; tell him I have
received his letter and will respond to it.
Your friend embraces you,
Fortuny.
Rome, October 5th, 1873.
To Mons. Le Baron Davillier, Florence.
My Dear Friend :—I shall be very glad
to see you at Rome. It is two days since
I got back. I have been to Venice with
Rico, who ought already to be in Paris.
I hope you will come as soon as possible,
that we may be longer together.
Your friend,
Fortuny.
I arrived in Rome in the beginning of
October and found Fortuny occupied with
the preparation of his new instalment in
the Villa Martinori, for which he was about
leaving his little house in the Via Gregor-
140
iana above the Place cTEspagne, and of
which the situation was healthier. A stair-
case, which he had had built, put his studio
in communication with the new villa, which
he could, alas! live in but a year.
Rome, November i^tk, 1873.
My Very Dear Friend:—A thousand
thanks for your tracing of the handsome
swprd (of the fourteenth century). I shall
never complain of your sending me too
much, for I preserve, as if relics, these doc-
uments, which, as you know, will be useful
hereafter. I have candelabras in gilt wood,
would you believe it, of 1600? It is a pity
that they are not of bronze. I have bought
also, as you advised me to do, the sword
of Corvisieri which, by chance, is similar
to a dagger I have. We are already in-
stalled and perfectly comfortable. I have
a meadow, garden, and woods, and a door
of my studio communicates with the villa.
I work hard; in six days I have painted a
picture! I work much, and I find time for
everything; this is what it is to be well in-
I4i
stalled! Thus when you do us the pleas-
ure of coming here, we will have where-
with to offer you hospitality, if it is not
what you deserve, at least, it is a little more
comfortable than one small house in the
Via Gregoriana. Goyena has sent me a
beautiful present: it is a little Brasero^ in-
crusted with silver. A thousand things to
friend Beaumont; tell him I have at last re-
ceived the helmet, and that I thank him a
thousand times for the trouble he has taken
in cleaning it.
Your true friend,
Fortuny.
Rome, December Jth, i8?j.
To Mons. The Baron Davillier.
My Very Dear Friend:—Thanks for
your letter, and for the newspapers. I have
at last finished the portrait of Velasquez—
here is a bad proof which I have struck off
myself, and which will enable you to judge
of the impression, and of the tint most suit-
able for the plate. You will excuse me, if
my eau-forte has not had better success, but
142
you know that the good will was not want-
ing, and when you come to reproduce an
old picture, what with the restorations, and
the damages it has sustained, it is manifest
the original character may suffer therefrom.
After all, I believe it will not be the worst
of the portraits of Velasquez. Tell me
frankly if you are satisfied with it, and of
that you will give me proof, by asking me
for other work of the same kind. The cop-
per (plate) will leave here on the 9th, by
the French express, under care of a friend
belonging to our embassy. I am eager to
receive your Voyage d' Espagne, and to read
it from one end to the other. (Here follows
the description of a good many objects of
art, that Fortuny had in view.) I would be
well pleased with all I have described to
you, if I could have it amongst the furniture
of my studio, but that is not possible for
me. I devote all of my energy to painting—
my old mistress, who already pardons any
infidelities I have committed towards her,
and promises to reward me if I continue
true to her. Yours,
Fortuny,
143
Rome, December 30th, 1873.
To Mons. The Baron Davillier.
My Dear Friend:—I see with pleasure
you have already received the copper plate
of the Velasquez. I am much troubled
about what is going on in Spain. It
is a sad situation in which we find our-
selves, and I don't know how it will end.
What distresses me most, is that in Madrid
they amuse themselves just as if nothing
was the matter.
My father-in-law has bought me the hel-
met at the sale of Rosales. I know it, and
it is handsome enough. I believe it was
sold above its value, but I do not regret it,
because it will be for the widow's benefit.
Yours,
Fortuny.
The portrait of Velasquez, of which there
is mention in the preceding letter, is one of
the most beautiful of Fortuny's eaux-fortes.
I had told him that I have proposed to
have reprinted, and to translate, the only
copy (recently found in Spain) of a memoir
144
addressed to Phillip IV, by the great painter
of Seville.* He offered to place for me, as
frontispiece to the book, a portrait, at the
foot of which he added the dedication. He
made at the same time several other por-
traits of Velasquez, which have remained
until now unpublished, and which form a
very interesting part of his engraved work.
* Memoirs by Velasquez on forty-one paintings, sent
by Phillip IV to the Escurial; with introduction, trans-
lation and notes, by the Baron Davillier, and portrait of
Velasquez, engraved in eau-forte, by Fortuny. Paris,
Aubry, 1874, in 8vo.
VI.
JANUARY—JUNE, 1874.
Continuation of Fortuny's Residence at Rome.
Marvelous Adornment of His Studio—His
Opinion of the Roman Carnival—He Takes
Part in the Organization of a Retrospec-
tive Exposition—Departure for Paris—He
there Takes the "Academiciens of St. Luc"
and the "Rehearsal of a Play in a Garden."
Short Stay in Paris—Why Fortuny Never
Exhibited—Our Journey to London—Visit to
the Painter Millais—Projects by Fortuny
for the Future—Return to Paris and De-
parture for Rome.
THE letters of Fortuny will show him
to us, still working at his painting,
and always devoting his idle moments to
his passion for objects of art. It will even
be seen that he was nominated a member
of the Committee of Patrons, for an artistic
and industrial exposition, organized in the
ancient convent of San Lorenzo in Lucina.
19 (145)
146
He thus endeavored tu forget the disgust,
which he continued to feel for the new
Capital; not that he had not good and old
friends there, but different reasons, which
he has himself explained to us, did not
cease to increase every day his dislike for
Rome, and his desire to establish himself
in Spain. But his vast studio, where he
had arranged, with exquisite taste, his
splendid stuffs, his faiences with reflections
of gold, his ancient arms, and a thousand
other curious objects, made a veritable mar-
vel of decoration, and it took rank among
the sights of Rome, too often even it drew
upon him troublesome visits. His instal-
lation in the adjoining villa was almost
princely. He was petted and flattered by
everybody, notwithstanding that he was, as
he said, "worried without knowing why/'
Was it a presentiment?
Rome, January ist, 1874.
To Mons. Martin Rico.
Dear Martin:—We are at work just*
now, so I will not say much, but before we
147
go farther, and above all, we are well dis-
posed for our work. The picture of the
garden is almost finished, there is but the
background to do, which remains in white,
and I think of relieving it with ivy. I sup-
pose that will not please you, and I regret
it the more because you are in the right.
At last and after all it is a painting begun
in the open air and finished in the studio,
and we know what comes of that. It is ex-
tremely cold and the fountains in the gar-
den are covered with ice. Ferrandiz is
here, and has rented a small house along-
side of my atelier; so that he may paint in
the open air, he has built for himself a
sort of watch-box or confessional; and
you would laugh heartily in seeing him
thus at work.
Thine,
Fortuny.
Rome, January 22a1, 18
To Mons. the Baron Davillier.
My Very Dear Friend :—You will
perhaps think it is laziness that prevents
148
my writing to you; it is nothing of the
sort. During the day I work much, and
in the evening, at the hour I would like to
write, we are seldom alone, contrary to
what I desire. Friends and acquaintances
do not find my new house too far off. To-
day I take advantage of our being alone, to
write to my good friends in Paris. Here
there is nothing of particular importance.
I continue to work and with much ardor,
and also I do not think less about antiqui-
ties, ma mi risirvo for the time when I shall
have finished all my pictures. I have bought
in all three sword-knobs, of the same kind
as the one from Milan, which you brought
me, and, in addition, some medals. I wish
I could now see your book on Velas-
quez. Will you kindly keep some copies
for me, also three for my relations—Don
Federico de Madrazo, D. Luis et D. Pedro
de Madrazo. Thanks for the ancient paper
you have put aside for me. I have also
found some, and I have some sheets of the
fifteenth and sixteenth centuries. I am read-
ing Martial and he pleases me much—ob-
149
scenities apart. What curious things on
the manners and private life of the Ro-
mans! I have found in him some mag-
nificent subjects for painting, and I find
it strange that painters have not made
more use of these authors, to give to their
work the true impress of antiquity. How
do you like the shape of this sword? I
have made it of several pieces, but all an-
cient. (Here follows the drawing of the
sword.J Remembrances to all.
Fortuny.
Rome, February i6th, 1874.
To Mons. the Baron Davillier.
My Very Dear Friend:—I have re-
ceived your letter with the proofs of the
portrait of Velasquez. You will note my
remarks. If it was anything else in ques-
tion it would matter but little; but it is
about Velasquez. In comparing the proofs
you will see that the difference of the ma-
terial makes either a good or a bad impres-
sion. The signature of Velasquez seems to
me to come out well, but make them print
150
it in Bistre, to imitate the faded color of the
original ink. Tell me if the drawing of the
X-shaped arm-chair at the head of my let-
ter will suit you. I have reproduced all
the details from the manuscript of the
"Rhyme" of Petrach, and it is as exact as
possible.
Nothing new here. The Carnival con-
tinues to amuse the crowd; this year they
have suppressed La corsa de* barberi; it is
thus, little by little, all the ancient specta-
cles will disappear. There will soon be
opened the new Retrospective Museum. I
lately went there to hang some embroi-
deries, which I have lent, but as yet there
are few things of interest, and I much fear
the Roman princes will not lend anything.
In the first place, the location is bad in
every way. By all means it is well to make
a beginning, and when it is worth the trou-
ble I will take pleasure in sending you an
account of it. Simonetti has bought a very
well-preserved dalmatic; it is of the fifteenth
century, with ornaments and birds encircled
by designs in Oriental style, in blue and
i5i
gold. It seems that the antiquary, believ-
ing it to be of the seventeenth century, let
him have it at a bargain, and afterwards
sold the orfrois to Castellani, so that you
here see a fine object divided between two
persons. My remembrances to friends, and
Entirely yours,
Fortuny.
Rome, February 20th, 1874.
To Mons. W. H. Stewart.
My Dear Mons. Guillermo :—I have a
great desire to see you all, and had I not to
work so hard, I would make a trip of some
days to accompany my picture; but in
thinking well over it, I believe it would be
better it should go alone and be lost on the
journey—such are the illusions and the
hopes of success with which I send it. For
God's sake, don't fail to send me photo-
graphs of something good, for at Rome we
are in the dark. Here they see nothing—
they know nothing. I would also much
like to see something by Boldini; judging
from what little I have seen of him, he
152
knows what he is about. I found to-day
the card of Mons. M., who says he is one
of your friends. If he calls again, I will
receive him. While I am working I receive
only those persons who are recommended
to me by my friends. I believe Raymundo
has handed you the photographs of my
studio.
Your friend,
Fortuny.
Rome, February 20thy 1874..
To Mons. Martin Rico.
My Dear Martin :—Nothing new in our
life. I am tired enough without knowing
why. All the world amuses itself during
the Carnival and despoils foreigners. Many
masquerades and triumphal cars, with the
same characters and the same gilt paper as
last year. The grand fete of the Interna-
tional Club was without any art. The best
of all was that of Lenoir, which had some
success and was much applauded, a thing
that astonishes me, for these people under-
stand and love only what comes from them-
153
selves, and consider everything French to
be bad. I observe here a certain je ne sais
quoi, which looks like what was passing in
Paris before the war with Prussia, and I
much fear it will end in the same way.
There have been speeches in public, prophe-
sying war with France, and the police do
not interfere.
Thine,
Fortuny.
The two preceding letters betray the
vague despondency Fortuny felt. One can
perceive that the Roman Carnival, with its
masquerades of doubtful taste, was without
attraction for him; he, however, found the
way to make these popular fetes useful, and
to make a charming little panel from a bal-
cony on the Corso despite the noise of the
tumultuous crowd and a hailstorm of floured
confetti. A short time after he aided in the
organization of the Retrospective Exposi-
tion, of which I have spoken, and of which
he sent me a summary description.
20
154
Rome, March 28th, 1874,
To Mons. the Baron Davillier.
My Very Dear Friend :—I have received
the four copies of your Velasquez, and I
thank you much, also for having made men-
tion of me in your very curious introduc-
tion. You will understand that if I have not
written to you oftener, it is because I work
so much, and then in truth living retired,
as you know, I have but little news to tell
you. I wished to write to you at Madrid,
but I directed my letter to Barcelona, beg-
ging you to pay a visit on my behalf to
M. Lorenzale. Here they have inaugu-
rated the Artistic Industrial Museum, in
the Convent San Lorenzo in Lucina. It is
contained in five small rooms in the third
story. In my character as member of the
Committee of Patronage, I make you a
short description of what it contains:
Salle I.—Ancient furniture and articles in
carved work, some caskets ornamented with'
gilt plats of the fourteenth century; the re-
production of objects in the treasury of
Monza; some choir books of little interest,
155
and the curb-stones from a well in Byzan-
tine style.
Salle II.—Glasses of Murano; the Arab
cup that we know (here a slight sketch of
this cup); some dishes of Limoges enamel,
with a number of very fine figures; some
Italian and Spanish-Arabic Faiences; the
Basin of Castellani, described as siculo
arabe; some Greek vases.
Salle III.—Collections of modern Indian
jewels, of pendants, of Italian ear-rings; some
insignificant bronzes, etc.
Salle IV.—Ancient stuffs, that which is
the best is the mitre of Simonetti, a dalma-
tic, of which here is a drawing, and some
chasubles belonging to me.
Salle V.—The glasses of Salviati, and
Laus Deo, that is all—you see it is very
shabby for Rome—perhaps with time a
more interesting exhibition could be made.
I finish my pictures for Goupil in order to
be able to pass a less occupied summer.
I long to pay you a visit, and I will do my
best to do so, for it would in every way
suit me exactly.
Yours, Fortuny.
i56
Rome, April fth, 1874..
To Mons. the Baron Davillier.
My Very Dear Friend :—I have received
your letters, including that from Madrid,
and yesterday the new copies of your Ve-
lasquez, for which I thank you much.
They will suffice me, for if I do know
many persons here, true friends are not
very numerous; also I avoid giving away
the least thing, for there are those here who
would hurry off to sell it. I will tell you
by way of change that I continue to work,
but in truth, I already begin to be a little
wearied (morally) of the kind of art, and of
the pictures, that success has imposed upon
me, and which (between us) are not the
true interpretation of my kind of talent.
With the grace of God, and with the hope
that the result of my last pictures may
prove favorable, I think of taking a little
rest. I will do all in my power to pass
some days in Paris, and I would also like
to go to London to see the Museums and
to collect documents for my paintings.
Dumas, fils, came to see me in my studio;
157
he has much encouraged me, and, like you,
advises me to free myself entirely from all
influence of merchants and amateurs. His
visit gave me great pleasure, for I esteem
his ability highly. I am greatly pleased to
see you are working at your book on the
"Art of Glass" in Spain; without doubt,
it will be curious, and I hope, when I am
less busy, to make you some eaux-fortes.
Yours,
Fortuny.
Shortly after this letter he started for and
arrived at Paris on the 15th of May. He
took with him two important pictures,
which he had worked at for a long time:
The Academicians of Saint Luke choosing a
Model {La Mode/a) and Rehearsal of a Play
in a Garden {El jardin de los Arcades), two
compositions full of charm and originality.
In the first is seen a group of academicians,
in costume of the last century, examining
the model who is offered to them—a naked
young woman of slender form, poses, stand-
ing on a marble table. The artist has
158
placed the scene in one of the chambers of
the Colonna Palace. Among the academi-
cians, who are painted with wonderful fine-
ness, it is easy to recognize the portrait of
Lheritier, of the Palais Royal. One even-
ing Fortuny was present at a representation
of "La Cagnotte;" the face of this excel-
lent actor attracted him; he made a slight
sketch of him in his pocket album, which
he made use of afterwards, in making a
most striking likeness of this personage.
He sought inspiration from his friend
d'Epinay, the statuary, but without recall-
ing his features so exactly. When Henri
Regnault for the first time visited Fortuny's
studio, he greatly admired this picture,
which was then but a sketch. M. d'Epi-
nay, who accompanied him, told me that
by the side of the model was the old
mother, who, like an old witch, sat near the
table, knitting, while watching over her
spectacles the effect her daughter produced
on the old professors. This figure, he as-
sured me, was a master-piece; unfortunately,
Fortuny was not satisfied with it, and erased
159
it. The spirit of the composition, the
charm of color, the elegance of the details,
which take away nothing from the general
effect, all combine to make a charming pic-
ture, a marvel one never ceases to admire.
The characters represented in the second
picture are members of another academy,
that of the Arcadiens, founded in Rome in
1695 by the celebrated jurisconsul and
writer, Gravina. Les Arcadi, as they are
still called, for the society has not died
out, called themselves by the names of
shepherds and shepherdesses of Arcady,
and met together regularly in the Farnese
Gardens. The painter has placed the scene
in a garden, encumbered with a luxuriant
vegetation. (It is that of the Adarves at
the Alhambra, which inspired him.) In the
middle of the picture two Arcadiens (Ar-
cades atnbo), standing on an Eastern carpet,
rehearse a piece in which they are to play;
the shepherd reads his part with emphasis,
the manuscript in one hand, and with the
other he supports the shepherdess, who
faints away, a movement replete with grace
i6o
and abandon. These two characters, as do
those who look on at the rehearsal, wear
the costume of the last century. All in
this picture is painted in open air and with
exquisite delicacy, characters and acces-
sories; there is not a leaf, nor a petal, of
which the details are not given with a
minute reality, but which does not injure
the general effect, and one is dismayed in
thinking how much time such a work must
have cost the artist. The picture of the
Arcadiens had hardly reached Paris, when
it was bought by M. Heeren for 90,000
francs, a price by no means surprising, since
for the Spanish Marriage Madame Cassin
had paid 70,000. As to the picture of the
Academicians, it had for a long time been
promised to M. W. H. Stewart, and soon
occupied in his gallery the place of honor
reserved for it. It could there only, as
could also the Arcadiens, be admired but
by a restricted number of amateurs.
It is known that Fortuny never exhibited.
As more than once he has been reproached
for this, I ought to say that the true reason
i6i
which kept him from exhibiting was his
natural modesty, increased by the dread of
notoriety. For the rest, let us leave the
word with Theophile Gautier, who has
well explained the excellent reasons for the
absence of the artist:
"If exhibited at the Salon, as we hoped
they would have been, his paintings and
aquarelles would have made for him in the
course of a few days a popular reputation;
but the young painter, very wrongly we
think, did not wish to venture into this
great crowd of paintings, not from pride,
or as was said, to make a little sanctuary for
himself, but from true modesty, and the
nervous sensitiveness of an artist that would
be embarrassed with the thought, that dur-
ing the whole period of the exhibition he,
through his works, would be liable to the
contradictory judgments of the crowd.
Fortuny has had the happiness, so rare to-
day, of freely blooming in a mysterious
half light, distant from circles where criti-
cism flourishes. No advice, however good,
affected his first inspiration. He painted
21
l62
what pleased him, giving free scope to his
nature, and not having behind an eye
armed as with a magnifying glass or spec-
tacles, which curiously watches the grow-
ing work, and finds fault with it, even be-
fore it is finished. The thought of making
a sensation at the exhibition, the torment
of young painters, never occupied his mind,
and he never troubled himself to learn what
was the style of the day, or what kind of
subject was in fashion."
The last visit of Fortuny to Paris was
interrupted by a short journey I made to-
gether with him to London, and which
I should still less omit here, as it has not
been mentioned in any of the numerous
obituaries that have been written upon him.
It will be seen in the preceding letter that
he spoke to me of his desire to visit the
capital of England. Towards the end of
May he proposed I should go with him to
spend a week there. I accepted with eager-
ness, and we started on Sunday morning,
the ist of June, 1874. After a magnificent
passage we reached London, of which the
163
first sight seemed dull to Fortuny, and in
some degree reminded him of Gibraltar—
without the sunlight. It was the height of
the season, and we had to content ourselves
in a little chamber with two beds, in the
Spanish Hotel of M. Cortazar, near Oxford
St. Moreover we had reduced our baggage
to what was strictly necessary, firmly re-
solved to avoid all ceremonious visiting,
and to refuse all invitations. Our time was
to be devoted to monuments, museums, and
studies of fashion. The day after our ar-
rival a happy chance let us meet one of my
friends, the Rev. Frederick K. Harford, of
Westminster, who, with extreme politeness,
insisted on our visiting the wonderful
Gothic monument and all its details. After-
wards he presented us to Millais, who re-
ceived his young brother in art, with the
liveliest sympathy, and with that frankness
which is one of the bright sides of the Eng-
lish character. The celebrated painter,
even exacted from us the promise of another
visit for the year following. The thought
of another trip much pleased Fortuny. He
164
already wished to learn a little English, and
on our return we went to Truchy to buy a
guide to conversation and a dictionary.
He also wished to see two painters he had
known at Rome, Alma Tadema, and Leigh-
ton, but we did not find them at home.
During our stay in London, Fortuny had
almost constantly, according to his habit,
his pencil in his hand. We went out in
the morning, intending to pass several
hours at the British Museum, at South Ken-
sington, or yet again at the Tower, or at
the Indian Museum. In these different
places Fortuny found many things that in-
terested him much, especially arms and
armor; he also quickly filled his album.
When a visit too long continued at the
museums began to weary our heads and
eyes, we went to rest ourselves under the
large trees of Hyde Park, or to look at the
babies playing on the banks of the Serpen-
tine. Then followed visits to Christy's,
and excursions—unprofitable, it is true—to
the bric-a-brac shops of Oxford, or War-
dour Sts. The Zoological Garden so much
i65
interested Fortuny that we passed a whole
day there—where he found many subjects
for studies, and it is memorable that he
made there a delicious sketch from nature:
A group of babies, fresh and rosy, mounted
on a huge elephant; he purposed later to
make a picture of it. After having passed
part of an evening at the theatre, we retired
to our little chamber with two beds, ex-
hausted with fatigue, which did not prevent
our talking until late in the night. During
this trip of eight days we were not sepa-
rated for a moment, and Fortuny made me
the confidant, as he had already many times
done, of his dreams and of his designs for
the future. His fixed idea was, as his letters
prove, to put himself safe above want of the
absolute necessities of life, and to make for
himself an independence that would allow
him to paint what he would, as he under-
stood it. Cotno me de la Santisima gana—
he said to me; he wished solely to follow
his inspiration without busying himself
with the fashion in vogue, nor with the
wants of amateurs and dealers. He had a
i66
true passion for the fifteenth century, all the
beauty of which he fully comprehended;
he intended thereafter to attack subjects
belonging to this interesting epoch, which
he thoroughly knew, and of which the cos-
tumes and smallest details were familiar to
him. He particularly spoke to me of a
Borgian supper and other scenes, borrowed
from the time of the Italian Renaissance.
When we returned to Paris, Fortuny was
delighted with his trip to London, which we
would renew the following year. "I have so
many souvenirs in my head," he said to me,
"that it will take me months to think it all
out." Some days later, the 15th of June,
he started to return to Rome. I accom-
panied him as far as the Lyons depot, to-
gether with his brother-in-law, Raymundo,
and we embraced him just as the train was
starting, far from thinking we should never
again see a friend we loved so much.
VII.
JUNE TO NOVEMBER, 1874.
Return to Rome—Departure for Naples—So-
journ at Portici—The Pupils of the Academy
of Naples Come by Sea to Serenade Fortuny.
His Desire for Work — "The Beach at
Portici"—The "Two Children in a Japanese
Salon"—Numerous Studies—"The Butcher."
Last Drawings—Excursions to Amalfi and
Ravello—Fortuny Writes His Last Letter
to Me From Rome, November 2ist, 1874.
AFTER his trip to Paris and London,
Fortuny did not long remain at Rome.
After an absence of at least two months,
on again seeing this city, his feeling was
one of great vexation, and his constant
thought was to leave it as soon as possible.
He was anxious to escape from the atro-
cious heat of Rome, which from the begin-
ning of summer had parched up his gar-
den, neglected, moreover, by the people of
the house, and which he compared to those
(167) •
i68
small landscapes made of cork. He de-
termined a few days after his arrival to
leave for Naples, with his wife and children.
Rome, June, 1874.
To Mons. Martin Rico.
Dear Martin:—Here we are back at
Rome, more ennuied than ever; I confess
to you that this time the town is as hateful
to me as it is to you. Add to this, that
since I am here, I have not been able to
sleep, whether it is on account of the heat,
or because I am suffering from a cold and
irritation of the bronchial tubes. You will
have learned from Goyena a part of the
tittle-tattle of Paris about the sale of my
pictures. They have been well sold, and
in such a way that I am satisfied, forget-
ting the bad times I went through at the
beginning. We think to start soon for
Naples, and afterwards to go to Venice, if
you are still there. I do not expect to
commence anything immediately, besides
I could not work in my studio, which is
like an oven; then the gardener has so
169
neglected the villa, that for want of water-
ing there is no grass; it is like a desert
scorched by the sun. Decidedly, these
people are sluggards, and I comprehend
the Romans and their slaves and the whip
at will. Thine,
Mariano.
Rome, June, 1874..
To Mons. W. H. Stewart.
My Dear Mons. Guillermo:—I have
much regretted that I did not see you the
last day I was at your house. When you
came to say good-bye to my wife, she told
me you were not at home; I thought I would
be able to go there in the evening, but
that proved to be impossible. It was nearly
the same thing with Goyena and Davillier,
whom I could not find at home, but whom
I saw later. I repeat how much I regretted
not being able to find you, because I wished
to speak at length with you, and to trespass
on your kindness and frankness in asking
from you advice for the future, now that I
have returned to Rome, and quietly think
22
170
upon my trip to Paris. I perceive for how
much I have to thank you, my dear Mons.
Guillermo, also my friends Goyena and
Errazu. I learned at the last moment that
the two pictures that MacLean bought of
me were for Mons. Murrieta, of London,
whom, without doubt, you know. I have
been asked if I would let him have another
picture, because he is building another
gallery for himself, in which he reserves a
good place for me. You should now be
enjoying delightfully cool weather at Paris,
or at Trouville, but here we are scorched;
you cannot imagine what the heat is at
Rome: our garden, thanks to the careless-
ness of the people of the house and the
gardener, looks like landscapes made of
cork, and the grass is like tinder. We
cannot sleep at night, and I take advantage
of that to write to you. We leave in a few
days for Naples to let the children have
sea-bathing; afterwards we go to Venice to
join Rico and Raymundo.
Your friend,
Fortuny.
i7i
After passing a few days at Naples, For-
tuny concluded to rent a country house on
the sea-shore, known as the Villa Arata.
He found there very comfortable accom-
modations, as will be seen by the following
letter, in which he also tells us of a very
picturesque serenade which the pupils of
the Academy of Naples gave him.
Portici, August fth, 1874..
To Mons. Martin Rico.
My Dear Martin:—We are here for
the last fifteen days, comfortably installed
and bathing in the sea. I am well pleased
that I decided to come here, as it is very
convenient for summer quarters; there is
no suffering from heat, thanks to the de-
lightful coolness of the sea breeze, and be-
sides we go from our house to the sea
without being annoyed by any one. Life
is comfortable and cheap. The inhabitants
are good people enough, which is not
always the case in this country; the result
of all this is I work but little. I have seen
some things that you would know how to
172
paint, so I shall leave them untouched until
you come. I have begun a subject seen
from the house. I do not wish to undertake
anything immediately, in order that I may
be entirely free this winter, and to be able
to devote myself to my pictures at Rome.
In the evening of the day before yesterday,
the pupils of the Academy came to give
me a serenade, after the fashion of this
country. There were about forty of them
with reed instruments, tambourine and zam-
botnbas, as in Spain. It was very peculiar
in tone and very fantastical; afterwards
they sang in a serious strain, but it was no
longer that. I have a very good picture
by Morelli, The Resurrection of Jairuf
Daughter. Thine,
Mariano.
To Mons. Martin Rico.
Villa Arata, 485 Corso Garibaldi, Portici.
Dear Martin:—I have begun a sea-
piece!! I don't know how it will turn out;
and also studies of my babies, to give to my
father-in-law, if they are successful. I have
173
discovered a very fine half-length figure by
Morelli, and I will see if I can get hold of
it—it has been sold for 1,000 francs.
Thine,
Mariano.
M. Domenico Morelli, Director of the
Academy of Naples, was one of Fortuny's
best friends, whom he had known for more
than ten years. Fortuny often spoke to me
of this distinguished painter, whom he
highly esteemed personally, as he also did
his talent.
The following letter, addressed to one of
his countrymen, alludes to certain persons,
who begged him for some of his works, and
who immediately hurried off to sell them.
Fortuny has often told me how he felt this
want of delicacy:
Portici, August 5th, 1874.
To Mons. Antonio Sistere.
My Dear Friend Sistere :—I received
your letter last evening, and I thank you
much for your thoughtfulness in informing
174
me of the sale of the studies of which you
speak, and which I remember well. I re-
gret only that these should be works of no
importance. I have given souvenirs to
many friends—and enemies—who have sold
them—but you, you have always acted with
delicacy; therefore I repeat, I am very
grateful to you. As I perceive that you are
interested in my progress, I will tell you
what I have done, and never more than to-
day have I been anxious to produce some-
thing excellent. There was some merit in
my two last pictures; but as they were
made to sell, they had not the true stamp
of individuality, compelled as I was to deal
with the taste of to-day. But now I am
fairly in the saddle, and can paint for my-
self, and according to my taste, all that
which may please me. It is this which
gives me hope of progress, and that I may
show myself in my own form.
We pass the summer at the foot of Ve-
suvius, working as much as is possible.
From time to time news comes from Spain
to disturb our quiet. God grant that this
175
horrible state of affairs may soon come to
an end. Your friend embraces you.
Fortuny*
P. S.—I will send you the photographs
of my pictures when made.
Portici, August, 1874.
To Mons. the Baron Davillier.
My Dear Friend :—I learned from Rico
that you were in the country, and I write
that you may not think I have forgotten
you. It is already a month that we have
been here, near Herculaneum, on the slope
of Vesuvius, enjoying this lovely country,
and taking sea-baths, which, more than any-
thing else, brought us here. As the so-
journ here is very pleasant and comfortable,
we will remain until the middle of October.
I will afterwards go to Venice to catch
Rico, and to make some studies. I have
very little new to tell you, for we live very
isolated, and do not even get the newspa-
pers, moreover the news from our country
is every day more sad. I busy myself with
176
my work only, and I believe I shall do well
by my stay in the country. I have already
two pictures, one of which gives me good
hope. In the way of objects of art, I have
bought nothing as yet. Do you know San
Domenico Maggiore? It is a very interesting
Church, on account of its tombs of the
twelfth century, and of its sarcophagi, in
which are preserved the remains of sundry
personages; some of them are of the fif-
teenth century, with shields embellished in
the same style with those Catholic kings.
In one of these tombs the sword is hung
beneath. In another is found the body
(perfectly preserved) of the Knight Al-
phonso, of Arragon; his costume is very
curious, because it proves that the same
regular folds, observed in certain statues of
that date, are the truth itself, and were
stuffed with tow. I will make a drawing of
it to send you. Did I tell you in my last
letter that a friend had bought for me at
Granada, an Arabian cloth? It is of a
charming pattern, of exquisite taste, and
177
without doubt of Granada manufacture.
Friendship for you and for Beaumont.
Fortuny.
Portici, September 4.tht 1874..
To Mons. W. H. Stewart.
My Dear Mons. Guillermo:—We are
here for the last two months, sea-bathing
and enjoying this beautiful country. Our
life here is so monotonous—the principal
distraction, both for the big and little ones,
is Pulcinella.
Your friend,
Fortuny.
The Neapolitan Punchinello, before which
is seen a group of ladies and children, is
the subject of a charming pen-drawing,
which figures in this letter; it is moreover
enriched with two other sketches, dashed
off with remarkable spirit; the first is a
view of Portici, with Vesuvius in the dis-
tance; the second, two children on the sea-
shore. Fortuny afterwards wrote to one of
his countrymen, settled in Rome; the pros-
23
i78
pect of returning to that city already fright-
ened him.
Portici, Septembery 1874.
To Mons. Maragas.
Dear Friend Moragas :—We are always
very well in this magnificent country, where
subjects abound. I have worked hard, and
I trust have not wasted my time. I regret
having to return to Rome for the winter,
for we are much better off here, where,
above all, I can find new subjects to paint.
Your friend,
Fortuny.
Portici, September i6thy 1874..
To Mons. the Baron Davillier.
I have received, my dear friend, your
long letter, which has made me pass some
very agreeable moments. Here we con-
tinue the same kind of life, I working as
much as I can, for it is my sole pleasure.
The rest of the family continue their sea-
bathing, and find much benefit therefrom.
I have received lately good news on the
179
subject of my pictures, of such kind that it
is not impossible that in two months hence,
I may pay you a visit. I have felt these
last few days, reviving in me, symptoms of
my passion for old curiosities; but I have
the strength of will to stifle these tempta-
tions to infidelity; but all the time the fire
smoulders under the ashes, until I shall
have more leisure. You will see, as it were,
a reflex of these trifles in this letter, in
which I send you the sketch of an ivory
casket, which, to tell you the truth, does
not inspire me with much confidence. A
friend has sent me from Assise, for my fete
day, some fragments of arms of trifling
value, but of great interest to me; a sword-
knob, and poniard, which was found buried
in a skull—I believe of the fourteenth cen-
tury (the sketch follows). I have received
another pretty present; it is a casket of
bronze of the same epoch, and in good
preservation.* Tell me something about
* This letter contains two drawings of this casket, that
Madame Fortuny presented to her husband on the day of
his fete, and which she has kindly offered to me, in re-
membrance of my friend.
i8o
the Exposition of Costumes. You can see
by the little news I give you that we lead a
very quiet life.
Your friend,
Fortuny.
Portici, September 29th, 1874..
To Mons. The Baron Davillier.
My Very Dear Friend :—I do not in-
tend to-day answering your long letter; I
only mean to ask from you and Beaumont
an opinion of a sword, which one of my
friends possesses (the drawing of the
sword follows). It seems to me handsome
enough, but nobody better than you can in-
struct me on this subject. We expect to
remain here until the end of next month,
and then return to Rome. If my trip to
Paris does not come off, I intend treating
myself to a little excursion to Venice. I
expect to write to you more at length one
of these days.
Your friend,
Fortuny.
i8i
Portici, October, 1874.
Mons. Martin Rico.
Dear Martin :—Are you satisfied with
your pictures? What is the news at Paris
in the painting line? How are our friends?
We are still here, but for a short time only,
which I regret the more, because I certainly
work here more than at Rome. Since I
am no longer going to Venice, I will per-
haps go to see a little village near here,
very picturesque, it seems; and report says
it is the most beautiful in Italy. Davillier
also knows it, and advises me to go there.
Remembrances to all.
Thine,
Fortuny.
Fortuny, indeed, gave up his visit to
Venice. For the three months that he was
installed at Portici, he had worked with un-
common energy. Besides the two import-
ant pictures, the description of which I will
give the reader as Fortuny gave it to me—
a description in itself a little masterpiece—
he had begun a great number of studies, of
182
which a part, unfortunately, remain unfin-
ished. I ought here to make some remarks
about one of the pictures to which Fortuny
alludes in the following letter—" a canvas/'
said he to me, "which I will endeavor to
sketch out before my departure,', taking
care to add, "but it will not be for sale, for
nobody would buy it." The canvas in
question remains unfinished. I do not
know how better to give a true idea of it,
than to borrow the description of it from an
excellent article recently published in the
"Official Journal," by M. Emile Bergerat.
"An exquisite sketch, and one which
will become celebrated. It is ' The Butcher.'
Before a white wall illumined by a ray of
blinding sunlight, and splashed with blood,
a slaughtered ox is stretched out; naked
children are sitting on the beast; various
pieces of meat, red, pink and brown, are
hanging on the hooks of the stall; and to
the left the butcher, with his close-shaved
head, bluish in color, smiles at his knife as
he wipes it. No description can possibly
render the splendor of this study, which
i»3
will forever remain a masterpiece of paint-
ing." But let us permit Fortuny to speak:
Portici, October gthy 1874..
To Mons. The Baron Davillier.
My Very Dear Friend :—I regret much
to learn that you have been suffering, and
that I have not been in Paris to keep you
company, for if lacking wit to amuse you,
I could at least distract you, by prattling
about old curiosities. On the subject of my
works, I will speak only of my picture,
which is 1 metre, 37 centimetres long, by
om 72 high. There are a good many
figures, and I don't exactly know what to
call it, as it is in some degree an epitome
of my summer's life. Could I not call it
Villegiature—" Country Life?" In fact there
are women on the grass, bathers who are
taking headers into the waves, the ruins of
an old castle, the walls of a garden, the en-
trance into a village, etc., etc. All that in
bright sunlight, not a single ray omitted;
everything is fair and gay, and how could
it be otherwise, since we have so happily
184
passed our summer? My picture is not
yet finished; it wants a month's work yet.
I have commenced another, a smaller one,
with portraits of my two children, and be-
sides a number of detached sketches, as
well as two aquarelles—one tolerable, the
other bad. I have in view several other
things, one especially, that I will endeavor
to sketch before my departure, but it will
not be for sale, for nobody would buy it,
only I will take the luxury of painting it for
myself; it is in this that true painting con-
sists. As to business matters (permit me
to speak of them to you, for we have often
talked about them, and I think our friend-
ship authorizes me to do so), my prospects
look well. I say well, for I am already
offered 75,000 francs for the picture of " The
Beach at Porticithere are two bidders;
one of them is here from Paris, and the
other has written to me. I believe you know
them.
I have always forgotten to speak of
the altercation I had on your account,
with a Sicilian collector of a1'hispano-arabes
i85
on my arrival. Speaking of the obscurity
that exists on the question of siculo arabes,
he began by telling me it was very clear to
him that in your work* were many errors
in relation to Sicily; to which I replied that
I would not answer, not being sufficiently
well posted. But I was not long in per-
ceiving that he was very ignorant in regard
to antiquities, and started the question of
stuffs, by asking him if he had any of siculo
arabes. He replied affirmatively, and men-
tioned especially altar-pieces ornamented
with coral of the Norman period, and of
other objects of the same kind. As I told
him that I was a great lover of antique
stuffs, he arrived shortly afterwards with a
Norman altar-cloth ornamented with coral.
Never in my life have I seen anything more
odd or more vulgar. It seems impossible
that there should be persons who, without
having the slightest knowledge of the fash-
ions and characteristics of different epochs,
dare to judge and purchase objects of art.
* " History of Spanish-Moorish Faiences," Paris, 1861,
in 8vo.
24
i86
So, when he returns, I shall persuade him
to write a book on the hispano-arabes.
Would not that give us a hearty laugh?
A friend who has been to La Cava, near
Naples, told me that he had seen in the
Church some very ancient manuscripts; if
I have the time I will go there to see them,
and at the same time to see the country,
which is very picturesque. I can no longer
recall the name of that old and curious
place of which you spoke to me. Is it
Amalfi? Your friend,
Fortuny.
The curious and ancient place of which I
had spoken to Fortuny, is Ravello, a village
situated on a height, a short distance from
Amalfi. He made a short excursion there,
in company with his countrymen, Tapiro
and Ferrandiz. The time for leaving Por-
tici drew near, and, as will be seen by the
following letter, it was with regret that
he concluded to pass the winter in old
Rome—" la vieille Rome
187
Portici October ijth, 1874..
TO MONS. GOYENA.
My Dear Goyena :—I have had news of
you from friend Davillier. I do not know
what errand calls you to Seville, only amuse
yourself well, and think sometimes of poor
painters, obliged to pass the winter in old
Rome. It is a century since I have had
news from Rico. I should like to go to see
him at Venice. I have also a great desire
to go to Sicily to see the pendant to my
Moorish vase, but I do not know whether I
shall have time, wishing to finish my pic-
ture by the end of the year. You have
then had a good vintage? I regret not
being an amateur, that I might ask you for
a few bottles of your wine. I have worked
enough, and as you certainly will not see
my pictures, since you do not think of going
to Paris, I will send you sketches of the
most important—(important relatively). I
have a number of rough outline sketches
and studies, which do not count. This
province is the most beautiful part of Italy;
it is very like Andalusia, but with more va-
i88
riety. Thus it has compelled me to work
and to abandon the desire I had to pass my
summer on my back. A young Neapoli-
tan of much talent, has undertaken to make
my bust; he has succeeded well enough,
but as the likeness does not please me, I
reserve it for a bird's nest, when I shall
have my studio at Seville. I send you a
sketch of it. Your friend,
Fortuny.
The sketch named in this letter, for
which I am indebted to the politeness of
M. de Goyena, is one of the two portraits,
the fac-similes of which are given at the be-
ginning of this book. The other is repro-
duced from a drawing belonging to M.
Federico de Madrazo, who has kindly sent
it to me from Madrid. Fortuny had sent
to several of his friends sketches from his
bust, made in terra-cotta by the Neapolitan
statuary, Gemito. The same letter con-
tains two charming pen drawings, one
representing the picture of the "Beach at
Portici" or "Country Life," as Fortuny
189
called it, and of which the description is
found in his letter to me of the 9th of
October. I have had this drawing en-
graved for the catalogue of the sale, which
takes place on the 26th of April of this year,
(1875) when will be dispersed forever the
works of this great artist. The other draw-
ing enclosed in the letter addressed to M.
de Goyena, of which I give the fac-simile,
represents two children in a Japanese Salon,
after a picture which, unhappily, remains
unfinished. Fortuny has painted this pic-
ture lovingly. His two children, Maria
Louisa and Mariano, had served him for
models.
Rome, November ylk, 1874..
To Mons. Le Baron Davillier.
Dear Friend :—Occupied with prepara-
tions for our return to Rome, I have neg-
lected writing to you sooner. I am glad
to hear that you are better. Here I am
again in the Eternal City, vexed and
wearied, without wish to paint, and a head
as empty as a nest without birds. Doubt-
190
less they have flown away to Portici, where
I spent the summer so pleasantly. It is a
peculiarity of mine, and I have remarked it
for some time past, that nothing more dis-
gusts me with art than to find myself in an
unartistic circle. When, on the contrary,
I am in a place where there are no other
pictures than those painted by the under-
signed (it is of himself he speaks), I in-
stantly feel faith and enthusiasm, such as I
had at fifteen years. And when I think
that there are those who believe that one
cannot paint except in Paris, Rome and
London!
Let us speak of other things. You
must know, then, that I have seen and
drawn some Arabian dishes, without doubt
made in Spain, which date at least from the
thirteenth century. It is very curious for
us, at least for me, because they are much
more typical and much older than those of
the Cluny Museum. They are of a pre-
cious rare design, and of purer style than
any we have seen; unfortunately the bot-
toms only are left, and one can see they
igi
have been cut, in order to place them where
they are. You have doubtless seen them,
but without remarking them, for they are
mixed up with surrounding Mosaics. I
will reserve for my next letter their where-
abouts and the drawings of them; mean-
while guess! When I tell you they are
very beautiful, I know what I am saying.
Dreyfus has been to see me, with an-
other amateur of ancient stufiTs. He spoke
to me of you, also of a Persian carpet, which
is for sale, and of which he has promised to
send me a photograph. You will buy it for
me if it is possible.
Something else. There is a
here who goes about hunting documents
and notes of information for my biography,
making use of my model (Arlecchino),
whom he pays 20 francs per sitting. Im-
agine what stupidities he will tell him, in
order to make the job last as long as pos-
sible. I could not drag the name out of
him, for naturally he fears to lose this
streak of luck, but it seems ridiculous that
since the question is about me, and I in
192
Rome, they should go to others for partic-
ulars.
As for the subject of my works, I have
nothing new. I had thought of making a
journey of a few days to Milan and Venice,
but it was not possible. I was obliged to
go to work for Du Boullay, and do for
him what I had promised to do in ex-
change for his carpet. Send me news of
yourself and tell me how the season looks.
Your affectionate friend,
Fortuny.
I had other things to write to you about,
but it is very late and they will do for my
next.
Fortuny left Portici on the 1st of Novem-
ber, and arrived at Rome on the 6th. The
day after he took his pen to give us news
of himself, as seen in the above letter, the
last, alas! he wrote. It plainly shows the
despondency he felt on his return, bearing,
as it were, the stamp of a fatal presentiment.
A few days after, the 14th, he felt unwell,
193
and soon went to bed. It was thought his
indisposition was but a slight one, and he
himself did not suspect the gravity of his
case. He made, without leaving his bed,
some pen drawings, particularly some after
the casts of Beethoven. On his return from
Portici he had gone to work (in spite of the
despondency he felt) to paint in his garden;
continuing at work until dusk, notwithstand-
ing the risk he ran in remaining so long in
the open air, on low ground near the Tiber,
and still damp from the torrents of rain of
the preceding week. His illness was, how-
ever, very serious; it was the return of an
attack of pernicious fever, from the ill effect
of which he had already suffered in 1869,
and which, was complicated by ulceration
of the stomach. However, the physi-
cians did not yet despair, but unhappily
the disease rapidly grew worse, notwith-
standing large doses of quinine, and For-
tuny died on the 21st of November, 1874,
at six o'clock in the evening, suffocated by
vomiting blood. The news of the death of
the great artist was as a thunderbolt in the
25
194
city. He was so beloved that no one could
believe in such a loss. It was a general
mourning.
It is necessary to go back as far as the
fatal 6th of April, 1820, to find so great an
impression produced in Rome by the death
of a young painter. All contended for the
sad honor of bearing the coffin to the church
of Santa Maria del Popolo, and thence to the
cemetery of San Lorenzo Fuori. The Syn-
dic of Rome, the Spanish Ambassador, the
Director of the Academy of France, and
the Director of the Academy of Naples,
were selected for pall-bearers.
Fortuny was above middle height, ro-
bust in appearance; the frankness and
truthfulness of his character were re-
flected in his face, which was both hand-
some and sympathetic. He had a hor-
ror of etiquette and ceremony, and his
natural timidity made him reserved, one
might almost say a little rough, with those
whom he knew not intimately, showing
himself, on the contrary, very genial with
those he loved, avoiding trivial talk and
195
giving a serious turn to conversation. Sur-
rounded by numerous flatterers, he distin-
guished, with extraordinary tact, true and
disinterested friends, from egotists, specula-
tors, and false brothers in art. As for him,
he was the truest and most devoted friend
a man could find; he despised envy and
never descended to a feeling so base.
Fortuny had for music a very good and
correct taste. Mozart and Beethoven were
the masters he most admired. He loved
reading much, especially the Latin histori-
ans and poets. His passion for curiosities
is known. His collection, had he lived,
would soon have become one of the most
remarkable in Europe. His manual dex-
terity was marvelous, as the Moorish sword
forged by him shows, of which the handle,
inlaid with silver, and carved in ivory,
equals the most beautiful ancient work. I
have not the knowledge necessary to judge
of the talent of Fortuny. Everyone knows
that his individuality was very marked. If
he had many imitators, it can be said he
never sought to imitate anyone. I will add
196
nothing, then, to what Theophile Gautier
and Henri Regnault have said. Many con-
temporary artists (I speak of those who
hold the first rank) share their appreciation,
and, doubtless, posterity will confirm the
judgment they have given of one of the
most extraordinary painters that ever lived.
REMINISCENCES AND NOTES.
THE following additional reminiscences
and notes were given to me by my
fellow-townsman, Wm. H. Stewart, of Phil-
adelphia, Pa., the intimate friend and first
American patron of Fortuny. As they
may prove of interest to the general reader,
I give them. He says:
I heard of Mariano Fortuny for the first
time in January, 1868, through Edward
Zamacois, the much lamented and talented
artist, who died at Madrid, January 12th,
1871, at the early age of twenty-nine.
He it was who took me to the Messrs.
Goupil & Co., No. 9 Rue Chaptral, Paris,
to see some ten very fine water colors, and
pen and ink drawings, just received from
Rome, with Fortuny's signature. Four of
these were immediately secured by me at a
very modest price, and two or three months
later Zamacois brought me word from these
(i97)
198
3
dealers, that they had an oil painting by
Fortuny, and I must at once go with him
to see it.
We started on the instant, and found, at
the Rue Chaptral, the Fantasie Arabe. My
companion went into ecstacies, calling it
"fire-works," "a pearl," "jewels," etc., at
the same time whispering to me to buy it,
and not to let it slip at any price. The sum
named was comparatively trifling, and this
fine work became mine.
I then determined to visit Rome and
make the acquaintance of Fortuny, and in
December, 1868, induced Zamacois, our
common friend, to join me, telegraphing
the artist in advance to engage rooms
for us. I took with me a little painting by
Meissonier, entitled Suite d'un Jeu des
Cartes, as Fortuny had requested his
brother-in-law, Madrazo, I should do, hav-
ing seen, up to that time, only photographs
of this great master's works.
On our arrival in the Eternal City, we
found him awaiting us at the railway depot,
and were then conducted to the apartments
199
he had engaged for us on the Corso, not
far from his own residence. His reception
of me was extremely cordial, frank and
open, for which, doubtless, I was indebted
to Zamacois, of whom he was very fond.
He soon took me into his intimate friend-
ship, which terminated only with his death.
In person, Fortuny was the beau ideal of
an artist, in the full vigor of youth, with
the build and strength of an athlete, and
rather above the medium height. His head,
perhaps, was a little too large, but highly
intellectual, and covered with a profusion of
dark brown curly hair, and his eyes were a
clear violet color, having a most anxious,
inquiring expression. In manner, he waS
quiet and serious, but of an affectionate,
gentle and most generous nature. Simply
because I had complied with his modest
request, in taking with me to Rome the
little Meissonier painting mentioned above,
he painted for me an aquarelle, called An
Arab Street, dedicated it to me as his friend,
and it is now considered one of the finest
gems in my collection. Henri Regnault
200
served as a model for its principal and cen-
tral figure. He obtained for me also
another beautiful water color, which was
nearly finished and on his easel, having
been painted for d'Epinay, the French
sculptor. This, and the Arab Street, I car-
ried back in my trunk to Paris, and would
have been pleased to have taken everything
he had.
The Vicaria, or Spanish Marriage, was
begun. I was not able to get it, as he was
under contract to the Goupils, but he
promised to finish the Academicians Choos-
ing a Model, which I gladly accepted in its
stead, and have congratulated myself ever
since, on its acquisition.
Some of the incidents of our stay in
Rome, will tend to prove the admiration
in which he was held by those eminent
artists, Zamacois and Regnault. The latter
asked him why he never exhibited in the
Paris Annual Salon, and he replied: "I
have never anything worth the showing,
and I am not a Frenchman, but why don't
you?" "I have nothing," answered Reg-
201
nault. "Then," said Fortuny, "go and
ask d'Epinay for the head you gave him,
it is excellent. You can add some canvas
and make a capital picture."
Regnault took his advice, got the head
and carried it to Spain, and the result was
the now celebrated painting, known as
Salome, which he exhibited the following
year, with his portrait of General Prim.
One day while we were in his studio
watching him at work, he asked Zamacois
to paint something for him as a souvenir
of his visit. Zamacois began at once on a
small panel the figure of Arlequino, For-
tuny's favorite man model, and after work-
ing three or four hours and scratching out
as many times, he gave up in despair, threw
the little board into a corner and said to
me: "Don Guillermo, no puedo mas!" (I
cannot do any more.) We went into the
garden, and Zamacois exclaimed: "I can
now breathe freely, but I cannot do so
where Mariano paints! He absorbs all the
light, color and air; in fact, he is enough
26
202
to disgust one with one's own work, for he
is the only one who can paint!"
On this same garden opened the studios
of Moragas and the Duchess Casteglione
Colonna. The latter, known in art circles
as Marcello, the sculptress, professed the
greatest admiration for Fortuny anji profited
largely, by her proximity to his studio and
the advice given therein. This may be
seen in her bronze statue of a Fury under
the main stairway of the Paris Opera House.
As stated by Davillier, in the spring of
1870, Fortuny came to the French capital,
and installed himself and family in the
Maison Valin, on the Champs Elysees.
Here he finished the Vicaria, and his three
most important aquarelles, The Reader; The
Turkish Carpet Dealer and the Torrero.
While at work on the Vicaria, the artist
Meissonier dropped in to see him, just as
he was in need of a suitable model for a
cavalry officer, whom he wished to intro-
duce into the picture. Hearing of his
want the great French artist said: "lam
the only man who has the proper legs for
203
the character you need, and if you will
come out to Poissy I will serve as your
model."
Fortuny accepted, went to Poissy and
painted to the life this wonderful man. I
am the happy possessor of this remarkable
and curious portrait of Meissonier by For-
tuny, through the generosity of his widow,
who presented it to me, after her husband's
death. The fact that Meissonier served as
a model to the younger painter reveals the
former's admiration, and that he was seri-
ously impressed by this great genius, can-
not be doubted.
A strange and sudden death occurred at
the Maison Valin, while Fortuny was stay-
ing there. Canaveral, a friend of his, came
from Spain, with about one hundred old
paintings and some drawings, and went to
the same house. Fortuny, assisted by Za-
macois and Rico, endeavored to clean and
arrange these paintings for exhibition, so
that they might be sold for the benefit of
his friend, but for a fortnight no purchaser
appeared. At last a well-known dealer
204
called, and fell dead, while looking at the
collection, and poor Canaveral failed to
effect any sales. If I had not bought from
him a very beautiful aquarelle, painted by
our artist, and doubtless a present to his
old friend, Carnaveral would have been
without the means to return home with
his pictures.
At that time I was residing in the Ave-
nue d'Jena, and I shall never forget the day
of Victor Noir's burial. He had been killed
a few days before by Prince Pierre Bona-
parte, at Auteuil. It seemed as if the en-
tire working population of Paris had turned
out, dressed in clean blouses, and armed
with implements of their different trades, to
do honor to the dead, or mischief to the
living, who might oppose their demonstra-
tion. I started from home about ten in the
morning, to go, with Zamacois and Fortuny,
on a visit to Meissonier, at Poissy. We met
this crowd of ill-disposed operatives, march-
ing toward Neuilly, the residence of the
mother of the deceased. Returning to
Paris at 4.30 p.m., we parted with Zama-
205
cois at the St. Lazare Station, and Fortuny
and I, taking a cab together, started for
our homes, but on attempting to cross the
Champs Elysees, near the Palais d'Indus-
trie, we were prevented by a large body of
cavalry and artillery, which occupied the
space from the Rond Point, to the Place de
la Concorde.
Facing this military mass, was another,
of nearly 100,000 blouses, filling the Ave-
nue des Champs Elysees as far as the Arc de
Triomphe, and far beyond, into the Avenue
de la Grande Armee. Arm-in-arm they came
marching towards the troops, singing the
Marseillaise, and headed by Henri Roche-
fort, who was riding in a cab. It appears
that he had fainted, once or twice, during
the day, from excitement or from fear of
failure in his undertaking, which was to
conduct the crowd past the Tuilleries
Palace.
We were, of course, obliged to make a
great detour, in order to reach our homes.
This was the beginning of the end of the
Second Empire, which was overthrown on
the 4th of September following.
206
About this time, my wife, being anxious
to have a portrait of me by Fortuny, asked
him to paint one. He immediately said he
would if she would let him have his paint-
ing of the "Antiquary." Taking this with
him, he obtained a photograph of me, and
a few days later returned the painting with
my portrait introduced, which is considered
by artists and friends, to be a most striking
likeness. This same picture of the "Anti-
quary" he had given, a year or two previ-
ous, to Capo Bianchi, the dealer in Rome,
in exchange for an Arab gun and a broken
Venetian glass, these articles being worth
about 200 francs.
Madrazo and I have often remarked that
what seemed to strike strangers, on enter-
ing Fortuny's studio, was himself, more
than his work. The living picture was
really interesting: one could not fail to be
impressed by that fine intellectual head,
with its regular but expressive features,
his appearance of full vigorous health, and
his becoming, careless dress. His wife, in
the bloom of her youth and beauty, seated
207
by his side, and mending an old piece of
tapestry, while he painted, lent a charm to
the picture, well calculated to draw one's
first glances from even his brilliant crea-
tions.
Many of his evenings were passed at our
house. He was fond of music and conver-
sation, to both of which he was an attentive
listener, though preferring often to be draw-
ing, in which he frequently indulged when
with us. He would sometimes take away
with him a photographic portrait of some
head or person, which happened to strike
his fancy, and copy it most exactly in India
ink or sepia. In this way, I have the like-
ness of one Amos Foster, known at Torres-
dale, Philadelphia, as "Bos"—copied so
closely by Fortuny, that it is difficult to
distinguish it from the photograph.
It was about this time that the Vicaria
was finished and upon its easel. One day
a gentleman called, and after admiring the
picture greatly, said he would like to own
something by the same artist. Messrs.
Goyena and Madrazo being present, acted
208
as interpreters, as Fortuny could not then
speak French, and replied that he could
not promise, as he was under contract to
the Goupils. The visitor, expressing much
regret at this, concluded by giving Fortuny
carte blanche to paint whatever he pleased
for him without regard to price, handed
his card to Goyena and departed. Goyena
read aloud his card:
Monsieur Duglairy,
Chef du Cafe Anglais,
Fortuny received it as a pleasantry, and
would not believe the fact until he had
read the card himself. The three friends,
however, determined to visit this culinary
artist and breakfast at his celebrated cafe
the following day. When the hour arrived,
they entered the dining rooms and said
they preferred giving their orders to the
chef who shortly appeared. Recognizing
the trio, he made many apologies for the
manner in which his art suffered, owing to
the use of mineral coal, in the economic
cooking-ranges now in use, but said he
2og
would do his best. He gave them indeed
a splendid repast, after which he invited
them to visit his Japanese collection, valued
by experts, at more than one million francs.
And this man is the head cook, and one of
the present proprietors of the Cafe Anglais!
Fortuny left Paris late in the spring for
Spain, and established himself and family
in the Alhambra at Granada, in company
with Rico and Ricardo Madrazo. Here
he started work, on some of his finest in-
spirations. Little dreaming that we should
be separated from Fortuny for so long a
time, by the Franco-Prussian War, we
started for Trouville, where we spent the
months of July, August, September and
part of October. The Prussian lines, how-
ever, were extending in every direction and
encompassing the French, so I deemed it
prudent to take my family to Torquay,
England, where we passed nearly six
months agreeably, occasionally hearing
from Fortuny and Rico through Zamacois
and Don Federico Madrazo, both of whom
resided in Madrid.
27
2IO
On the 12th of January, 1871, Zamacois
died in Madrid, and the sad news was an-
nounced to us by a letter from his widow,
dated three days later.
Immediately after the surrender of Paris
I went over with Saintin, a French artist,
to the conquered capital for the purpose of
looking after my affairs, and three or four
days after our arrival, the reign of the Com-
mune began. We remained, however,
three weeks or more, until it became too
hot for us, and then persuaded Madrazo—
who had passed through the siege, serving
manfully in the American Ambulance—to
return to England with us, and in April
we all moved to London. A week later
Goupil & Co., who were established in the
English metropolis, sent me word that they
had received from Granada three paintings
by Fortuny and two by Rico. We went
to see them, and I bought two of Fortuny's
and one of Rico's paintings.
When the Commune was put down, we
returned to France, entering Paris two days
after the Versailles, or government troops
211
took possession, and were in time to witness
the Tuilleries, the Hotel de Ville, the Treas-
ury, the Palace of the Legion of Honor,
and other buildings, still burning, and
smouldering in ruins.
In the fall of 1871, during my absence
in the United States, Fortuny sent two oil
paintings to the Goupils. They were
bought by MacLean, of London, who,
failing to dispose of them without loss in
England, returned them to Goupil for sale,
where I found them on my return, and at
once purchased both. It was evident that
the British public did not appreciate For-
tuny, nor had the French learned full con-
fidence in his genius, till after his third visit
to Paris, in 1873. As I was again absent in
America at this time, I had not the pleasure
of seeing him until the spring of 1874.
During his stay at the Alhambra he
worked hard, and in the numerous letters I
received from him while there, he expressed
the greatest enjoyment in his occupations,
and in the beauty, the quiet, and the cli-
mate of Granada. At times he sent me
212
photographs, and again, pen and ink draw-
ings of what he had done, or was doing.
In this way I was able to order the paint-
ings owned by the Honorable Mr. A. E.
Borie, and Mr. H. W. Gibson, of Philadel-
phia. Before leaving Granada for Rome,
he sent a beautiful little oil painting of a
fruit-stall, painted at the Alhambra, in
which he introduced his wife and children,
as a souvenir to Mrs. Stewart.
From Rome, he continued his intimate
correspondence with me, all his letters con-
taining beautiful sketches and drawings,
which I have preserved most carefully, as
marvels of art.
In 1874, as stated above, he came again
to Paris, bringing with him the "Acade-
micians Choosing a Model,,, which he
painted for me; the "Poet's Garden,"
bought by Mr. Heeren; "An Arab Horse-
man," and a "Torso," for Mr. Errazu; "A
Large Arab," with a wonderful background
of carpets; "A Lady in a Garden;" "The
Cochinos," a study of flowers, and the
"Roman Carnival." The three last he took
213
back to Italy, intending to keep them for
himself. During this last visit, I saw a
great deal of him, and he left us, to return
to Rome, in good spirits, saying that he was
going to paint to please himself, and not the
dealers. He complained, however, of his
stomach and digestion, and was obliged to
be very careful in his diet, but none of his
friends gave the slightest thought to his
complaint.
On Sunday, the 22d of November, 1874,
Madrazo, Rico and Saintin came to break-
fast with me. After we had finished, Ma-
drazo told us he had received a telegram
the night previous, announcing Fortuny's
illness, and asking him to proceed to Rome
immediately, but as the dispatch came too
late, he was unable to take the express
train until that same Sunday evening. We
all concluded Fortuny's case was desperate,
and could only hope for the best.
They left me, but at six in the evening
Rico returned, sobbing, scarcely able to
utter the words "He is dead."
The truth is, he died before the first dis-
214
patch was sent, as the second proved, which
was sent simply to hasten Madrazo's depart-
ure. This was the end of one of the best of
men, and of the greatest artists of his time.
The day after this sad news spread through
Paris, Thomas Couture, the great French
painter, called to express his sympathy, and
shortly afterwards addressed to me the fol-
lowing note:
My Dear Stewart.
Oh, the beautiful things! I dreamed
of them all night! They are the life,
the light, the budding of spring, the
colors with which God has painted his
flowers. It is not painting, it is not work,
it is not human! Butterflies, with their
wings, have brushed his canvas, leaving
their gorgeousness thereon, and the fairies
have pressed their most beautiful flowers to
color it.
All sparkles with sunshine and genius;
all is transformed by a magic prism. The
vulgar becomes poetic, and satire, amiable.
The wasp, like the rose, with its rich booty,
and with quivering wings, goes to relate to
215
her perfumed friends, our human ugliness,
and I doubt not, she cannot make the cab-
bage B feel her sting, who, in the pres-
ence of these admirable works, has shown
himself a double-headed cabbage!
Altogether yours,
T. Couture.
The latter part of this letter requires ex-
planation. Mr. Charles Blanc, director of
the "Beaux Arts," expressed himself un-
favorably towards Fortuny's manner of
painting, and wrote some severe and un-
just criticisms on our artist's works. Hence
this sharp reproof. Both Couture and Blanc
are since dead.
Fortuny's furniture, and part of the
arms, Venetian glass, embroideries, etc.,
which adorned his studio, were publicly
sold at Rome, early in January, and pro-
duced a net profit of 55,000 francs. A
large, and more valuable, remainder was
sent to Paris with his unfinished paintings,
studies, aquarelles, drawings, etc., and these
were sold at auction on the 26th, 27th, and
28th of April, 1875, after the most spirited
2l6
and exciting bidding, perhaps, ever wit-
nessed in that well-known locality, the
Hotel Drouot. They produced 805,640
francs.
The Battle of Tetouan was reserved, that
the city of Barcelona might have the op-
portunity of securing this splendid, al-
though unfinished, Work, as they had al-
ready ordered it of him. The sum of
50,000 francs was paid for it, and the picture
now hangs in the town hall of that city.
The net proceeds of all these sales real-
ized 830,000 francs, to which must be added
300,000 francs in his possession at the time
of his death, and the value (about 132,000
francs) of paintings, albums, etc., which he
had given to his wife during his lifetime,
all of which she has sacredly kept.
By putting these sums together, it will be
found that he left, to his heirs, 1,206,200
francs, which he had gathered in seven
years; that is, from 1867, when he was
actually obliged to sell some aquarelles, to
obtain a few hundred francs for the ex-
penses of his marriage, to 1874.
3
nnett Thomas, lithographer, HO'Z Arch '...V..' ^
nnett Thomas, 507 Crescent 6
mnett Thomas E., drygoods, 2129 Arch 2
Minett W. J., laborer, 914 & 21st 13
mnington J. J., builder, 3506 EJm ^ 3
tony William, vamfisher, 1 Vernvont pTnce G
4nr~ » ^- -- ~ ^ -b" -j^^re County 2
Berkowitz W., dentist, 1125 Arch
Berks Edwin W., grocer, 428 N 2d..
Berlin George, tinner, 2524 N 10th
Be^naxiiiu-Yirginia, 732 Pine...77.!'. ■
Bernard G. A., jeweller, 3431 Walnut
Bernard John, 1st house i" Swath more pl^e.:

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