_Murillo_ (Spanish: 1618-1682). _See 13._
A sketch for the large picture now in the Louvre (No. 540). "Like so
many of the sketches of Murillo, it is so light in touch," says one
of the critics, "so exquisite in colour, as to be, from an artistic
point of view, preferable to the finished picture." This, however, is
not the only advantage which Murillo gains from smallness of scale.
There is a prettiness, and even a sentimentality, permissible on a
small scale which offends the dignity of a large canvas. Thus, the
"affectation" of the attendant angels is far less "absurd" here than in
the large picture. "One of the cherubs shrinks back," adds Mr. Eastlake
in his Louvre catalogue, "frightened at a dog, which seems a strangely
human act of weakness; another holds up a piece of baby-linen, with a
provokingly fantastic air." But herein we have the very characteristics
which make the religious sentiment of Murillo's pictures interesting.
In the early Italian pictures the Virgin is a great lady, living in a
fine house or spacious cloister. But in Spain the symbols of devotion
passed into realities; and a combination of mysticism in conception
with realism in treatment is the distinguishing "note" of the Spanish
religious school. One could not wish for a prettier presentment of this
mingled note than is afforded by this little sketch, with its angels
half in ecstatic adoration over the "Lily of Eden," and half in human
playfulness--a sketch which seems to combine with the frank realities
of a humble nursery the religious sentiment of Keble's _Christian
Year_:--
Ave Maria! blessed maid!
Lily of Eden's fragrant shade,
Who can express the love
That nurtured thee so pure and sweet,
Making thy heart a shelter meet
For Jesus' Holy Dove!