_The Artists of Seville_
BY C. GASQUOINE HARTLEY
'Beauty, like all other qualities presented to human experience, is
relative.'--WALTER PATER.
'The art of Spain was, at the outset, wholly borrowed, and from various
sources: we see heterogeneous, borrowed elements assimilated sometimes
in a greater or less degree, frequently flung together in illogical
confusion, seldom, if ever, fused into a new harmonious whole by that
inner welding fire which is genius; and we see in the sixteenth century
a foreign influence received and borne as a yoke, because no living
generative force was there to throw it off; and finally we meet this
strange freak of nature--a soil without artistic initiative bringing
forth the greatest initiator in modern art--Diego Velazquez.'
These words, which form a portion of the address delivered by the late
Lord Leighton to the students of the Royal Academy Schools, in the year
1889, epitomise the salient points in the artistic history of Seville.
An almost impenetrable gloom shadows the early records of her art. Only
one work remains to testify to the skill of her artists, during the
thirteenth century. This is a rare old Bible, written on vellum and
richly illuminated. It was transcribed for Alfonso, the Wise, by Pedro
de Pampeluna, in the thirteenth century, and its numerous miniatures
represent the pristine efforts of the Sevillian school of painting.
During the fourteenth and fifteenth centuries, the artists of Seville
were wholly dominated by the Flemish school. The great master of the Low
Countries, Jan van Eyck, visited the Peninsula, and from that time the
Flemish influence continued to increase in potency. Flemish works of art
were largely imported into Spain, and three Flemish artists, according
to Professor Carl Justi, were employed in the court of Isabella la
Catolica. The Gothic characteristics of the Northern school are manifest
in all the pictures of this period. They may be readily recognised by
their long lean figures, their definite, almost harsh outlines, and
their rich colours, which are frequently embellished with gold.
The pictures painted during these years bear little trace of Italian
influence, although we know that in the year 1466 a Florentine painter,
Dello, who belonged to the school of Giotto, was living in Seville. No
authentic works from his hand remain, but he amassed great wealth, as a
proof of which we are told that he always painted in an apron of stiff
silk brocade.
Many of these paintings, dating to the fourteenth and fifteenth
centuries, bear no signature. They are classified without distinction as
the _Escuela Flamenca_, and the Spaniards apparently regard them with
scant reverence. They are all interesting, while many of them possess
great charm, and reveal well-developed artistic power. The Gothic
influence is dominant, but a distinctly Spanish tendency can frequently
be discerned. Local dress and customs are often depicted, and the
pictures are executed with the relentless vigour, which is the specific
characteristic of the early Spanish school. Examples of these
Hispano-Flemish pictures will be found in the Museo, in the _Cap de
Santa Ana_ and the _Cap de la Antigua_, in the Cathedral, and in many of
the churches.
The earliest Sevillian artist of whom we have any distinctive record is
Juan Sanchez de Castro, who lived in the city from 1454 to 1516. Sir W.
Stirling-Maxwell calls him 'the morning star of the school of
Andalusia.' He quickly absorbed the Flemish influence, and his works are
wholly Gothic, both in conception and manner of treatment. No details of
his life are extant, but the wreckage of time has spared his work, and
we can still study both a fresco and a panel painting executed by his
hand.
In the Church of San Julian, situated in the _plaza_ of that name, is a
giant San Cristobal, painted by Sanchez in 1484. It is executed in
tempera upon the wall of the church, close to the principal entrance.
The figure of the saint is of enormous size, entirely subordinating the
remainder of the composition, thus producing an effect of exaggeration
and lack of proportion. The fresco has unfortunately been repainted, and
little of the old master's work remains, except his signature and the
date 1484.
Of infinitely greater value is his painting on panel, preserved among
the pictures collected by the late Señor D. Manuel López Cepero, which
may now be seen in the house of Murillo, described elsewhere in these
pages. The picture is painted upon a panel of wood, covered with canvas
and carefully prepared plaster, as was the manner of the early masters,
who did none of their work hurriedly, and devoted much time to the
painstaking preparation of their materials. The picture may be regarded
as a typical instance of the Hispano-Flemish manner. The conventional
grief, symbolised by the drooping eyelids, falling tears and set
countenances of the women; the harsh outlines; the extreme length of the
reclining figure of the Christ, all bear the imprint of the Gothic
school. The picture deserves much study. Its decorative proportions,
extreme simplicity and harmony of colour can hardly be praised too
highly. It is a meritorious herald of the work of the Sevillian artists.
Juan Nuñez, the pupil of Sanchez, continued to imitate the manner of his
master. His finest work is a composition, representing the _Piéta_. It
was painted for the Chapter of the Cathedral, during the latter half of
the fifteenth century, and now hangs in the _Sacristía de los Cálices_,
where many of the choicest treasures of art are preserved. The Virgin
supports the dead body of the Christ; St. Michael and St. Vincent are at
her side, while kneeling ecclesiastics pray below. The Flemish manner
still prevails, and the Gothic stiffness of the Saviour's figure bears a
strong resemblance to the work of Sanchez. Cean Bermudez praises the
picture very highly, and states that it is not inferior to Albert Dürer
in colour and arrangement of the drapery. Like many of the early
religious painters, Nuñez appears to have been destitute of a sense of
humour, and in a picture of St. Michael and St. Gabriel, painted for the
Chapter of the Cathedral, he depicted the saints adorned with
gaily-coloured peacocks' wings.
The Hispano-Flemish manner was perfected by Alezo Fernandez, who came
from Córdova, in 1525, to work in Seville Cathedral. Lord Leighton
considers him 'the most conspicuous among the Gothic painters,' and
without doubt, his work marks a further advancement in the development
of the Andalusian school. It bears testimony to advancing knowledge. For
the first time we perceive clearly the growth of a distinctive Spanish
style. The Flemish manner is still strongly visible, but from out of
this eclecticism emerges that forceful effort after truth and natural
expression, which is the conspicuous characteristic of the Spanish
school. His finest picture is the Virgen de la Rosa, in the Church of
Santa Ana, at Triana. The charm of this work is very great. The mellow
splendour of its tones, and the lofty spirit in which it is conceived
render it a study of high merit. Other pictures by this master may be
seen in the Palacio Arzobiscopal, where hang the Conception, the Birth
of the Virgin, and the Purification, three works of great interest; and
in the Church of San Julian, where there is a fine altar-piece. The
figure of San Pedro depicted upon the left of the composition is one of
the ablest; beside him is San Antonio, while San Julian and San Josef
stand upon the left. Over the altar are representations of the
Incarnation and the Crucifixion.
During the opening years of the sixteenth century a new influence from
without was imposed upon the Spanish school of painting. The Italian
Renaissance extended to Spain, and this movement, which in Italy
produced the brilliant group of the _quatrocentisto_, fell upon the
artistic genius of Spain as a deadening blight. It was alien to the
temper of the Spanish nation. The simple, truthful directness of their
early mode was forgotten; gradually their art became steeped in a
hopeless mannerism.
Luis de Vargas, who was born in Seville in 1502, was the first
Andalusian artist, whose work testifies to the Italian influence. He
spent many years studying in Italy. He was a devout Catholic, and like
all the artists of Seville was supported by the munificence of the
Chapter of the Cathedral. Unfortunately his frescoes, upon which his
reputation, according to Cean Bermudez, largely rested, have been almost
entirely obliterated. Dim traces of them may be seen upon the Giralda
Tower, and upon the outer wall which encloses the Court of the Oranges;
but it is impossible to appraise the work of De Vargas from these
time-spoilt relics.
Of his panel paintings only a small number have been preserved. They are
simple, yet powerful in design; the colour is fresh, and the drawing is
good. They are specially noteworthy for the charm with which women are
portrayed, a characteristic unusual among the artists of Spain. The
earliest known work of De Vargas was The Nativity, which was painted for
the Chapter of the Cathedral, in 1555, and placed over the Altar del
Nacimiento, where it still hangs. Sir W. Stirling-Maxwell says that the
figure of the Virgin, as she stands gazing upon her babe, 'bears a
simple dignity not unworthy of Raphael.' The grouping of the figures is
admirable. Notice especially the peasant, as he kneels and offers his
basket of young doves. The care bestowed upon the execution of the
details shows that De Vargas had not yet forgotten the example of the
early masters. The goat, the sheaf of corn, the Spanish pack-saddle, all
the accessories are painted with Flemish accuracy.
The Temporal Generation of our Lord, in the south transept of the
Cathedral, adjacent to the colossal figure of San Cristobal, is
generally considered the masterpiece of Luis de Vargas. It is an
allegorical composition, representing Adam and Eve adoring the infant
Christ, who rests in the arms of the Virgin. The picture is lacking in
charm, but the figures are finely conceived, and executed with power.
Indeed, the life-like drawing of Adam's leg has given the picture its
name of _La Gamba_ (the leg). It is reported that the Italian Perez de
Alesio, the painter of the giant San Cristobal, exclaimed when gazing
upon his handiwork, 'The whole of my figure is of less merit than the
leg of Adam.'
Greater than Luis de Vargas was the Flemish painter Pedro Campaña, who
came to Spain and settled in Seville in the year 1548. He had spent many
years in Italy, studying in Rome, and his pictures bear the impress of
a combined Flemish-Italian influence. He stayed in Seville for
twenty-four years, and is always identified with the artists of
Andalusia. His finest picture, The Descent from the Cross, was painted
for the Church of Santa Cruz in the year he came to Seville, 1548. The
strength and realism of this work are truly majestic. It is, without
doubt, the finest picture painted by the Italian mannerists in Seville.
It exerted great influence upon the artists of a later day. Pacheco
declared that its realism was so overmastering that he did not care to
be left alone with it in the dimly-lighted chapel. Murillo spent long
hours in earnest contemplation of the picture. He was wont to perform
his devotions before it, and once, when asked why he sat watching the
picture so intently, he is reported to have answered, 'I am waiting
until those men have brought the body of our Blessed Lord down the
ladder.' It was beneath this picture that the favourite master of
Seville chose to be buried. The picture now hangs in the _Sacristía
Mayor_ of the Cathedral. It was rescued from the Courts of the Alcázar,
where it had been wantonly flung by the French, during the War of
Independence, and tolerably restored by Joaquin Cortes, in 1882.
Seville contains many other works by the Flemish master. In the _Cap de
Mariscal_, in the Cathedral, is a very beautiful Purification of the
Virgin. The charm and simple grace of the fair-haired maiden, who stands
upon the left of the picture, contrasts vividly with the form of the
beggar beneath. The half-length portraits of the Mariscal Don Pedro
Cabellero and family, which also hang in the chapel, are individual and
life-like. There is little trace of Italian influence in the rendering
of these figures; they are all painted with Flemish carefulness. Other
works of Campaña may be seen in the Church of San Pedro and the Church
of Santa Ana, at Triana. The individuality of Campaña can hardly be too
strongly emphasised. His pictures possess many of the essential and
distinctive attributes, which characterise the work of the greatest of
the Sevillian artists.
Contemporary with Luis de Vargas and Pedro Campaña--the masters of the
early Italian mannerists--worked a group of artists of lesser fame.
Antonio de Arfian, 1537-1587, a native of Triana, painted frescoes for
the parish church of St. Mary Magdalen. Juan Bautista Vasquez, in 1568,
executed an altar-piece for the Church of Our Lady of the Pomegranate,
in the Court of the Oranges; and other works since destroyed, for the
Cathedral. Alonso Vasquez painted many pictures for the Cathedral and
the Convents of St. Francis and St. Paul. The few of these works which
remain may be seen in the Museo, where they hang neglected, fast rotting
in their frames. These artists closely imitated the style of De Vargas.
More individuality is revealed in the works of Pedro Villegas Marmolego,
1520-1597, an artist whose pictures are extremely rare. The Virgin
visiting Elizabeth, which hangs over the _Altar de la Visitación_ in the
Cathedral, is a good example of his work, and displays his charm as a
colourist. The garments of both the Virgin and Elizabeth are beautiful
with radiant harmony. The works of Francesco Frutet--like Campaña a
Flemish artist trained in Italy, who came to Seville, about the year
1548--will be noticed in the account of the Museo.
Another foreigner, who worked in Seville during this period, was
Sturmio, probably a German, who, in 1554, painted nine pictures on panel
for the _Cap de los Evangelistas_, in the Cathedral. These studies are
important, for they afford the earliest instance of the fine brown
tones distinctive of the Sevillian school. The central picture depicts
St. Gregory saying Mass, while around him are grouped the fourteen
evangelists, and the saints of the city. Santas Justa and Rufina, the
holy maids, frequently portrayed by the artists of Seville, are among
the best.
The work of all these artists, who may be classified as the early
Italian mannerists, reveals a distinctive personality. The individuality
of the artist constantly breaks forth, through the strong Italian bias,
while traces are often revealed of the truthful expression of the early
Hispano-Flemish mode.
As the sixteenth century drew to its close, the tendency to adopt a
style of affected mannerism was largely augmented in the work of the
artists of Andalusia, the result being a corresponding loss of national
individuality. All that was essentially Spanish was for the time
forgotten, submerged in an imported Italianism. The pictures of these
later mannerists are dreary and almost entirely without interest. Their
work may be readily identified by the conventional conceptions, the flat
tones, the dry, hard colours, and the utter lack of that element of
charm, so essential to all works of art.
Juan del Castillo, 1584-1640, and Francisco Pacheco, 1571-1654, may be
regarded as types of this phase in the record of Andalusian art. Their
reputation rests largely upon the renown of their pupils. Juan del
Castillo was the master of Murillo and Alonso Cano, and the chief
interests incited by the study of his work, rests in tracing the
influence he may have exercised in moulding the work of the Sevillian
favourite. His best picture is the Assumption, in the Museo, in which
the figure of the Virgin has some merit.
Francisco Pacheco, the father-in-law and devoted teacher of Diego
Velazquez, claims our attention as an individual, rather than as an
artist. He painted innumerable pictures, which may still be viewed in
the Cathedral, the churches and the Museo, but none rise above the level
of mediocrity. They are carefully executed and rarely offend the rules
of drawing, but they are all hopelessly 'mannered,' and entirely devoid
of individual imagination.
We owe a debt of gratitude to Pacheco for his _Arte de la Pintura_, a
treatise upon the principles of art, and the lives of the artists of
Spain, published in Seville in 1649. In style the work is pompous and
prolix, and often very tedious, but as a record of the lives of the
Sevillian artists it possesses great value. Pacheco was the Inquisitor
of Art, or Familiar of the Inquisition. His authority under the Holy
Office was great, and it was his duty to see that no indecorous or
indecent pictures found their way into the churches. Here is a copy of
the commission which was granted to him: 'We give him commission and
charge him henceforward that he take particular care to inspect and
visit all sacred subjects which may stand in shops or in public places;
if he finds anything to object to in these he is to take the picture
before the Lords, the Inquisitors.'
The degraded Italian taste was carried to its uttermost limits by
Herrera El Mozo (the younger), 1622-1625, who, by a strange anomaly, was
the son of the man, who was the first to break completely away from the
trammels of the pseudo-Italian manner. His works may be viewed in the
Cathedral and the Museo; they instance the degradation which had been
brought upon the art of Seville, by the unintelligent adoption of an
alien style.
It is a relief to revert to the work of those men, whose sturdy Spanish
spirits refused to bend beneath the yoke of conventional tradition. The
work of the cleric, Juan de la Roelas, 1560-1625, bears little, or no,
trace of the degenerate pseudo-Italianism, although his pictures are not
exempt from foreign influence. They are Venetian in colour, soft, yet
free, in their drawing. They exhibit many of the features, afterwards
amplified in the work of Murillo. His finest composition is the Death of
San Isidore, in the parish church, dedicated to that saint. The theme of
the picture is the transit of the holy man, Archbishop of Seville,
during Gothic days. Many figures fill the canvas, but with true artistic
unity, the interest is centralised upon the dying saint, who rests upon
the ground, clad in dark mantle and finely-painted pontifical robes.
Subtle discernment is manifested in the grouping of the figures. The
aged fathers are thrown into distinct relief, by the youthful bloom of
the children who kneel beside them. The shadowy forms of the
worshippers, as they kneel in the receding aisles of the church, lend
atmosphere to the study. The heavens are depicted above, and in the
midst of a blaze of glowing light, the Virgin awaits with Christ, the
coming of the saint.
San Santiago, destroying the Moors in the battle of Clavigo, which hangs
in the Cathedral, affords another fine instance of the work of Roelas.
Three more of his pictures may be seen in the University--The Holy
Family, The Nativity, and the Adoration of the Shepherds, while several
hang in the Museo. A figure of a black-robed kneeling saint, in the Holy
Family, is said to be the portrait of Roelas.
Francisco de Herrera, 1575-1656, termed, el Viego (the Elder) to
distinguish him from his son, possessed a character of unusual vigour.
The traditions which have survived, reveal the temper of the man. His
methods were eccentric. He worked with a dashing pencil, and it was his
custom to employ any implement, which presented itself as convenient. It
is reported that upon one occasion, when short of a brush, he painted a
picture with a spoon. His fame induced numerous artists--the young
Velazquez being among them--to seek his studio; but his irascibility was
so great that few of them remained. He broke many a maul-stick across
their shoulders, and frequently he was left without a single pupil to
execute his mandates.
It is said that one day, when this had occurred, he rushed into the
kitchen, and insisted upon the serving-maid becoming his attendant; and
amidst oaths and blows, he forced the trembling girl to prepare a canvas
for the composition he desired to execute. His turbulent spirit led him
into difficulties, and he was accused--whether falsely or not it is now
impossible to say--of coining money. To escape punishment he sought
sanctuary in the College of the Jesuits, where he painted the Legend of
St. Hermingild, now in the Museo. In the year 1624 Philip III. came to
Seville, and visited the college. In common with all the house of
Austria, the King had a fine appreciation of art, and when he saw the
work of Herrera, he at once recognised its merits, and desired to see
the artist. Herrera knelt at the King's feet, and told the reason of his
confinement in the convent. 'What need of silver and gold has a man
gifted with a talent like yours? Go, you are free,' was the answer of
the King.
Such was the nature of the man, whose cogent individuality
re-established a national Spanish style. His pictures are distinguished
for their vigorous force. Sir W. Stirling-Maxwell calls him 'the most
remarkable of the painters, who learnt their art solely in Andalusia';
while Palomino, often termed the Spanish Vasari, says that the boldness
of his manner conveys to his figures the appearance of being painted in
relief. Several of his pictures are now in the Museo; the Cathedral
possesses none, but there is one in the Church of San Bernardo, which,
in spite of dirt and dim lighting, affords a fine instance of the power
of Herrera. In the upper portion the Lord is shown with a band of
attendant angels, while below St. Michael divides the sinful from the
righteous. The canvas is overcrowded; a fault in which the majority of
the compositions of Herrera share, and the form of St. Michael is
somewhat uncouth, but the picture is full of power, and many of the
figures, especially among the hosts of the wicked, are drawn with a fine
freedom of handling.
Francisco de Zurbaran, a peasant, born in Estremadura, in the year 1598,
was the veritable follower of Herrera. His work more fully than that of
any other artist typifies the genius of Spain. Lord Leighton speaks of
him 'as a man of powerful personality, in whom more than any of his
contemporaries, the various essential characteristics of his race were
gathered up--its defiant temper, its dramatic bent, its indifference to
beauty, its love of fact, its imaginative force, its gloomy fervour, its
poetry, in fact, and its prose.'
He was the pupil of Juan de las Roelas, but his work soon eclipsed that
of his master. From the very first he cast from him all mannered
tradition, and determined unflinchingly to follow natural methods. He
copied all objects directly from Nature, and while still a lad working
in the studio of Roelas, he refused to paint drapery, without having it
placed upon a lay figure to represent the living model. He has been
termed the Spanish Caravaggio from his strict adherence to Nature, and
his delight in breadth and strong contrasts of light and shadow. As he
saw Nature thus he painted her, without desire to soften or to
idealise. His one purpose was to portray conscientiously the exact
impression of the objects he beheld. And for this reason he may be
designated the herald of Velazquez. His pictures lack the facility, the
charm and the impelling force of the great master; but in their
adherence to Nature and strict nationality of style they are in nowise
inferior. The Adoration of the Shepherds, the fine picture in our
National Gallery, formerly ascribed to Velazquez, is now held to be the
work of Zurbaran. His colour is above all praise; his tints, although
sombre, have at times, as Sir W. Stirling-Maxwell justly remarks, 'the
depth and brilliancy of Rembrandt.'
His earliest work was a series of pictures, illustrative of the life of
the Apostle Peter, which he painted for the Chapter of the Cathedral.
They may still be inspected in the _Cap de San Pedro_, but unfortunately
the deficiency of light renders it well-nigh impossible to see them.
The celebrated Death of St. Thomas Aquinas, and the remarkable series of
pictures, painted for the Chartreuse monks of Santa Maria de las Cuevas,
are now in the Museo.
For the Church of the Hospital del Sangre he painted eight small
pictures of female saints. They are portraits of the beauties who
reigned in the city during the life of Zurbaran, and are among the most
charming of the pictures of women to be found in Seville. Especially
mark Santa Matilda in her crimson robe, embroidered with gold and
pearls, Santa Dorotea in lilac, and Santa Iñes in purple, and bearing a
lamb in her arms.
The fame of Zurbaran was overshadowed by Murillo, who became the central
figure in the artistic life of Seville, during the latter half of the
seventeenth century.
The position Murillo occupies in the record of Andalusian art is so
significant, that it appears fitting to notice his work, and that of his
brilliant contemporary Velazquez, in a separate chapter; and to conclude
this brief chronicle of the Sevillian artist with two names--Alonso Cano
and Juan de Valdés Leal, the last painters of Andalusia, whose work is
worthy of special note.
Alonso Cano, 1601-1667, was not born in Seville, but came to the city,
when quite young, to receive instruction from Pacheco and Juan de
Castillo. He painted pictures for the Carthusians, and the other
convents and churches, but a duel, fought with a brother artist, in
1639, drove him from the city. The finest instance of his work in
Seville is Our Lady of Bethlehem, in the Cathedral. It was painted in
Malaga for Señor D. Andres Cascentes, who presented it to Seville. The
light is dim, and it can only be seen by the glow from the tapers which
burn upon the altar. It is somewhat conventional in treatment, and bears
distinct traces of Italian mannerism. Yet the picture is not without
charm, and the Spanish national note is not entirely absent. The hands
and feet are painted with extreme care, and the crimson robe and
dark-blue mantle of the Virgin are exquisite in colour. The picture may
be regarded as typical of his work. One of his chief faults was
repetition, and he was frequently accused by his contemporaries of
copying from the works of other masters; a charge which he is said to
have challenged, with the following answer: 'Do the same thing, with the
same effect as I do, and all the world will pardon you.' His power as an
artist has been somewhat over-estimated, and his claim to be called 'the
Michelangelo of Spain' rests solely upon the fact that he was sculptor
and architect as well as painter.
Juan de Valdés Leal, 1630-1691, lived until the time when Andalusian
art was fast approaching its decline. His early life was embittered by
jealousy of Murillo, and much of his energy was expended in useless
quarrels with his brother artists. His pictures are mannered, but the
best are vigorous, and their main defects are due to hasty execution. He
appears to have had no power to finish his work; when he tried to be
careful he became weak. The Museo contains many of his pictures. The
Virgin bestowing the Chasuble on San Ildefonso in the _Cap de San
Francisco_, in the Cathedral, is one of his finest works. The two
pictures in the Hospital de la Caridad were painted to illustrate the
vanity of worldly grandeur. They are theatrical, and have little
'literary' attraction, but the execution exhibits a certain power. In
one of them a hand holds a pair of scales, in which the sins of the
world--represented by bats, peacocks, serpents and other objects--are
weighed against the emblems of Christ's Passion; in the other, which is
the finer composition, Death, with a coffin under one arm, extinguishes
a taper, which lights a table spread with crowns, jewels and all the
gewgaws of earthly pomp. The words _In Ictu Oculi_ circle the gleaming
light of the taper, while upon the ground rests an open coffin, dimly
revealing the corpse within.
It was this picture which caused Murillo to remark that it was something
to be looked at with the nostrils closed. To which rather uncertain
praise Leal is reported to have replied, 'Ah, my compeer, it is not my
fault, you have taken all the sweet fruit out of the basket and left me
only the rotten.'
With the death of Valdés Leal, at the close of the seventeenth century,
the long chain of artists, who had made the name of Seville famous,
terminates. He left behind him no painter of specific merit. The artists
who remained were dreary conventionalists, without originality, mere
copyists of those who had preceded them. The study of their work yields
neither pleasure nor profit. It is better to leave the record of the
artists of Seville, while the memory of her greatest masters is still
vivid, than to trace the slow decay of her art into feeble mediocrity.
* * * * *
_Note._--In order to facilitate the finding of the works of the artists
mentioned in this chapter, this list is appended, naming their chief
pictures, and the places where they may be found.
Artists. Pictures. Where Situated.
Pedrode Pampeluna Illuminated Bible. Library of the Cathedral.
(thirteenth century).
Juan Sanchez de Fresco of San San Julian.
Castro (1454-1516) Cristobal.
" Painting on panel House of Murillo.
of the Entombment.
Juan Nuñez (fifteenth Piéta. Sacristía de los
century). Cálices, Cathedral.
Alezo Fernandez Conception. Palacio Arzobiscopal.
(worked in Seville
about 1508).
" Birth of the Virgin. Ditto.
" Purification. Ditto.
" Virgen de la Rosa. Santa Ana, Triana.
" Altar-piece. San Julian.
Luis de Vargas Frescoes. The Giralda Tower.
(1502-1568). Outer Wall of the
Court of the Oranges.
" The Nativity. Altar del Nacimiento,
Cathedral.
" Temporal Generation Altar de la Gamba,
of Our Lord. Cathedral.
" Portrait of Don Ditto.
Juan de Medina.
Pedro Campaña The Descent from Sacristía Mayor,
(1503-1580). the Cross. Cathedral.
" Purification of the Cap de Mariscal,
Virgin. Cathedral.
" Portraits. Ditto.
" Altar-piece. San Pedro.
" Retablo, with Santa Ana, Triana.
fifteen paintings.
Antonio de Arfian Frescoes on the St. Mary Magdalen,
(1537-1587). History of St. Triana.
George.
Juan Bautista Vasquez Altar-piece. Altar of Our Lady of
(worked in the Pomegranate,
Seville about 1568). Court of the
Oranges.
Alonso Vasquez Various works. Museo.
(_d._ 1648).
Pedro Villegas Virgin visiting Altar de la Visitación,
Marmolego Elizabeth. Cathedral.
(1520-1597).
" Doubtful Works. Museo.
Francesco Frutet Several Works. Museo.
(worked in Seville
about 1548).
Sturmio (worked in St. Gregory saying Cap de los Evangelistas,
Seville about 1554). Mass. Cathedral.
" Evangelists. Ditto.
" Saints. Ditto.
Herrera, el Mozo Several Works. Cathedral.
(1622-1685).
" " Museo.
Juan de las Roelas Martyrdom of St. Museo.
(1560-1625). Andrew.
" Other works. Ditto.
" Death of San San Isidore.
Isidore.
Juan de las Roelas San Santiago. Cap de Santiago,
(1560-1625). Cathedral.
" Holy Family. The University.
" Nativity. Ditto.
" Adoration of the Ditto.
Shepherds.
Herrera, el Viego Legend of St. Museo.
(1576-1656). Herminigild.
" Other works. Ditto.
" St. Michael and the San Bernardo.
Hosts of the Wicked.
Juan de Castillo Assumption. Museo.
(1584-1640).
" Other pictures. Ditto.
" Virgin and Child. House of Murillo.
" Other works. The Churches.
Francisco Pacheco Many works. Museo.
(1571-1654).
" " House of Murillo.
" " Cathedral.
" " Churches.
Francisco de Zurbaran Legend of St. Cap de St. Pedro,
(1598-1661). Pedro. Cathedral.
" Death of St. Museo.
Thomas Aquinas.
" Other works. Ditto.
" Eight Female Hospital del Sangre.
Saints.
Alonso Cano Our Lady of Altar de la Virgin
(1601-1667). Bethlehem. de Belen, Cathedral.
Juan de Valdés Leal San Ildefonso. Cap de St. Francisco,
(1630-1691). Cathedral.
" Pictures illustrating Hospital de la
the vanity Caridad.
of worldly grandeur.
" Many works. Museo.