The New York herald., 1874-09-22
ITALIAN M A ST r RS
Where Turner Sought In
spiration.
vELMSQUEZ,S PORTRAIT
The, Finests Collection Ever Seen
In America.
BOSTON, Sept. 81, 1874.

penster 70 the Art Committee OF the Boston Mu
seum. Ii will be remembered that these paintings
were removed from the palace OF st. Temo, at
Seville, to Gibraltar, as precautionary measure,
In consequence OF the continued troubles in Spain.
II was at nrst intended that they should find o
temporary resting place in LondOn but owing to
the death OF Sir Edwin Landseer, the Royal Acad-
emy withdrew the offer OF space that had
been made to the Duke. Owing to the
prompt action OF Mr.. Goldman, OF Boston, and the
Kind offices OF Mr.. Auguste Laugel, long private
secretary 20 the Dnc d'Aumale. the paintings
were secured to the public or Boston for at least
one year. on the sole condition that the pictures
should tie insured to their estimated value against
marine and fire risks.
The number Of works contained In the collection
does not exceed thirty but their value more than
compensates for their fewness. Several paintings
ofimportance have been loaned by private parties,
In order increase the interest OF the exhibition
Some twenty-One OF the works belong to
THE MOST BRILLIANT PERIOD OF SPANISH ART,
beginning with Luis de Morales, surnamed the
Divine, who was born in 1909, and, passing
through the brilliant progression Of artists until
1t reaches the great master, Bartholomew Estaban
de Murillo. in whom the wonderful succession Of
spanish masters eliminated. The period covers
only some seventy years. and yet it includes the
great constellation OF artists that raised the
Spanish school to place only second in the
heaven OF art.
"THE VIRGIN OF SORROWS"
First in point OF chronological order stands Luis
de Morales, born In 1909, whose genius did not
save him from the lrowns of fortune. He studied
at valladoid and Toledo and early acquired great
reputation, so much so that he was summoned TO
the Court; but some ill-disposed persons having
prejudlced the King against him on his arrival he
was gwen the expenses of his journey and sent
back in disgrace Fortune then abandoned him
and he fell into great poverty. Philip L., passing
through Badajoz IN 1851, seeing the poor artist
SAID to him,
"YOU ARE OLD MORALES"
TO which he promptly replied, 'and poor, Sire"
The King was touched and conferred on the old
man pension Of 300 ducats, which he enjoyed till
his death. five years later. In his drawing this
artist was severely correct. His anatomy was ex-
ceedingly learned, while his finish was most elab-
crate. All these qualities are present IN the work
which represents him in this collection. In the
catalogue 1t Is called "The Madonna with the Dead
Christ In Her Arms" (1s). We are inclined to the
opinion that 1t is the work known in Spain as
''The Virgin of Sorrows" which is looked upon as
tho masterpiece OF the artist. The hands and
head especially are painted with perfection Of
minuti@ and a finish
WORTHY OF HOLBEIN.
The modelling Of the forms, too, is exq qutsitely
delicate, displaying profound acquain tance with
anatomy. The story OF the Virgins sorrow is told
with energy. The lvid body OF Christ rests In her
arms with absolute impassiveness; but, though
the body in its posture reveals that Death has ac-
compshed his work, the artist has deprived It OF
the responsiveness that would attach to q merely
literal study of corpse. Although the dead body
occupies the foreground, attention is skilfuIly
directed to the sorrowing mother, whose grief Is
depicted with power OF emOti Ona expression
truly marvellous. This WORK at one time formed
part OF the Spanish Gallery at the Louvre. 1t is
the only canvas OF "the divine Morales'' in the
collection.
THE HISTORY OF JACOB.
Next in order OF time comes Pedro Orrente,
born IN 1860, at Monte Allegro, in the Province OF
MCrcia. 1t Is thought tnat he was pupil OF
Bassano, OF Valencia but Others hold he only imi-
tated this master, and that he received lessons
from Greco at Toledo. Some Of his most remarkable
works were executed at Murcia, Valencia and
finally at Madrid. Like Morales he belonged to
period when
THE RELIGIOUS ELEMENT
predominated in art. His brush was energetic
1acile and correct, but his invention was capri
cIous. His manner was very original, ana as he
was master in the treatment OF light and shade
he specially sought to produce striking effects
He Is represented in the collection BY three pic
lures which deal with the history of Jacob. They
are principally remarkable Tor the boIdness OF
THE LIGHT AND SHADE TREATMENT
and the truthful manner in which the docks ofsbeep
have been painted. In this branch of art he leaves
the best OF the modern artists lar behind. Beside
the nocks OF sheep that accompany Jacob the best
studies Of Verboeckhoyen become weak. The
form and wooly texture OF the sheep are repro
out any appearance OF effort. The facility of this
masters execution is proved by the number of
sheep Int oduced and which are all painted with
the same perfection and mastery bodness.
JUAN DE RIBALTA.
1t Is said that love first drew Ribalta's attention
TO art. In order that he might obtain the hand OF
an artists daughter in marriage he repaired to
Italy and there worked with success for many
years. He settled at Valencia. He is represented
In the present collection by
1.-THE ECSTASY OF ST. FRANCIS OF ASSIST"
which displays his characteristic severity Of design
and great anatomical knowlege. His color Is
strong and Tree from mannerlsm.
Jose lie Rpera, who na' deserves Ssn- to rank with
xi,sns McHae Angelo for boldness OF conception and
canvas, which, though it bears evidence to tile
mastery vigor Of his execution, conveys an un-
laltniul Idea OF The artists works. RDera de-
lighted Ia painting
THE STRONGER EMOTIONS
ep9 passions. He was essentially O male artist,
and his crucihxions ana executions exhibit some-
snnT o' he qelgnt In the contemplation Of human
enced by his associations, and. as his life was
e. very nniysvs evensqi .nat one, we have reason
with scenes OF suffering and whence than with
lie IN its pleasanter phases. Having studied some
time unuer kioaita ne went to Italy. Here. for
profession OF arms. In this ne was unlucky, for,
being captured by the Moors, he was held as a
prisoner for nve years Returning to ItaIy he
studied under CaravaegIo. Having visited Paima
80 see Correggo, he was delighted by that artists
found 1t unsuitable 10 his genius He songht
striking effects, but too often selected his subects
merely to show
HIS ANATOMICAL KNOWLEDGE
or TO strike the benGlder with horror or alright.
The example In the collection, 'Cato or fIfica
Tearing out his Entrailsr belongs to the latter
class. and not even the admirable manner OF its