Preface.

For the following illustrations my friends are indebted to the beautiful photographic process invented by Mr. Fox Talbot. They were executed here, under my superintendence, by Mr. Nicolaas Henneman, the intelligent agent of the inventor. Being arranged in chronological order, and each under the name of a person or a place, they may be easily consulted in connection with the ANNALS OF THE ARTISTS OF SPAIN, by means of the index and table of contents to that work.

In the selection of subjects I have been guided by a desire to exhibit, as far as possible, the genius both of the Spanish pencil, and of the less known Spanish graver. Whenever a print, executed in the Peninsula, was to be had, I have preferred it on that account, even to a better work produced on this side the Pyrenees. And as the best engravers, in the great artistic days of Spain, were chiefly employed on the frontispieces of books, I have made myself

vi

acquainted with, at least, the title pages of a
considerable phalanx of Castilian authors.

Many of the prints, of course, are interesting
merely as copies of celebrated works. That of
the Family of Velazquez (34), for instance, finds
a place here only because no other engraving
exists of one of the finest pictures of that great
master. It is taken from a paltry work on the
Imperial Gallery of Austria, published at the
Emperor's expense, which affords evidence at
once of the richness of his collection, and of the
Bæotian parsimony of his government. The
lithographs, for the most part French, are also
easily obtained, except, perhaps, the Surrender
of Breda (30); but if not curiosities, they are at
least pleasing Talbotype studies.

But many others of these illustrations are
taken from extremely rare and curious originals.
Amongst the latter are the portraits of Yciar (2)
and Alarcon (19), the hunting scene designed
by Collantes (21), and the view of the Isle
of Pheasants with Velazquez's pavilion (35),
from scarce books in the rich Spanish library of
Mr. Ford; the portrait of Mañara (61), the
Howard of Seville and the friend of Murillo,

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from a volume in the growing collection of Mr. R. W. Grey; the woodcut by Juan D'Arphe (5), from a book in my own possession; and the various specimens of Spanish title pages (15, 16, 18, 20). The Giralda of Seville (22) is taken from an old and much damaged print, of which I have seen but one other example, and Don Juan of Austria (37) from the finest and most valuable of the etchings of Ribera. The four important pictures of Murillo (44-47), from copies by Roldan, have never been engraved, nor has the Marriage of St. Catherine (55), his last work, which is here reproduced from the sketch of an artist whom Scotland will one day rank with her Jamesons and Raeburns. I am not aware that any engraved portraits exist of the painters Tristan (11) and Orrente (12), and I believe I may safely assert that the drawings by Cano (41) and Murillo (56, 57), are the only original works of these masters ever copied by the sun. Lastly, the bas-reliefs of Martinez Montañes, (13, 14) perhaps the sole specimens of the national Spanish sculpture in England, are probably the first which have as yet been reproduced by a mechanical process.

Contents.

TITLE PAGE AND DEDICATION. Borders taken from the title pages of Chronica Ellii Antonii Nebrissensis Rerum a Fernand. et Elizab. Hisp. Reg. gestarum, sc. fol. Granat. 1545.

PRESENTATION PAGE. Borders taken from an armorial shield on the title page of Commentaria in Apocalypsin Diu Joannis Evangelistæ auctore Magist. F. Gasparo à Milo Agustín. Rect. Coll. D. Gabrielis; fol. Pintiæ, 1580.

PREFACE. Borders taken from the Libro que se llama confusion de la secta Mahomática y del Alcoran, compuesto par Mossen Juan Andres, 4to. Valencia, 1515; one of the black-letter curiosities of the Grenville library in the British Museum.

GIL DE SILOE, flourished 1494. NO.

Marble Tomb of King Don Juan II. in the Chartreuse of Miraflores near Burgos. España Artística y Monumental, por Don G. Perez de Villa Amil y Don P. de la Escosura; 2 tom. fol. Paris, 1842-7, tom. II.

JUAN DE YCIAR, f. 1550. 1

His Portrait. From his book, Arte subtítilissima por la qual se ensena a escribir, 4to. Caragoça, 1550

ALONSO BERRUGUETE, born 1480, died 1501. 2

Marble Tomb of Cardinal Juan de Tavera, Archbishop of Toledo, in the Hospital of St. John Baptist at Toledo. From España Artist. y Monument. tom. I.

JUAN D'ARPHE, f. 1580. 3

His Portrait. From a woodcut on the back of the title page of his book, De Commensuracion para la Escultura y Architektura, fol. Sevilla, 1585

Death and the Cavalier. From an allegorical woodcut, in El Caballero Determinado, 4to. Salamanca, 1573, fol. 117

JUAN BAUTISTA DE TOLEDO, d. 1567. 5

JUAN DE HERRERA, d. 1570. 6

General View of San Lorenzo del Escorial

Interior of the Church, looking towards the high altar
From the Coleccion de diferentes vistas del Real Monasterio de San Lorenzo del Escorial; por J. Gomez de Navia; Madrid, 1800.

Principal front of the Escorial 8

Palace front 9

From etchings by Louis Meunier, 1665-8.

DOMÉXICO THEÓROCOPIULI, "EL GRECO," d. 1625. Portrait of his daughter. At Paris, in the Louvre; Galerie Espagnole, No. 259. From a drawing by William Barclay, Esq. 10

LUIS TRISTAN, b. 1586, d. 1640. 11

Head supposed to be his portrait, in the small picture of the Last Supper, formerly in the Prior's cell in the convent of La Sila at Toledo, and afterwards in the collections of the Duke of Híjar and Henry Southern, Esq. From a pen and ink sketch by W. Barclay, Esq.