.... ... .... .... 1635 Mateo, El Maestro 1188 | Berruguete, Alonso 1545 | Juni, Juan de .... 1585 Aleman, Juan 1460 Tordesillas, Gaspar Trezzo, Jacome... 1589 Dancart, El Maestro 1495 de 1545 Jordan, Esteban .. 1590 Florentin, Miguel. 1510 Machuca, Pedro... 1545 Leoni, Pompeyo 1605 Torrigiano, Pedro. 1520 Xamete... 1550 Hernandez, GreBartolomé, ΕΙ Leoni, Leon... 1555 gorio...... Maestro 1520 Villalpando, Franco 1561 Pereyra, Manuel.. 1645 Forment, Damien. 1525 Siloe, Diego de 1562 Montañes, Juan Valdelvira, Pedro. 1540 Tudelilla Martinez ...... 1645 Copin, Diego and Miguel 1540 Borgoña, Felipe de 1543 | ....... ........ ... 1566 Morel, Bartolomé. 1566 Cano, Alonso..... 1650 The Spanish painted and dressed images so precisely tally in material, form, painting, dressing, and adoration, with those of Pagan antiquity, that the scholar will pardon a few more remarks, which those who will not, can skip, or turn to the Académie des Inscriptions, xxxiv. 35; to Quatremère de Quincy, Jup. Oly. p. 8, s. 9; and particularly to Müller, Hand-buch der Kunst (1830), p. 42 et seq. Statues of marble were a late introduction in Italy (Plin. Nat. Hist., xxxiv. 7), and are still very rare in Spain. Cedar and the resinous woods were older and preferred from the "eternity of the material” (Plin. Nat. Hist., xiii. 5). The Cyllenian Mercury was made of the arbor vitæ, Ovou, the exact Alerce of Spain. When decayed they were replaced. Pliny, jun. (Ep. ix. 39), writes to his architect, Mustius, to make or get him a new Ceres, as the old one was wearing out. Pausanias (ii. 19. 3) mentions the goavov of Argos, the work of Attalus the Athenian, just as Ponz would cite the San Jeronimo of Montañes at Italica. It is difficult to read Pausanias, and his accounts of the statues new and old, the temples ruined and rebuilt, without feeling how much would suit a Greek handbook for Spain, mutatis mutandis, so many objects pointed out to notice resemble each other in nature and condition. Some έoava, as is the case in Spain at this moment, were made of baked clay, terra cotta, because cheaper. Juvenal (Sat. xi. 116) and Josephus (contr. Ap. ii. 35) laugh at these makeshifts. They, however, answered the purposes for which they were intended just as well then as now. The ancient έoava, like the Spanish Pasos, had their prescriptive colours. As Re of Egypt, like Pan, was painted red, Osiris, black and green, the Athena of Skiras, white, and Apollo's face was frequently gilded, so in Spain the Virgin in her Purisima Concepcion' is always painted in blue and white, St. John is always dressed in green, and Judas Iscariot in yellow: "and so intimately," says Blanco White ("Letters," 289), "is this circumstance associated with the idea of the traitor, that it is held in universal discredit." Persons taken to execution are clad in yellow serge. That colour was also adopted by the Inquisition for their san benito, or dress of heresy and infamy. The hair of Judas is always red, or of Rosalind's dissembling colour something browner than Judas's." Athenæus (v. 7), in that most curious account of the procession of the images of Bacchus, mentions that his ayaλua was clad in purple, and that of Nyssa in yellow. Much of this chromatology, no doubt, is based on traditions preserved by these rubrical formulæ. The ancient temples, like the Christian churches in the middle ages, were painted with blue, vermilion and gilding, and, rightly in an artistical point of view, it became necessary to dress and colour the images up to the general tone of everything around them; they otherwise would have had a cold and ineffective character. This colouring in Spain was deemed of such importance, that Alonso Cano and Montañes generally stipulated that no one but themselves should paint the figures which they carved, or give that peculiar surface enameling called el estofar. When properly carved and consecrated, these figures were treated by the ancients, and now are by the Spaniards, exactly as if they were living deities. Real food was provided for them and their chaplains. They were washed by attendants of their own sex. In Spain no man is allowed to undress the Paso or sagrada imagen of the Virgin, which is an office of highest honour. Some images, like earthly queens, have their camarera major, their mistress of the robes. This duty has now devolved on venerable single ladies, and thence has become almost a term of reproach, ha quedado para vestir imagenes,* just as Turnus derides Alecto, when disguised as an old woman, "cura tibi effigies Divum, et templa tueri.” The making and embroidering the superb dresses and "Petticoats the Virgin afford constant occupation to the devout, and is one reason why this Moorish manufacture still thrives pre-eminently in Spain. Her costume, when the Pasos are borne in triumphal procession through the streets, forms the object of envy, critique, and admiration. of All this dressing is very Pagan and ancient. We have in Callimachus the rules for toilette and oiling the hair of the έoavov of Minerva; any man who saw it naked was banished from Argos, a crime punished in the myth of Acteon and Diana. The grave charge brought against Clodius by Cicero was, that he had profaned the Bona Dea by his presence. The wardrobe of Ægyptian Isis was provided at the public cost; and Osiris had his state-dress, iepov kоσμоν. The Peplum of Minerva was the fruit of the five years' work of Athenian matrons and virgins. Castæ velamina Diva. The Roman signa were so well dressed, that it was considered to be a compliment to compare a fine lady to one. Plaut. Epid. (v. 1, 18). The ancients paid much more attention to the decorum and propriety of costume than the Spaniards. In the remote villages and in the mendicant convents the most ridiculous masquerades were exhibited, such as the Saviour in a court-dress, with wig and breeches, whereat the Duc de St. Simon was so offended (xx. 113). The traveller must learn to bear with stranger sights. If once a people can be got to believe that a manequin is their god, if they can get over this first step, nothing else ought to create either a smile or surprise. These Pasos are brought out on grand occasions, principally during the Holy Week. The expense is great, both in the construction and properties of the melo-dramatic machinery, and in the number of persons employed in managing and attending the ceremonial. The French invasion, the progress of poverty and infidelity, has tended to reduce the number of Pasos, which amounted, previously, to more than fifty, for instance, in Seville. Every parish had its own figure or group; particular incidents of our Saviour's passion were represented by companies, Cofradias, Hermandades, who took the name The idol of Juggernaut, in even British India, had some 641 attendants:-120 cooks, 20 keepers of the wardrobe, and 3 persons to paint the eyebrows. from the event: they were the iepn eovn of the Rosetta stone, the Kopaσial of Clemens Alex. (Strom. v. 242), the ancient eraipiai, the Sodalitates, the unions, the Collegia which in Rome were so powerful, numerous, and well organized that Julius Cæsar took care to put them down (Suet. 42). The Sovereign of Spain is generally the Hermano Mayor. These guilds, lodges constituted on the masonic principle, give an occupation to the members, and gratify their personal vanity by rank, titles, and personal decorations, banners, emblems, and glittering tomfoolery. The expenses are defrayed by a small subscription. The affairs are directed by the Teniente Hermano Mayor nombrado por S. M. There is no lack of fine sounding appellations or paraphernalia, in which Spaniards delight. Seville and Valencia still more, are the head-quarters of these Lectisternia, Anteludia, and processions. And really when a Protestant scholar beholds them, and remembers his classical studies, time and space are annihilated, he is carried back to Arnobius (lib. vii.), "Lavatio Deum matris est hodie, Jovis epulum cras est, lectisternium Cereris est idibus proximis ;" and the newspapers of the day now give just the same sort of notices. The images are moved on platforms, Andas, and pushed on by men concealed under draperies. The Pasos are quite as heavy to the weary as were those of Bel and Nebo (Isaiah xlvi. 1). Among the ancients, not only the images of the gods, but the sacred boat of Osiris, the shrine of Isis, the ark of the Jews, were borne on staves, just as now is done with the custodia in Spain. Those who wish to compare the analogy and practice of the ancient and still existing proceedings in Spain, are referred to the sixth chapter of Baruch, wherein he describes the identical scenes and Babylonian Pasos-their dresses, the gilding, the lights, &c.; or to Athenæus (v. 7) and Apuleius (Met. ii. 241), who, mutatis mutandis, have shown "what to observe " and describe in Spain, especially as regards the Pasos of the Virgin. Thus the Syrian Venus was carried by an inferior order of priests: Apuleius calls them Pastoferi, the Spaniards might fairly term theirs Pasoferi; Paso, strictly speaking, means the figure of the Saviour during his passion. The Paso, however, of the Virgin is the most popular, and her gold-embroidered and lace pocket handkerchief long set the fashion for the season to the Andalucian dandyzettes, as the procession of the Long-Champs does at Paris. This is the exact Megalesia in honour of the Mother of the Gods, the Great Goddess peyaλndeos, which took place in April (see Pitiscus, in voce, for the singular coincidences); and the paso of Salambo, the Babylonian Astarte Aphrodite (see Hesychius), was carried through Seville with all the Phoenician rites even down to the 3rd century, when Santa Rufina and Justina, the present patronesses of the cathedral tower, were torn to pieces by the populace for insulting the image; and such would be the case should any tract-distributing spinster fly in the face of the Sagrada imagen de la Virgen del mayor dolor y traspaso, which is now carried at about the same time of the year through the same streets and almost precisely in the same manner; indeed, Florez admits (E. S. ix. 3) that this paso of Salambo represented the grief and agony felt by Venus for the death of Adonis. A female goddess seems always to have been popular among all Southrons and Orientals. Thus Venus when carried in pomp round the circus, was hailed with the same deafening applause (Ovid. Art. Am. i. 147) as the goddess Doorga, when borne on her gorgeous throne, draws from the admiring Hindoos at this day (Buchanan's Resear. in Asia, p. 265), or the Virgin's image does at Seville. There is little new of anything under the sun, and still less in human devices. Many a picturesque Papal superstition. has been anticipated by Paganism, as almost every bold vagary of Protestant dissent has been by the fanatics of the early ages of the church; whatever is found to have answered at one time will probably answer at another, for poor human nature seldom varies in conduct, when given circumstances are much the same. No. 11.-DILLETANTE TOURS.-PAINTING. Madrid, C. Valencia, C. There are three great schools of Spanish painting, Seville, Valencia, and Madrid, and the productions of their chief masters are best to be studied in their own localities. Few cities in Spain possess good collections of pictures, and, with the exception of the capital, those which do, are seldom enriched with any specimens of foreign schools, for such is that of Valencia as regards Seville, and vice versa. The Spaniards have ever used their art as they do their wines and other gifts of the soil; they just consume what is produced on the spot and is nearest at hand, ignorant and indifferent as regards all others, even be they of a higher quality. The earliest art in Spain, as exemplified in missals, offers no national peculiarity. The first influence was produced by the family of the Van Eyk's, of whom John visited Portugal in 1428; and M. Gachard has shown that he went on to the Alhambra to paint the Moorish kings. The Flemish element yielded to the Italian in the 16th century, which, after a brief period of Spanish nationality, faded into the French school. The general character, is Truth to Spanish nature, expressed in a grave, religious, draped, and decent style, marked by a want of the ideal, poetical, refined, and imaginative. The naturalistic imitation is carried fully out, for the Church, the great patron, neither looked to Apelles or Raphael, to Venus or the Graces: she employed painting to decorate her churches, not private residences; to furnish objects of devotion, not of beauty or delight; to provide painted books for those who could see and feel, but who could not read; her aim in art was to disseminate and fix on the popular memory, those especial subjects by which her system was best supported, her purposes answered; and her Holy Tribunal stood sentinel over author and artist: an inspector-censor y veedorwas appointed, whose duty it was to visit the studies of sculptors and painters, and either to destroy or to paint over the slightest deviation from the manner laid down in their rubric for treating sacred subjects: for to change traditional form and attribute was a novelty and a heresy, in fact a creating new deities. Spanish pictures, on the whole, will, at first sight, disappoint all those whose tastes have been formed beyond the Pyrenees; they improve upon acquaintance while one is living in Spain, from the want of anything better: there, however, the more agreeable subjects are seldom to be seen, for these naturally have been the first to be secured by foreigners, who have left the gloomy and ascetic behind; thus, in all the Peninsula, not ten 'of Murillo's gipsy and beggar pictures are to be found, and the style by which he is best known in England, is that by which he will be perhaps the least recognised in his native land. Our readers are most earnestly cautioned against buying pictures in Spain; they will indeed be offered, warranted originals, by Murillo, Velazquez, and so forth, more plentifully than blackberries, but caveat emptor. The Peninsula has been so plundered of its best specimens by the iron of Soults, Sebastianis, and Co. in war, and so stripped in peace by the gold of purchasers, that nothing but the veriest dregs remain for sale; the provincial galleries, Seville and Valencia excepted, prove to demonstration by their absence of the good, and by the presence of unmitigated rubbish, the extent to which the processes of removal and collecting have been carried on. The best Spanish, and the almost naturalised Spanish painters may now be named; the dates indicate the epoch about which they flourished or died, as given by Cean Bermudez and Stirling, to whom refer for details :— Spain is no paradise for the Print-collector; calcography never flourished on a soil where the graver was too difficult for a people who bungle when mechanical nicety is requisite. Flemings and foreigners were usually employed. The native copper scratchers just supply the coarse prints of Madonnas, miracle-working monks, &c. These caricatures of art answered admirably as Dii cubiculares, and, hung up in bedrooms, allured Morpheus and expelled nightmare; and now-adays French artists are employed in lithographs, and any works requiring skill. No. 12.-SPANISH ARCHITECTURE.-VARIETIES AND PERIODS. In despite of the ravages of foreign and domestic Vandals, Spain is still extremely rich in edifices, civil and religious, of the highest class; yet our architects and archæologists almost ignore a land, which is inferior to none, and superior to many countries in Europe, in variety and mag |