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“It is illustrated with so lavish a richness of colour that to turn its pages gives one at first almost the same impression of splendour as one receives in wandering from hall to hall of the Alcazar of Seville; and this is probably the highest compliment we could pay to the book or its author.”—Academy.
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“An excellent piece of work.”—The Times.
“Mr.Calverthas performed a useful work.”—Daily Telegraph.
“A truly sumptuous volume.”—The Speaker.
“Mr.Calverthas given a very complete account of the evolution of Moresco art.”—The Connoisseur.
FOOTNOTES:[A]This spelling of his name resembles most that used by himself.[B]The exact contents are as follows:“Al Card. Farnese—Viterbo.“A’ di 16 di Nouembre, 1570.“E’ capitato in Roma un giouane Candiotto discepolo di Titiano, che á mio giuditio parmi raro nella pittura; e fra l’altre cose egli ha fatto un ritratto da se stesso, che fa stupire tutti questi Pittori di Roma. Io vorrei tratenerlo sotto l’ombra de V.S. Illma. et Revma. senza spesa altra del vivere, ma solo de una stanza nell Palazzo Farnese per qualche poco di tempo, cioé per fin che egli si venghi ad accomodare meglio. Pero La prego et supplico sia contenta di scrivere al Conte Lodovico suo Maiordomo, che lo provegghi nel detto Palazzo di qualche stanza ad alto; che V.S. Illma. fará un’ opera virtuosa degna di Lei, e io gliene terro obligo. Et le bascio con reverenza le mani.“Di V.S. Illma. et Revma. humilissimo servitore.“Julio Clovio.”[C]The record of his burial, discovered by Señor de Beruete in the register of the parish church of Santo Tomé, is brief: “Libro de entierros de Santo Tomé de 1601-1614, en siete del Abril del 1614 falescio Domeniko Greco. No hizo testamento, recibo los sacramentos, en teroso en Santo Domingo el Antigua.”[D]Two judges were appointed to settle the dispute, which arose from the introduction of the three Marys into the picture. The Chapter objected to their presence. El Greco’s defence was characteristic enough—What did it matter? and, besides, the women were a long way off. The judges disagreed; whereupon the dispute was settled by Alezo de Montoyo as follows:“Having seen the said painting which has been executed by the said Domeniko, and the appraisements of the judge appointed by both parties, and other persons who understand the said painting, its execution and admirable finish; and the reasons which the said judges have given; and seeing that the said painting is one of the best that I have seen; and that, if it were to be estimated for all its valuable qualities, it would be valued at a much higher sum, which but few would care to pay for it; but, in view of the nature of the times and the price paid generally for the paintings of great artists in Castile; and in view of, and taking into consideration all the above and all other points that were necessary, I find that I must order, and I do order, that for the said painting the said Garcia de Loaysa, in the name of the said Holy Church, shall give and pay to the said Domeniko Theotokopuli three thousand and five hundred reals: and above this sum the said Domeniko Theotokopuli cannot ask, nor must he ask, for anything more for the said painting; and as regards the judges for the said workers, they say that it is improper for the Marys to be introduced into the story; as regards this I am sending the declaration of it to some theologians versed in such matters, that they may decide upon it.”[E]This is another rendering of the same picture; and still another is in the collection of Señor de Beruete, Madrid.[F]This picture passed into the collection of the Infanta Doña Isabel Farnese, and is now in the Museo del Prado. The ‘Assumption’ in the Church of Santo Domingo el Antigua is a poor copy of the original picture.[G]The picture was painted for the altar of St. Maurice, but it was rejected by Philip II., and the commission given to a third-rate Italian. To-day the picture hangs in the Sala Capitulare.[H]This likeness is more striking even in another ‘Coronation of the Virgin,’ by El Greco, in the collection of Colonel P. Bosch, Madrid.[I]Some authorities name these saints Sta. Inez and Sta. Feda.
FOOTNOTES:
[A]This spelling of his name resembles most that used by himself.
[A]This spelling of his name resembles most that used by himself.
[B]The exact contents are as follows:“Al Card. Farnese—Viterbo.“A’ di 16 di Nouembre, 1570.“E’ capitato in Roma un giouane Candiotto discepolo di Titiano, che á mio giuditio parmi raro nella pittura; e fra l’altre cose egli ha fatto un ritratto da se stesso, che fa stupire tutti questi Pittori di Roma. Io vorrei tratenerlo sotto l’ombra de V.S. Illma. et Revma. senza spesa altra del vivere, ma solo de una stanza nell Palazzo Farnese per qualche poco di tempo, cioé per fin che egli si venghi ad accomodare meglio. Pero La prego et supplico sia contenta di scrivere al Conte Lodovico suo Maiordomo, che lo provegghi nel detto Palazzo di qualche stanza ad alto; che V.S. Illma. fará un’ opera virtuosa degna di Lei, e io gliene terro obligo. Et le bascio con reverenza le mani.“Di V.S. Illma. et Revma. humilissimo servitore.“Julio Clovio.”
[B]The exact contents are as follows:
“Al Card. Farnese—Viterbo.
“A’ di 16 di Nouembre, 1570.
“E’ capitato in Roma un giouane Candiotto discepolo di Titiano, che á mio giuditio parmi raro nella pittura; e fra l’altre cose egli ha fatto un ritratto da se stesso, che fa stupire tutti questi Pittori di Roma. Io vorrei tratenerlo sotto l’ombra de V.S. Illma. et Revma. senza spesa altra del vivere, ma solo de una stanza nell Palazzo Farnese per qualche poco di tempo, cioé per fin che egli si venghi ad accomodare meglio. Pero La prego et supplico sia contenta di scrivere al Conte Lodovico suo Maiordomo, che lo provegghi nel detto Palazzo di qualche stanza ad alto; che V.S. Illma. fará un’ opera virtuosa degna di Lei, e io gliene terro obligo. Et le bascio con reverenza le mani.
“Di V.S. Illma. et Revma. humilissimo servitore.
“Julio Clovio.”
[C]The record of his burial, discovered by Señor de Beruete in the register of the parish church of Santo Tomé, is brief: “Libro de entierros de Santo Tomé de 1601-1614, en siete del Abril del 1614 falescio Domeniko Greco. No hizo testamento, recibo los sacramentos, en teroso en Santo Domingo el Antigua.”
[C]The record of his burial, discovered by Señor de Beruete in the register of the parish church of Santo Tomé, is brief: “Libro de entierros de Santo Tomé de 1601-1614, en siete del Abril del 1614 falescio Domeniko Greco. No hizo testamento, recibo los sacramentos, en teroso en Santo Domingo el Antigua.”
[D]Two judges were appointed to settle the dispute, which arose from the introduction of the three Marys into the picture. The Chapter objected to their presence. El Greco’s defence was characteristic enough—What did it matter? and, besides, the women were a long way off. The judges disagreed; whereupon the dispute was settled by Alezo de Montoyo as follows:“Having seen the said painting which has been executed by the said Domeniko, and the appraisements of the judge appointed by both parties, and other persons who understand the said painting, its execution and admirable finish; and the reasons which the said judges have given; and seeing that the said painting is one of the best that I have seen; and that, if it were to be estimated for all its valuable qualities, it would be valued at a much higher sum, which but few would care to pay for it; but, in view of the nature of the times and the price paid generally for the paintings of great artists in Castile; and in view of, and taking into consideration all the above and all other points that were necessary, I find that I must order, and I do order, that for the said painting the said Garcia de Loaysa, in the name of the said Holy Church, shall give and pay to the said Domeniko Theotokopuli three thousand and five hundred reals: and above this sum the said Domeniko Theotokopuli cannot ask, nor must he ask, for anything more for the said painting; and as regards the judges for the said workers, they say that it is improper for the Marys to be introduced into the story; as regards this I am sending the declaration of it to some theologians versed in such matters, that they may decide upon it.”
[D]Two judges were appointed to settle the dispute, which arose from the introduction of the three Marys into the picture. The Chapter objected to their presence. El Greco’s defence was characteristic enough—What did it matter? and, besides, the women were a long way off. The judges disagreed; whereupon the dispute was settled by Alezo de Montoyo as follows:
“Having seen the said painting which has been executed by the said Domeniko, and the appraisements of the judge appointed by both parties, and other persons who understand the said painting, its execution and admirable finish; and the reasons which the said judges have given; and seeing that the said painting is one of the best that I have seen; and that, if it were to be estimated for all its valuable qualities, it would be valued at a much higher sum, which but few would care to pay for it; but, in view of the nature of the times and the price paid generally for the paintings of great artists in Castile; and in view of, and taking into consideration all the above and all other points that were necessary, I find that I must order, and I do order, that for the said painting the said Garcia de Loaysa, in the name of the said Holy Church, shall give and pay to the said Domeniko Theotokopuli three thousand and five hundred reals: and above this sum the said Domeniko Theotokopuli cannot ask, nor must he ask, for anything more for the said painting; and as regards the judges for the said workers, they say that it is improper for the Marys to be introduced into the story; as regards this I am sending the declaration of it to some theologians versed in such matters, that they may decide upon it.”
[E]This is another rendering of the same picture; and still another is in the collection of Señor de Beruete, Madrid.
[E]This is another rendering of the same picture; and still another is in the collection of Señor de Beruete, Madrid.
[F]This picture passed into the collection of the Infanta Doña Isabel Farnese, and is now in the Museo del Prado. The ‘Assumption’ in the Church of Santo Domingo el Antigua is a poor copy of the original picture.
[F]This picture passed into the collection of the Infanta Doña Isabel Farnese, and is now in the Museo del Prado. The ‘Assumption’ in the Church of Santo Domingo el Antigua is a poor copy of the original picture.
[G]The picture was painted for the altar of St. Maurice, but it was rejected by Philip II., and the commission given to a third-rate Italian. To-day the picture hangs in the Sala Capitulare.
[G]The picture was painted for the altar of St. Maurice, but it was rejected by Philip II., and the commission given to a third-rate Italian. To-day the picture hangs in the Sala Capitulare.
[H]This likeness is more striking even in another ‘Coronation of the Virgin,’ by El Greco, in the collection of Colonel P. Bosch, Madrid.
[H]This likeness is more striking even in another ‘Coronation of the Virgin,’ by El Greco, in the collection of Colonel P. Bosch, Madrid.
[I]Some authorities name these saints Sta. Inez and Sta. Feda.
[I]Some authorities name these saints Sta. Inez and Sta. Feda.