The Picturesque Antiquities of Spain. Wells Nathaniel Armstrong

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СКАЧАТЬ only add, that, should the period be arrived for the Spanish empire to undergo the lot of all human things—decline and dissolution, it has no right to complain, having had its day; but, should that moment be still distant, let us hope to see that country, so highly favoured by Nature, once more prosperous under the institutions which raised her to the highest level of power and prosperity.

      Meanwhile, the elements of discord still exist in a simmering state close to the brim of the cauldron, and a mere spark will suffice at any moment to make them bubble over. The inhabitants of Madrid are in hourly expectation of this spark; and not without reason, if the on-dits which circulate there, and reach to the neighbouring towns, are deserving of credit. Queen Christina, on her road from Paris to resume virtually, if not nominally, the government, conceived the imprudent idea of taking Rome in her way. It is said that she confessed to the Pope, who, in the solemn exercise of his authority as representative of the Deity, declared to her that Spain would never regain tranquillity until the possessions of the clergy should be restored to them.

      Whatever else may have passed during the interview is not stated; but a deep impression was produced on the conscience of the Queen, to which is attributed the change in her appearance evident to those who may happen to have seen her a few months since in Paris. This short space of time has produced on her features the effect of years. She has lost her embonpoint, and acquired in its place paleness and wrinkles. She is firmly resolved to carry out the views of the Pope. Here, therefore, is the difficulty. The leading members of her party are among those who have profited largely by the change of proprietorship which these vast possessions have undergone: being the framers or abettors of the decree, they were placed among the nearest for the scramble. In the emptiness of the national treasury, they consider these acquisitions their sole reward for the trouble of conducting the revolution, and are prepared to defend them like tigers.

      When, therefore, Queen Christina proposed her plan4 to Narvaez, she met with a flat refusal. He replied, that such a decree would deluge the country with blood. The following day he was advised to give in his resignation. This he refused to do, and another interview took place. The Queen-mother insisted on his acceptance of the embassy to France. He replied, that he certainly would obey her Majesty's commands; but that, in that case, she would not be surprised if he published the act of her marriage with Muños, which was in his power.5 This would compel Christina to refund all the income she has received as widow of Ferdinand the Seventh. The interview ended angrily; and, doubtless, recalled to Christina's recollection the still higher presumption of the man, who owed to her the exalted situation from which, on a former occasion, he levelled his attack on her authority. I am not answerable for the authenticity of these generally received reports; but they prove the unsettled state of things, when the determined disposition of the two opposite parties, and the nearly equal balance of their force, are taken into consideration.

      I was scarcely housed at Madrid, having only quitted the hotel the previous day, when the news reached me of the death of one of the fair and accomplished young Countesses—the companions of my journey from Bayonne to Burgos. You would scarcely believe possible the regret this intelligence occasioned me,—more particularly from the peculiar circumstances of the occurrence. Her father had recently arrived from France, and the house was filled for the celebration of her birthday; but she herself was forbidden to join the dinner-party, being scarcely recovered from a severe attack of small-pox. The father's weakness could not deny her admission at dessert, and an ice. The following day she was dead.

      Acquaintances made on the high road advance far more rapidly than those formed in the usual formal intercourse of society. I can account in no other way for the tinge of melancholy thrown over the commencement of my sojourn at Madrid by this event,—befalling a person whose society I had only enjoyed during three days, and whom I scarcely expected to see again.

      The modern capital of Spain is an elegant and brilliant city, and a very agreeable residence; but for the admirer of the picturesque, or the tourist in search of historical souvenirs, it contains few objects of attraction. The picture-gallery is, however, a splendid exception; and, being the best in the world, compensates, as you may easily suppose, for the deficiency peculiar to Madrid in monuments of architectural interest.

      To put an end to the surprise you will experience at the enumeration of such a profusion of chefs d'œuvre of the great masters as is here found, it is necessary to lose sight of the present political situation of Spain, and to transport ourselves to the age of painting. At that time Spain was the most powerful, and especially the most opulent empire in Europe. Almost all Italy belonged to her; a large portion actually owning allegiance to her sceptre, and the remainder being subject to her paramount influence. The familiarity which existed between Charles the Fifth and Titian is well known; as is likewise the anecdote of the pencil, picked up and presented by the Emperor to the artist, who had dropped it.

      The same taste for, and patronage of, painting, continued through the successive reigns, until the period when painting itself died a natural death; and anecdotes similar to that of Charles the Fifth are related of Philip the Fourth and Velasquez. All the works of art thus collected, and distributed through the different palaces, have been recently brought together, and placed in an edifice, some time since commenced, and as yet not entirely completed. Titian was the most favoured of all the Italian painters, not only with respect to his familiar intercourse with the Emperor, but also in a professional point of view. The Museo contains no less than forty of his best productions. Nor is it surprising that the taste of the monarch, being formed by his masterpieces, should extend its preference to the rest of the Venetian school in a greater degree than to the remaining Italian schools. There are, however, ten pictures by Raffaelle, including the Spasimo, considered by many to be his greatest work.

      A cause similar to that above named enables us to account for the riches assembled in the Dutch and Flemish rooms, among which may be counted more than two hundred pictures of Teniers alone. I should observe, that I am not answerable for this last calculation; being indebted for my information to the director, and distinguished artist, Don Jose Madrazo. There is no catalogue yet drawn up. Rubens has a suite of rooms almost entirely to himself, besides his just portion of the walls of the gallery. The Vandykes and Rembrandts are in great profusion. With regard to the Spanish schools, it may be taken for granted that they are as well represented as those of the foreign, although partially subject, nations. The works of Velasquez are the most numerous; which is accounted for by his situation of painter to the Court, under Philip the Fourth. There are sixty of his paintings.

      ITALIAN GALLERY AT THE MUSEO, MADRID.

      The Murillos are almost as numerous, and in his best style: but Seville has retained the cream of the genius of her most talented offspring; and even at Madrid, in the collection of the Academy, there is a Murillo—the Saint Elizabeth—superior to any of those in the great gallery. It is much to be wished that some artist, gifted with the pen of a Joshua Reynolds, or even of a Mengs (author of a notice on a small portion of these paintings), could be found, who would undertake a complete critical review of this superb gallery. All I presume to say on the subject is, were the journey ten times longer and more difficult, the view of the Madrid Museo would not be too dearly purchased.

      Before I left Madrid, I went to the palace, to see the traces of the conspiracy of the 7th October, remaining on the doors of the Queen's apartments. You will recollect that the revolt of October 1842 was that in favour of Christina, when the three officers, Concha, Leon, and Pezuela, with a battalion, attacked the palace in the night, for the purpose of carrying off the Queen and her sister. On the failure of the attempt, owing to its having been prematurely put in execution, the Brigadier Leon was shot, and the two others escaped.

      It appears that the execution of this officer, unlike the greater number of these occurrences, caused a strong sensation in Madrid, owing to the sympathy excited by his popular character, and the impression СКАЧАТЬ