A new and important series of volumes, dealing with Spain in its various aspects, its history, its cities and monuments. Each volume will be complete in itself in an uniform binding, and the number and excellence of the reproductions from pictures will justify the claim that these books comprise the most copiously illustrated series that has yet been issued, some volumes having over 300 pages of reproductions of pictures, etc.
MURILLO. A Biography and Appreciation. Illustrated by over 165 reproductions from photographs of his most celebrated pictures.
SPANISH ARMS AND ARMOUR. A Historical and Descriptive Account of the Royal Armoury at Madrid. Illustrated with 386 reproductions from photographs.
THE ESCORIAL. A Historical and Descriptive Account of the Spanish Royal Palace, Monastery and Mausoleum. Illustrated with plans and 278 reproductions from pictures and photographs.
CORDOVA. A Historical and Descriptive Account of the Ancient City which the Carthaginians styled the “Gem of the South.” With over 155 Illustrations.
SEVILLE. A Historical and Descriptive Account. With 300 Illustrations.
THE PRADO. A Guide and Handbook to the Royal Picture Gallery of Madrid. Illustrated with 221 reproductions from photographs of Old Masters.
GOYA GRANADA VELAZQUEZ TOLEDO ROYAL PALACES MADRID LEON, BURGOS, &C. VALLADOLID, SEGOVIA, &C.
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
While the names of Murillo and Velazquez are inseparably linked in the history of Art as Spain’s immortal contribution to the small band of world-painters, the great Court-Painter to Philip IV. has ever received the lion’s share of public attention. Many learned and critical works have been written about Murillo, but whereas Velazquez has been familiarised to the general reader by the aid of small, popular biographies, the niche is still empty which it is hoped that this book will fill.
In this volume the attempt has been made to show the painter’s art in its relation to the religious feeling of the age in which he lived, and his own feeling towards his art. Murillo was the product of his religious era, and of his native province, Andalusia. To Europe in his lifetime he signified little or nothing. He painted to the order of the religious houses of his immediate vicinity; his works were immured in local monasteries and cathedrals, and, passing immediately out of circulation, were forgotten or never known.