But the renown2 of the Sevillian school was for a time maintained by a band of really capable sculptors3, who, had they lived earlier, before Monta?és instead of after, might have been masters and not merely followers. We must now consider their work.
The sculptors most immediately connected with Monta?és were Solis, of whom we have spoken already; the Abbot Juan Gomez, one of his earliest pupils; Alonso Martinez, an architect and{143} master carpenter of Seville Cathedral; Luis Ortiz, a sculptor4 of Malaga; and Alonso de Mena, who came from Granada. These five men all worked as pupils in the studio of Monta?és, and to a greater or less extent adapted their talent to copying the qualities of their master. Indeed Solis and the Abbot Juan Gomez appropriated so well his style that considerable confusion as to the authorship of their works has arisen.
Born in Jaen, Solis came to Seville in the year 1617, and assisted Monta?és in the execution of the statues of St. Bruno, the Virgin5, and St. John the Baptist for the Carthusians of Santa Maria de las Cuevas, which are now in the Museum of Seville. It is probable, as we stated in the last chapter, that the statues were carved by Solis from the wax models of Monta?és. La Justicia (Plate 148) and the Four Cardinal6 Virtues7, executed for the same monastery8, and now also in the museum, were the personal work of Solis: in this work he shows that, apart from his power of imitation, he possessed9 talent of his own which entitles him to recognition. It is a polychrome of real merit, well conceived and well executed.
Even greater confusion has arisen with regard to the authorship of the works of the Abbot Juan{144} Gomez, of which Seville has numerous examples. Even Cean Bermudez places among the original works of Monta?és a Jesus of Nazareth of the Convent of San Agustine, which to-day is in the Priory Church, although the archives prove the Abbot Gomez to be its author. This work is proof of the capability10 of the pupil. He does even greater credit to his master in his life-size Crucifixion, executed in 1616 for the town of La Campa?a. M. Marcel Dieulafoy says of this work: “It is a faithful copy of those of Monta?és, and like them extremely beautiful.” Unfortunately the carving11 has suffered greatly from bad restoration.
Alonso Martinez carved, with Francisco de Ribas, the altar-screen of the Chapel12 of San Pablo in the cathedral, and it is to his hand we owe a very beautiful polychromed figure of the Virgin (Plate 149). Alonso de Mena, a sculptor whose fame has been overshadowed by his son Pedro, the disciple13 of Alonso Cano, carved many works for the churches of Alpujaras; in addition he executed for the Chapel of the Kings two large buffets14 of which the folding doors are ornamented15 with eight excellent medallions of the Queens and Kings of Spain.
To Luis Ortiz we owe the earliest of the cathedral stalls at Malaga, which were carved by him in{145} 1630 in collaboration17 with Josef Micael. He was also the author of the altar-screen of the royal chapel of Nuestra Se?ora de los Reyes. The two brothers Francisco Ruiz and Juan Antonio Gixon were taught their art by Alfonso Martinez. Antonio Gixon was professor, and later director, of the Academy of Seville, founded by Murillo. Francisco Ruiz remodelled18, after Monta?és, the dying Christ (Plate 150) which is in the church at Triana, a suburb of Seville. It is a very beautiful carving, which bears comparison with the master’s Crucifixion in the cathedral. The polychrome also is harmonious19, equal to the finest work of the masters of that art. Indeed the merit of this unknown statue is surprising when the late period at which it was undertaken is remembered.
But the art of sculpture still had strong life in Seville, and the school was to produce another master to continue the traditions of Monta?és. Pedro Roldan was born in Seville in 1624, and he learnt his art in the studio of Monta?és, working afterwards in the Academy of Seville. He is the pupil who did the master the greatest credit: he may even be said to have surpassed him in the art of composition. No one else among the Southern sculptors had his power of grouping{146} a number of figures. His two masterpieces—one in the parish church of the cathedral, the other in the Hospital de la Caridad—are veritable pictures in relief. They are the finest altar-screens in Seville, and must be compared with the works of Gregorio Hernandez and Juni, the masters of the Northern schools.
The cathedral altar-screen is a bas-relief representing the Descent from the Cross. The Virgin supports the body of the Christ, and around them are grouped St. John and several disciples20, the Magdalen, and the holy women. The figures are larger than life-size. In the background are the two thieves outlined against the Temple, which is seen in the distance. Around this central composition are beautiful angel figures carrying the instruments of the Passion. Then on the base of the altar is outlined the triumphal entry of Jesus into Jerusalem.
In the execution of this work Roldan was aided by Francisco de Ribas, a master carpenter, who was the son of Gaspar de Ribas, the first collaborator21 with Alonso Cano. Francisco Ribas began the altar in 1669, when he contracted for the price of 88,000 reals, with the condition that all the figures were to be carved by the hand of Roldan. We do not know how much Roldan received for{147} his work. He was always indifferent as to the payments made to him.
The altar-screen of the chapel of La Caridad is even finer than that of the cathedral. The subject (Plate 152) is the Burial of Christ. The figures placed around the Divine Body, which is being lowered into the tomb, are splendidly grouped, and there is great unity22 in the composition of the scene. The polychrome was carried out by Juan de Valdés Leal, while Murillo aided that painter with his counsel and possibly with his brush. The architect Bernardo de Puieda contracted for the work, receiving for it 12,500 ducats. Of this sum 11,000 ducats went to Valdés Leal, but we have no knowledge as to the amount appointed to Roldan, though a contemporary writer remarks that “it was very little.” This is what we should expect, for we read of Roldan as being entirely23 engrossed24 in his art. He lived in a country house outside Seville, where he enjoyed the beauties of nature, only going to the city when compelled. Then he rode on a small donkey, and occupied his time while journeying in making small models in clay or wax, which he always carried with him.
Besides his large altar-screens Roldan executed many small bas-reliefs, which give further proof of{148} his talent. The best examples are in the Cathedral of Jaen. These bas-reliefs are carved in marble, and, like his larger works, are remarkable25 for the beauty of their composition. The subjects are the Flight into Egypt, the Marriage at Cana, and Christ’s Argument with the Doctors, which are in the interior of the church set over the principal doorway26. Then on the exterior27 of the building are statues of St. Ferdinand, the Doctors, and the Evangelists.
Some of Roldan’s sculptured statues in Seville have been attributed to Monta?és. This has been the case with the striking Ecce Homo of the Hospital de la Caridad. To complete Roldan’s work we must mention his groups of the “Pasos,” which he carved for the Holy Week procession. In these he appealed most forcibly to the people of Seville. Christ’s Agony in the Garden is the best known; it is as fine as any of the “Pasos” of Monta?és.
Roldan left a daughter, Do?a Luisa, known as Roldana, who has the honour of being the one renowned28 woman sculptor of Spain. She was born in the year 1556, and was trained by her father, assisting him in his work. She inherited his talent, with less strength but more grace. Legend states that a statue of St. Ferdinand{149} carved by Roldan was refused acceptance. The daughter retouched the work, and gave it more life, when it was received by the purchaser without knowing it was the same statue. Probably the story is untrue, but it proves the estimation in which Roldana was held by her contemporaries. Roldana married a king’s chamberlain, and went to reside in Madrid, where her works and also her person gained admiration30. In 1695 she was appointed sculptor to the Chamber29. But she died in 1704, when still young, only four years after her father.
Roldana’s best work is the Virgin, known as Nuestra Se?ora de las Augustias, which is at Cadiz (Plate 153), where it is greatly esteemed31. This praise is deserved. The group is cleverly composed, and is remarkable for the originality32 displayed in the placing of the figures; the body of the dead Christ rests between the knees of the Virgin instead of across them. The Christ is excellent, the Virgin is less good; but the angels who hold up the arms of the Divine Sufferer are very beautiful. The way in which they are grouped is masterly. The Escorial has one work by Roldana, a statue of St. Michael, who is shown dancing, and is dressed in the armour33 and Roman costume of the century of Louis XIV. This statue is less noteworthy.{150}
Roldan had, besides his daughter, one pupil who deserves mention, Pedro Duque Cornejo. He was the last sculptor of the Sevillian school. Among his contemporaries he gained great success, and for twenty-five years he was sculptor to the Queen’s Chamber—a success which his works certainly do not merit. All his carvings34 suffer from exaggeration and an overloading35 of ornament16 and gilding—the faults of the decadent36 period in which he lived. He executed many commissions for the Cartuja del Paula at Seville. He carved in mahogany the stalls of Cordova Cathedral, and also the fine Silleria, which was brought from the Cartuja of Seville to the Coro of Cadiz Cathedral. Cornejo died in 1757, and was buried with princely state in Cordova Cathedral.
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followers
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| 追随者( follower的名词复数 )； 用户； 契据的附面； 从动件 | |
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renown
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| n.声誉，名望 | |
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sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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sculptor
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| n.雕刻家，雕刻家 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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monastery
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| n.修道院，僧院，寺院 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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capability
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| n.能力；才能；(pl)可发展的能力或特性等 | |
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carving
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| n.雕刻品，雕花 | |
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chapel
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| n.小教堂，殡仪馆 | |
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disciple
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| n.信徒，门徒，追随者 | |
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buffets
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| （火车站的）饮食柜台( buffet的名词复数 )； （火车的）餐车； 自助餐 | |
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ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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collaboration
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| n.合作，协作；勾结 | |
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remodelled
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| v.改变…的结构[形状]( remodel的过去式和过去分词 ) | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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disciples
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| n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一 | |
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collaborator
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| n.合作者，协作者 | |
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unity
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| n.团结，联合，统一；和睦，协调 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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engrossed
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| adj.全神贯注的 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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doorway
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| n.门口，(喻)入门；门路，途径 | |
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exterior
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| adj.外部的，外在的；表面的 | |
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renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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originality
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| n.创造力，独创性；新颖 | |
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armour
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| （=armor）n.盔甲；装甲部队 | |
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carvings
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| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
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overloading
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| 过载，超载，过负载 | |
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decadent
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| adj.颓废的，衰落的，堕落的 | |
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