A History of Spanish LiteratureFitzmaurice-Kelly, James
History
A History of Spanish Literature
Fitzmaurice-Kelly, James
Spanish literature -- History and criticism
Another man of Portuguese birth has won immortality outside of
literature; yet there is ground for thinking that DIEGO RODRÍGUEZ
DE SILVA Y VELÁZQUEZ (1599-1660) had the sense for language as for
paint. His _Memoria de las Pinturas_ (1658) exists in an unique
copy published at Rome under the name of his pupil, Juan de Alfaro,
though its substance is unscrupulously embodied in Francisco de
los Santos' _Descripción Breve_ of the Escorial. Formally, it is
a catalogue; substantially, it expresses the artist's judgment on
his great predecessors. Thus, of Paolo Veronese's _Wedding Feast_
he writes:—"There are admirable heads, and almost all of them seem
portraits. Not that of the Virgin: she has more reserve, more divinity:
though very beautiful, she corresponds fittingly to the age of Christ,
who is beside her—a point which most artists overlook, for they
paint Christ as a man, and His Mother as a girl." The great realist
speaks once more in describing Veronese's _Purification_:—"The Virgin
kneels ... holding on a white cloth the Child—naked, beautiful, and
tender—with a restlessness so suited to his age that He seems more
a piece of living flesh than something painted." And, in the same
spirit, he writes of Tintoretto's _Washing of the Feet_:—"It is hard
to believe that one is looking at a painting. Such is the truth of
colour, such the exactness of perspective, that one might think to go
in and walk on the pavement, tessellated with stones of divers colours,
which, diminishing in size, make the room seem larger, and lead you to
believe that there is atmosphere between each figure. The table, seats
(and a dog which is worked in) are truth, not paint.... Once for all,
any picture placed beside it looks like something expressed in terms of
colour, and this seems all the truer." Strangely enough, this writing
of Velázquez is ignored by most, perhaps by all, of his biographers;
yet it deserves a passing reference as a model of energetic expression
in a time when most professional men of letters were Gongorists or
_conceptistas_.
Public-domain text, read in full here on John Shaqi.
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