Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER III PAINTING IN MADRID BEFORE VELAZQUEZ Oue attention will be occupied in this chapter with a description of the state of painting in the Spanish capital during the sixteenth and the first years of the seventeenth centuries, and with the various foreign influences which were felt at that period; until this time the works of painters of the School of Madrid do not seem to bear a definite and characteristic stamp. The Court, apart from the Spanish School, was not altogether without its titular painters. A small number of artists were always in attendance on the King and had the privilege of being seated near the throne. They painted the portraits of members of the royal family and also of the nobles and gentlemen who were attached to the service of the crown. They were therefore almost exclusively portrait painters. The origin of these artists was not Spanish, neither would their art be considered as a national development. Antony Mor or Mono (1512-1588), a native of Utrecht and portrait painter to Charles V. in Flanders, was brought to Spain in 1552 by Cardinal Granvella to make a prolonged sojourn nt Court. He was very highly esteemed at the Court of Philip II. and has left a quantity of portraits in Spain. Mor, who was very much influenced by primitive Flemish art, studied and made copies of the works of Titian and other great Italian masters during his stay in Spain. In this way he perfected his manner, so masterly and unmistakable, and took his rightful place amongst the portrait painters of all time. When Mor forsook Spain he left behind him a pupil who, without equalling the master, yet succeeded in assimilating his style, in which he did very good work. We refer to Alonso Sanchez Coello. Sanchez Coello was born in the beginning of the sixteenth century in...