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The Picturesque Antiquities of Spain. Wells Nathaniel Armstrong
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Автор произведения Wells Nathaniel Armstrong
Жанр Зарубежная старинная литература
Издательство Public Domain
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 that he was the victim of jealousy in the mind of the Regent. The fine speech, however, attributed to him by some of the newspapers, was not pronounced by him. His words were very few, and he uttered them in a loud and clear tone, before giving the word of command to his executioners. This, and his receiving the fire without turning his back, were the only incidents worthy of remark.
One of the two sentries stationed at the door of the Queen's anteroom when I arrived, happened to have played a conspicuous part on the eventful night. The Queen was defended by the guard of hallebardiers, which always mounts guard in the interior of the palace. This sentinel informed me that he was on guard that night, on the top step of the staircase, when Leon, followed by a few officers, was seen to come up. Beyond him and his fellow-sentry there were only two more, who were posted at the door of the Queen's anteroom, adjoining her sleeping apartment. This door faces the whole length of the corridor, with which, at a distance of about twenty yards, the top of the staircase communicates. In order to shield himself from the fire of the two sentinels at the Queen's door, Leon grasped my informant by the ribs right and left, and, raising him from the ground, carried him, like a mummy, to the corridor; and there, turning sharp to the left, up to the two sentries, whom he summoned to give him admittance in the name of the absent Christina.
On the soldiers' refusal, he gave orders to his battalion to advance, and a pitched battle took place, which was not ultimately decided until daybreak—seven hours after. The terror of the little princesses, during this night, may be imagined. Two bullets penetrated into the bed-room; and the holes made by about twenty more in the doors of some of the state apartments communicating with the corridor, are still preserved as souvenirs of the event. The palace contains some well-painted ceilings by Mengs, and is worthy of its reputation of one of the finest residences in Europe. The staircase is superb. It was here that Napoleon, entering the palace on the occasion of his visit to Madrid, to install Joseph Buonaparte in his kingdom, stopped on the first landing; and, placing his hand on one of the white marble lions which crouch on the balustrades, turned to Joseph, and exclaimed, "Mon frère, vous serez mieux logé que moi."
There is no road from Madrid to Toledo. On the occasions of religious festivities, which are attended by the court, the journey is performed by way of Aranjuez, from which place a sort of road conducts to the ancient capital of Spain. There is, however, for those who object to add so much to the actual distance, a track, known, in all its sinuosities, throughout its depths and its shallows, around its bays, promontories, islands, and peninsulas—to the driver of the diligence, and to the mounted bearer of the mail; both of whom travel on the same days of the week, in order to furnish reciprocal aid, in case of damage to either. A twenty-four hours' fall of rain renders this track impassable by the usual conveyance; a very unusual sort of carriage is consequently kept in reserve for these occasions, and, as the period of my journey happened to coincide with an uncommonly aqueous disposition of the Castilian skies, I was fortunately enabled to witness the less every day, and more eventful transit, to which this arrangement gave rise.
Accordingly at four o'clock on an April morning—an hour later than is the custom on the road from France to Madrid—I ascended the steps of a carriage, selected