master drawings.pdf

8/18/2019 Master drawings.pdf

1/13

A New Preparatory Drawing for Francisco Pacheco's "Last Judgment": Creative Process and

Theological ApprovalAuthor(s): Benito Navarrete PrietoSource: Master Drawings, Vol. 48, No. 4, Drawings in Spain (WINTER 2010), pp. 435-446

Published by: Master Drawings AssociationStable URL: http://www.jstor.org/stable/25767247Accessed: 25-04-2016 17:04 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at

http://about.jstor.org/terms

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted

digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about

JSTOR, please contact [email protected].

Master Drawings Association is collaborating with JSTOR to digitize, preserve and extend access toMaster Drawings

This content downloaded from 140.192.113.143 on Mon, 25 Apr 2016 17:04:38 UTCAll use subject to http://about.jstor.org/terms


2/13

A New Preparatory Drawing for Francisco

Pacheco's Last Judgment: Creative Process and

Theological Approval

Benito Navarrete Prieto

As Bonaventura Bassegoda noted in his 1990 edition

of the painting treatise Arte de la pintura (Seville,

1649) by Francisco Pacheco (1564-c. 1644), the

artist's then untraced Last Judgment was one of the

best documented and most studied paintings in

Spanish art. 1 Pacheco's detailed discussion of the

picture in his treatise, as well as comments by friends

and other contemporary intellectuals about its

iconography and the theological issues surrounding

his treatment of the subject, made the missing pic

ture a constant focus of interest and sustained a

widespread hope that it would one day reappear. In

1810, during the Peninsular War, it was looted from

its original location as part of a retable in the church

of the convent of S. Isabel, Seville, by the French

general and statesman Marechal Soult (1769-1851).

(Fortunately, the retable itself survives in situ, though

it now contains a sculpture of Christ of Mercy by Juan

de Mesa [d. 1624].)2 From that moment, the com

position of the Last Judgment was known only

through a publication of 1862 by the French abbot

C. Martin, who had acquired the picture from the

chateau de Courson in France.3 Some years later, in

1869, the Last Judgment was reproduced in a litho

graph by Boucourt et Faguet illustrating an article

on Pacheco by Paul Lefort.4 But, by then, the paint

ing had once again changed hands. While distin

guished Hispanists, such as Jeannine Baticle, knew

that the large canvas had become part of a private

collection in Marseille, the picture did not return to

the public domain until 1996, when Jean-Louis

Auge?to the delight of scholars of seventeenth

century Spanish painting?succeeded in acquiring it

for the Musee Goya, Castres (see Fig. 5 below).5

The painting's extensive documentation includes

the contract for both the canvas and the retable. The

agreement between the donor, Hernando de Palma

Carrillo, and the artists?Pacheco as painter and Juan

Martinez Montanes (1568-1649) as sculptor?was

signed on 28 July 1610 and established the require

ments for the retable and its painting:

On condition that the main picture, of which the dimen

sions are given in the plan, must be painted on canvas de

mantel, the broadest that can be found, representing the

story of the Last Judgment, with all the grandness, the

pomp and as many figures as possible, without omitting

any of the essential elements of this subject, and it must all

be painted in oil, and finished very carefully and perfectly

by Francisco Pacheco himself, who must sign it, without

avoiding any difficulty, following the drawing and the

sketch that he must produce and that he must show to said

Hernando de Palma and that must be to his satisfaction.6

According to the terms of the contract, the project

was to have been completed within a year, but in

Arte de la pintura, Pacheco himself acknowledged

that the painting was not finished until 1614, the

date that appears as part of the inscription painted in

capital letters on a plaque in the predella of the

retable in the convent. This was, therefore, a long

process, in which both the artist's creativity and the

ological disquisitions concerning the arrangement of

the composition's numerous figures played their

part. Another element to take into consideration is

the time that Martinez Montanes would have need

435



3/13

Figure 1

Photographic

reconstruction of

the retable of the

Last Judgment in

the church of the

convent of S.

Isabel, Seville,

with architectural

structure by Juan

Martinez Montanes

(based on designs

by Juan de Oviedo)

and painted

altarpiece by

Francisco Pacheco

(the latter now

preserved in the

Musee Goya,

Castres)

ed to assemble the retable following the design by

the sculptor and architect Juan de Oviedo (1565

1623).7 The contract refers to a pre-existing design

for the same ensemble, which was to be adjusted as

follows:

It is a requisite that the two columns shown in the design

are covered with foliage painted in colors over pure gold

and, where necessary, the burnished gold must be poly

chromed with a fine brush and carved with those grotesques

and motifs that provide it with more grace and embellish

ment, so as to make the work look more beautiful and per

fect, and in a space and panel of the predella, on a fake

plaque painted in oil, the donor's name must be written in

matt gold. Ibidem that in the plinths of the predella, or in

any other appropriate location, two coats of arms must be

painted in oil, flanking each other, in the way that said

Hernando de Palma prefers. And it is also required that the

two cherubs or any other sculpture crowning [the retable]

must have their faces and flesh painted in oil, with matt

incarnation, and their draperies and wings must be very

lively and perfect, gilded and painted as appropriate, with

good quality work*

The final outcome (Fig. 1) clearly deviates from

some of the conditions in the contract, since there

are no cherubs crowning the pediment, where the

two corresponding coats of arms appear rather than

on the plinth. By contrast, the two Corinthian

columns are indeed covered with foliage, and a

broad cartouche inscribed with the name of

Hernando de Palma Carrillo is painted on the pre

della. This cartouche enables us to identify what

must be Juan de Oviedo's design for the retable (Fig.

2) among a group of nineteen drawings stuck down

on the verso of folio 5 of a first edition of the Regola

delli cinque ordini d'architettura by Jacopo da Vignola

(1507-1573), preserved in the library of the Colegio

Territorial de Arquitectos, Valencia.9 The drawing in

the Vignola volume could have been the design sub

mitted to the donor for approval, since it shows only

one half of the retable. As is customary, a second

option might also have been offered to him.

Similarities between it and the surviving retable

include the shape of the arch enclosing the structure,

Figure 2

JUAN DE OVIEDO

(attributed to)

Probable design for

the retable of the

Last Judgment in S.

Isabel, Seville

(pasted onto fol.

5v of Jacopo

Vignola, Regola

delli cinque ordini

d'architettura

[1562])

Valencia, Biblioteca

del Colegio de

Arquitectos, R.103

436



4/13

the scale and dimensions anticipated by the design,

and the format of the painting meant to be inserted

in the opening. The angel crowning the pediment,

the colorful foliage covering the shafts of the

columns, and the space left for the cartouche in the

predella, as requested in the contract, are other ele

ments that support this proposal. The sketch, how

ever, shows neither the frieze decorated with laurel

leaves above the painting, nor the broad, continuous

cartouche with inscription that was finally adopted

for the predella.

Pacheco noted the importance of this commis

sion in his treatise, where he also referred to his

preparatory drawing for it:

And therefore, because in 1614 I finished a large painting

of the subject of the Last Judgment for the convent of Santa

Isabel in this town, where it remains, for which I was paid

seven hundred ducats, I will describe the chain of thought

that Ifollowed to compose it, and on which aspects I depart

ed from what other painters had done before. Taking as an

example the best Judgment ever painted (by Michelangelo)

and explaining the reasons why I arranged mine as I did,

we will reach a clear conclusion on this subject.

And to begin my discourse (which those who have seen

either the painting or the drawing for it that I keep will find

of no little interest), I will say that I observed and studied

all the inventions on this complicated subject that I could

find and that are available in prints (of which there are

plenty), with particular attention to those by Michelangelo,

and I conceived a large copy, with more than eight hundred

figures, the most populated I know.U)

In the past, the preparatory drawing for the Final

Judgment mentioned by Pacheco has been identified

with a beautiful and well-preserved sheet in the

Alcubierre Album, now in the collection of Juan

Abello, Madrid (Fig. 3),n even though its composi

tion is radically different from that of the painting.

Yet, as was suggested by Bassegoda12?and as is fur

ther demonstrated by a recently rediscovered sheet

by Pacheco that passed unnoticed through the

Vienna art market and is now in the Prado, Madrid

(Fig. 4)13?the Alcubierre drawing does not seem to

be a preliminary study for the painting but rather a

depiction of the mistakes made by other artists when

representing the same subject. The Alcubierre draw

ing is, moreover, inscribed Mateo Perez / de Alesio,

and dated in Pacheco's characteristic handwriting,

postrero de Mayo / de 16i7 ( late May 1617 ), that is,

three years after the finished painting was installed in

the retable. It is now assumed to be a copy by

Pacheco after what he considered to be a poor com

position by Mateo Perez de Alesio, called Matteo da

Lecce (c. 1545-c. 1616). Among the errors that he

noted, St. Michael is in the center of the composi

tion, carrying his weapons and weighing the souls,

with the Devil at his feet trying to catch the lowest

or Similarly, he paints the Gates of Hell, resembling

the mouth of a serpent or of a monster, with flames

awaiting the Damned, and many more inventions by

painters who copied their predecessors, which result

from their own will and that have no foundation. I

Figure 3

FR NCISCO

P CHECO

Last Judgment

(from the Album

Alcubicrre)

Madrid, Collection of

Juan Abello

437



5/13

Figure 4

FR NCISCO

P CHECO

Last Judgment

Madrid, Museo

Nacional del Prado

438



6/13

distanced myself from all this, as we will see, and I

followed the opinions and the advice of wise men. 14

Once more, Pacheco proves to be a reliable

source of information, since the drawing that sur

faced recently confirms that there was a proper

preparatory drawing for the Last Judgment. This

design, probably from the collection of Heinrich

Schwarz (1894?1974),15 is almost certainly the one

that Pacheco showed to Hernando de Palma Carrillo

for approval and is no doubt the same drawing that

he mentioned in Arte de la pintura as being in his pos

session before he started work on the painting. Its

closeness to the finished picture (Fig. 5), as well as

important differences, can all be explained in the

context of iconographical debates among Pacheco's

advisors, who were responsible for sanctioning the

final composition. Eleven regular and secular clerics

were asked for advice, and the views of at least four

of them were reproduced in Arte de la pintura.

As described by Pacheco in his treatise, the

drawing shows the Last Judgment following the tra

ditional arrangement to which Michelangelo had

resorted: Christ appears as judge at upper center,

with the Virgin Mary on his right; they are flanked

by two angels, one holding an olive branch to sym

bolize peace among the Chosen or Blessed, while

the other holds a sword to allude to the Damned.

The archangel Michael is at an intermediate level

embracing the cross, worshipped on one level by

groups of kneeling angels and, on a higher level, by

the apostles identified by their attributes and seated

in the manner of judges, the Church Fathers, and

endless saints and prophets. In a transitional space

below this intermediate zone, four trumpeting

angels turn toward Earth on the lower level, some

looking at the Chosen and others looking at the

Damned. The archangel Gabriel, holding a scepter,

presides over the scene at lower center.

The drawing consists of fifteen pieces of paper

cut and pasted onto a secondary support in the man

ner of a collage. They allowed the artist to compose

the scene as he described it in his treatise, by meas

uring the proportions of the groups of figures before

transferring them to the canvas. Pacheco's pen tech

nique may be compared to that of other securely

attributed drawings; the sheet also features typical

traits, such as abstract shapes and the artist's individ

ual rendering of locks of hair, by means of parallel,

short, curved strokes, as can be seen in the figures of

Sts. John the Baptist, John the Evangelist, and

Michael. The same double locks reappear in the fig

ure of St. Michael in Pacheco's Guardian Angel in the

Uffizi, Florence,16 which is similarly executed in

brown wash, a technique that also characterizes the

King David in a private collection, New York.17

The main difference between the drawing

recently acquired by the Prado and the painting in

Castres are the attitudes and the position of the two

archangels, Sts. Gabriel and Michael. The placement

and attributes of these two figures dominated the

theological discussion among Pacheco's ecclesiastical

friends. In particular, Dr. Alonso Gomez de Rojas,

who was the priest of the Holy Church, recom

mended that:

^

Figure 5

FR NCISCO

P CHECO

Last Judgment

Castres, Musee

Goya

439



7/13

Figure 6

FRANCISCO

P CHECO

Detail of Figure 4,

with the Archangel

Michael holding

the Cross

Madrid, Museo

Nacional del Prado

Figure 7

FRANCISCO

P CHECO

Detail of Figure 3,

with the Archangel

Michael

Madrid, Collection of

Juan Abello

Even if it is true that on Judgment Day the angels will

bring the Cross, it has not been determined who is sup

posed to hold it while the Judgment takes place; and hence

it seems that [they can be only] either St. Michael, as a

senior Archangel, or St. Gabriel, who had the privilege to

announce the Incarnation marking the beginning of our

Redemption, which continued and ended with the Cross.

This task cannot be given to St. Michael, though, because

the Last Judgment is supposed to mark the end of the war

that the good angels declared on the bad shortly after their

creation, and St. Michael was given the position of

Captain General to fight against them. He thus claimed

the title and the name of God, which was the calling used

in this battle, when he asked, Quis ut Deus? ( Who

like God? ), and he demoted those who did not reply that

God was their only Lord. So if the Last Judgment is the

moment when this fight against the Devil is won, St.

Michael cannot be deprived of his original role. On the con

Figure 8

FRANCISCO

P CHECO

(attributed to)

Archangel Michael

Santander, Museo de

Bellas Artes

trary, this is when showing it becomes most appropriate,

because it is now when he finally achieves his Victory, by

sending all the demons to prison together with the Damned,

who assisted them in their fight against God.... From all

these principles, we must infer that the task of holding the

Cross, which is the royal banner at the moment of the

Judgment, must be given to the archangel St. Gabriel.

This passage suggests that Pacheco had not yet been

advised by Alonso Gomez de Rojas when he made

the drawing. Thus St. Michael is still holding the

cross at the center of the composition, with a larger

number of cherubs forming a plinth (Fig. 6), while

St. Gabriel was depicted holding a scepter below the

clouds in the lower part of the drawing (see Fig. 15).

This initial arrangement was later reversed in the

painting, as Pacheco himself explained:

It seemed better (and I suppose that this is a more pious

opinion) to depict the cross in which Our Lord suffered the

Passion with its nails and its scroll inscribed in three lan

guages, and to replace St. Michael with St. Gabriel, since

this archangel initiated and ministered the mysteries of

Christ's holy incarnation. And since this was its last

episode, he would bring his sacred banner to be displayed

in front of his Lord, as a manifestation of his Glory and

Majesty. This was Master Francisco de Medina's advice;

440



8/13

moreover, Father Cornelio, from the Jesuit Order, says that

St. Gabriel will announce Christ's coming to the world.19

Another interesting aspect is the resemblance

between the figure of St. Michael that occupies the

center of the Prado drawing and that in the

Alcubierre drawing (Fig. 7). Both figures can also be

associated with a painting attributed to Pacheco in

the Museo de Bellas Artes, Santander, which depicts

the same archangel vanquishing the devil (Fig. 8).20

All three works share the same iconography, and the

saint plays the same role within the creative process.

Minor variations, however, can be found in the

attributes carried by the saints and prophets depicted

in the intermediate level of the Prado drawing. For

instance, St. Bartholomew, depicted next to St.

Andrew, does not carry his usual knife, which

nonetheless appears in the final painting. A more sig

nificant difference between the drawing and the

final work is Pacheco's self-portrait, which is includ

ed among the group of Chosen depicted as nude fig

ures at the lower left of the painting (Fig. 9). As

Pacheco confidently noted, The main figure is that

of a most beautiful young man seen from behind

next to a beautiful woman, and between them, I

inserted my bust portrait facing front (since I am cer

tain I will be there on the day). 21 This discrepancy

is explained by Pacheco's understandable reticence

to include his self-portrait in the drawing that would

be shown to the donor; instead he drew a male head

looking up in its place (Fig. 10). In the painting,

however, and as Auge pointed out, this male face

matches Pacheco's appearance, as depicted by his

pupil and son-in-law Diego Velazquez (1599?1660)

in the latter's portrait in the Prado.22

Velazquez would already have been working in

Pacheco's studio when both the preparatory drawing

and the painting of the Last Judgment were produced.

Hence the younger artist would have witnessed the

creative process behind this project, as well as the

monumental Christ Served by Angels in the Desert

(1616), which is also in the Musee Goya, Castres,23

and for which there is also a preparatory drawing,

now in the Museo Nacional de Arte de Catalunya,

Barcelona.24

Not only is the legacy of Pacheco's creative

process of interest, it is equally instructive to look

backward and to explore the visual sources that,

alongside the theological advice he received, influ

enced his development of the composition. For

instance, several of the nude figures among the

Chosen, especially those seen from behind, reflect

Figure 9 (left)

FR NCISCO

P CHECO

Detail of Figure 5,

with Pachecho's

self-portrait among

the Chosen

Castres, Musee

Goya

Figure 10 (right)

FRANCISCO

P CHECO

Detail of Figure 4,

with the Chosen

Madrid, Museo

Nacional del Prado

441



9/13

Figures 11 (left)

FR NCISCO

P CHECO

Details of Figure 4,

with kneeling

angel

Madrid, Museo

National del Prado

Figure 12 (right)

CORNELIS CORT

(after FEDERICO

ZUCCARO)

Annunciation with

Prophets, 1571

(detail of kneeling

angel)

Engraving

London, British

Museum

physical types characteristic of El Greco (1541?

1614) and testify to Pacheco's indebtedness to the

Greek painter, whose studio he is said to have visit

ed in 1611, on his way to the Escorial, in other

words, when creative work on the Last Judgment was

well under way.25 These mannequin-like figures

recall El Greco's polychromed sculptures of

Epimetheus and Pandora, both now in the Prado.26

Among Pacheco's other sources was the well

known print of 1571 by Cornelis Cort (1533?before

1578) after Federico Zuccaro (c. 1541-1609) repre

senting the Annunciation with Prophets?1 Thus the

two angels kneeling in front of St. Michael (e.g., Fig.

11) derive from the angel that appears in the Glory

in Zuccaro's original composition (Fig. 12).28

Despite Pacheco's exhaustive comments on his

painting of the Last Judgment, he failed to acknowl

edge his indebtedness to other artists. There was

Figure 13

FRANCISCO

P CHECO

Detail of Figure 4,

with one of the

Damned covering

his ears

Madrid, Museo

National del Prado

Figure 14

NICOL S

BEATRIZET (after

MICHELANGELO)

Last Judgment,

1540-66 (detail of

one of the

Damned in the

boat of Charon)

Engraving

New York,

Metropolitan

Museum of Art

442



10/13

only one exception and that was Michelangelo, in

whose work he found the model for one of the

Damned:

...the main figure on this side, covering his ears with his

hands, hopelessly cries with a melancholic and sorrowful

face. I copied the disposition of his upper body after the fig

ure that Michelangelo painted in Charon's boat, in order

to honor my painting with something borrowed from such

a great man, the imitation of whom is a glory (though not

when it comes to decorum, as will be seen).29

This figure, which occurs in both painting and draw

ing (Fig. 13), was certainly copied from the repro

ductive print by Nicolas Beatrizet (1507/15-c. 1565)

after Michelangelo's Last Judgment (Fig. 14).30

Pacheco's further indebtedness may be seen in the

figure of the archangel St. Gabriel at lower center

(Fig. 15), which derives from the well-known pro

tagonist in the engraving of Dido Holding a Dagger in

Her Right Hand by Marcantonio Raimondi (c.

1470/82-1527/34), despite the slightly different dis

position of the queen's head (Fig. 16).31 This varia

tion is particularly interesting, since in the painting,

St. Gabriel was depicted at center holding the cross

(as already mentioned), while his original position at

lower center was filled by St. Michael dressed in his

characteristic military costume (Fig. 17), a motif still

clearly influenced by Marcantonio's model.

The lower part of the drawing is not as well pre

served as the rest of the sheet, due to the trimming

Figure 15 (left)

FRANCISCO

P CHECO

Detail of Figure 4,

with the Archangel

Gabriel

Madrid, Museo

National del Prado

Figure 16 (right)

M RC NTONIO

RAIMONDI

Dido Holding a

Dagger in Her

Right Hand,

1515-27

Engraving

London, British

Museum

Figure 17

FR NCISCO

P CHECO

Detail of Figure 5,

with the Archangel

Michael

Castres, Musee

Goya

443



11/13

of a large part of the composition, which no doubt

would have included an empty cartouche or plaque

for the inscription on the painting at Castres, which

reads: futurum ad finem saeculorum iuditium

fr nciscus p ciecus romulensis depingeb t

saecula judicis natali decimi septimi a...xiv.32

The text in Roman capital letters, which includes

Pacheco's signature and the date, was composed by

the poet and humanist Francisco de Medina (1516?

1577).33 The rediscovery of Pacheco's preparatory

drawing for this important commission not only

sheds light on the artist's creative process, but also

reveals an elaborate collaborative process, more

specifically, the extent to which the final composi

tion was shaped by discussions with theological and

literary figures as well as Pacheco's obsessive concern

for orthodoxy. In short, this new sheet may be

regarded as one of the most erudite and complex

examples of drawing in the Spanish Golden Age?a

particularly appropriate acquisition for the Prado,

especially considering that the museum did not pre

viously possess any relevant work on paper by

Velazquez's master.

Dr. Benito Navarrete Prieto is a lecturer in the history of

art at the University of Alcald.

editors' note

Translated from the Spanish by Mercedes Ceron.

NOTES

1. See Francisco Pacheco, Arte de la pintura (Seville, 1649);

ed. by Bonaventura Bassegoda i Hugas, Madrid, 1990, p.

309, n. 2.

2. Polychromed wood; h.: 173 cm; see Enrique F. Pareja

Lopez et al.,Juan de Mesa, Seville, 2006, pp. 226?33, repr.

3. See L'Abbe C. Martin, Notice sur le grand tableau du

Jugement universal : Chef-d'oeuvre de Francois Pacheco

peintre espagnol, de Vecole de Seville, Paris, 1862.

4. See Charles Blanc et al., Histoire des peintres de toutes les

ecoles: Ecole espagnole, Paris, 1869, fig. 18.

5. Inv. no. 96-17-1 (oil on canvas; 338 x 235 cm); see Jean

Louis Auge, Velazquez et Francisco Pacheco: Nouvelles

perspectives a propos d'une peinture savante des debuts

du Siecle d'Or,' Les Cahiers du Musee Goya, 1, 1999, pp.

9-16.

6. See Francisco Rodriguez Marin, Francisco Pacheco: Maestro

de Velazquez, Madrid, 1923, p. 47: Es condition que en el

quadro principal, cuyo tamano muestra la trasa, se a de pintar

sobre lienco de mantel, el mas ancho que se hallare, la historia

deljuicio universal, con toda la grandeza e aparato y figuras que

fuere posible, sin que fake en esta historia cosa ninguna de lo

esencial que se suele pintar, e todo esto a de ser pintado a olio e

acabado con mucho cuydado y perfection e de mano del dicho

francisco pacheco, en que ponga su nonbre, sin perdonar diftcul

tad ninguna, conforme a el dibujo e yntento que a de hazer y

mostrar a el dicho hernando de palma, para su mejor satisfac

tion. The full contract was published in Documentos para

la Historia del Arte en Andaluda, 1, 1927, pp. 170-74.

7. For the retable as a whole, see Victor Perez Escolano,

Juan de Oviedo y de la Bandera (1565-1625): Escultor,

Arquitecto e Ingeniero, Seville, 1977, pp. 116-17. For the

first reconstruction with the painting inserted in the

retable when it was known only through the print by

Boucourt, see Jesus Palomero Paramo, Definition,

cronologia y tipologia del retablo sevillano del Renaci

miento, Imafronte, 3-5, 1987-89, p. 80, fig. 13.

8. See Rodriguez Marin 1923, p. 47: Mas es condition que las

dos columnas que muestra la trasa an de ser Rebestidas de folla

jes de colores sobre oro limpio, y en las partes que conbiniere sobre

el oro brunido se a de estofar a punta de pinzel e gravar las labo

res e grotescos que hizieren mejor gracia e ornato, para que sea la

obra mas vistosa y perfecta, y en un espacio y coginete del banco

deste Retablo, sobre una losa fingida de pintura a olio, se tiene

de escrevir con letras de oro mate quien mandb hazer la obra. /

Iten es condition que en unos pedestales del sotabanco o en otra

parte, donde mas conbenga, se an de pintar a olio dos escudos de

armas, en correspondencia el uno del otro, con el modo y obra que

paresciere a el dicho hernando de palma. Y es condition que los

dos ninos o otra escultura que sirven de Remate an de ser rostros

e carnes pintados a olio, encarnacion mate, con mucha bibeza y

perfection e las Ropas y alas, doradas y estqfadas como mas con

benga, confforme a muy buena obra.

9. Inv. no. R 103, fol. 5v. Pen and brown ink, with brown

wash; 300 x 95 mm. The drawings incorporated in this

copy of Vignola's work, which I believe might have

belonged to Alonso Cano (1601-1667), have been pub

lished in several articles. For the drawings by Francisco

Herrera the Elder (c. 1576-1656), see Alfonso E. Perez

Sanchez and Benito Navarrete Prieto, Sobre Herrera el

Viejo, Archivo Espanol de Arte, 276, 1996, pp. 366-67,

figs. 1-5; for the identification of the drawings by

Martinez Montanes, see Benito Navarrete Prieto, El

Vignola del Colegio de Arquitectos de Valencia y sus

retablos de traza sevillana: Juan Martinez Montanes,

Archivo Espanol de Arte, 311, 2005, pp. 235-44, figs. 1-4;

for the identification and tentative attribution to Cano of

the retable of the Discalced Carmelites in S. Alberto,

Seville, and the attribution of the other design for a

retable-tabernacle to Jeronimo Hernandez (1541-1586),

see idem, M. Iacomo Barozzio da Vignola, Regola delle

cinque ordini d'architettura, 1562, in Alfonso Pleguezuelo

444



12/13

and Enrique Valdivieso, eds., Teatro de Grandezas, exh.

cat., Granada, Hospital Real, 2007, pp. 184-85.

10. See Pacheco (ed. Bassegoda i Hugas) 1990, p. 309: 11Y asi,

porque el ano de 1614 yo acabe un lienzo grande de la historia

del Juicio universal en precio de setecientos ducados, para el

convento de Santa Isabel desta ciudad, donde estd, con descrebir

el pensamiento que segui en su disposition y en lo que me apar

te del comun de otros pintores, trayendo el ejemplo del mas aven

tajado Juicio ,que se ha pintado jamas (que es el de Micael

Angel), descubriendo la razon que tuve para historiar asi, saca

remos de todo apurado el fin deste punto. / Y dando principio a

este discurso (que no sera, pienso, de poco gusto a los que hubie

ran visto la execution de este cuadro o el debuxo que yo tengo

del), digo que observe y vi todas las invenciones que yo pude y

andan en estampa (que son muchas) desta copiosa historia, y

particularmente, la de Micael y hice conceto de una gran copia,

y asi, pasan de ochocientas lasfiguras que en el se ven, que hasta

ahora no tengo noticia de otra de mayor numero.

11. Fol. 18. Pen and brown ink, with brown wash, on yellow

ish paper; 310 x 210 mm; see Benito Navarrete Prieto

and Alfonso E. Perez Sanchez, with contributions by

Roberto Alonso Moral, Album Alcubierre: Dibujos de la

Sevilla ilustrada del Conde del Aguila a la coleccion Juan

Abellb, Madrid, 2009, no. 8, repr. (in color).

12. See Pacheco (ed. Bassegoda i Hugas) 1990, p. 310, n. 4.

13. Inv. no. D-8557. Pen and brown ink, with brown wash

and touches of graphite, on yellowish paper; 553 x 387

mm. The drawing, identified as Pacheco by Eugenio

Soria (of the Galena Caylus, Madrid), appeared under a

mistaken attribution to the Munich artist Christoph

Schwarz (c. 1545-1592) at auction, Vienna, Dorotheum,

27 Octo-ber, 2009, lot 135, repr. (in color), no doubt

because of an annotation in pencil, Schwarz, on the verso,

which refers to the previous owner of the sheet rather

than its author.

14. See Pacheco (ed. Bassegoda i Hugas) 1990, p. 310: A S.

Miguel Arcangel en el medio del cuadro, armado, pesando las

almas, y el demonio a los pies como queriendo asir la que estd

mas baxa o 'Asimesmo, se pone una boca de infierno, como

de sierpe o monstruo, con llamas defuego que recibe a los con

denados, y otras mil imaginaciones de pintores, a su albedrio, y

sin fundamento, solo siguiendo unos a otros. De todo lo cual yo

me aparte, como veremos mas adelante, con el parecer y senti

miento de hombres doctos.

15. Born in Austria, Heinrich Schwarz, whose collector's

mark (L. 1372) along with the number 34 also appear on

the verso of the sheet, was a contemporary of Frits Lugt,

who in the Marques de collections de dessins & d'estampes:

Supplement (Amsterdam, 1956) wrote of Schwarz's

emerging taste for collecting drawings and prints and

provided details of his curatorial career over two conti

nents. Schwarz was an art historian who worked in both

the Albertina and the Belvedere Gallery in Vienna. A

specialist in early photography, he is best known for his

book David Octavius Hill: Meister der Photographie (Leipzig,

1931). In 1940, Schwarz moved to the USA, where he

obtained American citizenship and held several museum

posts. A selection of his writings can be found in W. E.

Parker, ed., Art and Photography, Forerunners and Influences:

Selected Essays by Heinrich Schwarz (Rochester, NY, 1985).

For another Spanish drawing from his collection, see sale,

Madrid, Subastas Segre, Subasta de dibujos antiguos hasta

1900 (sale catalogue by Roberto Alonso Moral and Jose

Miguel Zamoyski de Borbon), 18 December 2007, lot 38

(Jose Camaron y Boronat, Female Oriental), repr. (in

color); the drawing was acquired by the Spanish state for

the Museo del Romanticismo (inv. no. CE7334; pen and

brown ink, with gray wash; 360 x 245 mm).

16. Inv. no. 10181 S. Pen and brown ink on yellowish paper;

180 x 136 mm; see Alfonso E. Perez Sanchez, with con

tributions by Benito Navarrete Prieto, Tres siglos de dibu

jo sevillano, exh. cat., Seville, Fundacion Focus-Abengoa,

1995, no. 23, repr. (in color).

17. Promised gift to the Hispanic Society of America, New

York. Pen and brown ink, with brown wash, with black

chalk markings indicating the center of the sheet; 219 x

152 mm; see Priscilla Muller, Dibujos espanoles en la

Hispanic Society of America: Del Siglo de Oro a Goya,

Madrid, Museo Nacional del Prado, 2006, no. 12, repr.

(in color); and Jonathan Brown et al., The Spanish

Manner: Drawings from Ribera to Goya, exh. cat., New

York, Frick Collection, 2010-11, no. 1, repr. (in color).

18. See Pacheco (ed. Bassegoda i Hugas) 1990, pp. 323-24:

Y aunque es verdad que en la venida al Juicio traerdn los dnge

les la Cruz, pero no consta quien la ha de tener mientras se hace

el Juicio; y asi, parece que solo puede estar este oficio entre S.

Miguel, como supremo Arcangel, o S. Gabriel, como a quien se

dio privilegio para anunciar la Encarnacibn, que es principio de

nuestra redencibn; la cual se perficionb y acabb en la Cruz. Pues

a S. Miguel no le pertenece este oficio. Porque se ha de suponer

que el Juicio es fin de la guerra, que contra los malos dngeles

empezaron los buenos, en el segundo instante de su creation,

ddndole a S. Miguel el oficio de capitdn general contra ellos, y

asi tuvo el titulo y nombre de Dios, quefue el que se dio en esta

batalla, llamdndose {Quis ut Deus? iQuien como dios?, qui

tando de la alteza a los que no correspondian confesando a su

Dios por unico Senor. Pues siendo el Juicio donde se ha de

rematar esta conquista contra el demonio, no se le ha de quitar a

S. Miguel el primer oficio, antes aqui principalmente le conviene;

pues aqui alcanzard ultimamente la vitoria; encarcelando a los

demonios y a los condenados, que les ayudaron a hacer guerra a

Dios... De todos estos principios se infiere que el oficio de tener

la cruz, que es el estandarte real de aquel acto de Juicio, se debe

dar y es proprio del arcangel S. Gabriel.

19. See ibid., p. 311: Parecib por justas causas (supuesto que es

opinion mas pia) quefuese lafigura de la misma cruz en que el

Senor padecib, y que tuviese sus clavos, y su titulo en tres

lenguas, y que el alferez, o sostituto de S. Miguel fuese S.

Gabriel, por ser este Arcangel el que comenzb y ministrb los mis

445



13/13

terios de la sacratisima humanidad de Cristo. Y que siendo este

el ultimo acto della, traxese su divino estandarte y enseha delante

de su Rey en la manifestation de la gloria y majestad suya. Este

fue parecer del maestro Francisco de Medina; ademds, que dice el

padre Cornelio, de la Companla de Jesus, que S. Gabriel anun

ciard a todo el mundo la venida de Cristo a jusgar

20. Inv. no. Reg. 0011 (oil on canvas; 125.2 x 69.1 cm); see

Salvador Carretero Rebes, Un San Miguel Arcdngel del

Museo de Bellas Artes de Santander atribuido a Francisco

Pacheco, Trasdos, 4, 2002, pp. 119-23. The inconsistent

quality of this work, compromised by conservation prob

lems and color changes, prevents me from assigning it to

Pacheco with absolute certainty.

21. See Pacheco (ed. Bassegoda i Hugas) 1990, p. 313: La

principal y entera estd de espaldas; es mancebo hermosisimo

junto a una hermosa mujer, y entre estos dos puse mi retrato

frontero hasta el cuello (pues es cierto hallarmepresente este dia.

22. Inv. no. 1209 (oil on canvas; 40 x 36 cm); see Jean-Louis

Auge, Francisco Pacheco y Diego Velazquez: Del

manierismo al naturalismo ^transmision o transgresion?

in In Sapientia Libertas: Escritos en homenaje al profesor

Alfonso E. Perez Sanchez, Madrid, 2007, p. 261.

23. Inv. no. 93-1-1 (oil on canvas; 2.68 x 4.18 m); see Jean

Louis Auge, ed., Inventaire general des collections du Musee

Goya, I: Peintures hispaniques, Castres, 2005, no. 42, repr.

in color).

24. Inv. no. MNAC/GDG39089-D. Pen and brown ink,

with brown wash; 161 x 230 mm; see Diego Angulo

Iniguez and Alfonso E. Perez Sanchez, A Corpus of

Spanish Drawings, 4 vols., London, 1975-88, vol. 3

[Seville, 1600-1650], no. 97, repr.

25. See Francisco Pacheco, The Art of Painting; ed. and Eng.

trans, by Zahira Veliz, Cambridge, 1986, pp. 39?40: In

the year 1611, Domenico Greco showed me a cupboard

of clay models by his hand which he used in his works; I

also saw something else exceeding all admiration?the

originals of all he had painted in his life, painted in oil on

small canvases and kept in a room that he instructed his

son to show to me. What will the presumptuous and lazy

say to this? How is it that they do not drop dead hearing

of such examples? Seeing such diligence among the

giants, how is it that dwarfs allege facility and skill? Yet I

have seen and known some who have made their works

in oil and fresco without forethought, without drawings

or cartoons. But what does it matter, if we have neither

to follow nor to imitate them, and their works manifest

the limited knowledge and art with which they were

made? For the Spanish original, see Pacheco (ed.

Bassegoda i Hugas) 1990, pp. 440-41.

26. Inv. nos. E-483 and E-937 (both polychromed wood; h.:

approx. 43 and 44 cm); see Leticia Ruiz Gomez, El Greco

en el Museo National del Prado: Catdlogo razonado, Madrid,

2007, no. 36, both repr. (in color). For the possibility that

El Greco's Martyrdom of St. Maurice (now in the Escorial),

which Pacheco saw during his journey in 1611, also served

as a source for the Last Judgment, see Auge 1999, p. 12.

27. Engraving; 450 x 672 mm; see Walter L. Strauss and

Tomoko Shimura, eds., The Illustrated Bartsch, vol. 52,

New York, 1986, p. 34, no. 26-IV (50), repr.

28. For the extraordinary influence of this print on

Andalusian painting, see Benito Navarrete Prieto, La pin

tura Andaluza del sigh XVII y sus fuentes grabadas, Madrid,

1998, pp. 111-38.

29. See Pacheco (ed. Bassegoda i Hugas) 1990, p. 314: La

figura principal de este lado tiene las manos en los oidos, y con

melancolico y lloroso semblante derrama lagrimas sinfruto. Puso

asi Micael Angel una figura en la barca de Caron; cuya postu

ra del medio cuerpo arriba yo segui por honrar mi pintura con

algo de tan valiente hombre, a quien es gloria imitar en el arte

(no tanto en el decoro, como veremos. Michelangelo's Last

Judgment was known in late sixteenth-century Seville not

only through prints, but also through a number of copies

documented in different collections, and more specifical

ly in several drawings attributed to Gaspar Becerra (c.

1520-c. 1570); see Jesus Palomero Paramo, La cultura

artistica de la Ciudad de la Giganta (notas sobre pin

tores y escultores en la Sevilla de Cervantes), in

Francisco Nunez Roldan, ed., La ciudad de Cervantes:

Sevilla, 1581-1600, Seville, 2005, p. 204, n. 11.

30. Engraving; 1230 x 1050 mm; see Suzanne Boorsch, ed.,

The Illustrated Bartsch, vol. 29, New York, 1982, p. 292,

no. 37 (257) (10), repr.

31. Engraving; 159 x 127 mm; see Konrad Oberhuber, The

Illustrated Bartsch, vol. 26, New York, 1985, p. 181, no.

187 (153), repr.

32. For the transcription of the inscription, see Jean Louis

Auge, Didlogo entre dos colecciones: Obras maestras del Musee

Goya de Castres y del Museo de Bellas Artes de Sevilla, exh.

cat., Seville, Museo de Bellas Artes, 2007, p. 112.

33. Pacheco himself acknowledged and transcribed the

inscription from his Last Judgment provided by Francisco

de Medina, although with a slight variation in the last

characters (see Pacheco [ed. Bassegoda i Hugas] 1990, p.

338): Futurum ad finem saeculorum Iuditium. / Franciscus

Paciecus Romulensis depingebat / Saeculi a ludicis, natali XVII

Anno XL For relations between Francisco de Medina

and Pacheco, see ibid, pp. 23-25. Their friendship was

also memorialized by Pacheco's portrait of the poet in his

Libro de Retratos, now in the library of the Fundacion

Lazaro Galdiano, Madrid (inv. no. 15654; black and red

chalks, with brown wash; approx. 190 x 148 mm); see

Marta Cacho Casal, Francisco Pacheco and his Libro de

Retratos, PhD diss. (forthcoming); and Francisco

Pacheco, Libro de description de verdaderos retratos de ilustres

y memorables varones; ed. and preface by Diego Angulo

fniguez, Madrid, 1983, pp. 85-88.

446

master drawings.pdf

Documents