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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
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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
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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
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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
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Figure 4
FR NCISCO
P CHECO
Last Judgment
Madrid, Museo
Nacional del Prado
438
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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
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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
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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
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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
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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
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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
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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
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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
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