SPANISH SCHOOL According to legend, the Virgin went as a child to live in the Temple, where she was distinguished by her piety and her skill in needlework. She is shown here at an early age interrupting her typically Spanish blackwork embroidery to contemplate some heavenly mystery. A dimly seen circle of fiery cherubim takes the place of a halo and contrasts with the matter-of-fact realism of the accessories. Some of these, such as the roses and lilies, are standard symbols of the Virgin; others, such as the scissors, have no well-known meanings. It is often said that the Spanish character unites the realism of Sancho Panza with the idealism of Don Quixote. Something of the same curious combination is frequently seen in Spanish paintings. 5S DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ 1599-1660

Don Gaspar de Guzmdn, Count Duke of Olivares, 1587-1645 Oil on canvas, 50%/4x 41 in. Fletcher Fund, 52.125 56 Olivares was the most powerful man in Spain from the accession of Philip IV in 1621 until 1643, when the king banished him. Though a statesman, not a soldier, he is shown by Velazquez as a commanding officer, with dimly seen armies fighting in the distance. Olivares presumably chose this setting; a contemporary wrote that he had all the characteristics of a general except that he had never been on a battlefield. The upright figure dominates the great X of the composition, formed by the diagonals of the horses body crossing the upward sweep of the landscape from the lower left to the upper right corner. Through the movement and spirit of the vividly painted horse, Velazquez has emphasized the confident mastery of the rider. SPANISH SCHOOL BARTOLOME ESTEBAN MURILLO 1617-1682 Madonna and Child Oil on canvas, 651/4 x 43 in. Rogers Fund, 43.13

SPANISH SCHOOL Murillo painted the Virgin and Child over and over again; his supremely beautiful but always human figures were what every Spanish church and pious family wanted over its altars. This example was in the chapel of the Santiago family until 1808. Except for the extreme good looks of both figures, this could be an actual mother and son. The Virgin is almost too perfect to be true, but the model must have been a real woman, since she appears in other paintings by Murillo. The Child, equally beautiful, with his golden hair and huge dark eyes, is only a slightly idealized, though younger, version of the handsome beggar boys of Seville, whom Murillo frequently painted. 57 FRANCISCO DE GOYA 1746-1828 Don Sebastin Martinez Oil on canvas, 36/s x 255/s in. Signed and dated (on paper): Dn Sebastian/ Martinez/Por su Amigo/Goya/1792

Rogers Fund, 06.289 58 Don Sebastian was a lawyer and government official in Cadiz. The year after this portrait was painted, Goya, then very ill, stayed with him. A warm red underpainting shows beneath the thinly painted blues and greens of the sitters coat and the brilliant white of his shirt frill, giving vibrancy to the cool harmony of the color scheme. Natural friendly affection can be sensed behind the refinement, restraint, and intelligence of Don Sebastians features and expression. Goya did not treat all of his clients as if he were an amigo; some, we often feel, he must have disliked, even despised. We find him here in a rarer mood, combining friendliness and appreciation with his usual frankness and perspicacity. SPANISH SCHOOL GOYA Majas on a Balcony Oil on canvas, 763/4x 49'/2 in. The H. O. Havemeyer Collection Bequest of Mrs. H. O. Havemeyer, 29.100.10