How To Make A Cozy Cup

Madrid Tickets San Francisco and San Francisquito

Many outsiders and not a few locals, birth or adopted through the town, like me, know that at the edge of the monumental Basilica San Francisco el Grande, a small church, older than the main temple, known as the Capilla del Cristo de los Dolores of the Venerable Third Order .

Match all sources consulted by me in pointing out the supreme quality of this work of Baroque Madrid, thus, for example, Don Elias Tormo, the great scholar of ancient churches in Madrid, says it is "the most typical Church of Madrid, and most simply beautiful of the reign of Philip IV , for its architecture and decoration " 1 , my recommendation is to enough to actively seek the visit of this "hidden treasure ."

Such was my intention in this January morning in the rain, not cold, we have been granted a respite to those who, in any season, usually swarm the streets and squares in Madrid, but there you have to reach Plaza de San Francisco and watching the open doorway of the neoclassical gallery leading to the temple, across the street from San Buenaventura, a friendly doorman tells me that the chapel is closed to the public for restoration expected to be completed soon.

I must be patient and wait for my chance, which is also the followers and readers of this blog. However, I think interesting, while the time comes to see the renovated interior, with its famous canopy and the famous cycle of paintings of John Martin Cabezalero passion, knowing, at least, what is the history of this chapel and photograph their abroad. So we, then, of the work done.


History
The Venerable Third Order of Penance, also called, was created by San Francisco by the year 1221 " to extend between the secular life of prayer and penance and with more demands to follow the precepts of the Gospel , not only in his private life but also in its relations with society, to be among its rules to aid the poor and the sick " 2. Formerly "il poverello" had founded the Order of Friars Minor (Franciscans) in 1209 and a second Order of the Poor Sisters (Clare) in 1212, so that the penance was the third Order which he founded to accommodate those Secular Franciscans (tertiary) wishing to pursue a life devoted. In Madrid this Order was established since ancient times and was very popular figure in her characters as important as Lope de Vega, Calderón de la Barca and Francisco de Quevedo.

had this Venerable Third Order (hereinafter designated by its Acronyms VOT) a chapel in the medieval church of San Francisco, next to the Lujanes, but as I wanted to prove to little brothers brothers have a free but without losing the connection to the Franciscan convent. Thus, in 1617, bought a friars' the local Franciscan Commissariat de Indias " 3 rounded this property with other acquisitions in 1638 and 1651. Thus, in 1662, could begin construction of the "hood" whose data on construction costs involved and teachers are well documented and kept on file .

The chapel was designed by Jesuit Brother Bautista Murcia (1594-1679), the architect and author of the monumental work of the Church of Imperial College (now the Collegiate Church of San Isidro). Tormo the judges' most personal creation " 4 . In his designs took another great architect, Sebastian Herrera Barnuevo. The building was constructed "by the master builder Mark Smith" 5 , with the cooperation, imposed by the Order, Luis Román and Juan Delgado and under the supervision and monitoring of the Baptist brother. A López Marcos succeeded in implementing Mateo López " perhaps his son" 6. The opening of the chapel took place in 1668.

From 1760 to 1784, while building the new basilica of San Francisco el Grande served as a church for the Franciscans. In 1888 he was about to be demolished, saving "by the hair." Left untouched by the fires and looting in 1936, but not acted liturgical reform of Vatican II. Says Maria Elena Gomez Moreno 7 in 1968, the VOT undertook a reform unreasonable " adapt to modern demands litíurgicas." Baroque decoration disappeared with the canvas, images, altarpieces and canopy, and even changed the orientation of the altar. The reform was carried out quietly, but their complaint prompted a bitter debate in the newspaper "Madrid" with the community of San Francisco. The direction of Fine Arts stepped in and sanctioned the VOT, ordering restore the chapel to its former self, because, when it was declared a National Monument in 1969 (the previous report is Chueca Goitia), came under direct state intervention .

From 1975 to 1992 in two stages, were carried out repairs to the chapel by the architect of Fine Arts, Maria Angeles Hernández Rubio Muñoyerro, to leave everything as it was after " unfortunate interpretation of the liturgical reform " restoration within the limits of possibility, it seems that the altars were lost to Churrigueresque two years have left them in the open with what is not served "or for chips " 8.

In 2001, the chapel was designated as a Site of Cultural Interest by the Community of Madrid .

now appears that new works are under restoration for more than year and a half, but we could not obtain other information about who does the work, with that budget and completion date as possible.

We have to be content with watching the outside as it is, as shown in photos, of great sobriety. Is a simple brick wall at the bottom has three arches and the top three windows and a simple gable top it off with another window somewhat larger. Behind is seen the spire of the dome, whose skirts are interrupted by dormers, surmounted by ball and cross.

Since we've been a bit "squashed" by the failure to meet this objective, I decided to take advantage of lost time and visit the Art Gallery of San Francisco el Grande, was something that had been pending since my earlier study of this temple, which interested readers can found in another of my blogs 9.

Pinacoteca

The Pinacoteca "Franciscan" as referred to as the P. Esteban Ibañez 10 and is located in the four sections of corridors and rooms located behind the chapel, which is accessed after purchasing the ticket (3 € or 2 €, if you are retired). The visit is fast and explanations, by the uniformed guide, concise.

The gallery is composed of 51 paintings on display and many of them crowded, so I can see, in rather good condition. In the first two sections, we went through really fast, there are works of ancient painters "little known" as our guide, on the Life of San Francisco and other Franciscan saints. These authors "little known" are called José Camarón (1731-1803), Antonio Carnicero (1748-1814), court painter of King Charles IV, Manuel de la Cruz (1750-1792), Zacarias Gonzalez Velazquez (1763-1834 ), Matthew Silvela .... According to Rial 11 Candido, author of the guide which can be purchased at the entrance, there are also works Ribalta, Artemisia Gentileschi, Vincent Carducho, Luis Tristan, and other attributed to Van Loo, and Sanchez Coello, but anyone discovers At this rate .

San Francisco preaching to birds, Butcher

We, the sacristy, a square room that has a Baroque choir stalls, carved by José de la Torre (1702). The frescoes of the vault are Marcelo Jose Contreras and represent the "triumph of the Church." Mirrors are Elizabethan.

The triumph of the Church, Contreras

I just came to take these notes when we are in the sacristy, a rectangular room larger than the previous. The chairs come from the Baroque Monastery of the Paular, brought when the seizure and is complete with drawers and backs, stucco, wood imitation, more modern building. On the walls there is a " Apostolate" , poor replicas of the Bank. On the roof, the "Assumption of Mary " of Contreras and the exterme's stay on the doors, "San Francisco prayer", also from Contreras and " El Divino Pastor and San Francisco " by Francisco Amérigo. The table, " of rosewood and walnut marble top "As commends our guide, was given by Sagasta, to mark the marriage of a daughter. In a niche above the door pricipalmente is a bronze replica of San Francisco de Pedro de Mena, the Cathedral of Toledo.

vestry

San Francisco and the Divine Shepherd, Francisco Amérigo

We left the final stages of hall where the "six masterpieces" as our guide, the only ones worth an identification: the " Assumption", attributed to Rizzi, "San Antonio de Padua " Alonso Cano "San Bernardo blessing the bread of the poor" , Francisco Pacheco, Velazquez's father in law, " San Buenaventura visited by St. Thomas Aquinas ", Zurbarán," not the best of them ", dixit guide, and" Maternity Glorification of Mary " by Luca Giordano. The chairs that in the socket is the former who was in the choir, before placement in this place of the "stolen" the monastery of El Parral .

San Bernardo blessing the bread of the poor, F. Pacheco

We went to the roundabout and the visit continues, but I uncheck the group, hoping to return one day more slowly and, if possible, without the accompaniment of a guide .

© Manuel Martínez Bargueño
January, 2011

If you have interested in this entry and want to ask, comment or contribute something about it, you can leave a comment or write to my email manuelblas222@gmail.com con la seguridad de ser prontamente atendido.

Difunde entre tus amistades este blog.

Gracias. Manuelblas.

NOTAS

1. Elias Tormo “ Las iglesias de Mad rid” . Reedición de los fascículos publicados en 1927. Insituto de España, 1972, p.58.

2 . Áurea de la Morena. “ San Francisco el Grande" . Madrid 12. Espasa-Calpe S. A., 1978.

3 . Tormo, op.cit p. 58.

4. Tormo, op.cit. p.58.

5. Tormo op.cit. p.58.

6. Tormo op.cit. p.59.

7. Tormo, op.cit p. 61, note written by María Elena Gómez Moreno.

8. ABC, 26.11.1980.

9. Http://manuelblasmartinezmapes.blogspot.com/ (Search in "San Francisco El Grande").

10. P. Esteban Ibañez. " San Francisco el Grande in history and art ." Editorial offo. Madrid, 1962, p.93.

11. " San Francisco el Grande. Description historical and artistic ", 5 th edition. Madrid, 2003.

Milena's Free Galleries

Rome, Sunday, January 16, 2011

Dear Missionaries Consolata:

we express our gratitude, we have come from three different continents, thanks to many years through you, the Lord has called us.

After these days we lived together discovered we have many things in common: a strong sense of belonging to the family Consolata, the awareness of sharing the charism of Blessed Allamano, and also, ways of training and missionary commitments in our communities.

has arisen in us a strong desire to live as a family of Lay Missionaries of the Consolata within the large family Consolata with the Missionaries.

The first goal we propose is the structuring of international coordination and communication tool and fellowship within the next three years.

To achieve this goal we considered necessary preliminary steps:

For the African continent, the construction of regional coordinators and likewise a Continental Organization, for American, Continental Coordinating build, for Europe to strengthen coordination among all communities.

express our desire to welcome into our family lay expressions of Asia and other regions that are not present.

Our eyes and our hearts are open to new international realities of lay missionaries Consolata. Henceforth be the responsibility of each and every one take care of this reality.

express our hope that this is the first of many meetings. As well as participating with a delegation representing the three continents in the next chapters of 2011 and so share the wealth of those days.

We hope that the accompanying the LMC made by missionaries to continue in the framework of each reality.

Finally we thank the two Directorates-General for the support given to this international meeting, enabling live and feel intensely the charism and spirituality especially in Castelnuovo and Turin.

We parted fraternally in the Lord, praying to Our Lady Consolata you to attend and accompany them on the task ahead.

Lay Missionaries of the Consolata representing the countries of Argentina, Venezuela, Colombia, Brazil, Uganda, Kenya, Tanzania, Liberia, Portugal, Spain and Italy, participants in the 1st International Meeting of LMC ; Turin-Rome in January 2011

Erectile Dysfunction And Mucinex

Palacio de Fernán Núñez

" U n interior is surprising is the charm of a book that has not read ". This quote from Carmen de Burgos (Colombine ) 1 is perfectly applicable to the building that today we will visit the palace of Fernan Nuñez (or Cervellón), on the streets of Santa Isabel n º 44, which, after a discreet exterior, holds a hidden treasure unknown to many locals.
Interested
is known as in this palace, I get on the phone with English Railway Foundation, current owner of the building and there I suggest that you can visit on weekdays and for groups, upon entry of 5 € in the current account of the Foundation and Visit " worth." Confident in this lawsuit "pro domo sua ", follow instructions and as I look forward to the day and time that I have said, Sir, as is my custom, to document.

History

Leo, page http://www.ffe.es/ Foundation indispensable reference that the palace it began building in 1790 the Duke of Fernan Nuñez I, but I say that, if this was the Duke de los Rios Carlos Gutierrez and Sotomayor, immortalized by Goya 2, (while still count, in 1803), that the dates do not add up because the above was born in Lisbon on January 3, 1779, so unless it was very early in their tastes, do not believe that in 1790 (at age eleven ) had the ability to order something else other than their toys.

In-network-ing to unravel this dilemma I found an interesting study of Light Buelow Lastra 3 where this author has XIII was the Duke of Alburquerque, who in 1769 bought a previous building, but rather a large house across the street from Santa Isabel, Cardinal de la Cerda and held by the ducal house remained until 1811. As the Duke died childless, the duchy passed to his sister, Maria Magdalena de la Cueva Velasco and Felipe Cerda Ossorio handcuffed and Castellvi, Conde de Cervellón IV (the latter is a portrait of the Fundación Lázaro Galdeano).

If this is so and I doubt not, the information which gives the property to the Duke of Fernan Nunez not be correct.

Well, whoever ordered the construction the palace and the date of the order, we know that the architect who drew the plans was Don Antonio Lopez Aguado (1764-1831) and the style was neoclassical building, in keeping with the architect, a disciple of Juan de Villanueva, who was grand master of Madrid and author, among other works, the Puerta de Toledo. The works, the report noted, had made between 1790 and 1799 because in 1801 the Earl of Cervellón and Duke of Alburquerque (by marriage) lived in 1801 at .

" The current configuration, I keep reading on page- Foundation is a product of the remodeling done by the Earl of Cervellón, husband the daughter of the Duke of Fernan Nuñez for the purpose of making it one of the most outstanding homes in Madrid in mid-nineteenth century. The reform affected mainly inland, where the original building was adapted to romanticism prevailing at the time. "

All this is very interesting. The counts (Dukes since 1817) of Fernán Núñez, who had pretty bad between them, had two daughters, a Casilda, died when very young and the other, Frank, is that married the Earl of Cervellón, named Felipe Maria Ossorio y de la Cueva, a senator of the kingdom, and he held the Madrid mansion "remodeled "to taste, I would not say" romantic, "but rather" classical-romantic . " The charge of this "remodeling" and extension of the original neoclassical palace was the son of former architect, Martin Lopez Aguado (1796-1886), author of "The Folly" and "decorator" (today we call "interior designer") was the prestigious designer Joaquin Edo Castle 4.

Fortunately as we have pictures of inside the palace was taken no more and no less than Jean Laurent (1816-1886) 5 , the most important photographers who worked in Spain in the nineteenth century. In the Foundation's website, cited above, offer several photos (ballroom, dining room and bedroom, Othello gallery, living flesh, living pictures, office), which is appreciated for the current taste , ornate decoration and lots of pictures and artwork contained therein.

were held in 1905 major works by the architect Valentin Roca Carbonell affecting both the exterior and the interior of the palace. The exterior facade added " pilasters with capitals Cardin took the form of Ionic volutes that is how it has come down to us " 6 . Inside spaces are covered greenhouses were built, a skylight patio and niches in the angles of the main floor, applying these interior remodeling, Buelow says Luz, " new techniques imported from Europe items metal and glass structure . " If I do not understand the design elements based on " garlands, masks and panels marked up with floral elements, as well as angels and allusions to music, would this time."

few years later, in 1920, in neocatholic and ultraconservative magazine Will " 7 , (number XI, April 15, 1920) and in a series labeled" English mansions, "information appears signed by Jose Maria Sanz and Aldaz, illustrated photographs of the rooms and color reproductions of the most beautiful works of art that grace the residence of the Marquis de la Mina. I recommend the curious readers who look in this flowery "report" contained in the website of the Foundation, which so Asaz creamy, the writer introduces us to the luxurious rooms inhabited by the Marquis of Mina and her children , while giving us admiring account the paintings of Velazquez, Goya, Tintoretto, Titian, Rosales, Madrazo and other masters that adorn their walls aristocratic.

will be more or less in the same years when repid chronicler Pedro de Madrid to discuss the streets of Santa Isabel writes the following " Fernan Nunez Palace has been the scene of lavish parties, lavish balls, which most have attended once kings. Efemerides always remembered in those neighborhoods is the wedding of the current Duke, held commonly in the nearby church of San Lorenzo " 8

No more news of the palace to the years of the Civil War. 1937, are photos of A. Perez Rioja (Ministry of Culture) in which the palace is noted that no major changes (walnut staircase, garden, office, ballroom, dining gala, Main Hall, room).

buys In 1940 the Railway Company of the West of Spain for 1,650,000 pesetas, I hear. To nationalize the railways in 1941, the palace is home to the presidency of RENFE who built inside the palace, on the east side, in an inner courtyard of the site adjacent to the convent of Santa Isabel, a four-story building. From this time (1944) is the following collection of photographs by José Luque (Museo del Ferrocarril / FFE) consisting of garden, courtyard of receipt, main staircase, gallery, office of directors (goya old room), reception hall (former ballroom ), meeting room, board room (former dining room), office chair, hall of columns, stairs, meeting room and office. It is noted that tables and furniture have disappeared and some walls look bare .

Currently the palace is owned by the Administrator of Railway Infrastructure and Renfe-Operator (ADIF) and since 1985, headquarters of the Railway Foundation English. Apart from institutional use, the palace is widely used as a framework for events such as meetings and business dinners, presentations, seminars and cocktails ... and for the filming of movies such as "The Marquis of Salamanca " (1948), " Volaverunt " (1999); " Moscow Gold" (2002); " good trip, excellence! (2003), "Sangre de Mayo " (2008) and television series "The Regent " (1995), " Alfonso, Prince damn" (2010), " Adolfo Suarez, the president "(2010) and "The Duchess of Alba " (2010).

Foundation On the page cited at the beginning, there is an excellent collection of contemporary photographs by F. Lorrio: Exterior, main entrance courtyard of receipt, pink courtyard, main staircase, plaster room, Main Hall, Lodge, red room, ballroom, lounge Elizabethan dress room, dining room for children, yellow room, living room pink portrait room, office chair, waiting room, lounge columns, walnut staircase, oval drawing room, Isabel II room, office, garden and stables. For those who have time and taste, is fun to compare them in different rooms mentioned photographic series (1877 - 1937 - 1944 and 2009). Visit



The date given by telephone, was at 10.30, but when I get into the courtyard of a few minutes before the appointed time, I'm told the group that I join the tour has begun . In all, haste, preceded by an employee, I go, without noticing it, the main staircase and through the living room of stucco, glass, magnifying lamp of La Granja, I reached up to the hall of columns - tables, clocks, ornaments modernist portraits of Carlos III and his wife, Maria Amalia of Saxony. This is a nice group of ladies who are accompanied by a teacher a course for more, I guess. The explanations are provided by a volunteer guide, a middle aged man, kind and educated.

In the words of the Foundation's website and repeat the same words a combo that I have given to the " The palace is divided into two areas: the noble and the service and stables. The noble part, which is the best preserved, is decorated with an abundant production of carpets and tapestries from the Royal Factory of Santa Barbara, some replicas of master Goya, and inlaid floors and ceilings, Baccarat Cristaldo lamps, fabrics Silk, marbles, bronzes, furniture profusely of gold and other luxury items bill. "

We are in the noble. We started by president's office from the ceiling hangs a magnificent Murano glass chandelier. On the walls on both sides of the fireplace replicas of two cartons of Goya: the blind man or set of spoons and dance.

Office of the President

From here we went to the room of portraits (those of the presidents of RENFE). Magnifies Guinea mahogany table, unique piece around which the talks took place Arab-Israeli peace in 1991, "is that they chose a discrete-paneled missing original, significant in old photos (Where did it go?), carpet, like all of the house is from the Royal Tapestry Factory, doors, finely crafted, are of oak and the walls are lined with silk .

room pictures

The following is the pink room, dominated by a large box Bayeu Ramon, deposit of the Prado Museum, which covers the entire right side and depicting children playing. The lamp is very nice Czechoslovak and mirrors decorated with branches of laurel and eggs

Hall Pink

The following is called yellow room. Anoto Empire style table, fireplace porphyry, portrait of Alfonso XIII signed by Juan Ruiz, a painter for my unknown.

Hall

yellow goes to the heart more aristocratic palace built by gala chair, lounge and ballroom Elizabethan .

The main dining room is a magnificent piece it all centered by a large table. I wonder if it's the same room which was on the Paris Exposition of 1869, which brought the marquis. The base structure walnut carved and decorated if that is the same as that seen in old photographs. To highlight the coat of arms on wood. This piece is near the dining room of children, currently being restored, decorated with replicas of cartons Goya.

main dining

Main Dining. Heraldry

children High

These two pieces revolve around the great hall Elizabethan, with the ballroom, the best jewels of the house. The Elizabethan hall, " large apartment decorated to prince," as described by the mellifluous writer, is entirely in sumptuous luxury furniture, beautiful coffee table-shaped tortoise-Louis XV marble fireplace Carrara Baccarat lamps, mirrors that expand the sense of space, Barbedienne French clock. The decor of paintings is simply delicious, with those winged angels Palmaroli (1834-1896), symbolizing spring and silk painting from the ceiling. Compared to the series of old photos appear to be preserved intact.

Elizabethan Hall

Elizabethan Hall. Palmaroli winged angels

We arrived at the grand ballroom, so well preserved that only needed the appearance of the dancers, truly princely, decorated in the style of French XVIII, "it shows the designer's hand-polishing long gold mirrors, richly carved inlaid floor wood (rosewood, oak, lemon), hidden by the carpet to protect it. Is it any wonder the temple of the musicians on the outside sort are the heraldic banners of the noble house whose motto is "family Fluminum cotorum ex sanguine regum" (The family of royal blood must Rivers goda). Definitely this ballroom is one of the most luxurious Elizabethan Madrid.

Ballroom

Temple of musicians

The last piece is the red room, private office of the Marquis. It contains a fireplace, a barometer clock comes, apparently, the real car "Strawberry Train" Baccarat lamp, mirror-burner, a bust of Marie Antoinette (before decapitation) and some pictures under Ferdinand VII, King felon, and a French gentleman empelucado .

Red Room

Leaving, after the visit (1 hour and 1 / 2 ) acelarada somewhat, for my part, but first take a look at the lodge. In the main staircase the only decoration is a remarkable full-length portrait of Alfonso XIII by Dominguez.

Staircase

As much that I have to score, I ask the guide if there is a nice book that explains the details of the history of the palace and its art. I walked into an office where an employee shows me a "gift book", 2009, responding to my request. Its price is 40 €, so much for my small economy recently retired 9. Oh, if Don Teófilo Serrano had a detail! .

Laurent Photographs, Luque, Félix Lorrio and author. ©

Manuel Martínez Bargueño
January, 2011

If you have interested in this article and want to ask, comment or contribute something about it, you can leave a comments or write to my email manuelblas222@gmail.com with confidence be promptly addressed.

Spread among your friends this blog.

Gracias.Manuelblas

NOTES

1. Carmen de Burgos (Colombine) "Unaddressed Letters " (1912). I take the quote from the excellent biography of this author written by Concepción Nuñez Rey "Carmen de Burgos Colombine the Silver Age of English literature " Fundacion Jose Manuel Lara, 2005 P.313.

2. Portraits of D. Carlos Gutierrez de los Rios and Sotomayor, Duke of Fernan Nuñez and his wife, Doña Vicenta María Solís Lasso de la Vega, Duquesa de Montellano, were in the palace Cervellón being, since they were painted by Goya, privately owned family.

3. Buelow light Lastra " Mansion House, the Dukes of Alburquerque and Duke of Fernán Núñez: History and evolution "Space, Time and Form, Series VII, Art History, Volume V, 1992 pp.395-424. (Available online). The study was funded by the English Railway Foundation.

4. Joaquin Edo (1829-1893) was a disciple of Madrazo and learned to Avrial scenery.

5. IPCE Ministry of Culture.

6. Buelow light Lastra, op.cit.

7. The journal "Will", Christian and English, as defined by its first editorial, started biweekly to be published on October 12, 1919, edited by Maucci luxuriously and with a wide range of literary and artistic collaborators as Enrique Menendez Pelayo Ortega Munilla, Armando Palacio Valdes, Concha Espina, W. Fernandez Florez, Joaquin Sorolla, etc. etc. Available at http://hemerotecadigital.bne.es/ The latest issue available is 24.

8. Pedro de repid " The streets of Madrid." Aguilar. Fourth edition. 1981, p.687.

9. In the absence of the book, I recommend reading the article Buelow Lastra Light " Mansion House of the Dukes of Alburquerque and Duke of Fernán Núñez: Main Floor "Space, Time and Form, Series VII, History of Art, T.6, 1993, pp. 491-532. (Available online).

Rash On My Thigh With Smelly Discharge

Realms Painting 2. Museo del Prado Painting

The Museo Nacional del Prado is the second venue of the exhibition "Painting Realms" are going to visit.

not really agree with the trial castizo good writer and journalist Manuel Hidalgo that " parts of different artists displayed in the Prado is a grilled shrimp compared to the feast - these screens, Cristos, worship and Marriage, "offered by the Royal Palace ." a temporary headquarters in our first gallery exhibition will offer visitors, this morning working poor in January, first-class works of art. If I seem to exact their appreciation for the author highlights of the exhibition on Mexican Cristobal de Villalpando (1649-1714). We

piecemeal. At the headquarters of the Museo Nacional del Prado exhibit a smaller number of works, 36 versus 68 of the Royal Palace, but some of them are essential to contemplation.

This happens with those grouped under the theme "The mark of Rubens " whose monograph is developed in parallel in a nearby space. It is well known the influence which was called "prince of painters" in the production of the Madrid school (Rizi, Claudio Coello, Carreño), both in technique and subject matter, but is less well known that teachers had on New Spain as Jose Juarez, Baltasar de Echave Rioja and Cristobal de Villalpando, thanks to copies and prints of his works were circulated and America.

In the exhibition we can see some of the best tracks released by the Flemish master as the "Assumption" de Villalpando (Museo Regional de Guadalajara), the "Incredulity of Saint Thomas" by Sebastián López de Arteaga, the magnificent canvas of "The appearance of the Virgin to St. Francis, one of the best known works of Jose Juarez, but above all the extraordinary composition of" Lactation of St. Dominic " (bottom ) (Sacristy of the Church of Santo Domingo in Mexico City) that has both impressed and rightly Manuel Hidalgo. In this painting and writing Oscar Flores Ligia Flores Fernandez Flores " the composition scheme is similar to painting by Jose Juarez, however, the teacher showed his personal style, capturing the movement of figures through animated poses and incorporating dynamic brushwork looser technique and brilliant mind in the way of using light, space complexity, in the delicate and exquisite color and finish more expressive style of the figures " 2. painting really is a splendid, no doubt, the jewel of the exhibition .

The representation of the Immaculate Conception, was widely known in Spain as in America, because of the protection that gave the Kings their worship. This image of the Virgin as women in the exhibition are offered several examples, modeled on Hispanic iconography fingertips together leaving a gap between the palms. Of these, my favorite is the "Immaculate Conception " anonymous Quito in the last quarter of the seventeenth century that its base has grouped several heads of angels, one black, as the "angel of Machin", which have not able, sorry, Get Photo .


Since his canonization in 1622, the figure of Santa Teresa had great importance and fame in the Hispanic world to be widely represented. The exhibition shows several excellent pictures. One of Nicolas Rodriguez Juárez, " The Santa Teresa Transverberation " and an even better " Santa Teresa received the necklace and veil " (left) of our already well known and weighted Cristobal de Villalpando (Temple of San Felipe Neri in Town Mexico), without forgetting an unknown to me "Communion of St. Teresa " (below) John Martin Cabezalero of the Fundación Lázaro Galdeano. Cabezalero 81634-1673), a disciple of Carreño, is a little-known painter, for his little work. In Madrid the most important own, apart from this, are in the Prado Museum and the Chapel of the Third Order near San Francisco el Grande .

From the "holy to the human " all of which give off a certain "unholy stink " , Julian Gallego said, I prefer the anonymous Santa Ursula, depicted as Our Lady of Good Air although it does not match, even remotely, the same name by Zurbarán bellísma Museums of Strada Nuova in Milan that is also shown .

not we leave this memorable exhibition without admire John Correa screen on the front represents " The Four Seasons" and its reverse (as seen through the mirror) " liberal arts."

© Manuel Martínez Bargueño

January, 2011

If you have interested in this post and want to ask, comment or contribute something about pudes leave a comment or write to my email manuelblas222@gmail.com with confidence be promptly addressed.

Spread among your friends this blog.

Thanks. Manuelblas.

NOTES

1. Manuel Hidalgo. "Cristóbal de Villalpando ." Essential Gallery 185. El Mundo, December 10, 2010.

2. Flores and Oscar Flores Ligia Flores Fernandez. "The transmission of the models. The baroque." Exposiciçon Catalogue, p.70.

Connect Multiple Usb Cameras

Realms I. Palacio Historic Gardens Real Madrid

may not be the best exposure you can now be seen in Madrid, at the Museum del Prado there are others such as "Passion for Renoir " (until 13 February), the fantastic on " Rubens (up to January 23) or "Bibliotheca Artis" (through Jan. 30) but the one titled "Painting Realms. Shared identity in the Hispanic world "(through Jan. 23) allows us to note the development of European painting took across the Atlantic and meet for the first time, I at least novohispanos these artists and their works.

For reasons not just good understanding "of sponsorship? 1 , space "?, This fascinating exhibition of 120 works were presented in two venues: The Prado Museum and Royal Palace. This requires two visits, usually on different days, if you want to see it in full. I suggest first visiting the temporary exhibition hall of the Palais Royal, organized in a more didactic, and then to the Prado Museum to complete the vision of the main works. Also agrees to purchase the catalog, at an affordable price (18 €) and with texts by John H. Elliot, Jonathan Brown and other specialists. And above all I recommend to readers of this blog who still have not seen, to hurry, because the closure on 30 January.

From the sixteenth to seventeenth time by extending the exhibition, the cultural area largest was the territory of the English monarchy, where "the sun never set." As Jonathan Brown notes, English painting of this era " was itself a conglomerate incorporating artists and works from the Netherlands and Italy, then under English control. And their productions to the New World in large numbers. English painters, Flemish and Italian made the perilous journey to America and artistic personalities transplanted to American soil " 2 . American painters born in the New world transforming English and European sources and gave a visual interpretation of that culture itself imported, so different from the native but no less real. Knowing

authors, works, styles, influences, models, schools, this is an interesting journey this exhibition is that we start with the formation of a common visual language .

and in Spain during the sixteenth and seventeenth century had expanded the artistic ideas from the Netherlands (in Castilla, XVI century) and Italy (Valencia in the sixteenth century), joint influence in Seville. In the seventeenth century, the construction of the Escorial Tuscan painters attracts influential art circles that generate large among English artists. A mid-century, Rubens, the king of painters, " exerts unparalleled influence ." The consequence is that "these trends in painting transformed the English painting in a kind of crucible as local artists were adapting their styles to satisfy a diverse clientele taste."

In the first room of the Royal Palace shows works that reflect these various artistic movements. Highlight three, one for the issue, as repeated "prize dairy St. Bernard by Claudio Coello, " the last great master of the Madrid school " as 3 Lafuente Ferrari, from the Collection Granados 4 Madrid, Jose Ribera "The Españoleto, a "San Francisco Angel receiving seven privileges" that comes from the Collection Musei di Strada Nuova, Palazzo Bianco, Genoa and, above all, for my taste, a unique "Immaculate Conception " (below) early work of Francisco Rizi, Prado Museum (on deposit at the Museo de Cádiz) 5 .

In America, the first English were in the "obligation" to replace the pre-Hispanic cultures of other imported models that promote the Catholic faith which spread among the natives was rightly the domain of the English monarchs of the New World . This task of creating a new culture in three complementary ways did each other: through the importation of models, especially prints, its easy transport and reproduction allowed wide distribution, by sending artwork directly executed the American market, trade involving artists the popularity of Zurbarán and Valdés Leal, and finally by the establishment in the English viceroys of English artists, Italian and Flemish.

Most artists, " men in transit" from Spain to India I are poorly understood. In case I've ever tried, I like the "San Cristóbal " Simon Pereyns flamenco, the Metropolitan Cathedral of Mexico. Among the "works of art in transit" is the spectacular " Vision of St. Ignatius in the way of Rome " Valdés Leal, in the parish of San Pedro, Lima and a "San Pedro saved from the waters " anonymous flamenco, influenced by Patinir, the cathedral of Puebla in Mexico.

The most important and significant exposure to a greater number of works presented, one that corresponds to the painters in Mexico, those born in the New World, who combined English artistic conventions and local influences were artistic response to the needs and tastes of their societies .

These "shared identities and local varieties" are focused around several models. The "package Virgin" or images of Marian devotion in Spain than in America, soon acquired a more complex terrain, as in "Our Lady of Loreto " Limeña School (Col. New Orleans Museum of Art) or the two " Madonna and Child" by Cristobal de Villalpando, the brightest of the painters of New Spain, which will see several masterpieces during this double exposure. The "Crucifixion", instead of showing two paintings done in Spain (Luis Tristan and Zurbarán) and two "Americans" saved enough parallelism.

also widely represented model is the "Adoration of the Magi " in which the similarities are too great, except perhaps in the anecdote of the old San Jose represented in the New World "as a young man of cheerful countenance " 6 . Two other recurring patterns of" Trinidad on earth "cult spread by the Jesuits and the" angels and archangels Á "offer little difference, except the" archangels musketeers "in the viceroyalty of Peru and re-emphasizes representation Cristobal de Villalpando author of the picture " The sweet name of Mary "as attractive as cash.

In another issue " Marriage of the Virgin " (below), repeat American artists, with some variations, an iconographic model already consolidated. To highlight the support given by the anonymous Cuzco Collection Museo de Arte de Lima introduced the girls who accompany Mary and her frustrated suitors, according to the account of the apocryphal gospels (note the flowering rod of Joseph, the chosen suitor.)

portraits allow a wide range of possibilities. The exhibition is to compare the success of Philip II of Antonio Moro to Montezuma, of doubtful attribution, the latter is particularly unusual portrait of the dress that looks Mexican monarch. More evenly matched that of Mariana of Austria, literate Carreño and Sor Juana Inés de la Cruz, the latter already painted in the eighteenth century, in which the artist, Miguel Cabrera, the background has been a part of the beloved library the poet nun, known as "the tenth Muse" and to infer that there was pressure from the authorities Church shortly before his death .

original decorative elements in English America were the screens, brought from Japan in the "Manila Galleon" and functioning as mobile dividing walls of the rooms. Two magnificent screens in the exhibition offer us in their leaves develop two separate issues relating to the Conquest of Mexico: the " Meeting of Cortés and Moctezuma ", painted around 1690 by Juan Correa (below) and various " scenes Conquest of Mexico", an anonymous author, both works of good quality, good composition and performance of scenes .

Very curious about their particular subject "genealogy" is the anonymous Peruvian canvas entitled "Union Inca imperial descent to the house of Loyola and Borgia " (below) Jesusonian sent to Cuzco by expressing the high degree of coexistence reached between the English and Inca aristocracy and the role played by the Jesuits.


We shall comment on the visit to the next venue of the exhibition at the Museum Prado, but not to extend more this article, we leave this for a second post.

© Manuel Martínez Bargueño
January, 2011

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NOTES

1. The initiative for this exhibition match Fomento Cultural Banamex, a civil association founded forty years ago by the National Bank of Mexico to promote, save and spread the culture of Mexico and is a part, as I read, the commemoration of the bicentennial of the war Independence from Spain. In this event have collaborated Heritage and the Museo Nacional del Prado.

2. Quoting until further notice, corresponds to the Introduction to "Painting realms," which Jonathan Brown in the exhibition catalog, p.15 et seq.

3. Enrique Lafuente Ferrari. " brief history of English painting . Second Edition. Misiones Art. 1936 p.140.

4. The Collection of the artist Miguel Pérez Granados (Granados library) is considered one of the richest, unique and thorough collection of English art, painting and sculpture, and part of the XVII century XVIII. boasts works by Alonso Cano, Zurbaran, Murillo, Valdés Leal, Claudio Coello, Carreño de Miranda and other Baroque masters.

5. In this work Revenga Paula Dominguez writes that " The painter offers one of the greatest versions of this subject which highlights the dynamic and theatrical sense of composition, with a Virgin firmly planted but sparkling with color and expressive power , which announces and later seized and fully reflects the triumph of the baroque in the Madrid school (Revenga Paula Dominguez. " Formation of a common visual language. Spain, Italy, Flanders " in the exhibition catalog, p .49).

6. Rogelio Ruiz Gomar "shared identities and varieties local "in the Show Catalogue.

Kate Playground In A Bikini

in Madrid there are corners that might miss the walking, if there were no friendly hand to show them. This is the case with the two historic gardens today I want to teach readers of this blog, located very close to each other, in the heart of Old Madrid.

The first has access to the stately streets of Sacramento, near Main Street in the heart of old Madrid tourist route. A few days ago, we commented in this blog to visit the Church of Sacramento, called Cathedral Forces Armed and we recommended that the visitor to complete, circulate, at the exit of the temple, to his right, following what was formerly the wall of the old convent apartment building today, to find several steps, what remains of the old orchard Bernardine nuns, the "Garden of the nuns ." In making this visit on a holiday I could not take pictures of this secluded place, be closed to access, so that text was one-armed illustrations.

now corrected this defect, insert new one passage concerning this corner reminiscent of the old orchard Bernardine nuns belonging to the monastery disappeared by the combined force of the pump and the spike.

The place we can access, either on the streets of Sacramento, as we have done, by transposing a fence or down stairs, or by the Calle del Rollo, as preferred .

What we find, in the place where he was the original garden is a small shady garden, surrounded by modern buildings, except a wall of brick that appears to correspond to the old monastic buildings. Despite the changes, the site keeps the charm enough to wish for a while sitting on a bench listening to the murmur of the fountain and the friendly chirping of birds, although as this cold January morning, the garden is being subjected to severe pruning and the fountain shoots water, as would be his, such a claim must wait for better times .


In the center of the small garden, free from ivy and boxwood parterres, has been placed by the City from a source, we read, garden of the Palacio de Montellano, on Paseo de la Castellana, (demolished in 1966) and, in turn, came from the farm "Castañar" The Dukes of Montellano had in Cuerva (Toledo). The ornamental part of this source, uniquely French roots, (the dataremos between 1835 and 1855), is formed by a bronze sculptured group of four playful cherubs seated on a rock from which emerges the leading supplier and a plaque inscribed with the legend "Fonderies d'art, du Val d'Osne -58 Bd Voltaire. Paris, the French foundry most important part of the nineteenth and twentieth centuries.

To visit the second of the places we're going to show readers should leave the front and down the streets of Segovia by Tres Cruces. Then, across the street towards Segovia Plaza de la Paja and turning to your left you will find the entrance to the garden of the palace of the Prince of Anglona.

This garden is located on an artificial embankment saving a steep slope between the street and the street Segovia Anglona Prince, which, seen from the street Segovia, makes this a matter of "hanging garden", although not to emulate Babylon.

transpose Before entry, read the information contained in the corresponding "affiche" municipal and which we learn that in 1750 this place was a site without working. Eleven years later, in 1761 he performed Chalmandier garden design, who Wiikipedia dixit, " projected a small playground of the neoclassical style with touches characteristic of English gardens Arabs."

This Nicholas Chalmandrier, we read of course, was a French engraver, active from 1756 to 1782, he drew plans of several European cities including Paris, Toulouse, Gibraltar, Genoa, etc.. In Madrid drew the Geometric and Historical Map of Madrid and its environs, in 1761 as one of the most important planes in Madrid.

Palace which is attached the garden had several owners (all this according to the information contained encartelada): XI Conde de Benavente, Antonio Alfonso Herrera Pimentel Ponce de León, who obtained the property by marriage with Francisca Isabel Benavides , daughter of the Marquis of Javalquinto and Villareal. In 1802 the palace was transformed to become the residence of the Marquis of Peñafiel, the eldest son of the Duke of Osuna and she Beaufort and Dona Maria Francisca Torres. From here, the palace takes its final image.

When Marques becomes Duke of Osuna leaves home and goes to live in her brother Pedro de Alcántara Téllez-Girón, Prince and Marquis Anglona Javalquinto, Lieutenant General of the Royal Army which gives its name to the palace.

buys the house in 1872 the Marquis of La Romana and in 1920 responsible for the design of the garden Winthuysen Javier Losada (1874-1956) painter and landscape architects, author of a book " Gardens of Spain. Castilla "I think I have in my library .

Between 1940 and 1978 the house is rented to the City of Madrid who installs it and Statistics Section, Census.

passed in 1978 and municipal ownership in 2002, restored by the Ministry of Environment and the Municipal Board of the Centre is open to the public.

not know about you, but a tired parade of both the title of nobility, not wanting to verify the accuracy of the information contained in this historical memory and longs only passed through the gate and enter the haven of peace and tranquility that gives this garden a of the few specimens that have reached us of the noble houses of the Court in the eighteenth century. Let us therefore

. The rectangular garden space, with an approximate area of \u200b\u200b500 m2 , looks dark and lonely, somewhat neglected. Its layout is geometric. Two corridors of brick "rowlock" intersect perpendicularly and leave four spaces each quadrant.

Amid a granite fountain serves as a visual reference and both sides two pergolas which once studded with roses suppose.

Trees and shrubs are easily identified each with a wall chart, what a pity it is not spring!, Fill the spaces give a melancholy to the whole. Among the first Japanese acacia, banana, fruit trees: fig, pomegranate, almond ... and variety of shrub species .


A output invite discourse, surrounding the palace for the Principe de Anglona, \u200b\u200bto San Pedro Costanilla to admire the graceful Mudejar tower of San Pedro el Viejo, which we have yet seen.


output near Segovia Street allows us to see the facade of this palace that now houses their bass to a restaurant and provides some housing for rent (2,000 € month) on the upper floors . ©

Manuel Martínez Bargueño
January, 2011

If you have interested in this entry and want to ask, comment or contribute something about it can leave a comment or write at my e-corrreo manuelblas222@gmail.com with confidence be promptly addressed.

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Thanks.
Manuelblas