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 In Andalucia. 475 of Zurbaran, a Madonna and Child with the Infant S. John. Zurbaran was one of the first Spanish painters in whom we recognise an independent and national style. In his works the strength and weakness of his school are alike strongly brought out ; the heads are powerful and lifelike, admirably expressing religious fervour, mental agony, or triumphant faith. The colouring and chiaroscuro are remarkable for depth and breadth ; but the design of large groups is wanting in harmony, and there is no attempt to idealise or tone down the expression of suffering. Alonso Cano (1601 — 1667) has been termed the " Spanish Michelangelo," merely because he was a painter, sculptor, and architect. Like Michelangelo, he was a better sculptor than painter, but his only works in architecture were those heavy church decorations called " retablos" (church screens), which he not only designed, but for which he himself made all the ornaments, either statues or pictures. Alonso Cano lived for some time at Seville, afterwards at Madrid, and towards the close of his life at Granada, his birthplace ; and, provided with a rich bene- fice, tranquilly passed the last years of a life which had been agitated by travels/passions and adventures. He left seven of his works to the Museum of Madrid. Amongst these are a S. John writing the Apocalypse ; the Dead Christ mourned by an Angel, and a line Portrait. Antonio del Castillo y Saavedra (1603 — 1667), the son of Augustin del Castillo, and the nephew of Juan del Castillo, studied first under his father, and, after his father's death, with Francisco Zurbaran. He painted chiefly at Cordova, which city possesses many of his works. Francisco Varela (died 1656) was one of the best of