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which has been reproduced many times, for example in Dr. Mayer's work on Goya, page 69 of the plates. The larger picture in the Academia de San Fernando measures 2.16 by 1.40, in metres, and Dr. Mayer notes that there is an excellent smaller copy in the Museo Lázaro Galdiano in Madrid. It is unnecessary to review the history of Spanish painting in this place, especially so since the main outlines are traced in the introduction to the catalogue. One may not, it is true, agree with some of the conclusions reached there. "John Sargent, whose memorial exhibition," we read, "was held in this same gallery two years ago, was also one of Goya's artistic descendants. Thus the work of Goya has been a living force in the art of the present day, and that word 'thus' seems to be out of place, and one finds occasional obscurities, as on page xvi, for Xeres de la Frontera and Jerez are only different ways of spelling the name of the same town, and Beatus de Libeña (p. xi) was an Abbot, not a Brother.

The aesthetic merit of many of these pictures is very genuine, apart from questions of attribution, but it is difficult to judge the works on their own individual value from the reproductions, and one may be sure that if they were hung without any labels at all, public interest in the exhibition would be but a fraction of what promises to develop.

The minor masters, then, to begin with a treatment which will be mainly critical. The example of a landscape by Collantes, lent by the Rhode Island School of Design, is characteristic of the type. The opaque, strongly silhouetted trees, the clearly defined, rather dry, but not unpleasing, colour, the horizon just below the middle of the picture space, in Hagar and Ishmael, afford an instance of landscape painting dominated by classical ideals which is rather rare in Spanish painting as a whole.

Francisco Herrera the Elder is the author of The Cripple in the current exhibition. He is remembered as the first teacher of Velazquez, and in the earlier, anecdotal school of writing about Spanish painting, was made to appear as a kind of vision, but modern criticism accords him honour rather to Juan de Roelas or Roelas (but not Roelas). The present example seems to have been neglected in the past so that the underpainting is now more conspicuous than the flesh tones.

The Martyrdom of St. Stephen may well be ascribed to Pablo Legote, an artist born at Marche in Luxembourg, not in Seville as stated in the catalogue; he died in Cadiz between 1670 and 1672, rather than vaguely "after 1662" as in the catalogue. He reflects the influence of both Ribera and Rizzi, the latter especially in the present work. His masterpiece, apparently, is the Nativity in the London National Gallery (No. 232), which Dr. Mayer definitely assigns to Legote. That painting was for long given to Velazquez, an attribution accepted by the present writer in an earlier work, although the latter, considered Ribera, has been given to the present writer, following Beruete. But if Dr. Mayer's reasoned attribution is admitted, Legote's rank as a painter is greatly advanced.

Among the other minor masters mentioned in this exhibition is Luis Tristan, represented by an Adoration of the Magi, which is particularly interesting in connection with El Greco, whose pupil he is said to have been. Tristan, who is believed to have been born in Castile, is a rather neglected figure in the history of Spanish painting. The present work, which is not without interest, is not of the highest quality, but it is not without a certain charm. The Adoration of the Magi is a subject which was often treated by El Greco, and it is possible that Tristan's work was influenced by the latter. The present picture is not without a certain charm, but it is not of the highest quality. The present work is not without a certain charm, but it is not of the highest quality. The present work is not without a certain charm, but it is not of the highest quality.

The portrait of a lady given to Pantoja de la Cruz, the disciple and successor as court painter of Alonso Sánchez Coello. The striking portrait in the Prado (No. 1037), formerly attributed to him, and reproduced as such in many places, including Art in Spain and Portugal by Marcel Durliat, is reproduced in the present catalogue, but the attribution is there indicated as doubtful. Pantoja, who is said to have been a pupil of the "School of Madrid," is represented by a portrait of a lady in the present exhibition, which is not without a certain charm, but it is not of the highest quality.

Finally, among the less important masters we have pictures assigned to Mazza, the disciple, son-in-

The image displays a page from a book, specifically page 173. The text is discussing the works of various Spanish painters, focusing on the attribution and historical context of specific artworks.

Key points from the text include:

1. Goya's Works: The text mentions the reproduction of Goya's works, particularly noting the size of a painting in the Academia de San Fernando, and comparing it with other works by Goya. It discusses the historical placement and the aesthetic merit of some of Goya's pictures.

2. Attribution and Authenticity: The text critiques the practice of attributing minor works to renowned painters like Goya and Velázquez, questioning the validity of such attributions. It specifically mentions a painting attributed to Juan Fernández de la Fraterna and Jeréz, which Dr. Mayer and others question.

3. Francisco Herrera the Elder: The text highlights Herrera as an influential painter, particularly noting his influence on Velázquez. It also mentions his teaching influence on Juan de Roelas and Roelas himself.

4. Legote's Martyrdom: The text attributes the Martyrdom of St. Stephen to Pablo Legote, an artist born in Marche, France, and who lived in Seville. The painting is noted to reflect influences from Juan de Ruelas and Ribera.

5. Minor Masters:

   • Luis Tristan: The text discusses Tristan's works, noting that his paintings were initially considered works of El Greco due to their stylistic similarities. The discussion touches on the influence of Domenico Greco and the paradoxical nature of Tristan’s work.
   • Pantoya de la Cruz: The text discusses a painting attributed to Pantoya, noting its unusual color harmonies and precision, suggesting a Northern origin.
   • Mazo: The text mentions a painting attributed to Mazo, another minor artist, highlighting its distinctive characteristics.

The page is a detailed examination of the complexities and challenges in attributing Spanish artworks, emphasizing the importance of historical context and stylistic analysis.

The image shows a page from a book discussing art history, specifically focusing on Spanish paintings and their attribution. The text discusses various artists and their works, including Francisco de Zurbarán, Goya, Juan de Legote, and Luis Tristan. It mentions specific paintings, their locations, and the difficulties in accurately attributing them to particular artists.

Key points include:

1. Goya's Works: The text mentions Goya's paintings and their reproduction, including a painting in the Academia de San Fernando and another in Madrid by Manuel Fernández. It also notes that Goya's work was not highly regarded in his lifetime.

2. Minor Masters: The author discusses the challenges in attributing minor masterpieces, such as those by Luis Tristan, who was a disciple of El Greco. The text notes that Tristan's work was initially attributed to El Greco but later recognized as his own.

3. Francisco Herrera the Elder: The text credits Herrera the Elder with a significant influence on Spanish painting, particularly noting his painting 'The Cripple' and his role in teaching Velázquez.

4. Pablo Legote: The author attributes the Martyrdom of St. Stephen to Pablo Legote, an artist from Marche in Luxembourg, and mentions his influence from both Ruelas and Ribera.

5. Other Minor Masters: The text also briefly discusses other minor artists, such as Alonso Sánchez Coello, and mentions the work of Juan Pantoja de la Cruz, highlighting the distinctive style and technique of these artists.

The page concludes by mentioning the attribution of some works to Mazo, the disciple of Ribera, and the various complexities and debates surrounding the identification of these artists and their works.

The image is a page from a book discussing Spanish paintings, particularly focusing on the works of various artists exhibited in a memorial exhibition. Here's a detailed summary:

1. Introduction to Goya's Work:

   • The text discusses a larger picture by Goya, specifically the "Academia de San Fernando," which measures 2.16 by 1.40 meters.
   • Dr. Mayer notes that this work was once owned by a Spanish art collector named the Marqués de la Vega-Inclán.
   • The work is attributed to Goya, but there are doubts about its authenticity, with some suggesting it could be by another artist like Zuloaga or even a later follower of Goya.

2. Attribution and Authenticity:

   • The text mentions that the attribution of the painting to Goya is uncertain and that it was previously held in the same gallery for two years.
   • The authors agree with some of the conclusions from the memorial exhibition regarding the authenticity of the painting.

3. Minor Masters:

   • The discussion moves to minor masters, with a focus on Luis Tristan, a disciple of El Greco.
   • Tristan's work is noted for its unique style, which includes a sense of anxiety and dramatic expression.
   • A specific painting, "The Adoration of the Magi," is attributed to Tristan, but its style is reminiscent of El Greco’s later works.

4. Artistic Legacy and Influence:

   • The text highlights that Tristan’s work has been confused with that of El Greco and other artists like Palomino.
   • A portrait of a lady attributed to Pantojo de la Cruz, a disciple of Alonso Sánchez Coello, is discussed, noting its distinct style and color harmony.

5. Martyrdom of St. Stephen:

   • This painting is attributed to Pablo Legote, a Spanish artist influenced by both Ribera and Ribalta.
   • The painting is described as reflecting the influences of these artists and is part of the exhibition.

6. Additional Attributions:

   • The text mentions other minor masters, including works attributed to Mazo, a disciple of Velázquez.

The page provides a detailed analysis of the authenticity, style, and influences of various Spanish paintings, focusing on the minor masters and their connections to more renowned artists.

The image shows a page from an art history book or exhibition catalog. The text discusses various aspects of Spanish painting, focusing on different artists and their works. Here is a detailed summary of the content:

1. Reproduction of Artworks:

   • The text mentions that a particular picture has been reproduced many times, such as in Dr. Mayer's work on Goa, specifically on page 69 of the plates.
   • It describes a larger picture in the Academia de San Fernando in Madrid, which depicts a man and a woman, and notes that there are smaller copies of this work in Madrid and elsewhere.

2. Cataloging and Attribution Issues:

   • The author discusses the difficulty of reviewing the history of Spanish painting due to uncertainties in cataloging, especially with the introduction of the catalog.
   • They mention John Sangent, whose memorial exhibition's conclusions are noted, particularly regarding the identification of works by artists like Goya.

3. Specific Artists and Their Works:

   • The text praises the aesthetic merit of many pictures but acknowledges the challenge in independently judging their value.
   • It highlights Francisco Herrera the Elder, known for his "The Triumph of the Cross" and his influence as a teacher of Velazquez.
   • There is mention of a landscape by Matías de Torres, noted for its rarity in Spanish art.

4. Minor Masters and Influences:

   • The author starts discussing minor masters, beginning with a critical treatment of a landscape by Collantes.
   • The Martyrdom of St. Stephen, attributed to Pablo Legote, is also discussed, noting influences from Ribalta and Ribera.

5. El Greco and His Legacy:

   • The text delves into the work of El Greco, particularly his masterpiece, "The Nativity," in the London National Gallery.
   • It discusses the difficulty in attributing works to El Greco, mentioning Tristán as one of his imitators.
   • The Prado exhibition's portrayal of Tristán is also noted, along with the stylistic influences of El Greco on his works.

6. Other Painters and Styles:

   • The author briefly touches on other minor masters like Antonio de Pantoja and his works.
   • It mentions the influence of artists such as Mazo and the less conscious masters who have created pictures.

Overall, the text provides a detailed examination of the challenges in attributing and evaluating Spanish paintings, along with discussions of specific works and artists from the period.

The image shows an open page from a book, specifically page 173, which contains a detailed discussion on Spanish painting and its history. Here is a summary of the content:

1. Comparison of Paintings by Goya and Legote:

   • The text discusses discrepancies in the measurements of paintings by Goya, specifically comparing a larger picture in the Academia de San Fernando and a copy in Madrid by Mariano Fortuny.
   • It mentions Dr. Mayer's work on Goya and the attribution of a painting of the Beato of Liebana to an Abbot rather than a Brother.

2. Historical Context and Attribution:

   • The authorship of many paintings is uncertain, and the text discusses the challenges in attributing works accurately.
   • It highlights the need for a detailed catalogue of Spanish paintings to clarify attributions.

3. Landscape Painting:

   • The text describes a landscape painting by Colantes, characterized by its composition and style, which is noted to be rare in Spanish painting.
   • Francisco Herrera the Elder is mentioned as a significant figure in Spanish art history.

4. Martyrdom of St. Stephen:

   • The painting is attributed to Pablo Legote, a lesser-known artist from Marchigüe.
   • The text discusses the influence of Juan de Roelas and Ribera on Legote's work.
   • It mentions the painting's history, including its attribution and the influence of various artists.

5. Nativity by Legote:

   • The text discusses a Nativity painting by Legote in the London National Gallery, which Dr. Mayer attributes to Legote.
   • It mentions the painting's history and its similarities to works by Ribera.

6. Adoration of the Magi by Tristan:

   • The text discusses a painting by Luis Tristan, noting its connection to El Greco's style.
   • It mentions the paradoxical nature of Tristan's work and its influence on later artists.

7. Portraits and Other Works:

   • The text discusses portraits by various artists, including Pantoja de la Cruz and Alonso Sánchez Coello.
   • It mentions a portrait of a lady given to Pantoja de la Cruz and a portrait of a man attributed to Sánchez Coello.
   • The text also discusses the unique style and technique of these portraits.

8. Conclusion:

   • The text concludes by mentioning the influence of Massys, a Flemish painter, on Spanish art.

Overall, the page provides a detailed analysis of various Spanish paintings, their attributions, and the historical context surrounding their creation.

The image shows an open page from a book or catalog discussing Spanish painting and artists. The text appears dense and scholarly, with detailed analysis about various painters such as Goya, John Sargent, Francisco Herrera the Elder, Pablo Legote, Luis Tristan, and others. It assesses the influence, style, and attribution of works by these painters, as well as mentions exhibitions and specific paintings like "Nativity in the London National Gallery" and "Adoration of the Magi." The page is numbered 173 and formatted in two columns. The page is slightly yellowed, indicating age, and is part of a bound volume with visible threads and tape repairing some parts.

The image shows a two-page spread from a book. The left page ends with "173" at the bottom, indicating it's page 173 of the book. The text on both pages discusses various artists and art pieces, referencing works in galleries like the Academia de San Fernando and the National Gallery, and artists such as Goya, El Greco, and Velazquez. There are mentions of specific paintings, their attribution, historical significance, and scholarly debate about their origins. The book seems to be scholarly in nature, perhaps an art history textbook, catalogue, or research publication. There are no images or figures on the visible pages; it's exclusively text. The pages appear aged, with some coloration along the edges, suggesting the book might be old. The binding is visible on the left edge, and it's a hardcover. The text is in English and is dense, intended for readers with an interest or background in art history.

The image shows an open book displaying two pages of text. The text appears to be from an art historical or scholarly work, discussing various artists and their contributions to the art world. The content is dense and analytical, focusing on topics such as attribution, stylistic analysis, and the influence of certain artists on others.

Key Observations:

1. Text Content:

   • The left page discusses artists like Goya, Fernando, and others, referencing their works and measurements, as well as critiques and interpretations of their art.
   • The right page continues the discussion, mentioning artists such as Luis Tristan, El Greco, and others, analyzing their styles, influences, and the challenges in attributing works to them.

2. Page Layout:

   • The text is formatted in a standard book layout with justified alignment, creating a clean and structured appearance.
   • The font is serif, typical of academic or historical texts, and the text is dense with minimal spacing between lines.

3. Page Number:

   • The bottom right corner of the right page shows the number "173," indicating this is page 173 of the book.

4. Condition of the Book:

   • The pages appear slightly worn, with visible edges and a subtle discoloration, suggesting the book is old or well-used.
   • The spine of the book is visible on the left side, indicating that the book is bound in a traditional hardcover style.

5. Visual Context:

   • The image focuses solely on the text, with no illustrations, diagrams, or additional visual elements present on these pages.
   • The lighting is even, highlighting the text clearly without shadows or glare.

Summary:

The image depicts two pages from an art historical or scholarly book, discussing various artists and their works. The text is analytical and dense, with references to specific artworks, measurements, and critical interpretations. The book appears to be well-worn, suggesting it is an older or frequently referenced volume. The page number "173" indicates this is part of a larger work.

The image shows two pages from an old book. The pages have a beige-colored background with black text. The text is divided into paragraphs and seems to be a description of paintings and artists. There is a watermark in the bottom right corner of the image. The pages are slightly curled at the edges, and the book appears to be aged and worn.