Colnaghi Foundation Journal 01 - Page 72



72
POMPEO LEONI / Portrait of a Knight of the Order of Alcántara or Calatrava Identified
POMPEO LEONI / Portrait of a Knight of the Order of Alcántara or Calatrava Identified
N OTES
1.
2.
3.
4.
5.
6.
7.
8.
9.
65 cm, high, Private Collection. Provenance: Don
Antonio López y López, 1st marquis of Comillas
(1817-1883). Rosario Coppel, with Margarita Estella
and Kelley Helmstutler Di Dio, Leone and Pompeo Leoni.
Faith and Fame (Madrid: Coll & Cortés Fine Arts,
2013), pp. 115-149 (see pp. 138-139 for the proposed
identification).
Louis Prosper Gachard, Retraite et mort de Charles V au
monastere de Yuste. Lettres inédites, 2 vols (Brussels: M.
Hayez, 1854-1855). This contains the correspondence
between Luis Quijada and Charles V’s secretary at
Yuste, Juan Vázquez, from 1556 to 1558.
Entry age to the Order could range from 5-9 (5.4 %)
to over 50 (6.9 %). The median age of entry was 20-24
(17%). Archivo Histórico Nacional, expediente 30
L., cited by Francisco Fernández Izquierdo, La Orden
Militar de Calatrava en el siglo XVI (Madrid: Consejo
Superior de Investigaciones Científicas, 1992), p. 415.
Conrado Pérez Picón, Villagarcía de Campos. Estudio
Histórico-Artístico (Valladolid: Institución Cultural
Simancas, 1982). I am grateful to D. Fermín Trueba S.
J., Museum Director at the Collegiate Church of San
Luis for his time and help with the completion of this
paper.
Juan de Villafañe, La limosnera de Dios: relación histórica
de la vida y virtudes de la Excelentísima Señora doña
Magdalena de Ulloa…Salamanca, 1723 (digital versión:
Valladolid: Junta de Castilla y León, Consejería de
Cultura y Turismo, 2009-10); Camilo María Abad,
Doña Magdalena de Ulloa, la educación de Don Juan de
Austria y la fundadora del colegio de la Compañía de Jesús
en Villagarcía de Campos (1525-1598) (Valladolid: Sal
Terrae, 1959); Manuel Gutiérrez Semprún, Doña
Magdalena de Ulloa, mujer de Luis de Quijada, in Doña
Magdalena de Ulloa, 1598-1998, Una mujer de Villagarcía
de Campos (Valladolid), Su profundo influjo social (Valladolid:
Diputación Provincial, 1998).
Luis quixada Maiordomo de el em / perador Carlos
Quinto = Caballerico Mayor / del Príncipe D. Carlos
= Capitán General / de la Infantería española –
Presidente / del Consejo de Indias – y consejero de es
/ tado y guerra del Rey Phe. Seg.do / Obrero – Mayor
de Calatraba – Commen / dador del Moral, Sor. de
villaga., villa / mayor villanueba Santo finia fundador
/ de este Colegio y Capilla murió peleando / contra
Infieles año de 1570.
Doña Magdalena de ulloa muger / de Luis quixada
fundadora de este / Colegio y capilla de los Colegios
de / la compañía de Jhs. de Obiedo y san / tander y
del monasterio de la peniten / çia de valladolid murió
a los 73. / años de su hedad y el de 1598.
Esteban García Chico, Catálogo monumental de la Provincia
de Valladolid. Partido Judicial de Medina de Ríoseco, II
(Valladolid: Diputación de Valladolid, 1959), pp. 113,
161, n. 10.
He continues, “The topcoat – or Portuguese
overgarment – very common in Charles V’s time,
is black, with lapels revealing rich furs and sleeves
embellished at the shoulder with shorter sleeves. These
have mock slashes and are decorated with trimmings
or little gold and pearl fastenings in trefoil shapes. In
these costumes, sleeves often fall loose and floating,
(giving rise to the term ‘manga perdida’) and were
worn in various ways by ladies and gentlemen until
well into the XVII century. This cut of the sleeve
reveals the doublet, usually richer than the rest of the
clothing. Finally, there is the neck attire which later
became a frill or hollow neck adornment, taken to
extremes in Philip III’s time. The left hand wears a
greenish coloured glove which rests, rather clumsily,
on the sword baldric.” Vicente Carderera y Solano,
Iconografía española. Colección de retratos, estatuas, mausoleos
y demás monumentos inéditos…desde el siglo XI hasta el XVII,
vol. 2 (Madrid: Imprenta de D. Ramón Campuzano,
1855 & 1864), print LXXX. The accompanying
text reads: “DON LUIS QUIJADA GENERAL /
TO EMPEROR CHARLES V. The drawing was
supervised by Carderera, and the print engraved by
Carlos Legrand. (1829-1858). Lithograph by J. F.
Martínez, Biblioteca Nacional de España, Sala Goya,
Bellas Artes, (ER/3086; IH/5801/1). Carderera
goes on to some interesting facts about the painting
which served as model for the print: “This painting
is scarcely to be praised for its artistic merit – rather
lacking, if truth be told – and suffers from old, badly
done restoration. This gives us reason to think that
the original was painted by a master and has been
lost in the course of the past three centuries. The
rich, warm tone of the colour, the sobre, individual,
unaffected pose, together with the life and character
of the head, show skill which is almost worthy of
great Titian. What has become of its whereabouts? It
would be hard to speculate about the fate of such an
interesting painting. But we were pleased to discover
there is, fortunately, another full-length, life-size
portrait in the magnificent funeral chapel founded
in Villagarcía for Don Luis by his wife Doña María
de Ulloa. The patron and heir to the foundation, the
marquis de Vallehermoso y de Fonclara, who told us
of this, particularly appreciates this picture, keeping it
in his home. It is reproduced here with his permission,
granted with his habitual kindness and courtesy.”
10. This is the same portrait that appears as the
frontispiece to the fictionalized biography Jeromín,
by Luis Coloma (1903), according to María Kusche,
who cites another version in the church of San Isidro,
Oviedo. She refers to “Artworks – paintings, tapestries
and drawings – owned by Don Juan of Austria, with
particular reference to portraits by Sánchez Coello,
María Kusche in María José Redondo Cantera and
Miguel Ángel Zalama Rodríguez, eds., Carlos V y las
artes. Promoción artística y familia imperial, (Valladolid:
Publicaciones de la Universidad de Valladolid, 2000),
pp. 353-374 (citation on p. 373).
11. (P3432), dimensions: 150 x 108 cm. See José Luis Díez,
Ana Gutiérrez Marquez, Pedro J. Martínez Plaza eds.,
Museo Nacional del Prado. Pintura del Siglo XIX en el Museo
del Prado: catálogo General (Madrid: Museo Nacional del
12.
13.
14.
15.
16.
17.
18.
19.
Prado, 2015), p. 534. In deposit at the Real Academia
de la Historia since 1913.
María Kusche, “Sofonisba Anguissola en España y
retratistas de corte junto a Alonso Sánchez Coello
y Jorge de la Rua,” Archivo Español de Arte LXII/248
(1989): pp. 391-420.
María Kusche, “El retrato de D. Carlos por Sofonisba
Anguissola,” Archivo Español de Arte 292 (2000): pp.
385-394.
Marqués del Saltillo, “La herencia de Pompeyo Leoni,”
Boletín de la Sociedad Española de Excursiones 42 (1934): pp.
95-121; Kelley Helmstutler Di Dio, “The chief and
perhaps only antiquarian in Spain. Pompeo Leoni
and his collection in Madrid,” Journal of the History
of Collections 18/2 (2006): pp. 137-167. Inv. of 1609,
fol. 1346r: “Un retrato del Príncipe don Carlos de
Sofonisba dama de la Reyna dona Isabel la francesa
con su marco negro y dorado en trescientos reales.”
Pompeo and Sofonisba must have been close and it
is now known that the magnificent portrait of the
sculptor working on a bust of Philip II, previously
attributed to El Greco, was her work ca. 1565. See
María Kusche, Retratos y retratadores. Alonso Sánchez Coello
y sus competidores Sofonisba Anguissola, Jorge de la Rúa y
Rolán Moys (Madrid: Fundación Arte Hispánico, 2003),
pp. 219-220, fig. 193.
All four are in the Prado. See Jesús Urrea, ed., Los
Leoni (1509-1608). Escultores del Renacimiento italiano al
servicio de la corte española, exh. cat. (Madrid: Museo
Nacional del Prado, 1994); Rosario Coppel, Museo del
Prado. Catálogo de la escultura de Época Moderna. Siglos XVIXVIII, (Santander: Fundación Marcelino Botín and
Madrid: Museo del Prado, 1998), pp. 66-98.
Margarita Estella, “Algo más sobre Pompeo Leoni,”
Archivo Español de Arte 262 (1993): pp. 132-149; Claudia
Kryza-Gersch, “Pompeo Leoni’s Portrait in The
Kunsthistorisches Museum in Vienna,” Leone &
Pompeo Leoni. Procedings of the International Symposium,
Museo Nacional del Prado, October 2011, ed. Stephan
Schröder (Madrid: Museo Nacional del Prado, 2012),
pp. 99-107.
Coppel, Museo del Prado. This group includes the two
large reliefs of Charles V and Empress Isabel, a bust
of Charles V and a bust of queen Mary of Hungary,
all in the Prado. The fine study by Beatrice Gilman
Proske offers an in-depth analysis of this aspect of
Pompeo’s work. Each sculpture is accurately described,
with a thoroughness that allows full appreciation of
every detail. The first work was the full-length marble
portrait of Charles V (a masterpiece overshadowed by
the grandeur of the bronze group Charles V Restraining
Fury ) followed by the two marble statues of Philip II
(in poor condition) and Empress Isabel – not as identical
to the bronze statue as might seem at first sight. See
Beatrice Gilman Proske, Pompeo Leoni: Work in Marble
and in Alabaster in Relation to Spanish Sculpture (New York:
The Hispanic Society-W.J. Ponzio, 1956).
Patrimonio Nacional, Madrid (Inv.1006059).
Museo Nacional del Prado, Madrid (E-272).
20. José Luis Sancho, “La escultura de los Leoni en los
jardines de los Austrias,” in Urrea, Los Leoni, pp. 6376, fig. 6.
21. Museo Nacional del Prado, Madrid (E-275).
22. Eugène Plon, Leone Leoni, Sculpteur de Charles -Quint et
Pompeo Leoni, Sculpteur de Philipp II, Les maîtres italiens
au service de la maison d’Autriche (Paris: Nourrit et Cie.,
1887), p. 325
23. Proske, Pompeo Leoni, p. 56; Coppel, Museo del Prado,
no. 21.
24. Museo Nacional del Prado, Madrid (E-279).
25. Francisco Javier Sánchez Cantón, “Inventarios Reales.
Bienes muebles que pertenecieron a Felipe II,” Archivo
Documental Español, X/II (1956-1959): p. 187.
26. Coppel, Museo del Prado, no. 22.
27. Proske, Pompeo Leoni, pp. 12-13, figs. 5-6.
28. Plon, Les Maitres italiens, pp. 331-334, plate XLV; El
Conde de Cedillo, “Martín Muñoz de las Posadas,”
Boletín de la Sociedad Española de Excursiones. ArteArqueología-Historia XXXVIII, cuarto trimestre (1930);
Proske, Pompeo Leoni, pp. 14-16, figs. 7-10.
29. Pérez Picón, Villagarcía de Campos.
30. Rosario Coppel, “La colección de escultura del
príncipe don Carlos (1545-1568),” in El coleccionismo
de escultura clásica en España, Simposio internacional, Museo
Nacional del Prado, 21 y 22 de mayo de 2001, ed. Stephan
Schröder (Madrid: Museo Nacional del Prado, 2001),
pp. 61-88; Rosario Coppel, “La colección de un
joven príncipe del Renacimiento: Don Carlos y las
esculturas inspiradas en el mundo antiguo,” Reales
Sitios 156 (2003): pp. 16-29.
31. “Copia del Testamento cerrado original del Príncipe
D. Carlos, otorgado ante Domingo Zavala, escribano
de Cámara del Consejo Real,” 1564. Archivo General
de Simancas. Testamentos y codicilos reales. Legacy
no. 5, published by the Marquis and Marchioness de
Pidal and D. Miguel Salva, in Colección de Documentos
inéditos para la Historia de España, tomo XXIV (Madrid:
Imprenta de la viuda de Calero, 1854; repr. Nendeln,
Liechtenstein: Kraus Reprint Ltd., 1966) pp. 514-550
(citation on p. 521).
32. Coppel, Estella,Helmstutler Di Dio, Leoni and Pompeo
Leoni.; Rosario Coppel, “Los retratos de la emperatriz
Isabel y de Juana de Austria,” in Schröder, Leone &
Pompeo Leoni, pp. 85-98.
73

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