Colnaghi Foundation Journal 02 - Page 51



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Francisco Ribalta’s Vision of Father Simó: British taste and the legacy of Sebastiano del Piombo in Spanish painting
Francisco Ribalta’s Vision of Father Simó: British taste and the legacy of Sebastiano del Piombo in Spanish painting
51
N OTES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
The other Ribalta still in England is The Virgin and
Child with Musical Angels at Kingston Lacy: Kathleen
Maclarnon, “William Bankes and his Collection
of Spanish Paintings at Kingston Lacy,” Burlington
Magazine 132 (1990): pp. 114-125.
There are many descriptions of this miraculous event
but one that is taken directly from a report to the
commission of enquiry can be found in the unpublished
Isidoro Aparici Gilart, Vida del Venerable Mosen Francisco
Geronymo Simon, that was written around 1705-1706 and
is now in the Biblioteca Nacional, Madrid.
Juan Porcar, Coses evengudes en la ciuta y regne de Valencia
Dietario de Mosen Juan Porcar, capellan de San Martin
(1589-1629), ed. Vicente Castaneda Alcover (Madrid:
Imprenta Gongora, 1934), pp. 128-129.
Luis Cabrera de Cordoba, Relaciones de las cosas sucedidas
en la corte de Espana desde 1599-1614, (Valladolid: Junta
de Castilla y Leon, 1997), pp. 472-477.
Ramón Robres Lluch, “En torno a Miguel de Molinos y
los órigines de su doctrina. Aspectos de la piedad barroca
en Valencia (1578-1691),” Anthologica Annua 18 (1971): pp.
353-465 (372ff); Emilio Callado Estela, Devoción popular
y convulsión social en la Valencia del seiscientos: el intento de
beatificación de Francisco Jeronimo Simó (Valencia: Institucio
Alfons el Magnanim, 2000), pp. 111-113.
A Catalogue of the Pictures and Drawings in the National
Loan Exhibition in aid of National Gallery Funds Held in the
Grafton Galleries, London (1909-1910) (London: William
Heinemann, 1909), p. 36; Marcel Nicolle, “L’exposition
nationale de maîtres anciens a Londres,” La revue de l’art
ancien et moderne 27 (1910): p. 144.
An Exhibition of Cleaned Pictures (1936-1947), exh. cat.
(London: The National Gallery, 1947), pp. 45-46;
Neil Maclaren, The Spanish School, rev. Allan Braham
(London: The National Gallery, 1988), pp. 86-91.
Rowland E. Prothero, The Letters of Richard Ford 17971858 (London: John Murray, 1905), p. 58.
Thomas Bean, “Richard Ford as Picture Collector and
Patron in Spain,” Burlington Magazine 137 (1995): p. 105.
Bean, “Richard Ford,” p. 107.
National Gallery Archive NG7/426/14; NG2930.
Myron Laskin Jr and Michael Pantazzi, eds., Catalogue of
the National Gallery of Canada, Ottawa, European and American
Painting, Sculpture, and Decorative Arts, 2 vols. (Ottawa:
National Gallery of Canada, 1987), vol. I, pp. 198-201.
Richard Ford, A Hand-Book for Travellers in Spain, ed. Ian
Robertson, 3 vols. (Fontwell: Centaur Press, 1966), I.
Sotheby’s, London, Old Master Paintings, 9 July
1975, p. 17; David Howarth, The Invention of Spain:
Cultural Relations Between Britain and Spain 1770-1870
(Manchester: Manchester University Press, 2007);
Fernando Benito Domenech, “Portrait of Jeronimo
Funes y Munoz and his Wife, ca. 1610,” in Sacred Spain:
Art and Belief in the Hispanic World, ed. Ronda Kasl (New
Haven and London: Yale University Press, 2009), pp.
296-297; email correspondence with Janie Welker,
Curator of Collections at the Museum, has revealed
that the painting is currently instead believed to be by
an unknown artist.
15. A passage from a letter published in Maclarnon,
“William Bankes,” p. 124.
16. Ian Robertson, Richard Ford 1796-1858 Hispanophile,
Connoisseur and Critic (Norwich: Michael Russell,
2004), p. 259.
17. Hugh Brigstocke, “British Travellers in Spain 17661849,” Walpole Society 77 (2015): p. 417.
18. This wording is now damaged but was transcribed
verbatim in 1939 and published in Maclaren, The
Spanish School, pp. 90-91, n. 14.
19. “Un quadro grande que representa al Señor con la
cruz a cuestas quando se apareció a S. Ignacio de
Loyola.” Juan Agustín Ceán Bermudéz, Diccionario
histórico de los mas ilustres profesores de las bellas artes en
España, 6 vols. (Madrid: En la Imprenta de la Viuda de
Ibarra, 1800), IV, pp. 174-175.
20. Alison C. Fleming, “St Ignatius of Loyola’s ‘Vision at
La Storta’ and the Foundation of the Society of Jesus,”
in Foundation, Dedication and Consecration Rituals in the Early
Modern World, Intersections, Yearbook of Early Modern Studies,
22, eds. Maarten Delbeke and Minou Schraven (Leiden
and Boston: Brill, 2012), pp. 225-249.
21. James Casey, The Kingdom of Valencia in the Seventeenth
Century (Cambridge: Cambridge University Press, 1979).
22. Borja Franco Llopis, La pintura valenciana entre 1550 y
1609: cristología y adoctrinamiento morisco (Lleida: Edicions
de la Universitat de Lleida, 2008); Borja Franco
Llopis, “El Patriarca Ribera y el uso del arte a finales
del siglo XVI en Valencia,” in El Patriarca Ribera y su
tiempo. Religión, cultura y política en la Edad Moderna, ed.
Emilio Callado Estela (Valencia: Institucio Alfons el
Magnanim, 2012), pp. 591-607.
23. Juan de Ribera, Sermones. Edición Crítica, ed. Ramon
Robres Llluch, 6 vols. (Valencia: Ediciones Corpus
Christi, 1987-2001), vol. IV, 19, p. 49.
24. Philippa Joseph, “Travel, Acquisition, Display:
Concerning Don Fadrique Enríquez de Ribera (14761539) and the Casa de Pilatos, Seville, c.1520-1540,”
(Ph.D. diss., Oxford Brookes University, 2010).
25. David Gimilio Sanz, “Poder, humanismo y religiosidad
en tiempos del Patriarca Juan de Ribera en Valencia: su
colección de escultura clásica,” Espacio, Tiempo y Forma 2
(2014): pp. 13-39.
26. A document that is reprinted in Juan Jimenez, Vida del
Beato Juan de Ribera (Valencia: Joseph de Orga, 1798).
27. Benjamin Ehlers, Between Christians and Moriscos: Juan
de Ribera and Religious Reform in Valencia, 1568-1814
(Baltimore: The John Hopkins University Press, 2006);
Nicole Reinhardt, Voices of Conscience: Royal Confessors
and Political Counsel in Seventeenth-Century Spain and France
(Oxford: Oxford University Press, 2016), pp. 195-217.
28. Ehlers, Between Christians and Moriscos, p. x.
29. Leticia Ruiz Gómez, ed., The Divine Morales, exh. cat.
(Madrid: Museo Nacional del Prado, 2015), pp. 31
and 186-211.
30. Antonio Palomino, The Lives of the Eminent Spanish Painters
and Sculptors, trans. Nina Ayala Mallory (Cambridge:
Cambridge University Press, 1987), pp. 38-39.
31. Gabriele Finaldi, “Luis de Morales,” in Grove Dictionary of
Art, ed. Jane Turner, 34 vols. (1996), XXII, pp. 72-73.
32. Alfonso Rodríguez de Ceballos, “El mundo espiritual
del pintor Luis de Morales. En El IV Centenario de su
muerte,” Goya 196 (1987): pp. 194-203; Ruiz Gómez,
The Divine Morales, pp. 186-211.
33. Matthew 16: 24-26.
34. Thomas a Kempis, The Imitation of Christ, ed. and trans.
Leo Sherley Price (Harmondsworth: Penguin, 1952),
pp. 84-85.
35. Luis de Granada, Contemptus Mundi (Seville: Juan,
Cromberger, 1536).
36. Rodríguez de Ceballos, “El mundo espiritual”;
Alexander Wilkinson, Iberian Books. Books Published in
Spanish or Portuguese or on the Iberian Peninsula before 1601
(Leiden and Boston: Brill, 2010), pp. 465-474.
37. Franco Llopis, “El Patriarca Ribera y el uso del arte,”
pp. 596-597.
38. Four versions of Christ Carrying the Cross by Morales
are listed in Carmelo Solis Rodriguez, Luis de Morales
(Badajoz: Fundacion Caja de Badajoz, 1999); Felipe
Pereda, “Luis de Morales, Divine Painter,” in Ruiz
Gómez, The Divine Morales, pp. 44-57 (55-57).
39. Ehlers, Between Christians and Moriscos, pp. 58-79; Jose
Segui Cantos, “El Colegio Seminario de Corpus Christ.
Un legado del patriarca Ribera,” in Callado Estela, El
Patriarca Ribera y su tiempo, pp. 423-439.
40. Manuel Arias Martínez, “El testamento de Benedito
Rabuyate, un pintor florentino en el Valladolid de la
segunda mitad del siglo XVI. Devociones y producción
artística,” in Valladolid la muy noble Villa (Valladolid:
Diputacion de Valladolid, 1996), pp. 41-47; María
José Redondo Cantera,“Beneditto Rabuyate (15271592), Un Pintor Florentino en Valladolid,” in El
modelo italiano en las artes plásticas de la Península Ibérica
durante el Renacimiento, ed. María José Redondo Cantera
(Valladolid: Universidad de Valladolid, 2004), pp. 341375; Pereda, “Luis de Morales”.
41. Aparici Gilart, Vida del Venerable.
42. Sir William Stirling Maxwell, Annals of the Artists of Spain,
4 vols. (London: John C. Nimmo, 1891), II, p. 576.
43. Manuela Mena Marques, ed., Sebastiano del Piombo y
España, exh. cat. (Madrid: Museo del Prado, 1995)
44. Francisco Almarche Vasquez, ed., Dietario Valenciano
(1619 a 1632) por D. Alvaro y D. Diego de Vich (Valencia:
Acción Bibliográfica Valenciana, 1921).
45. Piers Baker-Bates, Sebastiano del Piombo and the World of
Spanish Rome (London and New York: Routledge, 2016),
pp. 95-130; the Christ Carrying the Cross and the Descent
into Limbo are now in the Prado, the Lamentation in the
Hermitage.
46. Justo Pastor Fuster, Biblioteca Valenciana de los Escritores
que florecieron hasta nuestros días, 2 vols. (Valencia: José
Ximeno, 1827), I, pp. 253-255; Delphine Fitz Darby,
Francisco Ribalta and his School (Cambridge, MA: Harvard
University Press, 1938), pp. 205-209.
47. Fernando Benito, “Sebastiano del Piomby y Espana,”
in Marques, Sebastiano del Piombo y España, pp. 41-79,
(66-78); José Gómez Frechina, Sebastiano del Piombo Christ
Carrying the Cross (London: Colnaghi, 2016).
48. Thomas S. R. Boase, Christ Bearing the Cross Attributed
to Valdés Leal at Magdalen College, Oxford: A Study in Taste
(Oxford and New York : Oxford University Press, 1955).
49. Maclaren, The Spanish School, pp. 90-91, n. 14.
50. Stirling Maxwell, Annals, II, pp. 580-581.
51. Boase, Christ Bearing the Cross, pp. 13-14 ; this painting
is not, however, included in any of the more recent
literature on this artist specifically.
52. Yolanda Gil Blasco and Armando Pavon Romero,
“Ceremonias religosas en la Valencia del Patriarca
Ribera,” in Callado Estela, El Patriarca Ribera y su tiempo,
pp. 775-788 (786-788).
53. Ehlers, Between Christians and Moriscos, pp. 22-29.
54. Porcar, Coses evengudes, p. 135.
55. Fernando Benito Domenech, ed., Los Ribalta y la Pintura
Valenciana de su tiempo (Madrid: Museo del Prado,
1987), pp. 104-105; Juan Sariñena (1545-1619) Pintor
de la Contrarreforma en Valencia (Valencia: Generalitat
Valenciana, 2007), pp. 106-109; Franco Llopis, Borja,
“El Patriarca Ribera”, pp. 604-605.
56. Ehlers, Between Christians and Moriscos, pp. 69-72.
57. Peter Burke, “How to be a Counter-Reformation
Saint,” in Religion and Society in Early Modern Europe,
1500-1800, ed. Kaspar von Greyerz (London: Allen
and Unwin, 1984); reprinted in Peter Burke, The
Historical Anthropology of Early Modern Italy Essays on
Perception and Communication (Cambridge: Cambridge
University Press, 1987), pp. 48-62; Simon Ditchfield,
“Thinking with Saints: Sanctity and Society in the
Early Modern World,” Critical Enquiry 35 (2009): pp.
553-584.
58. Simon Ditchfield, “Coping with the ‘Beati Moderni’:
Canonization Procedure in the Aftermath of the
Council of Trent,” in Ite Inflammate Omnia: Selected
Historical Papers from Conferences Held at Loyola and Rome in
2006, ed. Thomas M. McCoog, S.J. (Rome: Institum
Historicum Societatis Iesu, 2010), pp. 413-439;
Ruth S. Noyes, “On the Fringes of Center: Disputed
Hagiographic Imagery and the Crisis over the Beati
Moderni in Rome ca. 1600,” Renaissance Quarterly 64
(2011): pp. 800-846; Clare Copeland, “Spanish Saints
in Counter-Reformation Italy,” The Spanish Presence in
Sixteenth-Century Italy, eds. Piers Baker-Bates and Miles
Pattenden (Farnham and Burlington, VT: Ashgate,
2015), pp. 103-123.
59. Saint Vincent Ferrer (1350-1419), the Valencian
Dominican friar, was canonized in 1455. L. J. Andrew
Villalon, “San Diego de Alcalá and the Politics of Saint
Making in Counter Reformation Europe,” The Catholic
Historical Review 83 (1997): pp. 691-715.
60. Emilio Callado Estela, “Los Dominicos Valencianos
y su oposición a la santidad del ‘Paré Simó’,” Archivo
Dominicano Anuario 23 (2002): pp. 307-317; Emilio
Callado Estela, “El final de los tiempos. Caida,
destierro y muerte del Inquisidor general fray Luis
Aliaga,” Estudis Revista de Historia Moderna 42 (2016):
pp. 87-106; Reinhardt, Voices of Conscience, p. 223,
speculates that Luis de Aliaga may have engineered his
brother’s succession to Archbishop Ribera.
61. Patrick Williams, The Great Favourite. The Duke of
Lerma and the Court and Government of Philip III of Spain,
1598-1621 (Manchester and New York: Manchester
University Press, 2006); Sarah Schroth, “A New Style
of Grandeur: Politics and Patronage at the Court
of Philip III,” in Kasl, Sacred Spain, pp. 77-121 (105);
Lisa Banner, The Religious Patronage of the Duke of Lerma,
1598-1621 (Farnham and Burlington, VT: Ashgate,
2009), pp. 132 and 135.
62. The city government of Valencia for example kept
ambassadors at Madrid for this purpose: Archivo del
Reyno de Valencia, Maestre Racional 12468; Callado
Estela, Devocion Popular.
63. The Canons and Decrees of the Sacred and Oecumenical Council
of Trent, ed. and trans. James Waterworth (London:
C. Dolman, 1848), pp. 235-236; Francois Soyer,
“Inquisition, Art, and Self-Censorship in the Early
Modern Spanish Church, 1563-1834,” in The Art of Veiled
Speech Self-Censorship from Aristophanes to Hobbes, eds. Hans
Baltussen and Peter J. Davis (Philadelphia: University of
Pennsylvania Press, 2015), pp. 269-292 (269-272).
64. Copeland, “Spanish Saints.”
65. Fernández Aparicio, Carmen, “Obras de Francisco
Ribalta dedicadas al Padre Simó, Un lienzo del Museo
Nacional de Escultura,” Goya 225 (1991): pp.142-151;
Miguel Falomir Faus, “Imágenes de una santidad
frustrada: el culto a Francisco Jerónimo Simón, 16121619,” Locus amoenus 4 (1998-1999): pp.171-183.
66. Mercedes Gomez-Ferrer-Lozano, “La Antigua iglesia
parroquial de San Andres de Valencia y la arquitectura
Valenciana en la transición al siglo XVII,” Academia
Boletin de la Real Academia de Bellas Artes de San Fernando 80
(1995): pp. 235-258.
67. Francisco Talon, “Dos Pinturas Valencianas (Notas
Documentales),” Boletin de la Sociedad Española de
Excursiones 26 (1918): pp. 202-204.
68. Marcos Antonio Orellana, Biografía pictórica valentina
o Vida de los pintores, arquitectos, escultores y grabadores
valencianos, ed. Xavier de Salas (Valencia: Ayuntamiento
de Valencia, 1967), p.129; Juan Ainaud de Lasarte,
“Francesco Ribalta, notas y comentarios,” Goya 20
(1957): pp. 86-89.
69. Javier Portus and Jesusa Vega, eds., La estampa religiosa
en la España del Antiguo Régimen (Madrid: Fundación
Universitaria Española, 1998), pp. 161 and 281-283.
70. Porcar, Coses evengudes, p. 185.
71. Joannes Wouverius, Vita b. Simonis Valentini sacerdotis
(Antwerp, 1614); J. Richard Judson and Carl van de
Velde, eds., Corpus Rubenianum Ludwig Burchard, XI/I
(London and Philadelphia: Harvey Miller and Heyden
& Son, 1978), pp. 116-117.
72. Luc Duerloo, “Archducal Piety and Habsburg Power,”
in Albert & Isabella 1598-1621 Essays, eds. Werner
Tomas and Luc Duerloo (Turnhout: Brepols, 1998), pp.
265-279 (276-279).
73. Luc Duerloo, Dynasty and Piety Archduke Albert (15981621) and Habsburg Political Culture in an Age of Religious
Wars (Farnham and Burlington, VT: Ashgate, 2012),
p. 393.
74. Francisco Martínez, La Exequias y Fiestas Funerales
que hizo la Santa Iglesia de Origuela y sus Parroquias, a la
dichosa muerte del Venerable y Angelico Padre Mossen Francisco
Geronymo Simó (Origuela: Agustín Martínez, 1612);
Domingo Salzedo de Loayza, Breve y sumaria relación de la
vida, muerte y milagros del venerable Pres. Mos. Fr. Hier Simon
Valenciano (Segorbe,1614); Wouverius, Vita.
75. Jaume Sanchis, Relación breve de la vida, virtudes y milagros
de la humilde sierva del Señor y Virgen sor Margarita Agullo,
natural de la ciudad de Xativa (Valencia: Juan Crisotomo
Garriz, 1607).
76. Falomir Faus, “Imágenes de una santidad frustrada,”
p. 178; Callado Estela, Devoción popular y convulsión social,
pp.167-173.
77. Miguel Gotor, I beati del papa Santita, Inquisizione e
obbedienza in eta moderna (Florence: Leo S. Olschki,
2002), pp. 285ff.

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