Sunday, December 27, 2009

Mileage Plus Calculator



With this input, we arrive at number 100 on my blog "Manuelblas." This figure in any edition, printed or digital, is reason enough to make a stop on the task, reflecting on his steps and to envision what is left of the road.

The idea of \u200b\u200bthis blog I came about two years ago moved the intention of placing value on the threads of experience acquired by years of reading and travel (strictly speaking, more than those of them) and pour into a series of short informative articles that might be of interest to some readers (all matters has its audience, although this is limited). With the passage of time, this work started marginally, taking advantage of free time, I've been "hooked" until now, even my recent retirement from public affairs, these casual stories occupy a considerable part of my leisure time and higher . Consulting

profile my blog, I note that during these twenty-four months I had about About 1,600 visitors, do not know if there will be many or few for a blog of its kind, but I'm sure are all "quality visitors" to read Don Enrique Tierno Galván, if "old teacher" would have become user these media.

To all visitors of this blog I want to thank you the attention you have given me and especially to those who, in response to incitement recorded at the end of each entry, you had a good " question, comment or contribute something to about "in relation to the proposed issue. Have been many who, through email or through comments blog, make comments, asked questions and told stories as much or more interesting than the telling. Several of these contributions have enabled me to complete, partially correct or redo some of the 99 previous entries and, above all, make sure that we are many who believe that knowledge and culture are essential human baggage to behave sensibly in a world in I think more and more confused.

At this point, looking forward, imposes the following decision. No 101 of the blog entry "Manuelblas" but this blog is not closed. Remain open indefinitely for further contributions to improve, upgrade or expand the issues raised.

At the same time, in a statement of good intentions for 2010, I have the intention to diversify content by opening of new blogs, so that within a short time to become part of this "family" cultural posts, others " Manuelblases "of literature (books and writers), Film and Photography, Visits and Exhibitions, Cities (Madrid, Toledo and Segovia are the three cities that normally traffic and I know best), Travel ... I hope

These future benefits may serve to entertainment and the best, so we can learn new things or remember something that we had forgotten. I

say, finally, I personally greatly learn and enjoy reading other cultural blogs whose authors I intend to engage in conversation and exchange data and information.

Thank you all for your attention as, I send a hug and wish you a


Happy 2010



Manuel Martínez Bargueño

December, 2009

If you have interested in this article and want to ask, comment, or make something about it, you can write to my email address manuelblas222@gmail.com with the assurance that you will be promptly addressed.

Spread among your friends this blog.

Thanks. Manuelblas.
VISIT MY NEW BLOG DEDICATED TO MADRID http://manuelblasdos.blogspot.com/

Mileage Plus Calculator



With this input, we arrive at number 100 on my blog "Manuelblas." This figure in any edition, printed or digital, is reason enough to make a stop on the task, reflecting on his steps and to envision what is left of the road.

The idea of \u200b\u200bthis blog I came about two years ago moved the intention of placing value on the threads of experience acquired by years of reading and travel (strictly speaking, more than those of them) and pour into a series of short informative articles that might be of interest to some readers (all matters has its audience, although this is limited). With the passage of time, this work started marginally, taking advantage of free time, I've been "hooked" until now, even my recent retirement from public affairs, these casual stories occupy a considerable part of my leisure time and higher . Consulting

profile my blog, I note that during these twenty-four months I had about About 1,600 visitors, do not know if there will be many or few for a blog of its kind, but I'm sure are all "quality visitors" to read Don Enrique Tierno Galván, if "old teacher" would have become user these media.

To all visitors of this blog I want to thank you the attention you have given me and especially to those who, in response to incitement recorded at the end of each entry, you had a good " question, comment or contribute something to about "in relation to the proposed issue. Have been many who, through email or through comments blog, make comments, asked questions and told stories as much or more interesting than the telling. Several of these contributions have enabled me to complete, partially correct or redo some of the 99 previous entries and, above all, make sure that we are many who believe that knowledge and culture are essential human baggage to behave sensibly in a world in I think more and more confused.

At this point, looking forward, imposes the following decision. No 101 of the blog entry "Manuelblas" but this blog is not closed. Remain open indefinitely for further contributions to improve, upgrade or expand the issues raised.

At the same time, in a statement of good intentions for 2010, I have the intention to diversify content by opening of new blogs, so that within a short time to become part of this "family" cultural posts, others " Manuelblases "of literature (books and writers), Film and Photography, Visits and Exhibitions, Cities (Madrid, Toledo and Segovia are the three cities that normally traffic and I know best), Travel ... I hope

These future benefits may serve to entertainment and the best, so we can learn new things or remember something that we had forgotten. I

say, finally, I personally greatly learn and enjoy reading other cultural blogs whose authors I intend to engage in conversation and exchange data and information.

Thank you all for your attention as, I send a hug and wish you a


Happy 2010



Manuel Martínez Bargueño

December, 2009

If you have interested in this article and want to ask, comment, or make something about it, you can write to my email address manuelblas222@gmail.com with the assurance that you will be promptly addressed.

Spread among your friends this blog.

Thanks. Manuelblas.
VISIT MY NEW BLOG DEDICATED TO MADRID http://manuelblasdos.blogspot.com/

Saturday, December 26, 2009

Sample Opening Prayers For Debuts

Galdós Houses in Madrid (and 5) or the delicacy Maíno




After
resounding success of "Electra , Galdós, savoring his triumph, it will take more than two years to re-brand and taking the pen to start the Fourth Series of the Episodios Nacionales. During that time (January 1901 to spring 1902) often their trip to Paris a with the idea of \u200b\u200bopening a market there and perhaps also to turn decisively away from its unbalanced lover, the former actress Concha Morell.

From 1902 Galdós, who seems to have lost some taste for Madrid and its streets, alternate spring and summers in Santander, with frequent trips to Spain (Barcelona, \u200b\u200bCartagena) and long periods in Toledo where seasons pass at the "La Alberquilla", on the banks of the Tagus, owned by Sergio Novales who had inherited from his uncle, the famous writer and bibliophile Bartolomé José Gallardo. On other occasions, staying at the Hotel del Lino in the heart of the capital of Toledo, where it is today, gone a few years ago the centennial lodge, the headquarters of a bank. Years later a plaque, placed by the Hogar Canario de Madrid recalled Galdós's stay in the Imperial City.




contact with nature will raise up Galdós a keen interest in the secrets of agricultural science, its "Physiocratic whims" and zoological (he loved dogs and cats, sheep and even geese), all without sacrificing his literary output in these years will be increased with new releases " Alma y Vida" (9 April 1902 in the English Theatre, drama regeneracionista " Mariucha " (July 16 in Barcelona) and successive National Episodes (48 storms "," Narvaez "" The elves clique ").

1904 is a critical year in the life of the writer. Compliments and sixties begin their trouble seeing you lead, after several failed operations to total blindness. On the other hand, his publishing company "Pérez Galdós Works" is in crisis that will lead you to agree with the Successors editorial Hernando (Pearl, Paez and Co.) for the publication of his works that will gradually increase to rate more regular Episodios Nacionales (" The Revolution of July," O'Donnell "," Aita Tettau "," Charles VI in Rápita "), a novel dialogue" Casandra "and new releases theater: " Grandpa" (14 February in the English Theatre, with a resounding success, "Barbara " and "Love and Science " with a more modest reception.)

In the fall of 1906 turns on the idea of \u200b\u200ba national tribute to Galdós, at the initiative of the republican and liberal press, which could be found after the alleged intention to recapture the political life, it is time the ranks of republicanism . In fact, in 1907, seduced again and took to the direct participation in politics. Republicans begin Galdós years, which is not an obstacle to continue more slowly due to physical problems with his literary work, "the sad The destinations "that continues the Fourth Series of the Episodios Nacionales, preceded last year by" The v uelta the world in Numancia "and" Prim . "

In late 1907, new Episode National Rey Spain without "and new love when the writer blanket retirement age 65. Her new lover is called Feodosiya Gandarias and is a widow, 44 years, modest and educated, living in a popular neighborhood, next to the Plaza de Chamberí, at number 53 (now 51) 2 Paseo de Santa Engracia, between the streets Raimundo and Santa Feliciana Lully. The house still exists and has three plants the street, attic can be seen from the street and five holes and balconies on each floor. Feodosiya floor was the first left. In the basement there were two shops, a barbershop and a grocery, now houses a supermarket. Recall that the writer had "stayed" a few years earlier next door at number 49 in the same street or walk, but even then did not live Feodosiya in the area. In this "love nest" street of Santa Engracia the already ailing Galdós will spend time with his beloved Teo, and work without leaving your house on the Boulevard de Alberto Aguilera, and without, of course, its long summers in Santander with family.





Santa Engracia, 51. Possible address of Feodosiya Gandarias



1908 is a busy political year, but less than the next, during which D. Benito, along with significant membership in the Republican (or liberal, as he put it) have time to attend the premiere in the capital flows from the opera " Zaragoza " and to conclude the play "Peter Minio ."

The following year, 1909, Galdós, Republican representative, will attend the event shocked the Tragic Week and Barranco del Lobo, while culminating in a month the very complex episode of "tragic Spain, located in 1870. His health is deteriorating, which is not prevented from examining an interesting and evocative novel Knight delighted "to write his own hand (hereafter have to dictate to his secretary, Paul Nougués," Don Pablífero ") and published serialized in The Liberal. " You'll also get another resounding success with the premiere on February 28 of his drama "Cassandra " in the English Theater, applauded by the audience who accompanied him on opening night to his home of Alberto.

The elections of May 1 of that year gave Madrid the victory in the Republican-Socialist, composed, among others, Galdós and Pablo Iglesias, who say the writer canary with Pablo Iglesias enter in Congress spirit of international solidarity to fight for the dignity and welfare of workers "and making a living feel human and political sympathy.

With the next episode, "Amadeo I " and then " The First Republic (1911), Galdós invent a counterpart, the Light of Tito softly, journalist , womanizing, as Don Benito in his youth, who now was old and semiciego, is still with Mrs Theodosia emperijolado, the widow of Calle Santa Engracia.

be in his apartment on Calle Alberto Aguilera where Dr. Marquis will operate Galdós cataract in the left eye. A difficult case that will, in spite of extreme care, physical and psychological effects on the writer from now you can no longer fend for itself

be because of their semi-blindness as Galdós, do not know exactly where date, moves into what will be his last home in Madrid: the chalet "Moorish-bull" that his nephew José Hermenegildo the bachelor had built in Hilarion Eslava 7, near the Parque del Oeste. The building had two floors and roof and was distilled neomudéjar, with exposed brick, windows and turrets, gables and lattice-style "Arab" according to the tastes of the time. In this small hotel, as reported by Federico Carlos Sainz de Robles "his nephew, Jose Hurtado de Mendoza had booked the best room, on whose threshold were written these words: Office of Uncle Benito 3.

still remember from my days as a college student having spent some time in front of this brick building, where a plate to stated that the writer had lived there. Unfortunately this, like other nearby buildings, the district Pozas, the Church of Good Success, nothing remains but the memories and some old photo (the General Archive of the Administration) which is a soldier of the Republic standing guard at the villa. At least it keeps the label placed by the council in 1924 on the modern building erected in the place 4 .




There, in the ho tel of Hilarion Eslava 7, live the "strange community" composed by the writer, his nephew, Joseph Herman, owner of the property, its and older sisters, Concha, the single and Carmen, the widow and a daughter, Rafaelita González, daughter, apparently, the bullfighter Machaquito and a gypsy, Hermenegildo José goddaughter of singles, in addition to the easement. Extramural living with his aunt, the daughter of Galdós, María, given in 1892 with the painter's model Lorenza Cobian, tragically disappeared in recent years after his insanity.

1911 begins "calm and placid" to Galdós in his house in San Quentin, scuffles outside the parliament (although still a deputy, it will be three times, most recently by Las Palmas), while essential and dictates to his secretary "Don Pablífero " Episode " De Sagunto Carthage." On his return to the Town and Court, Galdós continue his political activity as a member of the Republican-Socialist, while economic problems are exacerbated. A hope of a solution to these strictures, it gives the nomination for the Nobel Prize, worth 40,000 crowns, for which he is nominated by the Academy in 1912, although the internal division about his candidacy, in dispute with the figure valetudinarian literary Menéndez y Pelayo, I move away from the deserved award.

In 1912, Galdós is undergoing a new surgery (second cataract in the right eye) held this time in the house of Hilarion Eslava 7. Although the operation itself is a moderately successful, he regained his vision, political activity was self-limited. In literary terms, with 69 years Galdós, misled by the semiceguera and atherosclerosis has yet time to write in six months will be, without him knowing, his latest National Episode, " Cánovas. That same year, shortly before the second operation has been in the small hotel of Hilarion Eslava, the visit of Javier Bueno journalist who does an interview literary magazine destined for World Magazine. So the approach portrays the journalist as the home you live Galdós:

"Faced with the Modelo prison in a large square which was used to shooting, recreation camp kids and military maneuvers, and now begins to urbanize, there is a pink brick little hotel, very modest ... A brick wall hides it until the 1 st floor. Above this wall looks a rose ...." Later

thus intimate portrait of writer's work:

" The room is modest. In a headwall, is a white library, crammed with books in another, a window in the front another library and, ultimately, the door naked. A table of student in which Paul writes Nougués and two red wicker chairs complete the furniture ".

Galdós is sunk in a red velvet armchair.'s almost blind, dark glasses covering her eyes." 5

go in summer San Quentin, as always, recovered partially from view and, therefore, optimistic, even though soon turn age seventy.

The last seven years of his life will Galdós increasingly locked in his nephew's house, presiding family circle formed by his sisters, and very old, his nephew, José Hermenegildo, the engineer, the goddaughter prohijada of it, and a large Raphaelite service. In this house, where all food was eaten on the Canary Islands, will be visited regularly by friends from the Canary Islands with the writer forming a pleasant chat. While continuing harassment of creditors to the extent that Galdós was forced to mortgage San Quentin.

In 1914, Santander installed in the summer, devoted almost exclusively to literary activity, political activity, however, has ceased almost completely, leaving Galdós, by choice, the Conjunction, work on a new dramatization " Celia in hell, "set partly in popular areas for development which he wrote to his beloved Theodosia" think "living documents see as your concierge and other conspicuous figures neighborhoods Chamberí and Cuatro Caminos." The show opens Dec. 9 in the English Theatre and is a great success of the public with the usual accompaniment of friends and supporters of Galdós in happy throng at the door of the English Theatre to Puerta del Sol

That same year novelist's debt was estimated at about 200,000 pesetas from then and his friends and admirers, politicians, writers come to their aid by creating a National Board Tribute to Galdós. Are collected only about 100,000 pesetas, an amount less than estimated, allowing paying some creditors and assigned to Galdós a kind of annuity. At the end of the year, Galdós, which had premiered on April 21 at the Princess Theatre with his usual success Greek tragedy, "Alceste " painful to attend his sister's death Concha and few months later, in February 1915 to their other sister, Carmen, "Mother" of the family galdosiana since its installation in Madrid.

In the summer of 1915, Galdos, who has written a story twilight " The reason of unreason" in San Quentin preparing a drama set in the Carlist War, "Sor Simona "Which will premiere in December in Madrid with a great performance of the young actress Irene López Heredia 6. Another young actress, Concha Catalá, engage a close friendship with the elder Galdós.

What were Galdós habits in these last years of his life? His biographers tell us that the morning went by carriage, rented and always at the house door, walked past the house where he lived at various stages of his life, he made his visits morning and after lunch lengthened the ta sies and received in the afternoon at home visits. One of the most assiduous visitors was his daughter Mary Young married John Green, an official, an expert on municipal statistics. The couple with their two young sons, Rafael and Bob, lived in the Calle de Ferraz 22 and in this house also received frequent visits of the writer who dearly loved his children and grandchildren. Galdós also received home visits Hilarion Eslava actors and actresses, as Margarita Xirgu or Concha Catalá, artists and writers such as Pérez de Ayala, Enrique de Mesa or siblings or journalists Quintero as Margarita Nelken. The gathering ended early evening, around 14.30 in the winter and to 16.30 in the past. Don Benito semi invalid and was carried upstairs by her servant, first Victorian and then Paco Menéndez. The dinner was served when he was already lying on his iron bed, little more than a hospital bed or modest pension. Asleep quickly and sleep well. Sainz de Robles tells us that in these final years of his life Galdós was a tall old man, stooped, awkward limp mustache and dark glasses, with very few words.

On February 2, 1916 premiere another drama, "Solomon The stingy" and already in precarious conditions dictate his "Memoirs of a forgetful " for the magazine "The Sphere", which has as it seems and recalls some episodes of his life until 1910, silencing many others. Yet to 73 years know Galdós a final success will bring an economic boom also. Barcelona is the premiere of his " Marianela," in a stage adaptation of the brothers Quintero and the Xirgu in the title role. With it the company made a successful tour of Spain, although the writer, always acclaimed by the audience at the end of representation can only attend the premiere in Barcelona and Valladolid. Still with Xirgu released the following year "Santa Juana de Castilla ", whose premiere in Barcelona will attend the author who was feted by Catalan intellectuals.





In 1917 he visits his friend, journalist and writer, José Montero Iglesias, with his son, thirteen or fourteen, José Montero Alonso. So it was that, years later his son, also a writer José Montero Padilla

" went up to the first floor. In a large room and sober was Don Benito, sitting in an armchair. A blanket covered his legs. His head was shown bareheaded. And his expression was calm, serene. I had almost lost sight seeing, but that afternoon was wearing dark glasses he wore almost every time. A José Montero Iglesias and his son had brought up that sort of modest living, a server, named Paco, who was outstanding at all times of the writer. "Don Benito," he said ... They are ... Galdós smiled. My father remembered that smile kindly and how he raised his head, and directing it to those who came. And he spoke, his voice slow, looked tired and was at once warm, intimate :

- What? I here, you see, prisoner ...

asked by some friends. My grandfather had reported on them. Became interested in other topics. He continued the conversation, but said little Don Benito.

comment on a play that prepared: St. John of Castile. (It premiered at the Teatro Madrid de la Princesa, the night of May 8, 1918).

- That night, "said my grandfather, my son and I applaud you more than anyone else! ...

Galdós's attitude had hitherto been quiet, impassive, almost motionless, as we contemplate the monument made by Victorio Macho and it is located in Madrid's Retiro Park. Suddenly, his voice shaking him. His hand sought Montero Iglesias and shook it loudly:

- How good are you with me! - He cried.

and then he came into the room a young woman dressed in black, very pretty as always stressed José Montero Alonso al evocar estos recuerdos suyos de tan singular ocasión. Era una hija del torero Machaquito y ahijada del novelista. También el servidor, Paco, asomaba con frecuencia por si don Benito quería algo. Éste interrogó, refiriéndose a mi padre:

-¿Y qué hace este muchacho? ¿Estudia? ¿Qué va a ser?

Montero Alonso -un muchacho de trece o catorce años no decía palabra. Le resultaba imposible. Y su padre iba respondiendo por él. Galdós escuchaba, asentía con la cabeza.

Llegó el momento de la despedida. Montero Alonso recordaría siempre las últimas palabras que le dirigió don Benito:



-... And you, boy, keep me on your friend. And always good to know ... " 7

In 1918 his life was like, in the morning went by car, made rounds and came home for lunch. In the afternoon did not leave, he stayed in his office, where they were going to see his friends. Álvarez Quintero brothers and Victorio Macho were those who treated him better, apart from their families. Victorio Macho was the sculptor Palencia, the author of the seated statue of Galdós found in the Park Retirement and reproduces the usual vision of the writer in his workroom, legs covered, as used by a blanket.

enter the writer in 1919 in disastrous physical conditions (since 1914 suffered from arteriosclerosis and 1918 the disease was complicated with spinal cord softening) and, nevertheless, persisted in taking a stroll around Madrid, to make "some" hits.

January 19 inaugurated the statue of Galdós in Retirement, "monument and a sober melancholy severity, with the mayor and the Quintero brothers, of speakers. The writer attends the opening "barely alive in reply block of stone" but is so tired that he was bedridden for several weeks. Granted March 14 will, in which Maria Perez Galdos recognized as his daughter. In these final months was irascible character and completely changed their system of life left in the morning, had lunch out and not come back but at night. The figure of Galdós was known by the people in their journey through the streets of Madrid. Legend has it that the men were discovered along the way and pointed out that women, children excited "He is Don Benito"

began in August not to know, and 22 came out last car on the street and in September and took to her bed. The agony was slow, attended at all times the patient for their unconditional physician and friend Dr. Marañón. The writer's death occurred at half past three the morning of January 4, 1920, Sunday. Upon learning of every theater in Madrid suspended the function. The Government, apropuesta the Minister of Public Instruction (Natalio Rivas) declared national mourning, and took charge of the funeral expenses.


A text, published unsigned in the newspaper "The Sun" of January 5, 1920, expressed the collective feeling of orphanhood:


" The people know that he has died the highest basking of their princes ... there will be an intimate and sincere sorrow that will link all the good English teacher at the tomb of unforgettable. and this will be worth all the decrees that may appear in the Gazette ... "

The chapel of Benito Perez Galdos was installed in the courtyard of the City of Madrid crystals where more than 50,000 people marched. A mass of people followed the next day the funeral procession to the family vault in the cemetery of Our Señora de la Almudena. Who was he could not accompany Gandarias Feodosiya, " schoolteacher, Basque writer, intelligent woman and mother of a son who died still young Galdós " 8 , died a few days before, 31 December, of bronchopneumonia at his home in Santa Engracia. It would be buried in the Almudena, where both would remain neighbors neighborhood in their final resting 9.



© Manuel Martínez Bargueño
December, 2009 (last updated in April 2011 )


If you have interested in this article and want to ask, comment or contribute something about it, you can write to me email manuelblas222@gmail.com with the assurance that you will be promptly addressed.



Spread among your friends this blog.



Thanks. Manuelblas.



Notes

1. In Paris, through his friend, Ambassador León y Castillo Elizabeth II will visit in his palace of Castile in the Avenue Kleber, leaving as a result of this interview a "nice picture" of the sovereign.

2. Ortiz Armengol doubt among the current number 49 and 51. House are two twins, both with four floors, three floors of balconies five holes. The dance numbers in this section of the street increases the doubts.

3. Federico Carlos Sainz de Robles. " His life, his work, time. "in Collected Works of Pérez Galdós. Volume I. Editorial Aguilar.

4. Ortiz Armengol Write to the opening ceremony of that tombstone municipal council was solemn, and she attended a large crowd.

5. magazine World, III, 15 1912. I read this interview in the book " Benito Perez Galdos. Editing Douglass M. Rogers" . The writer and critic. Taurus. Second edition, 1979.

6. "Sor Simona " opened the first issue of the famous collection "The Short Story" and she pulled 300,000.



7. In http://wwwcasasdeescritores.com/

8. Sebastian de la Nuez. "The latest novels of Galdós through an epistolary love ." Galdós. Centennial Fortunata and Jacinta (1887-1987). Proceedings. International Congress, 23-28 November. School of Information Sciences. Universidad Complutense de Madrid, 1988.



9. Santiago Fernandez " In the tomb of Galdós " Babab, No. 8 May 2001, who visits the grave of Galdós in the spring of 2001, hurt his condition: " in one of the most remote areas and dark of the cemetery ... " in one of those rides that barely spring sunshine, surrounded by majestic vaults, two blackened tombstones floor walk the writer's remains buried " ... " can barely read the Fuzzy titles in one of the tombstones." So remember this country to its children.

Sample Opening Prayers For Debuts

Galdós Houses in Madrid (and 5) or the delicacy Maíno




After
resounding success of "Electra , Galdós, savoring his triumph, it will take more than two years to re-brand and taking the pen to start the Fourth Series of the Episodios Nacionales. During that time (January 1901 to spring 1902) often their trip to Paris a with the idea of \u200b\u200bopening a market there and perhaps also to turn decisively away from its unbalanced lover, the former actress Concha Morell.

From 1902 Galdós, who seems to have lost some taste for Madrid and its streets, alternate spring and summers in Santander, with frequent trips to Spain (Barcelona, \u200b\u200bCartagena) and long periods in Toledo where seasons pass at the "La Alberquilla", on the banks of the Tagus, owned by Sergio Novales who had inherited from his uncle, the famous writer and bibliophile Bartolomé José Gallardo. On other occasions, staying at the Hotel del Lino in the heart of the capital of Toledo, where it is today, gone a few years ago the centennial lodge, the headquarters of a bank. Years later a plaque, placed by the Hogar Canario de Madrid recalled Galdós's stay in the Imperial City.




contact with nature will raise up Galdós a keen interest in the secrets of agricultural science, its "Physiocratic whims" and zoological (he loved dogs and cats, sheep and even geese), all without sacrificing his literary output in these years will be increased with new releases " Alma y Vida" (9 April 1902 in the English Theatre, drama regeneracionista " Mariucha " (July 16 in Barcelona) and successive National Episodes (48 storms "," Narvaez "" The elves clique ").

1904 is a critical year in the life of the writer. Compliments and sixties begin their trouble seeing you lead, after several failed operations to total blindness. On the other hand, his publishing company "Pérez Galdós Works" is in crisis that will lead you to agree with the Successors editorial Hernando (Pearl, Paez and Co.) for the publication of his works that will gradually increase to rate more regular Episodios Nacionales (" The Revolution of July," O'Donnell "," Aita Tettau "," Charles VI in Rápita "), a novel dialogue" Casandra "and new releases theater: " Grandpa" (14 February in the English Theatre, with a resounding success, "Barbara " and "Love and Science " with a more modest reception.)

In the fall of 1906 turns on the idea of \u200b\u200ba national tribute to Galdós, at the initiative of the republican and liberal press, which could be found after the alleged intention to recapture the political life, it is time the ranks of republicanism . In fact, in 1907, seduced again and took to the direct participation in politics. Republicans begin Galdós years, which is not an obstacle to continue more slowly due to physical problems with his literary work, "the sad The destinations "that continues the Fourth Series of the Episodios Nacionales, preceded last year by" The v uelta the world in Numancia "and" Prim . "

In late 1907, new Episode National Rey Spain without "and new love when the writer blanket retirement age 65. Her new lover is called Feodosiya Gandarias and is a widow, 44 years, modest and educated, living in a popular neighborhood, next to the Plaza de Chamberí, at number 53 (now 51) 2 Paseo de Santa Engracia, between the streets Raimundo and Santa Feliciana Lully. The house still exists and has three plants the street, attic can be seen from the street and five holes and balconies on each floor. Feodosiya floor was the first left. In the basement there were two shops, a barbershop and a grocery, now houses a supermarket. Recall that the writer had "stayed" a few years earlier next door at number 49 in the same street or walk, but even then did not live Feodosiya in the area. In this "love nest" street of Santa Engracia the already ailing Galdós will spend time with his beloved Teo, and work without leaving your house on the Boulevard de Alberto Aguilera, and without, of course, its long summers in Santander with family.





Santa Engracia, 51. Possible address of Feodosiya Gandarias



1908 is a busy political year, but less than the next, during which D. Benito, along with significant membership in the Republican (or liberal, as he put it) have time to attend the premiere in the capital flows from the opera " Zaragoza " and to conclude the play "Peter Minio ."

The following year, 1909, Galdós, Republican representative, will attend the event shocked the Tragic Week and Barranco del Lobo, while culminating in a month the very complex episode of "tragic Spain, located in 1870. His health is deteriorating, which is not prevented from examining an interesting and evocative novel Knight delighted "to write his own hand (hereafter have to dictate to his secretary, Paul Nougués," Don Pablífero ") and published serialized in The Liberal. " You'll also get another resounding success with the premiere on February 28 of his drama "Cassandra " in the English Theater, applauded by the audience who accompanied him on opening night to his home of Alberto.

The elections of May 1 of that year gave Madrid the victory in the Republican-Socialist, composed, among others, Galdós and Pablo Iglesias, who say the writer canary with Pablo Iglesias enter in Congress spirit of international solidarity to fight for the dignity and welfare of workers "and making a living feel human and political sympathy.

With the next episode, "Amadeo I " and then " The First Republic (1911), Galdós invent a counterpart, the Light of Tito softly, journalist , womanizing, as Don Benito in his youth, who now was old and semiciego, is still with Mrs Theodosia emperijolado, the widow of Calle Santa Engracia.

be in his apartment on Calle Alberto Aguilera where Dr. Marquis will operate Galdós cataract in the left eye. A difficult case that will, in spite of extreme care, physical and psychological effects on the writer from now you can no longer fend for itself

be because of their semi-blindness as Galdós, do not know exactly where date, moves into what will be his last home in Madrid: the chalet "Moorish-bull" that his nephew José Hermenegildo the bachelor had built in Hilarion Eslava 7, near the Parque del Oeste. The building had two floors and roof and was distilled neomudéjar, with exposed brick, windows and turrets, gables and lattice-style "Arab" according to the tastes of the time. In this small hotel, as reported by Federico Carlos Sainz de Robles "his nephew, Jose Hurtado de Mendoza had booked the best room, on whose threshold were written these words: Office of Uncle Benito 3.

still remember from my days as a college student having spent some time in front of this brick building, where a plate to stated that the writer had lived there. Unfortunately this, like other nearby buildings, the district Pozas, the Church of Good Success, nothing remains but the memories and some old photo (the General Archive of the Administration) which is a soldier of the Republic standing guard at the villa. At least it keeps the label placed by the council in 1924 on the modern building erected in the place 4 .




There, in the ho tel of Hilarion Eslava 7, live the "strange community" composed by the writer, his nephew, Joseph Herman, owner of the property, its and older sisters, Concha, the single and Carmen, the widow and a daughter, Rafaelita González, daughter, apparently, the bullfighter Machaquito and a gypsy, Hermenegildo José goddaughter of singles, in addition to the easement. Extramural living with his aunt, the daughter of Galdós, María, given in 1892 with the painter's model Lorenza Cobian, tragically disappeared in recent years after his insanity.

1911 begins "calm and placid" to Galdós in his house in San Quentin, scuffles outside the parliament (although still a deputy, it will be three times, most recently by Las Palmas), while essential and dictates to his secretary "Don Pablífero " Episode " De Sagunto Carthage." On his return to the Town and Court, Galdós continue his political activity as a member of the Republican-Socialist, while economic problems are exacerbated. A hope of a solution to these strictures, it gives the nomination for the Nobel Prize, worth 40,000 crowns, for which he is nominated by the Academy in 1912, although the internal division about his candidacy, in dispute with the figure valetudinarian literary Menéndez y Pelayo, I move away from the deserved award.

In 1912, Galdós is undergoing a new surgery (second cataract in the right eye) held this time in the house of Hilarion Eslava 7. Although the operation itself is a moderately successful, he regained his vision, political activity was self-limited. In literary terms, with 69 years Galdós, misled by the semiceguera and atherosclerosis has yet time to write in six months will be, without him knowing, his latest National Episode, " Cánovas. That same year, shortly before the second operation has been in the small hotel of Hilarion Eslava, the visit of Javier Bueno journalist who does an interview literary magazine destined for World Magazine. So the approach portrays the journalist as the home you live Galdós:

"Faced with the Modelo prison in a large square which was used to shooting, recreation camp kids and military maneuvers, and now begins to urbanize, there is a pink brick little hotel, very modest ... A brick wall hides it until the 1 st floor. Above this wall looks a rose ...." Later

thus intimate portrait of writer's work:

" The room is modest. In a headwall, is a white library, crammed with books in another, a window in the front another library and, ultimately, the door naked. A table of student in which Paul writes Nougués and two red wicker chairs complete the furniture ".

Galdós is sunk in a red velvet armchair.'s almost blind, dark glasses covering her eyes." 5

go in summer San Quentin, as always, recovered partially from view and, therefore, optimistic, even though soon turn age seventy.

The last seven years of his life will Galdós increasingly locked in his nephew's house, presiding family circle formed by his sisters, and very old, his nephew, José Hermenegildo, the engineer, the goddaughter prohijada of it, and a large Raphaelite service. In this house, where all food was eaten on the Canary Islands, will be visited regularly by friends from the Canary Islands with the writer forming a pleasant chat. While continuing harassment of creditors to the extent that Galdós was forced to mortgage San Quentin.

In 1914, Santander installed in the summer, devoted almost exclusively to literary activity, political activity, however, has ceased almost completely, leaving Galdós, by choice, the Conjunction, work on a new dramatization " Celia in hell, "set partly in popular areas for development which he wrote to his beloved Theodosia" think "living documents see as your concierge and other conspicuous figures neighborhoods Chamberí and Cuatro Caminos." The show opens Dec. 9 in the English Theatre and is a great success of the public with the usual accompaniment of friends and supporters of Galdós in happy throng at the door of the English Theatre to Puerta del Sol

That same year novelist's debt was estimated at about 200,000 pesetas from then and his friends and admirers, politicians, writers come to their aid by creating a National Board Tribute to Galdós. Are collected only about 100,000 pesetas, an amount less than estimated, allowing paying some creditors and assigned to Galdós a kind of annuity. At the end of the year, Galdós, which had premiered on April 21 at the Princess Theatre with his usual success Greek tragedy, "Alceste " painful to attend his sister's death Concha and few months later, in February 1915 to their other sister, Carmen, "Mother" of the family galdosiana since its installation in Madrid.

In the summer of 1915, Galdos, who has written a story twilight " The reason of unreason" in San Quentin preparing a drama set in the Carlist War, "Sor Simona "Which will premiere in December in Madrid with a great performance of the young actress Irene López Heredia 6. Another young actress, Concha Catalá, engage a close friendship with the elder Galdós.

What were Galdós habits in these last years of his life? His biographers tell us that the morning went by carriage, rented and always at the house door, walked past the house where he lived at various stages of his life, he made his visits morning and after lunch lengthened the ta sies and received in the afternoon at home visits. One of the most assiduous visitors was his daughter Mary Young married John Green, an official, an expert on municipal statistics. The couple with their two young sons, Rafael and Bob, lived in the Calle de Ferraz 22 and in this house also received frequent visits of the writer who dearly loved his children and grandchildren. Galdós also received home visits Hilarion Eslava actors and actresses, as Margarita Xirgu or Concha Catalá, artists and writers such as Pérez de Ayala, Enrique de Mesa or siblings or journalists Quintero as Margarita Nelken. The gathering ended early evening, around 14.30 in the winter and to 16.30 in the past. Don Benito semi invalid and was carried upstairs by her servant, first Victorian and then Paco Menéndez. The dinner was served when he was already lying on his iron bed, little more than a hospital bed or modest pension. Asleep quickly and sleep well. Sainz de Robles tells us that in these final years of his life Galdós was a tall old man, stooped, awkward limp mustache and dark glasses, with very few words.

On February 2, 1916 premiere another drama, "Solomon The stingy" and already in precarious conditions dictate his "Memoirs of a forgetful " for the magazine "The Sphere", which has as it seems and recalls some episodes of his life until 1910, silencing many others. Yet to 73 years know Galdós a final success will bring an economic boom also. Barcelona is the premiere of his " Marianela," in a stage adaptation of the brothers Quintero and the Xirgu in the title role. With it the company made a successful tour of Spain, although the writer, always acclaimed by the audience at the end of representation can only attend the premiere in Barcelona and Valladolid. Still with Xirgu released the following year "Santa Juana de Castilla ", whose premiere in Barcelona will attend the author who was feted by Catalan intellectuals.





In 1917 he visits his friend, journalist and writer, José Montero Iglesias, with his son, thirteen or fourteen, José Montero Alonso. So it was that, years later his son, also a writer José Montero Padilla

" went up to the first floor. In a large room and sober was Don Benito, sitting in an armchair. A blanket covered his legs. His head was shown bareheaded. And his expression was calm, serene. I had almost lost sight seeing, but that afternoon was wearing dark glasses he wore almost every time. A José Montero Iglesias and his son had brought up that sort of modest living, a server, named Paco, who was outstanding at all times of the writer. "Don Benito," he said ... They are ... Galdós smiled. My father remembered that smile kindly and how he raised his head, and directing it to those who came. And he spoke, his voice slow, looked tired and was at once warm, intimate :

- What? I here, you see, prisoner ...

asked by some friends. My grandfather had reported on them. Became interested in other topics. He continued the conversation, but said little Don Benito.

comment on a play that prepared: St. John of Castile. (It premiered at the Teatro Madrid de la Princesa, the night of May 8, 1918).

- That night, "said my grandfather, my son and I applaud you more than anyone else! ...

Galdós's attitude had hitherto been quiet, impassive, almost motionless, as we contemplate the monument made by Victorio Macho and it is located in Madrid's Retiro Park. Suddenly, his voice shaking him. His hand sought Montero Iglesias and shook it loudly:

- How good are you with me! - He cried.

and then he came into the room a young woman dressed in black, very pretty as always stressed José Montero Alonso al evocar estos recuerdos suyos de tan singular ocasión. Era una hija del torero Machaquito y ahijada del novelista. También el servidor, Paco, asomaba con frecuencia por si don Benito quería algo. Éste interrogó, refiriéndose a mi padre:

-¿Y qué hace este muchacho? ¿Estudia? ¿Qué va a ser?

Montero Alonso -un muchacho de trece o catorce años no decía palabra. Le resultaba imposible. Y su padre iba respondiendo por él. Galdós escuchaba, asentía con la cabeza.

Llegó el momento de la despedida. Montero Alonso recordaría siempre las últimas palabras que le dirigió don Benito:



-... And you, boy, keep me on your friend. And always good to know ... " 7

In 1918 his life was like, in the morning went by car, made rounds and came home for lunch. In the afternoon did not leave, he stayed in his office, where they were going to see his friends. Álvarez Quintero brothers and Victorio Macho were those who treated him better, apart from their families. Victorio Macho was the sculptor Palencia, the author of the seated statue of Galdós found in the Park Retirement and reproduces the usual vision of the writer in his workroom, legs covered, as used by a blanket.

enter the writer in 1919 in disastrous physical conditions (since 1914 suffered from arteriosclerosis and 1918 the disease was complicated with spinal cord softening) and, nevertheless, persisted in taking a stroll around Madrid, to make "some" hits.

January 19 inaugurated the statue of Galdós in Retirement, "monument and a sober melancholy severity, with the mayor and the Quintero brothers, of speakers. The writer attends the opening "barely alive in reply block of stone" but is so tired that he was bedridden for several weeks. Granted March 14 will, in which Maria Perez Galdos recognized as his daughter. In these final months was irascible character and completely changed their system of life left in the morning, had lunch out and not come back but at night. The figure of Galdós was known by the people in their journey through the streets of Madrid. Legend has it that the men were discovered along the way and pointed out that women, children excited "He is Don Benito"

began in August not to know, and 22 came out last car on the street and in September and took to her bed. The agony was slow, attended at all times the patient for their unconditional physician and friend Dr. Marañón. The writer's death occurred at half past three the morning of January 4, 1920, Sunday. Upon learning of every theater in Madrid suspended the function. The Government, apropuesta the Minister of Public Instruction (Natalio Rivas) declared national mourning, and took charge of the funeral expenses.


A text, published unsigned in the newspaper "The Sun" of January 5, 1920, expressed the collective feeling of orphanhood:


" The people know that he has died the highest basking of their princes ... there will be an intimate and sincere sorrow that will link all the good English teacher at the tomb of unforgettable. and this will be worth all the decrees that may appear in the Gazette ... "

The chapel of Benito Perez Galdos was installed in the courtyard of the City of Madrid crystals where more than 50,000 people marched. A mass of people followed the next day the funeral procession to the family vault in the cemetery of Our Señora de la Almudena. Who was he could not accompany Gandarias Feodosiya, " schoolteacher, Basque writer, intelligent woman and mother of a son who died still young Galdós " 8 , died a few days before, 31 December, of bronchopneumonia at his home in Santa Engracia. It would be buried in the Almudena, where both would remain neighbors neighborhood in their final resting 9.



© Manuel Martínez Bargueño
December, 2009 (last updated in April 2011 )


If you have interested in this article and want to ask, comment or contribute something about it, you can write to me email manuelblas222@gmail.com with the assurance that you will be promptly addressed.



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Notes

1. In Paris, through his friend, Ambassador León y Castillo Elizabeth II will visit in his palace of Castile in the Avenue Kleber, leaving as a result of this interview a "nice picture" of the sovereign.

2. Ortiz Armengol doubt among the current number 49 and 51. House are two twins, both with four floors, three floors of balconies five holes. The dance numbers in this section of the street increases the doubts.

3. Federico Carlos Sainz de Robles. " His life, his work, time. "in Collected Works of Pérez Galdós. Volume I. Editorial Aguilar.

4. Ortiz Armengol Write to the opening ceremony of that tombstone municipal council was solemn, and she attended a large crowd.

5. magazine World, III, 15 1912. I read this interview in the book " Benito Perez Galdos. Editing Douglass M. Rogers" . The writer and critic. Taurus. Second edition, 1979.

6. "Sor Simona " opened the first issue of the famous collection "The Short Story" and she pulled 300,000.



7. In http://wwwcasasdeescritores.com/

8. Sebastian de la Nuez. "The latest novels of Galdós through an epistolary love ." Galdós. Centennial Fortunata and Jacinta (1887-1987). Proceedings. International Congress, 23-28 November. School of Information Sciences. Universidad Complutense de Madrid, 1988.



9. Santiago Fernandez " In the tomb of Galdós " Babab, No. 8 May 2001, who visits the grave of Galdós in the spring of 2001, hurt his condition: " in one of the most remote areas and dark of the cemetery ... " in one of those rides that barely spring sunshine, surrounded by majestic vaults, two blackened tombstones floor walk the writer's remains buried " ... " can barely read the Fuzzy titles in one of the tombstones." So remember this country to its children.

Saturday, December 19, 2009

Naphthalene Purification Gray Color



About the exhibition of Juan Bautista Maino in the Museo del Prado

Juan Bautista Mayno
Who should
Art That move action figures. Lope de Vega



"Artist certainly appreciated, but not popular," writes Serraller 1, was the English Juan Bautista Maíno Italian (1581-1649) whose work is almost complete -35 40 paintings about which he recognize or attribute-exposed these days for the first time in the Prado Museum in a show that any person with artistic sensibilities should miss.

Maíno, natural de Pastrana (Guadalajara), whose father is from Milan, cloth merchant, adventurer by nature, and Portuguese English mother, trained as a painter in Italy, studying with the masters of the time. Clearly a double debt to the great Caravaggio painting, of whom could be a personal friend and the circle of the Carracci Bolognese classicist and Guido Reni. Returning to Spain, is produced in his life, as in other characters in the Golden Age, Lope think, who had to admire him, a moment of decisive change. After completing the painting of the altarpiece of San Pedro Martir in Toledo, his masterpiece, feels the call of God and making a habit of the Order of Preachers (the Dominicans). Engaged in the study of philosophy and theology, and production will be cut. Not live, but too far from the Court, then it will be the future art teacher Philip IV and through influential Velazquez, who had favored in her youth (as well as to Alonso Cano), you receive the commission to paint a large canvas "The recovery of Bay" 2 for the Hall of Realms of the Palacio del Buen Retiro. Main (the old type in your name as Mayno), dies at her convent in Toledo, at the age of 70 years 3 . Its recovery as a master of the Baroque and the final assessment of his work 4 which includes mostly large religious compositions, but also portraits and small hitherto little known, it is possible and desirable to begin now, from this sample its catalog, the prohibitive price of 58 €, (a good "gift of kings") we are left with the desire to acquire.

The exhibition shows works of little or no religious themes Maíno known as the altar of the Trinity, commissioned by Anne of Morales to the convent of conceptions of Pastrana, his hometown and interesting pictures like the brown San Anab, that of Archbishop José de Melo and all "portrait of monk" of the Museum of Oxford Ashmodeam, possible self-portrait. Mention, in the genre, it deserves the "Portrait of a gentleman" 5, only signed by Maine (left, center), still tax portraits of El Greco, inevitable influence denotes a warmer palette than the Cretan.

What interested me most of the exhibited work of Maine are the four large compositions for the altarpiece of San Pedro Martir de Toledo 6 : Adoration of the Shepherds, the Adoration of the Magi, Pentecost and Resurrection Christ calls Four Easter, works of substance in which Maíno stripe perfection of his art.

These paintings have always been considered the most significant work of Maine and the one that best defines the components of his style, the author was hired in 1612, finished just one year later. In these paintings is evident the influence of Caravaggio, for example in the modeling, the popular aspect of the people (shepherds, angels), on display in the soles of the feet and the placement of the figures. Other aspects, however, as the fascinating colors, reminiscent of Gentileschi. Personally I was struck by the beauty and delicacy of the faces, for example in the Virgin of the Adoration of the shepherds and the attention to detail and ornamentation, as in the Adoration of the Magi, the best of the four paintings. Note also the use of space in the compositions is not as easy as it looks.

The Adoration of the Shepherds. Altar of the Four Easter


Adoration of the Magi. Altar of the Four Easter





Pentecost. Altar of the Four Easter




Important are also, despite its smaller size, the paintings were indeed in the predella of the altarpiece: Juanes saints, namely St. John the Evangelist on Patmos and St. John the Baptist in a landscape. Here are the least of the figures and what matters most landscape that occupies most of the pictures and where is the advantage of studying Roman Maine sobre el paisaje, “ de allí proceden la serena y umbrosa be lleza de esos horizontes, ordenados en bandas paralelas, con delicadeza clásica y serna melancolía, asi como la gama de entonaciones grises y verde tan característica 7. Otras cuatro pinturas que se exhiben en esta exposición, Santo Domingo de Guzmán y Santa Catalina, San Antonio Abad en un paisaje y La Magdalena penitente pudieron también formar parte de este retablo, según la propuesta que se nos hace.




Propuesta de reconstrucción del retablo de San Pedro Mártir, según figura en la exposición: 1. Santo Domingo de Guzman, 2. St. Catherine of Siena, 3. San Antonio Abad in a landscape; 4. The Penitent Magdalene 5. Pentecost 6. The Resurrection of Christ, 7. The Adoration of the Shepherds, 8. The Adoration of the Magi, 9. San Juan Bautista in a landscape: 10. St. John the Evangelist in Patmos .


The altarpiece of San Pedro Martir must have caused astonishment in the Imperial City for its monuments, sumptuous colors and design of each composition as evidenced by the fact that it was later imitated 8 Ponz, during his visit to the convent and church in 1769 praises the altarpiece that says " is one of the best on Toledo " and for the paintings of Maíno writes that "they said in their great ingenuity of invention, knowledge of chiaroscuro, drawing and color a lot of practice" 9.

The altarpiece of the church of the Dominican convent remained the paintings of Maine to the secularization of the religious, due to the decrees of the minister disentailing Mendizabal (1835). Since then, the paintings of the Four Easter Maíno Juan Bautista suffered a hard journey whose track I have taken to pursue the necessary consultation 10
sources
The provisions on the abolition of monasteries and religious contained 11 measures of protection and safeguarding of buildings, archives, libraries, paintings and other art objects from the deleted establishments, despite which could not (or did not want to avoid) the indentation of these works of art that were many of them object of prey and destruction. To curb or stop this situation, the Government of Maria Cristina appointed a National Commission, which is, to the Academy of San Fernando, the ballot to save what could be provincial heritage property and bring disentailed Madrid those with the most valuable pieces to form after a National Museum. To this end, the Academy appointed commissioners to travel from Madrid to the neighboring provinces. One of these commissioners, Juan Galvez, moved to Toledo where he was collecting "treasures" from March to June 1836. In these four months, collected for the future National Museum 91 paintings of Toledo suppressed convents, including six paintings of the Four Easter altarpiece of the church of San Pedro Martir 12.

With all the paintings and sculptures that could pick out, plus the collection of paintings seized the infant Sebastian Gabriel, joined the ranks of Carlism 13 opened on July 24, 1838, the National Museum Trinidad, "something not very perfect " situated in Convent of the same name in Atocha Street, off the Plaza Mayor, where 516 paintings displayed in public, including the Father Mayno on which José Madrazo wrote to his son Frederick, recommending the visit:

"You see the monk Mayno some pictures, with various parties, executed with a prodigious variety in imitation and in such an arrest and concluded that seems No authors Flemish big."

The paintings remained in the Museum of Painting and Sculpture of the Trinity, which had a turbulent history until its merger with the Museo Nacional del Prado by Royal Decree of 22 March 1872, but there you are that after the merger, the Ministry of Development had the "bright idea" to get rid of the funds that no longer fit in the Museo del Prado, giving it in trust to provincial museums, churches, universities and other centers of varied nature, many of them without direct link with Art. Sánchez Pérez is what he called the "dissolution" or rather the "vo latización" of funds from the Museo de la Trinidad. In implementation of such "smart" decision, the altarpiece of the Four Easter Maino was dispersed. Two of his paintings: The Adoration of the Shepherds and the Resurrection of Christ were to stop Balaguer Museum to the Library of Vilanova i la Geltrú (1883), opened in those years and another, more unfortunate, first to the cathedral of Córdoba (1896), later the Archaeological Museum of Toledo, where he suffered severe damage during the war civil, as shown in the accompanying photograph, which was forced to reduce its dimensions, becoming in 1939 the Museo del Prado and finally went to the Museum of Balaguer was stolen in 1981, returning to damage 14. The ensemble was gradually gathering in the Prado Museum to be completed in the 80's of last century. In the catalog of the paintings from the Prado Museum in 1985 and contained the four tables.

And how was the altarpiece of San Pedro Martir stripped of the paintings of Maine?, I asked myself after my visit to the exhibition. I asked what writes about Sixto Ramón Parro, 15 just twenty years after the secularization of the monks (1835), when they moved to this set of buildings welfare facilities of Toledo (including, maternity, nursing, hospital ) in 1846, this author relates that "filled the gaps those beautiful paintings in the altar with other destitute complet catkins merit that represent some saints of the Dominican Order, but considered art objects is necessary to close your eyes for not seeing . " Nearest reference (1983) is the Artistic Inventory capital Toledo 16, which is a photograph of the altar and the provision of detail that "the paintings represent, left, Santa Rosa de Santa Maria and San Vincent Ferrer, on the right, Santa Ines de Monte Policiano and San Jacinto ", no mention of possible perpetrators.

Not satisfied at all, I have planted in Toledo (half an hour from Madrid, AVE), with the purpose of seeing the altarpiece and frescoes Maino can still be seen in the choir loft and the two niches of the sanctuary 17 but, alas!, I have found the church closed for renovation, no one knows for how long, (I have not seen sign that says so) and also a friendly voice tells me anonymous, contacted by phone, to visit this church normally required special permission from the Vice Chancellor of the University of Castilla La Mancha, which depends on the campus of San Pedro Martir. I have to conform, as with a visit to the cloisters, mingling with the students of Law and to take a photograph of the facade of the church and its beautiful Mudejar tower. Luckily

-everything has its compensation, which is next to the church of the Jesuits (Plaza de Juan de Mariana) and from its daring gazebo you can enjoy a wonderful view of Toledo gives the effort well spent by the ascension to the top of its twin towers. The visit to the interior of this Baroque church, on payment of 2.30 €, it is also interesting.


Finally, in concluding this article, I propose to the reader, two exercises: a) the essential visit to the exhibition of Maine (until January 17, 2010), b) the voluntary reading of the legend " The Kiss "by Gustavo Adolfo Becquer, both literary pleasure, for the current connection of the stone figures of his characters with the church of San Pedro Martir.

© Manuel Martínez Bargueño
December, 2009

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NOTES

1. Serraller. A candle in the darkness baroque. El Pais, October 17, 2009.

2. In the catalog of the Prado Museum Paintings of Don Pedro de Madrazo (tenth edition, 1910) includes this table (885) as "submission and pacification of the States of Flanders ", indicating that Mayno (sic) painted this canvas for the Comedy Saloncete Buen Retiro. In the catalog of the Prado Museum in 1985 (Sánchez Pérez) is already listed as "Recovery of Bahia in Brazil." The painting was taken to the Museum Napoleon returned to Paris in October 1815, was at the Academy of San Fernando from the June 30, 1816 until 1827, it was brought to the Museum.

3. According Cean, the father died in 1649 Maino en el colegio de Santo Tomás de Madrid, a los ochenta años.
4 Entiéndase que la valoración de la obra de Maíno es para el gran público. Los especialistas han estado siempre de acuerdo en destacar a Maino como una de las figuras mas importantes del naturalismo español en el siglo XVII. Pérez Sánchez y Angulo han destacado que su conocimiento directo del arte italiano le llevan a un arte personal de un fuerte realismo, pero matizado por tonalidades claras que hacen su obra singularmente atractiva e original en un panorama artístico español, de comienzos del siglo XVII, rigurosamente tenebrista .

5. This portrait of a gentleman ("does not look like English," says the catalog of the Museo del Prado) belonged to the collection of paintings by the Infante Don Sebastián Gabriel de Borbón seized in 1835 and returned in 1859. In the inventory of paintings in this collection of 1835 is described as "a half-length portrait, best of the old." It was acquired by the Prado Museum in April 1936 to Christopher Columbus, who married a niece of Don Alfonso de Borbón Braganza, with funding from the legacy of the Count of Cartagena.

6. may not be correct attribution of Juan Bautista Monegro altarpiece, as I have read in the exhibition. According to research by Fernando Marias, the architecture of the altar and the sculptures are Giraldo de Merlo and his line in 1611 assemblers Thomas and Gaspar Miguel Cerezo.

7. "The Toledo of El Greco." Ministry of Culture. Directorate General of Fine Arts, Archives and Libraries. City of Toledo. Diputación Provincial de Toledo. Fundación Casa Ducal Medinaceli.1982. p.172.

8 Tristan copied elements of the Adoration of the Magi at the altar of Yepres (Toledo) and Orrente incorporated into many of his compositions lying half-naked figures, inspired by Maino.

9. Antonio Ponz. Travel in Spain, 1 (Volumes I-IV), Aguilar, 1988, p. 195.

10 The story follows up new note is extracted from the study "Arts and nation. Notes on the history of the National Museum of the late Professor José Álvarez Lopera, in "The Museum of the Trinity in the Prado." Museo Nacional del Prado, 2004.

11. Royal Decree of July 4, 1835, by abolishing the Society of Jesus, the Royal Decree of July 25, 1835 by abolishing the monasteries and religious convents did not have at least a dozen individuals and Royal Decree of March 8, 1836, general suppression of monasteries and convents, and finally, the Law of 22-29 July 1837 suppression of all monasteries, convents, schools , congregations and other religious houses of men and women on the mainland, islands and possessions of Spain in Africa.

12. The return of the collection to the Infante Don Sebastián Gabriel occurred in 1859.

13. Toledo was at that time, as reported by the commissioner, a souk where monks and nuns were selling hand over fist to some foreigners "under color in my concept of make some visits and make motives of some fragments are in this city by negotiations. " The situation should be similar in other cities like Sevilla, where witnesses said the artwork sold to foreigners in circulation "in cars"

14. In The Toledo of El Greco "contains the information that this picture was deposited in the Museum since 1972 and Balaguer deVillanueva Geltrú to theft (serious attack from the catalog of the Museo del Prado, 1985), 1981, he returned to restored after damage (p.175).

15. Sixto Ramón Parro. "Toledo in hand." Volume II. Printing and library Severiano Lopez Fando, 1857, p.61.

16. Inventory Toledo artistic capital, Volume I. National Information Center for Art, Archaeology and Ethnology, 1983, p. 204.

17. On the wall of the feet, under the choir, stood an angel musicians Gloria framing an image of the Virgen del Rosario, sculpted by Giraldo de Merlo. In the soffit of the arch that holds the chorus appear on both sides the figures of Moses and Aaron, with their attributes, tables of the law and the rod flourishing, carried by children. Above them on signs held by "putti" will depict scenes of "The Burning Bush" and "meeting between Moses and Aaron." Downtown, the clouds, the Holy Spirit and in the most extreme of the arc runs a decorative band of grotesques in small niches which represent the theological virtues and compass bearing in its center to Charity. arcosolia In both repeated in larger size to the cardinal virtues, grouped in pairs. These cool match, in the opinion of experts, to a time not far from the the altar cloths and they are noticeable influences from the Italian masters Guido Reni, Saraceni, Elshesmer and Gentileschi, father and daughter. Naturally I read it, and so story, but I have not seen.

Naphthalene Purification Gray Color



About the exhibition of Juan Bautista Maino in the Museo del Prado

Juan Bautista Mayno
Who should
Art That move action figures. Lope de Vega



"Artist certainly appreciated, but not popular," writes Serraller 1, was the English Juan Bautista Maíno Italian (1581-1649) whose work is almost complete -35 40 paintings about which he recognize or attribute-exposed these days for the first time in the Prado Museum in a show that any person with artistic sensibilities should miss.

Maíno, natural de Pastrana (Guadalajara), whose father is from Milan, cloth merchant, adventurer by nature, and Portuguese English mother, trained as a painter in Italy, studying with the masters of the time. Clearly a double debt to the great Caravaggio painting, of whom could be a personal friend and the circle of the Carracci Bolognese classicist and Guido Reni. Returning to Spain, is produced in his life, as in other characters in the Golden Age, Lope think, who had to admire him, a moment of decisive change. After completing the painting of the altarpiece of San Pedro Martir in Toledo, his masterpiece, feels the call of God and making a habit of the Order of Preachers (the Dominicans). Engaged in the study of philosophy and theology, and production will be cut. Not live, but too far from the Court, then it will be the future art teacher Philip IV and through influential Velazquez, who had favored in her youth (as well as to Alonso Cano), you receive the commission to paint a large canvas "The recovery of Bay" 2 for the Hall of Realms of the Palacio del Buen Retiro. Main (the old type in your name as Mayno), dies at her convent in Toledo, at the age of 70 years 3 . Its recovery as a master of the Baroque and the final assessment of his work 4 which includes mostly large religious compositions, but also portraits and small hitherto little known, it is possible and desirable to begin now, from this sample its catalog, the prohibitive price of 58 €, (a good "gift of kings") we are left with the desire to acquire.

The exhibition shows works of little or no religious themes Maíno known as the altar of the Trinity, commissioned by Anne of Morales to the convent of conceptions of Pastrana, his hometown and interesting pictures like the brown San Anab, that of Archbishop José de Melo and all "portrait of monk" of the Museum of Oxford Ashmodeam, possible self-portrait. Mention, in the genre, it deserves the "Portrait of a gentleman" 5, only signed by Maine (left, center), still tax portraits of El Greco, inevitable influence denotes a warmer palette than the Cretan.

What interested me most of the exhibited work of Maine are the four large compositions for the altarpiece of San Pedro Martir de Toledo 6 : Adoration of the Shepherds, the Adoration of the Magi, Pentecost and Resurrection Christ calls Four Easter, works of substance in which Maíno stripe perfection of his art.

These paintings have always been considered the most significant work of Maine and the one that best defines the components of his style, the author was hired in 1612, finished just one year later. In these paintings is evident the influence of Caravaggio, for example in the modeling, the popular aspect of the people (shepherds, angels), on display in the soles of the feet and the placement of the figures. Other aspects, however, as the fascinating colors, reminiscent of Gentileschi. Personally I was struck by the beauty and delicacy of the faces, for example in the Virgin of the Adoration of the shepherds and the attention to detail and ornamentation, as in the Adoration of the Magi, the best of the four paintings. Note also the use of space in the compositions is not as easy as it looks.

The Adoration of the Shepherds. Altar of the Four Easter


Adoration of the Magi. Altar of the Four Easter





Pentecost. Altar of the Four Easter




Important are also, despite its smaller size, the paintings were indeed in the predella of the altarpiece: Juanes saints, namely St. John the Evangelist on Patmos and St. John the Baptist in a landscape. Here are the least of the figures and what matters most landscape that occupies most of the pictures and where is the advantage of studying Roman Maine sobre el paisaje, “ de allí proceden la serena y umbrosa be lleza de esos horizontes, ordenados en bandas paralelas, con delicadeza clásica y serna melancolía, asi como la gama de entonaciones grises y verde tan característica 7. Otras cuatro pinturas que se exhiben en esta exposición, Santo Domingo de Guzmán y Santa Catalina, San Antonio Abad en un paisaje y La Magdalena penitente pudieron también formar parte de este retablo, según la propuesta que se nos hace.




Propuesta de reconstrucción del retablo de San Pedro Mártir, según figura en la exposición: 1. Santo Domingo de Guzman, 2. St. Catherine of Siena, 3. San Antonio Abad in a landscape; 4. The Penitent Magdalene 5. Pentecost 6. The Resurrection of Christ, 7. The Adoration of the Shepherds, 8. The Adoration of the Magi, 9. San Juan Bautista in a landscape: 10. St. John the Evangelist in Patmos .


The altarpiece of San Pedro Martir must have caused astonishment in the Imperial City for its monuments, sumptuous colors and design of each composition as evidenced by the fact that it was later imitated 8 Ponz, during his visit to the convent and church in 1769 praises the altarpiece that says " is one of the best on Toledo " and for the paintings of Maíno writes that "they said in their great ingenuity of invention, knowledge of chiaroscuro, drawing and color a lot of practice" 9.

The altarpiece of the church of the Dominican convent remained the paintings of Maine to the secularization of the religious, due to the decrees of the minister disentailing Mendizabal (1835). Since then, the paintings of the Four Easter Maíno Juan Bautista suffered a hard journey whose track I have taken to pursue the necessary consultation 10
sources
The provisions on the abolition of monasteries and religious contained 11 measures of protection and safeguarding of buildings, archives, libraries, paintings and other art objects from the deleted establishments, despite which could not (or did not want to avoid) the indentation of these works of art that were many of them object of prey and destruction. To curb or stop this situation, the Government of Maria Cristina appointed a National Commission, which is, to the Academy of San Fernando, the ballot to save what could be provincial heritage property and bring disentailed Madrid those with the most valuable pieces to form after a National Museum. To this end, the Academy appointed commissioners to travel from Madrid to the neighboring provinces. One of these commissioners, Juan Galvez, moved to Toledo where he was collecting "treasures" from March to June 1836. In these four months, collected for the future National Museum 91 paintings of Toledo suppressed convents, including six paintings of the Four Easter altarpiece of the church of San Pedro Martir 12.

With all the paintings and sculptures that could pick out, plus the collection of paintings seized the infant Sebastian Gabriel, joined the ranks of Carlism 13 opened on July 24, 1838, the National Museum Trinidad, "something not very perfect " situated in Convent of the same name in Atocha Street, off the Plaza Mayor, where 516 paintings displayed in public, including the Father Mayno on which José Madrazo wrote to his son Frederick, recommending the visit:

"You see the monk Mayno some pictures, with various parties, executed with a prodigious variety in imitation and in such an arrest and concluded that seems No authors Flemish big."

The paintings remained in the Museum of Painting and Sculpture of the Trinity, which had a turbulent history until its merger with the Museo Nacional del Prado by Royal Decree of 22 March 1872, but there you are that after the merger, the Ministry of Development had the "bright idea" to get rid of the funds that no longer fit in the Museo del Prado, giving it in trust to provincial museums, churches, universities and other centers of varied nature, many of them without direct link with Art. Sánchez Pérez is what he called the "dissolution" or rather the "vo latización" of funds from the Museo de la Trinidad. In implementation of such "smart" decision, the altarpiece of the Four Easter Maino was dispersed. Two of his paintings: The Adoration of the Shepherds and the Resurrection of Christ were to stop Balaguer Museum to the Library of Vilanova i la Geltrú (1883), opened in those years and another, more unfortunate, first to the cathedral of Córdoba (1896), later the Archaeological Museum of Toledo, where he suffered severe damage during the war civil, as shown in the accompanying photograph, which was forced to reduce its dimensions, becoming in 1939 the Museo del Prado and finally went to the Museum of Balaguer was stolen in 1981, returning to damage 14. The ensemble was gradually gathering in the Prado Museum to be completed in the 80's of last century. In the catalog of the paintings from the Prado Museum in 1985 and contained the four tables.

And how was the altarpiece of San Pedro Martir stripped of the paintings of Maine?, I asked myself after my visit to the exhibition. I asked what writes about Sixto Ramón Parro, 15 just twenty years after the secularization of the monks (1835), when they moved to this set of buildings welfare facilities of Toledo (including, maternity, nursing, hospital ) in 1846, this author relates that "filled the gaps those beautiful paintings in the altar with other destitute complet catkins merit that represent some saints of the Dominican Order, but considered art objects is necessary to close your eyes for not seeing . " Nearest reference (1983) is the Artistic Inventory capital Toledo 16, which is a photograph of the altar and the provision of detail that "the paintings represent, left, Santa Rosa de Santa Maria and San Vincent Ferrer, on the right, Santa Ines de Monte Policiano and San Jacinto ", no mention of possible perpetrators.

Not satisfied at all, I have planted in Toledo (half an hour from Madrid, AVE), with the purpose of seeing the altarpiece and frescoes Maino can still be seen in the choir loft and the two niches of the sanctuary 17 but, alas!, I have found the church closed for renovation, no one knows for how long, (I have not seen sign that says so) and also a friendly voice tells me anonymous, contacted by phone, to visit this church normally required special permission from the Vice Chancellor of the University of Castilla La Mancha, which depends on the campus of San Pedro Martir. I have to conform, as with a visit to the cloisters, mingling with the students of Law and to take a photograph of the facade of the church and its beautiful Mudejar tower. Luckily

-everything has its compensation, which is next to the church of the Jesuits (Plaza de Juan de Mariana) and from its daring gazebo you can enjoy a wonderful view of Toledo gives the effort well spent by the ascension to the top of its twin towers. The visit to the interior of this Baroque church, on payment of 2.30 €, it is also interesting.


Finally, in concluding this article, I propose to the reader, two exercises: a) the essential visit to the exhibition of Maine (until January 17, 2010), b) the voluntary reading of the legend " The Kiss "by Gustavo Adolfo Becquer, both literary pleasure, for the current connection of the stone figures of his characters with the church of San Pedro Martir.

© Manuel Martínez Bargueño
December, 2009

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NOTES

1. Serraller. A candle in the darkness baroque. El Pais, October 17, 2009.

2. In the catalog of the Prado Museum Paintings of Don Pedro de Madrazo (tenth edition, 1910) includes this table (885) as "submission and pacification of the States of Flanders ", indicating that Mayno (sic) painted this canvas for the Comedy Saloncete Buen Retiro. In the catalog of the Prado Museum in 1985 (Sánchez Pérez) is already listed as "Recovery of Bahia in Brazil." The painting was taken to the Museum Napoleon returned to Paris in October 1815, was at the Academy of San Fernando from the June 30, 1816 until 1827, it was brought to the Museum.

3. According Cean, the father died in 1649 Maino en el colegio de Santo Tomás de Madrid, a los ochenta años.
4 Entiéndase que la valoración de la obra de Maíno es para el gran público. Los especialistas han estado siempre de acuerdo en destacar a Maino como una de las figuras mas importantes del naturalismo español en el siglo XVII. Pérez Sánchez y Angulo han destacado que su conocimiento directo del arte italiano le llevan a un arte personal de un fuerte realismo, pero matizado por tonalidades claras que hacen su obra singularmente atractiva e original en un panorama artístico español, de comienzos del siglo XVII, rigurosamente tenebrista .

5. This portrait of a gentleman ("does not look like English," says the catalog of the Museo del Prado) belonged to the collection of paintings by the Infante Don Sebastián Gabriel de Borbón seized in 1835 and returned in 1859. In the inventory of paintings in this collection of 1835 is described as "a half-length portrait, best of the old." It was acquired by the Prado Museum in April 1936 to Christopher Columbus, who married a niece of Don Alfonso de Borbón Braganza, with funding from the legacy of the Count of Cartagena.

6. may not be correct attribution of Juan Bautista Monegro altarpiece, as I have read in the exhibition. According to research by Fernando Marias, the architecture of the altar and the sculptures are Giraldo de Merlo and his line in 1611 assemblers Thomas and Gaspar Miguel Cerezo.

7. "The Toledo of El Greco." Ministry of Culture. Directorate General of Fine Arts, Archives and Libraries. City of Toledo. Diputación Provincial de Toledo. Fundación Casa Ducal Medinaceli.1982. p.172.

8 Tristan copied elements of the Adoration of the Magi at the altar of Yepres (Toledo) and Orrente incorporated into many of his compositions lying half-naked figures, inspired by Maino.

9. Antonio Ponz. Travel in Spain, 1 (Volumes I-IV), Aguilar, 1988, p. 195.

10 The story follows up new note is extracted from the study "Arts and nation. Notes on the history of the National Museum of the late Professor José Álvarez Lopera, in "The Museum of the Trinity in the Prado." Museo Nacional del Prado, 2004.

11. Royal Decree of July 4, 1835, by abolishing the Society of Jesus, the Royal Decree of July 25, 1835 by abolishing the monasteries and religious convents did not have at least a dozen individuals and Royal Decree of March 8, 1836, general suppression of monasteries and convents, and finally, the Law of 22-29 July 1837 suppression of all monasteries, convents, schools , congregations and other religious houses of men and women on the mainland, islands and possessions of Spain in Africa.

12. The return of the collection to the Infante Don Sebastián Gabriel occurred in 1859.

13. Toledo was at that time, as reported by the commissioner, a souk where monks and nuns were selling hand over fist to some foreigners "under color in my concept of make some visits and make motives of some fragments are in this city by negotiations. " The situation should be similar in other cities like Sevilla, where witnesses said the artwork sold to foreigners in circulation "in cars"

14. In The Toledo of El Greco "contains the information that this picture was deposited in the Museum since 1972 and Balaguer deVillanueva Geltrú to theft (serious attack from the catalog of the Museo del Prado, 1985), 1981, he returned to restored after damage (p.175).

15. Sixto Ramón Parro. "Toledo in hand." Volume II. Printing and library Severiano Lopez Fando, 1857, p.61.

16. Inventory Toledo artistic capital, Volume I. National Information Center for Art, Archaeology and Ethnology, 1983, p. 204.

17. On the wall of the feet, under the choir, stood an angel musicians Gloria framing an image of the Virgen del Rosario, sculpted by Giraldo de Merlo. In the soffit of the arch that holds the chorus appear on both sides the figures of Moses and Aaron, with their attributes, tables of the law and the rod flourishing, carried by children. Above them on signs held by "putti" will depict scenes of "The Burning Bush" and "meeting between Moses and Aaron." Downtown, the clouds, the Holy Spirit and in the most extreme of the arc runs a decorative band of grotesques in small niches which represent the theological virtues and compass bearing in its center to Charity. arcosolia In both repeated in larger size to the cardinal virtues, grouped in pairs. These cool match, in the opinion of experts, to a time not far from the the altar cloths and they are noticeable influences from the Italian masters Guido Reni, Saraceni, Elshesmer and Gentileschi, father and daughter. Naturally I read it, and so story, but I have not seen.