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New Light on a Seventeenth-Century Collector: The Marquisof LeganésMary Crawford Volka

a Brown University Providence, RI 02912Published online: 14 Aug 2014.

To cite this article: Mary Crawford Volk (1980) New Light on a Seventeenth-Century Collector: The Marquis of Leganés, The ArtBulletin, 62:2, 256-268, DOI: 10.1080/00043079.1980.10787757

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New Light on a Seventeenth-Century Collector:The Marquis of Leganes

A1aryCrauoford \folk

In the spring of 1628, when Rubens wrote from Antwerpto his regular correspondent Pierre Dupuy in Paris, hepraised highly one of the important courtiers fromBrussels then visiting the French capital. The Marquis ofLeganes, he said, " ... is one of the greatest connoisseurs ofthis age" (Fig. 1).1 Rubens's judgment, written early inLeganes's career, was confirmed resoundingly when theSpaniard died in Madrid in February of 1655; the inven­tory made then of his property showed that his paintingcollection numbered some 1333 pictures. Such a vastassemblage was not entirely unheard of in the seventeenthcentury, but its serious rivals were few. The list ofpaintings from the inventory of 1655 was printed in 1962and is familiar to specialists, but the fuller history ofLeganess collection has not been known and thesignificance of his taste has never been examined.> Newdocuments, particularly earlier inventories, of 1630 and1642, reveal that his acquisitions began before 1630 andreached a peak in the following decade, when he added1132 paintings to his holdings. These inventories amplifyour knowledge of courtly taste in general during theperiod, and offer new insight into patronage at the courtsof Madrid and Brussels.

Throughout his career, Leganes favored Flemishpainting, with a special emphasis on its seventeenth-

1 Ruth Magurn, The Letters of Peter Paul Rubens, Cambridge, Mass..1955, No. 145, dated January 27, 1628. Dupuy had apparently just seenLeganes and Ambrogio Spinola in Paris. Rubens had known Leganes forat least three years, since he refers to him in intimate terms in hiscorrespondence in 1625; d. Magurn, Nos. 61 and 71, letters of March 15and December 12 of that year.

z The 1655 inventory appears in J. Lopez Navio, "La gran coleccion depinturas del Marques de Leganes," Analecta Calasanctiana, Nos. 7-8,1962; 262-330. The original document, with Leganes's will of 1652 andmuch inventory material not published by Lopez Navio, is in the Archivode Protocolos. Madrid (hereafter cited as APM), leg. 6265, fols. 350ff.Extractions from what seems to be a copy of this inventory were printedearlier by V. Polero, in Boletin de la Sociedad Espanola de Excursiones,Madrid, 1898-99, VI, 122-134.

3 Most of Leganes's active career was spent away from Madrid onmilitary and ambassadorial duties in Catholic Flanders and in Milan. Asmentioned below (n. 26), his career and passion for works of art can becompared to those of several other prominent Castilian collectors whowere his exact contemporaries. All of them occupied posts of importanceabroad and assembled significant picture collections.

century accomplishments, and he also owned many Italianpaintings of the sixteenth and seventeenth centuries. Hisholdings represent .a very particular type of collectionfound in Europe at this time: one formed by thearistocratic courtier who was resident abroad - as am­bassador, viceroy, or military commander - and whosepossessions were a display of prestige and whosepatronage was directly linked to political circumstances.>In this regard, Leganes's biography bears on the history ofhis acquisitions.

Born Diego Messia in Madrid, Leganes was the fourthson of the Count of Uceda, Diego Messia de Ovando, andof Leonor de Guzman.« He entered court service as ayoung boy, serving first as a page at the archducal court inBrussels, but his rise to prominence dated from the firstdecade of the reign of Philip IV, and was stronglypromoted by the King's favorite, Gaspar de Guzman, theCount-Duke of Olivares, his first cousin. Named to theimportant Council of War in June of 1622, Leganes wasthen made a geniilhombre de ciimara to the young king in1624 and was awarded the marquisate of Leganes in 1627,with which he entered the ranks of the higher nobility."Several months later he married Policena Spinola (Fig. 2),the elder daughter of Ambrogio Spinola, commander ofthe Spanish forces in northern Europe, whom Velazquez

• As stated in his will, of December 14, 1652 (APM, leg. 6265, Fols, 350­369v). There is no modern biography, even of Leganes's military career;the only published source for his life is the brief notice of Jose AntonioAlvarez y Baena, Hijos de Madrid, repro ed., Madrid, 1973, I, 337-38,which formed the basis for the short summary given in Lopez Navio. Inhis Tiziano en el Museo del Prado, Madrid, 1946,41-42, Pedro Beroquipublished 1580 as Leganes's birthdate; I have been unable to corroboratethis. The testimony given in 1614, for example, in connection withLeganes's entrance into the Order of Santiago (Archivo HistoricoNacional, Santiago, expo 5274), mentions only that at that date he wasabout 30 years old.

5 Alvarez y Baena. 337. A fuller survey of Leganes's courtly service, dic­tated by the man himself, appears in the printed memorial he submittedto Philip IV in 1643 as a proof of his loyalty, a copy of which is in theBritish Library, Add. MSS 28, 453, fols. 3-12. It maintains (fol. 9v) that hehad served the King nearly 19 years at that date, and it adds (fol. 7v) thathis first special embassy occurred in 1623, when he went to England atthe behest of the Infanta Isabel in Brussels. His marquisate was concededon March 15,1627, and the royal despatch confirming it is dated June 27;d. Julio de Atienza, Diccionario nobiliario, 3rd ed., Madrid, 1959, 891.Leganes had up to this time borne only the title of Viscount of Butarque.

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1 Van Dyck, Diego Mess/a, Marquis of Leganes. Madrid, BancoUrquijo

immortalized in the Surrender at Breda» This elevation tothe higher aristocracy permitted Leganes to found amayorazgo, that is, the entailment of his estate destined tohis first-born son, and to establish the legal conditions ofhis succession, which he did in 1630.7

These conditions have a special interest. At the time of

• Policena had been a lady-in -waiting to Philip IV's Queen, Isabel ofBourbon, since 1622; she died near Madrid in 1637.

• APM, leg. 6157, fols. 292-315. The escritura de mayorazgo was a docu­ment of primary importance, since it legally established conditions forthe inheritance of a noble house, and also specified in detail the estate it­self. There is no modern study which examines the mayorazgo system asa historical phenomenon. I am here , therefore, interpreting Leganes's

A 17TH CENTUR Y COLLE CT O R 257

2 Van Dyck, Policena Spinola, Marchioness of Leganes. Madrid,Museo del Prado

his marriage in 1627, Leganes assumed formally the sur­name of Felipez de Guzman. This action was inspired byOlivares, whose surname it was. Leganes already belongedto the Guzman family through his mother, but Olivaresurged the formal adoption of the surname, in part becauseof his own diminished hopes of a male heir and his well-

documents provisionally, in light of his career and personality in general.That the listings of paintings are quite complete is stated in his will.Leganes wrote a second mayorazgo statement in Madrid on March 30 ,1642, which included an inventory now numbering 1149 paintings(APM, leg. 6210, fols. 1159-1190). His collection at this point was dis­tributed among his houses in Madrid, Leganes, and Morata. Extractsfrom both these documents appear below in the Appendix.

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258 THE ART BULLETIN JUNE 1980 VOLUME LXII NUMBER 2

known obsession with his succession." Olivares appar­ently felt from the start a special fondness for Leganes,referring to him later in his will as a substitute son. BothLeganes and his wife returned this considerationthroughout their lives. A touching letter of sympathy ex­ists, for example, from Leganes to the Count-Duke at thepolitically tense moment of his fall from power in 1643,when many had withdrawn their support from him en­tirely.? Leganes's career should be seen as closely tied tothat of the Favorite Olivares and as reflective of hisvigorous reassertion of Spanish imperial glory. Indeed,Leganes distinguished himself early as a military figure,with Spinola at the victory of [uliers in 1622, and he wenton to assume successive commands in Flanders (1630-35),Milan (1635-1641), and Catalonia.

In the entailment of his property, Leganes appended alist of works of art, presumably all those of value that heowned in 1630, and all that were located in his house inMadrid.tv In view of the vastness of his collection at hisdeath, this first list is surprising, since only eighteen en­tries appear. All but one of them are of paintings. Elevenpictures are identified as Titians, two are by Rubens, twoare by Quentin Massys, one is by Raphael and one byCorreggio. A painting not ascribed to a specific artist in 1630,identified only as a portrait of Erasmus of Rotterdam, is givento Holbein in the 1642 inventory. 11 The single item that wasnot a painting headed the 1630 list, and its special value isemphasized later in Leganes's will. It was a set of tapestriesin eleven panels woven of silk and wool, depicting thestory of Jupiter and Diana, a gift from Louis XIII of

• Olivares's only child, Maria, had been married in 1625, but the follow­ing year she died in childbirth and the child also failed to survive.Olivares's fervid interest in a succession persisted, however, and is bestattested by his legitimation later of a bastard son. On these episodes, seeGregorio Marafion, El Conde-Duque de Olivares, Madrid, 1936, 265­289.

9 The letter is printed in Marafion, 450; the original is in the BibliotecaNacional, Madrid, MS 20066.

10 APM, leg. 6157, fols. 301v-02 and below, Appendix, document one.

11 It is No. 42 in both the 1642 listing and the 1655 inventory.

12 Leganes states that the tapestry was a gift From the French king in hiswill (fol. 358v), when he lists all those tied to his estate. Louis Xlll mayhave given it to him in 1624 when the Spaniard was in Paris as a specialambassador, since it was at this time that the King's interest in tapestrieswas greatest. notably in the Constantinian series he had commissionedfrom Rubens. On this commission, see esp. David DuBon, The Historyof Constantine the Great. Tapestries Designed by Peter Paul Rubens andPietro da Cortona, London, 1964. Such a hypothesis is supported by aletter of January 4, 1624, from a certain Juan de Arbelaiz in Irun toSpinola in Brussels recounting difficulties of passage through France ofgoods coming to Spain. Among other details, he mentions" ... habraalgunas meses que embic don Diego Mexia una tapiceria ussada para elSr Conde de Olivares con pasaporte del Rey pero tuvimos que pagar dosmil reales de derechos ... " (Archives du Royaume, Brussels, Papiers del'Audience, liasse 1466,3 unfoliated). This probably does not refer to the

France, acquired when Leganes was a special ambassadorto the court in Paris.P

The list of paintings is of special interest because it maysuggest what one of the most favored nobles at Philip IV'scourt considered worthy of adding to his personal collec­tion, for these were works bought by Leganes, not gainedthrough inheritance.P Perhaps it is not surprising that hefavored prominent artists of the past, and especially thoseof the Italian sixteenth century, who were responsible forthirteen of the seventeen works listed. Eleven paintings byTitian - the majority portraits - formed the backbone ofLeganes's acquisitions. The only image of this group forwhich a complete history can be reconstructed, theFederico Gonzaga, Duke of Mantua (Fig. 3), indicates thatLeganes knew a fine Titian portrait when he saw one.>

Leganes shared an interest in Titian with his king, whoapparently lent and sometimes gave paintings to him. Car­ducho, who in the Dialogoe de La piniura of 1633 offersthe only known contemporary description of Leganes'scollection, mentions that two Titian portraits formerly inthe royal collection were then at Leganes's house, as giftsof Philip Iy'ls The paintings Carducho names, " ... unretrato del Duque de Saxonia y otro del Duque deLanzgrave ... ," do figure in Leganes's collection, but onlythe Landgraue of Hesse is listed there in 1630, and the por­trait of the Elector of Saxony (Fig. 4) appears in 1642.16 Atleast two other Titian portraits listed in Leganes's collec­tion in 1630 were given later to the King. The paintingcalled "duque de Ferrara" in 1630 and"duque de Floren­cia" in 1642 and 1655 is easily identified in the royal in-

Jupiter and Diana tapestry, but it establishes Leganes's acquisition oftapestries at this date, and also raises the question of Olivares's own posi­tion as a collector, about which there survives little evidence. Olivares'sown mayorazgo documents, written in 1624 and 1628, list six sets oftapestries as part of his estate (Archivo Historico Nacional. Osuna, leg.310, No.3, fols. 37v-38, 66v).

13 Leganes was the fourth son and did not inherit. His is what we mightcall today a nouveau riche fortune when compared with the wealth of13th-century Castilian houses like the Mendoza or Alba.

14 The Gonzaga portrait (Prado No. 408) remained in Leganes's houseduring his lifetime, and in both the 1642 and 1655 inventories (No. 15) isreferred to as "un duque de milan." It was in the royal collection by 1636(No. 571 in the inventory; Archivo de Palacio, Bellas Artes, leg. 38, un­foliated) and was still there in 1666 and 1700. Considered a portrait ofAlfonso I d'Este by Madrazo in his 1872 catalogue of the Prado, it wasgiven its correct identity by Pedro Beroqui in 1914 (Tiziano en el MuseDdel Prado, as cited n, 4, 41-42). As Beroqui suggested, it should probablybe assumed that the portrait was given to the King by Leganes's heirssometime between 1655 and 1666. See also Harold Wethey, The Paintingof Titian, II. The Portraits, London, 1971, 107-08. Wethey suggests thatthe work may be identifiable with a portrait inventoried in the ducalcollection at Mantua in 1627, not among those acquired from that collec­tion by Charles I of England. If Wethey is correct, Leganes may have ob­tained the portrait directly from Italy sometime between 1627 and 1630.

15 Vicencio Carducho, Dialogos de la pintura, Madrid, 1633, fol. 155v.

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3 Titian, Federico Gonzaga, Duke of Mantua. Madrid, Museodel Prado

ventories of 1666, 1686, and 1700 because of a detailspecifying ":., la mano derecha sobre una pieca de ar­tilleria ..."17 Called then "un duque de urbino," the pic­ture hung, like the Landgraue of Hesse, in a large rec­tangular room fronting on the south Facade of the palace.A painting described as a half-length portrait of the Dukeof Alba, which was joined in Leganes' growing collectionin 1642 by another portrait of Alba, is mentioned in thatyear also as having been given by Leganes to Philip Iy'18

Leganes concurred with the preferences of Philip IV inregard to two other works listed in 1630, painted by theonly living artist represented in Leganes's collection at that

16 APM, leg. 6210, fol. 1163v, No. 16: "otro retrato de medio cuerpo delduque de saxonia de mano de ticiano." The royal inventory of 1636 in­dicates this painting had been given to Leganes by that date (Archivo dePalacio, Secci6n Administrativa, leg. 768). Beroqui, 92-93, suggested thatit was No. 191 in the Kunsthistorisches Museum, Vienna, reproducedhere, and that perhaps it was removed from Spain by the ArchdukeCharles at the end of the 17th century. Wethey, 111-12, believes it to bethe Vienna portrait, bu t says it was acquired from Leganes's estate by

A 17TH CENTURY COLLECTOR 259

4 Titian, John Frederick, Elector of Saxony. Vienna,Kunsthistorisches Museum

date: Peter Paul Rubens. One of these pictures is iden­tifiable with the painting now in the Prado (No. 1418)showing the Virgin and Child encircled by a garland offlowers and fruits (Fig. 5). Interestingly, Breughel'sresponsibility for the garland was already recognized inLeganes's listing. The Rubens portrait that Leganes ownedis, however, of greater interest. Described as ":., unretrato del rey nro sr Don Phelipe quarto que Dios guarde. .. de medio cuerpo armado con sombrero y plumasblancas y una banda roja hechada por el ...," it recalls inthe details of costume the important equestrian portrait ofthe King that Rubens painted during his final visit to

Archduke Leopold William, since it was copied by Teniers in his collec­tion around 1660. The Landgrave of Hesse appears in the royal inven­tories from 1666 to 1700, and presumably perished in the disastrous fireat the palace in 1734.

17 No. 18 in both the 1642 and 1655 inventories; at the palace in 1666 and1686, also 1700. Lost presumably in 1734.

16 No. 14 in 1642 and 1655, as one of two portraits of Alba. In 1642 a notein the inventory says one of these portraits had been given to Philip IV.

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260 THE ART BULLETIN JUNE 1980 VOLUME LXII NUMBER 2

5 Rubens and Breughel, Virgin and Child. Madrid. Museo delPrado

6 Spanish artist after Rubens. Philip IV on Horseback. Florence.Uffizi

Madrid in 1628-29,19 This painting, as is well known, nolonger survives, but fortunately it is known through aprecise description in the royal inventory of 1636 and by agood copy, made around 1645 and now in the Uffizi (Fig.6). Perhaps Leganes's portrait of the King was painted, orat least begun by Rubens when he was in Madrid.w It mayhave been one of the portraits mentioned by Pacheco, ourmajor source on Rubens's artistic activities during thistrip, who wrote that the artist painted the King at least fivetimes.s! This portrait has disappeared without trace,although it was still in his collection at Leganes's death.v

Another Flemish painting owned by Leganes in 1630represents an even more significant choice. A little pictureby Quentin Massys, now in the Prado (Fig. 7),23 it tooremained with Leganes throughout his life. By 1642 it wasone of ten pictures in his collection attributed to Massys.s­Leganes's fondness for Rubens is partly to be explainedby his personal friendship with the artist as well as by thegreat prestige Rubens enjoyed as a court artist of inter­national stature, but Leganes's interest in Massys reveals agenuine appreciation of Flemish painting for its own sake,and reflects a contemporary vogue for the art of Massys atthe Brussels court. He enjoyed at this time a reputation as"founder" of the Antwerp school, and his works were es­pecially esteemed.v Moreover, Leganes' early acquisitionof a Massys represented a very different choice from hisappreciation of Titian. For Titian in these years was enjoy­ing a kind of apotheosis in Madrid as the artist intimatelyassociated with the taste and traditions of the Spanishmonarchy at its most glorious moment, the imperialhegemony it had enjoyed under Charles V and Philip II. Infavoring Titian, therefore, Leganes was merely sharing a

,. It was. lost in the fire of 1734. The Uffizi copy is a faithful record,changed only in the older appearance of the King's face and the color ofthe plumes in his hat. There is a considerable literature on the Uffizi por­trait; see esp. J. Lopez Rey, "A Head of Philip IV by Velazquez in aRubens Allegorical Composition," Gazette des beaux-arts, Llll, 1959, 35­44, and Frances Huemer, Corpus Rubenianum, Portraits I, London, 1977,72-77. In 1651 the portrait was in the collection of Gaspar de Haro yGuzman, son of Luis Mendez de Haro y Guzman, who was nephew andheir to Olivares and succeeded him as Philip IV's favorite after 1643.Since Gaspar was only a young man of 21 in 1651, he may have inheritedthe painting from his father. Other works in his collection are cited by J.M. Pita Andrade, "Los cuadros de Velazquez y Mazo que poseyo elseptimo Marques del Carpio," Archivo espaiiol de arte, LXXXXIX, 1952,

223-236.

20 Certainly the artist would have had little time to paint it during theyear after his departure from Spain in the spring of 1629, as he im­mediately became a central figure in the peace negotiations in London.

21 Francisco Pacheco, El arte de la pintura, ed. Sanchez Canton, Madrid,1956, I, 153-54.

22 Lopez Navio, as cited in n. 2, 272, No. 40.

23 No. 3074. It was identified as the picture in Leganess collection byXavier de Salas, Cuatro obras maestras, Madrid, 1966, 68; it was acquiredby the Prado in 1964.

2. See below, Appendix, document two.

25 J.Held, "Artis Pictoriae Amator." Gazette des beaux-arts, L, 1957, 64.

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fashionable preference of other major Spanish collectors.»To collect Massys, on the other hand, represented an ap­preciation of Northern painting as an alternative traditionto the art of the Renaissance in the South, a traditionwhich bore an entirely different relationship to the im­agery of the Spanish imperial past. This appreciationLeganes could have acquired only in the North. Hesustained the interest throughout his lifetime, and itshaped his collection.

By 1642, when his collection was again inventoried,Leganes had acquired further paintings by Massys, and heowned as well pictures ascribed to Jan van Eyck, Rogiervan der Weyden, Durer, Jacob Patinir, Breughel the Elder,Paul Bril, Seghers, and Bosch, as well as numerous worksby living seventeenth-century Flemings such as VanDyck, Snyders, Snayers, Paul de Vos, Gaspar de Crayer,Henri de Klerck, and [oos de Momper. The artist whosework predominated among these acquisitions, however,was Rubens. Between 1630 and 1642, Leganes addedseventeen works by the artist, and four additional ones ­all portraits - were copies after him. All of the pictureswere either portraits or religious subjects, with one excep­tion. This, a mythology, is described in 1642 as showingDiana holding a javelin, accompanied by three nymphs, asatyr, and dogs; the work may have been similar to ver­sions of the Hunt of Diana by Rubens in the royal collec­tion, one of which is now in the Prado.v

Of the portraits, at least two can be identified with well­known works. The image described as a half-length ofAmbrogio Spinola in armor is surely the portrait of thegeneral seen in at least three examples, which Rubenspainted at the time of Spinola's triumph at Breda in 1625(Fig. 8) .28 The early provenance of the known renderingsof this portrait is regrettably obscure, making difficult anidentification of anyone of the versions with the portraitin Leganes's collection. The description of a half-lengthportrait of the Infanta Isabel dressed as a nun relates it toanother image Rubens painted in 1625, when theArchduchess stopped in Antwerp on her return fromvisiting the troops at Breda.w This portrait became hermore or less official image after that date , and it seems

U The most notable collectors - all of them fond of Titian - amongLeganes's contemporaries were the Count of Monterrey (d. 1653), theAdmiral of Castile (d. 1647), the Prince of Esquilache (d. 1658), and theMarquts of Carpio (d. 1661). Carpio's son Gaspar (d. 1687), mentionedabove in n. 19, surpassed his father in the size of his collection and is sofar the only Spanish collector of the period to enjoy scholarly interest. Inhis bibliography, see most recently the survey of his activity in Gregoriode Andres , El Marques de Liche, bibli6filo y coleccionista de arte,Madrid , 1975.

11 Th e Prado picture is discussed and reproduced in Diaz Padron,CaWogo: Escuela Flamenca, Madrid, 1975, I, 297-298.

U Max Rooses, L'Oeuvre de .. . Rubens, Antwerp, 1886-1891, IV, 270­72, gives the circumstances of the portrait. The original is commonlyConsidered to be the Brunswick picture reproduced here; there is another

A 17TH CENT URY COLLECTOR 261

7 Massys, OldWoman. Madrid,Museo del Prado

plausible to assume that Leganes simply acquired one ofthe replicas made of it.30 The four copies after Rubens'sportraits that Leganes owned were done after the half­length portraits of the Archduke Albert and his DuchessIsabel and of Philip IV and his Queen, Isabel of Bourbon>"The latter two paintings were probably based on the im­ages of the Spanish rulers that Rubens had brought backwith him from Madrid in 1628.32 It is interesting to notethat all these portraits possessed a common aspect, as im­ages of personages to whom Leganes bore particularloyalty. The interest of these pictures as works of art sure­lymust have been enhanced by their significance for himas images of living individuals. It might even be suggestedthat Leganes made his portrait acquisitions with theRenaissance idea of a gallery of uomini [amosi, where thesubjects portrayed were united by a common role ortheme. 33 The Rubens portraits, all of figures central to theseventeenth-century Spanish Habsburg court, continued,in a sense, the Titian portraits, which presented out­standing figures from the sixteenth century who had beenintimately connected with that same court.

example in Prague and a third now in the St. Louis Art Museum, ac­quired from the Leuchtenberg Collect ion in Russia .

2' Rooses, IV, 196, gives the circumstances.

JO Ibid., where replicas are mentioned.

JI APM , leg. 6210, fols. 1171v and 1173, Nos . 425, 426, 493 and 494.

J2 Pacheco (see n, 21 above) specifically refers to half -length port raits ofthe King and Queen painted to be taken back to Flanders. On these im­ages, see now Huemer, as cited in n. 18, 62-80 .

JJ The Renaissance examples are too numerous and diverse to discusshere. An introduction to the subject, with special reference to PaoloGiovios role, appears in P. O . Rave, "Paolo Giovio und dieBildnisvitenbucher des Humanisrnus," [ahrbuch. der Berliner Museen,1959, I, 119-154.

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262 THE ART BULLETIN JUNE 1980 VOLUME LXII NUMBER 2

8 Rubens, Ambrogio Spinola. Brunswick, Herzog Anton UlrichMuseum

The remaining pictures by Rubens in the collection in1642 were of devotional subjects, and several of them havebeen identified with surviving works.s- An indication oftheir quality is given by the lovely large Annunciation(Fig. 9), which reportedly hung in Leganes's privatechapel, and which he apparently commissioned from theartist. Although it is possible that this picture was painted

34 For example, No. 38, "ssan huberto de mano de Rubens el pais cierboperros y caballos de mano de Bruxel," identified by Diaz Padron as thepainting now in the Prado (No. 1411); d. Catti!ogo, 65-66. Nos. 265 and274 in Leganes's listing in 1642, "ssan franco con el cordero" and "ss'?dom? con el perro y un libro," respectively, have been traced by HansVlieghe in Corpus Rubenianum: Saints, London, 1972, I.

35 The painting, on loan to the Rubenshuis in Antwerp, now belongs to aprivate collector in Brussels. My warmest thanks are offered to him andto the Rubenshuis staff for enabling me to study the picture carefully.The full provenance of the Annunciation provides insight into the laterhistory of the collection. It was bought in 1827 from the Count ofAltamira, who had inherited the Leganes pictures, by John Smith, who inturn sold it to the Englishman Thomas Hamlet. It later passed to France,and was resold in Paris in 1877. It reappeared in London in 1939, and waslater catalogued in the New York collection of Paul Graupe by JuliusHeld and Jan Goris, Rubens in America, New York, 1947, 32; theyassigned it a date of about 1628.

The Altamira and Leganes estates had been combined at the turn of the

when Rubens was in Madrid in 1628, its absence fromLeganess listing of 1630 suggests that it perhaps was donesomewhat later. 35 Pacheco mentions that Rubens paintedan lnmaculada for Leganes when the artist was in Madrid,a subject that cannot be confused with the Annuncia­tion. 36 That painting (Fig. 10), long attributed to ErasmusQuellinus, has recently been restored to Rubens.v It wasapparently immediately given to the King, since it neverappears in any of Leganes's inventories, and is describedin the palace in 1636.38

At least one other of these devotional paintings enteredthe royal collection in Leganes's lifetime as well (Fig. 11).A collaborative effort between Rubens and Jan Wildens, itdepicted an episode in early Habsburg history whichglorified the piety of the founder, Rudolf, CountHabsburg.> Already in the palace in 1636, the Devotion ofRudolf I hung in the King's summer bedroom. His par­ticular fondness for it is revealed by the fact that it stillhung there when he died in 1665, next to the wonderfulGarden of Love which he had acquired from Rubens'sestate.w

Leganes's position in Flanders seems to have been fun­damental to his predisposition to Flemish painting. Fromthe start of the century he was an intimate member of thearchducal court, a frequent ambassador to it from Madridduring the twenties, and a resident at Brussels from 1630to 1635. In light of this, his depiction in a painting at­tributed to Willem van Haecht of about 1627, the Salon ofthe Archduchess Isabel (Fig. 12), is historically ap­propriate and also meaningful. Leganes appears near thecenter of the chamber, which is identifiable with one of therooms at the palace at Tervueren, and he is one of a groupof four men arranged around the seated figure of theArchduchess; the figure immediately next to her is Am­brogio Spinola, who shows a painting to a young court­ier. 41 The rear and right walls of the chamber are hungwith pictures, a number of which can be identified withworks actually at Tervueren at the time, and which lend acertain documentary character to the painting. The picture

18th century, when the eighth Count of Altamira inherited the Leganestitles through his grandmother, who was one of Leganes and Policena'sfour children; d. Domingo Gutierrez Coronel, Historia genea!6gica de faCasa de Mendoza, Madrid, 1946, II, 441-44. The picture collection, asLeganes had urgently requested in his will, remained essentially intactuntil the early 19th century, when the then Count of Altamira sold bothpaintings and family documents.

3. Pacheco, I, 153 (ed. Sanchez Canton, 1956).

37 M. Diaz Padron, "Un nuevo Rubens en el Museo del Prado: la In­maculada del Marques de Leganes," Archivo espano! de arte, Xl, 1967, 1­13.

36 As Diaz Padron pointed out (Catti!ogo, 226), it was at that date in theKing's oratory in his summer apartments on the ground floor of thepalace, and is referred to in the inventory as having been given byLeganes.

39 Diaz Padron, Catti!ogo, I, 323-24.

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9 Rubens, Annunciation. Brussels, private collection, on loan toRubenshuis

obviously shows Leganes as one of a group of collectors atcourt, and it implies his easy familiarity with such a world.Yet surely he was active earlier than 1627 as a patron inFlanders. His contact with Rubens is demonstrable from atleast 1625, and a perceptive portrait as well as study for ita trois crayons survives from about this time (Fig. 13).42

It was after 1630, however, that Leganes became a trulyprominent member of the connoisseurs' establishment in

40 Pedro Rodriguez de Monforte, Descripci6n de las Honras que sehicieron a la Cath6lica Magestad de D. Phelipe Quarto, Madrid, 1666, fol.23v. Rodriguez de Monforte was one of Philip IV's chaplains and hisbook is a detailed eye-witness account of the ceremonies at court thatsurrounded the King's burial.

41 For further details of this picture, of unknown whereabouts at present,and a reproduction, see Simone Speth-Holterhoff, Les Peintres [lamandsde cabinets d'amateurs au XVlIe siecle, Brussels, 1957, 108-109, ill. No.39.

42 The portrait was in the Gutekunst Collection when it was exhibited inLondon in 1927; see Roger Fry, "Flemish Pictures at Burlington House,"

A 17TH CENTURY COLLECTOR 263

10 Rubens, Immaculate Conception. Madrid, Museo del Prado

Flanders, and it may well have been through Rubens him­self that the Spaniard extended his contacts. Support forsuch an idea comes from his patronage of Van Dyck, whowas absent from the Brussels court during almost this en­tire period.v

The most obvious evidence, perhaps, of Leganes's in­terest in Rubens's gifted associate is the full-length por­trait of him by Van Dyck (Fig. 1), probably done in 1634

Burlington Magazine, L, 1927, 142. The drawing is in the Albertina,Vienna. See Rooses, as cited in n. 28 I, 267, No.1510, and Julius Held,Rubens, Selected Drawings, New York, 1959, I, 30-34. Rooses dated thedrawing to 1627, in relation to the portrait which he believed was donesometime after the Spaniard arrived in Brussels on September 9, 1627.

43 As is well known, Van Dyck became court painter to Charles I ofEngland and after 1631 visited Brussels only once, briefly, in 1634.Details of his appointment to London are given in Lionel Cust, VanDyck, London, 1906, 80-83; see also Roy Strong, Van Dyck: Charles 1on Horseback, London, 1972, 14-26.

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264 THE ART BULLETI N J UN E 1980 VOLUME LXII NUMBER Z

11 Rubens and Wildens, Devotion of Rudolf I. Madrid, Museodel Prado

when the artist briefly visited Brussels before returning toLondon.w By 1642 Leganes also owned several religiouspictures by Van Dyck and a number of other portraits, oneof which was the seated portrait of his wife Policena (Fig.2). Of the five religious pictures Leganes owned, only onehas been identified, the Marriage of Saint Catherine in thePrado (Fig. 14), although as new work is done on the little­studied subject of Van Dyck as a religious painter, ad­ditional identifications will probably be made.v To thepalace at Madrid in 1634 Leganes personally delivered VanDyck's half-length portrait of the Infante Ferdinand (Fig.15), painted in Brussels immediately after the new gover­nor had assumed his office and after Leganes had assistedhim at the much-acclaimed victory over the Protestants atNordlingen.w At least indirectly, Van Dyck might be saidto have returned the compliment: a splendid engraving byPontius after one of his portraits of Leganes (Fig. 16) wasincluded in the leones when they appeared in Antwerp in1645.47

Leganes's interest in living Flemish artists was exten­sive, and he seems to have had a developed appreciation ofthe typical Flemish specialties of still life, landscape, and

.. Xavier de Salas , as cited in n. 23 , 65-77. Thi s is probably, as de Salassuggests, the painting listed as No . 457 in both the 1642 and 1655

inv entories of Legane s's collection ; see also Diaz Padron, Peter PaulRubens: Exposicion Homenaie , Madrid, 1977, No . 28. The portrait hasalwa ys been in Spain: it was acqu ired in 1968 by the Banco Urquijo fromthe Duchess of Almazan, who had inherited it from the Dukes ofMed inaceli , who, in the ir turn, had acquired it from the Leganes collection .

4S Van Dyck's religious paintings have received far less attention than hisportraits. The exhibiton at Pr inceton University in the spring of 1979,Van Dyck as Religious Artist , with catalogue by John R. Martin and GailFeigenbaum, was a stimulating effort to correct this.

•• Diaz Padron, Catlilogo, 103-104.

. , M . Mauquoy-Hendrickx, L'lconographie d'Antoine Van Dyck,Brussels, 1956, 213, No. 50, II.

•• No . 122 in 1642 and 1655 in Leganes 's collection. Of uncertain attribu­tion for many years, it was restored to de Crayer by Diaz Padron, in

animal and hunting pictures, to judge from the richvariety of examples he acquired. He patronized court art­ists like Gaspar de Crayer, from whom he acquired a for­mal full-length portrait of Philip IV (Fig. 17),4& as well asthe artists working in Antwerp in Rubens's orbit, es­pecially Frans Snyders (d. 1657) and Paul de Vos (d.1678).49 Several of Leganes's works by Snyders and de Vosare now in the Prado (Figs. 18, 19) .50 It was perhaps fromthis familiarity with Flemish subject matter that he pur­sued an interest in the madrileho painter of Flemish ex­traction, Juan van der Hamen (d. 1631), whose stilllifeswere represented at least eight times in his collection by1642. S1

Van der Hamen introduces the interesting question ofLeganes's acquisition of works by non-Flemish artists. Inthis part of the collection Italy clearly dominated, andalthough his Italian pictures by no means equalled hisholdings in Northern painting - with the exception of hisTitians - the Southern paintings were nevertheless a veryrespectable group. It should probably be assumed that themajority of them and especially those inventoried in 1642,were acquired during his six years' residence in Milan af­ter he became governor there in 1635. In this light, thepreponderance of works by North Italian artists is not sur­prising.P A painting ascribed to Caravaggio, " otro retratode m" cuerpo con un montante en el brace y una manosobre un libro," is perhaps of particular interest bothbecause portraiture was never the artist's most significantcontribution and especially because his reputation incultivated Italian circles by this date was suffering.53

Against this wealth of foreign works of art, Leganes 'spaintings by Spanish artists appear quite limited in num­ber. His preference seems to have been for two dis­tinguished but completely dissimilar artists: Ribera andVelazquez. Ribera was represented by seven paintings by1642, and Leganes bought eight further works by him af­ter that date. 54 Since the artist lived in Italy, particularly inNaples, during his active career, it is logical to assume thatthere his art came to Leganes's attention; indeed, Leganesmay have acquired these paintings after 1635, during hisyears in Milan. The pictures may have been obtained with

Archivo espanol de arte, XXXVIII, 1965,238 ; see also H. Vlieghe. " Gasparde Crayer als Bildnisrnaler." in Jahrbuch Kunstsammlungen . .. Wien,LXIII , 1967, 106 -08.

•• Leganes owned numerous paintings by both these art ists , especiallySnyders. See Lopez Navio , as cited in n. 2, Nos . 89-95 , 99-103, 106 , 125,152-53, 155, 157-59, 161 -67, 189-192, 194, 196 -99, and pass im .

so D laz Padron, Catlilogo , esp. Nos . 1753, 1757, 1758, 1761, 1766, 1869,

1870, and 1875.

51 Nos. 96 , 97 , 108-110, 124 , 144 ,351 , and 353. There were also a numberof portraits by this artist : No s. 344, 583-590.

52 Pictures are ascribed to Gaudenzio, Giovanni Bellini , Palma, Giorgione,Perugino. Leonardo, Veronese, Guido, and especially the Bassani.

53 The Caravaggio is No . 28 in 1642 and also in 1655. Documents on mid­century critics of Caravaggio appear in Walter Friedlaender, CaravaggioStudies, New York. 1955.

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U Attributed toWillem van Haecht,Salon of theArchduchess Isabel.Location unknown

A 17TH CENTUR Y COLLECTOR 265

the aid of the Spanish viceroys in Naples, both of whomwere patrons of Ribera and associates, if not close friends,of Leganes.t"

The second Spanish artist that Leganes collected wasVelazquez. In the inventory of 1655, a note appended toNo . 1030, by Ribera, "un David .. ." , says that the picturehad been given by Leganes before his death to Velazquez. 56

This offers clear proof of sympathetic contact between thetwo men, and it is therefore understandable that Leganesowned at least five works by Velazquez, all of them in hiscollection by 1642.57 The opportunities for the artist andpatron to have met are myriad; indeed, a meeting couldhave occurred much earlier than 1642, for in the decade ofthe twenties both men entered Philip IV's entourage asproteges of Olivares. Given their respective relationshipswith the Count-Duke in fact, there is every reason toassume that Velazquez had easy access to Leganes's collec-

54 See below, Appendix.

55 The Count of Monterrey was viceroy from 1631 to 1637, when he wassucceeded by Olivares's son-in-law, the Duke of Medina de las Torres .Monterrey's best-known commission to Ribera probably was the largeImmaculate Conception of about 1635, painted for the Augustinianchurch in Salamanca , where it still is.

5. Lopez Navio, 311 .

57 See below, Appendix, document six.

5. The only undisputed extant self-portrait by Velazquez is that in LasMeninas of 1656. See Jose Lopez Rey, Velazquez, A Catalogue Raisonne,London, 1963, 182-85, for other images by Velazquez related to this

tion, even when Leganes himself was away from court.Such familiarity might account for the presence of at

least one of the Velazquez works in Leganes's collection, ahalf-length self-portrait of the artist, which documentsVelazquez's interest in this type of image before 1642.5&

Leganes also had a portrait by Velazquez of the Queen ofHungary, probably related to the bust-length image of herby the artist now in the Prado. 59 Two other works byVelazquez owned by Leganes are also very familiar.Described as images of "calabacas con un turbante . . ."a~d " ... un retrato entero de pablillos," they may havebeen variants of the portraits of these court mascots nowin the Prado, familiar to any student of seventeenth­century art. 60

Only the fifth Velazquez strikes an unfamiliar note: apicture of Saint Francis de Paula with two companions.Apparently intended for a specific location, the hermitage

theme. Lopez Rey, 182, No. 175 , cites the Leganes inventory notice of1642 via M. Gomez Moreno, "Los Borrachos y otras notas velazquefias,"Varia Velazqueiia , Madrid, 1960, I, 691. Gomez Moreno obviously knewof the 1642 inventory, but he gave no indication of its location and print­ed from it only the brief notices on Velazquez.

.. No. 1187. On a recent redating of this painting to 1628, see E. Harrisand J. Elliott, " Velazquez and the Queen of Hungary," BurlingtonMagazine, CXVlll , 1976, 24-26. The Leganes notice was cited by LopezRey, ibid., 248, No. 380.

60 Nos. 1205 and 1198 respectively . The detail of "un turbante" seems topreclude an identification of Leganes's image with the one in the Pradopainting of Calabazas .

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266 THE ART BULLETIN JUNE 1980 VOLUME LXII NUMBER 2

. ~

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13 Rubens, Marquis of Leganes. Vienna,Albertina

14 Van Dyck, Marriage of Saint Catherine. Madrid, Museo del Prado

on the Leganes property at Morata, it seems to have beenthe only painting Leganes actually commissioned from theartist.s! The lack of a portrait by the great painter either ofLeganes or of any member of his family is conspicuous.

It is clear that Leganes's collection bore the imprint ofhis social circumstances and special experience as residentcourtier and military commander in Flanders and northernItaly, two of Spain's most strategic territories in 1630 to1640. After 1630, the collection presented to the court atMadrid, with increasing completeness, the richness andvariety of Flemish painting, and it also amplified the es­tablished taste for Italian art with works by North Italianartists. Significantly, whereas Leganes's taste coincidedwith royal taste in the case of Titian, in other instancesLeganes may actually have influenced it. Certainly his in­terest in Massys and acquisition of Van Dyck's portraitsover those of Velazquez suggest that his preference wasmore Flemish than Spanish. The degree to which his tastemay have influenced the direction of painting at Madrid,or the interests of patrons there, remains a fascinatingquestion.

Brown UniversityProvidence, RI 02912

6' In the 1655 inventory, a note reads: ..... Esta pintura ... se llebo parasiempre a la hermita de Morata, en cuya parte se taso ... " (Lopez Navio.276).

Appendix

The following are extracted from the 1630 and 1642 inventories ofLeganes's collection, included with his mayorazgo documents. Originalorthography has been respected.

Document One. All works of art entailed to Leganess estate in firstmayorazgo. Madrid, February 15, 1630. APM, leg. 6157, Fols. 301v-302.

tapizeria de eda y lana muy fina de la istoria de jupiter y diana ... deonce panos y seis anas y tres quartas de caida ...

un retrato del rey nro Sf Don Phelipe quarto que Dios guarde ... demedio cuerpo armado con sombrero y plumas blancas y una banda rojahechada por el con marco de ebano labrado en ondas original de PedroRubens ...

una pintura de nra sa con el nino en las manos santa Isabel san juan yottra Figura original de Raphael de Urbino de tamano de dos varas conmarco de ebano grueso de molduras ...

una Pintura del Duque de Alba en lienco original del ticiano de mediccuerpo ... ottra de un duque de milan con una mano calcada en un guantey la ottra sobre un perro con manchas vermejas y blancas assimismomedio cuerpo y original de ticiano ...

ottro retrato de un duque de milan del mismo tamano con unas faxasbordadas en el sayo y la mano derecha sobre un perro de agua original deticiano ... rretrato de un dux de venecia menor q 105 rreferidos de unabara en quadro con la bistidura de brocado original de ticiano ...

mas otro rretrato del mismo tamano de la duquettresa su muger conuna sarta de perlas al cuello original de ticiano ...

ottro rretrato del mismo tamano dellantsgratte de hesen con un colettoacuchillado la mano izquierda sobre la espada original del ticiano ... ottroretrato original del ticiano de un cardenal moco con un breviario en lamano izquierda ... ottro retrato del mismo tamano de un senador deBeneda con una rropa forrada en martas y unos guantes en la manoderecha original del ticiano ... ottro rretrato de un jardinero con unanaranja en la mano original del Correzo ottro rretrato pequeno original deAlverto durero con un bonete y una rropa forrada en martas y un papelen la mano izquierda en tabla ...

ottro rretrato de una muger vieja que se esta tirando de los cavellos conambas manos original de mro quintin ...

ottro rretrato chiquito con guarnicion de ebano de erasmo de roterdam

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· .. Mas un quadro con su marco de ebano original del ticiano de unaymagen de nra sa y el nino jesus y san juan ...

ottro quadro de ottra ymagen de nra sra con su marco de ebano originalde rubens y una orla de flores y animales alrrededor originales de bruxelel biejo ...

Document Two. Paintings by Quentin Massys in second mayorazgolisting. Madrid, March 30, 1642. APM, leg. 6210, Fols. 1163v-1186v,passim.

No. 31 un banquero contando xetones sobre una messa ...No. 32 cabeca de un senador con ropa de martas y sin cuello y sin

barbaNo. 47 un medio cuerpo de un hombre sin barbas con un azor sobre la

mano y en la otra el capiroteNo. 200 una nra sa ... con el nino en los braces bessandoleNo. 248 una pintura de ... dos biejos ... el uno tiene un rossario en la

mano izquierda y otro enclabijadas las manosNo. 300 un ymagen de nra ssa con el nino en los bracesNo. 328 una pintura ... de dos banqueros con papeles y el uno escrive

en un libroNo. 1042 otra en tabla del mro quintin ...No. 1043 otra de ssu muger del maestro quintin ...

Document Three. Paintings by Rubens in second mayorazgo listing.Madrid, March 30, 1642. APM, leg. 6210, fols. 1163v-1186v, passim.

No.4 ottra ymagen de nra ssa con el nino en los braces dos anxeles conla corona de mano de Rubens y un cerco de rosas y frutas de mano deBruguel de bara de alto y tres qtas de ancho

No.6 otra ymagen de nra ss" con un nino dos anxeles de bara de alto ytres qtas de ancho de mano de Rubens

No. 7 otra ymagen de nra ssa con el nino en los braces de mano deRubens de bara y qta de alto

No. 38 otra pintura de ssan huberto de mano de Rubens el pais cierboperros y caballos de mano de bruxel

No. 40 un retrato de medio cuerpo la pintura del Rey nro ss! felipequarto arm ado sombrero con plumas blancas de m? de rubens orig! ...

No. 61 otro retrato de medio cuerpo arm do del marq" de los balbasesambrosio espinola de man? de rubens

Nos. 70 and 71 dos paises de mano de Rubens con dos fabulas pe­quenas de un coroa y una garza y el otro de un asno cercado de todasbrandas que esta paciendo de dos baras y media de ancho digo de alto ybara y media de alto

No. 105 un quadro del milagro del principio de la casa de austria con elconde de absburgh y su criado que llebaron al cur a y sacristan con suscaballos y m? de wildens

No. 214 una pintura de diana de mano de Rubens con tres ninfhas y launa la tiene asida un satiro de los braces y una biexa y tres perros y ladiosa con un venablo en la mano de dos bar as de ancho y tres de alto

No. 223 un s jermOde mano de Rubens de bara y quarta de alto y unade ancho con una piedra en la mano derecha dandosse en los pechos

No. 228 una magdalena de mano de Rubens de cinco quartas de alto yuna de ancho desnuda y sus cabellos rendidos y lagrimas en los ojos

No. 264 una anunziacion de nuestra ss" y un anxel de mano de Rubensde quatro baras de alto y dos y quarta de ancho el cielo en ovalo y en elaigOS anxeless echando flores una cesta con la labor de nra sa y un gato alpie della

No. 265 un ssan franCO de dos baras de alto y una de ancho con el cor­dero junto a el de mano de Rubens

No. 267 otra nra ssra de bara y quarta de alto y una de ancho con elnino desnudo en los braces y s josseph detras de mano de Rubens

No. 274 una pintura de ssto dom? dos baras de alto y una de ancho conel perro y un libro de mano de Rubens

No. 317 una ymagen de nra ssa con el nino en una cuna de cesta y sjuan xunto a el y nuestra ssa con una mano sobre la cesta y otra sobre larropa y s josep sentado do mano de Rubens de bara y tercia de alto y unarna

No. 325 un daniel en el lago con los leones y el en medio orando demano de Rubens de dos baras de ancho y poco mas de una de alto

No. 326 un retrato de m? cuerpo de la princessa de conde de mano de

A 17TH CENTURY COLLECTOR 267

15 Van Dyck, Infante ferdinand. Madrid, Museo del Prado

16 Pontius after Van Dyck, Marquis of Leganes, from VanDyck's leones, Antwerp, 1645

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268 THE ART BULLETIN JUNE 1980 VOLUME LXII NUMBER 2

17 De Crayer, Philip IV. Madrid, Palacio de Viana

19 Paul de Vos. Deer Harassed by Dogs. Madrid,Museo del Prado

]8 Snyders, Concert of Birds. Madrid, Museo del Prado

RubensNo. 336 nro Sf con s ju? y dos anxeles jugando con el cordero arrimada

a una almoadilla blanca xunto a un cestillo de frutas en tablaNo. 498 un retrato de m? cuerpo de la Ynfanta dona Ysabel bestida de

tercera de mano de Rubens

Document Four. Paintings by Van Dyck in the second mayorazgo.Madrid, March 30, 1642. APM, leg. 6210, fols. 1163v-1186v, passim.

No. 59 un retrato de m? cuerpo del marq de aytona vestido de negrocon botones de oro y sus armas de van dick

No. 169 un ssan ssan atado a un arbol de mano de ban dick con otrasfiguras a caballo y a pie dos y media de alto y dos de ancho

No. 186 un san matheo con el anxel y un leon de dos baras de alto ybara y media de ancho de rnano de van dick

No. 216 una pintura de mano de van dyck de sanson rapado loscabellos con ssiete figuras de dos varas y rnaen quadro

No. 285 otra ymagen de nra ssa con el nino en los braces s jUO san p?san benito y san bernardo de mano de ban dick de bara y tres quartas dealto y vara y tterda de ancho

No. 286 el desposorio de santa cathalina con el nino jesus que le tienesu madre y detras tres figuras de la misma mano bara y tercia de alto ydos de ancho

No. 327 otro del mismo tamano de m? de van dick de la duquesa decroy

No. 453 D Ph" espinola segundo Marq" de los Balbases de m? de Vandick

No. 455 D" Policena Spinola marq'" de leganess de mano de Van DickNo. 457 D Di? Felipez de guzman primer marq" de leganes de m? de

Van DickNo. 468 don diego felipez de guzman marq de leganes medio armado

con calcones roxos de mano de ban dick

Document Five. Paintings by Ribera in second mayorazgo. Madrid,March 30, 1642. APM, leg. 6210, fols. 1163v-1186v, passim.

No. 293 un ssan pedro con el gallo llorando de mano del espanoleto debara y docaba de alto y una y quarta de ancho

No. 295 otro SSf s jeronimo orando a un cristo que tiene en la mano yuna messa con una calavera de mano del espanoleto de bara y media deancho y bara y media de alto

No. 310 otra pintura de san andres con el pescado debajo de una manoun libro en la otra abierto de rnano del espanoleto bara en quarto

No. 315 un santiago con un baculo en la mano un libro en otra y unacalabera bara de ancho y una y quarta de alto del espanoleto

No. 872 otro en lienee un hermitano con baculo y nro Sf en la m? y unacalabera de m? cuerpo desnudo de alto bara y qla y de ancho bara menosochaba jusepe Rivera

No. 1030 un san bartolome de espanoleto un cuchillo en la manoderecha y un libro en la yzquierda tiene de alto bara y quarta escasa y deancho bara menos docabo con su marco negro

No. 1031 un david de la misma rnano y tamano con su marco negro

Document Six. Paintings by Velazquez in second mayorazgo. Madrid,March 30, 1642. APM, leg. 6210, fols. 1163v-1186v, passim.

No. 174 un san francisco de paula de tres baras de alto y dos de anchopassando la mar sobre ssu manto con dos conpan" de mano de velazquez

No. 367 un medio cuerpo del retrato del pintor Velazquez de ssu rnanode una vara de alto y otra de ancho

No. 496 la reina de ungria de la mano de VelazquezNo. 549 otro de calabacas con un turbante de VelazquezNo. 553 un retrato entero de pablillos de velazquez

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