HERRERA, Francisco (1576–1656), surnamed el Viejo (the old), historical and fresco painter, studied under Luis Fernandez in Seville, his native city, where he spent the most of his life. Although so rough and coarse in manners that neither scholar nor child could remain with him, the great talents of Herrera, and the promptitude with which he used them, brought him abundant commissions. He was also a skilful worker in bronze, an accomplishinent that led to his being charged with coining base money. From this accusation, whether true or false, he sought sanctuary in the Jesuit college of San Hermenegildo, which he adorned with a fine picture of its patron saint. Philip TV., on his visit to Seville in 1624, having seen this picture, and learned the position of the artist, pardoned him at once, warning him, however, that such powers as his should not be degraded. In 1650 Herrera removed to Madrid, where he lived in great honour till his death in 1656. Herrera was the first to relinquish the timid manner of the old Spanish school of painting, and to initiate the free, vigorous touch and style which reached such perfection in Velaz- quez, who had been for a short time his pupil. His pictures are marked by an energy of design and freedom of execution quite in keeping with his bold, rough character. He is said to have used very long brushes in his painting ; and it is also said that, when pupils failed, his servant used to dash the colours on the canvas with a broom under his directions, and that he worked them up into his designs before they dried. The drawing in his pictures is correct, and the colouring original and skilfully managed, so that the figures stand out in striking relief. What has been con- sidered his best easel-work, the Last Judgment, in the church of San Bernardo at Seville, is an original and strik- ing composition, showing in its treatment of the nude how ill-founded the common belief was that Spanish painters, through ignorance of anatomy, understood only the draped figure. Pevhaps his best fresco is that on the dome of the church of San Buenaventura; but many of his frescos have perished, some by the effects of the weather, and others by the artist’s own carelessness in preparing his surfaces. He has, however, preserved several of his own designs in etch- ings. For his easel-works Herrera often chose such humble subjects as fairs, carnivals, ale-houses, and the like.
Sce Stirling’s Anxals of the Artists of Spain, 3 vols., 1848.
HERRERA, Francisco (1622–1685), surnamed el Mozo (the young), historical and fresco painter, son of the subject of last notice, was also a native of Seville. Unable to endure his father’s cruelty, the younger Herrera, seizing what money he could find, fled to Rome. There, instead of devoting himself to the antiquities and the works of the old Italian masters, he gave himself up to the study of architec- ture and perspective, with the view of becoming a fresco- painter. He did not altogether neglect easel-work, but became renowned for his pictures of still-life, flowers, and fruit, and from his skill in painting fish was called by the Italians Lo Spagnuolo degli pescit. Tn later life he painted portraits with great success. He returned to Seville on hearing of his father’s death; and in 1660 was appointed subdirector of the new academy there under Murillo. His vanity, however, brooked the superiority of no one; and throwing up his appointment he went to Madrid. There he was employed to paint a San Hermenegildo for the barefooted Carmelites, and to decorate in fresco the roof of the choir of San Felipe el Real. The success of this last work procured for him a commission from Philip LV. to paint in fresco the roof of the Atocha church. He chose as his subject for this the Assumption of the Virgin. Soon afterwards he was rewarded with the title of painter to the king, and was appointed superintendent of the royal buildings. He died at Madrid in 1685. Herrera el Mozo was of a somewhat similar temperament to his father, and offended many people by his inordinate vanity and suspicious jealousy. His pictures are inferior to the older Herrera’s both in design and in execution ; but in some of them traces of the vigour of his father, who was his first teacher, are visible, He was by no means an unskilful colourist, and was especially master of the effects of chiaroscuro. As his best picture Sir Edmund Head in his Z/andbook names his San Francisco, in Seville Cathedral. An elder brother, known as Herrera el Rubio (the ruddy), who died very young, gave great promise as a painter.
See Stirling’s Annals of the Artists of Spain, 3 vols., 1848.
HERRERA Y TORDESILLAS, Antonio de (1549–1625), Spanish historian, was born in 1549, at Cuellar, in the province of Segovia in Spain. His father, Roderigo de Tordesillas, and his mother, Agnes de Herrera, were both of good family. After studying for some time in his native country, Herrera proceeded to Italy, and there became secretary to Vespasian Gonzago, with whom, on his appoint- ment as viceroy of Navarre, he returned to Spain. Gonzago, sensible of his secretary’s abilities, commended him on his death-bed to Philip IL of Spain; and that monarch, no less discerning, appointed Herrera first historiographer of the Indies, and one of the historiographers of Castile. Placed thus in the enjoyment of an ample salary, Herrera devoted the rest of his life to the peaceful pursuit of litera- ture, retaining his offices till the reign of [hilip IV., by whom he was appointed secretary of state, very shortly, however, before his death, which took place at Madrid on March 29, 1625. Of Herrera’s writings, the most valualle is his Listoria General de los Hechos de los Castellanos en las Islas y Tierra Firme del Mar Oceano (Madrid, 1601–15, 4 vols. fol.), a work which relates the history of*the Spanish-American colonies from 1492 to 1554. The author’s official position gave him access to the state papers and to other authentic sources not attainable by other writers, while he did not scruple to borrow largely from other MSS., especially from that of Las Casas. He used his facilities carefully and judiciously ; and the result is a work on the whole accurate and unprejudiced, and quite indispensable to the student either of the history of the early colonies, or of the institutions and customs of the aboriginal American peoples. Although it is written in the form of annals, mistakes are not wanting, and several glaring anachronisms have been pointed out by Quintana. “Tf,” to quote Dr Robertson, “ by attempting to relate the various occurrences in the New World im a strict chronological order, the arrangement of events in his work had not been rendered so perplexed, disconnected, and obscure that it is an unpleasant task to collect from different parts of his book and piece together the detached shreds of a story, he might justly have been ranked among the most eminent historians of his country.”
Herrera’s other works are the following :—Wistoria de lo Sucedido en Escocia € Inglaterra en quarenta y quatro aiios que vivié la reyna Maria Estuarda (Madrid, 1589); Cinco Libros de la Historia de Portugal, y Conquista de las Islas de los Agores, 1582 y 1588 (ib., 1591); Listeria de lo Sucedido en Francia, 1585-1594 (db., 1598); Historia General del Mundo del tiempo del Schior Rey Don Felipe IT, desde 1559 hasta su muerte (ib., 1601–12, 8 vols. fol.); Tratado, Re- lacion, y Discurso historico de los movimientos de Aragon (ib., 1612); Comentarios de los Hechos de los Espatioles, Franceses, y Venccianos en Italia, d&c., desdc 1281 hasta 1559 (7b., 1624, fol.).
