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Don José de Valdivielso, one of the chaplains of the gay Cardinal Infant Ferdinand of Austria, relates the following legend in his paper on the Tax on Pictures, appended to Carducho's Dialogos de la Pintura. A certain young friar was famous amongst his order, for his skill in painting; and he took peculiar delight in drawing the Virgin and the Devil.
Se la representa como una mujer que odia los quehaceres de la casa y está constantemente fuera de ella, de día y de noche. La pintura más común es aquella en que la mujer arenga en una especie de asamblea a algunas de su sexo, mientras su marido se dedica a barrer la casa y entretener al bebé que llora.
Pacheco, the master and father-in-law of Velasquez, writes in 1649 in his Arte de la Pintura: "What can be more foreign from the respect which we owe to the purity of Our Lady the Virgin than to paint her sitting down with one of her knees placed over the other, and often with her sacred feet uncovered and naked.
He still painted though beautifully only the Madonna, and the St. Joseph, and the Christ. These he made living, Florence asked no more: and "Credette Cimabue nella pintura tener lo campo." But Giotto came from the field, and saw with his simple eyes a lowlier worth. And he painted the Madonna, and St.
In the popular mind Cimabue still remains "The Father of modern painting," and though his renown may have attracted more pictures and more legends to his name than properly belong to him, it is certain that Dante, his contemporary, wrote of him thus: Credette Cimabue nella pintura Tener lo campo, ed ora ha Giotto il grido Si che la fama di colui s'oscura.
It is soon after this time that we first hear of pictures of the Immaculate Conception. Pacheco subsequently became a familiar of the Inquisition, and wielded the authority of the holy office as inspector of sacred pictures; and in his "Arte de la Pintura," published in 1649, he laid down those rules for the representation which had been generally, though not always, exactly followed.
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