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Lot Essay
Born in the city of Seville, Luis Lagarto (1556—c.1619) is considered one of the finest illuminators of Spain’s Golden Age. An artist in the truest sense, Lagarto was also a skilled painter, teacher, scholar, and poet. He received a diverse education under his father, Juan Lagarto de Castro who was himself a teacher of mathematics and man letters. Through his father’s associates, the young Lagarto may have trained under Lázaro de Velasco in the Italian style as he was the illuminator of the cathedral of Granada. These were the early influences that prepared him to thrive in the Viceroyalty of New Spain and even set up a family enterprise--a workshop of painters of miniature for books, documents, reliquaries, nuns’ badges and small paintings that employed his talented sons who were born in Mexico City (C. Bargellini, “Painting in Colonial Latin America,” The Arts in Latin America, 1492-1820, 2006, pp. 349-353).
According to accounts, Lagarto may have arrived in New Spain before 1586 to work on various projects related to the cathedral in Mexico City including a set of choir books. He likely arrived through an invitation from the Viceroy Álvaro Manrique or perhaps Diego Romano y Govea soon to be appointed bishop of Puebla where the artist eventually settled and is known to have worked. Indeed, the artist was likely part of the remodeling of the cathedral in Mexico City in preparation for the Provincial Mexican Council in 1585.
This strikingly detailed illumination on vellum, a delicate paper made from calf-skin to be used by a highly accomplished master, was once part of a choir book for the use of the clergy during various services including the Mass. The overall composition is enclosed within a sculptural setting provided by the gold leaf capital letter “D” which might have been inspired by or related to a song or prayer in the religious service, as was the case in the creation of these books. We are drawn to this otherworldly space fashioned by the richly decorated column with floral motifs and mask. The central figure of the angel seems to have stepped out of a celestial gate. The blazing flames near the column point to Purgatory where the humble and pious Friar Fernando Yáñez had spent some time doing penance but was finally about to enter Paradise guided by the angel who crowns him with a laurel wreath. Lagarto has further embellished the edges of his work with floral motifs in gold leaf (Visions of the Hispanic World: Treasures from The Hispanic Society Museum and Library, 2023, p. 55).
Lagarto’s stylistic mastery, vibrant palette, subtle technique as significantly demonstrated in this illumination earned him his many commissions throughout his life. His work is included in important ecclesiastical, cultural and private collections in Mexico, Spain and the United States such as the Cathedral of Puebla, The Hispanic Society Museum & Library, New York and Cathedral of Seville, Spain, and others.
M. J. Aguilar, Ph.D.
According to accounts, Lagarto may have arrived in New Spain before 1586 to work on various projects related to the cathedral in Mexico City including a set of choir books. He likely arrived through an invitation from the Viceroy Álvaro Manrique or perhaps Diego Romano y Govea soon to be appointed bishop of Puebla where the artist eventually settled and is known to have worked. Indeed, the artist was likely part of the remodeling of the cathedral in Mexico City in preparation for the Provincial Mexican Council in 1585.
This strikingly detailed illumination on vellum, a delicate paper made from calf-skin to be used by a highly accomplished master, was once part of a choir book for the use of the clergy during various services including the Mass. The overall composition is enclosed within a sculptural setting provided by the gold leaf capital letter “D” which might have been inspired by or related to a song or prayer in the religious service, as was the case in the creation of these books. We are drawn to this otherworldly space fashioned by the richly decorated column with floral motifs and mask. The central figure of the angel seems to have stepped out of a celestial gate. The blazing flames near the column point to Purgatory where the humble and pious Friar Fernando Yáñez had spent some time doing penance but was finally about to enter Paradise guided by the angel who crowns him with a laurel wreath. Lagarto has further embellished the edges of his work with floral motifs in gold leaf (Visions of the Hispanic World: Treasures from The Hispanic Society Museum and Library, 2023, p. 55).
Lagarto’s stylistic mastery, vibrant palette, subtle technique as significantly demonstrated in this illumination earned him his many commissions throughout his life. His work is included in important ecclesiastical, cultural and private collections in Mexico, Spain and the United States such as the Cathedral of Puebla, The Hispanic Society Museum & Library, New York and Cathedral of Seville, Spain, and others.
M. J. Aguilar, Ph.D.