Chapter XI: Art and Literature

The genius of the Mexican people has ever inclined to the artistic. When one form of imaginative expression has been denied others have been resorted to with greater force.

The preferred outlet for the native imagination has been architecture, upon which but seldom has any ban been placed either by secular or ecclesiastical authority. In the Spanish days there were occasions when representatives of the crown refused permission to erect palaces considered too sumptuous or colossal for private occupancy, but no limit was ever placed upon the worthier ambition to erect great churches as monuments of their gratitude to God for prosperity conferred. So, to-day, Mexico inherits a very large number of wonderful monuments. Many of these are decorated in beautiful detail with both chisel and brush. Everywhere they present evidence that though the general scheme of one may have been borrowed from or suggested by architectural works of Spaniard or Moor, of Italian or Fleming, of Roman or Greek, the native genius insisted upon its own mark. There, is in fact, a Mexican style of architecture almost as truly intrinsic as that of any original type. It is unfortunate that while the names of European architects employed in the designing of some of the most celebrated buildings are recorded there is usually no way of identifying the native designers, builders, master masons, sculptors and painters who left behind them this great wealth of embodied imagination.

All the conditions favored the structural art. On one hand was the great wealth of the crown, the church and the mine-owner, on the other an abundance of material and of skilled labor. Even to-day there are no more cunning stone workers in the world than are found among the Mexican craftsmen.

The economic prostration following the wars for independence put a stop to architectural progress, but the prosperity restored to the country by the administration of General Diaz has led to a renewal of construction and many notable buildings have been added while others have been restored.

Next to architecture, the native art of which most evidences exist is that of painting. Every condition stimulates this. Nature herself has been lavish with scenic endowment--grand and gorgeous, tender and delicate. All call for pictorial presentment. And the skies are brilliantly wonderful and varied. So Mexico has naturally produced a host of great landscape painters.

Others of romantic inclination have been stimulated by the great military and religious pageantry of their country’s history and episodes of this have been depicted with luxurious freedom. Nor has portraiture been neglected. At the present time many painters of both achievement and promise are flourishing. One of them, Gerardo Murillo, is living in a cave on Popocatepetl, working to perpetuate the aspects of this dying volcano.

Two of his pictures have been described by a local critic as follows: “One large canvas, eight by six feet shows a splendid view of a bold crag near the summit of the volcano, where the wind is blowing and where the deep blue heavens give a tone to the snow, which is piled smooth and deep in its unbroken mass fresh from the last storm.

“A picture somewhat smaller hangs in the studio of Mr. Murillo, in the San Carlos Academy, which does not fail to attract the attention of all who see it. It is the picture of a rugged precipitous scene over which the snow of centuries is piled. The hour is twilight and the whole scene is bathed in a deep blue light which is so realistic to any one who has grown accustomed to the mountains.”

Francisco de P. Mendoza has turned to history for his inspiration and has painted several pictures of notable battle scenes from the campaigns of General Diaz. Thus he seeks to foster in those who see his work that spirit of patriotism which is the spring of his own effort. His chief canvases depict the battles of “The Second of April,” “The Carbonera,” and “Miahuatlan.”

Andres Rios has done some notable landscapes, but has received most praise for his single figures and groups. “The Curate of San Angel” is particularly noteworthy for skill in handling the light effects.

“Going to the Hospital” shows a suffering woman leaving her home with the assistance of her mother and daughter while the husband and an older daughter remain on the doorstep, he crouched, and she standing and both showing the misery of their sorrow.

Daniel del Valle is another contemporary who is acquiring fame by figure work, though not long graduated from the academy. He has entered the field of ancient endeavor and devotes his work to the decorating of churches and palaces. Visitors will find some of his best efforts in the churches of Santa Maria la Redonda and Jesus Maria.

Leandro Isaguirre is one of the best fruits of the government system of sending graduates of the national schools abroad for post-graduate instruction.

Having learned what he could at the San Carlos Academy, this promising young painter was sent at public expense to Europe for five years. There he studied in the studios of the most noted instructors in Spain, Italy, France, Holland and England. He made many copies of the masterpieces in the principal galleries of the Old World. Since his return he has settled down to work on native subjects, selected for the most part from among the laboring classes. He has also depicted many of the landscapes of high altitude where the effect of the lights has usually baffled the visiting artist. Like some of the men who have mastered this problem in the United States, after years of labor, Isaguirre has had success even though he has remained faithful to oils, while the Americans have been driven to water colors and pastelle to get the clear effects that prevail a mile or more above the sea.

Herman Gedovius, though of German descent and name, is really a Mexican and so entitled to mention among the modern painters of the country. He was born in San Luis Potosi but received his art education in the Royal Bavarian Academy at Munich. He devotes himself almost exclusively to portraiture, though he has painted some ideal heads. Like most of the others mentioned he gives up part of his time to teaching in the San Carlos Academy.

The Dean of the present school of painters is Felix Parra, whose work is much in the style of the modern French school. His subjects are scenes from contemporary life which he presents with great vivacity and some humor. His works are very popular among the wealthy and broadly scattered in their homes.

Another artist who shows strongly the influence of the same school is Alfredo Ramos Martinez, who received his art training partly at the expense of interested art lovers and partly at that of the Mexican government. All his subjects are of some manifestation of happiness outdoors and his canvases are very popular. Several of them have been hung in the Paris Salon.

Many of the pictorial treasures of Mexico were looted by the French during their invasion of the country, but about two thousand have been collected for the gallery of the National School of Fine Arts in the City of Mexico. Many others are still preserved in churches and public buildings throughout the various states and in private collections.

In the case of mural decoration, of which a great wealth was produced during the Spanish domination, many of the best examples have been destroyed by climatic influences but enough great frescoes have been preserved to show that there were many masters in the earlier days.

Painting was first taught by Spaniards, but the teachers themselves were of no narrow school. Spain, it must be remembered, dominated in those days not only the Iberian peninsula but also Austria, much of Germany, the Low Countries and great colonies in North and South America and the East Indies. Her soldiers, priests, fortune seekers, and government officials were the great travelers of the age. They knew every school of art and all the materials then employed. The teachers imparted to their pupils all there was of technique and the pupils had the genius. To enlarge the native taste came later; many Italian painters were attracted by the generous rewards which the rich government and church gave for works of beauty which could be used for the adornment of church and palace interiors.

At first copyists, the native artists soon became creators. The first school studio in Mexico was opened about 1523, by Rodrigo de Cifuentes, a Cordovan. His work was along the line of historic portraiture and examples of it are still extant. His assistant was a Flemish monk, Pedro de Gante. Another contemporary was Andres de Concha whose work may still be seen in the church of Santo Domingo at Yauhuitlan, Oaxaca.

Next came the great school founded by the elder Echave. Among his pupils were his wife (La Sumaya), his son, the two brothers Juarez, a third Juarez and Arteaga. These filled in much of the early half of the seventeenth century. Numerous works of theirs are still to be seen in the National Academy and in various churches. For the most part their subjects were devotional.

Of those who worked in the latter half of the century but two are remembered, de Borgraf and Villalpando. There is a legend that the wonderful Sister de la Cruz also painted, but the evidence is not conclusive. A portrait of herself by herself (so it is claimed) was brought to the United States and now hangs in the gallery of the Pennsylvania Museum at Philadelphia.

Several notable painters distinguished the eighteenth century. Again there were two brothers of the Juarez family. A Zapotec Indian, Michael Cabrera, is by some considered the greatest painter of his time. He first added to the colors introduced from Europe those more brilliant pigments, knowledge of which descended from the Aztecs. He lived to be old, was of great energy, and was a most prolific producer. His efforts are broad and attained with startling success.

Flourishing at the same time was Ibarra, whose admirers are almost as numerous as those of Cabrera. He was more hampered by convention, however, and his appeal is not so forcible. Softness of coloring distinguishes his work where that of his rival demands admiration by harsher brilliancy. His style of work was continued by his pupil Alzibar.

At the end of the century and through the first third of the nineteenth the dominant figure in art was Tresguerras who was not only architect and sculptor but painter and poet also. How one pair of hands could have produced all that is attributed to him it is impossible to conceive.

At the present time the government does everything possible to develop art production. Tuition is free in the National Academy and many prizes and scholarships are offered.

The Academy of Fine Arts (San Carlos) takes its origin from a decree of Charles III., in 1778, when a school of engraving was authorized, which was opened in the following year under the direction of Don Geronimo Gil, the chief engraver of the mint. Three years later, classes in painting, sculpture, and architecture were established with the consent of the viceroy, followed the next year by a royal license establishing La Academia de las Nobles Artes de San Carlos de la Nueva España, which was opened on April 4, 1785. In 1791 the institution was removed to its present home in the building formerly occupied by the hospital de Amor de Dios.

Spain sent celebrated artists to Mexico to direct the affairs of the academy; the first were the painter Aguirre and the painter and architect Velasquez.

Before the Conquest there were no painters in oils but there were wonderfully skilful and artistic use of the natural dyes and assembling into artistic designs of the gaudy plumage of tropical birds and weaving of fabrics. Also there was a knowledge of the making of glazed pottery in rich hues. These arts survive among the people and are being fostered by government influence.

In sculpture, after the Spanish invasion, there was much beautiful work in the adornment of the churches, both by the carving of images of saints and angels, and of architectural detail in the churches. Afterward came an era of historic monument making leading to the enrichment of the many public squares and government buildings. This work of embellishment has been renewed with earnestness under the present administration. Few names of the great sculptors have been preserved. The three best remembered are those of Cora and Patino Instolinque and Francisco Tresguerras.

Akin to the sculptor’s art is that of the worker in metals. Wonderfully clever have the Mexicans ever been at the smithcraft and many of their masterpieces rank with the best Italian work.

Of literary accomplishment the nation has not so much to show as in the other arts, a condition due partly to the prohibition of authority and partly to actual destruction. There was a body of native literature before the Spaniards came, but this was almost entirely destroyed by command of the priests who accompanied the invaders. Printing presses were not welcome when Mexico was a colony of Castile and both religious and secular authorities discouraged almost every form of letters. One can hardly ascribe to Mexico the body of Spanish writers who chronicled the Conquest. But there was an Aztec prince, Ixtlilxochitl, who did his best to preserve some of the works of his ancestors by translating them into Castilian.

After him were few writers of power until to-day. In the latter half of the seventeenth century there flourished a prodigy best described perhaps as a female Keats, who has left a number of beautiful poems. She was Sister Juana Ines de la Cruz who forsook the viceregal court for a convent in order that she might have more time for writing, but who was soon silenced by the church authorities.

Almost a century later came Lizardi, a satirist, who had to send his books to Havana to be published and who was bitterly persecuted by the government and excommunicated by the church. Nevertheless, his work did much to incite the struggle for independence and to-day still enjoys a great vogue. Contemporary with him was a woman writer of patriotic poems, Josepha Mendoza, who also did much to inspire the insurgent cause.

In the early days of the republic two historical writers obtained fame by careful work. These were Bustamante and Alaman. Their books are still accepted as authoritative.

There was no actual renaissance, however, till about forty years ago, when many of the cultured began earnest study of the public archives and to make revelation in prose and poetry of the ancient lore, romance and legend of the country. Ignacio Manuel Altamirano produced his “Rimas,” “El Movimiento Literario en Mexico,” “Dramaturgia Mexicana,” “Clemencia,” “Antonio y Beatrix,” “Luisa,” “La Navidad en las Montanes.”

The Paisajes of Leyendes deals with the customs and traditions. The style of his work is temperate and confined to the religious feasts of the country. His works contain pictures of primitive races, with their Christian rites intermingled with old forms of worship. His books are widely read.

Juan Mateos is famed abroad. He is quoted everywhere and is much appreciated in his own land. His novels are historical, and his dramas have received great recognition.

Joaquin Garcia Icazbalceta took his countrymen to original documents of history for their information. His example was followed by José Barcena, Dr. E. Gonzalez, Manuel Orozco y Berra, Lic. Luis Gutierrez and Otero. Other writers in serious vein about their country have been Matias Romero, so long minister to Washington, Antonio Garcia Cubas, and Ignacio Mariscal, the late distinguished Secretary of Foreign Affairs, a writer of great ability. He was a linguist, speaking perfectly several languages. He has written important works on the occult and was a graceful translator of some of the choicest poems in English literature, among them Poe’s _Raven_ and William Cullen Bryant’s _Thanatopsis_, whose noble lines expressed much of his own aspirations.

Francisco de la Barra, the Mexican Ambassador at Washington is a writer of note. Fredrico Gamboa is among the best writers of fiction.

Señor Justo Sierra, one of the most virile and forceful of poets, has taken great rank in Spain as well as in his own country. He is one of the Ministers of the Cabinet, but his literary work continues even with his dignity of position and arduous duty attending it.

The historical works by Carlos Pereyra, author of “Lecturas Historicas Mejicanas, Historia del Pueblo Mejicano,” which comprise a full story of the Mexicans from the early period before the Conquest to the present day, are very interesting and show a great knowledge of the important events of the Mexican nation as well as the characteristics of the people. His style is easy and graceful, avoiding the dryness of most works of this kind, and full of romance from the beginning to the end.

Among the Mexican novelists one finds remarkably good descriptive power; just as the country glows with intense life and color, so do their fiction and poetry express fervid passion and feeling. There is a tendency to epigrammatic terseness in sentence and paragraph. There is invariably a deep love of nature, expressed in most beautiful word painting and always there is intense patriotism with luminous force in the expression of it. The richness of the language and their love of home life give the Mexican writers on this subject great opportunities. The name of Irenio Paz, an editor as well as a novelist, is well known, as his simple direct style appeals to the readers. Vicente Riva Palacio, for his purity of language and elegance stands foremost among the writers of melodramatic intensity. His “Calvario y Tabor” is a historical novel covering the period of struggle which terminated in the overthrow of foreign power and the downfall of Maximilian, and treats of almost every possible range of emotion. It is a tale of the death agony of the Old Empire and the transfiguration of the New Republic, intermingled with loves and romances of the people, their habits, their hospitalities and extreme charity. The historical portions of the novel are superb and there are remarkable thoughts forcibly expressed.

Of original poets the last few decades have produced a great number and several indubitably had the divine fire. Manuel Acunha wrote several fervid poems of passion which have been and still are most popular. A master of lyrics is Guillermo Prieto, who has been acclaimed the laureate of Mexico. His work is the best expression of the national spirit of the people, whose patriotism grows steadily in fervor.

Singers only less great than these, are Davalos, Granados, Nervo, Tiron, Pazaza, Othon and Urbina. Showing promise of strong work in their maturity are many young men who are now producing plays, novels, and poems of worth. Juan de Dios Peza, whose death a few years since deprived Mexico of one of her best poets, wrote exquisitely “El Arpa del Amor” and “Recuerdos de mi vida.”

Among other writers are Rebolledo, Lopez, Campos, Urneta, Delgado, and Rivera. One of the most evident tendencies of these latter day authors is to break away from the influence of Spanish literature. Translations from the works of perhaps all the great writers of Europe are freely made and the American masters especially have been treated in this way. There is a better knowledge of American literature in Mexico than in any other foreign country, Great Britain not excepted. Naturally this study finds reflection in the Mexican literature, but underneath all is the growing nationalism which eventually must find full expression. The Golden Age of Mexican letters is not yet but there is promise of speedy entrance thereon.

Meantime the government is patronizing efforts to collect the folklore, ballads and songs of the nation. These are being carefully compiled and edited and when published will afford a revelation of thought and sentiment to the world. Persecution and warfare have always produced the most vibrant songs and Mexico has had her share of both.

Mexico is a land of book lovers. The genuine love of literature is universal, even the poorer classes are fond of reading love stories, and those having the simplest knowledge of reading find pleasure in books. There is a good market for books of the modern literature of France and Spain, and even English literature is gaining a foothold. Most wonderful libraries of costly editions are found in every home, especially in the homes of professional men.

Senator Licenciado don Francisco Alfara, the great criminal lawyer of Mexico, has the most remarkable collection of paintings of the old masters, books long out of date, and curios from every country of the world. His collection of original manuscript of old and famous writers is one of his valued possessions. Not only is the literature of Spain and France popular, the Mexicans have a literature of their own. As far back as 1680, King Netzahualcoyotl of Tezcoco wrote a poem on the “Mutability of Life.”

There are hundreds of cultivated men of Mexico who live in the enchanted ground of literature, contented in retirement from political discussions and business, devoting themselves to reading; besides this, Mexico has so many students, so many professors graduated from the Normal Schools, and so many Societies of different cults that it is a University centre.

There are many daily papers thriving in Mexico City. The _Imparcial_ is a very important paper, with an afternoon edition called _El Mundo_; both of these periodicals have a large circulation. Others are _El Tiempo_, _El Diario_, which is on the advanced order of our popular dailies, and _Correo Espanol_, a Spanish paper with a splendid editorial staff of young newspaper men. The _Mexican Daily Record_, an afternoon paper printed in English, has a very brilliant editorial staff, and the _Mexican Herald_, another English newspaper, is edited by an American.

There are weekly papers which are very ably edited, _Artes y Lettras_ is the most popular. _El Mundo Ilustrado_ is well illustrated, and deals lightly with important events of the week. _La Revista Literaria_, is edited by Señor Barron who is a popular local poet. The first book printed in Mexico was _La Escala Espiritual_ para _Llegar al Cielo_ (The Stairway to Heaven), printed in 1537.

In music, Mexico records no great composers of old, those of her folk songs being unknown, but music is a passion with the people and musical education one of the chief cares of the government. Public concerts are generally given throughout the cities and the nation maintains a conservatory in the capital city wherein is one of the best libraries of music extant. All the great European soloists and directors look to at least one season in Mexico as part of their natural experience and nowhere do they find more appreciative and critical audiences. Two, at least, of the Mexican moderns have achieved international fame, Antonio Zuniga, of Guanajúato, and Chang-Cilli, of Yucatán, whose orchestrations are familiar to and frequently used by European leaders.

Just now very intelligent efforts are being made to educate the artistic side of the Mexican people and although many of these take the direction of improving the arts and crafts for commercial advantage, the result is bound to be the development of individual talent. Great artists and great works of art are to be expected of Mexico.