Visit https://testbankfan.

com to download the full version and

explore more testbank or solutions manual

Database Processing Fundamentals Design and

Implementation 15th Edition Kroenke Solutions
Manual

_____ Click the link below to download _____

https://testbankfan.com/product/database-processing-
fundamentals-design-and-implementation-15th-edition-kroenke-
solutions-manual/

Explore and download more testbank or solutions manual at testbankfan.com

Here are some recommended products that we believe you will be
interested in. You can click the link to download.

Database Processing Fundamentals Design and Implementation

15th Edition Kroenke Test Bank

https://testbankfan.com/product/database-processing-fundamentals-
design-and-implementation-15th-edition-kroenke-test-bank/

Database Processing Fundamentals Design and Implementation

13th Edition Kroenke Solutions Manual

https://testbankfan.com/product/database-processing-fundamentals-
design-and-implementation-13th-edition-kroenke-solutions-manual/

Database Processing Fundamentals Design and Implementation

14th Edition Kroenke Solutions Manual

https://testbankfan.com/product/database-processing-fundamentals-
design-and-implementation-14th-edition-kroenke-solutions-manual/

Database Processing Fundamentals Design and Implementation

13th Edition Kroenke Test Bank

https://testbankfan.com/product/database-processing-fundamentals-
design-and-implementation-13th-edition-kroenke-test-bank/
Database Processing Fundamentals Design and Implementation
14th Edition Kroenke Test Bank

https://testbankfan.com/product/database-processing-fundamentals-
design-and-implementation-14th-edition-kroenke-test-bank/

Database Processing 11th Edition Kroenke Solutions Manual

https://testbankfan.com/product/database-processing-11th-edition-
kroenke-solutions-manual/

Database Processing 12th Edition Kroenke Solutions Manual

https://testbankfan.com/product/database-processing-12th-edition-
kroenke-solutions-manual/

Database Processing 12th Edition Kroenke Test Bank

https://testbankfan.com/product/database-processing-12th-edition-
kroenke-test-bank/

Database Systems Design Implementation and Management 12th

Edition Coronel Solutions Manual

https://testbankfan.com/product/database-systems-design-
implementation-and-management-12th-edition-coronel-solutions-manual/
 INSTRUCTOR’S MANUAL
TO ACCOMPANY

David M. Kroenke | David J. Auer | Scott L. Vandenberg | Robert C. Yoder

40th Anniversary Edition

DATABASE PROCESSING
Fundamentals, Design, and Implementation
15th Edition

Chapter 7
SQL for Database Construction and Application Processing

Prepared By
David J. Auer
Western Washington University
Instructor's Manual to accompany:

Database Processing: Fundamental, Design, and Implementation (15th Edition)

David M. Kroenke | David J. Auer | Scott L. Vandenberg | Robert C. Yoder

Copyright © 2019 Pearson Education, Inc.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted,
in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior
written permission of the publisher. Printed in the United States of America.
 Chapter Seven – SQL For Database Construction and Application Processing

❖ CHAPTER OBJECTIVES
• To be able to create and manage table structures using SQL statements
• To understand how referential integrity actions are implemented in SQL statements
• To be able to create and execute SQL constraints
• To understand several uses for SQL views
• To be able to use SQL statements to create, use, and manage views
• To gain an understanding of how SQL is used in an application program
• To understand how to create and use functions
• To understand how to create and use triggers
• To understand how to create and use stored procedures

❖ IMPORTANT TEACHING NOTE – READ THIS FIRST!

Chapter 7 is intended to be taught in conjunction with one of these downloadable online
chapters depending on which DBMS product you are using:
• For Microsoft SQL Server 2017, use online Chapter 10A.
• For Oracle Database 12c Release 2 or Oracle Database XE, use online Chapter
10B.
• For MySQL 5.7, use online Chapter 10C.
For each topic discussed in Chapter 7, there is a more detailed and DBMS specific
treatment of the same topic in online Chapters 10A, 10B, and 10C.
When you teach a topic in Chapter 7, extend the coverage with the associated material
in online Chapters 10A, 10B, and 10C.
Assignments from the end of chapter Review Question, Project Questions, Cases and
Projects also can and should be coordinated between Chapter 7 and the online DBMS
specific chapters.
The online Chapters are available for downloading at
http://www.pearsonhighered.com/kroenke/.

Page 7-3
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

❖ ERRATA
[05-MAY-2018 – David Auer] Page 412. The Queen Ann Curiosity Shop Project
Question M has a misspelled word. The corrected question text is:
Write an SQL statement to create a view called EmployeeSupervisorView that shows who, if anyone,
supervises each employee at The Queen Anne Curiosity Shop, and which contains E1.LastName as
EmployeeLastName, E1.FirstName as EmployeeFirstName, E1.Position, E2.Lastname as
SupervisorLastName, and E2.FirstName as SupervisorFirstName. E1 and E2 are two aliases for the
EMPLOYEE table, and are required to run a query on a recursive relationship. Include employees
who do not have a supervisor. Run the statement to create the view, and then test the view with an
appropriate SQL SELECT statement.

[05-MAY-2018 – Scott Vandenberg] Page 416. There is an error in the list of values for
the STORE.Country column. Based on Figure 7-61, possible values should include the
People’s Republic of China, but not Hong Kong because Hong Kong is now part of the
People’s Republic of China. The corrected question text is:
Values of the Country column in the STORE table are restricted to: India, Japan, People’s Republic of
China, Peru, Philippines, Singapore, and United States.

[05-MAY-2018 – David Auer] Page 412. The Queen Ann Curiosity Shop Project
Question M has a misspelled word. The corrected question text is:
Write an SQL statement to create a view called EmployeeSupervisorView that shows who, if anyone,
supervises each employee at The Queen Anne Curiosity Shop, and which contains E1.LastName as
EmployeeLastName, E1.FirstName as EmployeeFirstName, E1.Position, E2.Lastname as
SupervisorLastName, and E2.FirstName as SupervisorFirstName. E1 and E2 are two aliases for the
EMPLOYEE table, and are required to run a query on a recursive relationship. Include employees
who do not have a supervisor. Run the statement to create the view, and then test the view with an
appropriate SQL SELECT statement.

[06-MAY-2018 – Bob Yoder] Page 412. The Queen Ann Curiosity Shop Project
Question Q has an incorrect SQL view name. The corrected question text is:
Write an SQL statement to create a view called CustomerFirstNameFirstSaleSummaryView that
contains SALE.SaleID, SALE.SaleDate, CUSTOMER.CustomerID, the concatenated customer name
using the FirstNameFirst function, SALE_ITEM .SaleItemID, SALE_ITEM.ItemID,
ITEM.ItemDescription, and ITEM.ItemPrice. Run the statement to create the view, and then test the
view with an appropriate SQL SELECT statement.

Page 7-4
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

❖ TEACHING SUGGESTIONS
• If your students have been using Access, now is really the time to switch to Microsoft
SQL Server 2017, Oracle Database, or MySQL 5.7. Refer your students to the
beginning of Online Chapter 10A for Microsoft SQL Server 2017, Online Chapter 10B
for Oracle Database (Oracle Database Express Edition 11g Release 2, aka Oracle
Database XE is heavily recommended), and Online Chapter 10C for MySQL 5.7
setup instructions.
• The SQL examples shown in Chapter 7 and the questions in the end of chapter
material work the best with the Transact-SQL (T-SQL) used in Microsoft SQL Server
2017. If your students are using Microsoft SQL Server 2017, they should be able to
create the tables, populate the tables and run the other SQL commands with little
trouble. The SQL used in Microsoft Access 2016, Oracle Database (PL/SQL), and
MySQL 5.7 varies in their ability to support all the SQL commands used here.
Oracle Database and MySQL do a better job of supporting standard SQL, while
Microsoft Access has significant variations from the standard. In the answers to the
end of chapter questions I have often shown the solution using two or more of the
three DBMSs. Otherwise, I primarily use Microsoft SQL Server 2017. If your
students are using Microsoft Access 2016, Oracle Database, or MySQL 5.7 check
the solutions to the questions before you assign them so that you can tell your
students what to watch out for!
• As discussed in the IM Chapter 2 suggestions, there is a useful teaching technique
that will allow you to demonstrate the SQL queries in the text using MS SQL Server if
you have it available.
• Create a new SQL Server database named Cape-Codd.
• Use the SQL statements in the *.sql text file DBP-e15-MSSQL-Cape-Codd-
Create-Tables.sql to create the Cape Codd database tables (the additional
tables used in the Chapter 2 Review Questions, are also created).
• Use the SQL statements in the *.sql text file DBP-e15-MSSQL-Cape-Codd-
Insert-Data.sql to populate the Cape Codd tables (the additional tables used
in the Chapter 2 Review Questions, are also populated).
• Open the Microsoft SQL Server Management Studio and select the Cape-
Codd database.
• In the Microsoft SQL Server Management Studio, open the *.sql text file DBP-
e15-MSSQL-Cape-Codd-Query-Set-CH02.sql. This file contains all the
queries shown in the Chapter 2 text.
• Highlight the query you want to run, and then click the Execute Query button
to display the results of the query. An example of this is shown in the
following screenshot.
• All of the *.sql text files needed to do this are available in the Instructor’s
Resource Center on the text’s Web site
(www.pearsonhighered.com/kroenke).

Page 7-5
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

• The trick shown for SQL Server 2017 also works for Oracle Database using the
Oracle SQL Developer and for MySQL 5.7 using the MySQL workbench.
• Remind your students that Microsoft Access does not support all SQL constructs.
• Because of the complexity of the SQL statements to construct the View Ridge
Gallery VRG database, the necessary SQL scripts are included in the set of student
data files available at the text’s Web site (www.pearsonhighered.com/kroenke).
• Review Questions 7.04-7.40 are specifically designed to reinforce the most important
basic ideas of creating and populating tables, with a bit on SQL views also included.
These exercises are based on our recent classroom teaching experience, which
taught us the need for some very basic exercises in creating and populating tables
before going on to more complex assignments. This set of exercises is very heavily
recommended!
• Tell your students that a check constraint that provides an enumerated list is often
implemented with a table and a relationship. For example, the constraint CHECK
(Rank IN (‘FR’, ‘SO’, ‘JR’, ‘SR’)) could be implemented by creating a Rank table and
placing the list in that table. Now the Rank attribute becomes a foreign key and
referential integrity enforces the constraint. Changing the list means adding and
deleting from the RANK table.
• The relationship of database applications and the DBMS is sometimes confusing.
For a simple application using a personal DBMS such as Microsoft Access, the
application and the DBMS are nearly indistinguishable. If an application has only a
few forms and reports, and all of these are created using DBMS facilities, then the
application and the DBMS are the same. On the other hand, for an organizational
database processed by say, Oracle Database, any application elements discussed in
this chapter would be provided by application program code completely separate

Page 7-6
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

from the DBMS. It’s easier to understand all of this by focusing on application
functions that must be provided — in some cases by facilities in the DBMS and in
other cases by separate application programs.
• It is important to distinguish between an SQL view (the logical structure of data
elements) and a materialization of the view (a form or report). One SQL view can
have many materializations. While this distinction has always been important, it has
become even more so in light of three-tier architecture.
• Remind students that views can be used to implement certain types of security. Most
commonly, they are used to restrict access to attributes and to restrict actions on
tables. This is discussed in detail in Chapter 9.
• You might also remind students that sometimes SQL views are necessary to
complete certain queries.
• Too often students understand how SQL can be used for interactive query, but do
not really understand its role in application processing. In fact, SQL is far more
frequently used for SQL view processing as described here than it is as an
interactive query tool.
• SQL/Persistent Stored Modules (SQL/PSM), stored procedures and triggers
complete a student’s understanding of how database systems work. Often, we talk
about designing database systems to enforce business rules but find many rules that
we cannot enforce through design alone. Triggers will help enforce most rules that
design cannot enforce.
• SQL *sql files containing the solutions to the questions and projects at the end of the
chapter are available on the text’s Web site (www.pearsonhighered.com/kroenke).

Page 7-7
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

❖ ANSWERS TO REVIEW QUESTIONS

7.1 What does DDL stand for? List the SQL DDL statements.

DDL stands for Data Definition Language. DDL statements include:

• CREATE TABLE

• ALTER TABLE

• DROP TABLE

• TRUNCATE TABLE

7.2 What does DML stand for? List the SQL DML statements.

DML stands for Data Manipulation Language. DML statements include:

• INSERT

• UPDATE

• DELETE

• MERGE

7.3 Explain the meaning of the following expression: IDENTITY (4000, 5).

The IDENTITY keyword is used to modify a column name, and is used to specify surrogate keys.
The first number parameter after IDENTITY specifies the starting value for the surrogate key,
and the second number specifies the increment value for each additional record. Thus a column
named RelationID and modified by IDENTITY (4000, 5) will be a surrogate key named
RelationID with an initial value of 4000 (for the first record in the relation), and with following
values incremented by 5: 4000, 4005, 4010, etc.

Page 7-8
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

For this set of Review Questions, we will create and use a database with a set of tables that will
allow us to compare variations in SQL CREATE TABLE and SQL INSERT statements. The
purpose of these questions is to illustrate different situations that call for specific uses of various
SQL CREATE TABLE and SQL INSERT options.

The database will be named CH07_RQ_TABLES and will contain the following six tables:

CUSTOMER_01 (EmailAddress, LastName, FirstName)

CUSTOMER_02 (CustomerID, EmailAddress, LastName, FirstName)

CUSTOMER_03 (CustomerID, EmailAddress, LastName, FirstName)

CUSTOMER_04 (CustomerID, EmailAddress, LastName, FirstName)

SALE_01 (SaleID, DateOfSale, EmailAddress, SaleAmount)

SALE_02 (SaleID, DateOfSale, CustomerID, SaleAmount)

EmailAddress is a text column containing an email address, and is therefore not a surrogate
key. CustomerID is a surrogate key that starts at 1 and increments by 1. SaleID is a surrogate
key that starts at 20150001 and increases by 1.

The CH07_RQ_TABLES database has the following referential integrity constraints:

EmailAddress in SALE_01 must exist in EmailAddress in CUSTOMER_01

CustomerID in SALE_02 must exist in CustomerID in CUSTOMER_04

The relationship from SALE_01 to CUSTOMER_01 is N:1, O-M.

The relationship from SALE_02 to CUSTOMER_04 is N:1, O-M.

The column characteristics for these tables are shown in Figures 7-35 (CUSTOMER_01), 7-36
(CUSTOMER_02, CUSTOMER_03, and CUSTOMER_04), 7-37 (SALE_01), and 7-38
(SALE_02). The data for these tables are shown in Figures 7-39 (CUSTOMER_01), 7-40
(CUSTOMER_02), 7-41 (CUSTOMER_04), 7-42 (SALE_01), and 7-43 (SALE_02).

7.4 If you are using Microsoft SQL Server, Oracle Database, or MySQL, create a folder in
your Documents folder to save and store the *.sql scripts containing the SQL statements
that you are asked to create in the following Review Questions about the
CH07_RQ_TABLES database.

• For SQL Server Management Studio, create a folder named CH07-RQ-TABLES-

Database in the Projects folder in your SQL Server Management Studio folder.

• For Oracle SQL Developer, create a folder named CH07-RQ-TABLES-Database

in your SQL Developer folder.

Page 7-9
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

• For SQL Workbench, create a folder named CH07-RQ-TABLES-Database in the

Schemas folder in your MySQL Workbench folder.

• If you are using Microsoft Access 2016, create a folder named CH07-Databases
in your DBPe15-Access-2016-Databases folder.

This is self-explanatory. The student will create the appropriate folder to hold the *.sql scripts
created in these Review Questions

7.5 Create a database named CH07_RQ_TABLES.

This is self-explanatory. The student will create the appropriate database base upon which DBMS
product they are using. For further guidance on creating a new database:

• For Microsoft SQL Server 2017, see online Chapter 10A.

• For Oracle Database, see online Chapter 10B.

• For MySQL 5.7, see online Chapter 10C.

7.6 If you are using Microsoft SQL Server, Oracle Database, or MySQL, create and save an
SQL script named CH07-RQ-TABLES-Tables-Data-and-Views.sql to hold the answers to
Review Questions 7.7–7.40. Use SQL script commenting (/* and */ symbols) to write
your answers to Review Questions that require written answers as comments.

If you are running Microsoft Access 2016, create and save a Microsoft Notepad text file
named CH07-RQ-TABLES-Tables-Data-and-Views.txt to hold the answers to Review
Questions 7.7–7.40. After you run each SQL statement in Microsoft Access 2016, copy
your SQL statement to this file.

This is self-explanatory. The student will create an *.sql script named CH07-RQ-TABLES-
Tables-Data-and-Views.sql, unless the student is using Microsoft Access 2016 (which they really
shouldn’t be at this point!), in which case they will create a text file named CH07-RQ-TABLES-
Tables-Data-and-Views.txt to hold certain answers.

7.7 Write and run an SQL CREATE TABLE statement to create the CUSTOMER_01 table.

For Microsoft SQL Server, Oracle Database, and MySQL 5.7:

CREATE TABLE CUSTOMER_01(
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_01_PK PRIMARY KEY(EmailAddress)
);

Page 7-10
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

7.8 Write and run an SQL CREATE TABLE statement to create the CUSTOMER_02 table.

For Microsoft SQL Server:

CREATE TABLE CUSTOMER_02(
CustomerID INT NOT NULL IDENTITY(1, 1),
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_02_PK PRIMARY KEY(CustomerID)
);

Page 7-11
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

For Oracle Database:

Oracle creates primary key surrogate values by using sequences.

CREATE TABLE CUSTOMER_02(

CustomerID INT NOT NULL ,
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_02_PK PRIMARY KEY(CustomerID)
);

CREATE SEQUENCE seqC02 INCREMENT BY 1 START WITH 1;

For MySQL 5.7:

MySQL creates primary key surrogate values by AUTO_INCREMENT, which always
increments by 1. The starting value may be set using an SQL ALTER TABLE statement.

CREATE TABLE CUSTOMER_02(

CustomerID INT NOT NULL AUTO_INCREMENT,
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_02_PK PRIMARY KEY(CustomerID)
);

7.9 Are there any significant differences between the CUSTOMER_01 and CUSTOMER_02
tables? If so, what are they?

CUSTOMER_02 uses a surrogate primary key, while CUSTOMER_01 uses a non-surrogate

primary key.

7.10 Write and run an SQL CREATE TABLE statement to create the CUSTOMER_03 table.

For Microsoft SQL Server:

CREATE TABLE CUSTOMER_03(
CustomerID INT NOT NULL IDENTITY(1, 1),
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_03_PK PRIMARY KEY(CustomerID)
);

Page 7-12
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

For Oracle Database XE:

Oracle creates primary key surrogate values by using sequences.

CREATE TABLE CUSTOMER_03(

CustomerID INT NOT NULL ,
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_03_PK PRIMARY KEY(CustomerID)
);

CREATE SEQUENCE seqC03 INCREMENT BY 1 START WITH 1;

For MySQL 5.7:

MySQL creates primary key surrogate values by AUTO_INCREMENT, which always
increments by 1. The starting value may be set using an SQL ALTER TABLE statement.

CREATE TABLE CUSTOMER_03(

CustomerID INT NOT NULL AUTO_INCREMENT,
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_03_PK PRIMARY KEY(CustomerID)
);

7.11 Are there any significant differences between the CUSTOMER_02 and CUSTOMER_03
tables? If so, what are they?

The table structure is the same, so there are no significant differences between the
CUSTOMER_02 and CUSTOMER_03 tables.

7.12 Write and run an SQL CREATE TABLE statement to create the CUSTOMER_04 table.

For Microsoft SQL Server:

CREATE TABLE CUSTOMER_04(
CustomerID INT NOT NULL IDENTITY(1, 1),
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_04_PK PRIMARY KEY(CustomerID)
);

Page 7-13
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

For Oracle Database XE:

Oracle creates primary key surrogate values by using sequences.

CREATE TABLE CUSTOMER_04(

CustomerID INT NOT NULL ,
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_03_PK PRIMARY KEY(CustomerID)
);

CREATE SEQUENCE seqC04 INCREMENT BY 1 START WITH 1;

For MySQL 5.7:

MySQL creates primary key surrogate values by AUTO_INCREMENT, which always
increments by 1. The starting value may be set using an SQL ALTER TABLE statement.

CREATE TABLE CUSTOMER_04(

CustomerID INT NOT NULL AUTO_INCREMENT,
EmailAddress VARCHAR(100) NOT NULL,
LastName VARCHAR(25) NOT NULL,
FirstName VARCHAR(25) NOT NULL,
CONSTRAINT CUSTOMER_04_PK PRIMARY KEY(CustomerID)
);

7.13 Are there any significant differences between the CUSTOMER_03 and CUSTOMER_04
tables? If so, what are they?

The table structure is the same, so there are no significant differences between the
CUSTOMER_03 and CUSTOMER_04 tables.

7.14 Write and run an SQL CREATE TABLE statement to create the SALE_01 table. Note
that the foreign key is EmailAddress, which references CUSTOMER_01. EmailAddress.
In this database, CUSTOMER_01 and SALE_01 records are never deleted, so that there
will be no ON DELETE referential integrity action. However, you will need to decide how
to implement the ON UPDATE referential integrity action.

For Microsoft SQL Server:

CREATE TABLE SALE_01(
SaleID INT NOT NULL IDENTITY(20150001, 1),
DateOfSale DATE NOT NULL,
EmailAddress VARCHAR(100) NOT NULL,
SaleAmount NUMERIC(7,2) NOT NULL,
CONSTRAINT SALE_PK_01 PRIMARY KEY(SaleID),
CONSTRAINT S_01_C_01_FK FOREIGN KEY(EmailAddress)
REFERENCES CUSTOMER_01(EmailAddress)
ON UPDATE CASCADE
);

Page 7-14
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

For Oracle Database:

Oracle creates primary key surrogate values by using sequences.

CREATE TABLE SALE_01(

SaleID INT NOT NULL,
DateOfSale DATE NOT NULL,
EmailAddress VARCHAR(100) NOT NULL,
SaleAmount NUMERIC(7,2) NOT NULL,
CONSTRAINT SALE_PK_01 PRIMARY KEY(SaleID),
CONSTRAINT S_01_C_01_FK FOREIGN KEY(EmailAddress)
REFERENCES CUSTOMER_01(EmailAddress) );

CREATE SEQUENCE seqS01 INCREMENT BY 1 START WITH 20150001;

For MySQL 5.7:

MySQL creates primary key surrogate values by AUTO_INCREMENT, which always
increments by 1. The starting value may be set using an SQL ALTER TABLE statement.

);
CREATE TABLE SALE_01(
SaleID INT NOT NULL AUTO_INCREMENT,
DateOfSale DATE NOT NULL,
EmailAddress VARCHAR(100) NOT NULL,
SaleAmount NUMERIC(7,2) NOT NULL,
CONSTRAINT SALE_PK_01 PRIMARY KEY(SaleID),
CONSTRAINT S_01_C_01_FK FOREIGN KEY(EmailAddress)
REFERENCES CUSTOMER_01(EmailAddress)
ON UPDATE CASCADE
);

ALTER TABLE SALE_01 AUTO_INCREMENT =20150001;

7.15 In Review Question 7.14, how did you implement the ON UPDATE referential integrity
action? Why?

The ON UPDATE referential integrity action is implemented as CASADE. This is because the
primary key of CUSTOMER_01 (EmailAddress) is not a surrogate key, and may therefore be
changed. Any changes to EmailAdress in CUSTOMER_01 must also be made to corresponding
values in SALE_01.

For Oracle Database:

In Oracle, the ON UPDATE option is not available, so a trigger would need to be created to
enforce this:

CREATE OR REPLACE TRIGGER CustSalesUpdateCascade01

AFTER UPDATE OF EmailAddress ON Customer_01
FOR EACH ROW
BEGIN
UPDATE SALE_01 SET EmailAddress = :new.EmailAddress
WHERE EmailAddress = :old.EmailAddress;
END;
/

Page 7-15
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

7.16 Are there any significant differences between the CUSTOMER_01 and SALE_01 tables?
If so, what are they?

SALE_01 uses a surrogate primary key, while CUSTOMER_01 uses a non-surrogate primary
key.

SALE_01 contains a foreign key with a referential integrity constraint to link it to

CUSTOMER_01, while CUSTOMER_01 does not contain a foreign key.

7.17 Could we have created the SALE_01 table before creating the CUSTOMER_01 table? If
not, why not?

No, because the primary key CUSTOMER_01.EmailAddress must be created before the foreign
key SALE_01.EmailAddress.

7.18 Write and run an SQL CREATE TABLE statement to create the SALE_02 table. Note
that the foreign key is CustomerID, which references CUSTOMER_04.CustomerID. In
this database, CUSTOMER_04 and SALE_02 records are never deleted, so that there
will be no ON DELETE referential integrity action. However, you will need to decide how
to implement the ON UPDATE referential integrity action.

For Microsoft SQL Server:

CREATE TABLE SALE_02(
SaleID INT NOT NULL IDENTITY(20150001, 1),
DateOfSale DATE NOT NULL,
EmailAddress VARCHAR(100) NOT NULL,
SaleAmount NUMERIC(7,2) NOT NULL,
CONSTRAINT SALE_02_PK PRIMARY KEY(SaleID),
CONSTRAINT S_02_C_04_FK FOREIGN KEY(CustomerID)
REFERENCES CUSTOMER_04(CustomerID)
ON UPDATE NO ACTION
);

For Oracle Database:

Oracle creates primary key surrogate values by using sequences.

CREATE TABLE SALE_02(

SaleID INT NOT NULL,
DateOfSale DATE NOT NULL,
CustomerID INT NOT NULL,
SaleAmount NUMERIC(7,2) NOT NULL,
CONSTRAINT SALE_02_PK PRIMARY KEY(SaleID),
CONSTRAINT S_02_C_04_FK FOREIGN KEY(CustomerID)
REFERENCES CUSTOMER_04(CustomerID)
);

CREATE SEQUENCE seqS02 INCREMENT BY 1 START WITH 20150001;

Page 7-16
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

For MySQL 5.7:

MySQL creates primary key surrogate values by AUTO_INCREMENT, which always
increments by 1. The starting value may be set using an SQL ALTER TABLE statement.

);
CREATE TABLE SALE_02(
SaleID INT NOT NULL AUTO_INCREMENT,
DateOfSale DATE NOT NULL,
EmailAddress VARCHAR(100) NOT NULL,
SaleAmount NUMERIC(7,2) NOT NULL,
CONSTRAINT SALE_02_PK PRIMARY KEY(SaleID),
CONSTRAINT S_02_C_04_FK FOREIGN KEY(CustomerID)
REFERENCES CUSTOMER_04(CustomerID)
ON UPDATE NO ACTION
);

ALTER TABLE SALE_02 AUTO_INCREMENT =20150001;

7.19 In Review Question 7.18, how did you implement the ON UPDATE referential integrity
action? Why?

The ON UPDATE referential integrity action is implemented as NO ACTION. This is because

the primary key of CUSTOMER_04 (CustomerID) is a surrogate key, and surrogate key values
are never changed.

For Oracle Database:

In Oracle, the ON UPDATE option is not available, but it doesn’t matter since no action is
necessary.

7.20 Are there any significant differences between the SALE_01 and SALE_02 tables? If so,
what are they?

While both tables use the same structure, they link to different versions of the CUSTOMER table,
and therefore SALE_01 uses ON UPDATE CASCADE while SALE_02 uses ON UPDATE NO
ACTION.

7.21 Could we have created the SALE_02 table before creating the CUSTOMER_04 table? If
not, why not?

No, because the primary key CUSTOMER_04.CustomerID must be created before the foreign
key SALE_02.CustomerID.

Page 7-17
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

7.22 Write and run a set of SQL INSERT statements to populate the CUSTOMER_01 table.

INSERT INTO CUSTOMER_01 (EmailAddress, LastName, FirstName)

VALUES('[email protected]','Shire', 'Robert');
INSERT INTO CUSTOMER_01 (EmailAddress, LastName, FirstName)
VALUES('[email protected]','Goodyear', 'Katherine');
INSERT INTO CUSTOMER_01 (EmailAddress, LastName, FirstName)
VALUES('[email protected]','Bancroft', 'Chris');

SELECT * FROM CUSTOMER_01;

7.23 Write and run a set of SQL INSERT statements to populate the CUSTOMER_02 table.
Do not use a bulk INSERT command.

For Microsoft SQL Server and MySQL:

INSERT INTO CUSTOMER_02 (EmailAddress, LastName, FirstName)
VALUES('[email protected]','Shire', 'Robert');
INSERT INTO CUSTOMER_02 (EmailAddress, LastName, FirstName)
VALUES('[email protected]','Goodyear', 'Katherine');
INSERT INTO CUSTOMER_02 (EmailAddress, LastName, FirstName)
VALUES('[email protected]','Bancroft', 'Chris');

SELECT * FROM CUSTOMER_02;

For Oracle Database:

Note the use of the Oracle DB nextVal property:
INSERT INTO CUSTOMER_02 VALUES(
seqC02.nextVal, '[email protected]','Shire', 'Robert');
INSERT INTO CUSTOMER_02 VALUES(
seqC02.nextVal, '[email protected]','Goodyear', 'Katherine');
INSERT INTO CUSTOMER_02 VALUES(
seqC02.nextVal, '[email protected]','Bancroft', 'Chris');

Page 7-18
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

7.24 Are there any significant differences between the sets of SQL INSERT statements used
to populate the CUSTOMER_01 and CUSTOMER_02 tables? If so, what are they?

Although the SQL code appears identical, the SQL INSERT statements for CUSTOMER_01
contain the primary key EmailAddress values, while the SQL INSERT statements for
CUSTOMER_02 are written anticipating that the values for the surrogate primary key
CustomerID values will be supplied by the DBMS.

7.25 Write and run an SQL INSERT statement to populate the CUSTOMER_03 table. Use a
bulk INSERT command and the data in the CUSTOMER_01 table.

For Microsoft SQL Server and MySQL:

INSERT INTO CUSTOMER_03 (EmailAddress, LastName, FirstName)
SELECT EmailAddress, LastName, FirstName
FROM CUSTOMER_01;

SELECT * FROM CUSTOMER_03;

For Oracle Database:

Note the use of the Oracle DB nextVal property and the use of the alias C for the results of the
SELECT on the CUSTOMER_01 table :
INSERT INTO Customer_03
SELECT seqC03.nextVal, C.EmailAddress, C.LastName, C.FirstName
FROM (SELECT DISTINCT EmailAddress, LastName, FirstName
FROM CUSTOMER_01) C;

7.26 Are there any significant differences between the sets of SQL INSERT statements used
to populate the CUSTOMER_02 and CUSTOMER_03 tables? If so, what are they?

The SQL INSERT statements for CUSTOMER_02 contain the needed data values for the
statements, while the bull insert SQL INSERT statements for CUSTOMER_03 depend upon data
in CUSTOMER_01.

In addition, in order to use the sequence in a bulk insert in Oracle, we needed to use a nested
query in the FROM clause (see RQ 7.25 above).

Page 7-19
Copyright © 2019Pearson Education, Inc.
 Chapter Seven – SQL For Database Construction and Application Processing

7.27 Write and run a set of SQL INSERT statements to populate rows 1 through 3 in the
CUSTOMER_04 table. Note that this question involves non-sequential surrogate key
values and is based on techniques for Microsoft SQL Server 2017 in Chapter 10A, for
Oracle Database in Chapter 10B, or for MySQL 5.7 in Chapter 10C, depending upon
which DBMS product you are using.

For Microsoft SQL Server:

/* Be sure IDENTITY_INSERT is OFF for all tables. */

SET IDENTITY_INSERT CUSTOMER_04 OFF

/********************************************************************************/

/* INSERT data for CUSTOMER_04 */

/* Set INDENTITY_INSERT to ON for CUSTOMER_43; */

/* reset it to OFF after non-sequential CUSTOMER data is inserted. */

SET IDENTITY_INSERT CUSTOMER_04 ON

INSERT INTO CUSTOMER_04 (CustomerID, EmailAddress, LastName, FirstName)

VALUES(17, '[email protected]','Shire', 'Robert');
INSERT INTO CUSTOMER_04 (CustomerID, EmailAddress, LastName, FirstName)
VALUES(23, '[email protected]','Goodyear', 'Katherine');
INSERT INTO CUSTOMER_04 (CustomerID, EmailAddress, LastName, FirstName)
VALUES(46, '[email protected]','Bancroft', 'Chris');

SET IDENTITY_INSERT CUSTOMER_04 OFF

SELECT * FROM CUSTOMER_04;

For Oracle Database:

The data for CUSTOMER_04 uses non-sequential -- surrogate key values for the primary key
CustomerID, and therefore we insert the value directly instead of using the sequence.
INSERT INTO CUSTOMER_04 (CustomerID, EmailAddress, LastName, FirstName)
VALUES(17, '[email protected]','Shire', 'Robert');
INSERT INTO CUSTOMER_04 (CustomerID, EmailAddress, LastName, FirstName)
VALUES(23, '[email protected]','Goodyear', 'Katherine');
INSERT INTO CUSTOMER_04 (CustomerID, EmailAddress, LastName, FirstName)
VALUES(46, '[email protected]','Bancroft', 'Chris');

Page 7-20
Copyright © 2019Pearson Education, Inc.
Exploring the Variety of Random
Documents with Different Content
mourners, hidalgos and old Christians all, with olive faces and beards
of formal cut, looking on with true Castilian gravity and phlegm, as if
the transaction were an every-day occurrence. As they were mostly
portraits, perhaps some of the originals did actually stand, a few
years later, with the like awe in their hearts and calm on their
cheeks, in the royal presence-chamber, when the news came to
court that the proud Armada of Spain had been vanquished by the
galleys of Howard, and cast away on the rocks of the Hebrides." We
make no apology for thus freely quoting from Mr Stirling's pages his
description of this picture; the extract brings vividly before our
readers at once the merits of the old Toledan painter, and his
accomplished biographer and critic. After embellishing his adopted
city, not only with pictures such as this, but with works of sculpture
and architecture, and vindicating his graceful profession from the
unsparing exactions of the tax-gatherers—a class who appear to
have waged an unrelenting though intermittent war against the fine
arts in Spain—he died there at a green old age in 1625, and was
buried in the church of St Bartolemé. Even the painters most
employed at the munificent and art-loving court of the second and
third Philips, found time to paint for the venerable cathedral. Thus,
in 1615, Vincencio Carducho, the Florentine, painted, with Eugenio
Caxes, a series of frescoes in the chapel of the Sagrario; and thus
Eugenio Caxes, leaving the works at the Pardo and Madrid, painted
for the cathedral of Toledo the Adoration of the Magi, and other
independent pictures.
Meanwhile the school of El Greco was producing worthy fruit; from
it, in the infancy of the seventeenth century, came forth Luis Tristan,
an artist even now almost unknown in London and Edinburgh, but
whose style Velasquez did not disdain to imitate, and whose praises
he was never tired of sounding. "Born, bred, and sped" in Toledo, or
its neighbourhood, as Morales was emphatically the painter of
Badajoz, so may Tristan be termed the painter of Toledo. No foreign
graces, no classical models, adorned or vitiated his stern Spanish
style; yet, in his portrait of Archbishop Sandoval, he is said by Mr
Stirling to have united the elaborate execution of Sanchez Coello
with much of the spirit of Titian. And of him is the pleasant story
recorded, that having, while yet a stripling, painted for the
Jeronymite convent at Toledo a Last Supper, for which he asked two
hundred ducats, and being denied payment by the frugal friars, he
appealed with them to the arbitration of his old master, El Greco,
who, having viewed the picture, called the young painter a rogue
and a novice, for asking only two for a painting worth five hundred
ducats. In the same Toledan church that contains the ashes of his
great master, lies the Murcian Pedro Orrente, called by our author
"the Bassano, or the Roos—the great sheep and cattle master of
Spain:" he too was employed by the art-encouraging chapter, and
the cathedral possessed several of his finest pictures. But with
Tristan and Orrente the glories of Toledan art paled and waned; and,
trusting that our readers have not been uninterested in following our
brief sketch of the remarkable men who for four hundred years
rendered this quaint old Gothic city famous for its artistic splendours,
we retrace our steps, halting and perplexed among so many
pleasant ways, blooming flowers, and brilliant bowers, to the
magnificent, albeit gloomy Escurial, where Philip II lavished the
wealth of his mighty empire in calling forth the most vigorous
energies of Spanish and of foreign art.
For more than thirty years did the astonished shepherds of the
Guadaramas watch the mysterious pile growing under scaffolding
alive with armies of workmen; and often, while the cares of the Old
World and the New—to say nothing of that other World, which was
seldom out of Philip's thoughts, and to which his cruel fanaticism
hurried so many wretches before their time—might be supposed to
demand his attention at Madrid, were they privileged to see their
mighty monarch perched on a lofty ledge of rock, for hours, intently
gazing upon the rising walls and towers which were to redeem his
vow to St Laurence at the battle of Saint Quentin, and to hand
down, through all Spanish time, the name and fame of the royal and
religious founder. On the 23d of April 1563, the first stone of this
Cyclopean palace was laid, under the direction of Bautiste di Toledo,
at whose death, in 1567, the work was continued by Juan de
Herrera, and finally perfected by Leoni (as to the interior
decorations) in 1597. Built in the quaint unshapely form of St
Laurence's gridiron, the Escurial is doubtless open to much severe
criticism; but the marvellous grandeur, the stern beauty, and the
characteristic effect of the gigantic pile, must for ever enchant the
eyes of all beholders, who are not doomed by perverse fate to look
through the green spectacles of gentle dulness. But it is not our
purpose to describe the Escurial; we only wish to bring before our
readers the names and merits of a few of the Spanish artists, who
found among its gloomy corridors or sumptuous halls niches in the
temple of fame, and in its saturnine founder the most gracious and
munificent of patrons. Suffice it, then, to say of the palace-convent,
in Mr Stirling's graceful words, that "Italy was ransacked for pictures
and statues, models and designs; the mountains of Sicily and
Sardinia for jaspers and agates; and every sierra of Spain furnished
its contribution of marble. Madrid, Florence, and Milan supplied the
sculptures of the altars; Guadalajara and Cuenca, gratings and
balconies; Saragossa the gates of brass; Toledo and the Low
Countries, lamps, candelabra, and bells; the New World, the finer
woods; and the Indies, both East and West, the gold and gems of
the custodia, and the five hundred reliquaries. The tapestries were
wrought in Flemish looms; and, for the sacerdotal vestments, there
was scarce a nunnery in the empire, from the rich and noble orders
of Brabant and Lombardy to the poor sisterhoods of the Apulian
highlands, but sent an offering of needlework to the honoured
fathers of the Escurial."
We could wish to exclude from our paper all notice of the foreign
artists, whose genius assisted in decorating the new wonder of the
world; but how omit from any Escurialian or Philippian catalogue the
names of Titian and Cellini, Cambiaso and Tibaldi? For seven long
years did the great Venetian labour at his famous Last Supper,
painted for, and placed in the refectory; and countless portraits by
his fame-dealing pencil graced the halls and galleries of the Palatian
convents. In addition to these, the Pardo boasted eleven of his
portraits; among them, one of the hero Duke Emmanuel Philibert of
Savoy, who has received a second grant of renown—let us hope a
more lasting one[17]—from the poetic chisel of Marochetti, and stands
now in the great square of Turin, the very impersonation of chivalry,
horse and hero alike—�����������
�����������.
The magnificent Florentine contributed "the matchless marble
crucifix behind the prior's seat in the choir," of which Mr Stirling says
—"Never was marble shaped into a sublimer image of the great
sacrifice for man's atonement." Luca Cambiaso, the Genoese,
painted the Martyrdom of St Laurence for the high altar of the
church—a picture that must have been regarded, from its subject
and position, as the first of all the Escurial's religious pictures,—
besides the vault of the choir, and two great frescoes for the grand
staircase.
Pellegrino Tibaldi, a native of the Milanese, came at Philip's
request to the Escurial in 1586. He, too, painted a Martyrdom of
Saint Laurence for the high altar, but apparently with no better
success than his immediate predecessor, Zuccaro, whose work his
was to replace. But the ceiling of the library was Tibaldi's field of
fame; on it he painted a fresco 194 feet long by 30 wide, which still
speaks to his skill in composition and brilliancy in colouring. Philip
rewarded him with a Milanese marquisate and one hundred
thousand crowns.
Morales, the first great devotional painter of Castile, on whom his
admiring countrymen bestowed the soubriquet of "divine"—with
more propriety, it must be confessed, than their descendants have
shown in conferring it upon Arguelles—contributed but one picture
to the court, and none to the Escurial; but in Alonzo Sanchez Coello,
born at Benifayrô, in Valencia, we find a famous native artist
decorating the superb walls of the new palace. While at Madrid he
was lodged in the Treasury, a building which communicated with the
palace by a door, of which the King kept a key; and often would the
royal Mæcenas slip thus, unobserved by the artist, into his studio.
Emperors and popes, kings and queens, princes and princesses,
were alike his friends and subjects; but we are now only concerned
to relate that, in 1582, he painted "five altar-pieces for the Escurial,
each containing a pair of saints." Far more of interest, however,
attaches itself to the name and memory of Juan Fernandez
Navarete, "whose genius was no less remarkable than his infirmities,
and whose name—El Mudo, the dumb painter—is as familiar to
Europe as his works are unknown," (vol. i. p. 250.) Born at Logroño
in 1526, he went in his youth to Italy. Here he attracted the notice of
Don Luis Manrique, grand-almoner to Philip, who procured him an
invitation to Madrid. He was immediately set to work for the
Escurial; and in 1571 four pictures, the Assumption of the Virgin, the
Martyrdom of St James the Great, St Philip, and a Repenting St
Jerome, were hung in the sacristy of the convent, and brought him
five hundred ducats. In 1576 he painted, for the reception-hall of the
convent, a large picture representing Abraham receiving the three
Angels. "This picture," says Father Andres Ximenes, quoted by Mr
Stirling, (vol. i. p. 255) "so appropriate to the place it fills, though
the first of the master's works that usually meets the eye, might, for
its excellence, be viewed the last, and is well worth coming many a
league to see." An agreement, bearing date the same year, between
the painter and the prior, by which the former covenanted to paint
thirty-two large pictures for the side altars, is preserved by Cean
Bermudez; but El Mudo unfortunately died when only eight of the
series had been painted. On the 28th of March 1579 this excellent
and remarkable painter died in the 53d year of his age. A few years
later, Juan Gomez painted from a design of Tibaldi a large picture of
St Ursula, which replaced one of Cambiaso's least satisfactory
Escurialian performances.
While acres of wall and ceiling were being thus painted in fresco,
or covered by large and fine pictures, the Escurial gave a ready
home to the most minute of the fine arts: illuminators of missals,
and painters of miniatures, embroiderers of vestments, and
designers of altar-cloths, found their labours appreciated, and their
genius called forth, no less than their more aspiring compeers. Fray
Andrez de Leon, and Fray Martin de Palencia, enriched the Escurial
with exquisite specimens of their skill in the arts of miniature-
painting and illuminating; and under the direction of Fray Lorenzo di
Monserrate, and Diego Rutiner, the conventual school of embroidery
produced frontals and dalmatics, copes, chasubles, and altar-cloths,
of rarest beauty and happiest designs. The goldsmiths and
silversmiths, too, lacked not encouragement in this greatest of
temples. Curious was the skill, and cunning the hand, which
fashioned the tower of gold and jasper to contain the Escurial's
holiest relique,—a muscle, singed and charred, of St Laurence—and
no doubt that skill was nobly rewarded.
In 1598, clasping to his breast the veil of Our Lady of Monserrat,
in a little alcove hard by the church of the Escurial, died its grim,
magnificent founder. He had witnessed the completion of his gigantic
designs: palace and convent, there it stood—a monument alike of
his piety and his pride, and a proof of the grandeur and resources of
the mighty empire over which he ruled. But he appears to have
thought with the poet—

"Weighed in the balance, hero-dust

Is vile as mortal clay;"

for he built no stately mausoleum, merely a common vault, to

receive the imperial dead. This omission, in 1617, Philip III.
undertook to supply; and Giovanni Battista Crescenzi, an Italian, was
selected as the architect. For thirty-four years did he and his
successors labour at this royal necropolis, which when finished
"became, under the name of the Pantheon, the most splendid
chamber of the Escurial."—(Vol. i. p. 412.)
Mr Stirling's second volume opens with a graphic account of the
decay of Spanish power under Philip IV., and an equally graphic
description of this, the chief architectural triumph of his long
inglorious reign. The Pantheon was "an octagonal chamber 113 feet
in circumference, and 38 feet in height, from the pavement to the
centre of the domed vault. Each of its eight sides, excepting the two
which are occupied by its entrance, and the altar, contain four niches
and four marble urns; the walls, Corinthian pilasters, cornices and
dome, are formed of the finest marbles of Toledo and Biscay, Tortosa
and Genoa; and the bases, capitals, scrolls, and other ornaments,
are of gilt bronze. Placed beneath the presbytery of the church, and
approached by the long descent of a stately marble staircase, this
hall of royal tombs, gleaming with gold and polished jasper, seems a
creation of Eastern romance.... Hither Philip IV. would come, when
melancholy—the fatal taint of his blood was strong upon him—to
hear mass, and meditate on death, sitting in the niche which was
shortly to receive his bones." Yet this was the monarch whose quick
eye detected the early genius of Velasquez, and who bore the palm
as a patron from all the princes of his house, and all the sovereigns
of Europe. Well did the great painter repay the discriminating
friendship of the king, and so long as Spanish art endures, will the
features of Philip IV. be known in every European country; and his
fair hair, melancholy mien, impassive countenance and cold eyes,
reveal to all time the hereditary characteristics of the phlegmatic
house of Austria.
Diego Rodriguez de Silva y Velasquez was born at Seville in 1599.
Here he entered the school of Herrera the Elder, a dashing painter,
and a violent man, who was for ever losing alike his temper and his
scholars. Velasquez soon left his turbulent rule for the gentler
instruction of Francisco Pacheco. In his studio the young artist
worked diligently, while he took lessons at the same time of a yet
more finished artist—nature; the nature of bright, sunny, graceful
Andalusia. Thus, while Velasquez cannot be called a self-taught
painter, he retained to the last that freedom from mannerism, and
that gay fidelity to nature, which so often—not in his case—
compensate for a departure from the highest rules and requirements
of art.
While he was thus studying and painting the flowers and the
fruits, the damsels and the beggars, of sunny Seville, there arrived
in that beautiful city a collection of Italian and Spanish pictures.
These exercised no small influence on the taste and style of the
young artist; but, true to his country, and with the happy inspiration
of genius, it was to Luis Tristan of Toledo, rather than to any foreign
master, that he directed his chief attention; and hence the future
chief of the Castilian school was enabled to combine with its merits
the excellencies of both the other great divisions of Spanish art. At
the end of five years spent in this manner, he married Pacheco's
daughter, who witnessed all his forty years' labours and successes,
and closed his dying eyes. At the age of twenty-three, Velasquez,
anxious to enlarge his acquaintance with the masterpieces of other
schools, went to Madrid; but after spending a few months there, and
at the Escurial, he returned to Seville—soon, however, to be recalled
at the bidding of the great minister and Mæcenas, Olivarez. Now, in
1623, set in the tide of favour and of fame, which henceforward was
not to flag or ebb till the great painter lay stretched, out of its reach,
on the cold bank of death. During this summer he painted the noble
portrait of the king on horseback, which was exhibited by royal order
in front of the church of San Felipe, and which caused the all-
powerful Count-duke to exclaim, that until now his majesty had
never been painted. Charmed and delighted with the picture and the
painter, Philip declared no other artist should in future paint his royal
face; and Mr Stirling maliciously adds that "this resolution he kept far
more religiously than his marriage vows, for he appears to have
departed from it during the life-time of his chosen artist, in favour
only of Rubens and Crayer." (Vol. ii. p. 592.) On the 31st of October
1623, Velasquez was formally appointed painter in ordinary to the
king, and in 1626 was provided with apartments in the Treasury. To
this period Mr Stirling assigns his best likeness of the equestrian
monarch, of which he says—"Far more pleasing than any other
representation of the man, it is also one of the finest portraits in the
world. The king is in the glow of youth and health, and in the full
enjoyment of his fine horse, and the breeze blowing freshly from the
distant hills; he wears dark armour, over which flutters a crimson
scarf; a hat with black plumes covers his head, and his right hand
grasps a truncheon."—(P. 595.)
In 1628, Velasquez had the pleasure of showing Rubens, who had
come to Madrid as envoy from the Low Countries, the galleries of
that city, and the wonders of the Escurial; and, following the advice
of that mighty master, he visited Italy the next year. On that painter-
producing soil, his steps were first turned to the city of Titian; but
the sun of art was going down over the quays and palaces of once
glorious Venice, and, hurrying through Ferrara and Bologna, the
eager pilgrim soon reached Rome. In this metropolis of religion,
learning, and art, the young Spaniard spent many a pleasant and
profitable month: nor, while feasting his eyes and storing his
memory with "its thousand forms of beauty and delight," did he
allow his pencil a perfect holiday. The Forge of Vulcan and Joseph's
Coat were painted in the Eternal City. After a few weeks at Naples,
he returned to Madrid in the spring of 1631. Portrait-painting for his
royal patron, who would visit his studio every day, and sit there long
hours, seems to have been now his main occupation; and now was
he able to requite the friendly aid he had received from the Count-
duke of Olivarez, whose image remains reflected on the stream of
time, not after the hideous caricature of Le Sage, but as limned by
the truthful—albeit grace-conferring—pencil of Velasquez.
In 1639, leaving king and courtiers, lords and ladies, and soaring
above the earth on which he had made his step so sure, Velasquez
aspired to the grandest theme of poet, moralist, or painter, and
nobly did his genius justify the flight. His Crucifixion is one of the
sublimest representations conceived by the intellect, and portrayed
by the hand of man, of that stupendous event. "Unrelieved by the
usual dim landscape, or lowering clouds, the cross in this picture has
no footing upon earth, but is placed on a plain dark ground, like an
ivory carving on its velvet pall. Never was that great agony more
powerfully depicted. The head of our Lord drops on his right
shoulder, over which falls a mass of dark hair, while drops of blood
trickle from his thorn-pierced brows. The anatomy of the naked body
and limbs is executed with as much precision as in Cellini's marble,
which may have served Velasquez as a model; and the linen cloth
wrapped about the loins, and even the fir-wood of the cross, display
his accurate attention to the smallest details of a great subject."—
(Vol. ii. p. 619.) This masterpiece now hangs in the Royal Gallery of
Spain at Madrid.
The all-powerful Olivarez underwent, in 1643, the fate of most
favourites, and experienced the doom denounced by the great
English satirist on "power too great to keep, or to resign." He had
declared his intention of making one Julianillo, an illegitimate child of
no one exactly knew who, his heir; had married him to the daughter
of the Constable of Castile, decked him with titles and honours, and
proposed to make him governor of the heir-apparent. The pencil of
Velasquez was employed to hand down to posterity the features of
this low-born cause of his great patron's downfall, and the portrait of
the ex-ballad singer in the streets of Madrid now graces the
collection of Bridgewater House. The disgrace of Olivarez served to
test the fine character of Velasquez, who not only sorrowed over his
patron's misfortunes, but had the courage to visit the disgraced
statesman in his retirement.
The triumphal entrance of Philip IV. into Lerida, the surrender of
Breda, and portraits of the royal family, exercised the invention and
pencil of Velasquez till the year 1648, when he was sent by the king
on a roving mission into Italy—not to teach the puzzled sovereigns
the mysterious privileges of self-government, but to collect such
works of art as his fine taste might think worthy of transportation to
Madrid. Landing at Genoa, he found himself in presence of a troop
of Vandyck's gallant nobles: hence he went to Milan, Padua, and
Venice. At the latter city he purchased for his royal master two or
three pictures of Tintoret's, and the Venus and Adonis of Paul
Veronese. But Rome, as in his previous visit, was the chief object of
his pilgrimage. Innocent X. welcomed him gladly, and commanded
him to paint, not only his own coarse features, but the more delicate
ones of Donna Olympia, his "sister-in-law and mistress." So, at least,
says our author; for the sake of religion and human nature, we hope
he is mistaken. For more than a year did Velasquez sojourn in Rome,
purchasing works of art, and enjoying the society of Bernini and
Nicolas Poussin, Pietro da Cortona and Algardi. "It would be
pleasing, were it possible, to draw aside the dark curtain of
centuries, and follow him into the palaces and studios—to see him
standing by while Claude painted, or Algardi modelled, (enjoying the
hospitalities of Bentivoglio, perhaps in that fair hall glorious with
Guido's recent fresco of Aurora)—or mingling in the group that
accompanied Poussin in his evening walks on the terrace of Trinità
de Monte."—(Vol. ii. p. 643.) Meanwhile the king was impatiently
waiting his return, and at last insisted upon its being no further
delayed; so in 1651 the soil of Spain was once more trod by her
greatest painter. Five years later, Velasquez produced his
extraordinary picture, Las Meniñas—the Maids of Honour,
extraordinary alike in the composition, and in the skill displayed by
the painter in overcoming its many difficulties. Dwarfs and maids of
honour, hounds and children, lords and ladies, pictures and furniture,
are all introduced into this remarkable picture, with such success as
to make many judges pronounce it to be Velasquez's masterpiece,
and Luca Giordano to christen it "the theology of painting."
The Escurial, from whose galleries and cloisters we have been
thus lured by the greater glory of Velasquez, in 1656 demanded his
presence to arrange a large collection of pictures, forty-one of which
came from the dispersed and abused collection of the only real lover
of the fine arts who has sat on England's throne—that martyr-
monarch whom the pencil of Vandyck, and the pens of Lovelace,
Montrose, and Clarendon, have immortalised, though their swords
and counsels failed to preserve his life and crown. In 1659 the cross
of Santiago was formally conferred on this "king of painters, and
painter of kings;" and on St Prosper's day, in the Church of the
Carbonera, he was installed knight of that illustrious order, the
noblest grandees of Spain assisting at the solemn ceremonial. The
famous meeting on the Isle of Pheasants, so full of historic interest,
between the crowns and courts of Spain and France, to celebrate
the nuptials of Louis XIV. and Maria Theresa, was destined to acquire
an additional though melancholy fame, as the last appearance of the
great painter in public, and the possible proximate cause of his
death. To him, as aposentador-mayor, were confided all the
decorations and arrangements of this costly and fatiguing pageant:
he was also to find lodging on the road for the king and the court;
and some idea of the magnitude of his official cares may be derived
from the fact, that three thousand five hundred mules, eighty-two
horses, seventy coaches, and seventy baggage-waggons, formed the
train that followed the monarch out of Madrid. On the 28th of June
the court returned to Madrid, and on the 6th of August its inimitable
painter expired.
The merits of Velasquez are now generally appreciated in England;
and the popular voice would, we think, ratify the enthusiastic yet
sober dictum of Wilkie, "In painting an intelligent portrait he is
nearly unrivalled." Yet we have seen how he could rise to the highest
subject of mortal imagination in the Crucifixion; and the one solitary
naked Venus, which Spanish art in four hundred years produced, is
his. Mr Stirling, though he mentions this picture in the body of his
book, assigns it no place in his valuable and laboriously compiled
catalogue, probably because he was unable to trace its later
adventures. Brought to England in 1814, and sold for £500 to Mr
Morritt, it still remains the gem of the library at Rokeby. Long may
the Spanish queen of love preside over the beautiful bowers of that
now classic retreat! We sum up our notice of Velasquez in Mr
Stirling's words:—"No artist ever followed nature with more catholic
fidelity; his cavaliers are as natural as his boors; he neither refined
the vulgar, nor vulgarised the refined.... We know the persons of
Philip IV. and Olivarez as familiarly as if we had paced the avenues
of the Pardo with Digby and Howell, and perhaps we think more
favourably of their characters. In the portraits of the monarch and
the minister,

'The bounding steeds they pompously bestride,

Share with their lords the pleasure and the pride,'

and enable us to judge of the Cordovese horse of that day, as

accurately as if we had lived with the horse-breeding Carthusians of
the Betis. And this painter of kings and horses has been compared,
as a painter of landscapes, to Claude; as a painter of low life, to
Teniers: his fruit-pieces equal those of Sanchez Cotan or Van Kessel;
his poultry might contest the prize with the fowls of Hondekooter on
their own dunghill; and his dogs might do battle with the dogs of
Sneyders."—(Vol. ii. p. 686.)
While Velasquez, at the height of his glory, was painting his
magnificent Crucifixion, a young lad was displaying hasty sketches
and immature daubs to the venders of old clothes, pots, and
vegetables, the gipsies and mendicant friars that frequented the
Feria, or weekly fair held in the market-place of All Saints, in the
beautiful and religious city of Seville. This was Bartolemè Estevan
Murillo, who, having studied for some time under Juan del Castillo,
on that master's removal to Cadiz in 1640, betook himself to this
popular resource of all needy Sevillian painters. Struck, however, by
the great improvement which travel had wrought in the style of
Pedro de Moya, who revisited Seville in 1642, the young painter
scraped up money sufficient to carry him to Madrid, and, as he
hoped, to Rome. But the kindness of Velasquez provided him a
lodging in his own house, and opened the galleries of the Alcazar
and the Escurial to his view. Here he pursued his studies
unremittingly, and, as he thought, with a success that excused the
trouble and expense of an Italian pilgrimage. Returning, therefore, in
1645 to Seville, he commenced that career which led him, among
the painters of Spain, to European renown, second only to that of
Velasquez. The Franciscans of his native city have the credit of first
employing his young genius, and the eleven large pictures with
which he adorned their convent-walls at once established his
reputation and success. These were painted in what is technically
called his first or cold style; this was changed before 1650 into his
second, or warm style, which in its turn yielded to his last, or
vapoury style. So warm, indeed, had his colouring become, that a
Spanish critic, in the nervous phraseology of Spain, declared his
flesh-tints were now painted with blood and milk. In this style did he
paint for the chapter The Nativity of the Blessed Virgin, in which the
ladies of Seville admired and envied the roundness of a ministering
maiden's naked arm; and a large picture of St Anthony of Padua,
which still adorns the walls of the cathedral baptistery. Of this
famous gem some curious stories are told: Don Fernando Farfan, for
instance, relates that birds had been seen attempting to perch upon
some lilies in a vase by the side of the kneeling saint; and Monsieur
Viardot (Musées d'Espagne, p. 146) informs us that a reverend
canon, who showed him the picture, recounted how that, in 1813,
the Duke of Wellington offered to purchase it for as many gold onzas
as would cover its surface; while, in 1843, Captain Widdrington was
assured that a lord had expressed his readiness to give £40,000 for
the bird-deluding picture. The belief in the gullibility of travellers is
truly remarkable and wide-spread; thus, at Genoa, in 1839, our
excellent cicerone gratified us with the information, that, sixteen
years before, the English Duke Balfour had in vain offered £1600 for
Canova's beautiful basso-relievo of the Virgin Clasping the Corpse of
our Saviour, which graces the ugly church of the poor-house in that
superb city. In 1658, Murillo laboured to establish a public academy
of art; and, in spite of the jealousies and contentions of rival artists,
on the 1st of January 1660, he witnessed its inauguration. The rules
were few and simple; but the declaration to be signed by each
member on admission would rather astonish the directors of the
Royal Academy in London. We would recommend it to the
consideration of those Protestant divines who are so anxious to
devise a new test of heresy in the Church of England: thus it ran
—"Praised be the most holy sacrament, and the pure conception of
Our Lady." Nothing, perhaps, can show more strongly the immense
influence religion exercised on art in Spain than the second clause of
this declaration. It was the favourite dogma of Seville: for hundreds
of years sermons were preached, books were written, pictures
painted, legends recorded in honour of Our Lady's spotless
conception; and round many a picture by Cano, or Vargas, or
Joanes, is yet to be read the magic words that had power to electrify
a populace,—"Sin Pecado Concebida." The institution thus
commenced flourished for many years, and answered the generous
expectations of its illustrious founder.
 The attention of the pious Don Miguel Mañara de Leca, the
"benevolent Howard" of Seville, was attracted about 1661 to the
pitiable state of the brotherhood of the holy charity, and its hospital
of San Jorge: he resolved to restore it to its pristine glory and
usefulness; and, persevering against all discouragements and
difficulties, in less than twenty years, at an expense of half-a-million
of ducats, he accomplished his pious design. For the restored church
Murillo painted eleven pictures, of which eight, according to Mr
Stirling, are the finest works of the master. Five of these were
carried off by plundering Soult, but "the two colossal compositions of
Moses, and the Loaves and Fishes, still hang beneath the cornices
whence springs the dome of the church, "like ripe oranges on the
bough where they originally budded." Long may they cover their
native "walls, and enrich, as well as adorn, the institution of Mañara!
In the picture of the great miracle of the Jewish dispensation, the
Hebrew prophet stands beside the rock in Horeb, with hands pressed
together, and uplifted eyes, thanking the Almighty for the stream
which has just gushed forth at the stroke of his mysterious rod.... As
a composition, this wonderful picture can hardly be surpassed. The
rock, a huge, isolated, brown crag, much resembles in form, size,
and colour, that which is still pointed out as the rock of Moses, by
the Greek monks of the convent of St Catherine, in the real
wilderness of Horeb. It forms the central object, rising to the top of
the canvass, and dividing it into two unequal portions. In front of the
rock, the eye at once singles out the erect figure of the prophet
standing forward from the throng; and the lofty emotion of that
great leader, looking with gratitude to heaven, is finely contrasted
with the downward regards of the multitude, forgetful of the Giver in
the anticipation or the enjoyment of the gift. Each head and figure is
an elaborate study; each countenance has a distinctive character,
and even of the sixteen vessels brought to the spring, no two are
alike in form."—(Vol. ii. p. 859.) But Cean Bermudez, who enjoyed
the privilege of seeing all these eight masterpieces hanging together
in their own sacred home, preferred The Prodigal's Return, and St
Elizabeth of Hungary—with whose touching history the eloquent
pens of the Count Montalembert and Mr A. Phillipps have made us
familiar—to all the rest.
The Franciscan convent, without the city walls, was yet more
fortunate than the hospital of Mañara, for it possessed upwards of
twenty of this religious painter's works. Now, not one remains to
dignify the ruined halls and deserted cloisters of that once
magnificent convent: but seventeen of these pictures are preserved
in the Seville Museum; among them Murillo's own favourite—that
which he used to call "his own picture"—the charity of St Thomas of
Villanueva. In 1678, Murillo painted three pictures for the Hospital de
los Venerables, two of which, the Mystery of the Immaculate
Conception, and St Peter Weeping, were placed in the chapel. "The
third adorned the refectory, and presented to the gaze of the
Venerables, during their repasts, the blessed Virgin enthroned on
clouds, with her divine Babe, who, from a basket borne by angels,
bestowed bread on three aged priests." These were nearly his last
works; for the art he so loved was now about to destroy her
favourite son: he was mounting a scaffolding to paint the higher
parts of a great altar-piece for the Capuchin church at Cadiz,
representing the espousals of St Catherine, when he stumbled, and
ruptured himself so severely, as to die of the injury. On the 3d of
April 1682, he expired in the arms of his old and faithful friend, Don
Justino Neve, and was buried in the parish church of St. Cruz, a
stone slab with his name, a skeleton and "Vive moriturus," marking
the spot—until the "Vandal" French destroyed the last resting-place
of that great painter, whose works they so unscrupulously
appropriated. Was the last Lord of Petworth aware of this short
epitaph, when he caused to be inscribed on the beautiful memorial
to his ancestors which adorns St Thomas's Chapel in Petworth
Church, the prophetic,[18] solemn words—"Mortuis moriturus?"
We have ranked Murillo next to Velasquez: doubtless there are
many in England who would demur to this classification; and we
own there are charms in the style of the great religious painter,
which it would be vain to look for in any other master. In tenderness
of devotion, and a certain soft sublimity, his religious pictures are
unmatched; while in colouring, Cean Bermudez most justly says
—"All the peculiar beauties of the school of Andalusia—its happy use
of red and brown tints, the local colours of the region, its skill in the
management of drapery, its distant prospects of bare sierras and
smiling vales, its clouds, light and diaphanous as in nature, its
flowers and transparent waters, and its harmonious depth and
richness of tone—are to be found in full perfection in the works of
Murillo."—(Vol. ii. p. 903.) Mr Stirling draws a distinction, and we
think with reason, between the favourite Virgin of the Immaculate
Conception and the other Virgins of Murillo: the
���������� of the former is far more elevated and
spiritualised than that of any of the latter class; but, even in his most
ordinary and mundane delineation of the sinless Mary, how sweet,
and pure, and holy, as well as beautiful, does our Lord's mother
appear! But perhaps it is as a painter of children that Murillo is most
appreciated in England; nor can we wonder that such should be the
case, when we remember what the pictures are which have thus
impressed Murillo on the English mind. The St John Baptist with the
Lamb, in the National Gallery; Lord Westminster's picture of the
same subject; the Baroness de Rothschild's gem at Gunnersbury,
Our Lord, the Good Shepherd, as a Child: Lord Wemyss's hardly
inferior repetition of it; the picture of our Lord as a child, holding in
his hands the crown of thorns, in the College at Glasgow; with the
other pictures, in private collections, of our Lord and St John as
children, have naturally made Murillo to be regarded in England as
emphatically the painter of children: and how exquisite is his
conception of the Divine Babe and His saintly precursor! what a
sublime consciousness of power, what an expression of boundless
love, are seen in the face of Him who was yet
 "a little child,
Taught by degrees to pray
By father dear, and mother mild,
Instructed day by day."

The religious school of Spanish painting reached its acmé in

Murillo; and, at the risk of being accounted heterodox, we must, in
summing up his merits, express our difference from Mr Stirling in
one respect, and decline to rank the great Sevillian after any of the
Italian masters. Few of Murillo's drawings are known to be in
existence. Mr Stirling gives a list of such as he has been able to
discover, nearly all of which are at the Louvre. We believe, in
addition to those possessed by the British Museum and Mr Ford,
there are two in the collection at Belvoir Castle: one, a Virgin and
Child; the other, an old man—possibly St Francis—receiving a flower
from a naked child.
After Velasquez and Murillo, it may seem almost impertinent to
talk of the merits of other Spanish painters; yet Zurbaran and Cano,
Ribera and Coello, demand at least a passing notice. Francisco de
Zurbaran, often called the Caravaggio of Spain, was born in
Estremadura in 1598. His father, observing his turn for painting, sent
him to the school of Roelas, at Seville. Here, for nearly a quarter of a
century, he continued painting for the magnificent cathedral, and the
churches and religious houses of that fair city. About 1625, he
painted, for the college of St Thomas Aquinas, an altar-piece,
regarded by all judges as the finest of all his works. It represents the
angelic doctor ascending into the heavens, where, on clouds of
glory, the blessed Trinity and the Virgin wait to receive him; below,
in mid air, sit the four doctors of the Church; and on the ground are
kneeling the Emperor Charles V., with the founder of the college,
Archbishop Diego de Deza, and a train of ecclesiastics. Mr Stirling
says of this singular picture, "The colouring throughout is rich and
effective, and worthy the school of Roelas; the heads are all of them
admirable studies; the draperies of the doctors and ecclesiastics are
magnificent in breadth and amplitude of fold; the imperial mantle is
painted with Venetian splendour; and the street view, receding in
the centre of the canvass, is admirable for its atmospheric depth and
distance."—(Vol. ii. p. 770.) In 1650, Philip IV. invited him to Madrid,
and commanded him to paint ten pictures, representing the labours
of Hercules, for a room at Buen-retiro. Almost numberless were the
productions of his facile pencil, which, however, chiefly delighted to
represent, the legends of the Carthusian cloister, and portray the
gloomy features and sombre vestments of monks and friars; yet
those who have seen his picture of the Virgin with the Infant Saviour
and St John, at Stafford House, will agree with Mr Stirling that,
"unrivalled in such subjects of dark fanaticism, Zurbaran could also
do ample justice to the purest and most lovely of sacred themes."—
(Vol. 11. p. 775)
Alonzo Cano, born at Grenada in 1601, was, like Mrs Malaprop's
Cerberus, "three gentlemen in one;" that is, he was a great painter,
a great sculptor, and a great architect. As a painter, his powers are
shown in his full-length picture of the Blessed Virgin, with the infant
Saviour asleep on her knees, now in the Queen of Spain's gallery; in
six large works, representing passages in the life of Mary Magdalene,
which still adorn the great brick church of Getafe, a small village
near Madrid; and in his famous picture of Our Lady of Belem, in the
cathedral of Seville. Mr Stirling gives a beautifully-executed print of
this last Madonna, which, "in serene, celestial beauty, is excelled by
no image of the Blessed Virgin ever devised in Spain."—(P. 803.)
Cano was, perhaps, even greater in sculpture than in painting;
and so fond of the former art, that, when wearied of pencil and
brush, he would call for his chisel, and work at a statue by way of
rest to his hands. On one of these occasions, a pupil venturing to
remark, that to substitute a mallet for a pencil was an odd sort of
repose, was silenced by Cano's philosophical reply,—"Blockhead,
don't you perceive that to create form and relief on a flat surface is a
greater labour than to fashion one shape into another?" An image of
the Blessed Virgin in the parish church at Lebrija, and another in the
sacristy of the Grenada cathedral, are said to be triumphs of Spanish
painted statuary.—(Vol. iii., p. 805) After a life of strange vicissitudes,
in the course of which, on suspicion of having murdered his wife, he
underwent the examination by torture, he died, honoured and
beloved for his magnificent charities, and religious hatred of the
Jews, in his native city, on the 3d of October 1667.
The old Valencian town of Xativa claims the honour of producing
Josè de Ribera, el Spagnoletto; but though Spain gave him birth,
Italy gave him instruction, wealth, fame; and although in style he is
thoroughly Spanish, we feel some difficulty in writing of him as
belonging wholly to the Spanish school of art, so completely Italian
was he by nurture, long residence, and in his death.
Bred up in squalid penury, he appears to have looked upon the
world as not his friend, and in his subsequent good fortunes to have
revelled in describing with ghastly minuteness, and repulsive force,
all "the worst ills that flesh is heir to." We well recollect the horror
with which we gazed spell-bound on a series of his horrors in the
Louvre—faugh! At Gosford House are a series of Franciscan monks,
such as only a Spanish cloister could contain, painted with an
evident fidelity to nature, and the minutest details of dress that is
almost offensive—even the black dirt under the unwashed thumb
nail is carefully represented by his odiously-accurate and powerful
pencil.

"Non ragioniam di lor

Ma guada e passa."

Had the bold buccaneers of the seventeenth century required the

services of a painter to perpetuate the memory of their inventive
brutality, and inconceivable atrocities, they would have found in El
Spagnoletto an artist capable of delineating the agonies of their
victims, and by taste and disposition not indisposed to their way of
life. Yet in his own peculiar line he was unequalled, and his merits as
a painter will always be recognised by every judge of art. He died at
Naples, the scene of his triumphs, in 1656.
 The name of Claudio Coello is associated with the Escurial, and
should have been introduced into the sketch we were giving of its
artists, when the mighty reputation of Velasquez and Murillo broke in
upon our order. He was born at Madrid about the middle of the
seventeenth century, and studied in the school of the younger Rigi.
In 1686 he succeeded Herrera as painter in ordinary to Charles II.
This monarch had erected an altar in the great sacristy of the
Escurial, to the miraculous bleeding wafer known as the Santa
Forma; and on the death of its designer, Rigi, Coello was called upon
to paint a picture that should serve as a veil for the host. On a
canvass six yards high, by three wide, he executed an excellent
work, representing the king and his court adoring the miraculous
wafer, which is held aloft by the prior. This picture established his
reputation, and in 1691 the chapter of Toledo, still the great patrons
of art, appointed him painter to their cathedral. Coello was a most
careful and painstaking painter, and his pictures, says our author,
(vol. iii., p. 1018) "with much of Cano's grace of drawing, have also
somewhat of the rich tones of Murillo, and the magical effect of
Velasquez." He died, it is said, of disappointment at the success of
his foreign rival, Luca Giordano, in 1693.
With Charles II. passed away the Spanish sceptre from the house
of Austria, nor, according to Mr Stirling, would the Genius of Painting
remain to welcome the intrusive Bourbons:—

Old times were changed, old manners gone,

A stranger filled the Philips' throne;
And art, neglected and oppressed,
Wished to be with them, and at rest.

But we must say that Mr Stirling, in his honest indignation against

France and Frenchmen, has exaggerated the demerits of the
Bourbon kings. Spanish art had been steadily declining for years
before they, with ill-omened feet, crossed the Pyrenees. It was no
Bourbon prince that brought Luca da Presto from Naples to teach
the painters of Spain "how to be content with their faults, and get
rid of their scruples;" and if the schools of Castile and Andalusia had
ceased to produce such artists as those whose praises Mr Stirling
has so worthily recorded, it appears scant justice to lay the blame on
the new royal family. Pictor nascitur, non fit—no, not even by the
wielders of the Spanish sceptre. In a desire to patronise art, and in
munificence towards its possessors, Philip V., Ferdinand VI., and
Charles III., fell little short of their Hapsburg predecessors, but they
had no longer the same material to work upon. The post which
Titian had filled could find no worthier holder under Charles III.,
than Rafael Mengs, whom not only ignorant Bourbons, but the
conoscenti of Europe regarded as the mighty Venetian's equal; and
Philip V. not only invited Hovasse, Vanloo, Procaccini, and other
foreign artists to his court, but added the famous collection of
marbles belonging to Christina of Sweden to those acquired by
Velasquez, at an expense of twelve thousand doubloons. To him,
also, is due the completion of the palace of Aranjuez, and the design
of La Granja; nor, when fire destroyed the Alcazar, did Philip V. spare
his diminished treasures, in raising up on its time-hallowed site a
palace which, in Mr Stirling's own words, "in spite of its narrowed
proportions, is still one of the largest and most imposing in
Europe."—(Vol. iii., p. 1163.)
Ferdinand VI. built, at the enormous expense of nineteen millions
of reals the convent of nuns of the order of St Vincent de Sales, and
employed in its decoration all the artistic talent that Spain then could
boast of. Nor can he be blamed if that was but little; for if royal
patronage can produce painters of merit, this monarch, by endowing
the Academy of St Ferdinand with large revenues, and housing it in
a palace, would have revived the glories of Spanish art.
His successor, Charles III., an artist of some repute himself,
sincerely loved and generously fostered the arts. While King of the
Two Sicilies, he had dragged into the light of day the long-lost
wonders of Herculaneum and Pompeii; and when called to the
throne of Spain and the Indies, he manifested his sense of the
obligations due from royalty to art, by conferring fresh privileges on
the Academy of St Ferdinand, and founding two new academies, one
in Valencia, the other in Mexico. If Mengs and Tiepolo, and other
mediocrities, were the best living painters his patronage could
discover, it is evident from his ultra-protectionist decree against the
exportation of Murillo's, pictures, that he fully appreciated the works
of the mighty dead; and, had his spirit animated Spanish officials,
many a masterpiece that now mournfully, and without meaning,
graces the Hermitage at St Petersburg, or the Louvre at Paris, would
still be hanging over the altar, or adorning the refectory for which it
was painted, at Seville or Toledo. Even Charles IV., "the drivelling
tool of Godoy," was a collector of pictures, and founder of an
academy. In his disastrous reign flourished Francisco Goya y
Lucientes, the last Spanish painter who has obtained a niche in the
Temple of Fame. Though portraits and caricatures were his forte, in
that venerable museum of all that is beautiful in Spanish Art—the
cathedral at Toledo—is to be seen a fine religious production of his
pencil, representing the Betrayal of our Lord. But he loved painting
at, better than for the church; and those who have examined and
wondered at the grotesque satirical carvings of the stalls in the
cathedral at Manchester, will be able to form some idea of Goya's
anti-monkish caricatures. Not Lord Mark Kerr, when giving the rein to
his exuberant fancy, ever devised more ludicrous or repulsive
"monsters" than this strange successor to the religious painters of
orthodox Spain. But when the vice, and intrigues, and imbecility of
the royal knives and fools, whom his ready graver had exposed to
popular ridicule, had yielded to the unsupportable tyranny of French
invaders, the same indignant spirit that hurried the water-carriers of
Madrid into unavailing conflict with the troops of Murat, guided his
caustic hand against the fierce oppressors of his country; and, while
Gilray was exciting the angry contempt of all true John Bulls at the
impudence of the little Corsican upstart, Goya was appealing to his
countrymen's bitter experience of the tender mercies of the French
invaders. He died at Bordeaux in 1828. Mr Stirling closes his labours
with a graceful tribute to those of Cean Bermudez, "the able and
indefatigable historian of Spanish art, to whose rich harvest of
valuable materials I have ventured to add the fruit of my own
humble gleanings—" a deserved tribute, and most handsomely
rendered. But, before we dismiss this pleasant theme of Spanish art,
we would add one artist more to the catalogue of Spanish painters—
albeit, that artist is a Bourbon!
Near the little town of Azpeitia, in Biscay, stands the magnificent
college of the Jesuits, built on the birth-place of Ignatius Loyola.
Here, in a low room at the top of the building, are shown a piece of
the bed in which he died, and his autograph; and here among its
cool corridors and ever-playing fountains, in 1839, was living the
royal painter—the Infante Don Sebastian. A strange spectacle, truly,
did that religious house present in the summer of 1839: wild
Biscayan soldiers and dejected Jesuits, red boynas and black cowls,
muskets and crucifixes, oaths and benedictions, crossed and mingled
with each other in picturesque, though profane disorder; and here,
released from the cares of his military command, and free to follow
the bent of his disposition, the ex-commander-in-chief of the Carlist
forces was quietly painting altar-pieces, and dashing off caricatures.
In the circular church which, of exquisite proportions, forms the
centre of the vast pile, and is beautiful with fawn-coloured marble
and gold, hung a large and well-painted picture of his production;
and those who are curious in such matters may see a worse
specimen of his royal highness's skill in Pietro di Cortona's church of
St Luke at Rome. On one side of the altar is Canova's beautiful
statue of Religion preaching; on the other the Spanish prince's large
picture of the Crucifixion; but, alas! it must be owned that the
inspiration which guided Velasquez to his conception of that sublime
subject was denied to the royal amateur. In the academy of St Luke,
adjoining the church, is a well-executed bust of Canova, by the
Spanish sculptor Alvarez. We suspect that, like Goya, the Infante
would do better to stick to caricature, in which branch of art many a
pleasant story is told of his proficiency. Seated on a rocky plateau,
which, if commanding a view of Bilbao and its defenders, was also
exposed to their fire, 'tis said the royal artist would amuse himself
and his staff with drawing the uneasy movements, and disturbed
countenances, of some unfortunate London reporters, who, attached
to the Carlist headquarters, were invited by the commander-in-chief
to attend his person, and enjoy the perilous honour of his company.
Be this, however, as it may, we think we have vindicated the claim of
one living Bourbon prince to be admitted into the roll of Spanish
painters in the next edition of the Annals.
In these tumultuous days, when
"Royal heads are haunted like a maukin,"
over half the Continent, and even in steady England grave
merchants and wealthy tradesmen are counselling together on how
little their sovereign can be clothed and fed, and all things are being
brought to the vulgar test of L. s. d., it is pleasant to turn to the
artistic annals of a once mighty empire like Spain, and see how
uniformly, for more than five hundred years, its monarchs have been
the patrons, always munificent, generally discriminating, of the fine
arts—how, from the days of Isabella the Catholic, to those of
Isabella the Innocent, the Spanish sceptre has courted, not
disdained, the companionship of the pencil and the chisel. Mr Stirling
has enriched his pages with many an amusing anecdote illustrative
of this royal love of art, and suggestive, alas! of the painful
reflection, that the future annalist of the artists of England will find
great difficulty in scraping together half-a-dozen stories of a similar
kind. With the one striking exception of Charles I., we know not who
among our sovereigns can be compared, as a patron of art, to any
of the Spanish sovereigns, from Charles V. of the Austrian to Charles
III. of the Bourbon race. Lord Hervey has made notorious George
II's ignorance and dislike of art. Among the many noble and kingly
qualities of his grandson, we fear a love and appreciation of art may
not be reckoned; and although, in his intercourse with men of
genius, George IV. was gracious and generous, what can be said in
favour of his taste and discernment? The previous life of William IV.,
the mature age at which he ascended the throne, and the troublous
character of his reign, explain why art received but slight
countenance from the court of the frank and noble-hearted Sailor
Prince; but we turn with hope to the future. The recent proceedings
in the Court of Chancery have made public a fact, already known to
many, that her Majesty wields with skilful hand a graceful graver, and
the Christmas plays acted at Windsor are a satisfactory proof that
English art and genius are not exiled from England's palaces. The
professors, then, of that art which Velasquez and Rubens, Murillo
and Vandyck practised, shall yet see that the Crown of England is
not only in ancient legal phrase, "the Fountain of Honour," but that it
loves to direct its grateful streams in their honoured direction. Free
was the intercourse, unfettered the conversation, independent the
relations, between Titian and Charles V., Velasquez and Philip IV.; let
us hope that Buckingham Palace and Windsor Castle, will yet witness
a revival of those palmy days of English art, when Inigo Jones, and
Vandyck, and Cowley, Waller, and Ben Jonson, shed a lustre on the
art-loving court of England!
The extracts we have given from Mr Stirling's work will have
sufficiently shown the scope of the Annals, and the spirit and style in
which they are written. There is no tedious, inflexible, though often
unmanageable leading idea, or theory of art, running through these
lively volumes. In the introduction, whatever is to be said on the
philosophy of Spanish art is carefully collected, and the reader is
thenceforward left at liberty to carry on the conclusions of the
introduction with him in his perusal of the Annals, or to drop them at
the threshold. We would, however, strongly recommend all who
desire to appreciate Spanish art, never to forget that she owes all
her beauty and inspiration to Spanish nature and Spanish religion.
Remember this, O holyday tourist along the Andalusian coast, or
more adventurous explorer of Castile and Estremadura, and you will
not be disappointed with her productions. Mr Stirling has not
contented himself with doing ample justice to the great painters, and
slurring over the comparatively unknown artists, whose merits are in
advance of their fame, but has embraced in his careful view the long
line of Spanish artists who have flourished or faded in the course of
nearly eight hundred years; and he has accomplished this difficult
task, not in the plodding spirit of a Dryasdust, or with the curt
dulness of a catalogue-monger, but with the discriminating good
taste of an accomplished English gentleman, and in a style at once
racy and rhetorical. There are whole pages in the Annals as full of
picturesque beauty as the scenes or events they describe, and of
melody, as an Andalusian summer's eve; indeed, the vigorous fancy
and genial humour of the author have, on some few occasions, led
him to stray from those strict rules of ������������,
which we are old-fashioned enough to wish always observed. But
where the charms and merits are so great, and so many, and the
defects so few and so small, we may safely leave the discovery of
the latter to the critical reader, and satisfy our conscience by
expressing a hope that, when Mr Stirling next appears in the
character of author—a period not remote, we sincerely trust—he will
have discarded those few scentless flowers from his literary garden,
and present us with a bouquet—

"Full of sweet buds and roses,

A box where sweets compacted lie."

But if he never again put pen to paper, in these annals of the artists
of Spain he has given to the reading public a work which, for utility
of design, patience of research, and grace of language, merits and
has won the highest honours of authorship.
 THE DODO AND ITS KINDRED.[19]
What was the Dodo? When was the Dodo? Where is the Dodo?
are all questions, the first more especially, which it is fully more easy
to ask than answer. Whoever has looked through books on natural
history—for example, that noted but now scarce instructor of our
early youth, the Three Hundred Animals—must have observed a
somewhat ungainly creature, with a huge curved bill, a shortish
neck, scarcely any wings, a plumy tuft upon the back—considerably
on the off-side, though pretending to be a tail,—and a very
shapeless body, extraordinarily large and round about the hinder
end. This anomalous animal being covered with feathers, and
having, in addition to the other attributes above referred to, only two
legs, has been, we think justly, regarded as a bird, and has
accordingly been named the Dodo. But why it should be so named is
another of the many mysterious questions, which require to be
considered in the history of this unaccountable creature. No one
alleges, nor can we conceive it possible, that it claims kindred with
either of the only two human beings we ever heard of who bore the
name: "And after him (Adino the Eznite) was Eleazar the son of
Dodo, the Ahohite, one of the three mighty men with David, when
they defied the Philistines that were there gathered together to
battle, and the men of Israel were gone away." Our only other
human Dodo belonged to the fair sex, and was the mother of the
famous Zoroaster, who flourished in the days of Darius Hystaspes,
and brought back the Persians to their ancient fire-worship, from the
adoration of the twinkling stars. The name appears to have been
dropped by both families, as if they were somewhat ashamed of it;
and we feel assured that of such of our readers as admit that
Zoroaster must have had a mother of some sort, very few really
remember now-a-days that her name was Dodo. There were no
baptismal registers in those times; or, if such existed, they were
doubtless consumed in the "great fire"—a sort of periodical, it may
be providential, mode of shortening the record, which seems to
occur from time to time in all civilised countries.
But while the creature in question,—we mean the feathered biped
—has been continuously presented to view in those "vain
repetitions" which unfortunately form the mass of our information in
all would-be popular works on natural history, we had actually long
been at a stand-still in relation to its essential attributes—the few
competent authorities who had given out their opinion upon this, as
many thought, stereotyped absurdity, being so disagreed among
themselves as to make confusion worse confounded. The case,
indeed, seemed desperate; and had it not been that we always
entertained a particular regard for old Clusius, (of whom by-and-by,)
and could not get over the fact that a Dodo's head existed in the
Ashmolean Museum, Oxford, and a Dodo's foot in the British
Museum, London, we would willingly have indulged the thought that
the entire Dodo was itself a dream. But, shaking off the cowardly
indolence which would seek to shirk the investigation of so great a
question, let us now inquire into a piece of ornithological biography,
which seemed so singularly to combine the familiar with the
fabulous. Thanks to an accomplished and persevering naturalist of
our own day—one of the most successful and assiduous inquirers of
the younger generation—we have now all the facts, and most of the
fancies, laid before us in a splendid royal quarto volume, just
published, with numerous plates, devoted to the history and
illustration of the "Dodo and its Kindred." It was, in truth, the latter
term that cheered our heart, and led us again towards a subject
which had previously produced the greatest despondency; for we
had always, though most erroneously, fancied that the great
misformed lout of our Three Hundred Animals was all alone in the
wide world, unable to provide for himself, (and so, fortunately,
without a family,) and had never, in truth, had either predecessors or
posterity. Mr Strickland, however, has brought together the disjecta
membra of a family group, showing not only fathers and mothers,
sisters and brothers, but cousins, and kindred of all degrees. Their
sedate and somewhat sedentary mode of life is probably to be
accounted for, not so much by their early habits as their latter end.
Their legs are short, their wings scarcely existant, but they are
prodigiously large and heavy in the hinder-quarters; and organs of
flight would have been but a vain thing for safety, as they could not,
in such wooded countries as these creatures inhabited, have been
made commensurate with the uplifting of such solid bulk, placed so
far behind that centre of gravity where other wings are worked. We
can now sit down in Mr Strickland's company, to discuss the subject,
not only tranquilly, but with a degree of cheerfulness which we have
not felt for many a day: thanks to his kindly consideration of the
Dodo and "its kindred."
The geographical reader will remember that to the eastward of the
great, and to ourselves nearly unknown, island of Madagascar, there
lies a small group of islands of volcanic origin, which, though not
exactly contiguous among themselves, are yet nearer to each other
than to the greater island just named, and which is interposed
between them and the coast of Southern Africa. They are named
Rodriguez, Bourbon, and Mauritius, or the Isle of France. There is
proof that not fewer than four distinct species of large-bodied, short-
winged birds, of the Dodo type, were their inhabitants in
comparatively recent times, and have now become utterly extinct.
We say utterly, because neither proof nor vestige of their existence
elsewhere has been at any time afforded; and the comparatively
small extent, and now peopled state of the islands in question,
(where they are no longer known,) make the continuous and
unobserved existence of these birds, so conspicuous in size and slow
of foot, impossible.
Now, it is this recent and total extinction which renders the
subject one of more than ordinary interest. Death is an admitted law
of nature, in respect to the individuals of all species. Geology,
"dragging at each remove a lengthened chain" has shown how, at
different and distant eras, innumerable tribes have perished and
been supplanted, or at least replaced, by other groups of species,
entire races, better fitted for the great climatic and other physical
changes, which our earth's surface has undergone from time to
time. How these changes were brought about, many, with more or
less success, (generally less,) have tried to say. Organic remains—
that is, the fossilised remnants of ancient species—sometimes
indicate a long continuance of existence, generation after generation
living in tranquillity, and finally sinking in a quiet grave; while other
examples show a sudden and violent death, in tortuous and excited
action, as if they had been almost instantaneously overwhelmed and
destroyed by some great catastrophe.
Several local extinctions of elsewhere existing species are known
to naturalists—such as those of the beaver, the bear, and the wolf,
which no longer occur in Great Britain, though historically known, as
well as organically proved by recent remains, to have lived and died
among us. Their extinction was slow and gradual, and resulted
entirely from the inroads which the human race—that is, the
increase of population, and the progress of agriculture and
commerce—necessarily made upon their numbers, which thus
became "few by degrees, and beautifully less." The beaver might
have carried on business well enough, in his own quiet way,
although frequently incommoded by the love of peltry on the part of
a hat-wearing people; but it is clear that no man with a small family,
and a few respectable farm-servants, could either permit a large and
hungry wolf to be continually peeping at midnight through the key-
hole of the nursery, or allow a brawny bruin to snuff too frequently
under the kitchen door, (after having hugged the watch-dog to
death,) when the serving-maids were at supper. The extirpation,
then, of at least two of those quondam British species became a
work of necessity and mercy, and might have been tolerated even on
a Sunday between sermons—especially as naturalists have it still in
their power to study the habits of similar wild beasts, by no means
yet extinct, in the neighbouring countries of France and Germany.
But the death of the Dodo and its kindred is a more affecting fact,
as involving the extinction of an entire race, root and branch, and
proving that death is a law of the species, as well as of the
individuals which compose it,—although the life of the one is so
much more prolonged than that of the other that we can seldom
obtain any positive proof of its extinction, except by the observance
of geological eras. Certain other still existing species, well known to
naturalists, may be said to be, as it were, just hovering on the brink
of destruction. One of the largest and most remarkable of
herbivorous animals—a species of wild cattle, the aurochs or
European bison (B. priscus)—exists now only in the forest of
Bialowicksa, from whence the Emperor of Russia has recently
transmitted a living pair to the Zoological Society of London. Several
kinds of birds are also evidently on their last legs. For example, a
singular species of parrot, (Nestor productus,) with the termination
of the upper mandible much attenuated, peculiar to Phipps's Island,
near Norfolk Island, has recently ceased to exist there in the wild
state, and is now known as a living species only from a few surviving
specimens kept in cages, and which refuse to breed. The burrowing
parrot from New Zealand is already on the road to ruin; and more
than one species of that singular and wingless bird, called Apteryx,
also from the last-named island, may be placed in the same
category. Even in our own country, if the landed proprietors were to
yield to the clamour of the Anti-Game-Law League, the red grouse
or moor-game might cease to be, as they occur nowhere else on the
known earth save in Britain and the Emerald Isle.
The geographical distribution of animals, in general, has been
made conformable to laws which we cannot fathom. A mysterious
relationship exists between certain organic structures and those
districts of the earth's surface which they inhabit. Certain extensive
groups, in both the animal and vegetable kingdom, are found to be
restricted to particular continents, and their neighbouring islands. Of
some the distribution is very extensive, while others are totally
unknown except within a limited space, such as some solitary isle,
"Placed far amid the melancholy main."

"In the present state of science," says Mr Strickland, "we

must be content to admit the existence of this law, without
being able to enunciate its preamble. It does not imply that