esting there are also in it two official letters from Alvarado to Cortes.) W. C. W. ALVARE'DA, RAFAEL DE. [CARREÑO, ANDRES.]

A'LVARES, AFFONSO, a popular Portuguese dramatic writer, the author of numerous autos or religious plays, of some of which Barbosa Machado gives a list. They are-1. "Auto de Santo Antonio," Lisbon, 1613, 1639, and 1659, 4to.; Evora, 1615, 4to. 2. "Auto de San Tiago Apostolo" ("Mystery of St. James the Apostle "), Lisbon, 1639, 4to. 3. "Auto de Santa Barbara," Lisbon, 1613, 4to.; Evora, 1615, 4to. 4. "Auto de San Vicente." Barbosa Machado does not mention the date or place of publication of this auto, but as he states it was prohibited in the "Index Expurgatorius" of Mascarenhas, it must have been published before 1624, the date of that index. Another work by Alvarez is, 5. "Resposta feita a huma Petiçao, que fez Antonio Ribeiro Chiado," or "Reply to a Petition made by Antonio Ribeiro Chiado," a Portuguese poet and dramatic writer of the sixteenth century, Lisbon,-1602, 4to.; reprinted at Lisbon, 1783. Of this work the writer of the "Summario da Biblioteca Luzitana" states that he had seen an older edition in the Portuguese royal library.

It will be observed that the dates of all these publications are in the seventeenth century, from which it might at first be inferred that Alvares lived at that period. Barbosa Machado, however, who does not give the date of his birth or death, states that he was one of the household of Don Affonso de Portugal, bishop of Evora, and that bishop held the see from 1485 to 1522. If Alvarez wrote plays during that period, he may perhaps dispute the honour of founding the Portuguese stage with Gil Vicente, whose first dramatic production is assigned by some to the year 1502, by others to the year 1517. No allusion, however, is made to Alvares in the life of Gil Vicente prefixed to the edition of his works lately published at Hamburg, or, which is more singular, in the memoir on the origin of the Portuguese theatre by Trigozo d'Aragão Morato. The author of the "Summario da Biblioteca Luzitana," differing for once with Barbosa Machado, describes Alvares as "a schoolmaster in Lisbon." (Barbosa Machado, Bibliotheca Lusitana, i. 28.; Summario da Biblioteca Luzitana, i. 11.; Trigozo d'Aragão Morato, Memoria sobre o Theatro Portuguez, in Historia e Memorias da Academia Real das Sciencias de Lisboa, v. p. ii. 62.) T. W. A'LVARES. [ALBA, DUKE OF.] A'LVARES CABRAL, PEDRO. [CABRAL.]

A'LVARES DA CUNHA, ANTONIO. [CUNHA.]

A'LVĀRES LOUSADA MACHADO, GASPAR. [MACHADO.]

ALVAREZ. The name of several Spanish artists, obscure and eminent.

FRANCISCO ALVAREZ, a celebrated silversmith of the sixteenth century, was a native of Madrid, and was silversmith to the Queen Doña Isabel de la Paz. In 1568 he made, for the parish of St. Mary at Madrid, the splendid silver tabernacle used in the procession of Corpus Christi by that parish. It is a work of great merit : Ponz has described it in his Viage en España."

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A silversmith of the name of JUAN ALVAREZ, contemporary with Francisco, but a native of Salamanca, was the first artist in Spain to apply the Greek and Roman architectural forms in the construction and for the embellishment of works in plate.

DON JOSE' ALVAREZ, one of the most eminent sculptors of recent times, was born in 1768 at Priego in the province of Cordova. Alvarez's father was a poor stone-mason, and he brought up his son to the same business; but José evinced early a great ability for design, and he assiduously devoted to the study of drawing what time he could spare from his daily labour for support. In his twentieth year he went to Granada and entered the academy there, where he soon distinguished himself by his skill in modelling. The first work of any value which he executed was a lion destroying a serpent for the public fountain of his native place: it attracted the notice of Don Antonio de Gongora, the bishop of Cordova, who from that time became the patron of Alvarez; he took him into his house and caused him to be made a member of the academy of Cordova, which he himself had founded. Alvarez remained in Cordova until 1794, his twenty-sixth year, when he went to Madrid and entered the Academy of San Fernando, where, as "the Andalusian," as he was called, he soon distinguished himself above all his fellow-students.. He gained the first prize of the academy for a bas-relief representing Ferdinand I. and his sons, when, without their shoes, accompanied by priests and people, they carried upon their shoulders the miraculously discovered body of St. Isidore, into the church of San Juan de Leon. In 1799 Alvarez was granted a pension of 12,000 reals by the king, Charles IV., to enable him to prosecute his studies in Paris and in Rome. In Paris he applied himself practically to the study of anatomy, and made careful studies from the sculptures of the Parthenon which Choiseul Gouffier had brought from Constantinople. Soon after his arrival he obtained the second great prize in sculpture awarded by the Institute; and in 1804 he made a statue of Ganymede for the Marquess of Almenara, which gained him great credit and the name of one of the first living sculptors. David, the celebrated painter, is said to have pronounced this statue equal

to the antique: it is now in the academy of San Fernando at Madrid. Napoleon visited the studio of Alvarez twice, and presented him with a gold medal of the value of 500 francs. Alvarez modelled also, at Paris, a colossal statue of Achilles receiving the fatal arrow into his heel, of so large a size that it fell to pieces shortly after it was made: it was greatly admired by competent judges, but owing either to want of opportunity or inclination he did not restore it, and having received, shortly afterwards, an addition of 16,000 reals to his pension, he left Paris for Rome.

In Rome, Alvarez added to his reputation by four bas-reliefs, which he modelled for a hall in the pontifical palace on the Monte Quirinale; but, owing to political events, they were never executed in marble. These basreliefs represented - Leonidas in the straits of Thermopyla; Julius Cæsar reviewing his soldiers; Jupiter appearing to Cicero in a dream, distinguishing Octavius from among the youth of Rome; and the dream of Achilles at Troy, or the apparition of Patroclus. He made many other fine works at Rome, where he principally resided. The best of these is the group of Antilochus and Memnon, modelled in 1818, and executed afterwards in marble for the late king of Spain, Ferdinand VII.; it is now at Madrid. In 1818 Alvarez was appointed court sculptor, and in 1825, principal sculptor to the King of Spain, when he was presented with the cross of the order of civil merit. In 1826 he visited Madrid, and received the honourable commission to select from all the royal collections of Spain what he considered the finest statues, &c. for the purpose of having them placed in the splendid museum of the Prado at Madrid.

The period spent by Alvarez in his native country was a very short one; he arrived at Madrid in 1826, and he died towards the end of the following year, in the sixtieth year of his age. He left three sons, who were allowed by the government to retain a portion of his pension; the eldest, however, who was a promising young sculptor, did not survive his father three years: he died at Burgos in 1830, in the twenty-fifth year of his age.

Alvarez was a member of the Academy of St. Luke at Rome, of the Academies of Carrara and Naples, and of the Institute of France. His works display many qualities of the highest order; he excelled in invention, in expression, and in design, and has by some of his admirers been compared with Canova and if the name of Alvarez is not as celebrated as those of Canova, Flaxman, Thorwaldsen, Dannecker, and Schwanthaler, it is perhaps more owing to a want of an acquaintance with his works than to his inferiority. The statements concerning the poverty of Alvarez which appeared in some of the French journals at the time of his

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death, and have been partly repeated in the Biographie Universelle, are incorrect.

His best works, besides those above mentioned, are the colossal group, at Madrid, of a son defending his father, wounded by a French soldier; a Cupid with a swan; a Venus, and Cupid taking a thorn out of her foot; an Orpheus sleeping; a young Apollo; a Diana; a family holding the bust of their father; full-length statues of the queens Doña Maria Louisa and Doña Isabella, and of the Marchioness of Ariza; the monument of the Marchioness of Ariza, erected by her son, the Duke of Berwick, at his villa of Livia; and a statue of the Duke of Berwick, which was designed to be cast in bronze. Although Alvarez did not take likenesses with pleasure, there are still several fine marble busts by his hand reputed to be excellent resemblances: one of the late king, Ferdinand VII.; one of the Infant Don Francisco de Paula; one of the Duchess of Alba; one of Rossini, the celebrated composer; and one in plaster of the late Don Juan Agustin Cean Bermudez, author of the Dictionary of Spanish Artists.

Alvarez always declined to make the bust of the Emperor Napoleon; he was no friend of the French party. When the Spanish artists in Rome were requested to swear allegiance to the new King of Spain, imposed by the emperor, Alvarez refused to do so, and he is said to have been placed in the castle of Sant' Angelo in consequence: he was, however, released again shortly afterwards.

LORENZO ALVAREZ, a painter of Valladolid of the seventeenth century. He studied at Madrid with Bartolomé Carducho, and settled in 1638 at Murcia, where, in the convent of San Francisco, he painted the eight pictures of the principal altar of the chapel of the Conception, and four others in the sacristy. The subjects are from the lives of Christ and of the Virgin, and are well drawn and well coloured. There is also in the chapel mentioned, a Holy Family by the same painter.

DON LUIS ALVAREZ DE NAVA, captain of the royal guards of Spain, and knight of the order of Santiago, was a distinguished amateur painter, and in 1753 was elected an honorary member of the Academy of San Fernando at Madrid.

DON MANUEL ALVAREZ, a celebrated sculptor of the eighteenth century, was born at Salamanca in 1727, where he studied, first with the sculptor Tomé Gavilan, and afterwards with Alexandro Carnicero. He then visited Madrid, and entered the school of the king's sculptor, Don Felipe de Castro, whom he assisted in executing in marble his statues of the kings of Spain for the new palace: those of Witerico and Walia were executed entirely by Alvarez. He made also, in stucco, three of the four cherubim in the royal chapel, on account of the indisposition of

Castro; and through the successful manner in which he executed these figures, he was appointed one of the sculptors to complete the works of the chapel. In 1753 he obtained the second prize of the first class of the Academy of San Fernando; and in 1754 he obtained the first prize, and was entitled to a pension to enable him to prosecute his studies in Rome; of which, however, he could not avail himself on account of his ill health. In 1757 he was elected an academician, and in 1762 vice-director of the academy.

Charles III. of Spain, wishing to encourage the higher department of sculpture, requested the sculptors of the academy to make each of them a model, four feet high, for an equestrian statue of his father, Philip V., leaving it entirely at their option to comply or not. Five made models, of whom Alvarez was one; the king, however, was so much occupied with other matters, owing chiefly to the siege of Gibraltar, that he deferred making his choice, and did not order the statue to be executed in bronze. But his son, Charles IV., wishing to carry out his father's object, selected the model of Alvarez, and ordered it to be executed in bronze, with this alteration, that the features of his father should be substituted for those of his grandfather. Owing to another war, however, which broke out, the execution of the statue was deferred until a more fitting opportunity should occur - an opportunity which does not appear to have occurred. In 1786 Alvarez was elected director of the academy, and in 1794 he was appointed sculptor to the king; an honour which he enjoyed only three years. He died in the seventieth year of his age, in 1797, generally regretted. He was highly esteemed by his brother artists, both as a man and as a sculptor; they gave him the name of el Griego (the Greek), for the purity and vigour of his design and for the truth of his execution.

The statues and busts of Alvarez are numerous in the churches, monasteries, and palaces of Spain; there are many at Salamanca, Madrid, Toledo, Zaragoza, &c.

There was another Spanish sculptor of the name of MANUEL ALVAREZ, who was the scholar of Juan de Juni..

(Bermudez, Diccionario Historico de los mas Ilustres Profesores de las Bellas Artes en España; Archiv für Geschichte, &c. 1829, No. 15., in which there is a German translation of Reil's Spanish account of Don José Alvarez, partly given by Dr. Nagler in his Neues Allgemeines Künstler Lexicon; see also Seminario Pintoresco Español, No. 52.)

R. N. W. A'LVAREZ, or A'LVARUS. There were several Spanish and Portuguese physicians of these names in the sixteenth and seventeenth centuries.

The best known among them, ANTONIO ALVAREZ, was professor of medicine at Al

cala de Henares and at Valladolid. He was physician to John Ferdinand de Velasco, grand constable of Castile, and afterwards to the Duke of Ossuna, viceroy of Naples. While in attendance on the latter, he published a work entitled "Epistolarum et Ĉonsiliorum Medicinalium pars prima," Naples, 1585, 4to. The first nine epistles are on various medical subjects; the last contains a defence of the opinions of Donato Altomare against Salvus Sclanus. (Biographie Médicale; Haller, Bibl. Medicine Prac. t. ii. p. 261.; and Bibl. Anatomica, t. ii. p. 745., gives short abstracts of the contents of the work.)

JOHANNES ALVAREZ-BORGES is said, in the " Biographie Médicale," to have been veterinarian for more than sixty years to Philip IV. and Charles II. of Spain, and to have written an account of some of the diseases of horses. He is, perhaps, the author of a Spanish manuscript, by Johannes Alvarez, on the natural history of some animals, especially of the horse, which is mentioned by Antonio (Bibliotheca Hispana Nova) as being in the royal library at Paris.

FERDINAND ALVAREZ-CABRAL was born at Santarem, where he practised as a physician for many years, and died in 1636. He wrote several medical essays, which were collected by Manuel Alvarez-Sereno, but were not published. A list of them is given in the Biographie Médicale."

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ALVAREZ DE CASTRO is mentioned by Antonio (Bibl. Hisp. Nov.) as the author of two manuscripts in the ecclesiastical library of Toledo, one entitled "Janua Vitæ," the other "Fundamenti Medicorum duæ Partes."

Mangetus (Bibliotheca Scriptorum Medicorum) mentions DIDACUS ALVAREZ-CHACON as the author of a book on the treatment of pleurisy, entitled "Parar curar el Mal da Costado," Seville, 1506, 4to. This is perhaps the same person as the Didacus Alvarez who, according to Jöcher (Allg. Gelehrten-Lexicon), wrote, in 1514, "Commentum novum in Parabolas Arnoldi de Villa Nova."

Mangetus and Antonio both mention BLASIUS ALVAREZ DE MIRAVAL as a doctor of medicine and theology of Salamanca, who wrote "La Conservacion de la Salud del Cuerpo y alma para el buen Regimiento de la Salud," &c. Medina del Campo, 1597, 4to., and Salamanca, 1601, 4to.

ALVAREZ, NUÑEZ, according to Antonio, wrote "Annotationes ad Libros duos Fr. Arcei de recta curandorum Vulnerum Ratione." Antwerp, 1574, 8vo.

ALVAREZ, PETER, was the author of some manuscripts mentioned in the "Biographie Médicale," consisting of Commentaries on Galen and Hippocrates.

ALVAREZ, THOMAS, was a physician at Seville, and was commissioned by Sebastian, king of Portugal, to superintend the progress

of the plague, which prevailed in Portugal in 1569. He is said to have rendered great service to his country in the performance of this duty, and is spoken of by Zacutus Lusitanus as one of the most learned of the Portuguese physicians, He wrote "Trattado ó regimento para preservar de la Peste." Coimbra, 1569, 4to., and Lisbon, 1580, 4to. (Biographie Médicale; N. Antonius, Bibliotheca Hispana Nova.) J. P. A'LVAREZ Y BAENA, JOSEPH ANTO'NIO, a Spanish writer of the eighteenth century, was the son of Don Joseph Antonio Alvarez Pasqual de Ribera and of Donna Antonia Baena Herranz, and was born at Madrid, probably about the middle of the century, as he had an elder brother, Tomas Antonio Alvarez, who was born in March, 1746. He is known as the author of a biographical work, entitled "Hijos de Madrid, ilustres en Santidad, Dignidades, Armas, Ciencias, y Artes," or "Children of Madrid, illustrious for Sanctity, Dignities, Arms, Sciences, and Arts," published at Madrid in 4 vols. 4to. 1789-1791. He informs us in his preface that he began to collect materials for this work in conjunction with his brother, Don Juan Antonio, so early as 1769, when they resided together at the house of their uncle, Don Santiago Saez, king-at-arms to His Catholic Majesty, whose valuable library of from seven to eight thousand volumes, chiefly in Spanish, furnished them with most of the information on the subject that existed in print. Alvarez afterwards made diligent researches into the public archives and registries of Madrid and its various districts, by which he was enabled in many cases to supply dates of birth, death, and appointments, which he very justly complains had often been neglected by preceding writers. The result of his labours was, that he was enabled to insert in his work the main particulars of the lives of more than fifteen hundred persons, about half of whom he says "had never been mentioned by any one before." Alvarez might have added to this very questionable proof of merit, that more than one half of them would never be mentioned by any one again of the twenty-two persons of the name of Alvarez, of whom he gives biographies, twenty at least are unworthy of a place in any dictionary but his own. The work may be fairly described in general as useful but dry; it has the merit of supplying dates, but it supplies little else. Alvarez was the author of another publication on his native city: Compendio de las Grandezas de Madrid," or "Compendium of the Beauties of Madrid,” Madrid, 1786, 8vo. He was engaged in collecting materials for an extensive history of that capital at the time of his death, which must have taken place before 1804, in which his brother Don Juan published a work in which he speaks of him as deceased. A

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third brother, Tomas Antonio, of whom he gives a short notice in the 'Hijos de Madrid," was, like himself, an industrious compiler; but his works, of which a list is given, appear to have all remained in manuscript. (Alvarez y Baena, Hijos de Madrid; Mesonero Romanos, Manual de Madrid, 2d edit. p. 6.; Juan Antonio Alvarez de Quindos y Baena, Descripcion de Aranjuez, 1804, Prologo.) T. W.

A'LVAREZ, BALTAZAR, a Spanish Jesuit, born at Corvera in the year 1533. The high reputation he attained for sanctity was increased by a declaration of the nun Teresa de Jesus (who was herself canonised after her death), to the effect that she had heard a voice from heaven proclaiming Baltazar the most pious man of his time on the face of the earth. This is the most remarkable thing about him; but Luis de Ponte has nevertheless written a bulky life of him, in which the deficiency of matter is made up by lengthy reflections and ridiculous legends. This life has been translated into several languages. It originally appeared at Madrid in 1615, seven years after the death of Alvarez, and with it were printed the works of the latter, consisting of a description of his mode of prayer, a refutation of objections which had been made to it, and a treatise on the manner of speaking of spiritual things. A Latin translation of the whole was published at Cologne in 1616. (N. Antonius, Bibliotheca Hispana Nova, i. 180.; L. Pontanus, Vita.)

J. W.

ALVAREZ, BALTAZAR, a Portuguese Jesuit, professor of theology and chancellor of the university of Evora. He wrote an "Index Expurgatorius Librorum ab Ortu Lutheri," which was published in the year 1624, under the authority of the grand inquisitor for Portugal, Mascarenhas, from which circumstanee it is often referred to under the name of the latter, instead of that of Alvarez. It is a work of considerable importance in Portuguese literature. Alvarez died at Coimbra four years after its publication. (N. Antonius, Bibliotheca Hispana Nova, i. 180.; Trigozo d'Aragão Morato, Memoria sobre o Theatro Portuguez, in Historia e Memorias da Academia Real das Sciencias de Lisboa, v. part ii. 69.) J. W.

A'LVAREZ, BERNARDIN DE, was born at Seville about the year 1514. From his boyhood he had a desire to seek his fortune in the New World, and he went to New Spain at the age of fourteen. He served for some years as a soldier, and afterwards rendered himself conspicuous in the city of Mexico by his riotous and disorderly course of life. He was at last, with twelve others of similar habits, sentenced by the authorities to transportation to the Philippines, but before they could be sent off, they succeeded in breaking prison. Three were retaken and hanged; Alvarez was fortunate enough

to escape to Peru, where he again served as a soldier at Cuzco. His character was completely altered: he was now intent upon amassing money by honest means, and he succeeded in getting together thirty thousand ounces of silver, of which he was in the habit of saying that they were given to him by God, and to God they should be repaid. He sent eight thousand crowns of this money to his mother, Anna de Herrera, a woman of good family, who was still living at Seville; but she returned it with the remark that she had enough to live on for the remainder of her days, and that he might apply it to charitable purposes. To charity from that time forth Alvarez, who had now taken orders, devoted himself, and in the kingdom and city of Mexico, where he had once set so bad an example. At that time, about fifty years after the conquest, three hospitals existed in the city of Mexico; one, of a general character, founded by Cortes the conqueror; another, for syphilis; the third, built by the crown of Spain, for the exclusive use of the Indians. Alvarez, with his own money, and the assistance of contributions which he solicited, founded a fourth, which, by the description given of it, seems to have been not only an hospital, but a workhouse and a madhouse, for he received in it those discharged from other hospitals as cured, but not yet restored to perfect health; orphans and helpless young, for whom he provided a school; aged and infirm persons; and, above all, the insane. Four hundred rations of victuals were served out daily at the gates to such as chose to apply. He began the erection of this building in 1567; and as it stood close to the chapel of St. Hippolytus, which was assigned for the use of the establishment, the hospital took its name from that saint. Alvarez soon after founded another of the same nature at Oaxtepec, in which Gregorio Lopez, who was afterwards canonized, resided for nine years. He established a third hospital at Vera Cruz for the reception of shipwrecked sailors, and the relief of poor emigrants arriving from Europe, for whom a herd of one hundred mules was to be kept, to transport them to the city of Mexico; a fourth, of the same kind as the third, at Acapulco, and others of different kinds at different places. These numerous hospitals were of course not all supported out of the funds of Alvarez, but mainly by the spirit of charity he had excited; to prevent which from decaying, he instituted a new sodality," or religious association, the "Sodality of Hospitality of St. Hippolytus," the constitutions of which were finally approved of by Pope Innocent XII., who raised it to the rank of a religious order. The members, in addition to the usual three vows, took a fourth, of active charity. This good man died on the 12th of August, 1584, at the age of seventy, on the eve of St. Hippolytus' day, when it was the custom for all the au

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thorities of Mexico to repair to the church of that saint to return thanks for the conquest of the city, which took place on that day in the year 1521. The presence of all these dignitaries gave additional solemnity to the funeral of Alvarez. Application was made to the court of Rome for his canonisation, but so late as the year 1755 it does not appear to have been obtained. His biography in Eguiara is adorned with only one miracle. On a widow applying one day at the hospital for some meal, he directed the porter to give her a sack, but the porter protested that none was left in store. Alvarez told him to look, and, on opening the door, the room was so full that the meal rushed out; a circumstance which, after all, needs no miracle to explain it.

The rules and constitutions for the members of the order of charity of St. Hippolytus, have been twice printed separately at Mexico in quarto, once in 1621 and once in 1718. (Eguiara et Eguren, Bibliotheca Mexicana, Mexico, 1755, i. 416-422.) T. W.

ALVAREZ DE CASTRO, MARIA'NO, a Spanish officer, born at Granada, but of a noble family of Old Castile. He is celebrated solely for the last action of his life, the defence of Gerona against the French in 1809. The siege commenced on the 6th of May, and on the 12th a flag of truce was sent to demand a parley, in reply to which, Alvarez declared that he would speak to the enemies of his country only by the mouths of his cannon; he also issued a proclamation that whoever proposed to capitulate should suffer instant death; and the garrison and inhabitants took an oath to die rather than surrender. The first object of the French was to obtain possession of the castle of Monjuich, which almost commanded the town. It was furiously assaulted in July; but so vigorously defended, that, after four days' hard fighting, the French were obliged to retire, with the loss of sixteen hundred men; and it was not until August, when the French batteries had reduced it almost to ruins, that the fortress was abandoned. In possession of Monjuich, the besiegers found the reduction of Gerona as difficult as ever. The grand assault was made on the 19th of September; but the garrison, assisted by the inhabitants, even by the women and children, repelled the assailants, and forced them to retire, with the loss of two thousand men. After this, the siege was converted into a blockade, the French determining to obtain their object by famine. The garrison being too weak to make frequent or powerful sallies, and the efforts of General Blake and his army to raise the siege being unsuccessful, the effect of this determination soon began to appear. Hunger and disease prevailed in Gerona; at length food was so scarce that the flesh of horses and mules was distributed by a sort of lottery, and dogs and cats were