systematic body of ancient wisdom that supported their
animism. Giordano BRUNOis a striking example of the in-
fluence of hermeticism on a Renaissance thinker; he re-
jected the Christian interpretation of the Corpus and saw
it as a body of pure Egyptian doctrine from which he de-
rived a complex structure of natural philosophy. The
progress of a more scientific approach to ancient texts led
to the discounting of an ancient Egyptian origin for the
Corpus Hermeticum. Isaac CASAUBONdemonstrated its
post-Christian date and the doctrines gradually declined
in importance, though they exercised an influence on later
ROSICRUCIANISM.
Further reading: Ingrid Merkel and Alan G. Debus,
Hermeticism and the Renaissance: Intellectual History and
the Occult in Early Modern Europe (New York: Folger,
1988).
Hernández, Gregório See FERNÁNDEZ, GREGÓRIO
Héroet, Antoine (died 1568) French poet and churchman
Born in Paris, Héroet published his major work La Par-
faicte Amye (1542) at Lyons; its idealized portrait of the
beloved was heavily influenced by the Italian Neoplaton-
ism characteristic of the writings of Maurice SCÈVEand his
Lyonnaise disciples. Héroet also made some translations
from the classics, but after he was ordained he gave up
writing secular verse. He rose to become bishop of Digne.
Clément MAROTand Pierre de RONSARDwere among his
contemporary admirers.
Herrera, Fernando de (“El Divino”) (1534–1597)
Spanish poet
Coming from a poor family of Seville, Herrera took minor
orders and obtained a small benefice which allowed him
to pursue his literary interests. He was a prominent mem-
ber of a Tertulia (literary circle) associated with the Conde
de Gelves, which included Juan de la CUEVAand other
poets, clergymen, and scholars. Most of Herrera’s Petrar-
chan love poetry—more elaborate but less delicate and
subtle than GARCILASO DE LA VEGA’s, which it imitates—
was inspired by a long platonic affair with Doña Leonor de
Millán, the wife of the Conde de Gelves, though she was
never named in his verse or otherwise openly identified.
He also wrote three patriotic canciones, odes stylistically
indebted to the Old Testament. Canción al señor don Juan
de Austria vencedor de los moriscos en las Alpujarras cele-
brates Don John of Austria’s part in defeating the Moorish
uprising in Granada (1568–71); Canción por la pérdida del
Rei Don Sebastián concerns the death of the king of Portu-
gal in a battle against the Moors in 1578; and Canción por
la victoria del Señor Don Juan celebrates the naval victory
of LEPANTOin 1571.
After Doña Leonor’s death in 1591, Herrera wrote
mainly in prose but most of these works are lost. He also
edited the works of Garcilaso (Obras, 1580). In the form
of anotaciones he included a formulation of his own poet-
ics: he holds clarity of expression as a principle and em-
phasizes the craftsmanlike and learned skills of writing
verse.Herrera, Francisco, the Elder (1576–1656) Spanish
painter and engraver
A native of Seville, Herrera was influenced by the man-
nerist Juan de las ROELASin his early works, which also
bore the influence of 16th-century Flemish prints and of
CARAVAGGIO. His early pieces include an engraving of St.
Ignatius Loyola (1610), a Pentecost painting (1617; Casa
y Museo del Greco, Toledo), and scenes from the life of St.
Bonaventura (c. 1627; Prado, Madrid, and Villandry),
upon which Francisco de Zurbarán also worked. In about
1638 he moved to Madrid, shortly afterwards painting his
masterpiece, St. Basil Dictating his Doctrine (1639; Louvre,
Paris). Other notable works include the Triumph of St.
Hermengild (c. 1624; Museo de Bellas Artes, Seville) and
St. Joseph (1648; Museo Lázano Galdeano, Madrid).
Among his pupils were his son Herrera the Younger
(1622–85) and, possibly for a brief period (1611–12),
Velázquez.Herrera, Juan de (c. 1530–1597) Spanish architect
The most influential architect in Spain during the Renais-
sance, Herrera was born in Mobellán and educated at Val-
ladolid, after which he traveled with Philip II to Flanders
and Italy (1547–51). During this time Herrera indulged
his primary interest in the sciences, but also became fa-
miliar with the ideals of contemporary Italian artists. In
1563 he was appointed assistant to Juan Bautista de
Toledo (died 1567), the court architect in charge of the
building of the ESCORIAL; in 1572 he was given command
of the project and was able to develop the austere style,
known as desnudo or desornamentado, for which he is
chiefly remembered.
Herrera also designed a palace at Aranjuez (1569) and
the exchange at Seville (1582), both of which were ex-
ecuted in his characteristic simplified manner. Later, in
his role as royal inspector of monuments, he worked on
but did not complete the cathedral at Valladolid (1585).
His style was copied by his successors in the post of royal
architect and others, and his designs inspired a large
number of imitators throughout Spain and its colonies,
although several of them revolted against the severity of
his architectural vision. Of all his buildings, the most
influential were the west facade and church of the Es-
corial. He also amassed a notable library of mathematical
and scientific books, invented navigational instruments,
and founded the academy of mathematics at Madrid
(1582).22338 8 HHeerrnnaa ́ ́nnddeezz,, GGrreeggoo ́ ́rriioo