,,spanish ,,painting ,,text ,,by ,a4 ,,de ,,beruete ,y ,,moret 7,,director ,,of ,,the ,,prado ,,museum1 ,,madrid7 #aiba ,,edited ,,by ,,geoffrey ,,holme 8,,the ,,studio10 ,,ltd41 ,,london1 ,,paris1 ,,new ,,york ,,list ,,of ,,artists ,,whose ,,works ,,are ,,reproduced ,,in ,,this ,,volume ,,in ,,colours ,,plate ,el ,greco 7,domenico ,theotocopuli7 ,la ,gloria de ,felipe ,,ii 7,the 8,glory0 of ,philip ,,ii7 ,,iii ,francisco de ,ribalta ,san ,pedro 7,saint ,peter7 ,,vii ,don ,diego ,rodriguez de ,silva y ,velzquez ,venus y ,cupido 7,venus and ,cupid7 ,,xii ,francisco de ,goya y ,lucientes ,el ,columpio 7,the ,swing7 ,,xxiv ,joaqun ,sorolla ,saliendo del ,bao 7,after ,bathing7 ,,xxxiii ,luis ,masriera ,sombras ,reflejadas 7,reflected ,shadows7 ,,xxxvi ,jos ,pinazo ,crepusculo 7,twilight7 ,,xxxix ,jos ,benlliure ,gil ,haciendo ,bolillos 7,lace-making7 ,,xlii ,fernando ,alvarez de ,sotomayor ,paisanas ,gallegos 7,galician ,peasant-women7 ,,xlv ,francisco ,sancha ,un ,pueblo ,andaluz 7,an ,andalusian ,village7 ,,xlviii ,,in ,,monotone ,hernando ,yez de la ,almedina ,santa ,catalina 7,saint ,catherine7 ,i ,juan ,pantoja de la ,cruz ,philip ,,ii ,,ii ,el ,greco 7,domenico ,theotocopuli7 ,san ,pablo 7,saint ,paul7 ,,iv ,el ,entierro del ,conde de ,organ 7,the ,burial of the ,count of ,orgaz7 ,v ,retrato de un ,caballero 7,portrait of a ,nobleman7 ,,vi ,francisco de ,zurbarn ,el ,beato ,dominico ,enrique ,suson 7,the ,dominican1 ,henry ,suson7 ,,viii ,don ,diego ,rodriguez de ,silva y ,velzquez ,calabacillas el ,bufon 7,calabacillas1 the ,buffoon7 ,,ix ,las ,meninas 7,the ,maids of ,honour7 ,x 8 8 8 8 7detail7 ,,xi ,philip ,,iv ,,xiii ,infante ,baltasar ,carlos ,,xiv 8 8 8 7detail7 ,,xv ,la ,dama del ,abanico 7,the ,lady with a ,fan7 ,,xvi ,fray ,juan ,rizi de ,guevara ,un ,caballero ,joven 7,a ,young ,cavalier7 ,,xvii ,bartolom ,esteban ,murillo ,moises tocando la ,roca 7,moses striking the ,rock7 ,,xviii ,el ,milagro de los ,panes y los ,peces 7,the ,miracle of the ,loaves and ,fishes7 ,,xix ,san ,felix de ,cantalisi y el ,nio ,jesu 7,st4 ,felix of ,cantalisi and the ,infant ,christ7 ,,xx ,la ,caridad de ,santo ,tomas de ,villanueva of ,villanueva7 ,,xxi ,don ,juan ,carreo de ,miranda ,retrato de una ,dama 7,portrait of a ,young ,lady7 ,,xxii ,claudio ,coello ,don ,juan de ,alarcon ,,xxiii ,francisco de ,goya y ,lucientes ,la ,cucaa 7,the ,greasy ,pole7 ,,xxv ,autorretrato 7,portrait of the ,painter7 ,,xxvi ,conde de ,fernan-,nuez 7detail7 ,,xxvii ,infante ,don ,carlos ,maria ,isidro ,,xxviii ,la ,condesa de ,chinchou 7detail7 ,,xxix ,el ,duque de ,san ,carlos ,,xxx ,eduardo ,rosales ,mujer saliendo del ,bao 7,woman leaving the ,bath7 ,,xxxi ,mariano ,fortuny ,el ,patio de la ,alberca en la ,alhambra 7,the ,alberca ,court in the ,alhambra7 ,,xxxii ,ignacio ,zuloaga ,la ,seorita ,souty ,,xxxiv ,eduardo ,martinez ,vazquez ,una ,aldea de la ,sierra de ,gredos 7,avila7 7,a ,village in the ,sierra de ,gredos1 ,avila7 ,,xxxv ,gonzalo ,bilbao ,las ,cigarreras 7,the ,cigar-makers7 ,,xxxvii ,ramn de ,zubiaurre ,retrato de mi ,esposa 7,portrait of my ,wife7 ,,xxxviii ,antonio ,ortiz ,echage ,supersticion 7,superstition7 ,,xl ,jos ,guterrez ,solana ,carnaval en la ,aldea 7,the ,village ,carnival7 ,,xli ,claudio ,castelucho ,nios ,gitanos en la ,playa 7,gipsy ,children on the ,beach7 ,,xliii ,juan ,cardona ,altar de ,mayo 7,may ,altar7 ,,xliv ,carlos ,vazquez ,una ,dolorosa 7,our ,lady of ,sorrows7 ,,xlvi ,jos ,m ,lopez ,mezquita ,pilarcita ,,xlvii ,jos de ,marti ,garces ,interior ,,xlix ,nicols ,raurich ,terruos 7,rough ground7 ,l ,jos ,ramn ,zaragoza ,viejos ,bretones 7,old ,bretons7 ,,li ,conde de ,aguiar ,retrato de un ,torero 7,portrait of a ,bullfighter7 ,,lii ,,spanish ,,painting--,,with ,,special ,,reference ,,to ,,the ,,exhibition ,,at ,,burlington ,,house1 ,,london ,,november1 #aibj ,,to ,,january1 #aiba ,the exhibition of ,spanish ,painting held in ,london in the galleries of the ,royal ,academy from ,november to ,january last1 excited a lively interest in the ,english public and inspired numerous articles on the subject in ,english journals and reviews4 ,if all of these were not in accord on certain issues and critics adopted various points of view1 it may still be said that the crowds of visitors which it attracted and the manifold expressions of opinion it evoked supply the clearest evidence that the exhibition aroused the curiosity of the ,english public1 and consequently may be regarded as a triumph for ,spanish art and a success for its promoters4 ,the reasons underlying the interest which ,spanish art awakens to-day in enlightened circles 7this is the second exhibition of the kind which ,spain has of late witnessed beyond her borders1 recalling that of ,paris in #aibj7 are worthy of reflection and may be said to have inspired the ,royal ,academy's exhibition4 ,spain--her life1 history1 customs1 art--is often regarded subjectively as though enveloped in a haze1 or through the medium of legend1 which1 however accommodating it may be to literary expression1 is by no means conformable to the facts of history or present realities4 ,viewed in this picturesque manner and because of the isolation in which the country remained for generations1 and perhaps still remains1 it has attracted the attention of writers and poets1 and even scientists and philosophers1 unfamiliar with their theme and dubious in their assertions4 ,doubtless the typical1 the true native spirit has not been misunderstood by the outside world4 ,thus in the case of ,cervantes and ,velzquez1 their names are household words in every land4 ,but the kind of knowledge to which we allude is not usually imparted by such lofty spirits1 who speak to humanity from the heights1 without distinctions of race or frontier4 ,that which they accomplish is only a part of the national achievement4 ,it is the medium in which it is fashioned1 the environment in which it comes into being1 its artistic matrix1 which determines the precise type of racial endeavour4 ,to its national character the new ,spain cleaves1 and by its light her ideas will be readjusted1 her history interpreted1 her present respected as in line with her tradition1 which1 in the sphere of things artistic1 ,spaniards regard as a potent factor in the advancement of world art4 ,spain is familiarly spoken of as a country of distinctive character1 and is so not only because of its geographical situation1 which has kept it somewhat apart from frequented routes1 but because it aspires to such a reputation4 ,at the present time it is incessantly productive of art1 its output exhibiting a specific character of its own1 obvious and intelligible to those who examine it with sufficient care4 ,undoubtedly it has been influenced at certain periods by extraneous currents1 but during the sixteenth century1 when the true ,spanish school was created1 it was notably independent and unique4 ,its productions1 these national qualities which above all determine that which is called a school1 possess a character of their own1 a special determinative essence1 which can only be explained by metaphysical processes4 ,but at the same time they display external manifestations1 an ultimate expression1 a speech1 an idiom1 so to speak1 peculiarly national4 ,and this speech in art is quite as fundamental as the spirit which determines the nature of the creation4 ,all-powerful1 or at least very great1 is the spiritual capacity for creating mighty works in mente4 ,but the various schools of art came into being not only because they enshrined an idea1 but because they were able to give it form4 ,the characteristics of the expression1 not of the idea1 of form1 not of essence1 these it is to which the critic should address himself in the first instance when he desires to differentiate between the works of one school and another1 and when trying to distinguish the work typical of one artist from that of others of the same school1 who have been less successful in following a common master4 ,the creative idea1 the spirit which animates every work1 is distinct1 according to the period of its origin1 even in the case of the productions of the same race at different periods2 but in expression its form is always similar1 its ideas the same4 ,as in literature writers of one nationality have to employ a common tongue1 so in painting an expression equally conclusive1 a palette1 a technique1 an idiom quite as definitive1 determines the compositions typical of each race4 ,if we find scattered throughout a museum where there are examples of all schools1 a ,saint by ,greco1 an ascetic figure by ,ribera1 a portrait by ,velzquez1 an image by ,zurbarn1 a visionary subject by ,valdes ,leal1 a ,virgin by ,murillo1 and a woman by ,goya1 it is probable that these works will contrast with one another too forcibly1 or at least will not blend harmoniously4 ,each of them belongs to an epoch1 and possesses a distinct creative and sthetic spirit4 ,but1 even so1 we will find that although the works belong to different schools1 and variations and dissimilarities abound1 all have one speech1 one ultimate idiom in common2 in a word1 all have been painted in ,spanish4 ,it is not easy to state precisely in what this ultimate expression consists1 but on general lines it is possible to affirm of ,spanish artists that their work is characterised by a decided tendency towards sincerity1 simplicity of composition and tonal harmonies in grey4 ,velzquez appears to have fixed the character of the ,spanish palette and technique3 the scale of very subtle greys1 the harmonies of grey and silver1 the use of certain carmines and violets1 first encountered in the work of ,greco1 were tested and employed by him1 as were those coloured earths especially indigenous to ,spain1 the earth of ,seville and the preparation of animal charcoal1 the use of which is noticeable in his canvases4 ,these determined the material elements by the aid of which was developed a method of painting as simple as characteristic4 ,velzquez1 like the painters of the great ,italian school and the schools of the ,north1 grew tired of conventionalism in colour and perspective1 and1 employing an exuberant palette and gifted with vision of extraordinary keenness1 turned to the natural1 and1 with the lesson of ,greco before him1 and by aid of his own gifts of observation1 sincerity1 and a supreme simplicity1 did not employ more than the necessary colours to obtain those gradations of tone which to our eyes appear so natural and present the harmony afforded by reality1 the master by choice and temperament inclining to those in which were combined all the shades of grey4 ,he created by his unique palette the true and unmistakable ,spanish style4 ,goya1 more than a hundred years after him1 during the close of the eighteenth century and the beginning of the nineteenth1 a period when the national characteristics tended towards insipidity1 maintained this traditional spirit and thus saved ,spanish painting from becoming confounded with the works of his contemporaries in ,france and ,england4 ,the years which followed those of ,goya1 the remainder of the nineteenth century1 those years of easy communication1 of rapid transit1 of frequent travelling1 of international study and residence abroad1 so much more advanced in some respects1 were less rich for ,spanish painting4 ,spanish artists1 absent from their country1 engaged in many departments of work and instruction1 lost something of their former qualities4 ,at the present time1 in which there seems to have been born into the world a new assertion and exaltation of nationality1 ,spaniards have regained their ancient spirit1 and while aspiring to absolute modernity1 remain faithful to a tradition which is peculiarly their own1 which makes for national individuality1 and has caused them to be regarded with that interest which always accrues to the original1 the characteristic1 the intelligent1 and consequently arouses attention and anticipation4 99 99 99 99 99 ,england has ever followed the progress of ,spanish art with enthusiasm and interest4 ,during the nineteenth century1 the majority of the works of art which left ,spain found a resting place in ,england4 ,in ,london within recent years three exhibitions of ,spanish painting ante-dated that of #aibj--one in the ,new ,gallery 7#ahia71 another in the ,guildhall 7#aija71 and the last in the ,grafton ,gallery 7#aiac74 ,all of them were rich in results1 more especially the third1 which was remarkable for its modern section4 ,the difference in character between the exhibition of #aiac and that of the ,royal ,academy in #aibj consists more especially in the display of works belonging to ,english collections1 the latter being composed for the most part of examples sent from ,spain as an act of homage to the ,english people1 and to assure them once more of the existence of a spiritual bond or tie between the two countries1 which with the passage of time aspire to a more intimate relationship4 ,it was at first the intention of the organisers of the exhibition of #aibj not to send as representative of the older art any except the works of the sixteenth and seventeenth centuries and a few pictures by ,goya1 as examples of the golden age of ,spanish painting1 and especially in view of the exceptional interest in ,goya4 ,but it was ultimately decided to furnish an exhibit completely representative of all epochs4 ,at the same time the ,spanish ,committee recognised that the section devoted to ,primitive ,art--in which among the many artists represented the most remarkable was ,ribera--was lacking in distinction4 ,this it regretted and felt a pleasure in its ability to compensate for the omission by providing a full representation of the greater ,spanish painters1 and in being able to lend ten ,grecos and twenty-one ,goyas1 preserved in ,spain1 to ,burlington ,house1 a thing until now impossible of accomplishment and which it will not be easy to repeat4 ,the works of the primitive period placed on view1 though all of peculiar interest1 and several of striking character1 were still inadequate to give a just idea of the development of early art in the ,iberian ,peninsula4 ,the first essays of ,spanish art were indeed lacking in national characteristics4 ,at a time when ,italy and ,flanders produced painters of distinctive note1 ,spain1 and perhaps the whole ,peninsula--for in this connection we must not forget ,portugal--filled its churches1 monasteries and convents with panels and altarpieces4 ,with the exception of the names of several artists now identified1 all of its productions are of doubtful paternity1 its style is borrowed and in general is distinguished only by the possession of regional characteristics of a minor kind4 ,therefore the paintings on panel that it produced are to-day referred to1 in order to distinguish them one from another1 as belonging to the ,castilian1 ,portuguese1 ,catalan1 ,aragonese or ,valencian ,schools4 ,for this there is an historical reason4 ,the ,peninsula1 at the time in which its early art was produced1 was divided into different kingdoms and states1 each absolutely independent and having its own history and traditions4 ,thus the kingdom of ,aragon1 with ,valencia1 was intimately connected with the ,mediterranean1 and came within the sphere of ,italian influence4 ,castile was more closely related to the states of ,flanders and the ,rhine1 admitting and developing ,flemish and ,german tendencies4 ,catalonia possessed an art very similar to that of ,provence4 ,but ,i believe that all this work1 chaotic1 lacking in national expression1 and in determinative characteristics1 presents a difficult problem for its investigators4 ,add to this that these panels and altarpieces were often the joint work of several artists1 one painting costumes1 others specialising in heads and hands1 others in drapery1 still others in backgrounds1 so that the whole resulted frequently in a composition confused and equivocal4 ,all that can be said with any degree of certainty is that the production of this time was large1 rich and of great merit1 so far as that can be attained by a race of colourists who were lacking in discipline and insight4 ,this manifestation of pictorial art did not obtrude itself in any decided manner until the fourteenth century4 ,to discover its origin we may have to compare it with the miniatures in the manuscripts of ,san ,isidor1 or the archaic mural decorations traceable by ,byzantine art1 and it would seem to possess a greater archological than artistic interest4 ,spanish art during the last years of the thirteenth century and until two centuries later is so incomplete in its details1 presents so many diverse aspects1 and the circumstances of its rise and tendency are so vague1 that to venture any general opinions regarding it would be unwise4 ,its study has recently been confined to short monographs by various critics and scholars1 both ,spanish and foreign1 which do not go beyond the discussion of specific works and artists1 and the particular investigation of obscure titles and documents exhumed from the archives4 ,the arrival of ,starnina and the ,florentine ,dello at the ,court of ,juan ,i of ,castile in the second half of the fourteenth century1 appears to have given a very great impetus to that style to which the ,spanish painters were growing accustomed4 ,but this ,italianism notwithstanding1 ,flemish influences penetrated1 if more lately1 still more rapidly into ,spain4 ,the early ,spaniards pursued and sought a realism in art which they were unable to find in that of ,italy1 hence their predilection for the style and manner of the ,flemish and ,german painters and those of other countries whom they came to call painters of the ,north4 ,the appearance of ,van ,eyck in the ,peninsula in #adbh1 and that of other ,flemish painters who arrived there about that time1 aroused a true enthusiasm and imparted to ,spanish art a tendency to copy faithfully from nature which henceforth came to be one of the characteristics which have never left it4 ,among these painters of the ,north it is strange to find1 a little before the middle of the fifteenth century1 an artist called ,jorge ,ingls 7,george the ,englishman71 so named1 without doubt1 from his origin1 who did some important work1 especially in the hospital of ,buitrago1 the study of which we heartily commend to the ,english public and critics4 ,we should like to have sent this work to the exhibition of the ,royal ,academy1 but its enormous dimensions1 as well as other circumstances1 rendered this impracticable4 ,during this epoch1 the composition of ,spanish works begins to show the use of colours prepared with oil1 thus permitting the development of a technique more in conformity with the ,spanish temperament4 ,consequently the new medium appears in the works of many masters1 among the first of these recorded being ,la ,virgen de los ,consellers1 painted and signed by ,luis ,dalmau in #adde4 ,andalusia1 a region which has come in more recent times to be regarded as the cradle of ,spanish artists1 produced at this time not a few painters4 ,the work1 ,saint ,michael1 of the master ,bartolom de ,crdenas1 which was exhibited at the ,royal ,academy1 pertains to this rich and flourishing period1 which gave an impetus to the forces then impelling all ,spanish life toward the national union which came to pass in the reign of the ,catholic kings4 ,two new centres of activity arose at this epoch1 which greatly fostered the rise of ,spanish civilisation and favoured the development of pictorial art--two cities glorious and historical in ,spain--,toledo and ,salamanca4 ,side by side with this budding art--which was in a certain sense inspired by the schools of the north1 but nevertheless began to display a national tendency--a few isolated artists1 either by preference or training1 still retained the ,italian style4 ,we recall the ,santa ,catalina of ,hernando ,yez de la ,almedina 7,plate ,i471 shown at the exhibition1 a work which has not been sufficiently appreciated and must be regarded as a beautiful example of that period4 ,arising at the close of the epoch of national unity1 the ,house of ,austria1 in the person of its most exalted representative1 the ,emperor ,charles ,v1 commenced to govern the destinies of ,spain4 ,the victorious expansion of ,spanish arms1 both in the ,old ,world and the ,new1 during the first half of the sixteenth century1 had but little influence upon artistic effort1 and none of the ,spanish painters of this period are regarded as the equals of their ,italian1 ,flemish1 ,german or ,dutch contemporaries4 ,and our artists1 at a time when the entire national fortunes were hazarded in campaign after campaign1 had enough to do to maintain an epoch of gestation1 to comprehend the laws and trace the spiritual current of the ,renaissance which now dawned upon the world of culture4 ,this great movement failed also to take a national direction with ,spanish artists1 and the few books and treatises on art printed in ,spain during this period are poor in conception and lacking in information4 ,even to mention the names of the painters of the period1 it would be necessary to burden this critical sketch with a list of artists of secondary importance4 ,in his art ,alonso ,berruguete was certainly ,italian1 but in spite of this1 he gave to his works a marked national stamp1 maintaining in the central portion of the ,peninsula a patriotic inspiration which resulted later in a separate school of culture4 ,valencia1 with artists trained in ,italy1 was preparing a great reputation for the future1 and then a painter of individuality1 isolated in a minor province1 and having few relations with the ,court1 created with his brush an austere art1 a little dry and stiff1 ascetic in its inspiration and scarcely suggestive at first sight1 but striking in its individuality1 and reflecting that spirit of ,spanish theology and mysticism which was to dawn somewhat later4 ,i refer to ,luis de ,morales1 the maker of all these ,dolorosas and ,ecce ,homos1 so unmistakable and so much esteemed in ,spain4 ,we come now to the reign of the son of ,charles ,v1 ,philip ,,ii1 a man whose memory has had to endure much criticism1 but to whom1 from the point of view of art1 his country owes not a few of those works which it treasures most4 ,the portraits of ,moro1 a wealth of ,flemish and ,italian paintings and1 among others1 a very complete collection of ,titians1 are due to the commands of ,philip ,,ii1 who1 before he shut himself up in the ,monastery of the ,escurial1 and during his visits to ,italy1 ,germany and ,flanders1 was gathering choice examples of the art of that time1 and of the period immediately preceding it1 installing in the castles of ,spain those paintings which are to-day the most important of the foreign collections housed in the ,prado ,museum4 ,but meanwhile the true national output of those years1 mostly of religious pictures1 was destined for the churches and convents1 and must no longer be regarded as of minor importance4 ,meanwhile1 also1 by royal command1 there arrived in ,spain the works of foreign masters1 and in ,court circles there arose a style of painting exclusively devoted to the genre of the portrait1 and which is known to-day as the school of portraitists of ,philip ,,ii and ,philip ,,iii4 ,its origin is known to us4 ,it is due to the teaching which our painters received from that famous ,hollander1 ,antonis ,moor1 who had so close a relation with our country that his name has become hispanicised1 and who is equally well known to-day by his ,dutch name1 as by the more ,spanish-sounding ,antonio ,moro4 ,patronised by ,philip ,,ii1 he gave instruction to certain ,spanish painters1 especially to one1 ,alonso ,sanchez ,coello1 who was his disciple and successor in art4 ,another ,spanish follower of his1 besides ,coello1 was ,pantoja de la ,cruz1 and the third and last of those who maintained this school and who completed its cycle1 was ,bartolom ,gonzlez1 who flourished during the first years of the reign of ,philip ,,iv4 ,other portrait painters1 disciples and imitators of these might be mentioned1 but the artists alluded to typify this school1 brief in its development1 very distinguished and typical1 though1 as we have said1 not of ,spanish origin4 ,their characteristics are quite unmistakable4 ,they paint a life-like portrait1 dry1 hard1 minute in execution1 and complete in all its details1 to the treatment of which they pay much attention1 especially as regards personality4 ,but although skilful and sincere1 their school degenerated and the last of its manifestations is practically an imitation of the first1 possessing little excellence and scanty inspiration4 ,portrait painters of the ,court1 as we have indicated1 the works of these men1 though in general replete with strong personality1 especially as regards the royal family portraits1 have been scattered throughout the world1 and were practically confined to the palaces of other reigning houses4 ,in the ,london exhibition we were able to study the most important of these several works1 for example that of ,pantoja1 ,portrait of ,philip ,,ii 7,plate ,,ii471 who is represented as elderly and on foot1 a full-length portrait which faithfully reflects the appearance of this monarch1 and which is housed in the ,monastery of the ,escurial4 ,it appeared at the ,royal ,academy1 being lent for the purpose by ,his ,majesty the ,king of ,spain4 ,there were others1 the property of ,his ,britannic ,majesty1 which are housed in ,buckingham ,palace1 the portraits by ,snchez ,coello of the ,archdukes of ,austria1 ,wenceslaus1 ,rudolf and ,ernest1 the ,portrait of the ,infante ,don ,diego1 and that of ,margaret of ,austria4 ,that by ,pantoja1 ,portrait of a ,lady of the ,palavicino ,family 7regarding the authorship of which various doubts have arisen71 though not of artistic importance1 certainly presents a critical problem1 for while the art of portrait painting was being developed in ,spain1 in other countries and particularly in ,italy1 the disciples of the school of ,moor created works which might at times be confounded with those of ,spanish painters4 ,bartolom ,gonzlez was also represented by the portrait of the ,cardinal ,infante ,don ,fernando of ,austria1 lent by the ,marquis de ,viana4 99 99 99 99 99 ,about the year #aege there came from ,italy to the city of ,toledo1 a young artist1 scarcely thirty years of age1 born in the island of ,crete1 of ,greek parents4 ,he was called ,domenico ,theotocopuli1 and was known then1 as he is to-day throughout the whole world1 as ,el ,greco 78the ,greek407 ,there was reserved for this man the mission of shaping and1 in the course of time1 perfecting through the medium of his works1 a technique1 especially as regards execution1 performance and character1 which is manifest in all his creations1 and the great enthusiasm which the lovers of ,spanish ,art evince for it is natural and explicable4 ,the fame which the first works of ,el ,greco aroused in ,toledo reached the ,court1 and ,philip ,,ii commanded him to work in the ,monastery of the ,escurial on pictures for the ,church4 ,they were at issue from time to time1 the ,king and the painter1 and do not quite seem to have understood one another4 ,philip ,,ii1 used to an ,italian and ,flemish artistic atmosphere1 and an enthusiastic admirer of ,titian1 was unable to comprehend the work of ,el ,greco1 which1 though of the ,venetian tradition1 represented an innovation profound and complete1 and to-day1 as four centuries ago1 it perplexes many people4 ,but lovers of ,spain1 those who apprehend her true genius and have studied her characteristics and idiosyncrasies1 see in ,el ,greco one of the most interesting figures in international art4 ,in the spirit which appears in his works1 the genius with which they have been performed1 the marvellous technique developed in them1 and the workmanship which gives such brilliance and quality to the colour1 so that it appears at times to have been executed with enamels1 he triumphs1 disarming criticism1 making us not only forget1 but even applaud the extravagances and lack of proportion of which his works are full4 ,the work of ,el ,greco may be divided into two distinct groups3 one comprising human figures in general1 portraits2 the other divine figures1 images1 and religious paintings4 ,in one work1 the most complete and important of all1 the ,burial of the ,count of ,orgaz 7,plate ,v471 these two aspects are joined4 ,the upper portion1 the heavenly1 which it would seem the painter suffused with his idealism1 is peopled with divine figures1 symbolic and incorporeal4 ,in the lower part1 which represents an earthly scene1 the form and colouring have the qualities of things terrestrial4 ,in the exhibition of the ,royal ,academy1 in the salon set apart for the works of ,el ,greco1 there were gathered ten examples eloquent of these two phases of his effort4 ,his ,self-portrait and ,a ,trinitarian exhibit the second2 ,the ,annunciation and the ,christ embracing the ,cross the first4 ,another canvas which occurs to one as affording a good example of his brilliance of colouring and individuality is the picture full of miniature figures1 ,the 8,glory0 of ,philip ,,ii 7,plate ,,iii471 sent to ,london by ,his ,majesty ,king ,alfonso ,,xiii4 ,in this collection of his works1 as indeed1 in all those from the brush of this master1 one could study the origin of the greyish tonality characteristic of the ,spanish school which he was the first to introduce and give effect to1 and to which ,velzquez1 in later years1 gave definite form1 thus founding a technical characteristic of the school4 ,it may interest those curious regarding such problems of painting that the shadows which abound in the works of ,el ,greco1 though intense1 are never black1 and this lends to them a singular profundity and atmosphere4 ,from this relation of the light and shade1 never attaining a pure black or white1 there results a wonderful transparency and corporality1 and all this is attained with fluid colours1 in most instances blurred and rubbed and nearly always rather soft1 slight only in the brighter places and in the points of light4 ,he observes and understands that the reproduction of these things in the art of the painter is not due to faithful copying alone4 ,the atmosphere1 the light1 the reflections1 which these objects display to our sight1 change according to conditions1 and are represented on canvas not as they actually appear1 but according to the aspect they present to the vision1 modified by external agencies4 ,only thus is it possible to obtain the impression of truth1 of movement1 of depth4 ,in the work of the copyist the objects and figures are petrifications1 rigid and dead1 in one and the same plane1 in which1 perhaps1 the ability of the artist can more readily be appreciated1 but which never gives the impression of movement or of life4 ,distinctive as a creator1 originator and master of technique1 statements regarding ,el ,greco's artistic antecedents are debatable1 as for example the relationship to other masters of ,byzantinism which some profess to be able to discern in his pictures4 ,but it remains clear that in his typical works he is above all the true interpreter of the ,spain that was noble1 pious and mystical1 and the most sympathetic delineator of the spirit of the time in which he lived4 ,we believe that it is correct to regard him as the adopted son of the ,spain of his day4 ,although his work has been discussed since the times of ,philip ,,ii1 to-day it ought to be regarded as consecrated4 ,it is not only among painters that we should seek the true influence of ,el ,greco4 ,it is more extensive1 and embraces diverse manifestations1 therefore the causes which animate it are diverse4 ,and so1 in the studios of painters1 in the studies of the cultured1 among wise and refined critics1 among literati1 we may discover the most fervent and impassioned lovers of ,el ,greco4 ,there exists1 without doubt1 an invisible bond between this painter and the world of modern intellectualism1 and this is owing in great part to the enthusiasm which his works arouse1 to the peculiar mystery in which they are enveloped--which we do not find in any other painter--to the suggestive power which he wields1 to something which impassions and completely subdues us4 ,it is for this reason that disciples of ,el ,greco1 who in past years were scarce1 are to-day a legion in number1 and their pictures1 once unknown and without value1 are now celebrated and occupy prominent positions in museums and private collections4 99 99 99 99 99 ,neither ,tristan1 nor ,mayno1 nor ,jorge ,manuel ,theotocopuli are figures sufficiently important to allow us to say that ,el ,greco1 their master1 founded a school1 much less that he formed with them the so-called ,toledan school1 which1 in reality1 had no existence and did not give rise to an output from that city possessing those marked characteristics which would place it in the category of a school4 ,it has to be recorded that in the last years of the sixteenth century ,philip ,,ii brought from ,italy several ,italian decorative artists to paint in fresco the extensive walls of the ,monastery of the ,escurial4 ,he may have wished to bring with him for the purpose some celebrated foreign masters1 but this was not possible1 for the most important epoch of the ,italian ,renaissance had come to an end2 and instead of great masters1 there came others1 decadents1 facile 8hacks10 who in a short time covered these enormous wall-spaces with compositions of scanty inspiration4 ,we mention the visit of these painters to ,spain1 not because of any importance it has in itself1 but in order to show that ,spanish painters1 even those of standing1 have in all times been lacking in the qualities which especially characterise the decorative painter4 ,philip ,,ii might have encouraged ,spanish artists4 ,but whom--,morales1 ,el ,greco1 the artists of the ,court1 the lesser followers of ,el ,greco in ,toledo8 ,no1 none of these appear to have been qualified to bring such a task to a conclusion4 ,this and nothing else was the cause of the coming of the ,italians2 and for the rest the ,king favoured the works of various ,spaniards1 placing many examples of their work in his palaces and in the religious houses he founded4 ,and so ,spanish painting remained in this particular position to the close of the sixteenth century and during the first years of the seventeenth1 which is regarded as its golden century1 when1 in the midst of fruitful invention there arose four great figures1 each to-day world-renowned--,ribera1 ,zurbarn1 ,velzquez and ,murillo4 ,what centres of artistic life did ,spain possess at this time8 ,two1 fundamentally2 those two cities which have since produced the greatest number of painters and the most able--,seville1 the capital of ,andalusia1 the open gate to the ,new ,world1 and ,valencia1 a ,mediterranean port exposed to the influences of that which had been the classical world1 and in close and direct communication with ,italy1 which bequeathed to it the last sparks of the marvellous life of the ,renaissance4 ,in ,valencia1 ,francisco ,ribalta1 a conscientious painter1 who had studied in ,italy1 introduced a style of colouring after the manner of ,ribera4 ,in ,seville1 frequented by all the ,andalusian intellectuals1 ,pacheco1 a most cultured artist1 came later on to be the master of ,velzquez and ,zurbarn4 ,in the exhibition with which we are concerned ,ribalta and ,pacheco1 more famous for the disciples they left than for the works they produced1 were represented1 the first by ,saint ,peter 7,plate ,,vii47 and his portrait of himself as ,saint ,luke painting the ,virgin2 and the second by the ,portrait of a ,knight of ,santiago4 ,a disciple of ,ribalta1 the figure of ,ribera rises suddenly like that of a great master1 with all the distinction which the title implies4 ,going to ,italy while yet very young1 he passed the greater part of his life there1 and was known as 8,lo ,spagnoletto0 7the little ,spaniard74 ,the ,italians have tried to appropriate this artist to themselves1 but his truly ,spanish character is so manifest that no one can entertain any doubt upon the point4 ,on arriving in ,italy1 he studied the works of ,raphael and ,correggio1 finding his true mtier at last in the energy and the chiaroscuro of ,caravaggio1 who then opposed a realistic style to the pseudo-classicism so noticeable at this time4 ,ribera1 whose work exhibits the attributes of ,spanish technique1 and who above all excelled in drawing1 a quality which distinguished him while still very young1 naturally found in ,caravaggio1 the master of the chiaroscuro1 more inspiration than in others of the classical painters and those ,bolognese eclectics who were afterwards his imitators and rivals4 ,he went to ,naples1 where he quickly achieved a fame which spread throughout ,italy and ,spain1 his native land1 with which he had never lost the most intimate relations as an artist1 and here1 in ,naples1 flattered by fortune and with riches heaped upon him1 he continued to produce his admirable canvases1 until the seduction of his daughter1 the most beautiful of all his models1 by the second ,don ,john of ,austria1 the natural son of ,philip ,,iv1 hastened his end4 ,the frequency with which he represented tatterdemalions1 beggars1 martyrs1 saints1 scenes of violence1 of torture1 of asceticism1 marks1 as everyone knows1 the style of ,ribera in its more superficial sense1 and there is scarcely a scene of horror nor a picture of exaggerated tenebrosity belonging to that period and of ,spanish tendency1 which has not been attributed to him by persons of slight experience1 so typical of him are these qualities1 in which1 moreover1 he has no equal4 ,quite as exceptional are his vigour1 his skilful modelling--which has the appearance of sculpture--and the anatomical construction of his figures1 the effects of lighting which he knows how to achieve1 and the exact appearance of reality1 accentuated1 but never repugnant1 which he accomplishes4 ,always in touch with reality1 two styles are apparent in his work3 one1 in which he appears to have revelled in violence of contrast1 seeking out scenes of grief1 old age or death2 and another1 less frequent it is true1 in which he represents the more serene and placid aspects of reality4 ,it is a pity that the ,london exhibition did not have a full and brilliant display of the work of this master1 as thereby his fame1 which to-day is1 in our judgment1 less than he merits1 for reasons expressed above1 might have been securely founded4 ,it is necessary to mention among the ,valencians of this period ,espinosa and ,orrente4 ,in ,seville1 as we have said1 ,pacheco was at the height of his fame1 the master of all1 the fount of culture4 ,but the technique of this school at that time was under the influence of a man of a perplexing and stubborn genius1 little suited by character as a guide for youth1 but still animated by the ,spanish spirit1 subtle in technique and possessing a notable force of expression4 ,the young men followed his style1 which was in consonance with the progressive tendency of their years4 ,we refer to ,herrera el ,viejo 7the elder7 one of the most remarkable painters ,spain has ever produced4 ,but it is a curious circumstance that those disciples who worked in the atelier of ,herrera1 unable to get much guidance from the master1 soon betook themselves to the house of ,pacheco1 who1 intelligent and comprehensive1 did not attempt to misdirect the temperament and the inclinations of his young pupils1 but set them to the task of faithfully interpreting nature4 ,zurbarn and ,velzquez1 the most notable by far of all their contemporaries1 protested against the conventionalisms of scholasticism4 ,they did not seek to embellish the rude form1 which the living model frequently presents to the eyes of the artist in search of a higher ideal1 but to copy it as they beheld it1 as it was presented to them1 without distortion or falsity1 was the purpose which they maintained faithfully all their lives4 ,pacheco appreciated the talent and outlook of these young men1 he protected it as much as he could1 and above all cultivated those qualities which seemed to him the most striking4 ,velzquez said to him3 8,i hold to the principle that nature ought to be the chief master and swear neither to draw nor to paint anything which is not before me02 and ,pacheco1 encouraged by the tendency towards a frankly naturalistic style which his disciple showed1 and observing the qualities which he evinced1 made ,velzquez his son-in-law before he had arrived at the age of nineteen4 ,among such tendencies the art of ,zurbarn and ,velzquez was evolved4 ,the works of their youth were almost alike4 ,they are sufficiently distinguished later because1 while the first hardly ever left the neighbourhood of ,seville1 expanding but little1 ,velzquez1 as is known1 developed a whole pictorial technique4 ,zurbarn was born in #aeih4 ,he was therefore a year older than ,velzquez4 ,by birth he did not belong to ,seville1 but to the province of ,estremadura4 ,but this notwithstanding1 he grew up among the artistic influences of ,andalusia1 for the young painter arrived in ,seville at the age of sixteen years1 so that he is regarded as one of the greatest figures of the ,sevillean ,school4 ,for twenty-five years the artist was famous for his figures of virgins and saints1 realistic in character1 powerful1 well drawn1 vigorous and conceived without exaggeration1 full of life and individuality4 ,we mention as a work great in conception the ,apotheosis of ,saint ,thomas1 housed in the ,museum of ,seville4 ,it is characteristic of ,zurbarn the refractory1 who refused to be inspired either by foreign or national influences4 ,this lent him individuality and rendered his productions a series of continuous links between which but little difference can be remarked4 ,he is famous1 moreover1 for his religious paintings1 his monastic visions4 ,these figures of monks in white sheets1 which arouse admiration and appear to be carved1 such is the relief of their draped folds1 are characteristic and full of grandeur1 feeling and austerity1 and ought to be regarded in the light of actual documents of the monastic life of the ,spain of the seventeenth century4 ,the distinctive feature of the technique of ,zurbarn is the luminosity rendered by means of strong contrasts of light and shade4 ,high lights without crudity and shadows without blackness are noticeable1 as in the works of ,ribera4 ,the grey tones are never heavy1 and their quality1 harmonious in its blending1 diminishes the hardness of the lines of profile1 suppressing all rigidity4 ,zurbarn is1 moreover1 a painter easily understood1 who rarely has recourse to a symbolism more or less appropriate for the expression of thought1 and his ideal aspirations always present1 in all that refers to form1 a manifest passion for reality4 ,this master was well represented at the ,royal ,academy4 ,perhaps there was nothing of great distinction1 but the nine works from his brush1 all of one kind1 were in general very typical and individual1 comprising images1 saints and figures realistic in character 7,plate ,,viii474 99 99 99 99 99 ,we have alluded to the manner of ,velzquez's appearance in ,seville and the influences under which he commenced his apprenticeship4 ,a multitude of studies seriously executed1 some in black chalk1 some in colour1 were his first essays4 ,while still a youth he painted a number of those works which still astonish by their reality1 by their masterly drawing--a quality with which he was naturally endowed--by their sculptural relief1 and by their sobriety4 ,two works may serve as typical of these1 both well-known in ,england1 where they now are1 ,the ,old ,woman ,frying ,eggs in ,sir ,herbert ,cook's collection1 and the ,water-,carrier of ,seville1 the property of the ,duke of ,wellington1 which we quote as an example of the style and resolution which the artist bestowed during these years upon works of a popular character1 and which1 to judge from its subject and models1 was then a novelty in a school of painting which had produced scarcely anything except portraits and paintings of a religious kind4 ,other works of a naturalistic tendency1 vulgarly called bodegones1 or 8eating-house0 sketches1 and some of a religious character1 complete the production of those first years of ,velzquez1 which was so limited in his later years1 that he must be described as a painter whose output was relatively small4 ,when the artist was twenty-four years of age1 his father-in-law1 ,pacheco1 a man of influence1 advised him to leave ,seville1 and himself introduced him to the ,court of ,philip ,,iv1 in whose service ,velzquez remained for the rest of his life4 ,he was immediately granted a position and salary at the ,court1 and his first portraits of the ,sovereign and members of the ,royal ,family aroused surprise and admiration4 ,these1 and his first subject compositions painted in ,madrid1 especially that known as ,los ,borrachos 78,the ,topers071 in their high excellence show the culmination of all the qualities found in the works painted in ,seville during his first years of apprenticeship4 ,never has the ,spanish picaresque spirit1 which forms such a brilliant page in the literature of those times1 been given a more genuine representation than is to be observed in the canvas just mentioned4 ,if ,velzquez had died after painting ,los ,borrachos1 this work alone would have sufficed to have given him supremacy and the title of leader of a school previously indefinite and lacking a fixed and individual point of view4 ,a little later1 at the command of his ,king1 ,velzquez went for the first time to ,italy4 ,the influence which ,italian art exercised upon him has been the subject of discussion4 ,it is not possible in an essay such as this to try to elucidate this point1 but it appears manifest that if ,italian art was naturally absorbed by his talent1 it did not greatly affect his native qualities2 and to judge from his subsequent work1 it would seem that he showed a constant and single-minded solicitude to achieve an interpretation always actively faithful to nature4 ,the picture ,las ,lanzas 78,the ,lances072 the equestrian portraits of kings1 princes and others1 in which these personages appear dressed in hunting costume2 those of the buffoons of the ,court2 the ,scenes of the ,chase in the mountains of ,el ,pardo2 and some others of a different type1 such as the ,christ on the ,cross1 in the ,prado ,museum1 make up the tale of his output after his brief stay in ,italy1 and compose what critics have called the second style of ,velzquez1 more ample and grand than that of his youth1 and1 as time advances1 enriching all the works which come from his brush with those definite grey harmonies which are occasionally almost silvery in tone1 so characteristic and so unmistakable4 ,the painter was for a second time in ,italy in the period of his maturity4 ,he then painted the portrait of ,pope ,innocent ,x1 and executed a bust of ,jun de ,pareja1 which was on view in the exhibition at ,burlington ,house4 ,returning soon afterwards to ,spain1 he there addressed himself to the accomplishment of his greater works1 which truly reveal a superior art1 somewhat enigmatical in its very simplicity1 a sublime style which at first sight does not seem to require much comprehension and the view-point of which has given to the ,spanish ,school of all times1 as well as to other schools1 rich legacies1 excellent examples and notable fruits4 ,there belongs to this epoch of his artistry the portraits of kings and princes1 the second series of the court dwarfs1 even more rich and astonishing than those of the period of his middle years1 some religious pictures1 mythological works and1 lastly1 the two great works ,las ,hilanderas 78,the ,spinners07 and ,las ,meninas 78,the ,maids of ,honour07 7,plates ,x4 and ,,xi471 supreme monuments of a school1 models of synthetic art1 of astonishing simplicity in their composition1 of delicate harmony1 eloquent of the study of values1 masterpieces1 in short1 of sublime painting1 which1 of an apparent modesty1 are1 notwithstanding1 magical works1 spontaneous creations1 which shew neither exertion1 weakness1 nor weariness1 and which seem to us the result of an art serene and calm1 contrary to the influences of great idealistic conceptions1 but which1 essentially objective1 reproduce the natural with a truth which is unsurpassed4 ,in the exhibition at ,burlington ,house ,velzquez was not adequately represented4 ,but there were reasons for this4 ,the undoubted pictures from his brush which are privately owned in ,england1 and to some of which we have already alluded1 are well-known and have figured in recent exhibitions of ,spanish art1 so that it was not deemed necessary to expose them again2 while of those in ,spain1 the greater part is housed in the ,prado ,museum 7and could not of course be sent to ,england71 and those belonging to private persons are very scarce4 ,the examples from ,english collections were the magnificent portrait of ,jun de ,pareja1 the ,painter1 from ,longford ,castle2 the bust of ,a ,spanish ,gentleman1 the property of the ,duke of ,wellington2 ,calabacillas1 the ,buffoon 7,plate ,,ix47 which has recently passed into ,sir ,herbert ,cook's collection2 ,the ,kitchen ,maid1 in ,sir ,otto ,beit's collection--all representative of a period of the artist--as well as the portrait of ,don ,baltasar ,carlos1 ,infante of ,spain1 which ,his ,majesty the ,king of ,england lent from ,buckingham ,palace4 ,of this last special mention must be made4 ,in our judgment it is an undoubted ,velzquez and1 moreover1 a most beautiful example4 ,every part of the armour1 of the legs1 of the body1 and1 above all1 the adjustment of the figure and the design are typical of ,velzquez4 ,how has it come to be regarded in ,england as a work of ,mazo1 where the master is so justly esteemed and where1 owing1 doubtless to enthusiasm for ,velzquez1 nearly all the pictures of ,mazo are attributed to ,velzquez8 ,or is it that some have arrived at false conclusions concerning ,mazo and ,velzquez1 and when they are confronted by an original and undoubted ,velzquez1 are dubious of it because it does not appear sufficiently typical of ,mazo8 ,it has not1 to the best of our belief1 elsewhere been observed that the head of this portrait is somewhat faint and flat4 ,from ,spain there were sent ,the ,hand of an ,ecclesiastic1 lent by ,his ,majesty the ,king of ,spain1 a fragment1 without doubt1 from a portrait of which the remainder was lost in the burning of the ,alcazar of ,madrid4 ,the special interest of the said fragment is that the hand holds a paper on which is the signature of ,velzquez1 assuredly1 one of the three authentic signatures of this artist which remain to us1 the others being found on the portrait of ,philip ,,iv1 in the ,national ,gallery1 ,london1 and that of ,pope ,innocent ,x1 in the ,doria ,gallery at ,rome4 ,concerning the portrait of ,pulido ,pareja in the ,national ,gallery1 ,london1 we have already written at some length on another occasion1 with the intention of proving that this portrait is by ,mazo1 and that the signature is consequently apocryphal4 ,the ,portrait of the ,artist1 from the ,fine ,art ,museum1 ,valencia1 is a beautiful example1 if somewhat damaged and blackened1 and the other three works shown have been more frequently exhibited and studied than those which are of undoubted authenticity4 ,among others of outstanding interest is the ,head of a ,cleric1 the property of the ,count of ,fuenclara1 which1 although its attribution is not unquestioned1 is remembered above all as a beautiful piece of work4 99 99 99 99 99 ,we must now commence the rather complex study of those paintings which compose the ,madrid ,school4 ,we say complex1 because1 composed as it was of painters who came from one or the other part of the ,peninsula1 it does not possess a precise and regional character1 but is the resultant of the work of many artists whose names we must not forget1 as1 for example1 ,carducho1 ,caxes and ,nardi1 of ,italian origin1 who1 or perhaps their fathers1 were brought to ,spain as decorative painters4 ,it seems natural that they should have had imitators or disciples1 as it was precisely in the country of their adoption that artists of this genre were awanting4 ,but1 on the contrary1 they were absorbed by the environment1 and produced and achieved a sober and realistic style1 forgetful of the circumstances of their apprenticeship1 and1 we may say1 hispanicised4 ,velzquez was the chief representative of the ,madrid school1 its creator1 and1 more1 its prototype1 marking the apogee of ,spanish painting4 ,his aim was always to simplify1 a purpose which is clearly obvious from the methods he employed from his youth to his last work1 constantly simplifying his technique and1 consequently1 his palette4 ,to the study of his palette alone we have dedicated a work of a purely technical character 7of which ,,the ,,studio of ,november #aibj printed an extract7 which space does not permit us to reproduce here1 but which we take occasion to refer to since the simplification of the palette of this artist1 the creator of a school1 must be regarded as of exceptional importance1 as characteristic of almost all later ,spanish artistic achievement1 endowing it with great individuality and distinguishing it from all other schools4 ,this circumstance is worthy of recognition by all who wish to arrive at the true significance of ,spanish painting1 so far as its outward manifestations are concerned4 ,before dealing with the continuators of ,velzquez1 we must briefly refer to painting in ,andalusia1 where ,murillo appears as a great force in ,seville1 years after ,velzquez had been so in ,madrid4 ,murillo1 at first a disciple of his kinsman ,castillo1 was soon afterwards a follower of ,pedro ,moya4 ,the painter passed during his youth through a whole gamut of influences1 that of ,van ,dyck especially1 alternating at times with that of ,ribera4 ,at twenty-four he was in ,madrid1 where ,velzquez worked and taught1 though only for a short time4 ,when he returned to ,seville he did not forget the lessons of ,velzquez1 and from this period date those popular figures1 full of character1 which began to bring him fame4 ,later1 ,murillo altered his methods1 and for the rest of his life employed a style suave and soft as the ,andalusian accent1 graceful and suggestive4 ,his religious works1 his ,virgins1 and1 above all1 his ,conceptions were soon famous1 and1 an incessant worker1 he left a multitude of paintings which bear a personal and unmistakable stamp1 and reveal an adequate technique1 ample in treatment1 in a tonality of varying greys1 warm and glowing and without exaggeration4 ,but in truth the art of ,murillo is of less interest than formerly1 owing to present-day preferences1 which seek spirituality in art1 a force and even a restlessness which we do not find in the work of this artist4 ,but his fame in his own day was very great1 and for a long time he was considered as the foremost of ,spanish painters4 ,what gave him such a great reputation8 ,the illustrious ,spanish critic1 ,seor ,cosso1 has asked the same question regarding the causes underlying a style so direct and simple4 ,murillo's subject-matter1 says ,seor ,cosso1 in the background as in the thing portrayed1 represents always the soft and agreeable side of life4 ,in the sphere of spontaneous creation1 in that which does not require profundity1 nor reflection1 ,murillo always exerts an irresistible attraction4 ,his ,conceptions are beautiful but superficial4 ,there is in them no more skilful groundwork1 dramatic impulse1 nor exaltation than appears at first sight4 ,to comprehend and enjoy them it is not necessary to think1 their contemplation leaves the beholder tranquil1 they do not possess the power to distract1 they have no warmth1 nor that distinction which makes a work unique1 and as they hold just that degree of cultured mediocrity which in thought and feeling is the patrimony of the majority of people1 they are able to please accordingly4 ,if there be added to this a pious and poetic sentiment and the celestial and suave expression of his figures1 it is easy to understand the great1 indisputable and just popularity which ,murillo has enjoyed4 ,velzquez thought profoundly1 but with ideality2 ,murillo has not idealism1 nor is he profound4 ,both are realists1 and if one represents the masculine feeling in ,spanish painting1 the other shows at its highest the feminine tendency4 ,at the ,royal ,academy seven pictures of ,murillo1 some of real importance1 were shown4 ,amongst these religious subjects predominated1 ,san ,leandro and ,san ,buenaventura1 from the ,museum of ,seville1 and ,the ,triumph of the ,holy ,eucharist1 lent by ,lord ,faringdon4 ,among the portraits were that of the artist1 the property of ,earl ,spencer2 ,gabriel ,esteban ,murillo1 sent by the ,duke of ,alba and ,berwick2 and ,don ,diego ,flix de ,esquivel y ,aldama1 from a private collection in ,madrid4 ,in alluding to the ,sevillean school1 we must mention a contemporary of ,murillo1 though somewhat his junior1 of singular talent4 ,his name is little known outside of ,spain1 and this is doubtless the reason why so few of his pictures have left the country4 ,we believe it a mistake to allude to him1 as is sometimes done1 as one of those ,spanish painters whose work is no longer of interest1 such is his expression1 his distinctive note1 his creative boldness and individuality4 ,we refer to ,valdes ,leal4 ,his harsh outlook1 his frequent inaccuracies1 his thought1 profound and almost always obscure1 and above all1 his subjects1 at times macabre and bizarre1 at times graceful1 provide reasons for his unpopularity1 no less than the still scanty knowledge we possess regarding this singular man1 the circumstances of whose work and life are presented to us almost in a legendary manner1 as in the case of his friend and patron1 ,don ,jun de ,maara1 who has been incarnated in the popular imagination as the ,don ,jun of tradition4 ,in ,granada1 ,alonso ,cano1 as great a sculptor as painter1 maintained1 with other artists of lesser note and standing1 a flourishing school which had links with that of ,seville4 99 99 99 99 99 ,we turn again to ,madrid1 to the ,court where ,velzquez1 as we have indicated1 stamped such character on painting and informed it with such excellence that artists flocked from all parts of the ,peninsula to the capital4 ,this resulted in the flourishing period of art--ending with the seventeenth century--fruitful and various1 which is associated with the ,school of ,madrid4 ,it is not precisely the school of ,velzquez1 although equivocally so called4 ,velzquez had disciples who followed him1 imitating and copying him1 as his servant ,pareja1 the mulatto1 did4 ,but this notwithstanding1 other painters of talent worked during these years in the capital1 helping to form the school1 even if they did not follow him in any decided manner4 ,nevertheless1 he is its greatest figure1 for he it was who gained the title of a school for the work of his contemporaries1 and for the generation which followed him4 ,the impulse which he gave by his technique and the composition of his palette1 simple and sober1 are characteristic of all this period4 ,his son-in-law1 ,mazo1 followed him blindly1 and1 working in his studio1 was constantly impressed by the productions of his master1 making use of the same methods--the same canvas1 colours1 brushes1 and1 giving rein to an extraordinarily imitative talent1 he tried to make1 and occasionally produced1 actual facsimiles of his master's works4 ,the study of this curious problem of painting1 of the distinctive note1 the inclination of the time1 as shown in the art of father-in-law and son-in-law1 has been the subject of several works from our pen4 ,we have not insisted on the point in these1 nor have we space to do so in this brief synthesis2 but we flatter ourselves that several paintings1 especially those which belong to museums1 have come to be more correctly attributed to ,mazo rather than to ,velzquez1 and that those who are interested in these problems have come to distinguish the external aspect of the work of the one from that of the other1 substantial and inimitable4 ,we must remark1 however1 that ,mazo had1 besides the mere qualities of an imitator1 a talent of his own of singular excellence1 that of a landscape painter1 which represented a relative novelty in the art of ,spain at that period4 ,after ,velzquez the most important painter of the ,school of ,madrid is1 beyond dispute1 ,carreo4 ,though his religious canvases are numerous1 ,carreo was1 above all1 a portrait painter4 ,the relative influence of the work of ,van ,dyck1 which extended as far as ,seville1 also reached ,madrid1 and ,carreo came under it at times and discreetly made use of it4 ,we say discreetly1 for he had lost his national qualities4 ,he borrowed from ,velzquez the basic colours of his palette1 but sought to enrich them with certain warm1 golden tones1 and he was enamoured of russets and1 above all1 of carmines1 generally those which approximate to the colouring of the ,flemings1 but which appear cloying beside the works of ,van ,dyck4 ,the portraits by ,carreo were represented at the exhibition by that of ,a ,young ,lady 7,plate ,,xxii71 belonging to the ,duke of ,medinaceli1 which might almost be described as a black-and-white from its colouring and the evident purpose of the artist to preserve this tonality throughout the work2 that of ,the ,queen of ,spain1 ,doa ,mariana de ,austria1 the property of ,don ,ramn de la ,sota1 a most beautiful example1 from which1 without doubt1 have been taken the many repetitions which are known of it besides other variants2 and that of ,the ,marchioness of ,santa ,cruz1 which is of great importance and very characteristic4 ,of religious pictures it is necessary to mention ,the ,apparition of the ,virgin to ,saint ,bernard1 sent from ,bilbao by ,don ,antonio ,plasencia4 ,the two brothers ,rizi1 ,juan and ,francisco1 were of ,italian origin2 both were decorative painters and worked in the style of ,carducho and ,caxes4 ,juan1 the elder1 was a monk1 and was one of the prototypes of the ,school of ,madrid1 following ,velzquez in his work1 soberly and simply4 ,francisco seems at times to display the qualities of his ,italian origin1 and though sufficiently ,spanish1 gave to his creations a certain quality which may have influenced the ,spanish decorative painters of the time4 ,it is a curious problem of influence4 ,in any case this artist1 who achieved fame in his time1 is an interesting study to-day1 and it would seem that the critic must scrutinize the beginnings of the question before he tries to explain its results4 ,pereda1 ,collantes and ,leonardo are also notable1 if lacking the character of their school1 which clearly shows them to be among the disciples of ,carreo1 among whom1 perhaps1 the most notable were ,cerezo and ,cabezalero1 who unfortunately died young4 ,cerezo seems to be the most striking figure of those years1 and his brilliant colour and fine style initiated a tendency which made for the enrichment of the ,spanish palette1 the sobriety of which we admire in the masters1 but which degenerates into a certain poverty at times in the hands of their disciples4 ,with ,cerezo we should mention ,antolnez1 who also died before he reached artistic maturity4 ,we now reach that era of painting which flourished at the ,court of ,spain during the remainder of the seventeenth century4 ,a long list of names of artists could be made1 all estimable and some remarkable1 who exhibited the proverbial vigour and picturesque temperament of the race1 which1 skilfully directed1 and having received a noble and traditional tendency1 commenced its onward progress without faltering4 ,we mention1 however1 only ,claudio ,coello1 who seems to close this period4 ,a disciple of ,rizi1 whose decorative tendency he followed1 he was more an artist in a general sense than a portrait painter1 and above all he produced many religious subjects4 ,by his work ,the ,sacred ,form1 which is kept in the ,escurial1 he seems to be sealed to the ,school of ,madrid4 ,this picture is obviously a result of the atmosphere and the taste of the period in its fidelity to character and its happy solution of problems of perspective and effects of light4 99 99 99 99 99 ,for ,spain the eighteenth century was a period of misfortune4 ,the reasons for this are simple and evident4 ,grace and good taste--in the best sense of the term--lightness1 came to be the characteristics of this century1 and these qualities were displayed in a perfect manner in ,french art4 ,and it was precisely these attributes which ,spanish artists most lacked1 and still lack4 ,they are robust1 strong and sincere1 but without gracefulness1 facility of expression or volatility4 ,a propos of this1 it must be recalled that ,spanish artistic expression appears to have been more or less influenced in its development by foreign tendencies which were allowed to work freely and with absolute spontaneity4 ,the eighteenth century was a period in which the most powerful external influences1 especially the ,french1 the least adaptable to the ,spanish temperament1 had full play4 ,these external influences were wholly ordained by the rule of the ,house of ,bourbon1 and incarnated in the first of its monarchs1 ,philip ,v1 nephew of ,louis ,,xiv1 who1 doubtless meaning well1 seemed to think it possible to transplant ,versailles1 with its marvellous spirit and exquisite culture1 to the ,castilian cities1 which were still dominated by the sobriety and asceticism of the mystics of past centuries4 ,as regards painting1 these influences commenced with the arrival at the ,court of ,lucas ,jordn1 who represented the influence of the great ,italian decorative artists4 ,afterwards came ,tipolo1 who left many marvellous works1 quite inimitable by ,spanish artists4 ,the ,bourbons introduced ,van ,loo1 ,ranc1 ,houasse and other ,french representatives of the art of the time2 and lastly came ,mengs1 bringing with him a spirit wholly distinct from that of the ,french1 a style erudite and academic which was not sufficiently powerful to create an artistic output of any importance in ,spain1 but which possessed much destructive power1 although that was limited as regards time to about a century1 during which period the national production was weak1 despite the number of artists1 of whom those most worthy to be mentioned are ,maella1 the ,bayeus and ,paret4 ,such was the condition of ,spanish painting when1 without precedent1 reason or motive1 appeared in the province of ,aragon1 a region which years afterwards came to typify the resistance to foreign invasion1 a figure of great significance in ,spanish art1 and worthy of comparison with the greatest masters of the preceding centuries--,francisco de ,goya4 99 99 99 99 99 ,the long life of ,goya coincides with an epoch which divides two ages4 ,the critic is somewhat at a loss how to place his work and personality1 to conclude whether he is the last of the old masters or the first of the moderns4 ,his greatness is so obvious1 his performance so vast and its gradual evolution so manifest1 that we may be justified in holding that the first portion of his effort belongs to the old order of things1 while the second must be associated with the origins of modern painting4 ,in his advance1 in the manner and development of it1 it is noticeable--as we have already said in certain of our works which deal with ,goya--that he substituted for the picturesque1 agreeable and suggestive note of his younger days1 another more intense and more embracive4 ,it would seem that the ,french invasion of the ,peninsula1 the horrors of which he experienced and depicted1 influenced him profoundly in the alteration of his style4 ,there is a ,goya of the eighteenth century and a ,goya of the nineteenth4 ,but this is not entirely due to variation in technique1 to mere artistic development1 it is more justly to be traced to a change in creative outlook1 in character1 in view-point1 which underwent a rude and violent transformation4 ,compare the subjects of his tapestries or of his festive canvases1 joyful and gallant1 facile in conception and at times almost trivial1 with the tragic and macabre scenes of his old age1 and with the drawings of this period and the compositions known as 8,the ,disasters of ,war40 ,his spirit was fortified and nourished by the warmth of his imagination1 and assisted by an adequate technique1 marvellously suited to the expression of his ideas1 he produced the colossal art of his later years4 ,if his performance is studied with reference to the vicissitudes and the adventures of which it is eloquent1 the influence upon his works of the times in which they were created is obvious4 ,the changes in his life1 the transference from those gay and tranquil years to others full of the horrors of blood and fire1 of shame and banishment1 tended1 without doubt1 to discipline his spirit and excite his intelligence4 ,his natural bias to the fantastic and his tendency to adapt the world to his visions seized upon the propitious occasion in a time of invasion and war to exalt itself1 or1 as he himself expressed it1 8the dream of reason produces prodigies40 ,an artist and creator more as regards expression than form1 especially in the second phase of his work1 unequal in achievement and at times inaccurate1 he sacrificed much to divest himself of these faults4 ,he deliberately set himself to discipline his ideas and develop that degree of boldness with which he longed to infuse them4 ,but he was not quite able to subject himself to reality1 and1 as he was forgetful and indolent1 that which naturally dominated him began to show itself in quite other productions of consummate mastery4 ,this art1 imaginative in expression and idea1 is more striking as regards its individual and original qualities1 than for any degree of discipline which it shows4 ,to follow ,goya throughout the vicissitudes of his long life is not a matter of difficulty4 ,the man to whom modern ,spanish art owes its being was born in the little village of ,fuendetodos and lived whilst a child at ,saragossa4 ,he came to ,madrid at an early age1 and before his thirtieth year went to ,rome with the object of perfecting himself in his art4 ,but he failed to obtain much direction at the academies in ,parma1 and having but little enthusiasm for the ,italian masters of that time1 returned to ,spain1 settling at ,madrid4 ,until this time the artist had not evinced any exceptional gifts4 ,goya was not precocious4 ,the first works to assist his reputation were a series of cartoons for tapestries to be woven at the ,royal ,factory4 ,they were destined for the walls of the royal palaces of ,aranjuez1 the ,escurial and the ,prado1 which ,carlos ,,iv desired to renovate according to the fashion of the time4 ,these works1 which brought fame to ,goya1 showed two distinctive qualities4 ,one of them evinces the originality of his subjects1 in which appear gallants1 blacksmiths1 beggars1 labourers1 popular types in short1 who for the first time appeared in the decoration of ,spanish palaces and castles1 which1 until then1 had known only religious paintings1 military scenes1 the portraits of the ,royal ,family and stately hidalgos4 ,goya1 in this sense1 democratized art4 ,the other note to be observed in his work is a certain distinction of craftsmanship1 the alertness which it reveals1 which is1 perhaps1 due to the lightness of his colouring4 ,on canvases prepared with tones of a light red hue1 which he retained as the basis of his picture1 he sketched his figures and backgrounds with light brushes and velatures1 retaining1 where possible1 the tone of the ground4 ,this light touch1 rendered necessary by the extensive character of the design and the rapidity with which it had to be executed1 gave to the artist a freedom and quickness in all he drew1 and from it his later works1 much more important than these early essays though they were1 profited not a little4 ,already during these earlier years he had commenced to paint portraits which did much to enhance his reputation1 and shortly afterwards he entered the royal service as first painter to the ,court1 where he addressed himself to the execution of that vast collection of works of all kinds which arouse such interest to-day4 ,the list is interminable and embraces the portraits of ,carlos ,,iv and of the ,queen ,maria ,louisa1 those of the members of the ,royal ,family1 of all the aristocracy1 of the ,albas1 ,osunas1 ,benaventes1 ,montellanos1 ,pignatellis1 ,fernn-,nezs1 the greatest wits and intellectuals of the day1 especially those of ,jovellanos1 ,moratin1 and ,melndez ,valds1 three men who profoundly influenced the thought of ,goya in a progressive and almost revolutionary manner1 in spite of his connection with the ,court and the aristocracy4 ,he also painted many portraits of popular persons1 both men and women1 among whom may be mentioned ,la ,tirana1 the bookseller of the ,calle de ,carretas1 and that most mysterious and adventurous of femmes galantes of whom1 now clothed1 now nude1 the artist has bequeathed to us those souvenirs which hang on the walls of the ,prado ,museum4 ,in these the artist has for all time fixed and immortalized the finest physical type of ,spanish womanhood1 in which an occasional lack of perfect proportion is compensated for by elegance1 grace1 and unexaggerated curve and figure1 without doubt one of the most exquisite feminine types which has been produced by any race4 ,besides these1 the artist produced many lesser canvases containing tiny figures full of wonderful grace and gallantry1 and having rural backgrounds1 frequently of the banks of the ,manzanares1 and others of larger proportions and scope1 among the most excellent of which is that of the family of ,carlos ,,iv1 treasured in the ,prado ,museum as one of its most precious jewels4 ,along with ,the ,burial of the ,count of ,orgaz 7,plate ,v47 and ,las ,meninas 7,plate ,x471 this picture may be regarded as the most complete and astonishing which ,spanish art has given us4 ,it is not a 8picture0 in the ordinary sense of the word1 but an absolute solution of the problem of how colour harmonies are to be attained1 and a most striking essay in impressionism1 in which an infinity of bold and varied shades and colours blend in a magnificent symphony4 ,goya1 triumphant and rejoicing in a life ample and satisfying1 received on all sides the flatteries of the great1 and1 caressed by reigning beauties1 lived in the tranquil pursuit of his art1 which1 though intense1 was yet graceful and gallant1 and1 as we have said1 still adhered to the manner of the eighteenth century1 when a profound shock agitated the national life--the war with ,napoleon and the ,french invasion4 ,the first painter to the ,court of ,carlos ,,iv1 a fugitive1 deaf1 and already old1 life1 as he then experienced it1 might have seemed to him a happy dream with a terrible awakening4 ,his possessions1 his pictures1 and his models were dispersed and maltreated2 the ,court seemed to have finished its career1 for his royal master was banished by force1 many of the nobility were condemned to death1 and ,countesses1 ,duchesses and ,maids of ,honour vanished like the easy and enjoyable existence he had known4 ,above all1 ,saragossa1 that heroic city1 beleaguered on every side1 was closed to him2 a depleted army defended the strategical points of the ,peninsula1 and the people--the people whom ,goya loved and who had so often served him as models for his damsels1 his bull-fighters1 his wenches1 his little children--were wandering over the length and breadth of ,spain1 only to be shot as guerillas and stone-throwers by the soldiers of ,napoleon4 ,it was at this moment that the true development of the artist began4 ,the painter1 like his race1 was not to be conquered4 ,the old ,goya remained1 strong in the creation of a lofty art4 ,the last twenty years of his life were full indeed1 and represented its most vigorous phase1 the most energetic in the whole course of his achievement4 ,scenes of war and disaster occupied almost the whole of this important period1 full of a profound pessimism1 which still does not lack a certain graceful style1 and displays unceasingly some of the saddest thoughts which man has ever known4 ,these works of ,goya are not of any party1 are not political nor sectarian4 ,they are simply human4 ,for his greatness is all-embracive and his might enduring4 ,typical of his work in this last respect are ,the ,fusiliers1 of #ahjh1 and his lesser efforts1 those scenes of brigandage1 madness1 plague and famine which occur so frequently in his paintings during the years which followed the war4 ,we do not mean to make any hard and fast assertion that ,goya would not have developed in intensity of feeling if he had not personally experienced and suffered the horrors of the invasion1 but merely to indicate that it was this which brought about the revulsion within him and powerfully exalted him4 ,his last years in ,madrid1 and afterwards in ,bordeaux1 where he died1 were always characterized by the note of pessimism1 and at times1 of horror1 as is shown in the paintings which once decorated his house and are now preserved in the ,prado ,museum4 ,not a few portraits of these years also show that the artist gained in intensity and in individual style4 ,it is precisely these works1 so advanced for their time and so progressive1 that provided inspiration to painters like ,manet1 who achieved such progress in the nineteenth century1 and who were enamoured of the visions of ,goya1 of his technique and his methods1 naturalistic1 perhaps1 but always replete with observation and individual expression4 ,we must not forget to mention that ,goya produced a decorative masterpiece of extraordinary distinction and supreme originality--the mural painting of the ,chapel of ,st4 ,antonio of ,florida1 in ,madrid4 ,nor is it less fitting to record his fecundity in the art of etching1 in which1 as in his painting1 it is easy to observe the development of their author from a style gallant and spirited to an interpretation of deep intensity1 such as is to be witnessed in the collection of 8,the ,caprices0 and 8,the ,follies10 if these are compared with the so-called 8,proverbs0 and especially with 8,the ,disasters of ,war40 ,the pictures representing ,goya at ,burlington ,house were composed of some twenty works4 ,among those which belonged to his first period were the portraits of the ,marchioness of ,lazan1 the ,duchess of ,alba1 lent by the ,duke of ,alba1 8,la ,tirana10 from the ,academy of ,st4 ,fernando1 the ,countess of ,haro1 belonging to the ,duchess of ,san ,carlos1 four of the smaller paintings of rural scenes1 the property of the ,duke of ,montellano1 and ,an ,amorous ,parley 78,coloquio ,galante071 the property of the ,marquis de la ,romana1 the prototype of the ,spanish feeling for gallantry in the eighteenth century4 ,as representative of the second phase1 of that which holds a note intense and pessimistic1 may be taken ,a ,pest ,house1 lent by the ,marquis de la ,romana1 and those truly dramatic scenes1 the property of the ,marquis of ,villagonzalo4 ,of portraits of the artist by himself two were exhibited1 one small in size painted in his youth 7,plate ,,xxvi471 in which the full figure is shown1 and the other a head1 done in #ahae1 which gives us a good idea of the expression and temperament of this extraordinary man4 ,the influence of the art of ,goya was not immediate4 ,a contemporary of his is to be remembered in ,esteve1 who assisted him and copied from him4 ,later1 an artist of considerable talent1 ,leonardo ,alenza1 who died very young and had no time to develop his art1 was happily inspired by him4 ,with regard to ,lucas1 a well-known painter whose production was very large1 and who flourished many years later1 and is now known to have followed ,goya1 he can scarcely be considered as one of his continuators1 but rather as an imitator--by no means the same thing4 ,for he imitated ,goya1 as1 on other occasions1 he imitated ,velzquez and other artists4 ,lucas is much more praiseworthy when he follows his own instincts and does original work4 ,his picture ,the ,auto de ,f1 the property of ,m4 ,labat1 which was shown at the ,london exhibition in the room dedicated to artists of the nineteenth century1 is one of the best that we know of from his brush4 99 99 99 99 99 ,if the eighteenth century was for ,spanish painting an epoch of external influences1 the nineteenth century1 especially its second half1 must be characterized as one which sought for foreign direction4 ,during this period the greater number of painters of talent sought for inspiration from foreign masters4 ,this was a grave mistake1 not because in ,spain there were artists of much ability or even good instructors1 but because this exodus of ,spanish painters was a sign that they had lost faith and confidence in themselves and were strangers to that native force which in the end triumphs in painting as in everything else4 ,first ,paris1 then ,rome1 the two most important centres of the art of this period1 were undoubtedly centres of a lamentable distortion of ,spanish art4 ,the organizing committee did not wish the ,london exhibition to be lacking in examples of this period of prolific production1 to which they dedicated a room in which were shown examples of the painters of the nineteenth century4 ,we mention some of the many artists of talent of the ,spain of those days1 and indicate their individual characteristics2 but we are unable to allude to their general outlook and the characterization of their schools1 which we do not think existed among them to any great extent4 ,the most famous painter who succeeded ,goya was ,vincente ,lpez1 better known for his portraits than for his other canvases1 a skilful artist with a perfect knowledge of technique1 conscientious1 fecund1 minute in detail1 who has left us the reflection of a whole generation4 ,classicism arrived in ,spain with all the lustre of the triumphs of ,louis ,david1 under whose direction ,jos de ,madrazo placed himself1 the first of those artists of this type to maintain a position of dignity throughout three artistic generations4 ,he held an important place among contemporary painters at a difficult time during which1 in consequence of the political disorder which reigned1 the commissions usually given by the churches and religious communities ceased1 private persons acquired few paintings1 and the academies decreased in the number of their students4 ,it was a time in which art offered but little wherewithal to its votaries4 ,but this period of paralysis was of short duration4 ,the pictorial temperament1 which inalienably belongs to ,spain1 and the appearance of romanticism1 with a tendency conformable to the spirit of ,spain1 and which had for a long time given a brilliant impulse to her men of letters1 revived painting1 which forgot its period of exhaustion4 ,the frigid classicism1 ill-suited to the national genius1 now passed away4 ,jos de ,madrazo was succeeded in prestige and surpassed in ability by his son ,federico de ,madrazo4 ,by his portraits he has bequeathed to us faithful renderings of all the personages of his day1 which compete with those of the greater foreign portrait painters among his contemporaries4 ,studying at first under classical influences1 but regarded as romantics in their later development1 were remarkable portrait painters like ,esquivel and ,gutirrez de la ,vega1 and a landscape painter of especial interest1 ,prez ,villamil1 who may in a manner be compared to the great ,english landscape painter ,turner1 though he had no opportunities for coming in contact with him or any knowledge of his work4 ,both men1 each in his own environment1 breathed the same atmosphere2 and1 although reared in lands remote from one another1 thought in a like manner because they both reflected the period in which they lived4 ,becquer and others adequately maintained the descriptive note which now entered into the making of popular subjects4 ,such was the condition of painting in ,spain when there appeared the fruitful and extraordinarily popular genre of historical painting4 ,in its origin it was not ,spanish but was introduced from other countries1 especially from ,france2 but its ,spanish affinities are manifest in its examples1 most of which are canvases of great size1 imposing1 dramatic1 and1 in general1 effective4 99 99 99 99 99 ,in this period culture1 which in ,spain had formerly been the preserve of a limited class1 now spread itself more widely1 and in the sphere of art was greatly fostered by exhibitions of painting1 open to all and sundry1 without distinction of social status4 ,pictures and sculpture1 which in other times had been dedicated solely to art and to religious piety1 the possessions of kings and grandees1 now came into public view1 were alluded to in publications of all kinds1 and the people1 enthusiastic and critical1 were brought face to face with their native art4 ,many artists1 perceiving this1 hoped to gain popular applause1 and consequently worked upon their subjects as seemed most agreeable to the masses4 ,the historical picture in such circumstances seemed to offer the greatest possibilities for achieving a popular reputation4 ,gisbert painted the popular heroes of the past and was regarded as the representative of those revolutionary tendencies in art which were to triumph several years later4 ,alisal1 ,mercade1 ,palmaroli1 ,luis ,alvarez1 careful and excellent artists1 painted both historical and genre pictures4 ,from this group arose a most remarkable figure who died whilst still very young1 but who has left us a most striking example of his workmanship4 ,this was ,eduardo ,rosales1 the painter of ,the ,death of ,isabel the ,catholic4 ,rosales represented the ,spanish tradition in painting4 ,averse to foreign influences1 he studied and found in the great masters the sources of his art1 and his works1 both in ,spain and beyond it1 excited the greatest interest in his time4 ,the picture above mentioned1 sober and simple in style1 though it must be classed as genre painting1 has still many admirable and enduring qualities4 ,the pity is that this group of artists did not follow him2 for1 flattered by the public acclamation1 they entered upon the second period of historical painting1 less effective than the first and always conventional1 which lasted many years1 indeed almost to the present time4 ,for an atmosphere inimical to the traditions of ,spanish painting arose1 in which this type of historical composition flourished at a time when it had been condemned and forgotten in other countries1 where it was forced to give place to those tendencies in which modern painting had its origin4 ,rigurosamente1 a contemporary of ,rosales1 was another exceptional artist of unusual gifts1 likewise ,mariano ,fortuny1 who unfortunately died in his youth4 ,fortuny1 though he may appear quite otherwise to-day1 was in his own time considered a progressive innovator4 ,when he visited ,madrid for the first time1 drawn thither by youthful enthusiasm1 he did so with no other idea than that of copying from ,velzquez4 ,but seeing in the ,prado ,museum the works of ,goya1 which were totally new to him1 he received a revelation4 ,he copied from ,goya1 and later1 going to ,africa1 he painted many studies and pictures replete with light4 ,light as a pictorial factor1 as an element in a picture1 the study of light1 the reflection of it in his own works--that is the progressive element which we find in ,fortuny4 ,the rapid success of his first works1 their triumph in ,paris and ,rome1 was due to an agreeable style1 gracious in touch1 suggestive1 which appealed to collectors and dealers4 ,at the same time we do not believe this to have been altogether his ideal1 since a few years before his death1 which took place in his thirty-seventh year1 we see him betaking himself to the shores of ,italy1 where he made new studies of light and air4 ,was it reserved to ,fortuny to be one of those of whom it will be said that he assisted the development of the study of atmosphere and light8 ,we firmly believe this to be so1 but the work of the critic has nothing to do with prophecy1 and we must deal only with that which ,fortuny has left us1 which is indeed sufficient4 ,it must not be forgotten in judging his work to-day that its defects1 or what seem to be its defects1 were those of his time and were not personal1 and that what is personal to him was his good taste1 his mastery1 and a series of innovations and bold essays in colour obvious to those who study his works4 ,fortuny was not a ,spanish painter in the sense that he did not preserve the traditions of our ,school4 ,he certainly took the elements of his palette from ,goya1 but his traits of manner show no sign of the typical qualities of ,spanish painting4 ,it is fitting to allude here to artists of different types and talents in some of the cities of ,spain1 and others living abroad1 who laboured during the last years of the nineteenth century--the ,madrazos1 ,raimundo and ,ricardo1 sons of ,don ,federico de ,madrazo1 who studied under the direction of ,fortuny2 ,plasencia1 ,domnguez and ,ferrn1 who distinguished themselves in work of a decorative character in the ,church of ,saint ,francisca the ,great in ,madrid2 ,pradilla and ,villegas1 who have obtained the greatest triumphs during a long career2 the brothers ,mlida1 ,enrique and ,arturo1 the first working in ,paris for many years1 and the second a famous decorative artist2 ,egusquiza1 painter and engraver2 ,moreno ,carbonero1 who1 more a historical and portrait painter1 found a popularity for his pictures inspired by episodes in literature1 especially those of ,quixote1 in which he has coincided with ,jimnez ,aranda4 ,we may also mention a group of artists1 all of ,valencia1 a city which in times past1 as in the present1 enjoyed notable artistic prosperity3 ,sala1 ,muoz ,degrain1 ,pinazo ,camarlench1 ,jos ,benlliure and many others4 ,nearly all of them were represented at the ,exhibition at ,burlington ,house in the ,salon set apart for the painters of this epoch4 99 99 99 99 99 ,in the second half of the nineteenth century the study of nature in the form of landscape arose as a creed1 the artist coming face to face with the scene which he desired to transfer to his canvas4 ,it has been said 8what the landscape is1 so is he who praises it40 ,until then the landscape had been nothing but a background for a composition or figure1 and those who called themselves landscape painters1 when they undertook to paint a scene used it as a peg on which to hang poetical ideas1 embellishing it1 but never treating it as a true rendering of nature4 ,now the artist came to the country1 felt the influence of nature1 and faithfully copied it4 ,the object of his work was to be as natural as possible1 without embellishing or poetizing his subject1 but to portray it1 as one might say4 ,this was a new idea to the painters of the time4 ,prez ,villamil1 a follower of romanticism in painting1 also practised landscape art in ,spain until it underwent the change mentioned above through the arrival of a ,belgian1 ,charles de ,haes1 who succeeded ,prez ,villamil as professor of landscape at the ,school of ,painting4 ,haes broke with tradition4 ,he would have no conventionalisms1 no studied compositions1 nor preconceptions4 ,he took his pupils to the country and there told them to copy ,nature herself1 leaving them without any further inspiration than that with which ,god had endowed them4 ,to-day the studies of this master and of his disciples1 generally executed in strong contrasts of light1 seeking1 doubtless1 the effectiveness thus produced1 appear to us1 although they have a sense of luminosity1 poor in colour1 obscure and hard4 ,but what progress is represented in them in comparison with all former art6 ,and it is clear that they express the tendency which1 modern in that time1 everywhere governed the advance of art4 ,shortly afterwards a ,spanish landscape painter1 not a disciple of ,haes1 ,martn ,rico1 a companion of ,fortuny1 but who1 having lived longer than he and reached a more mature age1 advanced a further step in the art of landscape painting4 ,if the chief aim of this painter had not been the rapid translation of his gifts into money1 and had he not striven to please the public1 he might have achieved lasting fame4 ,casimiro ,saiz1 ,muoz ,degrain--whom we have mentioned already as a painter of the figure--,urgell1 ,gomar and others devoted themselves to landscape2 but the most salient examples of ,spanish landscape painting are to be found in the work of three artists who developed with the rapid evolution of their time--,beruete1 ,regoyos and ,rusiol4 ,of these three sincere and individual painters1 ,beruete1 in his youth a disciple of ,haes1 and later of ,rico1 evinced a very decided modern tendency4 ,he devoted the years of his maturity to the making of a large number of pictures of ,spanish cities1 especially of ,castile1 paintings truthful and sincere in character1 and revealing a very personal outlook4 ,regoyos was influenced by impressionism1 to which he was strongly attracted1 and in the ,north of ,spain he inspired many by his numerous works4 ,rusiol is1 perhaps1 more a poet than a painter4 ,he still lives and works4 ,he used to find in the gloomy and deserted gardens of ,spain subjects for his pictures4 ,one of the most remarkable figures in ,catalonia to-day1 both as a litterateur and painter1 he has also sought inspiration in the scenes and countryside of this1 his native province4 99 99 99 99 99 ,spanish painting was completely modernized during the last years of the nineteenth century4 ,three great international events took place during that period--the three exhibitions in ,paris of the years #ahgh1 #ahhi and #aijj4 ,at these ,spanish painting was fully represented4 ,at the first was shown a varied collection of the works of ,fortuny--one of the most famous artists of his time--who had died shortly before4 ,in the second we experienced a rebuff1 for a number of historical paintings of enormous proportions1 full of the inspiration of the past1 were not admitted1 nor1 indeed1 were some of these worthy to hang in the exhibition4 ,but in the years between #ahhi and #aijj the development of ,spanish painting was most marked1 and in the last of the exhibitions alluded to the ,spanish salons revealed a high level of excellence and a significant modernity4 ,moreover1 there emerged the personality of a young painter1 hitherto unknown1 who by unanimous consent was regarded as well-nigh qualifying for the highest honours4 ,this was a man whose name shortly afterwards became famous throughout the world--,joaqun ,sorolla1 one of those personalities who from time to time arise in ,spain quite unexpectedly4 ,sorolla1 who was of humble origin1 was born in ,valencia1 and in his youth was naturally influenced by the paintings of the old masters in his native city4 ,he went to ,madrid1 later to ,italy1 and finally to ,paris1 where his work of a wholly realistic character was admired1 for actuality was to this painter as the breath of life4 ,a ,french advocate of naturalism has said 8one rule alone guides the art of painting1 the law of values1 the manner in which the light plays upon an object1 in which the light distributes colour over it2 the light1 and only the light is that which fixes the position of each object2 it is the life of every scene reproduced in painting40 ,this statement ,sorolla seems to have taken greatly to heart1 even while he was still under the influence of old traditions and standards of thought4 ,possessing a temperament of much forcefulness1 and of great productive exuberance1 enthusiastic about the scenery of the ,mediterranean1 and especially enamoured of the richness of colour of his native soil1 the ruddy earth planted with orange-trees1 the blue sea and the dazzling sky1 ,sorolla1 oblivious of what he had done before1 felt a powerful impulse to paint that which was rich in colour1 so greatly was he moved by the eastern spirit4 ,the coasts of ,valencia1 the lives of the fishermen1 those children of the sea1 the bullocks drawing the boats1 the scenes beneath the cliffs and other analogous subjects1 painted in full sunlight--the sunlight of ,july and ,august for preference--these are the subjects on which ,sorolla laboured for several years1 producing canvas after canvas1 now famous both in ,europe and ,america4 ,we do not say that this outlook is ideal1 but the study of light and atmosphere was a contribution to the history of modern art1 and was among the elements which will be handed down to posterity as the original note of the painters of the last years of the nineteenth century4 ,of these ,sorolla was one of the most forceful1 and we lay stress upon his work1 as in our judgment its importance demands especial notice4 ,we have not alluded to his great talent as a portrait painter1 nor to the decorative works which he has dedicated to the ,hispanic ,society of ,america in ,new ,york1 and which1 although they are completed1 are not yet installed in place4 ,some few years after the appearance of ,sorolla1 there arose almost simultaneously two ,spanish painters of other tendencies1 equally noteworthy1 and whose names are universally known--,zuloaga and ,anglada4 ,zuloaga must be regarded in a very different manner from ,sorolla4 ,in no sense does he go to nature merely to copy it in the manner in which it presents itself to our vision1 but he seeks1 both in nature and humanity1 for types1 for characteristic figures of a representative and realistic kind4 ,his work has developed with robustness and force1 and attracts the attention of the modern critic eager for characteristic and singular qualities4 ,to his reception in the universal world of art it is not necessary to allude here4 ,the reviews and periodicals of all countries have commented with praise upon the achievements of this master1 who is still busily at work1 constantly engaged in the representation of popular types in the characteristic costume of many regions1 especially his own people1 the ,basques1 and the ,castilians1 for whom he appears to have a special predilection4 ,those landscapes which he takes for the backgrounds of his pictures also seem to be inspired by that love of character which animates all his productions4 ,in his latest phase1 too1 he has executed numerous portraits of people of different social categories4 ,in technique it is noticeable that ,zuloaga strives to preserve those tonalities which characterize the ,spanish ,school2 and the study he has made of the works of ,velzquez and ,goya is manifested in the lively reminiscences of these masterpieces displayed at times in his pictures1 which exhibit1 nevertheless1 a relative modernity4 ,anglada is1 in our view1 completely distinct from ,sorolla and ,zuloaga4 ,enamoured of the charm of colour1 his work has no connection with schools or traditions4 ,aloof from every influence1 he aspires to nothing so much as rich colour-schemes and harmonies1 and seeks inspiration in night-bound gardens1 brightly illuminated1 in subjects which reflect electric light1 and in figures which appear all the more distinct as the background is often the sea beneath the radiance of the ,mediterranean light4 ,these unusual sources of inspiration appear strange at first sight2 but it is noticeable that they manifest on the part of the painter always the same idea of seeking for rich colouring4 ,we must regard ,anglada as one of the most remarkable and most original of modern painters4 ,it is a great pity that he was not represented at ,burlington ,house4 ,his absence1 like that of ,sert1 the great decorative painter1 ,beltran1 ,miguel ,nieto and others1 was accounted for by the fact that the pictures were received too late to be included in the ,exhibition4 99 99 99 99 99 ,the salons set apart for modern painting at the ,london ,exhibition seem to us to have been disposed and arranged with care4 ,there were shown in the first of these rooms works by ,sorolla1 his disciple ,benedito1 one of the most esteemed portrait painters in ,madrid1 ,zaragoza1 ,moiss1 ,carlos ,vzquez1 and some landscapes by ,rusiol4 ,the second room was in complete harmony with the first1 and in it we observed the works of artists1 some of whom are still young1 but nevertheless masters of strong propensity and perfect equilibrium2 the great composition by ,gonzalo ,bilbao1 ,the ,cigar-makers 7,plate ,,xxxvii472 the striking portraits of ,chicharro and ,sotomayor2 the unmistakably ,spanish canvases of ,mezquita and ,rodriguez ,acosta2 and the picturesque and suggestive note of the ,valencian figures by ,pinazo ,martinez4 ,the neighbouring room was dedicated to those who may be called painters of character1 for such was the exclusive note of all the works shown there4 ,it would not be easy to say who occupied the place of honour here1 ,zuloaga1 ,romero de ,torres1 an artist of ,cordova1 who has tried to create a type of female beauty famous throughout ,spain1 the brothers ,zubiaurre1 peculiarly ,basque in feeling1 and now well known everywhere1 ,salaverria1 ,ortiz ,echage1 ,arre1 ,juan ,luis y ,arteta1 a delicate and emotional painter who has found on the ,basque shores subjects for pictures unusually simple1 in which is displayed a delicacy of technical expression together with the significance of an idea1 inspired1 like his subjects1 by a simple poetry4 ,following these1 in still other rooms1 were hung works similar in type1 but bolder1 perhaps1 such as those of ,solana1 whose three canvases1 painted in low tones1 were of great interest and excited much remark in the exhibition2 ,vzquez ,daz1 so various in his subjects1 but always individual2 ,maeztu1 the consistent exponent of a colossal and decorative style2 ,castelucho1 ,urgell1 ,guezala2 and ,astruc y ,sancha1 who combines caricature of consummate mastery with the painting of landscapes of manifest originality4 ,in another room were exhibited smaller landscapes4 ,these included examples of ,rusiol1 ,beruete1 ,regoyos1 ,meifren1 ,forns1 ,raurich1 ,colom1 ,grosso and ,mir4 ,among the work of other young painters of promise but as yet little known1 we must mention the seascapes of ,verdugo ,landi and ,nogue4 ,the next salon1 known as the ,lecture ,room1 formed a kind of overflow for the last1 and contained pictures by ,hermoso1 ,garnelo1 ,simonet1 ,morera1 ,marin ,bages1 ,canals1 ,cardona1 ,villegas ,brieva1 ,oroz1 ,madrazo-,ochoa1 ,covarsi1 ,bermejo1 and many other artists1 a list of whom would be much too extensive for inclusion here4 99 99 99 99 99 ,we do not think that the assertion that ,spanish painting has been a powerful factor in the history and development of universal art will be regarded by anyone as a discovery1 nor will such a statement appear as a result of patriotic enthusiasm4 ,spanish painting to-day follows its brilliant traditions2 and although we believe this present period to be one of gestation1 it occasionally reveals qualities of splendour and greatness4 ,it is indubitably lacking in marked and decided outlook1 but it is1 nevertheless1 universally respected and suffers1 at the most1 merely from the exigencies of the time4 ,moreover1 not a few critics of distinction in the ,peninsula1 who concern themselves with the study of particular movements1 see in it a tendency to the formation of regional groups4 ,the central one naturally has its focus in ,madrid1 and radiates thence over the whole of ,spain2 but a large output is always forthcoming from the cities of ,seville and ,valencia1 which appear1 by the light of tradition1 as the most brilliant centres of pictorial art4 ,there are1 moreover1 two other regions which have produced rich and flourishing art--,catalonia and the ,basque provinces1 with their two capital cities1 ,barcelona and ,bilbao4 ,catalan art is no new thing in ,spanish tradition1 and is in a measure descended from that which was formerly the art of the ,kingdom of ,aragon before the national union4 ,the ,catalans have confined it entirely to their territory1 have cultivated it with enthusiasm1 and have created a ,catalan school of ,spanish ,art4 ,it is a great pity that they have not tried to preserve a more national spirit and have frequently sought inspiration from foreign sources1 especially from ,france4 ,but1 this notwithstanding1 ,catalan achievement is indeed most worthy of praise4 ,the artistic production of the ,basque provinces is forcible and original4 ,the ,basques1 with a scanty pictorial tradition1 have shrewdly sought for inspiration in the ,spanish sphere without distinction of locality1 and have produced an art of undoubted interest4 ,but apart from this there exists at the present time a movement of worldwide character1 which seems to have a literary origin and which may1 perhaps1 be called1 for want of a better name1 the new spirit4 ,though still in a chaotic state1 this movement1 varied in its aspects1 may in all lands be identified by an underlying intention to revolutionize everything1 creating a new sthetic code and turning its back on the past and on all tradition4 ,it is not our intention to deal with this movement or to discuss its importance4 ,spain does not appear to be the country best fitted to lead it4 ,its history seems to show that while it is ready of acceptance1 it is not to be hurried in its advance2 nor is it eager to seize upon radical ideas4 ,but this notwithstanding1 it has painters who understand and cultivate art of this kind1 and it must not be forgotten that one of the outstanding figures in the ultramodern movement is the ,spaniard ,picasso1 who has shown once more that in all phases of artistic effort the ,spanish temperament significantly reveals itself4 ,a4 ,,de ,,beruete ,y ,,moret4 7,translated by ,lewis ,spence7 ,illustration3 ,,plate ,i ,,ya,,ez ,,de ,,la ,,almedina 7,collection of the ,marquis de ,casa-,arquedin1 ,madrid7 8,,anta ,,catalina0 78,,saint ,,catherine07 ,illustration3 ,,plate ,,ii ,,pantoja ,,de ,,la ,,cruz 7,collection of ,h4,m4 ,the ,king of ,spain7 8,,philip ,,ii0 ,illustration3 ,,plate ,,iii ,,el ,,greco 7,collection of ,h4,m4 ,the ,king of ,spain7 8,,la ,,gloria ,,de ,,felipe ,,ii0 78,,the #8,,glory' ,,of ,,philip ,,ii07 ,illustration3 ,,plate ,,iv ,,el ,,greco 7,provincial ,museum1 ,toledo7 8,,san ,,pablo0 78,,saint ,,paul07 ,illustration3 ,,plate ,v ,,el ,,greco ,photo3 ,moreno1 ,madrid 7,church of ,santo ,tom1 ,toledo7 8,,el ,,entierro ,,del ,,conde ,,de ,,orgaz0 7,,detail47 78,,the ,,burial ,,of ,,count ,,of ,,orgaz07 ,illustration3 ,,plate ,,vi ,,el ,,greco 7,prado ,museum1 ,madrid7 8,,retrato ,,de ,,un ,,caballero0 78,,portrait ,,of ,a ,,nobleman07 ,illustration3 ,,plate ,,vii ,,francisco ,,de ,,ribalta 7,fine ,art ,museum1 ,valencia7 8,,san ,,pedro0 78,,saint ,,peter07 ,illustration3 ,,plate ,,viii ,,zurbaran 7,provincial ,museum1 ,seville7 8,,el ,,beato ,,dominico ,,enrique ,,suzon0 78,,the ,,dominican1 ,,henry ,,suzon07 ,illustration3 ,,plate ,,ix ,,velazquez 7,collection of ,sir ,herbert ,cook1 ,bart47 8,,calabacillas ,,el ,,bufon0 78,,calabacillas1 ,,the ,,buffoon07 ,illustration3 ,,plate ,x ,,velazquez ,photo3 ,anderson 8,,las ,,meninas0 7,,the ,,maids ,,of ,,honour7 ,illustration3 ,,plate ,,xi ,,velazquez 7,prado ,museum1 ,madrid7 8,,las ,,meninas0 7,,detail7 78,,the ,,maids ,,of ,,honour07 ,illustration3 ,,plate ,,xii ,,velazquez 7,national ,gallery1 ,london4 ,by permission of ,messrs4 ,thos4 ,agnew ,sons7 8,,venus ,y ,,cupido0 78,,venus ,,and ,,cupid07 ,illustration3 ,,plate ,,xiii ,,velazquez ,photo3 ,mansell 7,national ,gallery1 ,london7 8,,philip ,,iv0 ,illustration3 ,,plate ,,xiv ,,velazquez 8,,infante ,,baltasar ,,carlos0 ,illustration3 ,,plate ,,xv ,,velazquez ,photo3 ,anderson 7,prado ,museum1 ,madrid7 8,,infante ,,baltasar ,,carlos0 7,,detail7 ,illustration3 ,,plate ,,xvi ,,velazquez ,photo3 ,mansell 7,wallace ,collection1 ,london7 8,,la ,,dama ,,del ,,abanico0 78,,the ,,lady ,,with ,a ,,fan07 ,illustration3 ,,plate ,,xvii ,,fray ,,juan ,,rizi 7,collection of ,sir ,herbert ,cook1 ,bart47 8,,un ,,caballero ,,joven0 78,a ,,young ,,cavalier07 ,illustration3 ,,plate ,,xviii ,,murillo ,photo3 ,anderson ,photo3 ,anderson 7,la ,caridad1 ,seville7 8,,moises ,,tocando ,,la ,,roca0 78,,moses ,,striking ,,the ,,rock07 ,illustration3 ,,plate ,,xix ,,murillo ,photo3 ,anderson 7,la ,caridad1 ,seville7 8,,el ,,milagro ,,de ,,los ,,panes ,y ,,los ,,peces0 78,,the ,,miracle ,,of ,,the ,,loaves ,,and ,,fishes07 ,illustration3 ,,plate ,,xx ,,murillo ,photo3 ,anderson 7,provincial ,museum1 ,seville7 8,,san ,,felix ,,de ,,cantalisi ,y ,,el ,,ni,o ,,jesus0 78,,st4 ,,felix ,,of ,,cantalisi ,,and ,,the ,,infant ,,christ07 ,illustration3 ,,plate ,,xxi ,,murillo ,photo3 ,mansell 7,wallace ,collection1 ,london7 8,,la ,,caridad ,,de ,,santo ,,tomas ,,de ,,villanueva0 78,,the ,,charity ,,of ,,st4 ,,thomas ,,of ,,villanueva07 ,illustration3 ,,plate ,,xxii ,,carre,o ,,de ,,miranda 7,collection of the ,duke of ,medinaceli1 ,madrid7 8,,retrato ,,de ,,una ,,dama0 78,,portrait ,,of ,a ,,young ,,lady07 ,illustration3 ,,plate ,,xxiii ,,claudio ,,coello 7,collection of ,don ,aureliano de ,beruete y ,moret1 ,madrid7 8,,don ,,juan ,,de ,,alarcon0 ,illustration3 ,,plate ,,xxiv ,,goya 7,collection of the ,duke of ,montellano1 ,madrid7 8,,el ,,columpio0 78,,the ,,swing07 ,illustration3 ,,plate ,,xxv ,,goya 7,collection of the ,duke of ,montellano1 ,madrid7 8,,la ,,cuca,a0 78,,the ,,greasy ,,pole07 ,illustration3 ,,plate ,,xxvi ,,goya 7,collection of the ,count of ,villagonzalo1 ,madrid7 8,,autorretrato0 78,,portrait ,,of ,,the ,,painter07 ,illustration3 ,,plate ,,xxvii ,,goya 7,fernan-,nuez ,collection1 ,madrid7 8,,conde ,,de ,,fernan-,,nu,,ez0 7,,detail7 ,illustration3 ,,plate ,,xxviii ,,goya 7,prado ,museum1 ,madrid7 8,,infante ,,don ,,carlos ,,maria ,,isidro0 ,illustration3 ,,plate ,,xxix ,,goya 7,private ,collection1 ,madrid7 8,,la ,,condesa ,,de ,,chinchou0 7,,detail7 ,illustration3 ,,plate ,,xxx ,,goya 7,collection of the ,count of ,villagonzalo1 ,madrid7 8,,el ,,duque ,,de ,,san ,,carlos0 ,illustration3 ,,plate ,,xxxi ,,eduardo ,,rosales 8,,mujer ,,saliendo ,,del ,,ba,o0 78,,woman ,,leaving ,,the ,,bath07 ,illustration3 ,,plate ,,xxxii ,,mariano ,,fortuny 7,collection of ,capt4 ,samuels7 8,,el ,,patio ,,de ,,la ,,alberca ,,en ,,la ,,alhambra0 78,,the ,,alberca ,,court ,,in ,,the ,,alhambra07 ,illustration3 ,,plate ,,xxxiii ,,joaquin ,,sorolla 8,,saliendo ,,del ,,ba,o0 78,,after ,,bathing07 ,illustration3 ,,plate ,,xxxiv ,,ignacio ,,zuloaga 8,,la ,,se,,orita ,,souty0 ,illustration3 ,,plate ,,xxxv ,e4 ,,martinez ,,vazquez 8,,una ,,aldea ,,de ,,la ,,sierra ,,de ,,gredos 7,,avila70 78,a ,,village ,,in ,,the ,,sierra ,,de ,,gredos 7,,avila707 ,illustration3 ,,plate ,,xxxvi ,,luis ,,masriera 8,,sombras ,,reflejadas0 78,,reflected ,,shadows07 ,illustration3 ,,plate ,,xxxvii ,,gonzalo ,,bilbao 8,,las ,,cigarreras0 78,,the ,,cigar-,,makers07 ,illustration3 ,,plate ,,xxxviii ,,ramon ,,de ,,zubiaurre 8,,retrato ,,de ,,mi ,,esposa0 78,,portrait ,,of ,,my ,,wife07 ,illustration3 ,,plate ,,xxxix ,,jos ,,pinazo 8,,crepusculo0 78,,twilight07 ,illustration3 ,,plate ,,xl ,a4 ,,ortiz ,,echag,e 8,,supersticion0 78,,superstition07 ,illustration3 ,,plate ,,xli ,j4 ,,gutierrez ,,solana 8,,carnaval ,,en ,,la ,,aldea0 78,,the ,,village ,,carnival07 ,illustration3 ,,plate ,,xlii ,,jose ,,benlliure ,,gil 8,,haciendo ,,bolillos0 78,,lace-,,making07 ,illustration3 ,,plate ,,xliii ,c4 ,,castelucho 8,,ni,,os ,,gitanos ,,en ,,la ,,playa0 78,,gipsy ,,children ,,on ,,the ,,beach07 ,illustration3 ,,plate ,,xliv ,,juan ,,cardona 8,,altar ,,de ,,mayo0 78,,may ,,altar07 ,illustration3 ,,plate ,,xlv ,f4 ,,alvarez ,,de ,,sotomayor 8,,paisanas ,,gallegas0 78,,galician ,,peasant-,,women07 ,illustration3 ,,plate ,,xlvi ,,carlos ,,vazquez 8,,una ,,dolorosa0 78,,our ,,lady ,,of ,,sorrows07 ,illustration3 ,,plate ,,xlvii ,,jos ,ma ,,lopez ,,mezquita 8,,pilarcita0 ,illustration3 ,,plate ,,xlviii ,,francisco ,,sancha 8,,un ,,pueblo ,,andaluz0 78,,an ,,andalusian ,,village07 ,illustration3 ,,plate ,,xlix ,,jos ,,de ,,marti ,,garces 8,,interior0 ,illustration3 ,,plate ,l ,,nicolas ,,raurich 8,,terru,,os0 78,,rough ,,ground07 ,illustration3 ,,plate ,,li ,,jos ,r4 ,,zaragoza 8,,viejos ,,bretones0 78,,old ,,bretons07 ,illustration3 ,,plate ,,lii ,,conde ,,de ,,aguiar 8,,retrato ,,de ,,un ,,torero0 78,,portrait ,,of ,a ,,bullfighter07