sh handling of the brush, he was a true Neapolitan
Darkling. A pronounced mannerist he was no less a man of strength, and
even in his shadow-saturated colors a painter with the color instinct.
In Italy his influence in the time of the Decadence was wide-spread,
and in Spain his Italian pupil, Giordano, introduced his methods for
late imitation. There were no other men of much rank in the Valencian
school, and, as has been said, the school was eventually merged in
Andalusian painting.

EIGHTEENTH AND NINETEENTH-CENTURY PAINTING IN SPAIN: Almost directly
after the passing of Velasquez and Murillo Spanish art failed. The
eighteenth-century, as in Italy, was quite barren of any considerable
art until near its close. Then Goya (1746-1828) seems to have made a
partial restoration of painting. He was a man of peculiarly Spanish
turn of mind, fond of the brutal and the bloody, picturing inquisition
scenes, bull-fights, battle pieces, and revelling in caricature,
sarcasm, and ridicule. His imagination was grotesque and horrible, but
as a painter his art was based on the natural, and was exceedingly
strong. In brush-work he followed Velasquez; in a peculiar forcing of
contrasts in light and dark he was apparently quite himself, though
possibly influenced by Ribera's work. His best work shows in his
portraits and etchings.

After Goya's death Spanish art, such as it was, rather followed
France, with the extravagant classicism of David as a model. What was
produced may be seen to this day in the Madrid Museum. It does not
call for mention here. About the beginning of the 1860's Spanish
painting made a new advance with Mariano Fortuny (1838-1874). In his
early years he worked at historical painting, but later on he went to
Algiers and Rome, finding his true vent in a bright sparkling painting
of _genre_ subjects, oriental scenes, streets, interiors, single
figures, and the like. He excelled in color, sunlight effects, and
particularly in a vivacious facile handling of the brush. His work is
brilliant, and in his late productions often spotty from excessive
use of points of light in high color. He was a technician of much
brilliancy and originality, his work exciting great admiration in his
day, and leading the younger painters of Spain into that ornate
handling visible in their works at the present time. Many of these
latter, from association with art and artists in Paris, have adopted
French methods, and hardly show such a thing