of the Düsseldorf Academy. He has a genuinely rich humor, and caters most successfully to the public taste for the gay and the bizarre. There is no one of his pictures more popular and amusing than that of which we give an engraving here, The Duet. The intense enjoyment of the jester and the howl of discord from his pupil, the dog, are expressed with irresistible fun in the attitude of the hound and the puckerings of the musician's features as he sweeps the strings of his guitar to drown it. Volkhart is for popularity, and has attained it almost in spite of himself. He also is a Düsseldorf pupil, and studied under Schirmer. He now lives at Florence, but has traveled extensively and studied in all the art capitals of Europe. He has a wide range in subject, but will attempt nothing that he has not attained a thorough, poetic sympathy for. In the Salon of 1868 he exhibited Petrarch in Solitude, A Landscape, and Christ and the Magdalene. His Sea Idyl excited all kinds of critical comment, and is probably his best work. Another picture which raised a tempest of mingled ridicule and rapture was A Nymph and Fauns. In some points Böcklin resembles the Rossetti school. His An artist who has been called by his friends the Richard Wagner, by his critics the Offenbach of German Painting, is Hans Makart (born at Salzbourg, 1840.) He was a pupil of Piloty; has studied in Italy; is a member of the Munich Academy, and is now a professor at Vienna. first historical picture, the Catherine Cornaro, is now at the Berlin National Gallery, by which it was bought for over $12,500. Unlike his coadjutor, Feuerbach, who is cool and calm even in his handling of the nude, Makart is dashing, fiery, and voluptuous. He delights in Oriental subjects, and none of his pictures of the passionate beauties of the East surpasses the famous picture of Cleopatra which is given herewith. In coloring, drawing and drapery, it is one of his best works. Others are: Nobles of Venice paying Homage to Catherine Cornaro, Agrippina, Entrance of Charles V. into Antwerp, and Romeo by the Body of Juliet. One of the best of German battle-painters is Adolphe Schreyer (born at Frankfort-on-the-Main, 1828). He has traveled and studied in all European countries. In 1855 he followed a regiment through the Crimean war and made many valuable sketches. He has also studied in Algiers and other parts of the East. His most noted pictures are the Battle of Wahgensel, Battle of Cowven, Prince Taxis Wounded at Temeswar, An Attack of Cavalry, and Arabs Retreating, the last-named being owned in this country. Schreyer has also done excellent work in landscape painting. In manner and talent he recalls both Delacroix and Fromentin. A pupil of the Berlin Academy and skilled alike in historical and genre art, is Carl Becker (born at Berlin, 1820). He studied under Cornelius von Klöber and Heinrich Hess, and at Rome and Paris. His subjects are mostly taken from the most flourishing period of Venetian history and that of the German Renaissance. The picture we give, Charles V. being entertained by Flugger, is a fine specimen of his art, and particularly displays to advantage his wonderfully delicate and rich technique in painting magnificent OT until the sixteenth century do we meet with what may be called a school of Painting in Spain. The prevalence of Mohammedanism was antagonistic to the development of pictorial art; and when the Moors were finally overthrown other religious conflicts and various internal disturbances had a paralyzing influence beneath which it was impossible for art to progress. The first formation of the Spanish school appears to have been due to the settlement in Spain of Flemish artists; but in its perfected character it showed con siderable affinity with Italian art, especially with that of Naples and Venice-stamped, however, with a gloomy asceticism peculiarly its own, from which even the best works of its greatest masters are not free. Faithful representations of Spanish life in the cloister, the palace, or the streets, are plentiful; and in this peculiarity we notice a resemblance to the English School, of which the Spanish has been designated as an anticipation. Juan Sanchez de Castro, about the middle of the fifteenth century, founded the early school of Seville, which was afterward to become so famous. His pictures have nearly all disappeared. The first distinguished Spanish painter was Antonio del Rincon (ab. 1446-1500). Of his few remaining works, the principal is his Life of the Virgin, in the church of Robledo, near Madrid. He appears to have had considerable power of design. "The records show that other early artists existed, but their attempts only became an art when commerce and war had opened constant communications between Italy and Spain. When Charles V. united the two peninsulas under the same government, and founded the vast empire which extended from Naples to Antwerp, Italy had just attained the zenith of her glory and splendor. Leonardo da Vinci, Michelangelo, Raphael, Titian, and Correggio had produced their incomparable masterpieces. On the other hand, the capture of Granada, the discovery of America, and the enterprises of Charles V. had just aroused in Spain that intellectual movement which follows great commotions, and impels a nation into a career of conquests of every kind. At the first news of the treasures to be found in Italy-in the churches, in the studios of the artists, and in the palaces of the nobles-all the Spaniards interested in art, either as their profession or from love of it for its own sake, flocked to the country of so many marvels, richer in their eyes than Peru or Mexico, where numbers of adventurers were then hastening, eager to acquire more material riches. "Only choosing the most illustrious, and those merely who distinguished themselves in Painting, we find among those who left Castile for Italy, Alonso Berruguete, Gaspar Becerra, Navarrete (el Mudo); from Valencia, Juan de Joanes and Francisco de Ribalta; from Seville, Luis de Vargas; from Cordova, the learned Pablo de Céspedes. All these eminent men brought back to their own country the taste for art and the knowledge which they had studied under Italian masters. At the same time, foreign artists, attracted to Spain by the bounty of its kings, prelates and nobles, came to complete the work begun by the Spaniards who had studied abroad. "Four principal schools were formed in Spain, not successively, as those in Italy, but almost simultaneously. These were the schools of Valencia, Toledo, Seville and Madrid. But the two first were soon merged into the others. The school of Valencia, which had been founded by Juan de Joanes, and rendered famous by Ribera and the Ribaltas, was united, like the smaller schools of Cordova, Granada and Murcia, to the parent school of Seville (or Andalusia); while that of Toledo, as well as the local schools of Badajoz, Saragossa and Valladolid were merged in the school of Madrid (or Castile), when that country town had become the capital of the monarchy through the will of Philip II., and had carried off all supremacy from the ancient capital of the Goth." THE VALENCIAN SCHOOL. It is only right that this school should be mentioned before those of Andalusia and Castile, for it was especially through it that the lessons of Italy came to Spain. Of this generation of Spanish artists, formed by contact with the Italians, the first is Vicente Juan Macip (1505-1579), called Juan de Joanes, of Fuente la Higuera. Notwithstanding his importance as the leader of this school, and his merit as an artist, he is still almost unknown out of Spain, and is not very popular even there. His works are everywhere rare, except in Madrid. Francisco de Ribalta (1550-60-1628) learned his art first at Valencia, but subsequently perfected his style by studying the great masterpieces in Italy, especially Raphael and the Carracci. On his return to Spain, Ribalta was much honored and patronized, and his works have since been highly praised. His pictures are chiefly to be seen in Valencia, and rarely to be met with out of Spain. His son, Juan de Ribalta (1597-1628), if he had lived to maturity, would have been an excellent artist. A picture of Christ bearing the Cross, in Magdalene College, Oxford, formerly attributed to Morales, is said to be by one of the Ribaltas. Their styles were exactly similar. José de Ribera (1588-1656), when quite young, was the pupil of Francisco de Ribalta and a fellowstudent with Juan. He afterward studied in Italy (where he was called Lo Spagnoletto), at Rome, where he studied the works of Caravaggio; at Parma, where he was influenced by Correggio; and at Naples, where he spent the best years of his life, and where he achieved immense success. Although he painted all his pictures in Italy, Ribera is thoroughly Spanish; he never forgot his birth, and, indeed, showed himself so proud of it that in signing his best pictures he always added the word "Español." The paintings of Ribera, like those of the Italian artists, are scattered throughout the whole of Europe; but Naples has retained some of his principal works. It was for the Carthusian convent of S. Martino that he painted his great work, the Communion of the Apostles; twelve Prophets on the windows of the different chapels; and lastly, the Descent from the Cross, which is almost unanimously said to be his masterpiece. Here we may find, beside the qualities enumerated above, much pathos and expression, and a power of feeling which is not usually met with in his works; so that this picture seems to unite to the fiery energy of Caravaggio not only the grace of Correggio, but the religious fervor of Fra Angelico. In the Louvre there is only one of Ribera's works, an Adoration of the Shepherds, but in the Museum at Madrid is a great number of his works, in all his styles. His Jacob's Ladder recalls Correggio. Of his later style, when he returned to the natural bent of his genius, we find the Twelve Apostles; a striking Mary the Egyptian; a S. James and S. Roch, magnificent pendants brought from the Escorial; and lastly, a Martyrdom of S. Bartholomew, the most celebrated of his paintings of this terrible subject. Here he has shown as much talent in composition and power of expression, in the union of grief and beatitude, as incomparable force in the execution. The National Gallery possesses two works by him: a Pietà and a Shepherd with a lamb and a Locksmith in the Dulwich College Gallery (formerly given to Caravaggio) is now catalogued as a Ribera. Jacinto Jerónimo de Espinosa (1600-1618) worked under Francisco de Ribalta, whose style he successfully acquired. He is reported also to have gone to Italy to study the works of the great masters. Pedro Orrente (died 1644) is said to have visited Italy and studied under Jacopo Bassano. It is |