that he had preserved the best traditions of the Spanish school of painters, of whom he was almost the last.
The history of Spanish painting closes with the 17th century. During the 18th there appeared a few feeble painters who imitated, but were even immeasurably behind, the Luca Giordanos, Tiepolos, and other Italians whom the Bourbon kings invited to Madrid to decorate the new royal Palace, and to make desions for the royal manufactory of tapestries. The first who attempted to revive Spanish art was Francisco Goya (born in 1746), a vigorous but eccentric painter and etcher in aqua fortis, not wanting in genius. He studied at Rome, and returning to Spain executed frescoes, with little success, in churches at Madrid and elsewhere. He became “pintor de camara,” or court painter, to the weak Charies IV. and vicious Ferdinand VII. In numerous portraits of these kings and of members of the Spanish Bourbon family he made them, perhaps with deliberate malice—for in politics he was an ardent liberal—even more hideous than they were. His large picture of Charles IV. and his family in the Madrid Gallery is the best, but by no means an attractive example of his skill, and is in parts, especially in the details of costume, not altogether unworthy of Velasquez, whom he sought to imitate. But his genius was chiefly shown in his etchings, in which in a grotesque, and not always decent way, he lashed the vices and corruption of his country, and vented his hatred against its French invaders. The Spaniards are very proud of Goya. The author of the ‘Guide to the Madrid Gallery’ discovers in his works a union of the best qualities of Rembrandt, Titian, Paul Veronese, Watteau, and Lancret! He was, no doubt, a powerful and original painter, and his touch is often masterly; but he was incorrect in his drawing, and his colour is frequently exaggerated and unnatural, although occasionally reminding one of Rembrandt. His designs for the tapestries in the royal palaces are generally weak and ill-drawn: but they are interesting as representations of national manners and costume. Goya died in voluntary exile at Bordeaux in 1828, having left Spain disgusted with the political reaction which set in on the restoration of the Bourbons, and with the persecution of the best and most enlightened of his countrymen. His works have of late years been much sought after, especially in France. His etchings, consisting chiefly of political caricatures (caprichos), scenes in the bull-ring, the horrors of war, &c., are rare. A new edition has recently been published of the ‘Caprichos’ from the worn-out plates.
Goya may be considered the founder of the modern Spanish school of painting, which has produced Fortuny, Madrazo, Palmaroli, and a number of other clever painters who have achieved a European reputation. It is not, however, in Spain, but in the private collections of London, Paris, and New York, that their principal works are to be found. Spaniards have little love or knowledge of art, and the high prices it is now the fashion to pay for Spanish pictures are beyond their means.
For the general history of Spanish painting the English traveller may consult Stirling’s ‘Annals of the Artists of Spain,’ in 3 vols.; Head’s ‘Handbook of the Spanish School of Painting;’ and Ford’s able and witty criticisms scattered through the original edition of the ‘Handbook for Spain.’ The best Spanish authority on Spanish art is Cean Bermudez (‘Diccionario Historico de los mas ilustres Profesores de las Bellas Artes
