I shall now leave Italy with saying that the early days of the Renaissance were the best days of Italian Architecture, and, indeed, of Italian Art. The period made sacred by the genius and works of Michael Angelo, Bramante, Sangallo, Leonardo da Vinci, and Raphael was a golden era, and still sheds its lustre over the land of their nativity. These artists followed the highest ideal of Art, and their errors were superior to the so-called successes of less gifted men. The Italian Art of the fifteenth century was individual and grand; in the sixteenth century it became formal and elegant; in the seventeenth century it was bizarre, over-ornamented, and uncertain in its aim and execution; since then it has been comparatively unimportant, and its architecture scarcely merits censure, and certainly cannot be praised. SPAIN. From the time of the fall of Granada, in 1492 to 1558, Spain was the leading nation of Europe. The whole country had been united under Ferdinand and Isabella, and their reign was a glorious period for their country. The importance of the nation was increased by the discovery of the New World, and so many great men were in her councils that her eminence was sure, and almost undisputed. Thus it followed that during the first half of the sixteenth century the Architecture of Spain gave expression to the spirit by which the nation was then animated. This did not long continue, however, for the iron, practical rule of Philip II. crushed out enthusiasm and was fatal to artistic inspiration. This sovereign desired only to extend his kingdom; the priests, who acquired almost limitless power under his reign, aimed only to strengthen their authority, while the people were wildly pursuing riches in the New World which opened up to them a vast and attractive field. Thus no place or time was left to the cultivation of Art, and the only noteworthy period of Spanish Architecture since the beginning of the Renaissance was the sixty years which we have mentioned. The Modern Architecture of Spain has been divided into three eras, each of which was distinguished by its own style. The first extends from the beginning of the Renaissance down to that of the abdication of the great Emperor Charles V. in 1555; the manner of this period is called Platerisco, or the silversmith's style, on account of the vast amount of fine, filigree ornament which was used. The second period is from the above date to about 1650, and its art is called the Græco-Roman style because it is an attempt to revive the Classic Art of the ancient Greeks and Romans. The third period comes from 1650 to about a century later, and the Spaniards call its manner the Churrigueresque, which difficult name they take from that of Josef de Churriguera, the architect who invented this style. Since 1750 we may almost say that no such thing as Spanish Architecture has existed.