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 as Spanish nationality. Fortuny's brother-in-law, Madrazo (1841-), is an example of a Spanish painter turned French in his methods--a facile and brilliant portrait-painter. Zamacois (1842-1871) died early, but with a reputation as a successful portrayer of seventeenth-century subjects a little after the style of Meissonier and not unlike Gerome. He was a good colorist and an excellent painter of textures. [Illustration: FIG. 73.--MADRAZO, UNMASKED.] The historical scene of Mediaeval or Renaissance times, pageants and fetes with rich costume, fine architecture and vivid effects of color, are characteristic of a number of the modern Spaniards--Villegas, Pradilla, Alvarez. As a general thing their canvases are a little flashy, likely to please at first sight but grow wearisome after a time. Palmaroli has a style that resembles a mixture of Fortuny and Meissonier; and some other painters, like Luis Jiminez Aranda, Sorolla, Zuloaga, Anglada, Garcia y Remos, Vierge, Roman Ribera, and Domingo, have done excellent work. In landscape and Venetian scenes Rico leads among the Spaniards with a vivacity and brightness not always seen to good advantage in his late canvases. PRINCIPAL WORKS: Generally speaking, Spanish art cannot be seen to advantage outside of Spain. Both its ancient and modern masterpieces are at Madrid, Seville, Toledo, and elsewhere. The Royal Gallery at Madrid has the most and the best examples.