Though Spain cannot rival some other countries, Italy for example, in the number of her great painters; though she has founded no great technical school; yet is she worthy of greatest admiration; in one or two of her artists she has attained the very highest rank. As a religious painter, especially in expressing in form and colour the heights of mystic ecstasy, Murillo stands unrivalled. As a portrait-painter of courtly grace and distinction, Velazquez has few equals. It is not in landscape, or as interpreters of the ever-varying beauty of external nature, that Spanish painters excel, but in the delineation of the human form, and especially in the rendering of those religious emotions which lead through asceticism to ecstasy. Not the glorification of merely sensuous beauty, but the triumphs of the spirit over the flesh are the conquests which they prefer to delineate. Spanish painters may be divided among three great provinces: the Valencian, Andalusian, and Castilian schools. Of these the Andalusian, and especially the school of Seville, has produced by far the greatest artists. The earliest specimens of Spanish painting are of the decorative kind, and are employed in subordination to architecture, to add colour to form, and to heighten and make more evident the details of sculpture in churches or convents. Much of this phase of art, in which they stand very high, they probably learned from the Moors. From these labours in churches and convents art in Spain received a religious imprint and direction which it has never lost, and from which it is only now turning in the present generation. Goya and Fortuny are perhaps the only considerable painters of Spain in whose works religious subjects do not preponderate. Spanish art reflects in a peculiar degree the characteristic of Spanish theology. The mystic grace, the transport of love which seems almost too human and tender when fixed on the Divine, which moves us in the writings of St. Teresa, St. Juan de la Cruz, Xavier, and others, touches us no less in the pictures of Murillo. Stern and sombre, as these are lovely, are the paintings which remind us that we are in the land of the inquisition. Figures of martyrs serene in tortures, whose horrors are laid bare as by no other artists, figures of saints of primitive, mediaeval, or of later times, who have carried asceticism to excess, portraits of men who were as severe to themselves as they were pitiless to others; such are the subjects which are faithfully rendered by the pencils of Ribalta, Ribera, Zurbaran, and many others. Later on, when the old constitutional liberties of Spain had almost utterly fallen, and when the worship of the king had begun almost to rival that of the Blessed Virgin, Velazquez and others give us portraits of the royal family of Spain. The fun and wit which really existed in Spanish life, and which her novelists have depicted with such relish in innumerable novels, is but poorly represented in Spanish art