Space forbids our giving even an approximate catalogue of Spanish painters; we can merely single out for mention the two or three of highest rank in their respective provinces. In Valencia we have Ribalta (1551-1628), Juan de Joames (Vicente Macip) (1523-79), and the great but gloomy Ribera (1588-1609). To this school also belong the artists of Catalonia and of the Balearic Isles. In Castile are Navarette (El Mudo) (1526-79), Morales (1509-86), Theotocopuli (El Greco) (died 1578), and the younger Herrera (died 1686). But the greatest painters are from Andalusia and from Seville. The well-known names of Herrera the Elder (1576-1656), Zurbaran (1598-1662), Murillo (1618-82), Velazquez (1623-60), suffice to show its pre-eminence. The eighteenth century, in art as well as in literature, was a time of utter decadence; Goya (1746-1820), the caricaturist, is the only artist we need mention; but, like its literature, Spanish art is now at length rising from its long sleep. Fortuny (1838-74), has made himself a European reputation; though, through his early death, the pictures he has left give promise only of what his future might have been. Rosales (1840-73), though less known by foreigners, is of equal, if not of greater merit; like Fortuny, he died in his early prime. Madrazo, Jimenez, Fradilla, and others, though not of more than national reputation, yet prove that art is not extinct in Spain. In what have been called the industrial arts Spain was formerly very rich, and, but for the wretched economical policy and administration of the Government since the seventeenth century, would probably have held her own against other countries. The gold and silver ornaments still worn by the peasantry in a few districts perpetuate designs and methods of workmanship originally derived from the Moors, and much of the church work is still of great excellence. No less beautiful is the iron-work, in which a grand effect is often produced by simply noble proportions in the gates, _rejas_, and screens of her cathedrals and churches; and in another sphere, in the manufacture of arms, and of inlaying steel or iron with arabesque patterns of gold and silver, an art which has been lately revived with great success in Biscay and the Basque Provinces. In porcelain and pottery the majolica ware, made at Valencia, was renowned throughout Europe; and the Moorish glazed and lustred ware, the manufacture of which remained a secret till the present century, is greatly sought after by amateurs. The wine-jars (_tinajas_ and _alpujarras_), the porous pottery (_bucaros_), the _azulejos_ or decorated tiles, continue traditions originally derived through the Arabs from the East, but which had almost expired when the manufacture was faintly revived under royal patronage in the times of Charles III., to start again on a stronger life with the aid of English capital in our own times. Spanish glass is sometimes curious, and much of the stained