FRANCISCO RIZZI, the son of a Bolognese painter who had settled in Spain, was born at Madrid in 1608, and died there in 1685. He was a rapid and not unskillful painter, and was employed to decorate in fresco, in the Italian fashion, the churches and royal palaces of the capital. His well-known picture in the Madrid Gallery representing the “Auto da Fé” held in the Plaza Mayor before Charles II. and his queen, Marie Luisa of Orleans, in 1680, although awkward and formal in composition, is cleverly painted. CLAUDIO COELLO, died 1693, was chiefly employed by the Spanish court in portrait-painting and in decorating the royal palaces for triumphs and festivities. His best known and most important picture, in the sacristy of the Escorial, is the “Santa Forma,” or “Removal of the Miraculous Wafer of Gorcum,” in which he has introduced portraits of Charles II. and of the officers of his court. It is crowded and unskillful in composition, but has merits which show 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 seventeenth century. During the eighteenth 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 designs 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 Charles 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 color is frequently exaggerated and unnatural. His designs for the tapestries in the royal palaces are generally weak and ill-drawn; but they are