interesting as representations of national manners and costume. Goya died in voluntary exile at Bordeaux in 1828, having left Spain disgusted with the political reaction which set in on the restoration of the Bourbons, and with the persecution of the best and most enlightened of his countrymen. His works have of late years been much sought after, especially in France. His etchings, consisting chiefly of political caricatures (caprichos), scenes in the bull-ring, the horrors of war, etc., are rare. A new edition has recently been published of the “Caprichos” from the worn-out plates. Goya may be considered the founder of the modern Spanish school of painting, which has produced Fortuny, Madrazo, Plamaroli, and a number of other clever painters who have achieved a European reputation. It is not, however, in Spain, but in the private collections of London, Paris, and New York, that their principal works are to be found. Spaniards have little love or knowledge of art, and the high prices it is now the fashion to pay for Spanish pictures are beyond their means. * * * * * The history of architecture in Spain is similar to that of France and other countries of northern Europe, with, however, the essential difference that Moorish art in the Middle Ages attained in Spain as great an importance as in the East, and when combined with Christian art, a new style was formed, known by the name of Morisco or Mudejar, which is not met with out of the Spanish Peninsula, and is of great interest. Spanish architecture may be divided, after the prehistoric period, and invasions of the Phœnicians and Carthaginians, in the following manner: 1. Roman period, until the invasions of the Goths. 2. Latin Byzantine style, fifth to end of tenth century. 3. Moorish architecture, eighth to fifteenth century. 4. Romanesque style, eleventh, twelfth, and part of thirteenth century. 5. Pointed architecture, thirteenth, fourteenth, fifteenth, and part of sixteenth century. 6. Mudejar style, thirteenth, fourteenth, fifteenth, and part of sixteenth century. 7. Renaissance or Plateresque style, Græco-Roman, and Churrigueresque. Several of the inscriptions which have come down to us of the Roman period (see “Corpus Inscrip.,” Vol. II., Emil Hübner) mention different buildings of public utility and adornment which were in course of construction in Spain. The number which still remains is very great, and may be found in almost every province; many have, however, been sadly mutilated. The finest are undoubtedly the aqueduct at Segovia (constructed of huge stones, and still used for carrying water to the town), the Bridge of Alcantara (Estremadura), with its triumphal arch in the center and temple at one end, and the walls of Lugo and Astorga. The general structure of these monuments and their ornamentation are the same as those of ancient Rome: it is well known that the Romans imposed their art on the countries which came under their dominion.