Pérez Villamil, a follower of romanticism in painting, also practised landscape art in Spain until it underwent the change mentioned above through the arrival of a Belgian, Charles de Haes, who succeeded Pérez Villamil as professor of landscape at the School of Painting. Haes broke with tradition. He would have no conventionalisms, no studied compositions, nor preconceptions. He took his pupils to the country and there told them to copy Nature herself, leaving them without any further inspiration than that with which God had endowed them. To-day the studies of this master and of his disciples, generally executed in strong contrasts of light, seeking, doubtless, the effectiveness thus produced, appear to us, although they have a sense of luminosity, poor in colour, obscure and hard. But what progress is represented in them in comparison with all former art! And it is clear that they express the tendency which, modern in that time, everywhere governed the advance of art. Shortly afterwards a Spanish landscape painter, not a disciple of Haes, Martín Rico, a companion of Fortuny, but who, having lived longer than he and reached a more mature age, advanced a further step in the art of landscape painting. If the chief aim of this painter had not been the rapid translation of his gifts into money, and had he not striven to please the public, he might have achieved lasting fame. Casimiro Saiz, Muñoz Degrain--whom we have mentioned already as a painter of the figure--Urgell, Gomar and others devoted themselves to landscape; but the most salient examples of Spanish landscape painting are to be found in the work of three artists who developed with the rapid evolution of their time--Beruete, Regoyos and Rusiñol. Of these three sincere and individual painters, Beruete, in his youth a disciple of Haes, and later of Rico, evinced a very decided modern tendency. He devoted the years of his maturity to the making of a large number of pictures of Spanish cities, especially of Castile, paintings truthful and sincere in character, and revealing a very personal outlook. Regoyos was influenced by impressionism, to which he was strongly attracted, and in the North of Spain he inspired many by his numerous works. Rusiñol is, perhaps, more a poet than a painter. He still lives and works. He used to find in the gloomy and deserted gardens of Spain subjects for his pictures. One of the most remarkable figures in Catalonia to-day, both as a litterateur and painter, he has also sought inspiration in the scenes and countryside of this, his native province. * * * * *