Rossetti and the New pre-Raphaelites: Edward Burne-Jones, R. Spencer Stanhope, William Morris, J. M. Strudwick, Henry Holliday, Marie Spartali-Stillman.--W. B. Richmond, Walter Crane, G. F. Watts 151 CHAPTER XXXIII THE NEW IDEALISM IN FRANCE AND GERMANY Gustave Moreau, Puvis de Chavannes, Arnold Boecklin, Hans von Marées.--The resuscitation of biblical painting.--Review of previous efforts from the Nazarenes to Munkacsy, E. von Gebhardt, Menzel, and Leibermann.--Fritz von Uhde.--Other attempts: W. Dürr, W. Volz.--L. von Hofmann, Julius Exter, Franz Stuck, Max Klinger 210 BOOK V A SURVEY OF EUROPEAN ART AT THE PRESENT TIME INTRODUCTION 251 CHAPTER XXXIV FRANCE Bastien-Lepage, L'hermitte, Roll, Raffaelli, De Nittis, Ferdinand Heilbuth, Albert Aublet, Jean Béraud, Ulysse Butin, Édouard Dantan, Henri Gervex, Duez, Friant, Goeneutte, Dagnan-Bouveret.--The landscape painters: Seurat, Signac, Anquetin, Angrand, Lucien Pissarro, Pointelin, Jan Monchablon, Montenard, Dauphin, Rosset-Granget, Émile Barau, Damoye, Boudin, Dumoulin, Lebourg, Victor Binet, Réné Billotte.--The portrait painters: Fantin-Latour, Jacques Émile Blanche, Boldini.--The Draughtsmen: Chéret, Willette, Forain, Paul Renouard, Daniel Vierge, Cazin, Eugène Carrière, P. A. Besnard, Agache, Aman-Jean, M. Denis, Gandara, Henri Martin, Louis Picard, Ary Renan, Odilon Redon, Carlos Schwabe 255 CHAPTER XXXV SPAIN From Goya to Fortuny.--Mariano Fortuny.--Official efforts for the cultivation of historical painting.--Influence of Manet inconsiderable.--Even in their pictures from modern life the Spaniards remain followers of Fortuny: Francisco Pradilla Casado, Vera, Manuel Ramirez, Moreno Carbonero, Ricardo Villodas, Antonio Casanova y Estorach, Benliure y Gil, Checa, Francisco Amerigo, Viniegra y Lasso, Mas y Fondevilla, Alcazar Tejeder, José Villegas, Luis Jimenez, Martin Rico, Zamacois, Raimundo de Madrazo, Francisco Domingo, Emilio Sala y Francés, Antonio Fabrés 307 CHAPTER XXXVI ITALY Fortuny's influence on the Italians, especially on the school of Naples.--Domenico Morelli and his followers: F. P. Michetti, Edoardo Dalbono, Alceste Campriani, Giacomo di Chirico, Rubens Santoro, Edoardo Toffano, Giuseppe de Nigris.--Prominence of the costume picture.--Venice: Favretto, Lonza.--Florence: Andreotti, Conti, Gelli, Vinea.--The peculiar position of Segantini.--Otherwise anecdotic painting still preponderates.--Chierici, Rotta, Vannuttelli, Monteverde, Tito.--Reasons why the further development of modern art was generally completed not so much on Latin as on Germanic soil 326 CHAPTER XXXVII ENGLAND