the life of our own age in pithy inspirations sure in achievement. His historical pictures are works which compel respect; but those paintings on the most diminutive scale, in which he represented scenes from the Roman carnival and the life in Spanish camps, the shore of the sea and the joy of a popular merry-making with countless figures of the most intense vividness, carried out with an unrivalled execution of detail which is yet free from anything laboured, and full of splendour and glowing colour,--these, indeed, are performances of painting beside which as a musical counterpart at best Paganini's variations on the G string are comparable--sleights of art of which only Pradilla was capable, and such as only Fortuny painted forty years ago. Two masters who do not live at home, but in France, have followed still further the modern development of art with great power. The first is _Zuloaga_. The pictures of this artist have something truly Spanish, something that one as an admirer of Goya looks for eagerly in Spanish pictures. At the first glance the eye receives rather a shock. One seeks in vain for delicate painting of light in Zuloaga, or exquisite harmonies of colour. He places the crudest reds and yellows next to each other, strong, almost brutal, like a poster. With an uncompromising love of truth he paints the rouge-smeared cheeks and blackened eyebrows of his women-about-town, does not even try to make their movements graceful or give their costumes a touch of modish smartness. But what a breadth of conception! With what daring he sweeps his bold strokes over the picture! It is just because he avoids all flattery, because he brings nothing foreign, nothing cosmopolitan into his exclusive world, that the characteristics of Spanish life are mirrored with such truth in his works. Especially in his portrait of the popular poet, Don Miguel de Segovia, the whole picture is suffused with a rare Don Quixote feeling. Velasquez' Pablillas stands before you reincarnated. It is interesting, too, that Zuloaga, though in France, remains still a Spaniard. Even when he paints Parisiennes he translates toilette and gesture into grandiose Spanish style.