The influence of the French school is much more marked in the second of these Spanish masters, _Hermen Anglada_. He has come to the front in the exhibitions of the last few years. Besnard has given him much of his refined epicurism, and this French _hautgoût_ lends his pictures a charm which is altogether their own. If you are seeking for unusual and quaint effects you will find them in this Spaniard, who paints pale, colourless women in the most astonishing costumes, places them in the midst of sensuous, misty landscapes, and gives you a glistening potpourri of colours. But Anglada's work is in itself the best testimony to the fact that the Spain of to-day is getting worn-out and bloodless. There is something senile and sapless in this over-refined art that takes pleasure in nothing but the most extraordinary nuances, and that needs something very unusual to tickle its nerves. CHAPTER XXXVI ITALY Italy has played a very different part from that of Spain in the development of modern art. Even at the World Exhibition of 1855 Edmond About called Italy "the grave of painting" in his _Voyage à travers l'Exposition des Beaux-Arts_. He mentions a few Piedmontese professors, but about Florence, Naples, and Rome he found nothing to say. The Great Exhibition of 1862 in England was productive of no more favourable criticism, for W. Bürger's account is as little consolatory as About's. "Renowned Italy and proud Spain," writes Burger, "have no longer any painters who can rival those of other schools. There is nothing to be said about the rooms where the Italians, Spanish, and Swiss are exhibited." To-day there are in Italy a great number of vigorous painters. In Angelo de Gubernati's lexicon of artists there are over two thousand names, some of which are favourably known in other countries also. But the mass dwindles to a tiny heap if those only are included who have risen from the level of dexterous picture-makers to that of painters of real importance in the world of art. Whether it be from direct influence or similarity of origin, Fortuny has found his ablest successors amongst the Neapolitan artists. As early as the seventeenth century the school of painting there was very different from those in the rest of Italy; the Greek blood of the population and the wild, romantic scenery of the Abruzzi gave it a peculiar stamp. Southern _brio_, the joy of life, colour, and warmth, in contrast with the noble Roman ideal of form, were the qualities of Salvator Rosa, Luca Giordano, and Ribera, bold and fiery spirits. And a breath of such power seems to live in their descendants still. Even now Neapolitan painting sings, dances, and laughs in a bacchanal of colour, pleasure, delight in life, and glowing sunshine. [Illustration: _Kunst für Alle._ MORELLI. THE TEMPTATION OF ST. ANTHONY.]