A wild and restless spirit, _Domenico Morelli_, whose biography is like a chapter from _Rinaldo Rinaldini_, is the head of this Neapolitan school. He was born on 4th August, 1826, and in his youth he is said to have been, first a pupil in a seminary of priests, then an apprentice with a mechanician, and for some time even _facchino_. He never saw such a thing as an academy. Indeed, it was a Bohemian life that he led, making his meals of bread and cheese, wandering for weeks together with Byron's poems in his pocket upon the seashore between Posilippo and Baiæ. In 1848 he fought against King Ferdinand, and was left severely wounded on the battle-field. After these episodes of youth he first became a painter, beginning his career in 1855 with the large picture "The Iconoclasts," followed in 1857 by a "Tasso," and in 1858 by a "Saul and David." Biblical pictures remained his province even later, and he was the only artist in Italy who handled these subjects from an entirely novel point of view, pouring into them a peculiarly exalted and imaginative spirit. A Madonna rocking her sleeping Child, whilst her song is accompanied by a legion of cherubs playing upon instruments, "The Reviling of Christ," "The Ascension," "The Descent from the Cross," "Christ walking on the Sea," "The Raising of the Daughter of Jairus," "The Expulsion of the Money-Changers from the Temple," "The Marys at the Grave," "Salve Regina," and "Mary Magdalene meeting Christ risen from the Grave," are the principal stages of his great Christian epic, and in their imaginative naturalism a new revolutionary language finds utterance through all these pictures. There is in them at times something of the mystical quietude of the East, and at times something of the passionate breath of Eugène Delacroix. In these pictures he revealed himself as a true child of the land of the sun, a lover of painting which scintillates and flickers. As yet hard, ponderous, dark, and plastic in "The Iconoclasts," he was a worshipper of light and resplendent in colour in the "Mary Magdalene." "The Temptation of St. Anthony" probably marks the summit of his creative power in the matter of colour. Morelli has conceived the whole temptation as a hallucination. The saint squats upon the ground, claws with his fingers, and with fixed gaze tries to stifle thoughts, full of craving sensuality, which are flaming in him. Yet they throng ever more thickly, take shape ever more distinctly, are transformed into red-haired women who detach themselves from corners upon all sides. They rise from beneath the matting, wind nearer from the depth of the cavern; even the breeze that caresses the fevered brow of the tormented man changes into the head of a girl pressing her kisses upon him. Only Naples could produce an artist at once so bizarre, so many-sided and incoherent, so opulent and strange. Younger men of talent trooped around him. A fiery spirit, haughty and independent, he became the teacher of