shedding a brilliant colour over everything--a man to whom "painting" was as much a matter of course as orthography is to ourselves. Even the Paris World Exhibition of 1878 made him celebrated as an artist, and from that time his name was to the Italian ear a symbol for something new, unexpected, wild, and extravagant. The word "Michetti" means splendid materials, dazzling flesh-tones, conflicting hues set with intention beside each other, the luxuriant bodies of women basking in heat and sun, fantastic landscapes created in the mad brain of the artist, strange and curious frames, and village idylls in the glowing blaze of the sun. There are no lifeless spots in his works; every whim of his takes shape, as if by sorcery, in splendid figures. [Illustration: _Hanfstaengl._ MICHETTI. GOING TO CHURCH.] Another pupil of Morelli, _Edoardo Dalbono_, completed his duty to history by a scene of horror _à la_ Laurens, "The Excommunication of King Manfred," and then became the painter of the Bay of Naples. "The Isle of Sirens" was the first production of his able, appetising, and nervously vibrating brush. There is a steep cliff dropping sheer into the blue sea. Two antique craft are drawing near, the crews taking no heed of the reefs and sandbanks. With phantomlike gesture the naked women stretch out their arms beckoning, embodiments as they are of the deadly beautiful and voluptuously cruel ocean. By degrees the sea betrayed to him all its secrets--its strangest combinations of colour and atmospheric effects, its transparency, and its eternally shifting phases of ebb and flow. He has painted the Bay of Naples under bright, hot noon and the gloom of night, in the purple light of the sinking sun and in the strange and many-coloured mood of twilight. At one moment it shines and plays variegated and joyous in blue, grass-green, and violet tones; at another it seems to glitter with millions of phosphorescent sparks: the rosy clouds of the sky are glassed in it, and the lights of the houses irregularly dotted over abrupt mountain-chains or the dark-red glow of lava luridly shining from Vesuvius. Now and then he painted scenes from Neapolitan street-life--old, weather-beaten seamen, young sailors with features as sharply cut as if cast in bronze, beautiful, fiery, brown women, shooting the hot Southern flame from their eyes, houses painted white or orange-yellow, with the sun glittering on the windows. The "Voto alla Madonna del Carmine" was the most comprehensive of these Southern pictures. Everything shines in joyous blue, yellowish-green, and red colours. Warmth, life, light, brilliancy, and laughter are the elements on which his art is based. [Illustration: _Kunst für Alle._ MICHETTI. THE CORPUS DOMINI PROCESSION AT CHIETI.]