to have helped him in the Vatican. He afterward returned to
Spain, painted many altar-pieces, and was patronized as painter,
sculptor, and architect by Charles V. and Philip II. He was probably
the first to introduce pure Italian methods into Spain, with some
coldness and dryness of coloring and handling. Becerra (1520?-1570)
was born in Andalusia, but worked in Castile, and was a man of Italian
training similar to Berruguete. He was an exceptional man, perhaps, in
his use of mythological themes and nude figures.

There is not a great deal known about Morales (1509?-1586), called
"the Divine," except that he was allied to the Castilian school, and
painted devotional heads of Christ with the crown of thorns, and many
afflicted and weeping madonnas. There was Florentine drawing in his
work, great regard for finish, and something of Correggio's softness
in shadows pitched in a browner key. His sentiment was rather
exaggerated. Sanchez-Coello (1513?-1590) was painter and courtier to
Philip II., and achieved reputation as a portrait-painter, though also
doing some altar-pieces. It is doubtful whether he ever studied in
Italy, but in Spain he was for a time with Antonio Moro, and probably
learned from him something of rich costumes, ermines, embroideries,
and jewels, for which his portraits were remarkable. Navarette
(1526?-1579), called "El Mudo" (the dumb one), certainly was in Italy
for something like twenty years, and was there a disciple of Titian,
from whom he doubtless learned much of color and the free flow of
draperies. He was one of the best of the middle-period painters.
Theotocopuli (1548?-1625), called "El Greco" (the Greek), was another
Venetian-influenced painter, with enough Spanish originality about him
to make most of his pictures striking in color and drawing. Tristan
(1586-1640) was his best follower.

[Illustration: FIG. 71.--RIBERA. ST. AGNES. DRESDEN.]

Velasquez (1599-1660) is the greatest name in the history of Spanish
painting. With him Spanish art took upon itself a decidedly
naturalistic and national stamp. Before his time Italy had been freely
imitated; but though Velasquez himself was in Italy for quite a long
time, and intimately acquainted with great Italian art, he never
seemed to have been led away from his own individual way of seeing and
doing. He was a pupil of Herrera, afterward with Pacheco, and learned
much from Ribera and Tristan, but more from a direct study of nature
than from all