el Angelo, probably because he was sculptor, painter, and
architect. His painting was rather sharp in line and statuesque in
pose, with a coloring somewhat like that of Van Dyck. It was eclectic
rather than original work.

[Illustration: FIG. 72.--FORTUNY. SPANISH MARRIAGE.]

Murillo (1618-1682) is generally placed at the head of the Andalusian
school, as Velasquez at the head of the Castilian. There is good
reason for it, for though Murillo was not the great painter he was
sometime supposed, yet he was not the weak man his modern critics
would make him out. A religious painter largely, though doing some
_genre_ subjects like his beggar-boy groups, he sought for religious
fervor and found, only too often, sentimentality. His madonnas are
usually after the Carlo Dolci pattern, though never so excessive in
sentiment. This was not the case with his earlier works, mostly of
humble life, which were painted in rather a hard, positive manner.
Later on he became misty, veiled in light and effeminate in outline,
though still holding grace. His color varied with his early and later
styles. It was usually gay and a little thin. While basing his work on
nature like Velasquez, he never had the supreme poise of that master,
either mentally or technically; howbeit he was an excellent painter,
who perhaps justly holds second place in Spanish art.

SCHOOL OF VALENCIA: This school rose contemporary with the Andalusian
school, into which it was finally merged after the importance of
Madrid had been established. It was largely modelled upon Italian
painting, as indeed were all the schools of Spain at the start. Juan
de Joanes (1507?-1579) apparently was its founder, a man who painted a
good portrait, but in other respects was only a fair imitator of
Raphael, whom he had studied at Rome. A stronger man was Francisco de
Ribalta (1550?-1628), who was for a time in Italy under the Caracci,
and learned from them free draughtsmanship and elaborate composition.
He was also fond of Sebastiano del Piombo, and in his best works (at
Valencia) reflected him. Ribalta gave an early training to Ribera
(1588-1656), who was the most important man of this school. In reality
Ribera was more Italian than Valencian, for he spent the greater part
of his life in Italy, where he was called Lo Spagnoletto, and was
greatly influenced by Caravaggio. He was a Spaniard in the horrible
subjects that he chose, but in coarse strength of line, heaviness of
shadows, har