of the important place which these men occupy in
Spanish society may be gathered from the numerous notices which appeared
in the newspapers of all shades of political opinion after his death. I
quote from the article which appeared in the charming little illustrated
_Blanco y Negro_, of Madrid, on the favourite of the Spanish public. In
what, to us, seems somewhat inflated language, but which is, however,
quite simple and natural to the Spaniard, the writer began his notice
thus:

"He who has heard the magic oratory of Castelar, has listened to the
singing of Gayarre, the declamation of Cabro, has read Zorilla, and
witnessed the _torear_ of Lagartijo, may say, without any kind of
reservation, that there is nothing left for him to admire!" Having thus
placed the popular bull-fighter on a level with orators, authors, and
musicians of the first rank, the writer goes on to describe the beauties
of Lagartijo's play in words which are too purely technical of the ring
to make translation possible, and adds: "He who has not seen the great
_torero_ of Cordoba in the plenitude of his power will assuredly not
comprehend why the name of Lagartijo for more than twenty years filled
_plazas_ and playbills, nor why the _aficionados_ of to-day recall, in
speaking of his death, times which can never be surpassed.... The
_toreo_ (play) of Lagartijo was always distinguished by its classic
grace, its dignity and consummate art, the absence of affectation, or
struggle for effect. In every part of the fight the figure of Rafael
fell naturally into the most graceful attitudes; and for this reason he
has always worn the rich dress of the _torero_ with the best effect. He
was the perfect and characteristic type of a _torero_, such as Spanish
fancy has always imagined it. Lagartijo died with his eyes fixed on the
image of the Virgen de los Dolores, to whom he had always confidently
committed his life of peril, and with the dignity and resignation of a
good man."

The article was illustrated with numerous portraits of Don Rafael: in
full _torero_ dress in 1886; his very last photograph; views of him in
the courtyard of his home in Cordoba, and outside the Venta San Rafael,
where he took his coffee in the evening, and others. The notice
concludes by saying that his life was completely dedicated to his
property, which he managed himself, and he was looked upon as the
guardian angel of the labourers on his farm. _Probre Rafael!_ "The
lovers of the