sance. He became Court painter,
and left many fine portraits; but, perhaps, as Comte Vasili says, "La
meilleure oeuvre de Don Jose fut son fils, Federico; de meme que la
meilleure de celui-ci est son fils Raimundo."

Raimundo Madrazo and Fortuny the elder, who married Cecilia Madrazo,
Raimundo's sister, have always painted in Paris, and have become known
to Europe almost as French artists. Fortuny, by his _mariage Espagnol_,
became the head of the Spanish renaissance. Unfortunately, he has been
widely imitated by artists of all nations, who have not a tithe of his
genius, if any. Pradilla, F. Domingo, Gallegos, the three Beulluire
brothers, Bilbao, Gimenez, Aranda, Carbonero, are only a few of the
artists whose names are known to all art collectors, and who work in
Spain. Villegas has settled in Rome. The exhibition of modern Spanish
paintings in the London Guildhall last year (1901) was a revelation to
many English people, even to artists, of the work that is being done at
the present day by Spanish painters, both at home and in Paris and Rome.
In sculpture, also, Spain can boast many artists of the highest class.

The drama in Spain has in all times occupied an important place. The
traditions of the past names, such as Calderon, Lope de Vega, Tirso de
Molina, Moreto, and others, cannot exactly be said to be kept up, for
these are, most of them, of European fame; but in a country where the
theatre is the beloved entertainment of all classes, and perhaps
especially so of the poor or the working people, there are never wanting
dramatists who satisfy the needs of their auditors, and whose works are
sometimes translated into foreign languages, if not actually acted on an
alien stage. It would be impossible and useless to give a mere list of
the names of modern dramatists, but that of Ayala is perhaps best known
abroad, and his work most nearly approaches to that of his great
forerunners. His _Consuelo_, _El tejado de Vidrio_, and _Tanto por ciento_
show great power and extraordinary observation. His style, too, is
perfect. Senor Tamago, who persistently hides his name under the
pseudonym of "Joaquin Estebanez," may also be ranked amongst the leaders
of the modern Spanish drama, and his _Drama Nuevo_ is a masterpiece.
Echegaray belongs to the school of the old drama, whose characteristic
is that virtue is always rewarded and vice punished. His plays are very
popular because they touch an audience even to tears, and he has s