as
thought to be a suitable appendage to a fallen angel who had lost his
wings. One very strict rule was that the feet of the Virgin Mary should be
covered, and nude figures or portions of the figure were strictly
forbidden.

Another important influence upon the Spanish artists was their belief that
the Virgin Mary and other holy spirits appeared to inspire them and aid
them in painting their pictures. In fact, the church was the chief patron
of art, and the artist was one of her most valuable teachers. A learned
Spanish writer said: "For the ignorant, what master is like painting? They
may read their duty in a picture though they may not search for it in
books."

The painters of Spain were divided between the schools of Castile,
Seville, and Valencia. That of Castile was founded at Toledo early in the
fifteenth century, and was maintained about two hundred years. Claudio
Coello was of this school; he died in 1693, and has well been called "the
last of the old masters of Spain."

ALONZO BERREGUETTE (1480-1561), born at Parades de Nava, in Castile, was
the most eminent Spanish artist of his time. He is called the Michael
Angelo of Spain, because he was painter, sculptor, and architect. He was
painter to Philip I. Later he went to Italy, and journeyed from Florence
to Rome with Michael Angelo in 1505. He studied in Italy many years. He
was appointed painter and sculptor to the Emperor Charles V. Berreguette
received four thousand four hundred ducats for the altar in the Church of
St. Benito el Real in Valladolid, where he settled. When he was almost
eighty years old he went to Toledo to erect a monument in the Hospital of
St. John Baptist. He was lodged in the hospital, and died there. He left a
large fortune, and was buried with splendid ceremonies at the expense of
the emperor.

LUIS DE MORALES (1510-1586) was called "the divine." He belonged to the
school of Castile, and very little is known of his early life. When he was
fifty-five years old Philip II. invited him to court. When Morales
appeared he was so splendidly dressed that the king was angry, and gave
orders that he should be paid a certain sum and dismissed. But the poor
painter explained that he had spent all that he had in order to come
before the king in a dress befitting Philip's dignity. Then Philip
pardoned him, and allowed him to paint one picture; but as this was not
hung in the Escorial, Morales was overcome by mortification, and almost
forsook hi