During the greater part of the 18th century Spanish art produced imitations. Senor Beruete y Moret (see Bibliography) even goes so far as to say it produced "nothing but imitations," then adding that "these imitations were not particularly happy." Original talent was tem porarily displaced—that was all; for it was reinstated by Goya (1746-1828) whose works, taken all together, make a remarkably vivid and complete picture of the Spanish life of his day. "In the latter. years of the century," writes Senor Beruete y Moret, "an original artist, Francisco Goya, arose. He cast from him all foreign influence and realized an art of his own which was so genial, so characteristic, and so Spanish that it gave evidence of the renascent artistic spirit of his country.° True, that promise of renascent Iberianism was not quite fulfilled in the works of Jose de Madrazo (1781-1859), Federigo de Madrazo (1815-94), Mariano Fortuny (1839-74), or Jose Villegas, b. 1848; but Sorolla (Joaquin Sorolla y Bastida, b. Valencia, 1863) depicts very brilliantly the sunlit atmosphere of his native province, while Ignacio Zuloaga (b. Eibar, 1870) summons the Spanish people and land scapes to appear on his canvases as though he were. a magician. Zutoaga's talent exemplifies the obligation of Spanish pAinting to Spanish metalwork. His birthplace, the Basque town of Eibar, is called the "Toledo of the North" because the occupation of its people is to temper and damascene sword-blades and poignards. His great-great-grandfather, Don Blas Zuloaga, was an excellent armorer and a friend of Goya; his grandfather, Eusebio, also a famous armorer, organized and directed the Royal Armory at Madrid; his father, Placido Zuloaga, revived the art of inlaying metals. Consult Frenzi, G. de, 'Ignacio Zuloaga' (Rome 1912).
Architecture.— The best single -point at which one can subject works of architecture of all the Spanish architectural periods to direct and personal observation is undoubtedly the ancient city of Toledo, since all such periods are represented in its structures, and represented by good examples. But Merida in the southwest possesses the most interesting architectural memorials of the Roman Empire, as Astoria in the north possess those of the i Visigoths. During the Roman period imperial public buildings were very numerous in Spain; and although comparatively few escaped de struction their massive dimensions and char acteristic lines exerted an influence in the formation of national taste that has never been wholly lost. Again, between 414 and 711 (the Visigothic period) another controlling in fluence was felt; and this is far from being un worthy of our consideration, inasmuch as, among all the hordes that invaded Spain in the 5th century, the Visigoths, natives of Dacia, the modern Rumania, were, as Mr. Tyler says, al ready Christians, and by far the most advanced in the arts of war and peace. Mr. C. H. Blackall writes (in Sturgis, R., 'A Dictionary of Architecture and Buildings,' New York and London 1905) that the invasion of tne Visigoths appears to have swept away nearly all the architecture of the Roman period, while the conquest by the Moors, in the early part of the 8th century, in its turn obliterated most of the remains of the Visigothic work, except in the north. Then, °the seat of government being
fixed about Madrid, the Renaissance style, which was imported from Italy and fostered by constant intercourse with foreign artists, was naturally at its best on the central plateau.° In the central portion much of the mediwval work °disappeared to make room for the Renaissance palaces. In the south the Moors found little to preserve when they first entered the kingdom," and the architectural work that they themselves did was of such manifest value that it was, on the whole, very little disturbed subsequently. We, therefore, find the Gothic and Romanesque chiefly in the north, the Moor ish in the south the neoclassic along the central plateau.
The mosque at COrdova, the oldest and lar gest Moorish monument in Spain, founded in 785; El Cristo de la Luz at Toledo, and in the same city the Casa de Mesa and the Taller del Moro; the Giralda tower (1196) at Seville; the Alhambra at Granada — these are familiar examples of Moorish work before the recon quest. The name Mudijar is given to that blending of the Christian and Moorish styles which took place after the reconquest. The Romanesque, introduced toward the end of the 11th century, prevailed throughout the 12th. Examples of this are, beside that famous resort of pilgrims in our own day, the church of Santiago de Compostela (1060-96),— Sant' Isidro in Leon (1063-1149), San Pedro at Huesca (1100-1241) and the cathedral of Lugo (1129-70). Not long afterward the Gothic was introduced from France, and as examples we may mention the churches of Viruela and of Las Huelgas, the latter built by Ferdinand III about the middle of the 13th century. But the Gothic at first failed to maintain itself as French-Gothic in Spain: it became Spanish Gothic, actually composite, by the union in the same structure of the new Gothic principles with the Romanesque, or those of a still older period. Such are the churches of Salamanca (1178) arid Santa Maria at Benavente (1170 1220). Not before the 13th century could the pure, perfected French cathedral style make an irresistible appeal. It was adopted and magnificently shown then in the cathedrals of Burgos (1221), of Toledo (1227), and of Leon (1250-1305). The cathedral at Seville, largest or all Gothic churches, was founded at the be ginning of the 15th century. The end of the same century witnessed the erection of build ings of extraordinary originality and picturesque charm which, as Professor Carl Justi writes, "mirror that mighty outburst of national feeling which followed .in the train of a series of unparalleled events." Noteworthy among the structures of this group are the facades of San Gregorio and San Pablo at Valladolid and of Santa Cruz at Segovia.