. Things seen in Spain. With fifty illus . ll borrowed; but,213 Things Seen in Spain though Flemish in their inspiration, theyyet retain an attractive Spanish personaHtyof their own. The Spanish painters, moreperhaps than the painters of any otherschool, have imitated and absorbed the artof other nations without degenerating intocopyists. But this development of a national art onthe basis of Flemish influence was not oflong duration, and before the fifteenthcentury closed the newly-born Spanishschool was rudely disturbed by the introduc-tion into Spain of the Italian influencesof the Renaissan
. Things seen in Spain. With fifty illus . ll borrowed; but,213 Things Seen in Spain though Flemish in their inspiration, theyyet retain an attractive Spanish personaHtyof their own. The Spanish painters, moreperhaps than the painters of any otherschool, have imitated and absorbed the artof other nations without degenerating intocopyists. But this development of a national art onthe basis of Flemish influence was not oflong duration, and before the fifteenthcentury closed the newly-born Spanishschool was rudely disturbed by the introduc-tion into Spain of the Italian influencesof the Renaissance. The building of theEscorial brought a crowd of artists fromItaly—not the great masters, for they wereno longer alive, but pupils more or lessmannered and decadent. Spain was overrunwith third-rate imitators of the Italian grandstyles, of Michael Angelo, of Raphael, andtheir followers. This is not the place tospeak of the blight which fell upon thenative painters. The distinctive Italianschools were an influence for evil, fatal to214. :ilciio Copyright, Under^vood C~ i. London ib A eiv J o>;i. RESIDENCE OF THE MEXICAN MINISTER^ 3IADRID. One of the most beautiful examples of Moorish architecture in Madrid. Spanish Art the expression of the true genius of thepeople; for the deep-feeling, individualistictemper of the Spaniards could not be re-conciled with the spirit of Italy. But the Spanish temper is strong. Thenative painters used Renaissance forms, butthey never worked in the Renaissance it was not long before Spanish artistswere turning to Venice, where they found anew inspiration in an art suited to theirtemperament in its methods, and in its Greco, who had received his first inspira-tion from Tintoretto, the mighty master ofthe counter-Reformation, came as a liberatingforce to Spain. The torch he had lightedat Tintorettos fire burnt in Toledo withsplendid power. El Greco is the first greatSpanish painter. And the seventeenth century witnessed in
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