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In Castile. 497 pointedness, of Callot in their invention, and of Hogarth in their humour. After Goya there was a complete gap in Spanish art, but at the time of the Universal Exhibition at Paris in 1867 it was found to be reviving. Spain maintained her position honourably amongst the assembled nations. She was also again well represented at Paris in 1878. Within the last few years several painters have risen up, and become celebrated ; and of two of these we must give a brief record. Mariano Fortuny y Carbo (ab. 1838 — 1874) received his first instruction in art from a pupil of the great German master, Overbeck. He afterwards went to Madrid to study the works of Velazquez and Goya ; but although he care- fully examined the paintings of these masters, Fortuny never servilely copied them. In fact, his chief claim to renown as a painter is based on his originality. He painted in Madrid, Paris and Rome. Eduardo Zamacois (1842 — 1871) studied painting under M. Meissonier. Many of his best pictures have been exhibited in the Paris Salon ; two are especially worthy of mention, Buff on au 16 e Steele, exhibited in 1867, in which year he gained the medal of the society, and L' education oVun Prince in 1870. Modern Spanish art is characterised by force and warmth of colouring. EIU K K