most repugnant, and anti-artistic specimens may be seen in most of the principal Spanish towns. The crucifix (called Del Cid) at the Cathedral of Salamanca is one of the oldest. The Cristo de Burgos carries to the utmost extent the exaggerations and bad taste of this school. This style must have been common in Europe; the Rood at Candás, Asturias, is of the same kind-it was brought from England during the reign of Henry VIII. There are

The images of the Blessed Virgin are not so exaggerated.

a large number, called Aparecidas, most of which are black. The most famous in Spain are those at Zaragoza, del Pilar, Montserrat, Atocha, Sagrario de Toledo, Guadalupe, &c. They are literally covered with jewels, and nothing is left visible but the face. It would be most interesting to study these images as archæological sculptures; some must belong to a very remote period, probably to the Visigothic period, and in the midst of the fables which surround their history some truth must exist of their apparition-they were undoubtedly hidden by the Christians at the invasion of the Moors. Most of these images belong to this period. There are other images of the Blessed Virgin which are covered with a silver-plating, a reminiscence of Byzantine art. Two of this style may be studied at the Cathedral of Astorga.

In the Renaissance period sculpture attains in Spain its greatest excellence. It coincides with the richest and most flourishing reigns, and Italian models are preferred. Spanish sculpture has never been properly appreciated; it has, at least, as much importance as Spanish painting. Berruguete, Becerra, Villalpando, Montañes, Cano, and others, can compete with the best sculptors of the time. The principal tendency of the time was to represent religious subjects; mythological subjects, which were so much in vogue in Italy, were never very popular in Spain. Among the great number of artists whose names have reached us, two are of the greatest importance-Vigarny, a Frenchman, and Berruguete, a Spaniard. Their work can be compared in the choir at Toledo, the finest in Spain. Many Spanish and foreign artists succeeded these, who kept up during the sixteenth century good artistic examples.

A great quantity of works in stone, iron, bronze, and wood remain of this period. The principal localities where they may be studied are Seville, Toledo, Salamanca, Valladolid, and Burgos.

During the whole of the sixteenth century wooden sculpture was always painted, in Spain and elsewhere. At the end of this period the flesh-tints are greatly exaggerated, and the texture of the draperies is one of the principal characteristics of Spanish sculpture; it is contrary to the conditions of this art, the principal element of which is form, not colour. Spanish artists in their imitations of stuffs, estofar, reached in the sixteenth and seventeenth centuries the limits of realism.

Religious images are multiplied during this period to a great extent, not only to be placed on the altars and retablos, but for the Pasos, used in the processions of Holy Week. These groups may still be seen at Seville, Valladolid, Murcia, and other towns. These Pasos are groups of life-size figures arranged on boards, which are carried by men. They represent scenes from the Passion of Our Lord, and many are most remarkable as works of art.

The climax of painted sculpture in Spain may be considered to be

in the seventeenth century. Alonso Cano was an excellent sculptor and painter; his best works are at Granada.

To the realistic tendency of imitating the tints of the flesh was soon added another characteristic tendency of Spanish sculpture, which continues in the present day. It consists in making a lay figure or frame, which has only the head and hands sculptured, and is dressed with a voluminous petticoat and wig to please the taste of the devout. It is the most extreme point to which the degradation of the fine arts can reach.

The Spanish Church has opposed itself from the beginning to this abuse, as may be seen in the synodals published by the bishops after the Council of Trent; unfortunately, however, fanaticism has more power than ecclesiastical legislation.

Spanish sculpture after Cano and his school is hardly worth mentioning. From the end of the seventeenth century until the eighteenth it has all the bad taste of the time. The statues of Spanish kings which may be seen at Madrid give a good idea of the inferiority of the artist's work. At the end of the last century the same classical revival occurred here as in other countries. Alvarez is the sculptor who may be considered the best representative of this school. His best works are at Madrid. The Catalan artists, Suñol, Bellver, and the brothers Valmitjana, are excellent representatives of Spanish sculpture in the present day.

The periods have been selected during which leading events in Spanish history have occurred.

The antiquary will often meet with the date Era on old inscriptions. This mode of reckoning prevailed in the Roman dominions, and arose from the date of the particular payment of taxes, as, æra. It commenced in the fourth year of Augustus Cæsar. To make the Era correspond with the Anno Domini, 38 years must be added; thus: A.D. 1200 is equivalent to Era 1238. The Moorish Hegira commences from Friday, July 16, A.D. 622,-Era 660. The New Style was introduced by Gregory XIII. into Spain in 1582. October 5, of the Old Style, was then called October 15. This must be remembered, for the New Style was only introduced into England in 1751.

[Spain.-1882.]

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