The records of Spain in art, as in literature, are so grand, so European, in fact, that it is much if the artists of to-day come within measurable distance of those who have made the glory of their country. Nevertheless, the modern painters and sculptors of Spain hold their own with those of any country. After the temporary eclipse which followed the death of Velasquez, Ribera, and Murillo—the eighteenth century produced no great Spanish painter, if we except Goya, who left no pupils—Don José Madrazo, who studied at the same time as Ingres in the studio of David, began the modern renaissance. He became Court painter, and left many fine portraits; but, perhaps, as Comte Vasili says, "La meilleure oeuvre de Don José fut son fils, Federico; de même que la meilleure de celui-ci est son fils Raimundo."
Raimundo Madrazo and Fortuny the elder, who married Cecilia Madrazo, Raimundo's sister, have always painted in Paris, and have become known to Europe almost as French artists. Fortuny, by his mariage Espagnol, became the head of the Spanish renaissance. Unfortunately, he has been widely imitated by artists of all nations, who have not a tithe of his genius, if any. Pradilla, F. Domingo, Gallegos, the three Beulluire brothers, Bilbao, Gimenez, Aranda, Carbonero, are only a few of the artists whose names are known to all art collectors, and who work in Spain. Villegas has settled in Rome. The exhibition of modern Spanish paintings in the London Guildhall last year (1901) was a revelation to many English people, even to artists, of the work that is being done at the present day by Spanish painters, both at home and in Paris and Rome. In sculpture, also, Spain can boast many artists of the highest class.
The drama in Spain has in all times occupied an important place. The traditions of the past names, such as Calderon, Lope de Vega, Tirso de Molina, Moreto, and others, cannot exactly be said to be kept up, for these are, most of them, of European fame; but in a country where the theatre is the beloved entertainment of all classes, and perhaps especially so of the poor or the working people, there are never wanting dramatists who satisfy the needs of their auditors, and whose works are sometimes translated into foreign languages, if not actually acted on an alien stage. It would be impossible and useless to give a mere list of the names of modern dramatists, but that of Ayala is perhaps best known abroad, and his work most nearly approaches to that of his great forerunners. His Consuelo, El tejado de Vidrio, and Tanto por ciento show great power and extraordinary observation. His style, too, is perfect. Señor Tamago, who persistently hides his name under the pseudonym of "Joaquin Estebanez," may also be ranked amongst the leaders of the modern Spanish drama, and his Drama Nuevo is a masterpiece. Echegaray belongs to the school of the old drama, whose characteristic is that virtue is always rewarded and vice punished. His plays are very popular because they touch an audience even to tears, and he has several followers or imitators. The comedies of manners and satirical plays are generally the work of Eusebio Blasco, Ramos Carrion, Echegaray the younger, Estremada, Alverez, though there are others whose names are legion. Echegaray is really a man of genius. A clever engineer and professor of mathematics, he was Minister of Finance during the early days of the Revolution. His first play took the world of Madrid by surprise and even by storm. La Esposa del Vengador had an unprecedented success, and at least thirty subsequent dramas, in prose and in verse, have made this mathematician, engineer, and financier one of the most famous men of his day. His art and his methods are purely Spanish. I have already referred to the phenomenal success of Perez Galdós's Electra within the last few months. It must, however, be ascribed chiefly to the moment of its presentation rather than to any superlative merit in the drama. It is well written, which is what may be said of almost all Spanish plays, for the language is in itself so dignified and so beautiful that, if it be only pure and not disfigured by foreign slang, it is always sonorous and charming. To the state of the popular temper, however, and the coincidence of the political events already referred to must be ascribed the fact that a piece like Electra should cause the fall of a Government, and bring within dangerous distance the collapse of the monarchy itself. The excitement which it still produces, wherever played, is now in a great part due to the foolish action of some of the bishops and the fact that individual clerics use their pulpits to condemn it, and attempt to forbid its being read or seen.
Spain is not particularly rich in great actors, although she has always a goodly number who come up to a fair standard of excellence. The great actors of the day in Madrid are María Guerrero and Fernando Diaz de Mendoza. They obtained a perfect ovation during the last season in the play, El loco Dios, of Echegaray—a work which gives every opportunity for the display of first-class talent in both actors, and which led to a fury of enthusiasm for the popular dramatist, which must have recalled to him the early days of his great successes.
Since the beginning of the eighteenth century, Spain has had three great Academies, which, even in the troublous times of her history, have done good work in the domains of history, language, and the fine arts; but it is since the Revolution that they have become of real importance in the intellectual development of the nation, and other societies have been added for the encouragement of scientific research and music. The earliest of her academies was that of language, known as the Royal Spanish Academy. It is exactly on the lines of the Académie Française. Founded in 1713, its statutes were somewhat modified in 1847, and again in 1859. There are only thirty-six members, about eighty corresponding members in different provinces of Spain, and an unlimited, or at least undetermined, number of foreign and honorary correspondents. Besides the Central Society in Madrid, the Royal Spanish Academy has many corresponding branches in South America, such as the Columbian, the Equatorial, the Mexican, and those of Venezuela and San Salvador. The existence of academies of language in the South American States does not appear to effect much in the way of maintaining the purity of Castilian among them, for South American Spanish, as spoken at least, is not much more like the original language than the South American Spaniard is like the inhabitant of the mother country. The dictionary of the Royal Academy of Spain, like that of France, is not yet completed.
Philip V. founded the Royal Academy of History in 1738. Under its auspices, especially of late years, much valuable work has been done in publishing the original records of the country, to be found at Simancas and other places; but the authentic history of Spain is still incomplete. Up to the time of his assassination, Don Antonio Cánovas del Castillo was its director, and Don Pedro de Madrazo its permanent secretary. The society, now known as the Real Academia de San Fernando, founded in 1752, under the title of Real Academia de las tres nobles Artes, has now had a fourth added to it—that of music. The functions of its separate sections are much the same as those of the English Academy of Painting and the sister arts. A permanent gallery of the works of its members exists in Madrid, and certificates, diplomas, honourable mention, etc., are distributed by the directors to successful competitors.
Later societies are the Academies of Exact Science, Physical and Natural, of Moral and Political Science, of Jurisprudence and Legislation, and last, but by no means least, the Royal Academy of Medicine, under whose auspices medical science has of late years made immense strides, and is probably now in line with that of the most advanced of other countries.
