PAINTING. 109 
tearing himself from the arms of Zuleika (Potiphar’s wife) (pl. 15, jig. 8). 
His last work, which he painted at the close of his life, was an infant 
Jupiter in the act of suckling; he painted it for the elector of the Palati- 
nate, who rewarded him very generously. The venerable artist died at 
Forli in the year 1710, and is there buried under the cupola on which 
he had labored for twenty years, and which he regarded as his master- 
piece. In his manner we find a combination of the finest characteris- 
tics of Correggio, Titian, Guido, and the Caraccis; yet he followed no 
master exclusively, but was always original. He possessed a peculiar 
talent with which nature had also gifted Correggio, that of representing 
figures in scanty spaces magnified in a wonderful manner. There was a 
great deal of grace in Cignani’s drawing, and he selected only the finest 
natural forms for models ; his coloring is vigorous without too great masses 
of shade, and his illumination is clear and intelligible. 
A school of artists was also formed in Naples and Sicily, which has 
produced some celebrated masters. We need only mention here the names 
of Andrea da Salerno (1480-1545), Francesco Penni (il Fattore), Giovanni 
Caracciola, Giuseppe Ribera (lo Spagnoletto, 1593-1649), Salvator Rosa 
(1615-73), Mattia Preti (il Calabrese, 1613-99), Luca Giordano (Fa presto, 
1632-1705), and Francesco Solimena (1657-1748), to give an idea of the 
services rendered to true art by this school. 
2. Spaty. Among all the kingdoms of Southern Europe there is perhaps 
none that has undergone so many revolutions and had such various rulers 
as Spain. Phcenicians, Greeks, and Carthaginians were enticed thither by 
its mines of silver and gold, and these expelled the original inhabitants and 
established their colonies instead. The Romans transplanted thither their 
manners and civilization, and many beautiful temples still testify to the 
architectural skill of the Augustan age. Next took place the irruption of 
the Goths, with whom the Christian religion found entrance, as is shown 
by the churches now in ruins of the 6th and 7th centuries. The incursion 
of the Arabs into Spain introduced a new religion, new manners, and new 
art, until Ferdinand I. (1047-65) delivered a great part of Spain from the 
domination of the Moors. From that time forth the Christian religion has 
reigned unrestricted in Spain. Relics of art are still preserved in greater 
or less numbers belonging to all these periods; and it is to be regretted 
that the Pyrenees and still more the intolerance of the Spaniards preserve 
the Peninsula in such a state of isolation that these ruins and remains of 
art are still but very imperfectly known in the rest of Europe. 
The oldest accounts of Spanish painting relate to the 10th century, when 
the monk Vigila wrote a codex and adorned it with miniatures; the 
painters were Saracino and Garcia. There is a Bible in two volumes of 
the 13th century, with paintings by Pedro de Pampeluna; and in 1291 
Esteban Rodrigo was court painter to king Sancho IV. Juan Caesillas 
painted in 1382 for the city of Reus an altar-piece with the twelve Apostles 
and many embellishments, for which he received 830 florins of Arragon ; 
and there is a painting of the year 1399 in the cathedral of Toledo by 
Fernando Gonzales, who was also a sculptor. . 
493 
