of a Spanish lady. There is nothing of the _petit-maître_ in the
sensitive and adroit handling of values. The rather triste expression,
the veiled look of the eyes, the _morbidezza_ of the flesh tones, and
the general sense of amplitude and grace give us a Fortuny who knew
how to paint broadly. The more obvious and dashing side of him is
present in the Arabian Fantaisie of the Vanderbilt Gallery. It must be
remembered that he spent some time copying, at Madrid, Velasquez and
Goya, and as Camille Mauclair enthusiastically declares, these copies
are literal "identifications." They are highly prized by the Marquise
Carcano (who owned the Vicaria), Madrazo, and the Baron Davillieu--the
last named the chief critical authority on Fortuny.

In the history of the arts there are cases such as Fortuny's, of
Mozart, Chopin, Raphael, and some others, whose precocity and
prodigious powers of production astonished their contemporaries.
Fortuny, whose full name was Mariano José Maria Bernardo Fortuny y
Carbó, was born at Reus, a little town in the province of Tarragona,
near Barcelona. He was very poor, and at the age of twelve an orphan.
His grandfather, a carpenter, went with the lad on foot through the
towns of Catalonia exhibiting a cabinet containing wax figures painted
by Mariano and perhaps modelled by him. He began carving and daubing
at the age of five; a regular little fingersmith, his hands were never
idle. He secured by the promise of talent a pension of forty-two
francs a month and went to Barcelona to study at the Academy. Winning
the prize of Rome in 1857, he went there and copied old masters until
1860, when, the war between Spain and Morocco breaking out, he went to
Morocco on General Prim's staff, and for five or six months his brain
was saturated with the wonders of Eastern sunlight, exotic hues,
beggars, gorgeous rugs, snake-charmers, Arabs afoot or circling on
horseback with the velocity of birds, fakirs, all the huge glistening