,illustration3 ,cover art               
,,masterpieces   ,,in ,,colour          
,,edited ,,by --   ,t4 ,,leman ,,hare   
,,velazquez        ,,plate ,i4--,,the   
,,infante ,,don ,,fernando ,,of         
,,austria 7,frontispiece7  ,this picture
 was painted for the ,torre de la       
,parada1 and shows ,king ,philip's      
younger brother in hunting costume4     
,velazquez seems to have repainted a    
part of the canvas which is to be seen  
in the ,prado1 ,madrid4  ,illustration3 
,plate ,i4       ,,velazquez   ,,by ,s4 
,l4 ,,bensusan  ,,illustrated ,,with    
,,eight  ,,reproductions ,,in ,,colour  
,illustration3 ,title page art          
,,london3 ,t4 ,c4  ,e4 ,c4 ,,jack  ,,new
 ,,york3 ,,frederick ,a4 ,,stokes ,,co4 
#aijg     ,,contents                    
,,introduction    ,i4  ,,the ,,method   
,,and ,,influence ,,of ,,velazquez      
,,ii4  ,,the ,,painter',s ,,early ,,days
  ,,iii4  ,,velazquez ,,in ,,madrid     
,,iv4  ,a ,,retrospect     ,,list ,,of  
,,illustrations   ,plate      ,i4 ,the  

,infante ,don ,fernando of ,austria 4 4 
4 4 4 4 4 ,frontispiece          ,in the
 ,prado1 ,madrid     ,,ii4 ,las ,menias 
,in the ,prado1 ,madrid    ,,iii4 ,the  
,infante ,philip ,prosper          ,in  
the ,imperial ,gallery1 ,vienna         
,,iv4 ,the ,infante ,don ,balthasar     
,carlos          ,in the ,prado1 ,madrid
      ,v4 ,antonio the ,englishman      
,in the ,prado1 ,madrid     ,,vi4       
,admiral ,adriano ,pulido ,pareja       
,in the ,national ,gallery1 ,london     
,,vii4 ,donna ,mariana of ,austria      
,in the ,prado1 ,madrid   ,,viii4 ,the  
,princess ,maria ,theresa of ,austria   
,in the ,prado1 ,madrid                 
,,introduction   ,illustration3         
,velazquez  ,it is a curious truth that 
,spain in these days of her decline     
exercises almost as much control over   
the mind of the world as she exercised  
over its territories in the days of her 
great empire4  ,cervantes in literature 
and ,velazquez in art seem destined to  
secure for their country a measure of   

immortality that throws into the        
background the memory of such people as 
,carlos ,quinto1 ,philip ,,ii41 and     
those other lesser lights who made the  
name of ,spain respected or detested    
throughout ,europe and ,south ,america4 
,if science and art are destined1 as    
some altruists hope1 to unite the world 
in a bond that defies the arbitrary     
boundaries made by rulers1 then the name
 of ,diego de ,silva ,velazquez will    
stand high in the list of those whom the
 world delights to honour1 for people   
who are opposed diametrically on all    
questions of politics and faith find    
ground upon which they may meet in      
security and amity when they stand      
before the pictures of the great        
,spanish master4 ,and ,cervantes1 who   
used words instead of colours to express
 the life he saw around him1 would      
redeem ,spain from insignificance if she
 had never owned a colony1 and had never
 sought to step beyond her own borders  
to develop the arts of peace or follow  

the paths of war4  ,perhaps it would be 
hard to find more diverse opinions than 
those that are heard in the studio4     
,artists see life through the medium of 
many temperaments1 they are notoriously 
intemperate in their enthusiasms4 ,there
 are schools of painting to suit every  
conviction1 and the work that one man   
would give his all to possess would not 
find hanging space upon the wall        
controlled by another4  ,but before     
,velazquez even artists forget their    
controversies2 he stands1 like ,bach and
 ,beethoven in the world of music1      
respected even by those who do not      
understand4  ,no controversy rages round
 him2 he has marched unchallenged to the
 highest place in men's regard4         
,,plate ,,ii4--,,las ,,meni,,as  ,this  
picture was painted about the year      
#afef1 and1 now in the ,prado1 is       
considered one of the greatest works of 
the master4  ,it presents the ,infanta  
,margarita attended by her maids of     
honour1 while ,velazquez himself is     

shown painting the portraits of ,philip 
,,iv4 and his second wife ,mariana of   
,austria1 who are seen reflected in the 
mirror4  ,illustration3 ,plate ,,ii4    
,it is interesting to note that a       
reputation unrivalled in the world of   
pictures is founded upon a comparatively
 small number of works4  ,one of his    
latest critics reduces the pictures of  
,velazquez now in existence to          
eighty-nine1 while acknowledging that   
some have disappeared from the royal    
palaces of ,spain and cannot be traced4 
,this critic1 ,seor ,don ,aureliano de  
,beruete--a connoisseur1 a collector1   
and a worker in the best interests of   
art--is perhaps a little too severe4    
,he will not admit to his catalogue a   
portrait like that of ,admiral ,adriano 
,pulido ,pareja1 which1 despite some    
inferior workmanship1 can show          
considerable claims to be regarded as   
genuine2 but even if all the disputed   
ones were admitted1 and such a list as  
the late ,r4 ,a4 ,m4 ,stevenson         

published were accepted without that    
far-seeing critic's own reserve1 we     
should not have as many pictures to     
represent the forty years of the        
artist's life as ,sir ,joshua ,reynolds 
was known to paint in a single year4    
,velazquez has left very few drawings1  
and these are of small importance2 there
 are but two acknowledged engravings2   
and to limit still further our sources  
of knowledge1 the artist's              
correspondence seems to have been lost2 
while the ,memoirs which ,velazquez was 
said to have drawn up when ,philip ,,iv4
 sent the pictures to the ,escorial are 
now admitted by the best authorities to 
be the work of another man4     ,i      
,,the ,,method ,,and ,,influence ,,of   
,,velazquez  ,in dealing with the life  
and work of the ,spanish master1 even in
 the modest fashion of this little      
monograph1 one must bear in mind the    
fact that ,velazquez1 in the eyes of his
 contemporaries1 was not only an        
artist--he was a court painter2 and     

pictures other than portraits were of   
comparatively little importance to      
,philip ,,iv4 and his circle4  ,art     
borrowed most of her importance in      
sixteenth and seventeenth century ,spain
 from the fact that she was the handmaid
 of ,holy ,mother ,church4 ,velazquez   
was a court official who chanced to be a
 clever portrait-painter1 and his       
promotion tended ever to take him       
further away from his art4  ,with the   
increase of state duties the claims upon
 his time grew more and more difficult  
to meet1 and1 when he rose in the       
closing years of his life to be ,grand  
,marshal of the ,palace1 entrusted with 
the ordering of state functions and     
missions to distinguished foreigners1   
his art became entirely a secondary     
consideration4  ,the studio was no more 
than a place of refuge for the artist in
 the hours when he might forget that he 
was an official4  ,if ,velazquez had not
 been compelled to sacrifice the best   
part of forty years' activity to the    

ridiculous formalities of court life1   
the world might have been richer to-day 
by scores of pictures worthy to rank by 
the side of ,las ,menias and the        
portrait of ,pope ,innocent ,x4  ,the   
painter might have found outside court  
circles far more inspiring sitters than 
those whom he was compelled to paint1   
for it takes all that even a ,velazquez 
can give to a portrait to make a ,philip
 ,,iv41 a ,mariana of ,austria1 or even 
an ,isabella of ,bourbon1 reveal their  
dominant characteristics without        
caricature2 indeed one feels that the   
interest belongs to the picture and not 
to the sitter4  ,the success is one of  
tone1 of harmony and of line1 of sure   
handling directed by an inward vision4  
,because of gifts lying beyond praise1  
the painter has preserved               
seventeenth-century ,spain for us as far
 as court circles represent it2 but     
among the many charges laid to the      
account of ,philip ,,iv4 must be added  
that of limiting the range and crippling

 the capacity of an artist who cannot be
 placed second to any man4  ,when we    
come to analyse his work we find that   
its qualities are not of a sensational  
kind4  ,velazquez makes no appeal       
through the medium of brilliant pigment2
 his great contemporary ,rubens used    
colour in far more striking fashion4    
,velazquez loved grey and silvery tints1
 and in the years of his maturity       
understood relative values perfectly4   
,he knew1 too1 exactly how far he could 
go1 and never made experiments in search
 of qualities that were not his4        
,although he had a certain quality of   
delicate imagination1 he was a realist1 
and could not paint without a model2 he 
never acquired a mannerism1 or applied  
to one sitter the treatment that some   
artists seem to keep for types4  ,every 
figure he set upon canvas has its own   
individuality1 and1 while ,velazquez1   
like other artists1 had manners and     
methods that belong to fixed periods of 
his life1 it is not easy to set down in 

cold print an analysis of the causes    
that make up his effects4  ,he had no   
tricks2 everything that he did was      
clear1 simple1 and withal inimitable4   
,hundreds of men have copied his        
pictures2 none has been able to copy his
 method4  ,with his death his influence 
upon art ceased4  ,his genius lay buried
 in the grave with him1 and did not     
suffer complete resurrection until the  
nineteenth century was turning towards  
its successor1 though ,raphael ,mengs   
had done all he could to make his merits
 known a hundred years before4  ,even   
to-day1 we may be said to be in the     
first stage of our enjoyment of the     
master's work4  ,there are at least     
fifty good books upon the subject of    
,velazquez' life and art1 written in    
three or four languages1 and all        
published in the last half century2     
there must be many more to come1 for    
every generation sees genius in the     
light of its own time4  ,so much for    
literature4  ,in art the painter has    

influenced very many moderns4  ,manet1  
,courbet1 ,corot1 ,millet1 ,whistler1   
are among the men whose work shines in  
the light of the ,prado1 and the list   
might be prolonged indefinitely1 for all
 earnest art workers go to ,velazquez1  
confident that whatever their aims and  
ideals1 he will confirm and strengthen  
what is best in them4  ,they know1 too1 
that they may return again and again1   
and that the rich stores of guidance and
 encouragement in the pursuit of ideals 
are as inexhaustible as the barrel of   
meal that did not waste1 and the cruse  
of oil that did not fail1 in the house  
of the widow of ,zarephath4     ,,ii    
,,the ,,painter',s ,,early ,,days  ,in  
the years when ,velazquez first saw the 
light1 the power of ,spain1 despite the 
shock it had received from ,british     
seamen1 was the dominating factor in    
,european politics4  ,philip ,,ii4 had  
come to the end of a reign of more than 
forty years2 ,philip ,,iii4 had just    
reached the throne4  ,the painter was   

not born in the atmosphere of court     
life1 but in the very ,catholic city of 
,seville1 then as now a fatal place for 
those who cannot withstand the manifold 
temptations to lead a lazy life4        
,happily for the boy his parents had not
 inherited the ,seville traditions2 his 
father came from ,oporto1 which1 being a
 seaport town1 has no lack of mental and
 physical activity4  ,the spirit of     
painting settled at a very early age    
upon young ,diego de ,silva             
,velazquez--the second name by which he 
is universally known belonged to his    
mother's family--almost before he was in
 his teens he was working in the studio 
of ,francisco de ,herrera1 architect and
 painter4  ,the temperaments of master  
and pupil could not fuse2 there was     
sufficient trouble to lead ,don ,juan   
,rodriguez to transfer his son's        
services to ,francesco ,pacheco1        
painter1 poet1 professor1 and withal a  
man of action and experience4 ,he knew  
much about contemporary art1 encouraged 

a hopeful outlook upon life1 and enjoyed
 the respect of all men4  ,moreover his 
studio was the meeting-place for many of
 the distinguished folk of the city4    
,in the very early years of their       
association ,pacheco understood that his
 young pupil was not like other lads1   
that he possessed an individuality that 
could not be repressed or directed into 
the usual channels1 and instead of      
resenting this new element1 he sought to
 direct it wisely and kindly1 thereby   
laying ,velazquez under a debt of       
gratitude that the painter never        
repudiated4  ,indeed there were stronger
 ties in the making1 for in the spring  
of #afah1 when the young artist was on  
the threshold of his wonderful career1  
,pacheco gave him his daughter ,juana   
for wife1 encouraged1 he says1 by his   
virtues1 his fine qualities1 and the    
hopes which his happy nature and great  
talent raised in me4 ,the kind old      
painter is not remembered to-day by his 
pictures1 or even by his ,book of       

,portraits of ,illustrious ,personages1 
and other quaintly titled works from his
 pen4  ,he lives because he helped to   
make ,velazquez a great painter1 and    
recorded his impression of his          
son-in-law's earliest works1 the various
 ,bodegones1 of which several may be    
seen in ,london to-day4  ,others are in 
,berlin and ,st4 ,petersburg4 ,from     
these pictures of the secular life      
,velazquez passed to religious          
subjects--,christ in the ,house of      
,martha 7,national ,gallery7 and the    
,adoration of the ,magi 7,prado7 belong 
to these early years4    ,,plate        
,,iii4--,,the ,,infante ,,philip        
,,prosper  ,this picture hangs in the   
,imperial ,gallery of ,vienna4  ,it is  
the work of the painter's last period1  
and shows us the little son of ,philip  
,,iv4 by his second wife4  ,the lad died
 some two years after the picture was   
painted2 it has been restored1 not too  
cleverly4  ,illustration3 ,plate ,,iii4 
,in #afbb1 ,velazquez1 already the      

father of two children1 made his first  
journey to ,madrid1 and was allowed to  
visit the royal palaces4  ,he did not   
stay long in ,castile1 and his return to
 the capital was brought about by the   
divinity that shapes men's ends4        
,philip ,,iii4 was dead2 his son ,philip
 ,,iv4 had selected as friend and       
adviser the ,count ,olivarez1 son of the
 ,governor of the ,alcazar in ,seville4 
,olivarez had many friends in the city  
that wears the ,modo for its badge1 in  
recognition of unswerving loyalty to    
,alfonso the ,learned4  ,doubtless he   
had heard about the work of the young   
painter and had seen some examples of   
it1 and he wished to strengthen himself 
in the capital by bringing accomplished 
men from his own city to official posts 
in ,madrid4  ,so he sent for ,velazquez1
 who journeyed a second time to the     
north1 now in the company of ,pacheco1  
and on arrival there painted a lost     
portrait of a ,gentleman ,usher1        
,fonseca by name4  ,this picture did for

 ,velazquez what the portrait of        
,admiral ,keppel did for ,reynolds1 and 
before the excitement died away1 the    
young ,king ,philip ,,iv4 had deigned to
 promise a sitting to the clever        
,sevillian4  ,the success of the first  
picture of ,philip ,,iv4 7apparently the
 early one now in the ,prado7 was so    
complete that the king ordered all      
existing portraits of himself to be     
removed from the palace1 and gave the   
painter an order of admission to his    
service with a salary of about two      
pounds five shillings a month6  ,under  
the skilled hands of the artist we are  
permitted to see the tall1 gloomy lad   
grow up a dull1 reserved man1 and we    
read in his face a part at least of the 
causes of ,spain's ultimate downfall4   
,,iii  ,,velazquez ,,in ,,madrid  ,of   
the painter's work at court in those    
early days we hear a little from        
,pacheco1 but the story of the times is 
more or less obscure4  ,a clever        
portrait-painter was not a very         

interesting person in the eyes of a     
,spanish grandee4  ,he was classed with 
the court buffoons and dwarfs who       
existed merely to amuse4  ,indeed1      
portraiture was not above suspicion in  
the eyes of some fanatics1 who held that
 art existed to serve the ,church1 and  
should not seek secular employment4     
,there are documents extant showing that
 ,velazquez received eight pounds for   
three portraits1 of which one is lost   
and the other two 7,philip and the      
,count of ,olivarez7 are in ,spain4  ,in
 #afbe the painter received a present of
 three hundred ducats1 which was        
followed by a pension of the same value 
and a gift of free lodging1 and1 in     
#afbg1 by the appointment to the post of
 ,gentleman ,usher4  ,there is no doubt 
but that the king was attached to his   
young court painter in a certain        
undemonstrative fashion4  ,pacheco tells
 us that ,philip used to visit the      
artist's studio constantly1 reaching it 
by way of the secret passages of which  

the palace was full4  ,the year #afbh   
marks an event of the first importance  
in the life of ,velazquez1 for ,peter   
,paul ,rubens came on a diplomatic      
mission to ,madrid1 charged by his      
government to pave the way to the       
conclusion of peace between ,england and
 ,spain4  ,rubens was then about fifty  
years old4  ,he stayed nine months in   
the ,spanish capital1 and1 despite his  
diplomatic duties and the gout1 found   
time to paint an extraordinary number of
 pictures1 including five of ,philip4   
,he also copied the king's ,titians4    
,velazquez was entrusted by ,philip with
 the work of entertaining ,rubens1 and  
showing him the art treasures of ,spain1
 and the friendship that grew up rapidly
 between the two artists was creditable 
to both1 because ,rubens1 then at the   
zenith of his fame1 recognised the      
amazing gifts of the young ,spaniard1   
and ,velazquez never allowed the        
brilliancy of the ambassador-artist to  
tempt him from the paths that he had    

chosen to follow4  ,there are some who  
think that ,rubens exerted a great      
influence upon his young friend's art1  
but we cannot pretend to trace it4      
,rubens may have widened his mind2 he   
could not influence his hand or eye4    
,shortly after ,rubens left ,madrid1    
,velazquez completed his picture ,los   
,borrachos1 now in the ,prado1 and one  
of the acknowledged masterpieces of his 
first style1 though the tone is dark1   
and some of the figures do not blend    
with their surroundings4  ,in the late  
summer of the same year ,velazquez left 
,spain for ,italy1 in the company of    
,don ,ambrosio ,spinola1 who was going  
to take command of the ,spanish forces4 
,soldier and artist parted at ,milan1   
and the latter went to ,venice1 where he
 stayed with the ,spanish ambassador and
 copied some of ,tintoretto's pictures4 
,thence he went by way of ,ferrara to   
,rome1 the honoured guest of a relation 
of the ,count of ,olivarez1 and he      
busied himself copying old pictures and 

painting new ones4  ,like many of the   
artists who go for the first time to    
,italy1 he was influenced in some degree
 by ,guido1 who was then living4  ,he   
painted his own portrait1 which is to be
 seen in the ,capitoline ,museum1 and   
went from ,rome to ,naples1 returning to
 ,madrid in the early part of #afea4    
,,plate ,,iv4--,,the ,,infante ,,don    
,,balthasar ,,carlos  ,this is one of   
the ,prado pictures of ,king ,philip's  
eldest son by his first wife1 the       
unfortunate little prince who died while
 he was yet a boy4  ,when this picture  
was painted ,don ,balthasar ,carlos was 
six years old4  ,illustration3 ,plate   
,,iv4    ,it might be mentioned in this 
place that the painter's eldest daughter
 was growing up1 and that he married her
 three years later to one of his pupils1
 the artist ,j4 ,b4 del ,mazo4  ,this   
clever artist1 who was treated by his   
master ,velazquez as ,velazquez had been
 treated by his master ,pacheco1 is held
 by critics to be responsible for many  

pictures generally ascribed to his      
father-in-law4  ,there is a picture in  
the ,wallace ,collection known as the   
,lady with the ,fan1 which is thought by
 no less a critic than ,seor ,beruete to
 represent the young ,francesca         
,velazquez1 who became the ,seora del   
,mazo when she was only fifteen years   
old4  ,shortly after his return to      
,madrid1 ,velazquez came under the      
influence of ,el ,greco1 who had died in
 #afad1 and left some wonderful pictures
 that may be seen to-day in ,toledo4    
,this fact is important1 not that the   
influence resulted in imitation1 but    
because it was distinctly inspiring1 and
 ,greco is a painter who is coming      
slowly before the public4  ,it cannot be
 doubted that his influence on artists  
through ,velazquez has been very deep   
and abiding1 particularly in            
portraiture4  ,in the years following   
the return from ,italy1 ,velazquez      
painted some of the pictures of the     
little prince ,don ,balthasar ,carlos1  

the king's son1 who was born in #afbi1  
and died in #afdf1 the year of his      
betrothal to ,mariana of ,austria4      
,there are many pictures of this        
interesting lad who1 had he lived1 might
 have done so much to save his country4 
,the earliest was painted as soon as    
,velazquez returned from ,italy1 and is 
at present in ,boston4  ,the next in    
date would seem to be the one in the    
,wallace ,collection1 and following this
 comes the well-known picture of ,don   
,balthasar in hunting dress1 now in the 
,prado1 the one with the small greyhound
 seen on the right1 just coming into the
 canvas4  ,then we have the famous      
picture of the young prince on his      
spirited ,andalusian pony1 which is     
perhaps the most popular of all2 and    
succeeding that in the order of the     
painting comes the portrait that1 in the
 writer's opinion1 is the best of the   
series4  ,it hangs in the ,imperial     
,museum in ,vienna1 and was painted when
 the prince was about eleven years old4 

,doubtless there are other portraits of 
the ill-fated boy1 whose features seem  
to suggest that he had inherited from   
his mother some of the qualities that   
his father lacked1 and that had he been 
spared to succeed his father in #affe1  
he would have handled affairs with      
vigour and intelligence4  ,in #afch     
,philip's daughter ,maria ,teresa was   
born1 and the history of the artist's   
life in ,madrid becomes uneventful or   
lost4  ,probably on account of the      
increasing unrest abroad and the decline
 of the ,spanish fortunes1 ,velazquez'  
earliest patron1 the ,count of          
,olivarez1 was disgraced in #afdc1 the  
year in which ,cond helped to break the 
power of ,spain at ,rocroi4  ,although  
the condition of the ,spanish ,empire   
was very unfavourable1 and ,philip ,,iv4
 must have known long hours of anxiety  
and unrest1 there is no reason to       
believe that he withdrew his company or 
his favour from the best beloved of his 
court painters4  ,spinola had taken     

,breda from ,justin of ,nassau1 and the 
surrender was promptly immortalised by  
,velazquez in the picture ,las ,lanzas1 
which draws so many pilgrims to ,madrid 
to-day4  ,it was painted for the palace 
of ,buen ,retiro1 and curiously         
enough--since it records one of the few 
successes of ,spain in the ,low         
,countries--the subject passed out of   
men's memory1 and for many years nobody 
knew why the artist had painted it1 or  
what it was all about4  ,some time      
between the painting of this picture and
 the fall of ,olivarez1 ,murillo came to
 ,madrid and became a pupil of          
,velazquez1 who had just received a     
grant of five hundred ducats to be paid 
annually by order of the king4  ,in     
#afdd ,velazquez accompanied ,philip on 
a journey through ,aragon1 and two or   
three years later he was appointed      
,inspector of ,buildings1 a post        
involving much tedious work1 and helping
 to keep the painter from his studio4   
,he seems to have bestowed a certain    

amount of labour on portraits painted by
 other men1 in order to bring them into 
harmony with the collection that ,philip
 was making4  ,it is difficult to deal  
with this matter within limited space   
because the details are distinctly      
controversial1 but it is as well to     
remember that some of the portraits     
attributed to ,velazquez in the ,prado  
,gallery are of people who were dead    
before ,velazquez was painting1 so they 
could not have sat for him2 and in the  
days of ,philip ,,iv4 it was considered 
no disgrace for a man to repaint another
 artist's canvases4 ,moreover1 a painter
 to the court of ,spain was not supposed
 to carry an uneasy conscience about    
with him4  ,it was his duty to obey     
orders and to accept from his superiors 
as much guidance and direction as they  
were gracious enough to give him4  ,in  
#afdi the king granted ,velazquez       
permission to return to ,italy in order 
to find pictures for a ,royal ,academy  
of ,fine ,art to be established in      

,madrid4  ,by this time ,philip was a   
widower1 though he was on the point of  
marrying his niece1 ,mariana of         
,austria4  ,she had been affianced to   
the ,infante ,don ,balthasar ,carlos1   
but he had been dead for three years1   
and the ,spanish throne was without an  
heir4 ,velazquez visited ,genoa1        
,venice1 ,milan1 and ,padua1 and brought
 back pictures by ,veronese and         
,tintoretto4  ,rome and ,naples were    
revisited1 and the famous portrait of   
,pope ,innocent ,x41 of which one copy  
is in ,st4 ,petersburg1 and the other in
 the ,doria ,palace in ,rome1 was       
painted4 ,the former is a bust and a    
study2 the latter is a three-quarter    
length1 and is painted with a wonderful 
blend of red and white4  ,it was copied 
by ,sir ,joshua ,reynolds1 who declared 
that it was the finest work he had seen 
in ,rome4  ,what would he have thought  
of the later masterpieces by the same   
hand8  ,the portrait was copied by other
 men too1 and there is no doubt that the

 copies were in some cases sold for     
originals4  ,by the time ,velazquez     
returned to ,madrid in #afea1 at the    
urgent request of his royal master1 the 
court of ,spain was en fte4  ,philip's  
wife1 to whom he had been married two   
years1 was only seventeen1 and required 
amusement4  ,functions of every sort1   
excursions1 entertainments on a most    
sumptuous scale1 were the order of the  
day1 and because ,velazquez was now at  
the summit of his achievement1 because  
he could paint pictures that will endure
 as long as men care for art1 it is     
difficult indeed to forgive ,philip     
,,iv4 for making him ,marshal of the    
,palace4  ,to be sure the post was well 
paid1 the salary being about #djj a year
 with lodging in the ,treasure ,house1  
but the duties were endless4  ,the      
king's action was on a par with the     
custom that prevails in our own ,foreign
 ,office1 of sending a man who          
understands ,china thoroughly to serve  
the country in ,peru1 and one who has   

mastered ,russian politics to ,portugal4
    ,,plate ,v4--,,antonio ,,the        
,,englishman  ,this was one of the      
dwarfs in the service of the king4  ,his
 is one of the last portraits painted by
 ,velazquez4  ,the figure is life size1 
and hangs in the ,prado at ,madrid4     
,illustration3 ,plate ,v4    ,happily   
,velazquez1 for all that he was regarded
 in ,madrid as a rather lazy man1 found 
time when he was ,marshal of the ,palace
 to paint the best of all his portraits4
  ,he was honoured by ,queen ,mariana of
 ,austria1 the king's second wife1 who  
sat for him on several occasions1 and   
the results may be seen in ,paris1      
,vienna1 ,new ,york1 and ,madrid4 ,some 
of the portraits1 painted without a     
suspicion of flattery1 show the absurd  
head-dress1 the false hair1 and the     
extraordinary crinoline that were worn  
at the time1 in all their ugliness1 and 
force us to see how great was the       
distance lying between the royal house  
and any sense of beauty4  ,velazquez was

 not perhaps very happy with this work1 
because ,nature had endowed ,philip's   
wife with a face that was almost as dull
 and unresponsive to emotion as that of 
her lord and master2 but after a time   
children were born1 and the court       
painter had a more sympathetic task4    
,he has left portraits that are quite   
charming of the ,infanta ,margarita and 
the ,infante ,philip ,prosper2 he       
painted both of the children while they 
were very young4  ,in point of fact1    
neither lived to grow up2 doubtless they
 would have been uninteresting enough if
 they had been spared4  ,the ,infanta   
,margarita is to be seen in ,vienna1 in 
,paris1 and in ,madrid1 and she of      
course is the centre of the famous      
picture1 ,las ,menias4  ,prince ,prosper
 was painted by ,velazquez1 when no more
 than two years old4  ,there were two   
other children1 ,prince ,ferdinand and  
,prince ,carlos ,,ii41 but the former   
was no more than a year old when        
,velazquez died1 and ,carlos was unborn4

  ,of the four children born to ,philip 
,,iv4 by his second wife1 three died    
young4  ,in the last years of his life1 
when the pressure of court duties and   
the ill-will of highly placed fools must
 have been hard to bear1 ,velazquez     
found time to paint some of his greatest
 masterpieces4  ,the ,maids of ,honour  
7,las ,menias71 ,the ,spinners 7,las    
,hilanderas71 sop1 ,menippus1 ,the      
,coronation of the ,virgin1 and the     
,venus with the ,mirror1 are all the    
ripe fruit of the painter's last decade4
  ,his art had matured2 adversity had   
thrown him back upon his work2 it was   
the solace of the hours that were not   
claimed by absurd official duties4  ,who
 shall say that the scant consideration 
he received from parasites and courtiers
 was an unmixed evil8  ,the men who     
despised the painter because ,philip    
favoured him may have helped to mould   
his character1 may have enabled him to  
detach himself completely from his own  
official character when he could lay    

aside the garb of office and turn to his
 beloved canvases once again4  ,the     
portraits of ,philip in his last years1 
those of his second wife and her        
children1 those of the dwarfs too1      
belong to the years between #afea and   
#affj4  ,it was a custom of the         
unhealthy and depressing ,spanish court 
in which the queen lived in an armour of
 corsets and crinoline1 and might not be
 touched by any of her faithful subjects
 upon pain of death--the court in which 
the king was compelled to preside at the
 autos da f--to keep dwarfs as          
playthings4  ,perhaps because they were 
ugly and deformed they came quite       
naturally into the court environment4   
,the earliest portrait of ,don          
,balthasar ,carlos shows him in company 
with a dwarf1 and there were about the  
court many other unfortunate creatures  
whom ,velazquez painted between #afej   
and #afei4  ,there is more than a       
suspicion in the minds of many of his   
biographers that the half-concealed     

contempt with which ,velazquez was      
regarded in court circles left him small
 choice of company2 that he was rated   
with dwarfs and outcasts because he     
worked with his hands2 and of course no 
hidalgo1 who was a perfect master of the
 art of time-wasting1 could take        
seriously any low-blooded creature who  
earned his right to live by working4    
,if ,velazquez had been on the same     
footing as ,rubens--had he enjoyed the  
same position that ,goya1 with no       
greater official appointment1 was to    
hold a little more than a century after 
his death--we may presume that the      
dwarfs would not have been painted1 and 
that ,velazquez' art would have been    
given to the service of the blue-blooded
 gentlemen who were making as big a     
muddle of ,spanish interests as their   
country's worst enemies could desire4   
,one hesitates to say that they would   
have been less interesting sitters1     
because we know that nobody1 however    
dull and stupid in appearance1 could    

fail to become interesting at the hands 
of the painter4  ,it is fair to         
remember1 too1 in defence of the        
,spanish attitude1 that the years were  
given not to the arts of peace but to   
those of war2 that leisure was scanty1  
intrigue unceasing1 and the austerity of
 life was made greater by the strong and
 merciless grip of the ,church4         
,formality and superstition marched hand
 in hand in a court whose ruler1 if we  
may judge by his portraits1 had         
forgotten how to smile4  ,then again1   
the atmosphere of the ,madrid court1 for
 all its dulness and secrecy and        
unhealthy ways1 was not as it became    
under ,charles ,,iii41 when ,godoy      
played the part of ,count ,olivarez1 and
 the ,countess ,benavente1 the ,duchess 
of ,alba1 and other women as frail as   
they were beautiful1 did not hesitate to
 indulge in open intrigue with the      
king's painter4  ,turn to the canvases  
of ,velazquez and you will not find a   
woman who was fascinating enough to have

 been worth the trouble and danger of an
 intrigue4  ,the wives of ,philip ,,iv4 
could not but have been virtuous1 and   
would have had but small sympathy with  
pretty women4  ,to be sure ,philip ,,iv4
 had many mistresses1 but he did not ask
 his court painter to record their      
beauty4  ,before ,velazquez returned to 
,madrid from his second visit to ,italy1
 he seems to have painted the portrait  
of the dwarf known as ,el ,primo1 now in
 the ,prado4  ,this man1 known in       
private life as ,don ,louis de ,hacedo1 
accompanied ,philip on a tour1 and he   
seems to have been a studious person1   
because the artist has depicted him with
 book1 pen1 and paper1 and given him a  
refined expression4  ,the others have   
little to redeem their ugliness and     
deformity4  ,the child of ,vallecas     
seems to be the dwarf who figures with  
,don ,balthasar ,carlos in the first    
picture that ,velazquez painted of the  
unfortunate young prince1 the one that  
is now in ,america4  ,he has grown a    

little older and a little more ugly in  
the canvas that is devoted entirely to  
his portrait2 he does not wear good     
clothes1 but a coarse green coat with   
stockings to match4  ,the ,idiot of     
,coria is also dressed in green1 though 
his garments are a little richer1 but   
,don ,antonio seems to have been a      
person of some importance4  ,he is      
pictured in the ,prado standing beside a
 beautiful mastiff almost as big as     
himself1 and he wears a ruddy brown     
dress worked with gold4  ,he carries a  
large plumed hat in his hand4 ,sebastian
 de ,morra1 who sits facing the         
audience1 has one of the most wonderful 
heads ever set on canvas by the artist4 
,this dwarf too is dressed in the green 
costume that would seem to have been    
worn by the dwarfs attached to the court
 of ,spain4  ,in addition to the little 
company of dwarfs there were buffoons at
 the court1 and of these ,velazquez     
painted ,pablillos1 who is known as the 
comedian1 and ,don ,juan of ,austria1   

whose portrait is a triumph of harmony  
in colour1 the pink of mantle and       
stockings contrasting admirably with    
black doublet and cape4    ,,plate      
,,vi4--,,admiral ,,adriano ,,pulido     
,,pareja  ,this picture may be seen in  
the ,national ,gallery4  ,it is signed  
and dated #afci1 and was purchased from 
the ,longford ,castle ,collection in    
#ahij4  ,seor ,beruete holds a strong   
opinion that it was not painted by      
,velazquez4  ,illustration3 ,plate ,,vi4
    ,in the last years the painter seems
 to have gone a little further down in  
the social scale in search of his       
sitters1 for the sop is a beggar1 and   
,menippus is no better4  ,to all these  
sufferers and outcasts ,velazquez       
responded with a sympathy that is not   
less clearly revealed than the technique
 that gives so much enduring delight to 
artists the world over4  ,in the final  
decade of the painter's life ,philip    
seems to have given him no more than two
 sittings4  ,perhaps the artist's ,mars 

and his ,venus with the ,mirror gave    
offence in ,madrid1 where the nude was  
only accepted if it was painted by some 
artist who had won his fame outside the 
,iberian ,peninsula4  ,the whole trend  
of life in the court of ,mariana of     
,austria was opposed to the presentation
 of the nude in art4  ,the two late     
pictures of ,philip1 of which the one is
 in the ,prado and the second in our    
,national ,gallery1 are quite the most  
finished of all his studies of his royal
 master4  ,the face1 free from even a   
suggestion of human interest or         
enthusiasm1 has no emotion whatsoever   
save disillusionment and sadness4  ,the 
spectator gets a suggestion that life   
has resolved itself into a long series  
of formal duties and formal enjoyments1 
and that neither suffices to make it    
worth living4  ,duty to the world at    
large and to the vast empire slipping   
from his grasp seems to be all that     
holds ,philip2 and when we consider that
 he had lost his first wife and her     

promising son1 and of his children by   
his second wife one or two were dead    
already2 that dissipation and anxiety   
had sapped his energies1 and            
superstition had crabbed his            
intelligence2 it is not strange that the
 face should be as it is4  ,in #afeh    
,philip conferred upon ,velazquez the   
knighthood of ,santiago1 and money was  
deposited on his behalf by a friend who 
understood the painter's financial      
straits to pay for the inquiries        
relating to his genealogy4  ,in spite of
 the king's wishes1 the ,council        
appointed to inquire into the           
antecedents of the painter refused to   
admit him1 though ,velazquez supplied   
many proofs that his blood was pure and 
his origin honourable4  ,at last1       
,philip applied to the ,pope ,alexander 
,,vii4 for a dispensation in the        
artist's favour1 realising that the     
,vatican was a ,court whose jurisdiction
 was unlimited in its scope4  ,the ,pope
 was complaisant3 he could hardly be    

otherwise to ,philip ,,iv42 he sent a   
brief that enabled ,velazquez1 after    
long delays1 to obtain the much coveted 
order4  ,the story that ,philip bestowed
 it upon ,velazquez as a reward for the 
picture ,las ,menias is one of the      
pretty fables that must be disregarded1 
and it seems likely that ,philip only   
exerted himself on his painter's behalf 
because he wished him to superintend the
 arrangements for the festivities that  
were to celebrate the marriage of the   
,infanta ,maria ,teresa with ,louis     
,,xiv4  ,if we may read character in    
physiognomy1 there is little risk that  
,philip would have behaved generously   
without cause4  ,velazquez left ,madrid 
for ,irun1 on the ,franco-,spanish      
frontier1 in ,april #affj4  ,the work   
was harassing2 he was not a persona     
grata with his colleagues1 and none     
sought to lighten his burdens4  ,he     
returned to the capital at the end of   
,june1 when ,madrid is not fit to live  
in1 and was taken ill a month later4    

,hard and unremitting labour1 the folly 
and bitter opposition of men who were   
not worthy to clean his palette1 the    
inconveniences and delays of travel in  
,spain1 and the tender mercies of       
several ,spanish doctors of repute1 seem
 to have combined1 with a bad attack of 
fever1 to bring a troubled life to its  
closing scene4  ,the end came on the    
#fth of ,august #affj1 when1 to quote   
,seor ,beruete1 he delivered up his soul
 to ,god1 who had created him to be the 
admiration of the world4  ,the body was 
decorated with the ornaments of the     
knights of ,santiago and buried in the  
parish church of ,st4 ,john the         
,baptist4  ,within a week his devoted   
wife1 ,juana de ,pacheco ,velazquez1    
followed him to a rest that no          
ceremonial of the ,spanish court could  
disturb4  ,strange as it may seem to    
those who know nothing of ,spain1 the   
petty worries and vexations to which    
,velazquez had been subjected did not   
cease with his death4  ,it was decided  

by the authorities that the thousand    
ducats paid to the dead painter for     
superintending the works of the ,alcazar
 must be returned1 and in order that the
 claim might be met1 the contents of the
 artist's studio and some of his        
furniture would seem to have been       
seized4  ,king ,philip recorded his     
gracious distress at this decision1 but 
did nothing to overrule it4  ,litigation
 followed1 and after some years the     
claim to the thousand ducats was        
withdrawn by the authorities1 the       
affairs of the master were wound up for 
all time1 and the stigma of debt was    
removed from the memory of a man who    
never received a tithe of his deserts4  
,philip ,,iv4 took ,juan del ,mazo1 the 
painter's son-in-law1 to be court       
painter in ,velazquez' place1 and the   
appointment is worth noting1 because it 
is to this worthy man's wonderful       
facility for echoing his father-in-law's
 style that we owe the presence of so   
many imitations in the world's public   

galleries and private collections4      
,some of these clever copies of lost    
pictures have remained unchallenged     
until recent years1 and whether this be 
a tribute to the capacity of del ,mazo  
or a reflection upon the capacity of    
critics1 is a question lying beyond the 
scope of this little book4  ,but it is  
not difficult to understand that the    
renown of ,velazquez was on the increase
 for a few years after his death1 and   
that ,mazo1 who was clever and poorly   
paid1 and had a sincere respect for his 
father-in-law1 should have remembered   
that there is no greater flattery than  
imitation4     ,,iv  ,a ,,retrospect    
,it is in no spirit of extravagance that
 one ventures to say that the life of   
,velazquez was a long and tragic        
struggle against surroundings           
detrimental to the full and natural     
expression of his genius1 nor is it     
surprising that the people who had      
followed his career with indifference   
saw very little matter for comment when 

he died4  ,there were a few useless and 
pompous ceremonies associated with his  
obsequies1 and ,spain went on with the  
daily task1 the common round1           
unconscious of her loss4  ,so many      
material possessions were passing from  
hands too weak to hold or to administer 
them that the death of an artist could  
not be noticed4    ,,plate              
,,vii4--,,donna ,,mariana ,,of ,,austria
  ,this picture was brought from the    
,escorial to the ,prado in #ahde4  ,the 
lady was the second wife of ,philip     
,,iv41 and would have been the wife of  
,don ,balthasar ,carlos had he lived4   
,illustration3 ,plate ,,vii4            
,fair-minded critics may hesitate to say
 with ,spain's enemies that civilisation
 ends with the ,pyrenees1 but it is     
certain that the ,spanish attitude      
towards life has differed from that of  
other countries to an extent that has   
left indelible impressions upon art and 
literature4 ,velazquez carried a little 
of the ,andalusian sun to ,castile1 but 

the heavy cloud that settled upon the   
,spanish court speedily obscured it4    
,life for the painter was an affair of  
constant struggle against financial and 
social difficulties1 of endless work for
 unresponsive masters2 and the labour   
was not lightened by any of the         
associations that helped the great      
masters of the ,italian ,school who had 
some share of light and honour4  ,the   
funereal pomp of the ,spanish court2 the
 strange climatic conditions of ,madrid1
 where you may pass in a moment from a  
blaze of sun that scorches to a blast of
 icy wind that strikes a fatal blow at  
the lungs2 the hard and unattractive    
landscape2 the proud1 cruel1 and        
impassive people who cannot even feign  
an interest in such affairs as art or   
letters1 all served to leave their      
impression upon the painter's work4  ,we
 cannot imagine that any artist who     
worked in ,madrid in the seventeenth    
century could become a colourist after  
the manner of the ,venetians2 he would  

not see the colour unless he went to    
,catalonia or ,andalusia and entered    
into their stirring national life4 ,then
 again ,spain was influenced by the     
,moors1 and eastern art is more         
concerned with harmony than colouring1  
more concerned to blend neutral tints   
than present rich tones4  ,the writer   
has seen many pictures in the studios of
 modern ,madrid that are inspired       
directly by the ,italians1 for nowadays 
,spanish artists flock to ,italy1 where 
they learn to imitate the ,venetian     
colour schemes1 and to become third-rate
 echoes of old masters4  ,there are a   
few men who paint interesting pictures  
in ,spain to-day--,pradilla and         
,carbonero are among the best2 but      
,spain does not hold a great artist4    
,the last of all died in exile in       
,bordeaux in the early days of the last 
century1 and left his gifts to the      
,french ,school of ,manet4  ,velazquez  
could never have become a flamboyant    
colourist4  ,a few of the pictures in   

the ,prado have some reds and pinks2 for
 example1 ,las ,hilanderas1 in which    
there is a red curtain1 and the picture 
of ,philip on horseback1 in which the   
king wears a pink scarf4  ,there are    
high colours in ,the ,coronation of the 
,virgin and a few others1 but as a rule 
,velazquez wrought with a subdued       
palette1 and sought to weave harmonies  
in grey and silver4  ,bright colours are
 an expression of the joy of life1 and  
this was unknown to the ,spaniards of   
,castile4  ,murillo has colour1 but then
 he was always an ,andalusian4  ,just as
 ,velazquez borrowed very little from   
his sitters and gave a great deal1 so he
 claimed next to nothing from the       
primary colours1 and he gave a colour   
sense that is indescribably beautiful to
 silver and grey4  ,this was his        
deliberate choice and judgment1 but it  
is impossible to forget that            
surroundings and associations must have 
had a great deal to do with it4 ,men who
 live lives that are complete in the    

fullest sense of the term have a natural
 craving for glowing hues1 and may find 
,velazquez dull if they come to the     
,prado from the ,academy of ,venice2 but
 unless their tastes have become wholly 
vitiated1 unless their eyes are         
suffering from a surfeit of light1 they 
will soon learn to find that their best 
beloved masters would not bear          
transplanting4  ,they belong to the soil
 of the country they worked in1 while   
,velazquez1 like ,rembrandt1 can travel 
to any climate1 and shine with unclouded
 glory in any atmosphere4  ,it is       
impossible to imagine that ,rubens could
 have painted with the palette that     
served ,velazquez1 but the greater of   
the two men has given the world an      
invaluable lesson in appreciation1 and  
because ,nature is full of exquisite    
colour harmonies that are quite subdued 
in tone it is well that we should have  
been taught to appreciate them4         
,velazquez himself declared that        
,raphael did not please him1 but ,titian

 did2 he found in him the greatest of   
all the ,venetians4  ,and yet it is hard
 to say that he took anything from the  
admired master1 because with ,velazquez 
admiration and imitation are things     
apart4  ,he did not even imitate ,el    
,greco1 the painter whose influence upon
 the world of art is not yet fully      
acknowledged or understood1 and he did  
not copy ,rubens1 whose splendours would
 have dazzled a weaker man4  ,velazquez 
merely saw certain truths in ,greco's   
handling of portraiture1 and accepted   
them4  ,throughout his life he made a   
steady improvement in the quality of the
 work done1 but the changes came through
 introspection rather than from any     
outside influence4  ,his pictures are   
divided by many critics into three      
styles1 which may be divided roughly by 
his visits to ,italy4  ,in the early    
days the paint on his canvas was very   
thick1 the shadows were heavy1 the      
composition was not always conclusive or
 well devised4  ,the one quality was    

that irreproachable throughout all the  
years was the drawing1 which was always 
masterly4  ,from the days of the early  
,bodegones down to the ,menias nobody   
could find a picture in which his       
drawing is obviously at fault2 although 
in speaking of ,velazquez it is of      
course difficult to separate drawing    
from painting4  ,as he grew up the sense
 of composition and colour harmony      
became stronger and stronger1 and the   
faults passed4  ,at the same time1      
,velazquez was a severe critic of his   
own work1 and a careful examination     
shows that even those pictures to which 
no suspicion can attach were retouched  
and corrected in the making4  ,in this  
country one secures little more than a  
glimpse of the master's work4  ,the     
,national ,gallery has nearly a dozen   
pictures1 but there are certain         
questions about the authenticity of some
 of them1 and the ,philip in the        
,dulwich ,gallery is rather more than   
doubtful4  ,the ,wallace ,collection has

 a few beautiful examples of ,velazquez1
 and after that there are about fifty   
private owners of pictures that cannot  
be readily seen4  ,perhaps a            
considerable proportion of these works  
would1 if subjected to very careful     
scrutiny1 reveal themselves as copies by
 ,mazo or others4  ,in ,france there are
 half-a-dozen fine pictures in the      
,louvre4  ,germany can show some in     
,berlin1 ,dresden1 and ,munich2 ,holland
 has one or two4  ,there are less than a
 dozen in all ,italy4  ,the ,hermitage  
,gallery in ,st4 ,petersburg has five or
 six1 and ,vienna about twice as many2  
but to see ,velazquez one must go to    
,madrid4  ,the ,museo del ,prado has    
over sixty of the artist's pictures1 and
 though a small proportion of these have
 scarcely a touch of the master's hand1 
all his greatest work has found a       
resting-place here4  ,las ,lanzas1 ,las 
,hilanderas1 ,las ,menias1 ,philip ,,iv4
 on horseback1 ,don ,balthasar ,carlos  
on his pony1 the ,crucifixion1 the      

,coronation of the ,virgin1 the ,dwarfs1
 sop1 ,menippus--all these are to be    
seen in the ,prado2 the greater number  
being in the ,salon of ,isabella1 an    
octagonal room in which one may spend   
long hours4  ,the writer1 on the        
occasion of his last visit to ,madrid1  
made a note of the number of visitors to
 the famous octagonal room during the   
four mornings he spent there4  ,in the  
course of some twelve hours the room was
 visited by some twelve people6  ,it is 
only fair to say that it was not in the 
tourist season2 the month was ,june1 and
 nobody stayed in ,madrid from choice4  
,,plate ,,viii4--,,the ,,princess       
,,maria ,,theresa ,,of ,,austria  ,this 
daughter of ,philip ,,iv4 became ,queen 
of ,france4  ,the picture was painted   
when she was about ten years of age1 and
 consequently belongs to the last period
 of ,velazquez' work4  ,it was hung in  
the ,alcazar until some time in the     
eighteenth century1 when it was         
transferred to the ,prado4              

,illustration3 ,plate ,,viii4    ,there 
are pictures by ,velazquez to be seen in
 ,madrid outside the ,prado1 but for the
 most part they are in private houses1  
and are not accessible to everybody4    
,seville boasts half-a-dozen canvases by
 her greatest painter1 and there are a  
few elsewhere in ,spain2 but it may be  
said that those who know the ,salon of  
,isabella have seen ,velazquez at his   
best1 and that those who have seen his  
other pictures and have not visited the 
,prado1 do not know ,velazquez at all4  
,perhaps there are pleasant surprises   
yet in store for the art world1 for many
 pictures are still untraced4           
,doubtless some have been destroyed by  
fire and others are in half-forgotten   
lumber rooms of palaces and galleries   
from which they will be gathered in due 
course4 ,velazquez owes a large part of 
his popularity in ,spain to-day to the  
measure of appreciation he has secured  
beyond the borders4  ,every second-hand 
dealer in ,madrid or ,seville has a     

genuine ,murillo to offer the stranger4 
,it is worth a thousand pounds2 but as  
the dealer is an honest man1 he will    
sell it first for two hundred1 then for 
one1 and finally for fifteen or even    
ten4  ,but no second-hand dealer shows a
 genuine ,velazquez4  ,he knows that at 
best it could only appeal to artists1   
and he knows them for strange folk      
endowed with much enthusiasm1 little    
money1 and an embarrassing measure of   
knowledge of the methods by which       
genuine old masters are created to      
supply a long-felt want4     ,the plates
 are printed by ,,bemrose ,,dalziel1    
,,ltd41 ,watford  ,the text at the      
,,ballantyne ,,press1 ,edinburgh        
,,in ,,the ,,same ,,series    ,,artist4 
,,author4    ,,velazquez4               
,s4 ,l4 ,,bensusan4   ,,reynolds4       
,s4 ,l4 ,,bensusan4   ,,turner4         
,c4 ,,lewis ,,hind4   ,,romney4         
,c4 ,,lewis ,,hind4   ,,greuze4         
,,alys ,,eyre ,,macklin4   ,,botticelli4
                ,,henry ,b4 ,,binns4    

,,rossetti4                  ,,lucien   
,,pissarro4   ,,bellini4                
,,george ,,hay4   ,,fra ,,angelico4     
,,james ,,mason4   ,,rembrandt4         
,,josef ,,israels4   ,,leighton4        
,a4 ,,lys ,,baldry4   ,,raphael4        
,,paul ,g4 ,,konody4   ,,holman ,,hunt4 
,,mary ,e4 ,,coleridge4   ,,titian4     
,s4 ,l4 ,,bensusan4   ,,carlo ,,dolci4  
,,george ,,hay4   ,,luini4              
,,james ,,mason4   ,,tintoretto4        
,s4 ,l4 ,,bensusan4    ,others in       
,preparation4