controversy rages round him; he has marched unchallenged to the highest place in men's regard.

PLATE II.—LAS MENIÑAS

This picture was painted about the year 1656, and, now in the Prado, is considered one of the greatest works of the master. It presents the Infanta Margarita attended by her maids of honour, while Velazquez himself is shown painting the portraits of Philip IV. and his second wife Mariana of Austria, who are seen reflected in the mirror.

It is interesting to note that a reputation unrivalled in the world of pictures is founded upon a comparatively small number of works. One of his latest critics reduces the pictures of Velazquez now in existence to eighty-nine, while acknowledging that some have disappeared from the royal palaces of Spain and cannot be traced. This critic, Señor Don Aureliano de Beruete—a connoisseur, a collector, and a worker in the best interests of art—is perhaps a little too severe. He will not admit to his catalogue a portrait like that of Admiral Adriano Pulido Pareja, which, despite some inferior workmanship, can show considerable claims to be regarded as genuine; but even if all the disputed ones were admitted, and such a list as the late R. A. M. Stevenson published were accepted without that far-seeing critic's own reserve, 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 year. Velazquez has left very few drawings, and these are of small importance; there are but two acknowledged engravings; and to limit still further our sources of knowledge, the artist's correspondence seems to have been lost; while the Memoirs which Velazquez was said to have drawn up when Philip IV. sent the pictures to the Escorial are now admitted by the best authorities to be the work of another man.

I

THE METHOD AND INFLUENCE OF VELAZQUEZ

In dealing with the life and work of the Spanish master, even in the modest fashion of this little monograph, one must bear in mind the fact that Velazquez, in the eyes of his contemporaries, was not only an artist—he was a court painter; and pictures other than portraits were of comparatively little importance to Philip IV. and his circle. Art borrowed most of her importance in sixteenth and seventeenth century Spain from the fact that she was the handmaid of Holy Mother Church. Velazquez was a court official who chanced to be a clever portrait-painter, and his promotion tended ever to take him further away from his art. With the increase of state duties the claims upon his time grew more and more difficult to meet, and, when he rose in the closing years of his life to be Grand Marshal of the Palace, entrusted with the ordering of state functions and missions to distinguished foreigners, his art became entirely a secondary consideration. The studio was no more than a place of refuge for the artist in the hours when he might forget that he was an official. If Velazquez had not been compelled to sacrifice the best part of forty years' activity to the ridiculous formalities of court life, the world might have been richer to-day by scores of pictures worthy to rank by the side of "Las Meniñas" and the portrait of Pope Innocent X. The painter might have found outside court circles far more inspiring sitters than those whom he was compelled to paint, for it takes all that even a Velazquez can give to a portrait to make a Philip IV., a Mariana of Austria, or even an Isabella of Bourbon, reveal their dominant characteristics without caricature; indeed one feels that the interest belongs to the picture and not to the sitter. The success is one of tone, of harmony and of line, of sure handling directed by an inward vision.

Because of gifts lying beyond praise, the painter has preserved seventeenth-century Spain for us as far as court circles represent it; but among the many charges laid to the account of Philip IV. must be added that of limiting the range and crippling the capacity of an artist who cannot be placed second to any man.

When we come to analyse his work we find that its qualities are not of a sensational kind. Velazquez makes no appeal through the medium of brilliant pigment; his great contemporary Rubens used colour in far more striking fashion. Velazquez loved grey and silvery tints, and in the years of his maturity understood relative values perfectly. He knew, too, exactly how far he could go, and never made experiments in search of qualities that were not his. Although he had a certain quality of delicate imagination, he was a realist, and could not paint without a model; he never acquired a mannerism, or applied to one sitter the treatment that some artists seem to keep for types. Every figure he set upon canvas has its own individuality, and, while Velazquez, like other artists, had manners and methods that belong to fixed periods of his life, it is not easy to set down in cold print an analysis of the causes that make up his effects. He had no tricks; everything that he did was clear, simple, and withal inimitable. Hundreds of men have copied his pictures; none has been able to copy his method. With his death his influence upon art ceased. His genius lay buried in the grave with him, and did not suffer complete resurrection until the nineteenth century was turning towards its successor, though Raphael Mengs had done all he could to make his merits known a hundred years before. Even to-day, we may be said to be in the first stage of our enjoyment of the master's work. There are at least fifty good books upon the subject of Velazquez' life and art, written in three or four languages, and all published in the last half century; there must be many more to come, for every generation sees genius in the light of its own time.

So much for literature. In art the painter has influenced very many moderns. Manet, Courbet, Corot, Millet, Whistler, are among the men whose work shines in the light of the Prado, and the list might be prolonged indefinitely, for all earnest art workers go to Velazquez, confident that whatever their aims and ideals, he will confirm and strengthen what is best in them. They know, too, that they may return again and again, 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 waste, and the cruse of oil that did not fail, in the house of the widow of Zarephath.

II

THE PAINTER'S EARLY DAYS

In the years when Velazquez first saw the light, the power of Spain, despite the shock it had received from British seamen, was the dominating factor in European politics. Philip II. had come to the end of a reign of more than forty years; Philip III. had just reached the throne. The painter was not born in the atmosphere of court life, but in the very Catholic city of Seville, then as now a fatal place for those who cannot withstand the manifold temptations to lead a lazy life. Happily for the boy his parents had not inherited the Seville traditions; his father came from Oporto, which, being a seaport town, has no lack of mental and physical activity. 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 Herrera, architect and painter. The temperaments of master and pupil could not fuse; there was sufficient trouble to lead Don Juan Rodriguez to transfer his son's services to Francesco Pacheco, painter, poet,