Velazquez . le acknow-ledging that some have disappeared fromthe royal palaces of Spain and cannotbe traced. This critic, Seiior Don Aure-liano de Beruete —a connoisseur, a col-lector, and a worker in the best interestsof art — is perhaps a little too will not admit to his catalogue a por-trait like that of Admiral Adriano PulidoPareja, which, despite some inferior work-manship, can show considerable claims to beregarded as genuine; but even if all the dis-puted ones were admitted, and such a list asthe late R. A. M. Stevenson published wereaccepted without that far-seeing critics ow
Velazquez . le acknow-ledging that some have disappeared fromthe royal palaces of Spain and cannotbe traced. This critic, Seiior Don Aure-liano de Beruete —a connoisseur, a col-lector, and a worker in the best interestsof art — is perhaps a little too will not admit to his catalogue a por-trait like that of Admiral Adriano PulidoPareja, which, despite some inferior work-manship, can show considerable claims to beregarded as genuine; but even if all the dis-puted ones were admitted, and such a list asthe late R. A. M. Stevenson published wereaccepted without that far-seeing critics ownreserve, we should not have as many pictures \ PLATE II-LAS MENINAS f~ This picture was painted about the year 1656, and, now in thePrado, is considered one of the greatest works of the presents the Infanta Marg^arita attended by her maids ofhonour, while Velazquez himself is shown paintingf the portraitsof Philip IV. and his second wife Mariana of Austria, who areseen reflected in the VELAZQUEZ 15 to represent the forty years of the artists lifeas Sir Joshua Reynolds was known to paintin a single year. Velazquez has left very fewdrawings, and these are of small importance;there are but two acknowledged engravings;and to limit still further our sources of know-ledge, the artists correspondence seems tohave been lost; while the Memoirs whichVelazquez was said to have drawn up whenPhilip IV. sent the pictures to the Escorialare now admitted by the best authoritiesto be the work of another man. ^^E METHOD AND INFLUENCE OFVELAZQUEZ In dealing with the life and work of theSpanish master, even in the modest fashionof this little monograph, one must bear inmind the fact that Velazquez, in the eyesof his contemporaries, was not only an i6 VELAZQUEZ artist—he was a court painter; and picturesother than portraits were of comparativelylittle importance to Philip IV. and his borrowed most of her importance insixteenth and seventeenth century Spainfrom t
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