A history of with a preface by Frank Brangwyn . nstinct makes himdepart from it. In the years from 1652 to 1659, Velazquez painted theso-called Classic Pieces—the musical and haunting Mercuryand Argus and the superb God Mars, As Velazquez had painted the child Baltazar Carlosfrom infancy to youth in his second phase, so he nowlavished his supreme art upon the children of the secondqueen—most of all upon the quaint little Margarita Louvre possesses the immortal harmony in silver-greyand black and rose of the fair-haired Infanta Margarita, InLas Meninas the small Margarita
A history of with a preface by Frank Brangwyn . nstinct makes himdepart from it. In the years from 1652 to 1659, Velazquez painted theso-called Classic Pieces—the musical and haunting Mercuryand Argus and the superb God Mars, As Velazquez had painted the child Baltazar Carlosfrom infancy to youth in his second phase, so he nowlavished his supreme art upon the children of the secondqueen—most of all upon the quaint little Margarita Louvre possesses the immortal harmony in silver-greyand black and rose of the fair-haired Infanta Margarita, InLas Meninas the small Margarita Maria, a little older, holdsthe splendid stage; Munich possesses her in full length. Alittle older still, the girl-portrait of the so-called MariaTeresa is Margarita again, in one of the most exquisite,190 XVIII VELAZQUEZ 1599 - 1660 REALIST SCHOOL OF SEVILLE OR ANDALUSIA PHILIP IV. OF SPAIN (National Gallery) The King, in black, wears a golilla or stiff linen collar. in oil on canvas. 2 ft. 1 in. h. x 1 ft. %\ in. w. (0*635 x °52)-. OF PAINTING gayest harmonies of silver and rose that even his master WHEREINskill ever wrought. SPAIN The king, he painted still—painted again and again, BURSTSinto old age. The National Gallery holds a wondrous headof the man, Philip IV9 Old, a prey to disillusion, the lord onxjpof boredom, whom vice has ceased to intoxicate, and super-stition has failed to energise ; whilst the Prado possessesanother Philip IV, Old. The Louvre, Vienna, and all have a Philip IV, Old, which are likelyenough copies by pupils. Before we leave the art of Velazquez it were well tolook upon a few other works. The Dead Warrior, whichis challenged as not being by Velazquez, but which, if notby him, is by as good a man—and the Duke of WellingtonsTwo Youths at a Meal, an early work of student days. Thefull-length of Philip IV. at the National Gallery holds themost marked style of Velazquez, and is a great portrait. Of the challenged
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