to have been played with the works of art in the same, are the causes why the catalogue, which was framed in September of last year, appeared so imperfect and so scanty, since the number of objects was reduced to sixty-one pictures and three pieces of sculpture, deposited in the convent of the so-called "Monjas Catalinas." No more favorable account seems to have been received at the time the report was drawn up.

"Lérida.-Here too the civil war is said to have caused the disappearance of most of the pictures in the convents; only eighteen of any merit had been collected in April, 1844, but some more were known to exist in the Seo de Urgel, where the local authorities however refused to give them up to the government. The Commission had not been able to obtain an accurate account even of the eighteen.

"Malaga.-A miserable return of six pieces sculpture and four pictures was all that could be obtained by the Central Commission, and they attribute this result to 'the natural indolence and purely mercantile spirit of that district.' Probably the facility for exportation had a good deal to do with the disappearance of the various works of art which the report affirms to have been once collected and deposited in various public buildings."

DON DIEGO VELASQUEZ.

This great painter, justly esteemed the Head of the Spanish school, was born at Seville in 1594. He pursued almost every branch of painting, except the marine, and excelled almost equally in all.— Philip IV. conferred on him extraordinary honors, appointed him his principal painter, and ordained that none but the modern Apelles should paint his likeness. When Rubens visited Madrid in 1627, to discharge the duties of his embassy, he formed an intimate and lasting friendship with Velasquez, which continued through life. "There is something in the history of this painter," says Mrs. Jameson, "which fills the imagination like a gorgeous romance. In the very sound of his name, Don Diego Rodriguez Velasquez de Silva-there is something mouth-filling and magnificent. When we read of his fine chivalrous qualities, his noble birth, his riches, his palaces, his orders of knighthood, and what is most rare, the warm, real, steady friendship of a king, and added to this a long life, crowned with genius, felicity, and fame, it seems almost beyond the lot of humanity. I know of nothing to be compared with it but the history of Rubens, his friend and cotemporary, whom he resembled in character and fortune, and in that union of rare talents with practical good sense which ensures success in life." For a full life of this painter, see Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects.

VELASQUEZ HONORED BY THE KING OF SPAIN.

Philip IV. relaxed the rigor of Spanish etiquette in favor of Velasquez, as Charles V. had done with Titian. He had his studio in the royal palace, and the King kept a private key, by means of which he had access to it whenever he pleased. Almost every day Philip used to visit the artist, and would sit and watch him while at work. When Velasquez produced his celebrated picture of the Infanta Mar garita surrounded by her maids of honor, with a portrait of himself, standing near at his easel, the King conferred upon him a very unusual honor. After the picture had been greatly admired, Philip remarked, "There is one thing wanting," and taking the palette and pencils, he drew in with his own hand upon the breast of Velasquez's portrait, the much coveted Cross of Santiago! The nobles resented this profanation of a decoration hitherto only given to high birth; but all difficulties were removed by a papal dispensation and a grant of Hidalguia. Velasquez's portraits baffle description or praise they produce complete illusion, and must be seen to be known. He depicted the minds of men; they live, breathe, and seem about to walk out of their frames. The freshness, individuality, and iden. tity of every person are quite startling; nor can we doubt the anecdote related of Philip IV., who, mistaking for the original the portrait of Admiral Pa· reja in a dark corner of Velasquez's room, exclaimed, as he had been ordered to sea, "What! still here ?

Did I not send thee off? How is it that thou art not gone?" But seeing the figure did not salute him, the King discovered his mistake. While Velasquez sojourned in Rome, he painted the portrait of Innocent X., which is now the gem of the Doria collection, and in which, says Lanzi, "he renewed the wonders which are recounted of those of Leo X. by Raffaelle, and Paul III. by Titian; for this picture so entirely deceived the eye as to be taken for the Pope himself."

VELASQUEZ'S SLAVE.

Juan de Pareja was the slave of Don Diego Velasquez. Palomino and others, say he was born in Mexico, of a Spanish father and an Indian mother; but Bermudez says he was born at Seville. From being employed in his master's studio to attend on him, grind his colors, clean his palette, brushes, &c., he imbibed a passion for painting, and sought every opportunity to practice during his master's absence. He spent whole nights in drawing and endeavoring to imitate him, for he durst not let him know of his aspiring dreams. At length he had made such pro ficiency, that he resolved to lay his case before the King, Philip IV., who was not only an excellent judge, but a true lover, of art. It was the King's custom to resort frequently to the apartments of Velasquez, and to order those pictures which were placed with the painted side to the wall, to be turned to his view. Pareja placed one of his own produc

tions in that position, which the King's curiosity caused to be turned, when the slave fell on his knees and besought the monarch to obtain his pardon from his master, for having presumed to practice painting without his approbation. Philip, agreeably surprised at his address, and well pleased with the work, bid Pareja to rest contented. He interceded in his behalf, and Velasquez not only forgave him, but emancipated him from servitude; yet such was his attachment and gratitude to his master, that he would never leave him till his death, and afterwards continued to serve his daughter with the same fidelity. He is said to have painted portraits so much in the style of Velasquez, that they could not easily be distinguished from his works. He also painted some historical works, as the Calling of St. Matthew, at Aranjuez; the Baptism of Christ, at Toledo, and some Saints at Madrid.

LUIS TRISTAN.

This eminent Spanish painter was born near Toledo, according to Palomino, in 1594, though Bermudez says in 1586. He was a pupil of El Greco, whom he surpassed in design and purity of taste. His instructor, far from being jealous of his talents, was the first to applaud his works, and to commend him to the public. He executed many admirable works for the churches and public edifices at Toledo and Madrid. It is no mean proof of his ability, that Velasquez professed himself his admirer, and