that colour, is to misrepresent and break the harmony of the day: also, by what colour it bears, this single object is altering hues all round it; reflecting its own into them, displaying them by opposition, softening them by repetition; one falsehood in colour in one place, implies a thousand in the neighbourhood.... Hence the apparent anomaly that the only schools of colour are the schools of Realism.... Velazquez, the greatest colourist, is the most accurate portrait painter of Spain" (_Modern Painters_, vol. v. pt. ix. ch. xi. § 8 _n._).[110] It is curious that the influence of Velazquez was in his own time and country comparatively circumscribed. He exercised no such overpowering attraction as that of Leonardo, or Raphael, or Michael Angelo. The real followers of Velazquez are painters of our own day, and more especially the French painters of the last quarter of the nineteenth century, and their imitators in the other schools of Europe and America. A very interesting picture, both for the sparkling brilliancy of its execution and for the truth with which it reproduces the court life of the time. Philip IV. was as fond of the chase as he was of the arts; and here we see some state hunting-party in a royal enclosure (such as was arranged, no doubt, for the pleasure of our Charles I. when he visited Madrid), with an array of huntsmen and guards, and magnificent carriages for the ladies of the court. "The king has just thrown his _horquilla_ [a kind of pitchfork] into the flank of a boar tearing furiously by.... Here the heroes of the day are very slightly sketched, but we at once recognise Philip IV. from the few touches suggesting his face; he keeps to the right, owing to the proximity of the ladies, and by him stands Olivares as equerry-in-chief.... In the second carriage is Queen Isabella. Occasionally the boars made tremendous leaps; hence the ladies are also provided with pitchforks to turn them aside. Moreover, two huntsmen with spears keep watch by the Queen's coach. The groups of spectators deserve minute study. They contain studies of costume and character enough for a scrap-book of "Castilian Types of the Seventeenth Century." Thus, notice under the tree on the right a peasant resting with elbows and chest on the patient back of his beloved ass--verily, another Sancho Panza! And those two rogues on the grass, one holding the water-jug to his mouth, look like a sketch by Murillo. The mendicant, again, in the brown cloak, both hands resting on his stick, is surely a privileged speculator, who solemnly invites the rich folk to increase their stock in the next world by entrusting their investments to him. Elsewhere is a rider slashing at the hard flanks of his obstinate mule, while his _escudero_ shoves from behind; two cavaliers paying each other formal compliments; a group of experts in "dog-flesh" near the master of the