But after you have made friends with this room it will put off its forbidding aspect, and you will find it hath a stern look but a gentle heart. It has two lovely little landscapes by Murillo, showing how universal was that wholesome genius. Also one of the largest landscapes of Velazquez, which, when you stand near it, seems a confused mass of brown daubs, but stepping back a few yards becomes a most perfect view of the entrance to a royal park. The wide gate swings on its pivot before your eyes. A court cortege moves in,--the long, dark alley stretches off for miles directly in front, without any trick of lines or curves; the artist has painted the shaded air. To the left a patch of still water reflects the dark wood, and above there is a distant and tranquil sky. Had Velazquez not done such vastly greater things, his few landscapes would alone have won him fame enough. He has in this room a large number of royal portraits,--one especially worth attention, of Philip III. The scene is by the shore,--a cool foreground of sandy beach,--a blue-gray stretch of rippled water, and beyond, a low promontory between the curling waves and the cirrus clouds. The king mounts a magnificent gray horse, with a mane and tail like the broken rush of a cascade. The keeping is wonderful; a fresh sea breeze blows out of the canvas. A brilliant bit of color is thrown into the red, gold-fringed scarf of the horseman, fluttering backward over his shoulder. Yet the face of the king is, as it should be, the principal point of the picture,--the small-eyed, heavy-mouthed, red-lipped, fair, self-satisfied face of these Austrian despots. It is a handsomer face than most of Velazquez, as it was probably painted from memory and lenient tradition. For Philip III. was gathered to his fathers in the Escorial before Velazquez came up from Andalusia to seek his fortune at the court. The first work he did in Madrid was to paint the portrait of the king, which so pleased his majesty that he had it repeated _ad nauseam._ You see him served up in every form in this gallery,--on foot, on horseback, in full armor, in a shooting-jacket, at picnics, and actually on his knees at his prayers! We wonder if Velazquez ever grew tired of that vacant face with its contented smirk, or if in that loyal age the smile of royalty was not always the sunshine of the court?