Van Dyck painted the family of the unfortunate king of England four times. There are five children in the Windsor Castle picture, and this one, which hangs in the Turin Gallery, was probably painted before the birth of the fourth child in 1636. It is celebrated for its colouring as well as for its great artistic merit. The children are surely childlike enough, despite their stately attire, and they little dream of the sad fate awaiting the whole of the Stuart family to which they belong. Other Van Dycks are: "The Blessed Herman Joseph," "Lords Digby and Russell," "Lord Wharton," "Countess Folkestone," and "William Prince of Orange." XLI VELASQUEZ (DIEGO RODRIGUEZ DE SILVA) (Pronounced Vay-lahs'keth) _Castilian School_ 1599-1669 _Pupil of Herrera_ It is pretty difficult to find out why a man was named so-and-so in the days of the early Italian and Spanish painters. More likely than not they would be called after the master to whom they had been first apprenticed; or after their trade; after the town from which they came, and rarely because their father had had the name before them. In Velasquez's case, he was named after his mother. No one seemed to be certain what to call him, but he generally wrote his name "Diego de Silva Velasquez." His father was Rodriguez de Silva, a lawyer, but in calling the boy Velasquez the family followed a universal Spanish custom of naming children after their mothers. Little Velasquez was well taught in his childhood; he studied many languages and philosophy, for he was intended to be a lawyer or something learned, anything but a painter. The disappointment of parents in those days, when they found a child was likely to become an artist is touching. Despite his equipment for a useful life, according to the ideas of his parents, this little chap was bound to become nothing but a maker of pictures. Herrera was a bad-tempered master and little Velasquez could not get on with him, so after a year of harsh treatment, he went to another master, Pacheco, but by that time he had learned a secret that was to help make his work great. Herrera had taught him to use a brush with very long bristles, which had the effect of spreading the paint, making it look as if his "colours had floated upon the canvas," in a way that was the "despair of those who came after him." Velasquez was born in Seville at a time when about all the art of the world was Italian or German; thus he became the creator of a new school of painting. He stayed five years in Pacheco's studio and pupil and master became very fond of each other. Pacheco was not a great master--not so good as Herrera--but he was easy to get on with, and knew a good deal about painting, so that as Velasquez had the genius, he was as well placed as he needed to be.