_Juse Ribera español Academico romano, F. 1650._ In accordance with the nature of the subject he has here refrained from making use of abrupt light and shade, the whole scene being enveloped in a warm glow. The types are not idealised, but are apparently faithful portraits of their respective models. Very similar to the central group in this canvas, but more sonorous in its depth of colour, from which gleam forth the strong lights, is the _Virgin and Child_ (No. 1724) in the La Caze Room. The four pictures of _Philosophers_ (Nos. 1726-1729), likewise in the La Caze Bequest, which the official Catalogue gives to Ribera, are certainly not by that master. It has been suggested that they may be the work of Ribera’s facile and versatile pupil, Luca Giordano (“Fa Presto”), but the poor quality of these paintings scarcely justifies even this attribution. They were formerly in the collection of General Mazzavedo. Ribera had a romantic career, rising as he did from absolute penury to almost despotic power as a member of a triumvirate that would brook no competition in Naples and would shrink from no means to further their schemes. Nothing is known as to how he died. He disappeared in 1656, and probably found his death in the depths of the sea. VELAZQUEZ The Catalogue of the Louvre collection contains an imposing list of seven works by the king of Spanish painters. Critical examination of these pictures will, however, result in the elimination of all but two that figure in the list. Velazquez, who was destined to stamp his great personality on a whole generation of Spanish painters, but whose art was little known in Northern Europe previous to the Peninsular War, has exercised a paramount influence on modern art. He was born of noble descent at Seville in June 1599. Although originally destined for another profession, he showed such talent for art that he was allowed to enter the studio of Francisco Herrera, of whose realistic tendencies and rugged strength we have already had occasion to speak. From his studio he passed into that of the cultured and erudite Francisco Pacheco, whose artistic achievement at its best was far in advance of his professed academic principles. Summoned to Madrid in 1623 by the powerful Count Duke of Olivarez, Velazquez entered the service of King Philip IV. Velazquez became his favourite Court Painter, received other important offices and emoluments, and after his return from his second visit to Italy in 1651—the first visit had taken place in 1629—he was appointed _Aposentador del Rey_, a post which approximately corresponds with that of Court-Marshal. He died on the 6th of August 1660, from the results of fatigue and overwork in supervising the arrangements for the betrothal of the Infanta Maria Teresa to Louis XIV. at the Palace on the Isle of Pheasants, at Irun.