Another kind of femininity, more matured, he has represented in the Andalusian beauty, _Doña Isabel Corbo de Porcel_, of the National Gallery. Here the technique, as befits the impression, is more brusque and vivacious. But in another example in the same Gallery, _Portrait of Dr. Péral_, Goya has adapted to the refinement of his subject a color-scheme and technique of unsurpassable delicacy. The features, pale pink, shaded with grey, are set in a frame of long whitish yellow hair; the coat is greyish drab, the vest pearly grey with green sprigs, the figure being placed against a dark olive-black background. The expression of the whole is of a man of rare cultivation and fine mental poise. The scheme of color recalls the _Portrait of Francisco Bayeu_, in the Prado, except that, in the latter, silvery blue is substituted for the green; this note of color appearing in the sash. By the time that Goya reached his maturity the range of his palette was reduced to very restricted limits: blue, white, black, vermilion, some of the ochres and burnt sienna. And his tools were correspondingly meagre. Brushes of the rudest make served his purpose; or he would use a sponge or stick, securing some of his subtlest effects with the ball of his thumb. From several unfinished bust-portraits in the Prado it appears that he worked over an under-surface of orange-red; which no doubt accounts for the warmth and fulness of his greys. On the other hand, the subtlety which he succeeded in giving to all his local colors, laid on as they were in simple flat tones, is the result of a profoundly sensitive feeling for values. Goya’s rendering of the varying qualities of light, as they affect the hue of a surface, is different from Velasquez’s. With the latter, if one may state it briefly, it is rather the product of observation; with Goya, of feeling. Therefore, it is largely influenced by temperament, which makes it akin to the modern handling of values. In this, as in the character of his impression, Goya is a modern of the moderns.