The _Venus_ of the National Gallery, if it is to be reckoned among the works of Velasquez, is his only example of a female nude. While it attracts at first, it subsequently proves disappointing. In the emptiness of the back it is hard to recognise the hand of the master, who in early days modeled so skilfully the man’s back in the _Forge of Vulcan_ and whose modeling generally is so masterly and full of interest. Nor can we easily reconcile with his unerring truth of observation the drawing of the reflection in the mirror, which instead of being smaller than the real head is somewhat larger. Moreover the red of the curtain and general color scheme lack the choiceness and subtlety of the canvases of the latest period, to which the _Venus_ is assigned. We reach now the two celebrated masterpieces: _Las Hilanderas_, (_The Weavers_), (p. 109) and _Las Meniñas_, (_Maids of Honor_) (p. 114). They are very different. Both are triumphs alike of science and of inspired vision; yet, by comparison, I should distinguish the _Maids of Honor_ as a miracle of vision, the other as a marvel of science. For we may be conscious of the science in the one and lose thought of it entirely in the other. In _Las Meniñas_ the unity of the ensemble seems as artless as the scene depicted; in _Las Hilanderas_ it is perhaps less complete, certainly less simple and seems to suggest the consummate knowledge needed to achieve it. The interest of the former pervades the whole chamber and centers in the little princess. That of _Las Hilanderas_, seems, at least at first, to be distributed into three parts, and the focus point for the eye--Where is it?