An example of one of these copies, according to Señor Beruete, is the _Philip IV as Sportsman_, of the Louvre. He assigns it as a copy, made by Mazo, of the original that is now in the Prado. There is a slight difference between the two. In the Louvre picture the King holds his cap with the left hand on his hip; in the Prado the cap appears upon the head. This was an alteration, subsequently made by Velasquez, for one can still trace in the original picture a dark mass over the hip, where the under-painting shows through. The copy, therefore, must have been made before the alteration. An example of an original by Mazo, which has passed as a Velasquez, is, according to Señor Beruete, the celebrated portrait of _Admiral Adrian Pulido Pareja_ in the National Gallery. It is signed with the name of [Illustration: DOÑA MARIANA DE AUSTRIA MAZO THE PRADO] Velasquez in Latin. But the Spanish critic points out that, while a signature itself is no proof of authenticity, this one differs in matter and character from the only other three instances of the signature of Velasquez on a picture. These are on undoubted works of the master: the full-length _Philip IV_ in the National Gallery, the portrait of _Pope Innocent X_ in the Doria Gallery, and the fragment of a picture which is preserved in the Royal Palace in Madrid. Studying the technical qualities of the _Admiral_ and comparing them with those of undoubted examples of the same period in Velasquez’s career, Señor Beruete reaches, in brief, the following conclusions. The figure does not stand firmly on its feet; the latter and the legs are badly shaped; the hat looks like a sack; its curve is prolonged by that of the left arm and both are parallel to the curve of the body; the hands are poorly modeled; the baton is held without distinction, the silhouette of the whole figure is neither sure nor beautiful, and the masses lack just disposition and balance. The whole is without the distinction, sureness of touch and _brio_ that characterise all the authentic portraits of Velasquez. It is a fine work by a painter of less power than Velasquez, but bears so strong a resemblance to his style, that it can be by no other than his pupil, Mazo. For other pictures, hitherto supposed to be by Velasquez but now claimed by Señor Beruete for his pupil, the reader is referred to the Spanish critic’s book: “The School of Madrid.”