With the _Portrait of Doña Mariana of Austria_ (p. 122), the second wife of Philip IV, we reach an unquestioned original by Mazo. It is the same subject as in Velasquez’s portrait (p. 119), only the girl-bride has now become a girl-mother. Her child, the Infanta Margarita, about four years old, appears in the rear with attendants and a dwarf. It is a drab interior rather reminiscent of that in _Las Meniñas_. The crimson curtain and chair and the Queen’s pose, on the other hand, recall Velasquez’s portrait, just mentioned. The suggestion, in fact, throughout is Velasquez, but not the handling and the style. Compare, for example, the hand on the chair in the one portrait and the other. In the Mazo there is an absence of modeling and character. How characterless also the line of the right arm, and wanting in decision and distinction the whole silhouette of the figure. Yet the picture has a very great charm of refinement and tender feeling. Another probable original by Mazo in the Prado (No. 1083), _Portrait of Prince Baltasar Carlos_, is attributed to Velasquez in the official catalogue. It is one of a number of similar attributions that surprise the visitor to the Prado. The portrait in question shows the Prince, now in his fourteenth year, standing with his left hand upon the back of a chair, while his right hangs gracefully, holding a plumed hat. The figure is entirely in black against a drab background. There is no picture by Velasquez, known to exist, from which this could be a copy. That it is not an original by the master is evident in the softness an indecision of the drawing, and the actually bad drawing of the right leg which does not connect properly with the hip. It is therefore assumed with probability to be an original by Mazo, and the fault of drawing is explained by the fact that he was only twenty-four years old when he painted it. This picture has an undeniable elegance, but falls very short of Mazo’s _Doña Mariana_ in accomplishment.