The three landscapes originally attributed to Velasquez, but now included by the Director of the Gallery among Mazo’s are: _The Fountain of the Tritons_ (p. 122), _Calle de la Reina de Aranjuez_, and _The View of Buen Retiro_. In the first named the tree-stem on the left-foreground, sprinkled with leaves, is reminiscent of Velasquez, and the beautiful little figures, so suggestively rendered, may have been added by him. But the handling of the grey-green foliage of the further trees, softly blurred against a bluish grey sky, is unlike the method of Velasquez as seen in any of his landscape backgrounds. On the other hand, the soft faint masses of tone, subsequently worked over with little curly strokes, can be found to a greater or less extent in the foliage parts of all Mazo’s landscapes in this room. The latter, it should be observed, vary in subject, including views of buildings, romantic scenes of rocks and waterfalls, sea-shore in combination with cliffs and temple-ruins, and views more simply naturalistic. To each the artist has adopted a technique suitable to the occasion, so that it is not at first sight easy to recognise them as the work of one man. Mazo, in fact, in his approach to landscape, shows nothing of the timidity and indecision and tendency to follow closely his master, such as characterise his portraits. Here he shows himself an original experimenter, freely pursuing his own motive. In the case of _The Fountain of the Tritons_ it has brought him to a method that anticipates the impressionistic style of Corot. The peeps of sky through the soft screen of trees; their very coloring, the single tree-stem in the foreground and the envelope of cool grey atmosphere--Corot might have painted them. The _Calle de la Reina_ has again a strangely modern air, somewhat that of a Jules Dupré, when he is not stirred to emotional effects. The avenue, leading to the palace of Aranjuez, recedes in the shadow of tall trees, which tower up in dark masses against a fine twilight sky. Its light is dimly reflected in the grey-blue water of a shadowed lake on the left of the foreground; the rest of the latter being enlivened with figures which form the retinue of two arriving coaches. All these sprinkled forms count as dark spots upon the pale-lighted sandy road. In its truth of observation and simple nobility of feeling this landscape would do honor to any school of any period.