ain not
particularly healthy, even sinister, Spanish traits and developed them
to such a pitch of nervous intensity. As Arthur Symons says, his
portraits "have all the brooding Spanish soul with its proud
self-repression." Senor Cossio sums up in effect by declaring that
Venice educated Greco in his art; Titian taught him technique;
Tintoretto gave him his sense of dramatic form; Angelo his virility.
But of the strong personality which assimilated these various
influences there is no doubt when confronted with one of his canvases,
every inch of which is signed El Greco.

"VELASQUEZ"

Why so well-known and authoritative a work as Velasquez, by Aureliano
de Beruete, should have been so long in reaching America is a puzzle
when you consider the velocity with which the Atlantic Ocean is
traversed by so many mediocre books on art. The first Spanish edition
of the Beruete monograph appeared about 1897; the same year saw it in
French, and from the latter tongue it was translated into English by
Hugh E. Poynter in 1906. Senor Beruete is considered with reason as
the prime living authority on the great Spanish realist, though his
study is not so voluminous as that of Carl Justi. The Bonn professor,
however, took all Spain for his province. Velasquez and His Times is
the title of his work, the first edition of which came out in 1888,
the second in 1903. Beruete (whose portrait by Sorolla was one of that
master's most characteristic pictures at the recent Hispanic Society
exhibition in New York) is not at odds on many points with Justi; but
more sceptical he is, and to R.A.M. Stevenson's list of Velasquez
pictures, two hundred and thirty-four, Beruete opposes the
comparatively meagre number of eighty-nine. He reduces the number of
sketches and waves away as spurious the Velasquez "originals" in
Italy, several in the Prado, the very stronghold of the collection;
and of the eleven in that famous cabinet of the Vienna Imperial
Museum--to which we went as to a divine service of eye and soul--he
allows only seven as authentic. The portrait of Innocent X in the
Doria palace, Rome, is naturally a masterpiece, as is the bust
portrait of the same subject at the Hermitage, St. Petersburg; but the
Boston Museum full-length of Philip IV is discredited as a copy, only
the Prince Don Baltasar Carlos Attended by a Dwarf being admitted in
the company of the true Velasquezes.

Of the "supposed portrait of Cardinal Pamphili," a real V