f
Francisco Pacheco, an inferior painter, but a learned and polished
gentleman. Here Velasquez soon learned that untiring industry and the
study of nature were the surest guides to perfection for an artist. Until
1622 he painted pictures from careful studies of common life, and always
with the model or subject before him--adhering strictly to form, color,
and outline. He is said to have kept a peasant lad for a study, and from
him executed a variety of heads in every posture and with every possible
expression. This gave him wonderful skill in taking likenesses. To this
period belong the "Water Carrier of Seville," now at Apsley House, several
pictures of beggars, and the "Adoration of the Shepherds," now in the
Louvre, where is also a "Beggar Boy munching a piece of Pastry." At Vienna
is a "Laughing Peasant" holding a flower (Fig. 64), and in Munich another
"Beggar Boy." In 1622 his strong desire to see the paintings in the Royal
Galleries led him to Madrid. Letters which he carried gave him admission
to the works of art; but excepting securing the friendship of Fonesca, a
noted patron of art, and an order to paint a portrait of the poet Gongora,
he was unnoticed, and so he returned in a few months to Seville.
Subsequently Fonesca interested the minister Olivarez in his behalf. This
resulted in a letter summoning Velasquez to court, with an enclosure of
fifty ducats for the journey. He was attended by his slave, Juan Pareja, a
mulatto lad, who was his faithful attendant for many years, and who became
an excellent painter. His former instructor, Pacheco, now his
father-in-law, also accompanied him. His first work at the capital,
naturally, was a portrait of his friend Fonesca, which so pleased the
king, Philip IV., that he appointed Velasquez to his service, in which
he remained during his life. This gave him full opportunity to perfect
himself, for the king was never weary of multiplying pictures of himself.
Velasquez also painted many portraits of the other members of the royal
family, in groups and singly. His life was even and prosperous, and he
made steady advances toward perfection. He was sent to Italy to study and
to visit the galleries and works in all the cities. A second time the king
sent him to Italy to purchase works of art, with orders to buy anything he
thought worth having. He was everywhere received with consideration and
kindness. The pope sat to him for his portrait; the cardinals Barberini
and Rospigli