his art with honor and
profit, in portrait, landscape, and sacred subjects. The palace of the
Prado was adorned with a number of his works, particularly eight
pictures representing the Imperial progresses in Germany, and Views of
Madrid, Valladolid, Naples, and London; all of which perished in the
fire of 1608. Vermeyen was an especial favorite of Charles V., who
ordered his bust to be executed in marble, "for the sake of the gravity
and nobleness of his countenance." He was very remarkable for his long
beard, which gained him the surname of _El Barbudo_ or _Barbalonga_. In
fact, so very lengthy was this beard, that Descamps says the Emperor in
his playful moods used to amuse himself by treading on it, as it trailed
on the ground!

BLAS DE PRADO AND THE EMPEROR OF MOROCCO.

In 1593 the Emperor of Morocco applied to Philip II. for the loan of a
painter, to which the latter made answer that they had in Spain two
sorts of painters--the ordinary and the excellent--and desired to know
which his infidel brother preferred. "Kings should always have the
best," replied the Moor; and so Philip sent him Blas de Prado to Fez.
There he painted various works for the palace, and a portrait of the
monarch's daughter, to the great satisfaction of her father. After
keeping the artist several years in his service, the emperor finally
sent him away, with many rich gifts; and he returned to Castile with
considerable wealth. The Academy of San Ferdinando possesses a fine work
by him, representing the Virgin and Infant seated in the clouds.

DON JUAN CARRENO

This Spanish painter was a favorite with King Charles II. He was
painting his Majesty's portrait one day in the presence of the Queen
mother, when the royal sitter asked him to which of the knightly orders
he belonged. "To none," replied the artist, "but the order of your
Majesty's servants." "Why is this?" said Charles. The Admiral of
Castile, who was standing by, replied that he should have a cross
immediately; and on leaving the royal presence, he sent Carreno a rich
badge of Santiago, assuring him that what the king had said entitled him
to wear it. Palomino says, however, that the artist's modesty prevented
him from accepting the proffered honor. His royal master continued to
treat him with unabated regard, and would allow no artist to paint him
without Carreno's permission.

CARRENO'S COPY OF TITIAN'S ST. MARGARET.

Palomino was one day in company wi