Velazquez by S.L. Bensusan

Of the painter's work at court in those early days we hear a little from Pacheco, but the story of the times is more or less obscure. A clever portrait-painter was not a very interesting person in the eyes of a Spanish grandee. He was classed with the court buffoons and dwarfs who existed merely to amuse. Indeed, portraiture was not above suspicion in the eyes of some fanatics, who held that art existed to serve the Church, and should not seek secular employment. There are documents extant showing that Velazquez received eight pounds for three portraits, of which one is lost and the other two (Philip and the Count of Olivarez) are in Spain. In 1625 the painter received a present of three hundred ducats, which was followed by a pension of the same value and a gift of free lodging, and, in 1627, by the appointment to the post of Gentleman Usher. There is no doubt but that the king was attached to his young court painter in a certain undemonstrative fashion. Pacheco tells us that Philip used to visit the artist's studio constantly, reaching it by way of the secret passages of which the palace was full.

The year 1628 marks an event of the first importance in the life of Velazquez, for Peter Paul Rubens came on a diplomatic mission to Madrid, charged by his government to pave the way to the conclusion of peace between England and Spain. Rubens was then about fifty years old. He stayed nine months in the Spanish capital, and, despite his diplomatic duties and the gout, found time to paint an extraordinary number of pictures, including five of Philip. He also copied the king's Titians. Velazquez was entrusted by Philip with the work of entertaining Rubens, and showing him the art treasures of Spain, and the friendship that grew up rapidly between the two artists was creditable to both, because Rubens, then at the zenith of his fame, recognised the amazing gifts of the young Spaniard, and Velazquez never allowed the brilliancy of the ambassador-artist to tempt him from the paths that he had chosen to follow. There are some who think that Rubens exerted a great influence upon his young friend's art, but we cannot pretend to trace it. Rubens may have widened his mind; he could not influence his hand or eye.