P. 445, c. 1.—“Velasquez,” vä-lasˈkes. (1599-1660.) A painter of Seville. He studied with the best masters of the times and early attained a success which led to his being appointed court painter to Philip IV. In 1627 Velasquez visited Rome to study the masters there. On his return he was given a studio in the king’s palace, and in 1656 he was given a lucrative position as superintendent of the king’s lodgement. Of his painting it is said: “He drew nothing from the antique, and his visit to Italy produced no change in his style. He held up the mirror to his age alone; all his art was his own—original, national and idiosyncratic.” Mengs gives the historical picture—“General Pescara receiving the keys of a Flemish citadel” as his masterpiece. The finest pictures of Velasquez remain at Madrid.
“Mater Dolorosa,” maˈter dō-lō-rōˈsä. Sorrowing mother.
“Pittore Cavalieresco,” pitˈō-rā cä-välˌee-resˈcō. The Cavalier painter.
“Rembrandt Harmensz van Rijn,” remˈbrănt harˈmensz van rīn; “Van Mander,” van manˈder. (1548-1606.) A Flemish painter of historical pieces and landscapes.
“Houbraken.” A Dutch painter of portraits and historical pieces, who lived in the latter part of the seventeenth century.
“Hermann Gerritszoon,” herˈmann ger-ritsˈzoon; “Weddesteeg,” vedˈdes-tēg; “Antoine Breedstraat,” anˈto-ny breed-sträˈät; “Saskia van Ulenburch,” sasˈki-a van ooˈlen-burk; “Leeuwarden,” lö-warˈden.
P. 445, c. 2.—“Guilders,” gĭldˈer. A Dutch coin worth about 38 cents.
“Walloon,” walˈloon. A native of that part of Flanders between the Scheldt and the Lys.