Philip, being a melancholy man, had his court full of jesters, poor misshapen creatures--dwarfs and hunchbacks--who were supposed to appear "funny," and Velasquez, as court painter, painted those whom he continually saw about him, who formed the court family. Thus we have pictures of strange groups--dwarfs, little princesses, dressed precisely as the elders were dressed, favourite dogs, and Velasquez himself at his easel.
In 1618, while still with his master, Pacheco, he had married the master's daughter, a big, portly woman. Before he left Seville he bad two daughters.
These were all the children he had, although he painted a picture of "Velasquez's Family" which includes a great number of people. The figures in that painting are the children of his daughter, not his own; and this may account for one biographer's statement that the artist had "seven children." He was devoted to and happy in his family of children and grandchildren.
He did not grow rich, but received regularly during his life in Madrid, twenty gold ducats ($45.36) a month to live upon, and besides this his medical attendance, lodging, and additional payment for every picture. The one which brought him this good fortune was an equestrian portrait of Philip; first uncovered on the steps of San Felipe. Everywhere the people were delighted with it, poets sung of it, and the king declared no other should ever paint his portrait. This picture has long since disappeared.
In 1627 Velasquez won the prize for a picture representing the expulsion of the Moors from Spain and was rewarded by "being appointed gentleman usher. To this was shortly afterward added a daily allowance of twelve reals--the same amount which was allowed to court barbers--and ninety gold ducats ($204.12) a year for dress, which was also paid to the dwarfs, buffoons, and players about the king's person--truly a curious estimate of talent at the court of Spain."
The record of Philip IV. with unpleasing, even degenerate characters, about him, is brightened by the thought of his loyalty to his court painter and life-long friend. When the king's favourites fell, those who had been the friends of Velasquez, the artist loyally remained their friend in adversity as he had been while they were powerful. This constancy, even to the royal enemies, was never resented by Philip. He honoured the faithfulness of his artist, even as he himself was faithful in this friendship. Philip's court was such that there was little to paint that was ennobling, and so Velasquez lacked the inspiration of such surroundings as the Italian painters had.
Philip IV. was hail-fellow-well-met with his stablemen, his huntsmen, his cooks, and yet he seems to have had no sense of humour, was long faced and forbidding to look at, and despite his strange habits considered himself the most mighty and haughty man in the world. He felt himself free to behave as he chose, because he was Philip of Spain; and he chose to do a great many absurd and outrageous things. In all Philip's portraits, painted by Velasquez, he wears a stiff white linen collar of his own invention, and he was so proud of this that he celebrated it by a festival. He went in procession to church to thank God for the wonderful blessing of the Golilla--the name of his collar. This unsightly thing became the fashion, and all portraits of men of that time were painted with it. "In regard to the wonderful structure of Philip's moustaches it is said, that, to preserve their form they were encased during the night in perfumed leather covers called bigoteras." Such absurdities in a king, who had the responsibilities of a nation upon him, seem incredible.
Velasquez made in all three journeys to Italy, and the last one was on a mission for the king, which was much to the latter's credit. Philip had determined to have a fine art gallery in Madrid, for Spain had by this time many pictures, but no statuary; so he commissioned his painter to buy whatever he thought well of and could buy, in Italy. Hence the artist set off again with his slave--the same one with whom he had journeyed to Madrid so long before. His name was Pareja, and his master had already made an excellent artist of him.
They went to Genoa, thence to the great art-centres of Italy, were received everywhere with honour, and the artist bought wisely. Velasquez did not care for Raphael's paintings as much as for Titian's, and he said so to Salvator Rosa, an honoured painter in Italy.
While in Rome Velasquez painted the pope, also his own slave, Pareja.