DIEGO See also:

• RODRIGUEZ (officially RODRIGUES)

RODRIGUEZ DE See also:

• SILVA, ANTONIO JOSE DA (1705–1739)

SILVA Y See also:

• DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ (1599-166o)

VELAZQUEZ (1599-166o)  , the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the See also:

• SPANISH

Spanish school of See also:

• PAINTING

painting and one of the greatest painters the See also:

• WORLD

world has known, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early in See also:

• JUNE

June 1599, the See also:

• YEAR

year in which See also:

• VAN

Van Dyck also first saw the See also:

• LIGHT

light at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp . His See also:

• EUROPEAN

European fame is of comparatively See also:

• RECENT

recent origin, dating from the first See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Till then his pictures had lain immured in the palaces and museum of See also:

• MADRID

Madrid; and from want of popular appreciation they had to a large extent escaped the rapacity of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French marshals during the See also:

• PENINSULAR

Peninsular See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War . In 1828 See also:

• SIR

Sir See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David See also:

• WILKIE, SIR DAVID (1785–1841)

Wilkie* wrote from Madrid that he See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt himself in the presence of a new See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power in See also:

• ART

art as he looked at the See also:

• WORKS

works of See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez, and at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time found a wonderful See also:

• AFFINITY (Lat. affinitas, relationship by marriage, from offinis, bordering on, related to; finis, border, boundary)
• AFFINITY, CHEMICAL

affinity between this See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master and the See also:

• ENGLISH

English school of portrait painters, being specially reminded of the See also:

• FIRM

firm, square See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of See also:

• RAEBURN, SIR HENRY (1756-1823)

Raeburn . He was struck by the sense of modernness of impression, of See also:

• DIRECT

direct contact with nature, and of vital force which pervaded all the See also:

• WORK

work of Velazquez, in landscape as well as in See also:

• PORTRAITURE

portraiture . Time and See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism have now fully established his reputation as one of the most consummate of painters, and accordingly See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin says of him that " everything Velazquez does may be taken as absolutely right by the student." At the See also:

• PRESENT

present See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day his marvellous technique and strong individuality have given him a power in European art such as is exercised by no other of the old masters . Although acquainted with all the See also:

• ITALIAN

Italian See also:

• SCHOOLS

schools, and the friend of the foremost painters of his day, he was strong enough to withstand every See also:

• EXTERNAL

external See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence and to work out for himself the development of his own nature and his own principles of art . A realist of the realists, he painted only what he saw; consequently his See also:

• IMAGINATION

imagination seems limited . His religious conceptions are of the See also:

• EARTH
• EARTH (a word common to Teutonic languages, cf. Ger. Erde, Dutch aarde, Swed. and Dan. jord; outside Teutonic it appears only in the Gr. 'pq'e, on the ground; it has been connected by some etymologists with the Aryan root ar-, to plough, which is seen in
• EARTH, FIGURE OF
• EARTH, FIGURE OF THE

earth earthy, although some of his works, such as the " Crucifixion " and the " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ at the See also:

• COLUMN (Lat. columna)

Column," are characterized by an intensity of pathos in which he ranks second to no painter . His men and See also:

• WOMEN

women seem to breathe, his horses are full of See also:

• ACTION

action and his See also:

• DOGS, ISLE OF

dogs of See also:

• LIFE

life, so See also:

• QUICK

quick and See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close is his grasp of his subject . See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England was the first nation to recognize his extraordinary merit, and it owns by far the largest See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of his works outside of See also:

• SPAIN
• SPAIN (Espana)

Spain.' 1 See See also:

• CUNNINGHAM, ALEXANDER (c.1655-173o)
• CUNNINGHAM, ALLAN (1784-1842)
• CUNNINGHAM, WILLIAM (1805-1861)

Cunningham's Life, vol. ii . Of the 274 works attributed to Velazquez by Mr See also:

• CURTIS, GEORGE TICKNOR (1812-1894)
• CURTIS, GEORGE WILLIAM (1824-1892)

Curtis, 121 are in the See also:

• UNITED

United See also:

• KINGDOM

Kingdom, while See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France has but 13,.See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria-See also:

• HUNGARY
• HUNGARY (Hungarian Magyarorszdg)

Hungary 12, See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia 7, and See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany about the same number .

Beruete, who only allows 90 known pictures to be genuine works of Velazquez, allots 14 to the United Kingdom, which number still considerably exceeds that of any other See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save Spain . But Velazquez can only be seen in all his power in the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery of the Prado at Madrid, where over sixty of his works are pre-served, including See also:

• HISTORICAL

historical, mythological and religious subjects, as well as landscapes and portraits . It is hardly creditable to the patriotism of Seville, his native See also:

• TOWN

town, that no example of his work is to be seen in the gallery of that See also:

• CITY (through Fr. cite, from Lat. civitas)

city . Seville was then in the height of its prosperity, " the See also:

• PEARL
• PEARL, THE

pearl of Spain," carrying on a See also:

• GREAT

great See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade with the New World, and was also a vigorous centre of literature and art . For more than a See also:

• HUNDRED

hundred years it had fostered a native school of painting which ranked high in the See also:

• PENINSULA
• PENINSULA (Lat. paeninsula, from paene, almost, and insula, an island)

Peninsula, and it reckoned among its citizens many whose names are prominent in Spanish literature . Velazquez was the son of See also:

• RODRIGUEZ (officially RODRIGUES)

Rodriguez de See also:

• SILVA, ANTONIO JOSE DA (1705–1739)

Silva, a lawyer in Seville, descended from a See also:

• NOBLE, SIR ANDREW (1832- )

noble Portuguese See also:

• FAMILY

family, and was baptized on the 6th of June 1594 . Following a See also:

• COMMON

common Spanish usage, he is known by his See also:

• MOTHER

mother's name Velazquez . There has been considerable diversity of See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion as to his full name, but he was known to his contemporaries as Diego de Silva Velazquez, and signed his name thus . He was educated, says Palomino, by his parents in the fear of See also:

• GOD

God, and was in-tended for a learned profession, for which he received a See also:

• GOOD, JOHN MASON (1764-1827)

good training in See also:

• LANGUAGES

languages and See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy . But the See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent of the boy was towards art, and he was placed under the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• HERRERA, FERNANDO DE (c. 1534-1597)
• HERRERA, FRANCISCO (1576-1656)

Herrera, a vigorous painter who disregarded the Italian influence of the early Seville school . From his works in Seville we can see that Herrera was a bold and effective painter; but he was at the same time a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of unruly See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper, and his pupils could seldom stay See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long with him . Velazquez remained but one year—long enough, however, to influence his life .

It was probably from Herrera that he learned to use long brushes, or, as J . E . See also:

• HODGSON, BRIAN HOUGHTON (1800-1894)

Hodgson, R.A., suggested, brushes with long bristles, by means of which his See also:

• COLOURS, MILITARY

colours seem to be floated on the See also:

• CANVAS

canvas by a light, fluent touch, the envy and despair of his successors . , From Herrera's studio Velazquez betook himself to a very different master, the learned and pedantic See also:

• PACHECO, FRANCISCO (1571-1654)

Pacheco, the author of a heavy See also:

• BOOK

book on painting, and, as we see by his works at Madrid, a dull, See also:

• COMMONPLACE

commonplace painter, though at times he could rise to a rare freedom of handling and to a See also:

• SIMPLE

simple, direct See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism that is in direct See also:

• CONTRADICTION, PRINCIPLE OF (principium contradictionis)

contradiction to the cult of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael preached by him in his See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing . A portrait by Pacheco, owned by Sir See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• COOK
• COOK, ALBERT STANBURROUGH (1853– )
• COOK, EDWARD DUTTON (1829–1883)
• COOK, ELIZA (1818–1889)
• COOK, JAMES (1728-1779)
• COOK, THOMAS (1808-1892)

Cook, which shows this master's full power, was exhibited at See also:

• BURLINGTON

Burlington See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House in 1907 . In Pacheco's school Velazquez remained for five years, studying proportion and See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective, and seeing all that was best in the See also:

• LITERARY

literary and See also:

• ARTISTIC

artistic circles of Seville . Here also he See also:

• FELL
• FELL, JOHN (1625-1686)

fell in love with his master's daughter Juana, whom he married in 1618 with the hearty approval of Pacheco, who praises his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand and See also:

• HEART
• HEART, LUNG

heart, claiming at the same time all the See also:

• CREDIT (Lat. credere, to believe)

credit of having been his master . The See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young painter set himself to copy the commonest. things about him-earthenware jars of the country See also:

• PEOPLE

people, birds, See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

fish, See also:

• FRUIT (through the French from the Lat. fructus; frui, to enjoy)

fruit and See also:

• FLOWERS, ARTIFICIAL

flowers of the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market-See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . To paint well and thoroughly what he saw, to See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model with his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush, and to See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour under the influence of light and.. shade were for him the vital purpose, the first See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson, in his art . It was with deliberate purpose that Velazquez painted these bodegones (See also:

• TAVERN

tavern-pieces), as they were called; for we are told that he said he would rather be the first painter of common things than the second in higher art . Carrying out this See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea still further, . Velazquez felt that to master the subtlety of the human See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face he must make. this a See also:

• SPECIAL

special study, and he accordingly engaged a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant lad to be his servant and model, making innumerable studies in See also:

• CHARCOAL

charcoal and See also:

• CHALK

chalk, and catching his every expression .

We see this model, probably, in the laughing boy of the Hermitage " Break-fast," or in the youngest of the " Musicians " acquired for the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Museum in 1906 . In such work as this, and in his studies by the wayside, Velazquez laid the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of his subsequent mastery of expression, of penetration into See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and of rendering the life of his sitter to the quick . He saw the world around him teeming with life and See also:

• OBJECTS

objects interesting to the painter, and he set himself to render these . His manner is as See also:

• NATIONAL

national as that of Cervantes . He lived and died racy of the See also:

• SOIL

soil . The position and reputation of Velazquez were now assured at Seville . There his wife See also:

• BORE

bore him two daughters—all his family so far as is known . The younger died in See also:

• INFANCY

infancy, while the elder, Francisca, in due time married Bautista del Mazo, a painter, whose large family is that which is represented in the important picture in See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna which was at one time called the " Family of Velazquez." This picture is now by common consent given to Mazo . In the gallery at Madrid there is a portrait of Juana, his wife, holding a See also:

• DRAWING

drawing-tablet on her See also:

• KNEE (O. E. cneow, a word common to Indo-European languages, cf. Ger. Knie, Fr. genou, Span. hinojo, Lat. genu, Gr. ybvv, Sansk. janu)

knee . There was formerly in the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• DUDLEY
• DUDLEY, BARONS AND EARLS OF
• DUDLEY, EDMUND (c. 1462—1510)
• DUDLEY, SIR ROBERT (1573—1649)
• DUDLEY, THOMAS (1576-1653)

Dudley another portrait of his wife by Velazquez, painted, perhaps, in the first year of their happy See also:

• MARRIAGE

marriage . Of this early Seville manner we have an excellent example in " El Aguador " (the See also:

• WATER

Water-See also:

• CARRIER
• CARRIER, JEAN BAPTISTE (1956-1794)

Carrier) at ' Apsley House (See also:

• LONDON

London) . Firm almost to hardness, it displays close study of nature .

One can see in it the youthful struggle to portray the effects of light stealing here and there over the prominent features of the face, groping after the effects which the painter was to master later on . The brushwork is bold and broad, and the outlines firmly marked . As is usual with Velazquez at this time, the See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of colours is red, See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown and yellow, reminding one of See also:

• RIBERA, GIUSEPPE (1588-1656)

Ribera . For sacred subjects we may turn to the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi " at Madrid, dated 1619, and the " Christ and the Pilgrims of See also:

• EMMAUS

Emmaus " in the collection of See also:

• DON
• DON (anc. Tanais)

Don See also:

• MANUEL, EUGENE (1823–1901)
• MANUEL, JACQUES ANTOINE (1775-1827)
• MANUEL, LOUIS PIERRE (1751-1793)

Manuel de See also:

• SOTO, FERDINANDO [FERNANDO, Or HERNANDO] DE (1496?—1542)

Soto in See also:

• ZURICH
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich, in both of which we have excellent examples of his realism . In the " St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John in the See also:

• DESERT

Desert " we again find his peasant boy transformed into the See also:

• SAINT (lat. sanctus, " holy ")

saint . But Velazquez was now eager to see more of the world . Madrid, with its See also:

• FINE

fine Titians, held out strong inducements . Accordingly, in 1622, fortified with letters of introduction to See also:

• FONSECA, AMAPALA
• FONSECA, MANOEL DEODORO DA (1827-1892)

Fonseca, who held a good position at See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court, he spent some months there, accompanied only by his servant . Here he painted the portrait of the poet Gongora, a See also:

• COMMISSION (from Lat. commissio, committere)

commission from Pacheco, but the picture known by that name in the gallery at Madrid cannot with certainty be identified as Velazquez's portrait; it is more probably by See also:

• ZURBARAN, FRANCISCO (1598–1662)

Zurbaran: The impression which Velazquez made in the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital must have been very strong, for in the following year he was summoned to return by See also:

• OLIVARES, GASPAR DE GUZMAN

Olivares, the all-powerful See also:

• MINISTER (Lat. minister, servant)

minister of See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip IV., fifty ducats being allowed to defray his expenses . On this occasion he was accompanied by his See also:

• FATHER

father-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law . Next year (1624) he received from the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king three hundred ducats to pay the cost of the removal of his family to Madrid, which became his See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home for the See also:

• REMAINDER, REVERSION

remainder of his life . Weak and worthless as a king, Philip had inherited the art-loving propensities of his See also:

• RACE

race, and was proud to be considered a poet and a painter .

It is one of the best features of his character that he remained for a See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of See also:

• THIRTY

thirty-six years the faithful and attached friend of Velazquez, whose merit he soon recognized, declaring that no other painter should ever paint his portrait . By his equestrian portrait of the king, painted in 1623, Velazquez secured See also:

• ADMISSION

admission to the royal service with a See also:

• SALARY

salary of twenty ducats per See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month, besides medical attendance, lodgings and See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment for the pictures he might paint . The portrait was exhibited on the steps of See also:

• SAN

San Felipe, and was received with See also:

• ENTHUSIASM

enthusiasm, being vaunted by poets, among them Pacheco . It has unfortunately disappeared, having probably perished in one of the numerous fires which occurred in the royal palaces . The Prado, however, has two portraits of the king (Nos . 1070 and 1071)in which the harshness of the Seville period has disappeared and the tones are more delicate . The modelling is firm, recalling that of See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Mor, the Dutch portrait painter of Philip .II., who exercised a considerable influence on the Spanish school . In the same year the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• WALES (Cymru, Gwalia, Cambria)

Wales (after-wards See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles I.) arrived at the court of Spain . We are told that he sat to Velazquez, but the picture has disappeared.' In 1628 See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens visited Madrid on a See also:

• DIPLOMATIC

diplomatic See also:

• MISSION

mission for nine months, and Velazquez was appointed by the king to be his See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

guide among the art treasures of Spain . Rubens was then In 1847 Mr John Snare of See also:

• READING

Reading exhibited a picture which had come from the See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale of Lord See also:

• FIFE
• FIFE (Fr. fifre; Med. Ger. Schweizerpfeiff, Feldpfeiff; Ital. ottavino)

Fife in t8o9, and which he maintained to be the long-lost work . This led to much controversy; but the claim was rejected by experts, and the picture is said to be now in See also:

• AMERICA

America.at the height of his fame, and had undertaken as a commission from Olivares the large pictures which now adorn the great See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall in Grosvenor House (London) . These months might have been a new turning-point in the career of a weaker man than Velazquez, for Rubens added to his brilliant See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style as a painter the manner of a fascinating courtier .

Rubens had a high opinion of the See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent of Velazquez, as is attested by Fuensalida, but he effected no See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change in the style of the strong Spaniard . He impressed him, however, with the See also:

• DESIRE

desire to see See also:

• ITALY
• ITALY (Italia)

Italy and the works of her mighty painters . In 1627 the king had given for competition among the painters of Spain the subject of the See also:

• EXPULSION (Lat. expulsio, from expellere)

Expulsion of the See also:

• MOORS (Lat. Mauri; Gr. Mavpot, dark men)
• MOORS, KABYLES, MZABITES

Moors . Velazquez bore off the See also:

• PALM (Lat. palma, Gr. iraX6.jn )
• PALM, JOHANN PHILIPP (1768-1806)

palm; but his picture was destroyed in a See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire at the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace in 1734 . Palomino, however, describes it . Philip III. points with his See also:

• BATON (Fr. baton, baston, from Late Lat. basto, a stick or staff)

baton to a See also:

• CROWD, CROUTH, CROWTH

crowd of men and women driven off under See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of soldiers, while Spain, a majestic See also:

• FEMALE

female, sits looking calmly on . The See also:

• TRIUMPH (triumphus)

triumph of Velazquez was rewarded by his being appointed See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman See also:

• USHER (O. Fr. ussier, uissier, mod. huissier, from Lat. ostiarius, a door-keeper, ostium, doorway, entrance, os, mouth)
• USHER (or USSHER), JAMES (1581-1656)

usher . To this was shortly afterwards added a daily See also:

• ALLOWANCE (from "allow,' derived through 0. Fr. alouer from the two Lat. origins adlaudare, to praise, and allocare, to assign a place; so that the English word combined the general idea of "assigning with approval")

allowance of twelve reals, the same amount as was allowed to the court barbers, and ninety ducats a year for See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress, which was also paid to the dwarfs, buffoons and players about the king's See also:

• PERSON, OFFENCES AGAINST THE

person—truly a curious estimate of talent at the court of Spain . As an extra payment he received (though it was not paid for five years) one hundred ducats for the picture of Bacchus, painted in 1629 (No . 1058 of the Madrid gallery) . The spirit and aim of this work are better understood from its Spanish name, " Los Borrachos " or " Los Bebedores " (the Topers), who are paying See also:

• MOCK

mock See also:

• HOMAGE (from homo, through the Low Lat. hominaticum, which occurs in a document of 1035)

homage to a See also:

• HALF

half-naked See also:

• IVY (A.S. ifig, Ger. Epheu, perhaps connected with apium, anent)

ivy-crowned young man seated on a See also:

• WINE (Lat. vinum, Gr. oivos)

wine See also:

• BARREL (a word of uncertain origin common to Romance languages; the Celtic forms, as in the Gaelic baraill, are derived from the English)

barrel . It is like a See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story by Cervantes, and is brimful of jovial See also:

• HUMOUR (Latin humor)

humour .

One can easily see in this picture of national See also:

• MANNERS, CHARLES (1857– )

manners how Velazquez had reaped the benefit of his close study of peasant life . The painting is firm and solid, and the light and shade are more deftly handled than in former works . Al-together, this See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production may be taken as the most advanced example of the first style of Velazquez . It is usual to See also:

• DIVIDE

divide his artistic career by his two visits to Italy, his second style following the first visit and his third the second . Roughly speaking, this somewhat arbitrary See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division may be accepted, though it will not always apply, for, as is usual in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of many great painters, his styles at times overlap each other . Velazquez rarely signed his pictures, and the royal archives give the See also:

• DATES

dates of only his more important works . See also:

• INTERNAL

Internal See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence and See also:

• HISTORY

history, as regards his portraits, See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply to a certain extent the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest . In 1629 Philip gave Velazquez permission to carry out his desire of visiting Italy, without loss of salary, making him besides a present of four hundred ducats, to which Olivares added two hundred . He sailed from See also:

• BARCELONA

Barcelona in See also:

• AUGUST (originally Sextilis)

August in the See also:

• COMPANY

company of the See also:

• MARQUIS

marquis de See also:

• SPINOLA, AMBROSE, MARQUIS DE LOS BALBASES (1569-1630)
• SPINOLA, CRISTOVAL ROJAS DE (d. 1695)

Spinola, the conqueror of See also:

• BREDA

Breda, then on his way to take command of the Spanish troops at See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . It was during this voyage that Velazquez must have heard the details of the surrender of Breda from the lips of the See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

victor, and he must have sketched his fine head, known to us also by the portrait by Van Dyck . But the great picture was not painted till many years later, for Spinola had fallen into disfavour at court . In See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice Velazquez made copies of the " Crucifixion " and the " Last Supper " of See also:

• TINTORETTO, JACOPO ROBUSTI (1518-1594)

Tintoretto, which he sent to the king, and in See also:

• ROME
• ROME (Roma)

Rome he copied See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo and Raphael, lodging in the See also:

• VILLA

Villa See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici till See also:

• FEVER (Lat. febris, connected with fervere, to burn)

fever compelled him to remove into the city .

Here he painted the" Forge of See also:

• VULCAN (Volcanos)

Vulcan " (No . 1059 of the Madrid gallery), in which See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo narrates to the astonished Vulcan, a See also:

• VILLAGE

village blacksmith, the See also:

• NEWS

news of the infidelity of See also:

• VENUS

Venus, while four Cyclops listen to the See also:

• SCANDAL

scandal . The mythological treatment is similar to that of the " Bacchus ": it is realistic and Spanish to the last degree, giving a picture of the interior of an Andalusian smithy, with Apollo thrown in to make the story tell . The conception is common-place, yet the impression it produces is undoubted from the vividness of the See also:

• REPRESENTATION

representation and the power of expression . The modelling of the half-naked figures is excellent . Altogether this picture is much See also:

• SUPERIOR

superior to the other work painted at the same time, " See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph's Coat," which now hangs in the See also:

• ESCORIAL

Escorial . Both these works are evidently painted from the same See also:

• MODELS

models . In looking at these two pictures the spectator is especially struck by the fact that they betray no trace of the influence of the Italians . Velazquez remained true to himself . At Rome he also painted the two beautiful landscapes of the gardens.of the Villa Medici, now in the Madrid museum (1106 and 1107), full of sparkle and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm . Landscape as an expression of art never had attraction for the Spaniards; but Velazquez here shows how great a master he was in this See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch . The silvery views of See also:

• ARANJUEZ (perhaps the ancient Ara Jovis)

Aranjuez, which at one time passed under his name, are now considered to be the work of his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil Mazo .

After a visit to See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples in 1631, where he worked with his countryman Ribera, and painted a charming portrait of the Infanta Maria, See also:

• SISTER

sister of Philip, Velazquez returned early in the year to Madrid . He then painted the first of many portraits of the young prince, Don Baltasar See also:

• CARLOS, DON (1545-1568)
• CARLOS, DON (1788-1855)
• CARLOS, DON (CHARLES MARIA DE LOS DOLORES JUAN ISIDOR.E JOSEPH FRANCIS QUIRIN ANTONY MICHAEL GABRIEL RAPHAEL) (1848—1909)

Carlos, the See also:

• HEIR (Lat. heres, from a root meaning to grasp, seen in heres or erus, master of a house, Gr. xeip, hand, Sans. hat ana, hand)

heir to the See also:

• THRONE

throne, dignified and lordly even in his childhood, caracoling in the dress of a See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field-See also:

• MARSHAL (med. Lat. marescalcus, from O.H.Ger. marah, horse, and scalc, servant)

marshal on his prancing steed . The See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace collection includes an example which is probably a copy by Mazo; but the finest in the United Kingdom is the well-known picture at Grosvenor House, a masterly example of the second manner of Velazquez . The colour is warm and See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright, the workmanship solid and fused like See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel, while light and See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air pervade every corner . The See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene is in the See also:

• RIDING

riding-school of the palace, the king and See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen looking on from a See also:

• BALCONY (Ital. balcone from balco, scaffold; cf. O. H. Ger. balcho, beam, Mod. Ger. Balken, Eng. balk)

balcony, while Olivares is in attendance as master of the See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse to the prince . Don Baltasar died in 1646 at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of seventeen, so that judged by his age this picture must have been painted about 1641, two years before the fall of Olivares . This powerful minister was the early and See also:

• CONSTANT, BENJAMIN (1845-1902)

constant See also:

• PATRON

patron of the painter . His impassive, saturnine face is See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to us from the many portraits painted by Velazquez, a face which, like his royal master's, seems never to have known a smile, and in which are written See also:

• PRIDE, THOMAS (d. 1658)

pride and disdain . Two are of surpassing excellence—the full-length formerly in the Holford collection (exhibited at Burlington House in 1887), stately and dignified, in which he wears the See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green See also:

• CROSS

cross of See also:

• ALCANTARA

Alcantara and holds a wand, the badge of his See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office as master of the horse; the other the great equestrian portrait of the Madrid gallery (No . 1060), in which he is flatteringly represented as a field-marshal in all his pomp during an action . It is difficult to overpraise the excellence of this work, either as regards its dramatic power or its masterly See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution . In these portraits Velazquez has well repaid the See also:

• DEBT (Lat. debitum, a thing owed)

debt of gratitude which he owed to his first patron, whom he stood by in his fall, thus exposing himself to the See also:

• RISK

risk—and it was not a light one—of incurring the anger of the jealous Philip .

The king, however, showed no sign of malice towards his favoured painter.., Faithful in few things, Philip kept true to Velazquez, whom he visited daily in his studio in the palace, and to whom he stood in many attitudes and costumes, as a See also:

• HUNTSMAN, BENJAMIN (1704-1776)

huntsman with his dogs, as a See also:

• WARRIOR

warrior in command of his troops, and even on his knees at See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

prayer, wearing ever the same dull uninterested look . His See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale face and lack-lustre See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye, his See also:

• FAIR

fair flowing See also:

• HAIR (a word common to Teutonic languages)

hair and moustaches curled up to his eyes, and his heavy projecting See also:

• AUSTRIAN

Austrian under-See also:

• LIP (a word common in various forms, to Teutonic languages, cf Ger. Lippe, Dan. laebe; Lat. labium is cognate)

lip are known in many a portrait and nowhere more supremely than in the wonderful canvas of the London National Gallery (No . 745), where he seems to live and breathe . Few portraits in the whole range of art will compare with this work, in which the consummate handling of Velazquez is seen at its best, for it is. in his See also:

• LATE

late and most perfect manner.' From one of the equestrian portraits of the king, painted in 1638, the sculptor Montanes modelled a statue which was See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast in See also:

• BRONZE

bronze by the Florentine sculptor Tacca, and which now stands in the Plaza del See also:

• ORIENTE, OR LA REGION ORIENTALE

Oriente at Madrid, " a solid Velazquez," as it has been well named by See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)