VELAZQUEZ
323
VELAZQUEZ
"Die Erweckung des Lazarus" (1842); "Mater dolo-
rosa" (1843); "Dip Heilung des Blindgeborenen "
(1844); "Euoharistia" (lS4(i); "Die Saulon der
Kirche" (1847); "iMisi-rii-oraia" (1848); "Politische
Passionspredigten " (1S49); "Weltleben iind Christen-
and soon left for the studio of Pacheoo, whose school
at Seville was the most frequented. Although one
of the most tiresome of romanticizing painters,
Pacheco was a cultured mind, appreciative of a genius
opposed to his own. As a critic, poet, and man of the
turn" (1850); "Charitas" (1851); "Der Weg, die world, Pacheco was the centre of the first literary
Wahrheit, und das Leben" (1854); "Prophetie und salon in the city, and from this society young Velaz-
Glaube" (1855) ; " Diesechs Fastensonntagenach ihren
Kalendernanien " (1.S57); "Die Perikopen-Reihen der
sechs Fastwochen"(lS58) ; "Die JMiichten des Unheils"
(1859); "Die zwolf Stufenp.salmen" (1S(J2); "Die An-
fiinge der Menschenwelt" (1863). Among his homi-
lies are: "Homiletische Vortriige fiir die Sonn-und
Festtage" (7 vols.); "HomiUenkranz fiir das katho-
qucz received an education through contact and
conversation with superior men. Before he was
twenty he had married Pacheco's daughter Dona
Juana. Two daughters were born to him before 1622,
when the young painter decided to seek his fortune
at Madrid.
Here, through Canon Fonseca, a friend of his, who
lische Kirchenjahr" (5 vols.); "Vortrage (iber die held a post at Court, ho was enabled to visit the royal
sonntiiglischen Perikopen von Advent bis Pfingsten".
Among his collections of homilies are to be found ser-
mons on the feast days of the ecclesiastical year; he
also published sermons of this class in 2 vols.: "Fest-
predigten, zumeist in einer Doppelreihe". Of the
sermons on special
occasions may be
named: "Die Chol-
eraprodigt " (1S31);
ami "Austrias Trau-
er, Drei Reden bei
den Exequien fiir
Kai.ser Franz I"
(I8:j5).
Veith took pains to give his sermons an attractiv-e and tasteful form; their language is classic. In the third part of his "Erzilhlungen und Humoresken" he gives the de- lightful "Aphoris- men fiir Diener der
Christ in the House of Martha
Vclazciuez, Natiiinal Gallfry
collections at the Alcazar, Prado, and especially the
Escorial, with its matchless collection of Tintorettos
and Titians. This was the sole benefit of his visit,
and after some several months Velazquez returned to
Seville. When Philip IV rai.sed the Sevilian Olivarez
to power, Fonseca
summoned V e 1 a z-
quez back to Mad-
rid, and he obtained
pciinission to paint
the king's portrait in
the court of the rid-
ing school. This
portrait, now lost,
was an event.
Thenceforth Velaz-
quez had the exclu-
sive right to paint
the person of the
king. By a patent
of 31 October, 1023,
he was appointed
painter of the cham-
ber, with a salary of
twenty ducats pay-
appropriation for court surgeons
Kirche von einem Kirchendiener". He never made able out of th
use of the arts of secular orators to create a sensation; and barbers.
least of all did he wish to be a fashionable preacher. For thirty-.seven years Velazquez' fortune lasted:
Veith's pulpit was always surrounded by those classes even the fall of Olivarez, in 1643, did not lessen the
of society which usually do not attend such services.
Prie-sts, scholars, literary men, artists, and students
came with eagerness to hear him proclaim the Word
of God. In the summer of 1869 Veith received an
English translation of his "Leidenswerkzeuge" from
Theodore Noethen, parish priest at Albany, U. S. A.,
the work itself being published at Boston. He pub-
lished three prayer-books: "Jesus meine Liebe",
"Erkenntnis imd Liebe"; "Christus gestern, heute,
und ewig". From 1S63 Veith was both blind and
deaf. He could not preach any longer but he suc-
royal favour tow.ards Velaz(iuez, who rose one degree
in ollicial fun<'tions with each year, becoming in turn
gentleman of the bed-chamber, master of the ward-
robe, and finally (1652) aposciitador, or quartermaster
of the royal migrations. His life was now that of a
functionary occupied with multifarious duties in a
Court noted for the oddities of its protocol, and the
strictness of its etiquette. This monotonous and
somewhat empty existence was varied by sojourns at
Aranjuez and gala excursions which entailed upon
Velazquez serious cares and unpleasant tasks; only
ceeded in writing lectures on spiritual exercises for two joiu'neys to Italy, twenty years apart (1629,
publication, and supplemented and completed his
books of meditations: " Denkbiichlein von Leiden
Christi"; "Erkliirender Text zu Fiihrichs 15 Mys-
terien des Rosenkranzes"; "Meditationen iiber den
118. Psalm"; "Hundert Psalmen"; "Der Leidensweg
1649), brought him a breath of fresh air, freedom, and
relaxation. The artist, however, did not suffer in
consequence of these conditions. He had solicited
all these offices, and they brought him consideration
and honour. At the end of a corridor at the Alcazar,
des Ilerrn"; " Die E^pistelreihe des Kirchenjahres in in a world of ministries and bureaux, he lived his own
ihrem Verhiiltnisse zu den Evangelien"; also the life, which he has shown us in a picture by his son-in-
posthumous work "Koheleth und Hoheslied". Veith law, Mazo, in a va.st, bare, Arabian apartment, with
a rose in a glass shedtling its petals before a bust of the king. Philip, indeed, ahv,ays carried about with him a key to the studio of Velazquez, and went daily to spend .an hour there — to find a brief dislr.action from the sense of weariness which is exjjressed in his melancholy countenance. This intimacy was Velaz- quez' rom.ance; it lends a peculiar charm to the long series of portraits the painter made of his royal friend. This peculiar situation makes Vel.azr|uez a figure somewhat apart in the Spanish School. In an art
was buried m the ^Latzlem.sdorfer cemetery of Vienna.
Ixiwr. Jiihann Emanuel Veilh (Vienna, 1879), with portrait;
Idem, Der hunderlsie Jahrestag der Ceburl Johann Emanuel Ve-iths
in Hei.fert'8 Oculerr. Jahrbuch, XI (Vienna, 1887), 171-81;
Woi.FsaRL-BEH, Veilh als Homileliker; Swoboda, Erxter homi-
letischer K urs (Vicaaa, 1911); Vortrdgeund Verhandlungen (Vienna,
1911). IL"J 4S. COLESTIN Woi.FSGRCBER.
Velazquez, Dieoo Rodriguez de Silva y, Spanish painter, b. at Seville 5 June, l.">99 (the certificate of baptism is dated 6 June); d. at Madrid, 7 August, 16tJ0. Ilis father, Juan Rodriguez, belonged to the
Portuguese family of Silva; the child took I he name of almo.st exclusively religious he alone is a lay painter,
hismother,f'.('r(')iiiiiia\elazquez. Heentcred lliestudio he alone scarcely ever painted for convents and
of the aged Herrcra, but could not stand his temper, churches; he alone had occasion to paint historical
