Velazquez Was Painting The Portrait Of A Stupid Little Infanta
When The Idea Came To Him Of Perpetuating The Scene Just As It Was.
We
know how we have wished to be sure of the exact accessories of past
events.
The modern rage for theatrical local color is an illustration of
this desire. The great artist, who must have honored his art, determined
to give to future ages an exact picture of one instant of his glorious
life. It is not too much to say he has done this. He stands before his
easel, his pencils in his hand. The little princess is stiffly posing in
the centre. Her little maids are grouped about her. Two hideous dwarfs
on the right are teasing a noble dog who is too drowsy and magnanimous
to growl. In the background at the end of a long gallery a gentleman is
opening a door to the garden. The presence of royalty is indicated by
the reflection of the faces of the king and queen in a small mirror,
where you would expect to see your own. The longer you look upon this
marvellous painting, the less possible does it seem that it is merely
the placing of color on canvas which causes this perfect illusion. It
does not seem possible that you are looking at a plane surface. There is
a stratum of air before, behind, and beside these figures. You could
walk on that floor and see how the artist is getting on with the
portrait.
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