61 files changed, 17 insertions, 3452 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..fe7ed39
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #65034 (https://www.gutenberg.org/ebooks/65034)
diff --git a/old/65034-0.txt b/old/65034-0.txt
deleted file mode 100644
index 647fcab..0000000
--- a/old/65034-0.txt
+++ /dev/null
@@ -1,1422 +0,0 @@
-The Project Gutenberg eBook of Velázquez en el museo del Prado, by A. de
-Buruete y Moret
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Velázquez en el museo del Prado
-
-Author: A. de Buruete y Moret
-
-Release Date: April 09, 2021 [eBook #65034]
-
-Language: Spanish
-
-Character set encoding: UTF-8
-
-Produced by: Chuck Greif and the Online Distributed Proofreading Team at
-             http://www.pgdp.net (This file was produced from images
-             available at The Internet Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK VELÁZQUEZ EN EL MUSEO DEL
-PRADO ***
-
-
-
-
-                           EL ARTE EN ESPAÑA
-
-                BAJO EL PATRONATO DE LA COMISARÍA REGIA
-                    DEL TURISMO Y CULTURA ARTÍSTICA
-
-
-                               VELAZQUEZ
-
-                         EN EL MUSEO DEL PRADO
-
-             _Cuarenta y ocho ilustraciones con texto de_
-                         A. de Beruete y Moret
-
-                            [Illustration]
-
-                          HIJOS DE J. THOMAS
-
-                      c. MALLORCA, 291--BARCELONA
-
-
-                      RESERVADOS LOS DERECHOS DE
-                    PROPIEDAD ARTÍSTICA Y LITERARIA
-
-
-
-
-[Illustration] VELÁZQUEZ
-
-
-El desarrollo progresivo del arte español en los tiempos de Felipe II,
-debido en parte a las influencias de artistas extranjeros aportadas por
-las relaciones personales y preferencias de aquel significado monarca,
-ayudaron poderosamente al brillante apogeo pictórico del siglo XVII.
-Pero entre aquel período que pudiera denominarse de gestación aun
-indefinida y borrosa, al del florecimiento nacional castizo, mediaron
-algunos años, los últimos del siglo XVI y los primeros de la centuria
-siguiente, que fueron poco afortunados para nuestra pintura. Degenerada
-la escuela de los retratistas, muerto El Greco, aislada gran parte de su
-producción en Toledo, sin una sola personalidad pictórica las ciudades
-más notables y la Corte sin pintores de valía, no era fácil predecir que
-el momento brillante estaba tan próximo ni que iba a ser tan rico, tan
-extenso y tan vario.
-
-Por aquellos días tristes para la pintura española empezaba su educación
-artística un joven, casi un niño, que había nacido en Sevilla en 6 de
-Junio de 1599: Diego Rodríguez de Silva y Velázquez.
-
-Desde la temprana edad de once años fué alumno de Francisco Pacheco,
-aquel cultísimo pintor a cuya casa acudía lo más selecto en Letras y
-Artes de la ciudad andaluza. Las enseñanzas de Pacheco, sus máximas
-artísticas, trasnochado trasunto del pseudo-clasicismo imperante a la
-sazón, no consiguieron torcer el temperamento y las inclinaciones de su
-joven alumno, enderezadas al culto de la interpretación fiel del
-natural. Nada de convencionalismos de escuela, nada de embellecer la
-forma ruda que a menudo presenta el modelo vivo a los ojos de un
-espíritu que anhela un ideal superior. Copiarlo tal y cómo a su vista se
-presentaba, sin atenuaciones ni falseamientos, fué su eterno propósito,
-al cual se mantuvo fiel, ayudado por su temperamento reposado y sereno y
-por el más perfecto órgano visual. Multitud de estudios seriamente
-realizados, ya al lápiz, ya en color, fueron sus primeros ensayos. Aun
-adolescente, ejecutó alguna de aquellas obras que asombran por su
-realismo, por su magistral dibujo (cualidad que le fue ingénita), por su
-relieve escultural, por su sobriedad, _La vieja friendo huevos_, de la
-colección Cook, y _El aguador de Sevilla_, perteneciente al Duque de
-Wellington, ambos cuadros en Inglaterra, nos demuestran la forma y
-resolución que daba el artista en aquellos años a estas obras de
-carácter popular, a juzgar por su asunto y modelos. En cuanto a las
-obras de carácter religioso, pueden servir de tipo _La Inmaculada
-Concepción_, _San Juan en Patmos_, _Cristo en casa de Marta_, todas tres
-en Inglaterra como las anteriores; _San Pedro_, en una colección
-particular de Madrid; _La Adoración de los Reyes_, en el Museo del
-Prado, y _Cristo y los peregrinos de Emaus_, que ha sido adquirido
-recientemente en los Estados Unidos.
-
-Aun cuando el arte que revelan estos cuadros y todos los demás que por
-aquellos años, aun de aprendizaje, pintara en Sevilla, no son sino lo
-opuesto a las máximas preconizadas por Pacheco, éste, lejos de torcer
-una manifestación tan patente, alentó las tendencias a la realización de
-una pintura tan francamente naturalista que realizaba su discípulo, y,
-cautivado por las cualidades morales que demostraba, le hizo su yerno
-antes de cumplir los diez y nueve años. Algo después, tras una tentativa
-infructuosa hecha en 1622, consiguió Pacheco, en 1623, la introducción
-de Velázquez en la Corte del rey Felipe IV, de cuyo servicio no se había
-de separar durante el transcurso de su vida.
-
-Del asombro que produjo en la Corte el retrato de Fonseca, el primero
-que hizo el joven sevillano, como ensayo de su capacidad, da testimonio
-el hecho de que al verlo el Rey, sus hermanos los Infantes y los nobles,
-Velázquez fué agraciado con puesto y sueldo en Palacio y encargado de
-pintar sin dilación la efigie del Soberano.
-
-Perdido el retrato de Fonseca, existen varios del Monarca, del Infante
-D. Carlos, del Conde-Duque de Olivares, pintados en aquellos primeros
-años de Velázquez en Madrid, obras maestras, tan personales, que bastan
-a explicar la rivalidad que despertara aquel joven intruso entre los
-pintores adocenados de Felipe IV. Su posición, sin embargo, se afianzó
-de día en día, no contribuyendo poco a esto el triunfo obtenido en 1625
-con un retrato ecuestre del Monarca, hoy desaparecido, y el premio que
-le fué acordado por el lienzo _La Expulsión de los Moriscos_, para el
-cual fué abierto un concurso en competencia con otros tres pintores del
-Rey, Vicente Carducho, Eugenio Caxes y Angel Nardi. Obtuvo Velázquez la
-palma que le concedió por unanimidad un Jurado compuesto de artistas.
-Perdido también este lienzo en el incendio del Alcázar de 1734, queda
-otro, _Los Borrachos_, terminado dos años después, síntesis suprema de
-cuanto hasta aquella fecha produjera. Muestra este lienzo las cualidades
-todas de aquellas obras ejecutadas en Sevilla en sus primeros años de
-aprendizaje, pero en un grado muy superior. Nunca ha tenido la picaresca
-española, que hace un papel tan brillante en la literatura de aquellos
-días, más genuina representación que la que ostenta este lienzo
-prodigioso. En él se reveló el artista con un vigor no superado después
-en la caracterización de tipos y en la fuerza de expresión. Si Velázquez
-hubiera muerto luego de pintado el cuadro de _Los Borrachos_, bastara
-esta sola obra para darle la supremacía y el título de creador de una
-escuela indefinida hasta entonces por falta de orientación fija y
-personal.
-
-Y sin embargo, aquellos comienzos tan brillantes en la Corte no fueron
-sino pálidos anuncios y tenues vislumbres del asombroso florecimiento
-que había de alcanzar más adelante.
-
-Su primer viaje a Italia, en el año de 1629, que fué en el que terminó
-_Los Borrachos_, marca un progreso en el perfeccionamiento de sus
-cualidades nativas tan desarrolladas por el estudio de los grandes
-maestros italianos y por su constante afán de realizar una
-interpretación sobria y siempre fiel del natural.
-
-En aquellos países y por aquellos años, en el ambiente clásico, produjo
-_La Fragua de Vulcano_, obra mitológica en la que, si no demostró un
-saber profundo acerca de los cánones clásicos, dejó bien patente su
-maestría en la resolución del desnudo. Asimismo y entre otras obras,
-pintó entonces los dos paisajes de la Villa Médicis, en Roma, donde
-mostró, no obstante la sencillez de estas obras, la manera cómo él
-comprendía y trataba el paisaje. En este respecto se le ha considerado
-como un precursor de la forma en que las modernas escuelas han entendido
-la resolución de la pintura al aire libre.
-
-Desde 1631, en que regresó de Italia, hasta 1649, en que emprendió su
-segundo viaje, se halla comprendido el período de la más variada y
-asombrosa producción del artista, no por lo fecundo, que Velázquez no lo
-fué nunca en cuanto al número de las obras de su pincel, aunque sí por
-lo selecto de esas obras.
-
-El cuadro de _Las Lanzas_, de sin igual nobleza, obra representativa del
-genio pictórico de una raza hidalga; los retratos ecuestres de Reyes y
-Príncipes; aquellos otros en que estos mismos personajes aparecen
-vestidos de cazadores, en los que se sirvió para fondo de diferentes
-paisajes del monte del Pardo, que con sus seculares encinas, plantadas
-en un terreno rico en accidentes, pero pobre de suelo, se ve limitado en
-el horizonte por la cadena de montañas de la sierra de Guadarrama, donde
-brillan al sol de Castilla sus altas cumbres casi siempre cubiertas de
-nieve; otros retratos como el del Conde Duque de Olivares; el del Rey
-en traje militar, pintado en Fraga en 1644 y descubierto el año pasado;
-los de algunos bufones de la Corte; el de mujer española, tan típico en
-su clase, que atesora la colección Wallace; el Cristo en la cruz; las
-escenas de caza, son obras que bastan para dar idea del crecimiento que
-adquiere el pintor durante ese período, acentuando su personalidad
-potente. Durante estos diez y ocho años de su edad madura desenvuelve lo
-que la crítica ha denominado su segunda manera, más amplia y grandiosa
-que la de su juventud, más colorista cada día, enriqueciendo todas las
-obras que salían de sus pinceles con aquellas finas armonías grises, a
-veces plateadas, tan características y tan inconfundibles.
-
-Pero aun guardaba bríos para crear un arte superior, quizá enigmático de
-puro sencillo, que se muestra en todas las obras de la última década de
-su vida, arte tan sublime que empezó no ha mucho a ser comprendido y que
-hoy está dando sus mejores frutos.
-
-Desde que en 1650 Velázquez pintó en Roma el retrato del Papa Doria,
-precedido del busto de Juan Pareja, de Longford Castle, y del estudio
-para dicho retrato del Papa que se guarda en San Petersburgo, en el
-Museo del Ermitage, hasta la muerte del artista en Agosto de 1660,
-Velázquez, alto funcionario de la Corte ocupado en comisiones de obras
-de los Alcázares y Palacios Reales, tarea completamente ajena al
-ejercicio del arte y que contribuyó no poco a mermar su producción,
-robó, no obstante, a tan múltiples y enojosas tareas el tiempo
-suficiente para crear obras como los últimos retratos de los Reyes y de
-los Príncipes que admiramos en Madrid, Viena, Londres y París; la
-segunda serie de los enanos de la Corte, más asombrosa aun y más rica
-que la pintada en los años medios, en la cual deben ser colocadas las
-dos características figuras de _Esopo_ y _Menipo_, que nada de griegos
-tienen, pero que son en esta última época de la vida del pintor lo que
-fueron en la primera el lienzo de _Los Borrachos_, los dos cuadros
-religiosos de _La Coronación de la Virgen_ y _Los Santos Ermitaños_, los
-seis mitológicos, tres de ellos perdidos en el incendio del Alcázar en
-1734, pero de los que afortunadamente conservamos en nuestro Museo
-Nacional _El Dios Marte_ y _Mercurio y Argos_, y la _Venus del Espejo_,
-que posee la Galería Nacional de Londres, y la originalidad del cual ha
-sido tan injustamente discutida; y, por último, los lienzos capitales
-_Las Hilanderas_ y _Las Meninas_, monumentos supremos de toda una
-escuela pictórica, modelos de arte sintético, de asombrosa sencillez en
-su factura, de armonías deliciosas y de estudios de valores, trozos, en
-fin, de pintura sublime que, bajo una modesta apariencia, nada
-aparatosa, son, no obstante, obras mágicas creadas espontáneamente, sin
-que en parte alguna de ellas revelen ni esfuerzo, ni debilidad, ni
-fatiga.
-
-Tal fué el genio que tanta gloria ha dado a España y que con sólo un
-centenar de obras ha ejercido la más poderosa influencia en casi todas
-las escuelas contemporáneas.
-
-                                                  A. DE BERUETE Y MORET
-
-Los números que van al pié de las láminas corresponden a los del
-catálogo oficial del Museo del Prado.
-
-
-
-
-[Illustration] VELAZQUEZ
-
-_Traduit par M. Emile Bertaux, Correspondant de l’Académie Royale de
-Saint Ferdinand et Professeur à l’Université de Paris_
-
-
-Le développement progressif de l’art espagnol à l’époque de Philippe II,
-qui avait été dû en partie à l’influence d’artistes étrangers groupés
-par les relations personnelles et les préférences d’un monarque dont la
-personnalité fut dominatrice, contribua puissament à l’éclat de la
-peinture qui atteint son apogée pendant le XVIIᵉ siècle. Cependant la
-période de gestation encore mal définie et confuse qui précède la
-floraison d’un art purement national en est séparée par quelques années,
-les dernières du XVIᵉ siècle et les premières du siècle suivant, qui
-furent peu heureuses pour notre peinture. La décadence de l’école des
-portraitistes, la mort du Greco, dont l’œuvre presque entière demeurait
-isolée à Tolède, l’absence d’une personnalité artistique dans les villes
-les plus importantes et d’un peintre de valeur à la Cour ne laissaient
-guère prévoir que l’époque brillante fut si proche pour l’art, ni
-qu’elle dut être si riche, si prolongée et si variée dans ses
-manifestations.
-
-C’est dans ces jours tristes pour la peinture espagnole qu’un jeune
-homme, né à Séville le 6 Juin 1599, commençait son éducation artistique:
-il s’appelait Diego Rodríguez de Silva y Velázquez.
-
-Dès l’âge de onze ans il fut élève de Francisco Pacheco, ce peintre
-d’esprit très cultivé qui attirait dans sa maison tout ce qui formait
-dans la capitale andaleuse l’élite des lettres et des arts. Les
-enseignements de Pacheco, ses maximes artistiques, résumés du
-pseudo-classicisme qui était de mode alors, n’arrivèrent pas à détourner
-le tempérament et les tendances du jeune homme, qui se consacrait déjà a
-l’interprétation fidèle de la nature. Point de conventions d’école;
-point d’embellissements de la forme brute que le modèle vivant offre à
-la vue d’un esprit qui souvent aspire à un idéal supérieur. Copier la
-nature, telle qu’elle se présentait à ses yeux, sans atténuations ni
-falsifications, tel fut toujours le principe auquel il demeura fidèle et
-qu’il put observer grâce à la froideur sereine de son tempérament
-d’artiste et à la perfection unique de son organe visuel. Ses premiers
-essais furent de nombreuses études très sérieusement exécutées au moyen
-du crayon ou de la couleur. Encore adolescent il peignit quelques unes
-de ces œuvres si étonnantes par le réalisme, par le dessin magistral
-(que Velázquez posséda comme un don inné), par le relief sculptural et
-la sobriété: la _Vieille femme faisant frire des œufs_ (de la collection
-Cook) et le _Porteur d’eau de Séville_ (appartenant au duc de
-Wellington). Ces deux tableaux d’Angleterre nous montrent la vigueur que
-l’artiste donnait dès lors à ces œuvres de caractère populaire par le
-sujet et les modèles. Quant aux œuvres de caractère religieux, on peut
-citer comme types l’_Immaculée Conception_, _Saint Jean à Pathmos_, le
-_Christ dans la maison de Marthe_, trois tableaux qui, comme les
-précédents, sont conservés en Angleterre; un _Saint Pierre_, dans une
-collection particulière de Madrid; l’_Adoration des Mages_, au Musée du
-Prado, et le _Christ avec les pélerins d’Emmaüs_, qui a été récemment
-acquis par un collectionneur des Etats Unis.
-
-L’art que révèlent ces tableaux et les autres que Velázquez peignit à
-Séville dans ces années d’apprentissage se trouvait en contradiction
-avec les maximes professées par Pacheco; pourtant celui-ci, bien loin de
-chercher à détourner son disciple de la vocation qu’il manifestait,
-l’encouragea à réaliser une peinture franchement naturaliste, et séduit
-par les qualités morales de Velázquez, il fit de lui son gendre, avant
-que le jeune peintre eût accompli sa dix-neuvième année. Un peu plus
-tard Pacheco, après avoir fait en 1622 une première tentative qui resta
-infructueuse, parvint en 1623 à introduire Velázquez à la cour du roi
-Philippe IV: le peintre devait rester toute sa vie attaché au service de
-son souverain.
-
-Le portrait de Fonseca, le premier que le jeune Sévillan peignit à la
-Cour, mit à l’épreuve son talent d’une manière si éclatante que lorsque
-ce portrait eut été montré au Roi, aux Infants ses frères et aux
-courtisans, Velázquez obtint une place et un traitement au Palais et fut
-chargé de peindre sans délai l’effigie du souverain.
-
-Le portrait de Fonseca est perdu; mais il existe divers portraits du
-Roi, de l’Infant D. Carlos, du Comte-Duc d’Olivares, qui ont été peints
-dans les premières années que Velázquez passa à Madrid. Ce sont des
-œuvres magistrales et si personnelles qu’elles suffisent à expliquer la
-jalousie que le jeune intrus éveilla dans le groupe médiocre des
-peintres de Philippe IV. Cependant la position de Velázquez se consolida
-de jour en jour, et particulièrement après le triomphe qu’il obtint en
-1626 avec un portrait équestre du roi, qui a disparu et après sa
-victoire dans le concours institué pour le tableau de l’Expulsion des
-Morisques. Dans ce concours, où il se recontrait avec trois autres
-peintres du roi, Vicente Carducho, Eugenio Caxes et Angel Nardi,
-Velázquez remporta la palme à l’unanimité d’un jury composé d’artistes.
-Ce tableau a péri, lui aussi, dans l’incendie de l’Alcázar de Madrid en
-1734. Il en reste un autre, les _Buveurs_, terminé deux ans plus tard,
-et qui se présente comme la synthèse suprême de tout ce que Velázquez a
-produit à cette époque. Ce tableau montre toutes les qualités des œuvres
-exécutées à Séville dans les premières années d’apprentissage, mais à un
-degré très supérieur. Nulle part l’esprit picaresque, qui joua un rôle
-si brillant dans la littérature espagnole de ce temps, n’a trouvé une
-expression plus originale que dans cette toile prodigieuse. L’artiste
-s’y révèle avec une vigueur qui n’a pas été surpassée pour la
-caractéristique des types et l’énergie de l’expression. Si Velázquez
-était mort au lendemain des _Borrachos_, cette œuvre seule suffirait à
-lui assurer la suprématie et le titre de créateur d’école dans un milieu
-qui manquait encore d’orientation fixe et de personnalité.
-
-Ces commencements de Velázquez à la Cour, si brillants qu’ils fussent,
-laissaient à peine prévoir le prodigieux éclat que devait atteindre le
-génie de l’artiste. Son premier voyage en Italie, qui eut lieu dans
-l’année même où il termina le tableau des Buveurs, en 1629, marque un
-perfectionnement de ses qualités naturelles, qui se développent par
-l’étude des grands maîtres italiens et par la volonté constante de
-réaliser une interprétation plus sobre et plus fidèle de la nature.
-C’est alors, en Italie et dans le milieu classique, qu’il peint la Forge
-de Vulcain, œuvre mythologique qui, si elle ne montre pas une
-connaissance bien sérieuse des canons consacrés, révèle toute la
-maîtrise du peintre dans l’exécution du nu. C’est alors encore que
-Velázquez peint les deux paysages de la Villa Médicis, à Rome, où il
-montra, dans de simples études, comment il comprenait et traitait le
-paysage, en précurseur des écoles modernes et de la peinture de plein
-air.
-
-Entre l’année 1631, qui est celle de son retour d’Italie, et l’année
-1649, qui est celle de son second voyage à Rome, s’ouvre la période où
-la production de l’artiste est la plus étonnante, non pour la fécondité,
-que Velázquez ne connut jamais, mais pour la variété et le raffinement
-des œuvres.
-
-Le tableau des Lances, de noblesse sans égale, où le génie du peintre
-rend visible tout l’esprit chevaleresque de la race; les portraits
-équestres du Roi, de la Reine et des princes; les autres toiles, où les
-mêmes personnages se montrent vêtus en chasseurs, et qui ont pour fonds
-les paysages montagneux du Pardo, avec leurs chênes séculaires, plantés
-dans un terrain dont les formes sont aussi richement accidentées que le
-sol est pauvre, ces paysages dont l’horizon est limité par la chaîne de
-la Sierra de Guadarrama et par ses sommets neigeux qui brillent au
-soleil de la Castille; d’autres portraits encore, comme celui du
-Comte-Duc d’Olivares, celui du Roi en costume militaire, peint à Fraga
-en 1644 et découvert en 1912; ceux des bouffons de la cour; celui d’une
-femme espagnole, si typique entre tous les portraits du même genre, et
-qui est l’un des trésors de la collection Wallace; le Christ en croix;
-les scènes de chasses; ce sont autant d’œuvres qui donnent une idée de
-la puissance qu’acquiert alors la personnalité du peintre. Pendant ces
-dix huit ans de sa maturité se développe ce que la critique a appelé la
-seconde manière de Velazquez, plus ample que elle de sa jeunesse, de
-plus en plus colorée et enrichie de ces fines harmonies grises ou
-argentées auquel rien ne peut être comparé.
-
-Il restait encore cependant au peintre des forces pour créer un art
-supérieur, presque énigmatique, qui se révèle dans les œuvres de la
-dernière décade de sa vie, art si sublime qu’il n’a été compris que
-depuis peu et qu’il trouve peut-être aujourd’hui ses meilleurs
-disciples.
-
-Après avoir peint à Rome en 1650 le portrait du _pape Doria_, précédé du
-buste de _Juan Pareja_ (aujourd’hui à Longford Castle) et de l’étude
-pour le portrait du pape qui est conservée à Saint-Pétersbourg, au Musée
-de l’Ermitage, Velázquez devient l’un des plus hauts fonctionnaires de
-la Cour d’Espagne. Il présida jusqu’à sa mort, au mois d’août 1660, aux
-travaux des Palais Royaux. Ces fonctions officielles, complètement
-étrangères à l’exercice de son art, contribuèrent beaucoup à
-restreindre la production de l’artiste. Cependant il trouva moyen de
-prendre sur ses occupations multiples et fastidieuses le temps de créer
-des œuvres comme les derniers portraits des Rois et des Princes que nous
-admirons à Madrid; la seconde série des nains de la cour, plus riche
-encore et plus étonnante que celle qu’il avait peinte au milieu de sa
-vie, et dans laquelle il faut placer les deux figures caractéristiques
-d’_Esope_ et de _Ménippe_, qui n’ont rien de grec et qui sont dans cette
-dernière époque de la vie du peintre ce qu’avait été dans la première
-les tableaux des Buveurs; les deux tableaux religieux du _Couronnement
-de la Vierge_ et des _Saints Ermites_; les six toiles mythologiques,
-dont trois ont péri dans l’incendie de l’Alcazar en 1734, mais dont il
-reste heureusement, dans notre Musée national, le _Dieu Mars_ et
-_Mercure avec Argue_, et, dans la Galerie nationale de Londres, la
-_Vénus au miroir_, dont l’authenticité a été discutée bien à tort;
-enfin, les toiles capitales des _Fileuses_ et des _Ménines_, monuments
-suprêmes de toute une école, modèles d’art synthétique, merveilleux pour
-la simplicité de la facture, la délicatesse des harmonies et l’étude des
-valeurs, morceaux de peinture, qui, sous une apparence modeste et sans
-nul apparat, sont des œuvres magiques et des créations sublimes, dans
-lesquelles le peintre ne trahit ni effort, ni faiblesse, ni fatigue. Tel
-fut le génie qui a donné tant de gloire à l’Espagne et qui, avec une
-centaine d’œuvres, à peine, a exercé l’influence la plus puissante sur
-presque toutes les écoles contemporaines.
-
-                                                 A. DE BERUETE Y MORET.
-
-Les numéros qui figurent aux pieds des gravures, correspondent aux ceux
-du Catalogue officiel du Museo del Prado.
-
-
-
-
-[Illustration] VELAZQUEZ
-
-
-The development of Spanish art in the time of Philip II which was partly
-due to the influence of foreign artists brought together by that
-distinguished monarch’s personal relations and preferences, contributed
-greatly to the glory of painting, which reached its zenith in the
-seventeenth century. But the period of gestation as yet ill defined and
-confused, which precedes the blossoming of a purely national art, is
-separated from it by several years; the last of the sixteenth century
-and the first of the following century were not the happiest for our
-painting. The decay of the school of the portrait painters, the death of
-El Greco, whose work remained almost entirely confined to Toledo, the
-absence of any artistic personality in the largest towns, or of a
-painter of any talent at court, hardly encouraged men to prophecy that
-the golden age of art was at hand, or that it was to be so rich, so
-prolonged or so various in its manifestations.
-
-It was in these melancholy days for Spanish painting that a young man,
-born in Seville in 1699, began his artistic education. His name was
-Diego Rodríguez de Silva y Velázquez.
-
-From eleven years of age he had been the pupil of Francisco Pacheco, the
-painter whose highly trained intelligence attracted all those who
-formed, in the Andalusian capital, the aristocracy of art and letters.
-
-The teaching of Pacheco, his artistic maxims, crystallised from the
-pseudo-classicism which was then fashionable, made no impression on the
-temperament and natural tendencies of the young man, who had already
-devoted himself to the faithful interpretation of nature. No conventions
-of the studios; no embellishment of the rude form which the living model
-offers to the vision of a soul that often aspires to some higher ideal;
-to follow nature as she reveals herself to his eyes, without
-conventionalising or falsifying, such was the principle to which he
-always remained faithful, and which he was able to observe, thanks to
-the serene aloofness of his artistic temperament and the marvellous
-correctness of his eye. His first attempts were numerous crayon and
-colour studies executed with great seriousness. While still in his teens
-he painted several of those works so remarkable for their realism, for
-their masterly drawing (which with Velázquez was an innate gift), for
-their sculptural relief and precision: the Old Woman Frying Eggs (of the
-Cook collection) and the Seville Water-Carrier (in the possession of the
-Duke of Wellington). Both these pictures, now in England, show that
-vigour with which the artist treated popular subjects. Typical of his
-religious works are the Immaculate Conception, St. John in Patmos,
-Christ in the House of Martha, all three, like the preceding ones, in
-England; St. Peter, in a private collection at Madrid; the Adoration of
-the Magi in the Prado; and Christ with the Pilgrims of Emmaus, which has
-been recently acquired by an American collector.
-
-The art revealed by these pictures and the others which Velázquez
-painted at Seville in his years of apprenticeship, are in direct
-contradiction with the principles professed by Pacheco. Yet, far from
-seeking to dissuade his pupil from following the tendencies he
-manifested, he encouraged him to realise a style of painting frankly
-naturalistic; and, won by the moral qualities of Velázquez, made him his
-son-in-law before the young painter had completed his nineteenth year. A
-little later, Pacheco, after having made in 1622 an unsuccessful
-attempt, succeeded in 1623 in introducing Velázquez to the court of
-Philip IV. The painter remained his whole life in the service of his
-sovereign.
-
-The portrait of Fonseca, the first which the young Sevillian painted at
-the Court, put his talent to the proof in a manner so brilliant that
-when this portrait had been shown to the King, to his brothers the
-Infantes and to the courtiers, Velázquez obtained a salaried position at
-Court and was at once commissioned to paint the portrait of the
-sovereign.
-
-Fonseca’s portrait is lost, but there are in existence several portraits
-of the King, the Infante D. Carlos, the Count-Duke Olivares, painted in
-the first years spent by Velázquez in Madrid. These are masterly works
-and so personal that they are sufficient to explain the jealousy which
-the young intruder aroused in the mediocre group of painters around
-Philip IV. Nevertheless the position of Velázquez grew stronger from day
-to day, and particularly after his triumph in 1625 with an equestrian
-portrait of the King which has disappeared, and his victory in the
-competition for a picture showing the expulsion of the Moors. Here he
-was matched against three of the King’s other painters, Vincente
-Carducho, Eugenio Caxes and Angel Nardi. Velázquez obtained the prize by
-the unanimous decision of a jury composed of artists. This painting was
-also lost in the burning of the Alcazar at Madrid in 1734. There remains
-another, The Topers, finished two years later, the high water mark of
-Velázquez’s production during these years. This picture shows all the
-qualities of the works executed at Seville in the first years of
-apprenticeship, but in a higher degree. Nowhere has the picaresque
-spirit which played so brilliant a part in Spanish literature at that
-time, found a more original expression than on this extraordinary
-canvas. The artist here reveals himself with a vigour that has not been
-surpassed for characterization of types and energy of expression. If
-Velázquez had died the day after finishing The Topers, this work alone
-would have been enough to ensure his supremacy and to give him the title
-of founder of a school in a milieu still lacking in definite orientation
-and in personality.
-
-These brilliant beginnings of Velázquez at Court dimly foreshadowed the
-glory which awaited him. His first travels in Italy which took place the
-year that he finished the painting of The Topers, in 1629, marks a
-perfecting of his natural qualities, which develop by the study of the
-great Italian masters and by the constant determination to realize an
-interpretation more precise and more faithful to nature.
-
-It was then in Italy and in classical surroundings that he painted
-Vulcan’s Forge, a mythological work, which if it does not show a very
-close acquaintance with the consecrated canons, reveals all the mastery
-of the artist in the execution of the nude. Then also it was that
-Velázquez painted the two landscapes of the Villa Medici at Rome, where
-he showed in simple studies how he understood and treated landscape, as
-the forerunner of the modern schools of open-air painting.
-
-Between the year 1631, the date of his return from Italy, and the year
-1649 the date of his second journey to Rome, begins the period during
-which the artist’s production is most marvellous, not for copiousness
-which never characterised Velázquez, but for the variety and refinement
-of his works.
-
-The painting of The Lances unequalled for nobility, where the painter’s
-genius reproduces all the chivalrous spirit of the race; the equestrian
-portraits of the King, Queen and princes; the other canvases where the
-same personages are seen dressed for the chase, and which have as
-background the mountainous country of the Pardo with its ancient oaks
-planted in a soil as picturesque as it is poor--these landscapes, the
-horizon of which is bounded by the range of the Sierra de Guadarrama,
-and by the snowy summits of Castile glittering in the sun; and other
-portraits also like that of the Count-Duke Olivares; that of the King
-in military uniform painted at Fraga in 1644 and discovered in 1912;
-those of the court jesters; that of a Spanish woman, typical of its
-class, which is one of the treasures of the Wallace collection; Christ
-on the Cross; the scenes of the chase; all works which give an idea of
-the power which the painter’s personality acquired. During these
-eighteen years of maturity developed what the critics call the second
-manner of Velázquez, larger than that of his youth, even more finely
-coloured and enriched with those harmonies in grey and silver with which
-nothing else can compare.
-
-But the painter still retained sufficient vitality to create a higher
-art, almost enigmatical, which is shown in the works of his last decade,
-an art so sublime that it has only recently been understood, and which
-finds perhaps its best disciples among the moderns.
-
-After having painted at Rome in 1650 the portrait of the Doria Pope,
-preceded by the bust of Juan Pareja now at Longford Castle, and the
-study for the portrait of the Pope which is preserved in St. Petersburg
-at the Hermitage, Velázquez became one of the highest functionaries of
-the Spanish Court. Up to his death in the month of August 1660 he
-superintended the decoration of the Royal Palace. His official duties,
-which were quite foreign to the exercise of his art contributed greatly
-to limit the output of the painter. However he found means to take from
-his numerous and exacting occupations the time to create works such as
-the last portraits of the Kings and the Princes which we admire so much
-at Madrid; the second series of dwarfs, richer still and more
-marvellous than those that he had painted in his maturity and among
-which we must place the two characteristic figures of Aesop and Menippus
-which have nothing of the Greek and are in the last epoch of the
-painter’s life, what the painting of the Drunkards had been in the
-earlier; the two religious paintings of the Crowning of the Virgin and
-the Holy Hermits; the six mythological canvases, three of which perished
-in the burning of the Alcazar in 1734, but some of which happily remain
-in our national Museum, the Gods Mars and Mercury with Argus, and, in
-the National Gallery in London, the Venus with the Looking-glass, the
-attribution of which has been wrongly doubted; and finally the fine
-canvases of the Spinners and the Meninas the supreme monuments of a
-whole school, models of synthetic art, marvellous for the simplicity of
-their technique, the delicacy of their harmonies, and the study of
-values, paintings which, in spite of their modest appearance and lack of
-elaboration, are works of magic and sublime creations in which the
-painter betrays neither effort, weakness or fatigue.
-
-Such was the genius who has conferred so much glory on Spain and who,
-with barely a hundred canvases, has exercised the most powerful
-influence over nearly all modern schools of painting.
-
-                                                 A. DE BERUETE Y MORET.
-
-The numbers at the foot of the illustrations, correspond to those in the
-official catalogue of the Prado Museum.
-
-[Illustration: LA ADORACIÓN DE LOS REYE
-
-L’ADORATION DES MAGES
-
-THE ADORATION OF THE MAGIS
-
-[1166]]
-
-[Illustration: RETRATO DE HOMBRE
-
-PORTRAIT D’HOMME
-
-PORTRAIT OF A MAN
-
-[1209]]
-
-[Illustration: RETRATO DE FELIPE IV.
-
-PORTRAIT DE PHILIPPE IV
-
-PORTRAIT OF PHILIP IV
-
-[1182]]
-
-[Illustration: RETRATO DE D.ª JUANA PACHECO, MUJER DEL PAINTER
-
-PORTRAIT DE D.ª JUANA PACHECO, FEMME DU PEINTRE
-
-PORTRAIT OF JOANNA PACHECO, WIFE OF THE PAINTER
-
-[1197]]
-
-[Illustration: RETRATO DEL INFANTE D. CARLOS
-
-PORTRAIT DE L’INFANT DON CARLOS
-
-PORTRAIT OF THE INFANTE CHARLES
-
-[1188]]
-
-[Illustration: REUNIÓN DE BEBEDORES (LOS BORRACHOS)
-
-RÉUNION DE BUVEURS (LES IVROGNES)
-
-THE WINE BIBBERS
-
-[1170]]
-
-[Illustration: RETRATO DE FELIPE IV
-
-PORTRAIT DE PHILIPPE IV
-
-PORTRAIT OF PHILIP IV
-
-[1183]]
-
-[Illustration: RETRATO DE LA INFANTA DE ESPAÑA D.ª MARIA, REINA DE
-HUNGRÍA
-
-PORTRAIT DE L’INFANTE D’ESPAGNE D.ª MARIA, REINE DE HONGRIE
-
-PORTRAIT OF THE INFANTA MARIA OF SPAIN, QUEEN OF HUNGARY
-
-[1187]]
-
-[Illustration: LA FRAGUA DE VULCANO
-
-LA FORGE DE VULCAIN
-
-THE FORGE OF VULCAN
-
-[1171]]
-
-[Illustration: VISTA TOMADA EN EL JARDÍN DE LA «VILLA MÉDICI», EN ROMA
-
-VUE PRISE DANS LE JARDIN DE LA «VILLA MÉDICI», À ROME
-
-VIEW TAKEN IN THE GARDEN OF THE «VILLA MÉDICI», AT ROME
-
-[1210]]
-
-[Illustration: VISTA TOMADA EN EL JARDÍN DE LA «VILLA MÉDICI», EN ROMA
-
-VUE PRISE DANS LE JARDIN DE LA «VILLA MÉDICI», À ROME
-
-VIEW TAKEN IN THE GARDEN OF THE «VILLA MÉDICI», AT ROME
-
-[1211]]
-
-[Illustration: RETRATO DE UN BUFÓN DEL REY FELIPE IV, LLAMADO «PABLILLOS
-DE VALLADOLID»
-
-PORTRAIT D’UN BOUFFON DU ROI PHILIPPE IV «PABLILLOS DE VALLADOLID»
-
-PORTRAIT OF ONE OF THE BUFFOONS OF PHILIP IV, NAMED «PABLILLOS DE
-VALLADOLID»
-
-[1198]]
-
-[Illustration: RETRATO DE D. DIEGO DE CORRAL Y ARELLANO
-
-PORTRAIT DE D. DIEGO DE CORRAL Y ARELLANO
-
-PORTRAIT OF DIEGO DE CORRAL Y ARELLANO
-
-[1195]]
-
-[Illustration: RETRATO DE D.ª ANTONIA IPEÑARRIETA Y GALDÓS
-
-PORTRAIT DE D.ª ANTONIA IPEÑARRIETA Y GALDÓS
-
-PORTRAIT OF ANTONIA IPEÑARRIETA Y GALDÓS
-
-[1196]]
-
-[Illustration: NUESTRO SEÑOR CRUCIFICADO
-
-LE CHRIST EN CROIX
-
-OUR LORD CRUCIFIED
-
-[1167]]
-
-[Illustration: RETRATO DE D. ANTONIO ALONSO PIMENTEL
-
-PORTRAIT DE D. ANTONIO ALONSO PIMENTEL
-
-PORTRAIT OF ANTHONY ALONSO PIMENTEL
-
-[1193]]
-
-[Illustration: LA RENDICIÓN DE BREDA (LAS LANZAS)
-
-LA REDDITION DE BREDA (LES LANCES)
-
-CAPITULATION OF BREDA (THE LANCES)
-
-[1172]]
-
-[Illustration: LA RENDICIÓN DE BREDA (LAS LANZAS) (FRAGMENTO)
-
-LA REDDITION DE BREDA (LES LANCES) (FRAGMENT)
-
-CAPITULATION OF BREDA (THE LANCES) (FRAGMENT)
-
-[1172]]
-
-[Illustration: RETRATO DEL CÉLEBRE ESCULTOR MARTÍNEZ MONTÁÑEZ
-
-PORTRAIT DU SCULPTEUR CÉLÈBRE MARTÍNEZ MONTÁÑEZ
-
-PORTRAIT OF THE EMINENT SCULPTOR MARTÍNEZ MONTÁÑEZ
-
-[1194]]
-
-[Illustration: RETRATO DE LA REINA D.ª MARGARITA DE AUSTRIA
-
-PORTRAIT DE LA REINE MARGUERITE D’AUTRICHE
-
-PORTRAIT OF QUEEN MARGARET OF AUSTRIA
-
-[1177]]
-
-[Illustration: RETRATO DEL REY D. FELIPE III
-
-PORTRAIT DU ROI PHILIPPE III
-
-PORTRAIT OF PHILIP III
-
-[1176]]
-
-[Illustration: RETRATO DE LA REINA D.ª ISABEL DE BORBÓN
-
-PORTRAIT DE LA REINE ISABELLE DE BOURBON
-
-PORTRAIT OF QUEEN ISABEL OF BOURBON
-
-[1179]]
-
-[Illustration: RETRATO DEL REY D. FELIPE IV
-
-PORTRAIT DU ROI PHILIPPE IV
-
-PORTRAIT OF PHILIP IV
-
-[1178]]
-
-[Illustration: RETRATO DEL PRÍNCIPE DON BALTASAR CARLOS
-
-PORTRAIT DU PRINCE BALTHAZAR CARLOS
-
-PORTRAIT OF PRINCE BALTHAZAR CHARLES
-
-[1180]]
-
-[Illustration: RETRATO DEL CONDE-DUQUE DE OLIVARES
-
-PORTRAIT DU COMTE-DUC D’OLIVARES
-
-PORTRAIT OF THE COUNT-DUKE OLIVARES
-
-[1181]]
-
-[Illustration: RETRATO DEL REY D. FELIPE IV. EN TRAJE DE CAZA
-
-PORTRAIT DU ROI PHILIPPE IV EN COSTUME DE CHASSE
-
-PORTRAIT OF PHILIP IV IN HUNTING COSTUME
-
-[1184]]
-
-[Illustration: RETRATO DEL INFANTE D. FERNANDO DE AUSTRIA
-
-PORTRAIT DE L’INFANT FERDINAND D’AUTRICHE
-
-PORTRAIT OF THE INFANTE FERDINAND OF AUSTRIA
-
-1186]
-
-[Illustration: RETRATO DEL PRÍNCIPE DON BALTASAR CARLOS
-
-PORTRAIT DU PRINCE BALTHAZAR CARLOS
-
-PORTRAIT OF PRINCE BALTHAZAR CARLOS
-
-[1189]]
-
-[Illustration: RETRATO DE UN ENANO DEL REY FELIPE IV, LLAMADO «EL PRIMO»
-
-PORTRAIT D’UN NAIN DU ROI PHILIPPE IV, DIT «EL PRIMO»
-
-PORTRAIT OF A DWARF OF KING PHILIP IV, SURNAMED «EL PRIMO»
-
-[1201]]
-
-[Illustration: RETRATO DE UN ENANO DEL REY FELIPE IV
-
-PORTRAIT D’UN NAIN DU ROI PHILIPPE IV
-
-PORTRAIT OF A DWARF OF PHILIP IV
-
-[1202]]
-
-[Illustration: RETRATO DE UN ENANO DEL REY FELIPE IV
-
-PORTRAIT D’UN NAIN DU ROI PHILIPPE IV
-
-PORTRAIT OF A DWARF OF PHILIP IV
-
-[1203]]
-
-[Illustration: EL NIÑO DE VALLECAS
-
-L’ENFANT DE VALLECAS
-
-THE CHILD OF VALLECAS
-
-[1204]]
-
-[Illustration: EL BOBO DE CORIA
-
-L’IDIOT DE CORIA
-
-THE FOOL OF CORIA
-
-[1205]]
-
-[Illustration: RETRATO DE UN TRUHÁN DEL REY FELIPE IV
-
-PORTRAIT D’UN BOUFFON DU ROI PHILIPPE IV
-
-PORTRAIT OF ONE OF PHILIP IV’S JESTERS
-
-[1200]]
-
-[Illustration: RETRATO DE PERNÍA, BUFÓN DEL REY FELIPE IV
-
-PORTRAIT DE PERNÍA, BOUFFON DU ROI PHILIPPE IV
-
-PORTRAIT OF PERNÍA, BUFFOON OF PHILIP IV
-
-[1199]]
-
-[Illustration: RETRATO DE D.ª MARÍA DE AUSTRIA
-
-PORTRAIT DE D.ª MARÍA D’AUTRICHE
-
-PORTRAIT OF MARY OF AUSTRIA
-
-[1191]]
-
-[Illustration: RETRATO DE D.ª MARÍA DE AUSTRIA
-
-PORTRAIT DE D.ª MARÍA D’AUTRICHE
-
-PORTRAIT OF MARY OF AUSTRIA
-
-[1190]]
-
-[Illustration: RETRATO DE LA INFANTA D.ª MARÍA TERESA DE AUSTRIA
-
-PORTRAIT DE L’INFANTE MARIE THÉRÈSE D’AUTRICHE
-
-PORTRAIT OF THE INFANTA MARIA THERESA OF AUSTRIA
-
-[1192]]
-
-[Illustration: RETRATO DEL REY D. FELIPE IV
-
-PORTRAIT DU ROI PHILIPPE IV
-
-PORTRAIT OF PHILIP IV
-
-[1185]]
-
-[Illustration: EL DIOS MARTE
-
-LE DIEU MARS
-
-MARS
-
-[1208]]
-
-[Illustration: MERCURIO Y ARGOS
-
-MERCURE ET ARGUS
-
-MERCURY AND ARGUS
-
-[1175]]
-
-[Illustration: LA CORONACIÓN DE LA VIRGEN
-
-LE COURONNEMENT DE LA VIERGE
-
-THE CORONATION OF THE BLESSED VIRGIN
-
-[1168]]
-
-[Illustration: ESOPO
-
-ESOPE
-
-AESOP
-
-[1206]]
-
-[Illustration: MENIPO
-
-MÉNIPPE
-
-MENIPPUS
-
-[1207]]
-
-[Illustration: LA FÁBRICA DE TAPICES DE SANTA ISABEL DE MADRID (LAS
-HILANDERAS)
-
-LA FABRIQUE DE TAPISSERIES DE SANTA ISABEL, À MADRID (LES FILEUSES)
-
-THE TAPESTRY WORKS OF SAINT ISABEL AT MADRID. (THE SPINNERS)
-
-[1173]]
-
-[Illustration: LAS MENINAS (LA FAMILIA)
-
-LES MÉNINES (LA FAMILLE)
-
-THE LITTLE GIRLS (THE FAMILY)
-
-[1174]]
-
-[Illustration: LAS MENINAS (LA FAMILIA) (FRAGMENTO)
-
-LES MÉNINES (LA FAMILLE) (DÉTAIL)
-
-THE LITTLE GIRLS (THE FAMILY) (FRAGMENT)]
-
-[Illustration: SAN ANTONIO ABAD VISITANDO A SAN PABLO
-
-SAINT ANTOINE ABBÉ VISITANT SAINT PAUL ERMITE
-
-THE ABBOT SAINT ANTHONY, VISITING SAINT PAUL
-
-[1169]]
-
-                   *       *       *       *       *
-
-                           EL ARTE EN ESPAÑA
-
-                      EDICIONES DE VULGARIZACIÓN
-
-
-Propagar el conocimiento de los tesoros artísticos de nuestra patria, es
-lo que nos mueve a publicar esta Biblioteca de vulgarización del Arte
-nacional, que tiende, por lo económico de su precio, a que llegue a
-todas las manos. Es tanto lo que aún poseemos, y tan importante, que es
-de conveniencia que se sepa, por los que no lo tengan averiguado, que
-nuestro país es todo él un museo, rico, variado, generoso para cuantos a
-su estudio se dediquen. Para demostrarlo, y para que esta demostración
-llegue fácilmente a todas partes, emprendemos la publicación de una
-serie de tomitos en los cuales se recojerá, con abundancia de
-reproducciones y acompañado de breve texto, lo más saliente de antiguas
-construcciones seculares; de los pintores y escultores que gozan de
-nombradía universal y de cuanto en los museos españoles dice el abolengo
-de industrias artísticas nacionales.
-
-
-                           Obras publicadas:
-
-             1.--LA CATEDRAL DE BURGOS.
-             2.--GUADALAJARA-ALCALA DE HENARES.
-             3.--LA CASA DEL GRECO.
-             4.--REAL PALACIO DE MADRID.
-             5.--ALHAMBRA.
-             6.--VELAZQUEZ EN EL MUSEO DEL PRADO.
-             7.--SEVILLA.
-             8.--ESCORIAL.
-             9.--MONASTERIO DE GUADALUPE.
-            10.--EL GRECO.
-            11.--ARANJUEZ.
-            12.--MONASTERIO DE POBLET.
-            13.--CIUDAD RODRIGO.
-            14.--GOYA EN EL MUSEO DEL PRADO.
-            15.--LA CATEDRAL DE LEON.
-
-
-                              En prensa:
-
-                 PALENCIA  :  LA CATEDRAL DE SIGÜENZA
-
-
-      Establecimiento editorial Thomas, Mallorca, 291, Barcelona
-
-                   *       *       *       *       *
-
-
-                                MVSEVM
-
-                            REVISTA MENSUAL
-                            DE ARTE ESPAÑOL
-                        ANTIGUO Y MODERNO Y DE
-                    LA VIDA ARTÍSTICA CONTEMPORANEA
-
-[Illustration]
-
-=MVSEVM= es la única revista puramente artística en lengua española, que
-se publica en Europa y América; es la mejor publicación de arte que ve
-la luz en los países de origen latino, según lo atestigua la prensa
-competente de Europa; publica informaciones e investigaciones sobre
-pintura, escultura, arquitectura, arqueología, cerámica, vidriería,
-numismática, orfebrería, xilografía, tapices, bordados, decoración de
-interiores, etc., etc. A quien quiera lo solicite manda números de
-muestra.
-
-
-PRECIOS DE SUSCRIPCIÓN
-
-    España, un año.                     20 pesetas.
-    Extranjero.                         25 francos.
-    Número suelto.                       2 pesetas.
-    Número suelto en el extranjero       2 fr. 50.
-
-
-Administración: c. Mallorca, 291.--Barcelona--(España).
-
-       *       *       *       *       *
-
-                             _Reproducido,
-                  grabado y estampado en los talleres
-                         Thomas, de Barcelona_
-
-[Illustration]
-
-*** END OF THE PROJECT GUTENBERG EBOOK VELÁZQUEZ EN EL MUSEO DEL PRADO ***
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the
-United States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks may be modified and printed and given away--you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  This eBook is for the use of anyone anywhere in the United States and
-  most other parts of the world at no cost and with almost no
-  restrictions whatsoever. You may copy it, give it away or re-use it
-  under the terms of the Project Gutenberg License included with this
-  eBook or online at www.gutenberg.org. If you are not located in the
-  United States, you will have to check the laws of the country where
-  you are located before using this eBook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm website
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that:
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg-tm trademark. Contact the Foundation as set
-forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-Section 3. Information about the Project Gutenberg Literary
-Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non-profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's business office is located at 809 North 1500 West,
-Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
-to date contact information can be found at the Foundation's website
-and official page at www.gutenberg.org/contact
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without
-widespread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine-readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our website which has the main PG search
-facility: www.gutenberg.org
-
-This website includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/65034-0.zip b/old/65034-0.zip
deleted file mode 100644
index ff8bd98..0000000
--- a/old/65034-0.zip
+++ /dev/null
diff --git a/old/65034-h.zip b/old/65034-h.zip
deleted file mode 100644
index 65b0516..0000000
--- a/old/65034-h.zip
+++ /dev/null
diff --git a/old/65034-h/65034-h.htm b/old/65034-h/65034-h.htm
deleted file mode 100644
index 45b82e2..0000000
--- a/old/65034-h/65034-h.htm
+++ /dev/null
@@ -1,2030 +0,0 @@
-<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
-"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-
-<html xmlns="http://www.w3.org/1999/xhtml" lang="es" xml:lang="es">
-  <head>  <link rel="coverpage" href="images/cover.jpg" />
-<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
-<title>
-  The Project Gutenberg eBook of Velazquez
-en el Museo del Prado, by A. de Beruete y Moret.
-</title>
-<style type="text/css">
-
-a:link {background-color:#ffffff;color:blue;text-decoration:none;}
-
-  link {background-color:#ffffff;color:blue;text-decoration:none;}
-
-a:visited {background-color:#ffffff;color:purple;text-decoration:none;}
-
-a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;}
-
-big {font-size: 130%;}
-
-body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;}
-
-.bbox     {border:double 6px black;
-padding:1em;margin:1em auto;max-width:30em;}
-
-.bboxdt     {border:dotted 5px black;padding:1em;
-margin:1em auto;max-width:30em;}
-
-.c {text-align:center;text-indent:0%;}
-
-.cb {text-align:center;text-indent:0%;font-weight:bold;}
-
-.cbig {text-align:center;text-indent:0%;font-weight:bold;
-font-size:200%;}
-
-.figcenter   {margin:3% auto 3% auto;clear:both;
-text-align:center;text-indent:0%;page-break-before:always;}
-
-.figcenter  p{text-align:center;text-indent:0%;font-size:80%;}
-
- h1 {margin-top:5%;text-align:center;clear:both;
-font-weight:normal;}
-
- h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both;
- font-size:100%;font-weight:normal;}
-
- hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;}
-
- hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black;
-padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;}
-
- img {border:none;}
-
-.letra {font-size:250%;float:left;margin-top:-1%;}
-
-.nind {text-indent:0%;}
-
-.nonvis {display:inline;}
-.x-bookmaker .nonvis  {display: none;}
- @media print, handheld
- {.nonvis
- {display: none;}
- }
-
- p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;}
-
-.pagenum  {font-style:normal;position:absolute;
-left:95%;font-size:55%;text-align:right;color:gray;
-background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;}
-.x-bookmaker .pagenum {display: none;}
-
-.plt {font-size:125%;font-weight:bold;}
-
-.r {text-align:right;margin-right: 5%;}
-
-.rt {text-align:right;}
-
-small {font-size: 70%;}
-
-.smcap  {font-variant:small-caps;font-size:120%;}
-
-table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;}
-</style>
-  </head>
-<body>
-
-<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Velázquez en el museo del Prado, by A. de Buruete y Moret</div>
-
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online
-at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Velázquez en el museo del Prado</div>
-
-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: A. de Buruete y Moret</div>
-
-<div style='display:block; margin:1em 0'>Release Date: April 09, 2021 [eBook #65034]</div>
-
-<div style='display:block; margin:1em 0'>Language: Spanish</div>
-
-<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
-
-<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive)</div>
-
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK VELÁZQUEZ EN EL MUSEO DEL PRADO ***</div>
-<hr class="full" />
-
-<p class="figcenter">
-<a href="images/cover.jpg">
-<img src="images/cover.jpg"
-height="500" alt="[Image of
-the book's cover unavailable.]" /></a>
-</p>
-
-<table border="0" cellpadding="0" cellspacing="0" summary=""
-style="border: 2px black solid;margin:auto auto;max-width:50%;
-padding:1%;"><tr><td>
-
-<p class="c">Contents.:<br />
-<a href="#VELAZQUEZ-es">VELAZQUEZ</a> <small>(EN ESPAÑOL)</small><br />
-<a href="#VELAZQUEZ-fr">VELAZQUEZ</a> <small>(EN FRANÇAIS)</small><br />
-<a href="#VELAZQUEZ-en">VELAZQUEZ</a> <small>(IN ENGLISH)</small><br />
-</p>
-
-<p class="c"><a href="#illustrations">ILLUSTRATIONS</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
-clicking on the image will bring up a larger version.)</span></p>
-
-<p class="c">(etext transcriber's note)</p></td></tr>
-</table>
-
-<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>&nbsp; </p>
-
-<p class="c">EL ARTE EN ESPAÑA<br /><br />
-<small>BAJO EL PATRONATO DE LA COMISARÍA REGIA
-DEL TURISMO Y CULTURA ARTÍSTICA</small></p>
-
-<hr />
-
-<h1>VELAZQUEZ</h1>
-
-<p class="c">EN EL MUSEO DEL PRADO<br /><br /><br />
-<i>Cuarenta y ocho ilustraciones con texto de</i><br />
-A. de Beruete y Moret<br /><br />
-<img src="images/title.jpg"
-width="70"
-alt=""
-/>
-<br /><br /><br />
-HIJOS DE J. THOMAS<br />
-c. <span class="smcap">Mallorca</span>, 291&mdash;BARCELONA<br /><br />
-<br /><span class="pagenum"><a name="page_4" id="page_4">{4}</a></span><br /><br /><br />
-<small>RESERVADOS LOS DERECHOS DE<br />
-PROPIEDAD ARTÍSTICA Y LITERARIA</small>
-<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>&nbsp; </p>
-
-<h2><a name="VELAZQUEZ-es" id="VELAZQUEZ-es"></a>
-<img src="images/barr.jpg"
-width="450"
-alt=""
-/><br /><br />VELÁZQUEZ</h2>
-
-<p class="nind"><span class="letra">E</span>L desarrollo progresivo del arte español en los tiempos de Felipe II,
-debido en parte a las influencias de artistas extranjeros aportadas por
-las relaciones personales y preferencias de aquel significado monarca,
-ayudaron poderosamente al brillante apogeo pictórico del siglo <small>XVII</small>.
-Pero entre aquel período que pudiera denominarse de gestación aun
-indefinida y borrosa, al del florecimiento nacional castizo, mediaron
-algunos años, los últimos del siglo <small>XVI</small> y los primeros de la centuria
-siguiente, que fueron poco afortunados para nuestra pintura. Degenerada
-la escuela de los retratistas, muerto El Greco, aislada gran parte de su
-producción en Toledo, sin una sola personalidad pictórica las ciudades
-más notables y la Corte sin pintores de valía, no era fácil predecir que
-el momento brillante estaba tan próximo ni que iba a ser tan rico, tan
-extenso y tan vario.</p>
-
-<p>Por aquellos días tristes para la pintura española empezaba su educación
-artística un joven, casi un niño, que había nacido en Sevilla en 6 de
-<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span>Junio de 1599: Diego Rodríguez de Silva y Velázquez.</p>
-
-<p>Desde la temprana edad de once años fué alumno de Francisco Pacheco,
-aquel cultísimo pintor a cuya casa acudía lo más selecto en Letras y
-Artes de la ciudad andaluza. Las enseñanzas de Pacheco, sus máximas
-artísticas, trasnochado trasunto del pseudo-clasicismo imperante a la
-sazón, no consiguieron torcer el temperamento y las inclinaciones de su
-joven alumno, enderezadas al culto de la interpretación fiel del
-natural. Nada de convencionalismos de escuela, nada de embellecer la
-forma ruda que a menudo presenta el modelo vivo a los ojos de un
-espíritu que anhela un ideal superior. Copiarlo tal y cómo a su vista se
-presentaba, sin atenuaciones ni falseamientos, fué su eterno propósito,
-al cual se mantuvo fiel, ayudado por su temperamento reposado y sereno y
-por el más perfecto órgano visual. Multitud de estudios seriamente
-realizados, ya al lápiz, ya en color, fueron sus primeros ensayos. Aun
-adolescente, ejecutó alguna de aquellas obras que asombran por su
-realismo, por su magistral dibujo (cualidad que le fue ingénita), por su
-relieve escultural, por su sobriedad, <i>La vieja friendo huevos</i>, de la
-colección Cook, y <i>El aguador de Sevilla</i>, perteneciente al Duque de
-Wellington, ambos cuadros en Inglaterra, nos demuestran la forma y
-resolución que daba el artista en aquellos años a estas obras de
-carácter popular, a juzgar por su asunto y modelos. En cuanto a las
-obras de carácter religioso, pueden servir de tipo <i>La Inmaculada
-Concepción</i>, <i>San Juan en Patmos</i>, <i>Cristo en casa de Marta</i>, todas tres
-en Inglaterra como las anteriores; <i>San Pedro</i>, en una colección
-particular de Madrid; <i>La Adoración de los Reyes</i>, en el Museo del
-<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span>Prado, y <i>Cristo y los peregrinos de Emaus</i>, que ha sido adquirido
-recientemente en los Estados Unidos.</p>
-
-<p>Aun cuando el arte que revelan estos cuadros y todos los demás que por
-aquellos años, aun de aprendizaje, pintara en Sevilla, no son sino lo
-opuesto a las máximas preconizadas por Pacheco, éste, lejos de torcer
-una manifestación tan patente, alentó las tendencias a la realización de
-una pintura tan francamente naturalista que realizaba su discípulo, y,
-cautivado por las cualidades morales que demostraba, le hizo su yerno
-antes de cumplir los diez y nueve años. Algo después, tras una tentativa
-infructuosa hecha en 1622, consiguió Pacheco, en 1623, la introducción
-de Velázquez en la Corte del rey Felipe IV, de cuyo servicio no se había
-de separar durante el transcurso de su vida.</p>
-
-<p>Del asombro que produjo en la Corte el retrato de Fonseca, el primero
-que hizo el joven sevillano, como ensayo de su capacidad, da testimonio
-el hecho de que al verlo el Rey, sus hermanos los Infantes y los nobles,
-Velázquez fué agraciado con puesto y sueldo en Palacio y encargado de
-pintar sin dilación la efigie del Soberano.</p>
-
-<p>Perdido el retrato de Fonseca, existen varios del Monarca, del Infante
-D. Carlos, del Conde-Duque de Olivares, pintados en aquellos primeros
-años de Velázquez en Madrid, obras maestras, tan personales, que bastan
-a explicar la rivalidad que despertara aquel joven intruso entre los
-pintores adocenados de Felipe IV. Su posición, sin embargo, se afianzó
-de día en día, no contribuyendo poco a esto el triunfo obtenido en 1625
-con un retrato ecuestre del<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> Monarca, hoy desaparecido, y el premio que
-le fué acordado por el lienzo <i>La Expulsión de los Moriscos</i>, para el
-cual fué abierto un concurso en competencia con otros tres pintores del
-Rey, Vicente Carducho, Eugenio Caxes y Angel Nardi. Obtuvo Velázquez la
-palma que le concedió por unanimidad un Jurado compuesto de artistas.
-Perdido también este lienzo en el incendio del Alcázar de 1734, queda
-otro, <i>Los Borrachos</i>, terminado dos años después, síntesis suprema de
-cuanto hasta aquella fecha produjera. Muestra este lienzo las cualidades
-todas de aquellas obras ejecutadas en Sevilla en sus primeros años de
-aprendizaje, pero en un grado muy superior. Nunca ha tenido la picaresca
-española, que hace un papel tan brillante en la literatura de aquellos
-días, más genuina representación que la que ostenta este lienzo
-prodigioso. En él se reveló el artista con un vigor no superado después
-en la caracterización de tipos y en la fuerza de expresión. Si Velázquez
-hubiera muerto luego de pintado el cuadro de <i>Los Borrachos</i>, bastara
-esta sola obra para darle la supremacía y el título de creador de una
-escuela indefinida hasta entonces por falta de orientación fija y
-personal.</p>
-
-<p>Y sin embargo, aquellos comienzos tan brillantes en la Corte no fueron
-sino pálidos anuncios y tenues vislumbres del asombroso florecimiento
-que había de alcanzar más adelante.</p>
-
-<p>Su primer viaje a Italia, en el año de 1629, que fué en el que terminó
-<i>Los Borrachos</i>, marca un progreso en el perfeccionamiento de sus
-cualidades nativas tan desarrolladas por el estudio de los grandes
-maestros italianos y por su<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> constante afán de realizar una
-interpretación sobria y siempre fiel del natural.</p>
-
-<p>En aquellos países y por aquellos años, en el ambiente clásico, produjo
-<i>La Fragua de Vulcano</i>, obra mitológica en la que, si no demostró un
-saber profundo acerca de los cánones clásicos, dejó bien patente su
-maestría en la resolución del desnudo. Asimismo y entre otras obras,
-pintó entonces los dos paisajes de la Villa Médicis, en Roma, donde
-mostró, no obstante la sencillez de estas obras, la manera cómo él
-comprendía y trataba el paisaje. En este respecto se le ha considerado
-como un precursor de la forma en que las modernas escuelas han entendido
-la resolución de la pintura al aire libre.</p>
-
-<p>Desde 1631, en que regresó de Italia, hasta 1649, en que emprendió su
-segundo viaje, se halla comprendido el período de la más variada y
-asombrosa producción del artista, no por lo fecundo, que Velázquez no lo
-fué nunca en cuanto al número de las obras de su pincel, aunque sí por
-lo selecto de esas obras.</p>
-
-<p>El cuadro de <i>Las Lanzas</i>, de sin igual nobleza, obra representativa del
-genio pictórico de una raza hidalga; los retratos ecuestres de Reyes y
-Príncipes; aquellos otros en que estos mismos personajes aparecen
-vestidos de cazadores, en los que se sirvió para fondo de diferentes
-paisajes del monte del Pardo, que con sus seculares encinas, plantadas
-en un terreno rico en accidentes, pero pobre de suelo, se ve limitado en
-el horizonte por la cadena de montañas de la sierra de Guadarrama, donde
-brillan al sol de Castilla sus altas cumbres casi siempre cubiertas de
-nieve; otros<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> retratos como el del Conde Duque de Olivares; el del Rey
-en traje militar, pintado en Fraga en 1644 y descubierto el año pasado;
-los de algunos bufones de la Corte; el de mujer española, tan típico en
-su clase, que atesora la colección Wallace; el Cristo en la cruz; las
-escenas de caza, son obras que bastan para dar idea del crecimiento que
-adquiere el pintor durante ese período, acentuando su personalidad
-potente. Durante estos diez y ocho años de su edad madura desenvuelve lo
-que la crítica ha denominado su segunda manera, más amplia y grandiosa
-que la de su juventud, más colorista cada día, enriqueciendo todas las
-obras que salían de sus pinceles con aquellas finas armonías grises, a
-veces plateadas, tan características y tan inconfundibles.</p>
-
-<p>Pero aun guardaba bríos para crear un arte superior, quizá enigmático de
-puro sencillo, que se muestra en todas las obras de la última década de
-su vida, arte tan sublime que empezó no ha mucho a ser comprendido y que
-hoy está dando sus mejores frutos.</p>
-
-<p>Desde que en 1650 Velázquez pintó en Roma el retrato del Papa Doria,
-precedido del busto de Juan Pareja, de Longford Castle, y del estudio
-para dicho retrato del Papa que se guarda en San Petersburgo, en el
-Museo del Ermitage, hasta la muerte del artista en Agosto de 1660,
-Velázquez, alto funcionario de la Corte ocupado en comisiones de obras
-de los Alcázares y Palacios Reales, tarea completamente ajena al
-ejercicio del arte y que contribuyó no poco a mermar su producción,
-robó, no obstante, a tan múltiples y enojosas tareas el tiempo
-suficiente para crear<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> obras como los últimos retratos de los Reyes y de
-los Príncipes que admiramos en Madrid, Viena, Londres y París; la
-segunda serie de los enanos de la Corte, más asombrosa aun y más rica
-que la pintada en los años medios, en la cual deben ser colocadas las
-dos características figuras de <i>Esopo</i> y <i>Menipo</i>, que nada de griegos
-tienen, pero que son en esta última época de la vida del pintor lo que
-fueron en la primera el lienzo de <i>Los Borrachos</i>, los dos cuadros
-religiosos de <i>La Coronación de la Virgen</i> y <i>Los Santos Ermitaños</i>, los
-seis mitológicos, tres de ellos perdidos en el incendio del Alcázar en
-1734, pero de los que afortunadamente conservamos en nuestro Museo
-Nacional <i>El Dios Marte</i> y <i>Mercurio y Argos</i>, y la <i>Venus del Espejo</i>,
-que posee la Galería Nacional de Londres, y la originalidad del cual ha
-sido tan injustamente discutida; y, por último, los lienzos capitales
-<i>Las Hilanderas</i> y <i>Las Meninas</i>, monumentos supremos de toda una
-escuela pictórica, modelos de arte sintético, de asombrosa sencillez en
-su factura, de armonías deliciosas y de estudios de valores, trozos, en
-fin, de pintura sublime que, bajo una modesta apariencia, nada
-aparatosa, son, no obstante, obras mágicas creadas espontáneamente, sin
-que en parte alguna de ellas revelen ni esfuerzo, ni debilidad, ni
-fatiga.</p>
-
-<p>Tal fué el genio que tanta gloria ha dado a España y que con sólo un
-centenar de obras ha ejercido la más poderosa influencia en casi todas
-las escuelas contemporáneas.</p>
-
-<p class="r">
-<span class="smcap">A. de Beruete y Moret</span><br />
-<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p>
-
-<p>Los números que van al pié de las láminas corresponden a los del
-catálogo oficial del Museo del Prado.<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p>
-
-<h2><a name="VELAZQUEZ-fr" id="VELAZQUEZ-fr"></a>
-<img src="images/barr.jpg"
-width="450"
-alt=""
-/><br /><br />VELAZQUEZ</h2>
-
-<p class="c"><i>Traduit par M. Emile Bertaux,<br /> Correspondant de l’Académie Royale de
-Saint Ferdinand<br /> et Professeur à l’Université de Paris</i></p>
-
-<p class="nind"><span class="letra">L</span>E développement progressif de l’art espagnol à l’époque de Philippe II,
-qui avait été dû en partie à l’influence d’artistes étrangers groupés
-par les relations personnelles et les préférences d’un monarque dont la
-personnalité fut dominatrice, contribua puissament à l’éclat de la
-peinture qui atteint son apogée pendant le <small>XVII</small>ᵉ siècle. Cependant la
-période de gestation encore mal définie et confuse qui précède la
-floraison d’un art purement national en est séparée par quelques années,
-les dernières du <small>XVI</small>ᵉ siècle et les premières du siècle suivant, qui
-furent peu heureuses pour notre peinture. La décadence de l’école des
-portraitistes, la mort du Greco, dont l’œuvre presque entière demeurait
-isolée à Tolède, l’absence d’une personnalité artistique dans les villes
-les plus importantes et d’un peintre de valeur à la Cour ne laissaient
-guère prévoir que l’époque brillante fut si proche pour l’art, ni
-qu’elle dut être si riche, si prolongée et si variée dans ses
-manifestations.<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p>
-
-<p>C’est dans ces jours tristes pour la peinture espagnole qu’un jeune
-homme, né à Séville le 6 Juin 1599, commençait son éducation artistique:
-il s’appelait Diego Rodríguez de Silva y Velázquez.</p>
-
-<p>Dès l’âge de onze ans il fut élève de Francisco Pacheco, ce peintre
-d’esprit très cultivé qui attirait dans sa maison tout ce qui formait
-dans la capitale andaleuse l’élite des lettres et des arts. Les
-enseignements de Pacheco, ses maximes artistiques, résumés du
-pseudo-classicisme qui était de mode alors, n’arrivèrent pas à détourner
-le tempérament et les tendances du jeune homme, qui se consacrait déjà a
-l’interprétation fidèle de la nature. Point de conventions d’école;
-point d’embellissements de la forme brute que le modèle vivant offre à
-la vue d’un esprit qui souvent aspire à un idéal supérieur. Copier la
-nature, telle qu’elle se présentait à ses yeux, sans atténuations ni
-falsifications, tel fut toujours le principe auquel il demeura fidèle et
-qu’il put observer grâce à la froideur sereine de son tempérament
-d’artiste et à la perfection unique de son organe visuel. Ses premiers
-essais furent de nombreuses études très sérieusement exécutées au moyen
-du crayon ou de la couleur. Encore adolescent il peignit quelques unes
-de ces œuvres si étonnantes par le réalisme, par le dessin magistral
-(que Velázquez posséda comme un don inné), par le relief sculptural et
-la sobriété: la <i>Vieille femme faisant frire des œufs</i> (de la collection
-Cook) et le <i>Porteur d’eau de Séville</i> (appartenant au duc de
-Wellington). Ces deux tableaux d’Angleterre nous montrent la vigueur que
-l’artiste donnait dès lors à ces œuvres de ca<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>ractère populaire par le
-sujet et les modèles. Quant aux œuvres de caractère religieux, on peut
-citer comme types l’<i>Immaculée Conception</i>, <i>Saint Jean à Pathmos</i>, le
-<i>Christ dans la maison de Marthe</i>, trois tableaux qui, comme les
-précédents, sont conservés en Angleterre; un <i>Saint Pierre</i>, dans une
-collection particulière de Madrid; l’<i>Adoration des Mages</i>, au Musée du
-Prado, et le <i>Christ avec les pélerins d’Emmaüs</i>, qui a été récemment
-acquis par un collectionneur des Etats Unis.</p>
-
-<p>L’art que révèlent ces tableaux et les autres que Velázquez peignit à
-Séville dans ces années d’apprentissage se trouvait en contradiction
-avec les maximes professées par Pacheco; pourtant celui-ci, bien loin de
-chercher à détourner son disciple de la vocation qu’il manifestait,
-l’encouragea à réaliser une peinture franchement naturaliste, et séduit
-par les qualités morales de Velázquez, il fit de lui son gendre, avant
-que le jeune peintre eût accompli sa dix-neuvième année. Un peu plus
-tard Pacheco, après avoir fait en 1622 une première tentative qui resta
-infructueuse, parvint en 1623 à introduire Velázquez à la cour du roi
-Philippe IV: le peintre devait rester toute sa vie attaché au service de
-son souverain.</p>
-
-<p>Le portrait de Fonseca, le premier que le jeune Sévillan peignit à la
-Cour, mit à l’épreuve son talent d’une manière si éclatante que lorsque
-ce portrait eut été montré au Roi, aux Infants ses frères et aux
-courtisans, Velázquez obtint une place et un traitement au Palais et fut
-chargé de peindre sans délai l’effigie du souverain.</p>
-
-<p>Le portrait de Fonseca est perdu; mais il existe divers<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> portraits du
-Roi, de l’Infant D. Carlos, du Comte-Duc d’Olivares, qui ont été peints
-dans les premières années que Velázquez passa à Madrid. Ce sont des
-œuvres magistrales et si personnelles qu’elles suffisent à expliquer la
-jalousie que le jeune intrus éveilla dans le groupe médiocre des
-peintres de Philippe IV. Cependant la position de Velázquez se consolida
-de jour en jour, et particulièrement après le triomphe qu’il obtint en
-1626 avec un portrait équestre du roi, qui a disparu et après sa
-victoire dans le concours institué pour le tableau de l’Expulsion des
-Morisques. Dans ce concours, où il se recontrait avec trois autres
-peintres du roi, Vicente Carducho, Eugenio Caxes et Angel Nardi,
-Velázquez remporta la palme à l’unanimité d’un jury composé d’artistes.
-Ce tableau a péri, lui aussi, dans l’incendie de l’Alcázar de Madrid en
-1734. Il en reste un autre, les <i>Buveurs</i>, terminé deux ans plus tard,
-et qui se présente comme la synthèse suprême de tout ce que Velázquez a
-produit à cette époque. Ce tableau montre toutes les qualités des œuvres
-exécutées à Séville dans les premières années d’apprentissage, mais à un
-degré très supérieur. Nulle part l’esprit picaresque, qui joua un rôle
-si brillant dans la littérature espagnole de ce temps, n’a trouvé une
-expression plus originale que dans cette toile prodigieuse. L’artiste
-s’y révèle avec une vigueur qui n’a pas été surpassée pour la
-caractéristique des types et l’énergie de l’expression. Si Velázquez
-était mort au lendemain des <i>Borrachos</i>, cette œuvre seule suffirait à
-lui assurer la suprématie et le titre de créateur d’école dans un milieu
-qui manquait encore d’orientation fixe et de personnalité.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p>
-
-<p>Ces commencements de Velázquez à la Cour, si brillants qu’ils fussent,
-laissaient à peine prévoir le prodigieux éclat que devait atteindre le
-génie de l’artiste. Son premier voyage en Italie, qui eut lieu dans
-l’année même où il termina le tableau des Buveurs, en 1629, marque un
-perfectionnement de ses qualités naturelles, qui se développent par
-l’étude des grands maîtres italiens et par la volonté constante de
-réaliser une interprétation plus sobre et plus fidèle de la nature.
-C’est alors, en Italie et dans le milieu classique, qu’il peint la Forge
-de Vulcain, œuvre mythologique qui, si elle ne montre pas une
-connaissance bien sérieuse des canons consacrés, révèle toute la
-maîtrise du peintre dans l’exécution du nu. C’est alors encore que
-Velázquez peint les deux paysages de la Villa Médicis, à Rome, où il
-montra, dans de simples études, comment il comprenait et traitait le
-paysage, en précurseur des écoles modernes et de la peinture de plein
-air.</p>
-
-<p>Entre l’année 1631, qui est celle de son retour d’Italie, et l’année
-1649, qui est celle de son second voyage à Rome, s’ouvre la période où
-la production de l’artiste est la plus étonnante, non pour la fécondité,
-que Velázquez ne connut jamais, mais pour la variété et le raffinement
-des œuvres.</p>
-
-<p>Le tableau des Lances, de noblesse sans égale, où le génie du peintre
-rend visible tout l’esprit chevaleresque de la race; les portraits
-équestres du Roi, de la Reine et des princes; les autres toiles, où les
-mêmes personnages se montrent vêtus en chasseurs, et qui ont pour fonds
-les paysages montagneux du Pardo, avec leurs chênes séculaires, plantés
-dans un terrain dont les formes sont aussi<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> richement accidentées que le
-sol est pauvre, ces paysages dont l’horizon est limité par la chaîne de
-la Sierra de Guadarrama et par ses sommets neigeux qui brillent au
-soleil de la Castille; d’autres portraits encore, comme celui du
-Comte-Duc d’Olivares, celui du Roi en costume militaire, peint à Fraga
-en 1644 et découvert en 1912; ceux des bouffons de la cour; celui d’une
-femme espagnole, si typique entre tous les portraits du même genre, et
-qui est l’un des trésors de la collection Wallace; le Christ en croix;
-les scènes de chasses; ce sont autant d’œuvres qui donnent une idée de
-la puissance qu’acquiert alors la personnalité du peintre. Pendant ces
-dix huit ans de sa maturité se développe ce que la critique a appelé la
-seconde manière de Velazquez, plus ample que elle de sa jeunesse, de
-plus en plus colorée et enrichie de ces fines harmonies grises ou
-argentées auquel rien ne peut être comparé.</p>
-
-<p>Il restait encore cependant au peintre des forces pour créer un art
-supérieur, presque énigmatique, qui se révèle dans les œuvres de la
-dernière décade de sa vie, art si sublime qu’il n’a été compris que
-depuis peu et qu’il trouve peut-être aujourd’hui ses meilleurs
-disciples.</p>
-
-<p>Après avoir peint à Rome en 1650 le portrait du <i>pape Doria</i>, précédé du
-buste de <i>Juan Pareja</i> (aujourd’hui à Longford Castle) et de l’étude
-pour le portrait du pape qui est conservée à Saint-Pétersbourg, au Musée
-de l’Ermitage, Velázquez devient l’un des plus hauts fonctionnaires de
-la Cour d’Espagne. Il présida jusqu’à sa mort, au mois d’août 1660, aux
-travaux des Palais Royaux. Ces fonctions officielles, complètement
-étrangères à l’exercice de son art,<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> contribuèrent beaucoup à
-restreindre la production de l’artiste. Cependant il trouva moyen de
-prendre sur ses occupations multiples et fastidieuses le temps de créer
-des œuvres comme les derniers portraits des Rois et des Princes que nous
-admirons à Madrid; la seconde série des nains de la cour, plus riche
-encore et plus étonnante que celle qu’il avait peinte au milieu de sa
-vie, et dans laquelle il faut placer les deux figures caractéristiques
-d’<i>Esope</i> et de <i>Ménippe</i>, qui n’ont rien de grec et qui sont dans cette
-dernière époque de la vie du peintre ce qu’avait été dans la première
-les tableaux des Buveurs; les deux tableaux religieux du <i>Couronnement
-de la Vierge</i> et des <i>Saints Ermites</i>; les six toiles mythologiques,
-dont trois ont péri dans l’incendie de l’Alcazar en 1734, mais dont il
-reste heureusement, dans notre Musée national, le <i>Dieu Mars</i> et
-<i>Mercure avec Argue</i>, et, dans la Galerie nationale de Londres, la
-<i>Vénus au miroir</i>, dont l’authenticité a été discutée bien à tort;
-enfin, les toiles capitales des <i>Fileuses</i> et des <i>Ménines</i>, monuments
-suprêmes de toute une école, modèles d’art synthétique, merveilleux pour
-la simplicité de la facture, la délicatesse des harmonies et l’étude des
-valeurs, morceaux de peinture, qui, sous une apparence modeste et sans
-nul apparat, sont des œuvres magiques et des créations sublimes, dans
-lesquelles le peintre ne trahit ni effort, ni faiblesse, ni fatigue. Tel
-fut le génie qui a donné tant de gloire à l’Espagne et qui, avec une
-centaine d’œuvres, à peine, a exercé l’influence la plus puissante sur
-presque toutes les écoles contemporaines.</p>
-
-<p class="r">
-<span class="smcap">A. de Beruete y Moret.</span><br />
-<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p>
-
-<p>Les numéros qui figurent aux pieds des gravures, correspondent aux ceux
-du Catalogue officiel du Museo del Prado.<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p>
-
-<h2><a name="VELAZQUEZ-en" id="VELAZQUEZ-en"></a>
-<img src="images/barr.jpg"
-width="450"
-alt=""
-/><br /><br />VELAZQUEZ</h2>
-
-<p class="nind"><span class="letra">T</span>HE development of Spanish art in the time of Philip II which was partly
-due to the influence of foreign artists brought together by that
-distinguished monarch’s personal relations and preferences, contributed
-greatly to the glory of painting, which reached its zenith in the
-seventeenth century. But the period of gestation as yet ill defined and
-confused, which precedes the blossoming of a purely national art, is
-separated from it by several years; the last of the sixteenth century
-and the first of the following century were not the happiest for our
-painting. The decay of the school of the portrait painters, the death of
-El Greco, whose work remained almost entirely confined to Toledo, the
-absence of any artistic personality in the largest towns, or of a
-painter of any talent at court, hardly encouraged men to prophecy that
-the golden age of art was at hand, or that it was to be so rich, so
-prolonged or so various in its manifestations.</p>
-
-<p>It was in these melancholy days for Spanish painting that a young man,
-born in Seville in 1699, began his artistic education. His name was
-Diego Rodríguez de Silva y Velázquez.<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p>
-
-<p>From eleven years of age he had been the pupil of Francisco Pacheco, the
-painter whose highly trained intelligence attracted all those who
-formed, in the Andalusian capital, the aristocracy of art and letters.</p>
-
-<p>The teaching of Pacheco, his artistic maxims, crystallised from the
-pseudo-classicism which was then fashionable, made no impression on the
-temperament and natural tendencies of the young man, who had already
-devoted himself to the faithful interpretation of nature. No conventions
-of the studios; no embellishment of the rude form which the living model
-offers to the vision of a soul that often aspires to some higher ideal;
-to follow nature as she reveals herself to his eyes, without
-conventionalising or falsifying, such was the principle to which he
-always remained faithful, and which he was able to observe, thanks to
-the serene aloofness of his artistic temperament and the marvellous
-correctness of his eye. His first attempts were numerous crayon and
-colour studies executed with great seriousness. While still in his teens
-he painted several of those works so remarkable for their realism, for
-their masterly drawing (which with Velázquez was an innate gift), for
-their sculptural relief and precision: the Old Woman Frying Eggs (of the
-Cook collection) and the Seville Water-Carrier (in the possession of the
-Duke of Wellington). Both these pictures, now in England, show that
-vigour with which the artist treated popular subjects. Typical of his
-religious works are the Immaculate Conception, St. John in Patmos,
-Christ in the House of Martha, all three, like the preceding ones, in
-England; St. Peter, in a private<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> collection at Madrid; the Adoration of
-the Magi in the Prado; and Christ with the Pilgrims of Emmaus, which has
-been recently acquired by an American collector.</p>
-
-<p>The art revealed by these pictures and the others which Velázquez
-painted at Seville in his years of apprenticeship, are in direct
-contradiction with the principles professed by Pacheco. Yet, far from
-seeking to dissuade his pupil from following the tendencies he
-manifested, he encouraged him to realise a style of painting frankly
-naturalistic; and, won by the moral qualities of Velázquez, made him his
-son-in-law before the young painter had completed his nineteenth year. A
-little later, Pacheco, after having made in 1622 an unsuccessful
-attempt, succeeded in 1623 in introducing Velázquez to the court of
-Philip IV. The painter remained his whole life in the service of his
-sovereign.</p>
-
-<p>The portrait of Fonseca, the first which the young Sevillian painted at
-the Court, put his talent to the proof in a manner so brilliant that
-when this portrait had been shown to the King, to his brothers the
-Infantes and to the courtiers, Velázquez obtained a salaried position at
-Court and was at once commissioned to paint the portrait of the
-sovereign.</p>
-
-<p>Fonseca’s portrait is lost, but there are in existence several portraits
-of the King, the Infante D. Carlos, the Count-Duke Olivares, painted in
-the first years spent by Velázquez in Madrid. These are masterly works
-and so personal that they are sufficient to explain the jealousy which
-the young intruder aroused in the mediocre group<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> of painters around
-Philip IV. Nevertheless the position of Velázquez grew stronger from day
-to day, and particularly after his triumph in 1625 with an equestrian
-portrait of the King which has disappeared, and his victory in the
-competition for a picture showing the expulsion of the Moors. Here he
-was matched against three of the King’s other painters, Vincente
-Carducho, Eugenio Caxes and Angel Nardi. Velázquez obtained the prize by
-the unanimous decision of a jury composed of artists. This painting was
-also lost in the burning of the Alcazar at Madrid in 1734. There remains
-another, The Topers, finished two years later, the high water mark of
-Velázquez’s production during these years. This picture shows all the
-qualities of the works executed at Seville in the first years of
-apprenticeship, but in a higher degree. Nowhere has the picaresque
-spirit which played so brilliant a part in Spanish literature at that
-time, found a more original expression than on this extraordinary
-canvas. The artist here reveals himself with a vigour that has not been
-surpassed for characterization of types and energy of expression. If
-Velázquez had died the day after finishing The Topers, this work alone
-would have been enough to ensure his supremacy and to give him the title
-of founder of a school in a milieu still lacking in definite orientation
-and in personality.</p>
-
-<p>These brilliant beginnings of Velázquez at Court dimly foreshadowed the
-glory which awaited him. His first travels in Italy which took place the
-year that he finished the painting of The Topers, in 1629, marks a
-perfecting of his natural qualities, which develop by the study of the
-great<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> Italian masters and by the constant determination to realize an
-interpretation more precise and more faithful to nature.</p>
-
-<p>It was then in Italy and in classical surroundings that he painted
-Vulcan’s Forge, a mythological work, which if it does not show a very
-close acquaintance with the consecrated canons, reveals all the mastery
-of the artist in the execution of the nude. Then also it was that
-Velázquez painted the two landscapes of the Villa Medici at Rome, where
-he showed in simple studies how he understood and treated landscape, as
-the forerunner of the modern schools of open-air painting.</p>
-
-<p>Between the year 1631, the date of his return from Italy, and the year
-1649 the date of his second journey to Rome, begins the period during
-which the artist’s production is most marvellous, not for copiousness
-which never characterised Velázquez, but for the variety and refinement
-of his works.</p>
-
-<p>The painting of The Lances unequalled for nobility, where the painter’s
-genius reproduces all the chivalrous spirit of the race; the equestrian
-portraits of the King, Queen and princes; the other canvases where the
-same personages are seen dressed for the chase, and which have as
-background the mountainous country of the Pardo with its ancient oaks
-planted in a soil as picturesque as it is poor&mdash;these landscapes, the
-horizon of which is bounded by the range of the Sierra de Guadarrama,
-and by the snowy summits of Castile glittering in the sun; and other
-portraits also like that of the Count-Duke Olivares; that of<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> the King
-in military uniform painted at Fraga in 1644 and discovered in 1912;
-those of the court jesters; that of a Spanish woman, typical of its
-class, which is one of the treasures of the Wallace collection; Christ
-on the Cross; the scenes of the chase; all works which give an idea of
-the power which the painter’s personality acquired. During these
-eighteen years of maturity developed what the critics call the second
-manner of Velázquez, larger than that of his youth, even more finely
-coloured and enriched with those harmonies in grey and silver with which
-nothing else can compare.</p>
-
-<p>But the painter still retained sufficient vitality to create a higher
-art, almost enigmatical, which is shown in the works of his last decade,
-an art so sublime that it has only recently been understood, and which
-finds perhaps its best disciples among the moderns.</p>
-
-<p>After having painted at Rome in 1650 the portrait of the Doria Pope,
-preceded by the bust of Juan Pareja now at Longford Castle, and the
-study for the portrait of the Pope which is preserved in St. Petersburg
-at the Hermitage, Velázquez became one of the highest functionaries of
-the Spanish Court. Up to his death in the month of August 1660 he
-superintended the decoration of the Royal Palace. His official duties,
-which were quite foreign to the exercise of his art contributed greatly
-to limit the output of the painter. However he found means to take from
-his numerous and exacting occupations the time to create works such as
-the last portraits of the Kings and the Princes which we admire so much
-at Madrid; the second series<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> of dwarfs, richer still and more
-marvellous than those that he had painted in his maturity and among
-which we must place the two characteristic figures of Aesop and Menippus
-which have nothing of the Greek and are in the last epoch of the
-painter’s life, what the painting of the Drunkards had been in the
-earlier; the two religious paintings of the Crowning of the Virgin and
-the Holy Hermits; the six mythological canvases, three of which perished
-in the burning of the Alcazar in 1734, but some of which happily remain
-in our national Museum, the Gods Mars and Mercury with Argus, and, in
-the National Gallery in London, the Venus with the Looking-glass, the
-attribution of which has been wrongly doubted; and finally the fine
-canvases of the Spinners and the Meninas the supreme monuments of a
-whole school, models of synthetic art, marvellous for the simplicity of
-their technique, the delicacy of their harmonies, and the study of
-values, paintings which, in spite of their modest appearance and lack of
-elaboration, are works of magic and sublime creations in which the
-painter betrays neither effort, weakness or fatigue.</p>
-
-<p>Such was the genius who has conferred so much glory on Spain and who,
-with barely a hundred canvases, has exercised the most powerful
-influence over nearly all modern schools of painting.</p>
-
-<p class="r">
-<span class="smcap">A. de Beruete Y Moret.</span><br />
-<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p>
-
-<p>The numbers at the foot of the illustrations, correspond to those in the
-official catalogue of the Prado Museum.</p>
-
-
-<div class="figcenter" id="plt_1"><a name="illustrations" id="illustrations"></a>
-<p class="plt">1</p>
-<a href="images/ill_001.jpg">
-<img src="images/ill_001.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">La Adoración de Los Reye</span></p>
-
-<p><span class="smcap">L’adoration Des Mages</span></p>
-
-<p><span class="smcap">The Adoration of the Magis</span></p>
-
-<p>[1166]</p>
-</div>
-
-<div class="figcenter" id="plt_2">
-<p class="plt">2</p>
-<a href="images/ill_002.jpg">
-<img src="images/ill_002.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de hombre</span></p>
-
-<p><span class="smcap">Portrait d’homme</span></p>
-
-<p><span class="smcap">Portrait of a Man</span></p>
-
-<p>[1209]</p>
-</div>
-
-<div class="figcenter" id="plt_3">
-<p class="plt">3</p>
-<a href="images/ill_003.jpg">
-<img src="images/ill_003.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de Felipe IV.</span></p>
-
-<p><span class="smcap">Portrait de Philippe IV</span></p>
-
-<p><span class="smcap">Portrait of Philip IV</span></p>
-
-<p>[1182]</p>
-</div>
-
-<div class="figcenter" id="plt_4">
-<p class="plt">4</p>
-<a href="images/ill_004.jpg">
-<img src="images/ill_004.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de D.ª Juana Pacheco, mujer del painter</span></p>
-
-<p><span class="smcap">Portrait de D.ª Juana Pacheco, femme du peintre</span></p>
-
-<p><span class="smcap">Portrait of Joanna Pacheco, Wife of the Painter</span></p>
-
-<p>[1197]</p>
-</div>
-
-<div class="figcenter" id="plt_5">
-<p class="plt">5</p>
-<a href="images/ill_005.jpg">
-<img src="images/ill_005.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Infante D. Carlos</span></p>
-
-<p><span class="smcap">Portrait de l’Infant Don Carlos</span></p>
-
-<p><span class="smcap">Portrait of the Infante Charles</span></p>
-
-<p>[1188]</p>
-</div>
-
-<div class="figcenter" id="plt_6">
-<p class="plt">6</p>
-<a href="images/ill_006.jpg">
-<img src="images/ill_006.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Reunión de bebedores (Los Borrachos)</span></p>
-
-<p><span class="smcap">Réunion de buveurs (Les Ivrognes)</span></p>
-
-<p><span class="smcap">The Wine Bibbers</span></p>
-
-<p>[1170]</p>
-</div>
-
-<div class="figcenter" id="plt_7">
-<p class="plt">7</p>
-<a href="images/ill_007.jpg">
-<img src="images/ill_007.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de Felipe IV</span></p>
-
-<p><span class="smcap">Portrait de Philippe IV</span></p>
-
-<p><span class="smcap">Portrait of Philip IV</span></p>
-
-<p>[1183]</p>
-</div>
-
-<div class="figcenter" id="plt_8">
-<p class="plt">8</p>
-<a href="images/ill_008.jpg">
-<img src="images/ill_008.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de la Infanta de España D.ª Maria, Reina de
-Hungría</span></p>
-
-<p><span class="smcap">Portrait de l’Infante d’Espagne D.ª Maria, reine de Hongrie</span></p>
-
-<p><span class="smcap">Portrait of the Infanta Maria of Spain, Queen of Hungary</span></p>
-
-<p>[1187]</p>
-</div>
-
-<div class="figcenter" id="plt_9">
-<p class="plt">9</p>
-<a href="images/ill_009.jpg">
-<img src="images/ill_009.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">La Fragua de Vulcano</span></p>
-
-<p><span class="smcap">La Forge de Vulcain</span></p>
-
-<p><span class="smcap">The Forge of Vulcan</span></p>
-
-<p>[1171]</p>
-</div>
-
-<div class="figcenter" id="plt_10">
-<p class="plt">10</p>
-<a href="images/ill_010.jpg">
-<img src="images/ill_010.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Vista tomada en el jardín de la «Villa Médici», en Roma</span></p>
-
-<p><span class="smcap">Vue prise dans le jardin de la «Villa Médici», à Rome</span></p>
-
-<p><span class="smcap">View taken in the Garden of the «Villa Médici», at Rome</span></p>
-
-<p>[1210]</p>
-</div>
-
-<div class="figcenter" id="plt_11">
-<p class="plt">11</p>
-<a href="images/ill_011.jpg">
-<img src="images/ill_011.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Vista tomada en el jardín de la «Villa Médici», en Roma</span></p>
-
-<p><span class="smcap">Vue prise dans le jardin de la «Villa Médici», à Rome</span></p>
-
-<p><span class="smcap">View taken in the Garden of the «Villa Médici», at Rome</span></p>
-
-<p>[1211]</p>
-</div>
-
-<div class="figcenter" id="plt_12">
-<p class="plt">12</p>
-<a href="images/ill_012.jpg">
-<img src="images/ill_012.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de un bufón del Rey Felipe IV, llamado «Pablillos
-de Valladolid»</span></p>
-
-<p><span class="smcap">Portrait d’un bouffon du roi Philippe IV «Pablillos de Valladolid»</span></p>
-
-<p><span class="smcap">Portrait of one of the Buffoons of Philip IV, named «Pablillos de
-Valladolid»</span></p>
-
-<p>[1198]</p>
-</div>
-
-<div class="figcenter" id="plt_13">
-<p class="plt">13</p>
-<a href="images/ill_013.jpg">
-<img src="images/ill_013.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de D. Diego de Corral y Arellano</span></p>
-
-<p><span class="smcap">Portrait de D. Diego de Corral y Arellano</span></p>
-
-<p><span class="smcap">Portrait of Diego de Corral y Arellano</span></p>
-
-<p>[1195]</p>
-</div>
-
-<div class="figcenter" id="plt_14">
-<p class="plt">14</p>
-<a href="images/ill_014.jpg">
-<img src="images/ill_014.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de D.ª Antonia Ipeñarrieta y Galdós</span></p>
-
-<p><span class="smcap">Portrait de D.ª Antonia Ipeñarrieta y Galdós</span></p>
-
-<p><span class="smcap">Portrait of Antonia Ipeñarrieta y Galdós</span></p>
-
-<p>[1196]</p>
-</div>
-
-<div class="figcenter" id="plt_15">
-<p class="plt">15</p>
-<a href="images/ill_015.jpg">
-<img src="images/ill_015.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Nuestro Señor crucificado</span></p>
-
-<p><span class="smcap">Le Christ en croix</span></p>
-
-<p><span class="smcap">Our Lord Crucified</span></p>
-
-<p>[1167]</p>
-</div>
-
-<div class="figcenter" id="plt_16">
-<p class="plt">16</p>
-<a href="images/ill_016.jpg">
-<img src="images/ill_016.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de D. Antonio Alonso Pimentel</span></p>
-
-<p><span class="smcap">Portrait de D. Antonio Alonso Pimentel</span></p>
-
-<p><span class="smcap">Portrait of Anthony Alonso Pimentel</span></p>
-
-<p>[1193]</p>
-</div>
-
-<div class="figcenter" id="plt_17">
-<p class="plt">17</p>
-<a href="images/ill_017.jpg">
-<img src="images/ill_017.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">La rendición de Breda (Las Lanzas)</span></p>
-
-<p><span class="smcap">La reddition de Breda (Les Lances)</span></p>
-
-<p><span class="smcap">Capitulation of Breda (The Lances)</span></p>
-
-<p>[1172]</p>
-</div>
-
-<div class="figcenter" id="plt_18">
-<p class="plt">18</p>
-<a href="images/ill_018.jpg">
-<img src="images/ill_018.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">La rendición de Breda (Las Lanzas) (Fragmento)</span></p>
-
-<p><span class="smcap">La reddition de Breda (Les Lances) (Fragment)</span></p>
-
-<p><span class="smcap">Capitulation of Breda (The Lances) (Fragment)</span></p>
-
-<p>[1172]</p>
-</div>
-
-<div class="figcenter" id="plt_19">
-<p class="plt">19</p>
-<a href="images/ill_019.jpg">
-<img src="images/ill_019.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del célebre escultor Martínez Montáñez</span></p>
-
-<p><span class="smcap">Portrait du sculpteur célèbre Martínez Montáñez</span></p>
-
-<p><span class="smcap">Portrait of the eminent Sculptor Martínez Montáñez</span></p>
-
-<p>[1194]</p>
-</div>
-
-<div class="figcenter" id="plt_20">
-<p class="plt">20</p>
-<a href="images/ill_020.jpg">
-<img src="images/ill_020.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de la Reina D.ª Margarita de Austria</span></p>
-
-<p><span class="smcap">Portrait de la reine Marguerite D’autriche</span></p>
-
-<p><span class="smcap">Portrait of Queen Margaret of Austria</span></p>
-
-<p>[1177]</p>
-</div>
-
-<div class="figcenter" id="plt_21">
-<p class="plt">21</p>
-<a href="images/ill_021.jpg">
-<img src="images/ill_021.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Rey D. Felipe III</span></p>
-
-<p><span class="smcap">Portrait du roi Philippe III</span></p>
-
-<p><span class="smcap">Portrait of Philip III</span></p>
-
-<p>[1176]</p>
-</div>
-
-<div class="figcenter" id="plt_22">
-<p class="plt">22</p>
-<a href="images/ill_022.jpg">
-<img src="images/ill_022.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de la Reina D.ª Isabel de Borbón</span></p>
-
-<p><span class="smcap">Portrait de la Reine Isabelle de Bourbon</span></p>
-
-<p><span class="smcap">Portrait of Queen Isabel of Bourbon</span></p>
-
-<p>[1179]</p>
-</div>
-
-<div class="figcenter" id="plt_23">
-<p class="plt">23</p>
-<a href="images/ill_023.jpg">
-<img src="images/ill_023.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Rey D. Felipe IV</span></p>
-
-<p><span class="smcap">Portrait du Roi Philippe IV</span></p>
-
-<p><span class="smcap">Portrait of Philip IV</span></p>
-
-<p>[1178]</p>
-</div>
-
-<div class="figcenter" id="plt_24">
-<p class="plt">24</p>
-<a href="images/ill_024.jpg">
-<img src="images/ill_024.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Príncipe don Baltasar Carlos</span></p>
-
-<p><span class="smcap">Portrait du prince Balthazar Carlos</span></p>
-
-<p><span class="smcap">Portrait of Prince Balthazar Charles</span></p>
-
-<p>[1180]</p>
-</div>
-
-<div class="figcenter" id="plt_25">
-<p class="plt">25</p>
-<a href="images/ill_025.jpg">
-<img src="images/ill_025.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Conde-Duque de Olivares</span></p>
-
-<p><span class="smcap">Portrait du comte-duc d’Olivares</span></p>
-
-<p><span class="smcap">Portrait of the Count-Duke Olivares</span></p>
-
-<p>[1181]</p>
-</div>
-
-<div class="figcenter" id="plt_26">
-<p class="plt">26</p>
-<a href="images/ill_026.jpg">
-<img src="images/ill_026.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Rey D. Felipe IV. en traje de caza</span></p>
-
-<p><span class="smcap">Portrait du Roi Philippe IV en costume de chasse</span></p>
-
-<p><span class="smcap">Portrait of Philip IV in hunting costume</span></p>
-
-<p>[1184]</p>
-</div>
-
-<div class="figcenter" id="plt_27">
-<p class="plt">27</p>
-<a href="images/ill_027.jpg">
-<img src="images/ill_027.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Infante D. Fernando de Austria</span></p>
-
-<p><span class="smcap">Portrait de l’infant Ferdinand d’Autriche</span></p>
-
-<p><span class="smcap">Portrait of the Infante Ferdinand of Austria</span></p>
-
-<p>[1186]</p>
-</div>
-
-<div class="figcenter" id="plt_28">
-<p class="plt">28</p>
-<a href="images/ill_028.jpg">
-<img src="images/ill_028.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Príncipe don Baltasar Carlos</span></p>
-
-<p><span class="smcap">Portrait du prince Balthazar Carlos</span></p>
-
-<p><span class="smcap">Portrait of Prince Balthazar Carlos</span></p>
-
-<p>[1189]</p>
-</div>
-
-<div class="figcenter" id="plt_29">
-<p class="plt">29</p>
-<a href="images/ill_029.jpg">
-<img src="images/ill_029.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de un enano del Rey Felipe IV, llamado «El Primo»</span></p>
-
-<p><span class="smcap">Portrait d’un nain du roi Philippe IV, dit «El Primo»</span></p>
-
-<p><span class="smcap">Portrait of a Dwarf of King Philip IV, surnamed «El Primo»</span></p>
-
-<p>[1201]</p>
-</div>
-
-<div class="figcenter" id="plt_30">
-<p class="plt">30</p>
-<a href="images/ill_030.jpg">
-<img src="images/ill_030.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de un enano del Rey Felipe IV</span></p>
-
-<p><span class="smcap">Portrait d’un nain du Roi Philippe IV</span></p>
-
-<p><span class="smcap">Portrait of a Dwarf of Philip IV</span></p>
-
-<p>[1202]</p>
-</div>
-
-<div class="figcenter" id="plt_31">
-<p class="plt">31</p>
-<a href="images/ill_031.jpg">
-<img src="images/ill_031.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de un enano del Rey Felipe IV</span></p>
-
-<p><span class="smcap">Portrait d’un nain du Roi Philippe IV</span></p>
-
-<p><span class="smcap">Portrait of a dwarf of Philip IV</span></p>
-
-<p>[1203]</p>
-</div>
-
-<div class="figcenter" id="plt_32">
-<p class="plt">32</p>
-<a href="images/ill_032.jpg">
-<img src="images/ill_032.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">El niño de Vallecas</span></p>
-
-<p><span class="smcap">L’enfant de Vallecas</span></p>
-
-<p><span class="smcap">The Child of Vallecas</span></p>
-
-<p>[1204]</p>
-</div>
-
-<div class="figcenter" id="plt_33">
-<p class="plt">33</p>
-<a href="images/ill_033.jpg">
-<img src="images/ill_033.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">El bobo de Coria</span></p>
-
-<p><span class="smcap">L’idiot de Coria</span></p>
-
-<p><span class="smcap">The Fool of Coria</span></p>
-
-<p>[1205]</p>
-</div>
-
-<div class="figcenter" id="plt_34">
-<p class="plt">34</p>
-<a href="images/ill_034.jpg">
-<img src="images/ill_034.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de un truhán del Rey Felipe IV</span></p>
-
-<p><span class="smcap">Portrait d’un bouffon du Roi Philippe IV</span></p>
-
-<p><span class="smcap">Portrait of one of Philip IV’s jesters</span></p>
-
-<p>[1200]</p>
-</div>
-
-<div class="figcenter" id="plt_35">
-<p class="plt">35</p>
-<a href="images/ill_035.jpg">
-<img src="images/ill_035.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de Pernía, bufón del Rey Felipe IV</span></p>
-
-<p><span class="smcap">Portrait de Pernía, bouffon du Roi Philippe IV</span></p>
-
-<p><span class="smcap">Portrait of Pernía, Buffoon of Philip IV</span></p>
-
-<p>[1199]</p>
-</div>
-
-<div class="figcenter" id="plt_36">
-<p class="plt">36</p>
-<a href="images/ill_036.jpg">
-<img src="images/ill_036.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de D.ª María de Austria</span></p>
-
-<p><span class="smcap">Portrait de D.ª María d’Autriche</span></p>
-
-<p><span class="smcap">Portrait of Mary of Austria</span></p>
-
-<p>[1191]</p>
-</div>
-
-<div class="figcenter" id="plt_37">
-<p class="plt">37</p>
-<a href="images/ill_037.jpg">
-<img src="images/ill_037.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de D.ª María de Austria</span></p>
-
-<p><span class="smcap">Portrait de D.ª María d’Autriche</span></p>
-
-<p><span class="smcap">Portrait of Mary of Austria</span></p>
-
-<p>[1190]</p>
-</div>
-
-<div class="figcenter" id="plt_38">
-<p class="plt">38</p>
-<a href="images/ill_038.jpg">
-<img src="images/ill_038.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato de la Infanta D.ª María Teresa de Austria</span></p>
-
-<p><span class="smcap">Portrait de l’Infante Marie Thérèse d’Autriche</span></p>
-
-<p><span class="smcap">Portrait of the Infanta Maria Theresa of Austria</span></p>
-
-<p>[1192]</p>
-</div>
-
-<div class="figcenter" id="plt_39">
-<p class="plt">39</p>
-<a href="images/ill_039.jpg">
-<img src="images/ill_039.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Retrato del Rey D. Felipe IV</span></p>
-
-<p><span class="smcap">Portrait du Roi Philippe IV</span></p>
-
-<p><span class="smcap">Portrait of Philip IV</span></p>
-
-<p>[1185]</p>
-</div>
-
-<div class="figcenter" id="plt_40">
-<p class="plt">40</p>
-<a href="images/ill_040.jpg">
-<img src="images/ill_040.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">El dios Marte</span></p>
-
-<p><span class="smcap">Le dieu Mars</span></p>
-
-<p><span class="smcap">Mars</span></p>
-
-<p>[1208]</p>
-</div>
-
-<div class="figcenter" id="plt_41">
-<p class="plt">41</p>
-<a href="images/ill_041.jpg">
-<img src="images/ill_041.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Mercurio y Argos</span></p>
-
-<p><span class="smcap">Mercure et Argus</span></p>
-
-<p><span class="smcap">Mercury and Argus</span></p>
-
-<p>[1175]</p>
-</div>
-
-<div class="figcenter" id="plt_42">
-<p class="plt">42</p>
-<a href="images/ill_042.jpg">
-<img src="images/ill_042.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">La Coronación de la Virgen</span></p>
-
-<p><span class="smcap">Le Couronnement de la Vierge</span></p>
-
-<p><span class="smcap">The Coronation of the Blessed Virgin</span></p>
-
-<p>[1168]</p>
-</div>
-
-<div class="figcenter" id="plt_43">
-<p class="plt">43</p>
-<a href="images/ill_043.jpg">
-<img src="images/ill_043.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Esopo</span></p>
-
-<p><span class="smcap">Esope</span></p>
-
-<p><span class="smcap">Aesop</span></p>
-
-<p>[1206]</p>
-</div>
-
-<div class="figcenter" id="plt_44">
-<p class="plt">44</p>
-<a href="images/ill_044.jpg">
-<img src="images/ill_044.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Menipo</span></p>
-
-<p><span class="smcap">Ménippe</span></p>
-
-<p><span class="smcap">Menippus</span></p>
-
-<p>[1207]</p>
-</div>
-
-<div class="figcenter" id="plt_45">
-<p class="plt">45</p>
-<a href="images/ill_045.jpg">
-<img src="images/ill_045.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">La fábrica de tapices de Santa Isabel de Madrid (Las
-Hilanderas)</span></p>
-
-<p><span class="smcap">La fabrique de tapisseries de Santa Isabel, à Madrid (Les Fileuses)</span></p>
-
-<p><span class="smcap">The Tapestry works of Saint Isabel at Madrid. (The Spinners)</span></p>
-
-<p>[1173]</p>
-</div>
-
-<div class="figcenter" id="plt_46">
-<p class="plt">46</p>
-<a href="images/ill_046.jpg">
-<img src="images/ill_046.jpg"
-width="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Las Meninas (La Familia)</span></p>
-
-<p><span class="smcap">Les Ménines (La Famille)</span></p>
-
-<p><span class="smcap">The Little girls (The Family)</span></p>
-
-<p>[1174]</p>
-</div>
-
-<div class="figcenter" id="plt_47">
-<p class="plt">47</p>
-<a href="images/ill_047.jpg">
-<img src="images/ill_047.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">Las Meninas (La Familia) (Fragmento)</span></p>
-
-<p><span class="smcap">Les Ménines (La Famille) (Détail)</span></p>
-
-<p><span class="smcap">The Little Girls (The Family) (Fragment)</span>]</p>
-</div>
-
-<div class="figcenter" id="plt_48">
-<p class="plt">48</p>
-<a href="images/ill_048.jpg">
-<img src="images/ill_048.jpg"
-height="600"
-alt="[Image unavailable.]" /></a>
-
-<p><span class="smcap">San Antonio Abad visitando a San Pablo</span></p>
-
-<p><span class="smcap">Saint Antoine Abbé visitant Saint Paul Ermite</span></p>
-
-<p><span class="smcap">The Abbot Saint Anthony, visiting Saint Paul</span></p>
-
-<p>[1169]</p>
-</div>
-
-<div class="bboxdt">
-
-<p class="cbig">EL ARTE EN ESPAÑA</p>
-
-<p class="c">EDICIONES DE VULGARIZACIÓN</p>
-
-<p>Propagar el conocimiento de los tesoros artísticos de nuestra patria, es
-lo que nos mueve a publicar esta Biblioteca de vulgarización del Arte
-nacional, que tiende, por lo económico de su precio, a que llegue a
-todas las manos. Es tanto lo que aún poseemos, y tan importante, que es
-de conveniencia que se sepa, por los que no lo tengan averiguado, que
-nuestro país es todo él un museo, rico, variado, generoso para cuantos a
-su estudio se dediquen. Para demostrarlo, y para que esta demostración
-llegue fácilmente a todas partes, emprendemos la publicación de una
-serie de tomitos en los cuales se recojerá, con abundancia de
-reproducciones y acompañado de breve texto, lo más saliente de antiguas
-construcciones seculares; de los pintores y escultores que gozan de
-nombradía universal y de cuanto en los museos españoles dice el abolengo
-de industrias artísticas nacionales.</p>
-
-<p class="cb">Obras publicadas:</p>
-
-<table border="0" cellpadding="0" cellspacing="0" summary="">
-<tr><td class="rt">1.</td><td>&mdash;LA CATEDRAL DE BURGOS.</td></tr>
-<tr><td class="rt">2.</td><td>&mdash;GUADALAJARA-ALCALA DE HENARES.</td></tr>
-<tr><td class="rt">3.</td><td>&mdash;LA CASA DEL GRECO.</td></tr>
-<tr><td class="rt">4.</td><td>&mdash;REAL PALACIO DE MADRID.</td></tr>
-<tr><td class="rt">5.</td><td>&mdash;ALHAMBRA.</td></tr>
-<tr><td class="rt">6.</td><td>&mdash;VELAZQUEZ EN EL MUSEO DEL PRADO.</td></tr>
-<tr><td class="rt">7.</td><td>&mdash;SEVILLA.</td></tr>
-<tr><td class="rt">8.</td><td>&mdash;ESCORIAL.</td></tr>
-<tr><td class="rt">9.</td><td>&mdash;MONASTERIO DE GUADALUPE.</td></tr>
-<tr><td class="rt">10.</td><td>&mdash;EL GRECO.</td></tr>
-<tr><td class="rt">11.</td><td>&mdash;ARANJUEZ.</td></tr>
-<tr><td class="rt">12.</td><td>&mdash;MONASTERIO DE POBLET.</td></tr>
-<tr><td class="rt">13.</td><td>&mdash;CIUDAD RODRIGO.</td></tr>
-<tr><td class="rt">14.</td><td>&mdash;GOYA EN EL MUSEO DEL PRADO.</td></tr>
-<tr><td class="rt">15.</td><td>&mdash;LA CATEDRAL DE LEON.</td></tr>
-</table>
-
-<p class="c">En prensa:</p>
-
-<p class="c">
-PALENCIA  :  LA CATEDRAL DE SIGÜENZA<br />
-</p>
-
-<p class="cb">Establecimiento editorial Thomas, Mallorca, 291, Barcelonas</p>
-</div>
-
-<div class="bbox">
-
-<p class="cbig">M V S E V M</p>
-
-<p class="c">
-REVISTA MENSUAL<br />
-DE ARTE ESPAÑOL<br />
-ANTIGUO Y MODERNO Y DE<br />
-LA VIDA ARTÍSTICA CONTEMPORANEA<br />
-<br /><br />
-<img src="images/ill_053.png"
-width="70"
-alt=""
-/>
-</p>
-
-<p class="nind"><b>MVSEVM</b> es la única revista puramente artística en lengua española, que
-se publica en Europa y América; es la mejor publicación de arte que ve
-la luz en los países de origen latino, según lo atestigua la prensa
-competente de Europa; publica informaciones e investigaciones sobre
-pintura, escultura, arquitectura, arqueología, cerámica, vidriería,
-numismática, orfebrería, xilografía, tapices, bordados, decoración de
-interiores, etc., etc. A quien quiera lo solicite manda números de
-muestra.</p>
-
-<p class="c">PRECIOS DE SUSCRIPCIÓN</p>
-
-<table border="0" cellpadding="1" cellspacing="0" summary="">
-<tr><td>España, un año.</td><td class="rt">20</td><td align="left">pesetas.</td></tr>
-<tr><td>Extranjero.</td><td class="rt">25</td><td align="left">francos.</td></tr>
-<tr><td>Número suelto.</td><td class="rt">2</td><td align="left">pesetas.</td></tr>
-<tr><td>Número suelto en el extranjero</td><td class="rt">2</td><td align="left">fr. 50.</td></tr>
-</table>
-
-<p class="c">Administración: c. Mallorca, 291.&mdash;Barcelona&mdash;(España).<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p>
-</div>
-
-<p class="cb">
-<i>Reproducido,<br />
-grabado y estampado en los talleres<br />
-Thomas, de Barcelona</i><br />
-<br /><br />
-<img src="images/ill_054.png"
-width="160"
-alt=""
-/></p>
-
-<hr class="full" />
-<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK VELÁZQUEZ EN EL MUSEO DEL PRADO ***</div>
-<div style='text-align:left'>
-
-<div style='display:block; margin:1em 0'>
-Updated editions will replace the previous one&#8212;the old editions will
-be renamed.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg&#8482; electronic works to protect the PROJECT GUTENBERG&#8482;
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks may be modified and printed and given away--you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-</div>
-
-<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br />
-<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br />
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span>
-</div>
-
-<div style='display:block; margin:1em 0'>
-To protect the Project Gutenberg&#8482; mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase &#8220;Project
-Gutenberg&#8221;), you agree to comply with all the terms of the Full
-Project Gutenberg&#8482; License available with this file or online at
-www.gutenberg.org/license.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 1. General Terms of Use and Redistributing Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.A. By reading or using any part of this Project Gutenberg&#8482;
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg&#8482; electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg&#8482; electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the person
-or entity to whom you paid the fee as set forth in paragraph 1.E.8.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.B. &#8220;Project Gutenberg&#8221; is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg&#8482; electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg&#8482; electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg&#8482;
-electronic works. See paragraph 1.E below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.C. The Project Gutenberg Literary Archive Foundation (&#8220;the
-Foundation&#8221; or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg&#8482; electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg&#8482; mission of promoting
-free access to electronic works by freely sharing Project Gutenberg&#8482;
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg&#8482; name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg&#8482; License when
-you share it without charge with others.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg&#8482; work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E. Unless you have removed all references to Project Gutenberg:
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg&#8482; License must appear
-prominently whenever any copy of a Project Gutenberg&#8482; work (any work
-on which the phrase &#8220;Project Gutenberg&#8221; appears, or with which the
-phrase &#8220;Project Gutenberg&#8221; is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-</div>
-
-<blockquote>
-  <div style='display:block; margin:1em 0'>
-    This eBook is for the use of anyone anywhere in the United States and most
-    other parts of the world at no cost and with almost no restrictions
-    whatsoever. You may copy it, give it away or re-use it under the terms
-    of the Project Gutenberg License included with this eBook or online
-    at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-    are not located in the United States, you will have to check the laws
-    of the country where you are located before using this eBook.
-  </div>
-</blockquote>
-
-<div style='display:block; margin:1em 0'>
-1.E.2. If an individual Project Gutenberg&#8482; electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase &#8220;Project
-Gutenberg&#8221; associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg&#8482;
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.3. If an individual Project Gutenberg&#8482; electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg&#8482; License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg&#8482;
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg&#8482;.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg&#8482; License.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg&#8482; work in a format
-other than &#8220;Plain Vanilla ASCII&#8221; or other format used in the official
-version posted on the official Project Gutenberg&#8482; website
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original &#8220;Plain
-Vanilla ASCII&#8221; or other form. Any alternate format must include the
-full Project Gutenberg&#8482; License as specified in paragraph 1.E.1.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg&#8482; works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg&#8482; electronic works
-provided that:
-</div>
-
-<div style='margin-left:0.7em;'>
-    <div style='text-indent:-0.7em'>
-        &bull; You pay a royalty fee of 20% of the gross profits you derive from
-        the use of Project Gutenberg&#8482; works calculated using the method
-        you already use to calculate your applicable taxes. The fee is owed
-        to the owner of the Project Gutenberg&#8482; trademark, but he has
-        agreed to donate royalties under this paragraph to the Project
-        Gutenberg Literary Archive Foundation. Royalty payments must be paid
-        within 60 days following each date on which you prepare (or are
-        legally required to prepare) your periodic tax returns. Royalty
-        payments should be clearly marked as such and sent to the Project
-        Gutenberg Literary Archive Foundation at the address specified in
-        Section 4, &#8220;Information about donations to the Project Gutenberg
-        Literary Archive Foundation.&#8221;
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &bull; You provide a full refund of any money paid by a user who notifies
-        you in writing (or by e-mail) within 30 days of receipt that s/he
-        does not agree to the terms of the full Project Gutenberg&#8482;
-        License. You must require such a user to return or destroy all
-        copies of the works possessed in a physical medium and discontinue
-        all use of and all access to other copies of Project Gutenberg&#8482;
-        works.
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &bull; You provide, in accordance with paragraph 1.F.3, a full refund of
-        any money paid for a work or a replacement copy, if a defect in the
-        electronic work is discovered and reported to you within 90 days of
-        receipt of the work.
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &bull; You comply with all other terms of this agreement for free
-        distribution of Project Gutenberg&#8482; works.
-    </div>
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg&#8482; electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg&#8482; trademark. Contact the Foundation as set
-forth in Section 3 below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg&#8482; collection. Despite these efforts, Project Gutenberg&#8482;
-electronic works, and the medium on which they may be stored, may
-contain &#8220;Defects,&#8221; such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the &#8220;Right
-of Replacement or Refund&#8221; described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg&#8482; trademark, and any other party distributing a Project
-Gutenberg&#8482; electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you &#8216;AS-IS&#8217;, WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg&#8482; electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg&#8482;
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg&#8482; work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg&#8482; work, and (c) any
-Defect you cause.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 2. Information about the Mission of Project Gutenberg&#8482;
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg&#8482;&#8217;s
-goals and ensuring that the Project Gutenberg&#8482; collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg&#8482; and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Project Gutenberg Literary Archive Foundation is a non-profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation&#8217;s EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state&#8217;s laws.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation&#8217;s business office is located at 809 North 1500 West,
-Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
-to date contact information can be found at the Foundation&#8217;s website
-and official page at www.gutenberg.org/contact
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; depends upon and cannot survive without widespread
-public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine-readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular state
-visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-</div>
-
-<div style='display:block; margin:1em 0'>
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Please check the Project Gutenberg web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 5. General Information About Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-Professor Michael S. Hart was the originator of the Project
-Gutenberg&#8482; concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg&#8482; eBooks with only a loose network of
-volunteer support.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Most people start at our website which has the main PG search
-facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-This website includes information about Project Gutenberg&#8482;,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-</div>
-
-</div>
-
-</body>
-</html>
diff --git a/old/65034-h/images/barr.jpg b/old/65034-h/images/barr.jpg
deleted file mode 100644
index 3fe3833..0000000
--- a/old/65034-h/images/barr.jpg
+++ /dev/null
diff --git a/old/65034-h/images/cover.jpg b/old/65034-h/images/cover.jpg
deleted file mode 100644
index 4bdbd73..0000000
--- a/old/65034-h/images/cover.jpg
+++ /dev/null
diff --git a/old/65034-h/images/cover/cover.jpg b/old/65034-h/images/cover/cover.jpg
deleted file mode 100644
index 4bdbd73..0000000
--- a/old/65034-h/images/cover/cover.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_001.jpg b/old/65034-h/images/ill_001.jpg
deleted file mode 100644
index e95893e..0000000
--- a/old/65034-h/images/ill_001.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_002.jpg b/old/65034-h/images/ill_002.jpg
deleted file mode 100644
index a8f4213..0000000
--- a/old/65034-h/images/ill_002.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_003.jpg b/old/65034-h/images/ill_003.jpg
deleted file mode 100644
index 218bd61..0000000
--- a/old/65034-h/images/ill_003.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_004.jpg b/old/65034-h/images/ill_004.jpg
deleted file mode 100644
index 2ee9bad..0000000
--- a/old/65034-h/images/ill_004.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_005.jpg b/old/65034-h/images/ill_005.jpg
deleted file mode 100644
index 21e9931..0000000
--- a/old/65034-h/images/ill_005.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_006.jpg b/old/65034-h/images/ill_006.jpg
deleted file mode 100644
index 648c373..0000000
--- a/old/65034-h/images/ill_006.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_007.jpg b/old/65034-h/images/ill_007.jpg
deleted file mode 100644
index 86c2d37..0000000
--- a/old/65034-h/images/ill_007.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_008.jpg b/old/65034-h/images/ill_008.jpg
deleted file mode 100644
index 9f52204..0000000
--- a/old/65034-h/images/ill_008.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_009.jpg b/old/65034-h/images/ill_009.jpg
deleted file mode 100644
index c5d9b4e..0000000
--- a/old/65034-h/images/ill_009.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_010.jpg b/old/65034-h/images/ill_010.jpg
deleted file mode 100644
index 9df51a5..0000000
--- a/old/65034-h/images/ill_010.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_011.jpg b/old/65034-h/images/ill_011.jpg
deleted file mode 100644
index d084f32..0000000
--- a/old/65034-h/images/ill_011.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_012.jpg b/old/65034-h/images/ill_012.jpg
deleted file mode 100644
index 6dce9df..0000000
--- a/old/65034-h/images/ill_012.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_013.jpg b/old/65034-h/images/ill_013.jpg
deleted file mode 100644
index 8881385..0000000
--- a/old/65034-h/images/ill_013.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_014.jpg b/old/65034-h/images/ill_014.jpg
deleted file mode 100644
index 6b09352..0000000
--- a/old/65034-h/images/ill_014.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_015.jpg b/old/65034-h/images/ill_015.jpg
deleted file mode 100644
index 5351b0c..0000000
--- a/old/65034-h/images/ill_015.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_016.jpg b/old/65034-h/images/ill_016.jpg
deleted file mode 100644
index cd7e61e..0000000
--- a/old/65034-h/images/ill_016.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_017.jpg b/old/65034-h/images/ill_017.jpg
deleted file mode 100644
index 8f1ab26..0000000
--- a/old/65034-h/images/ill_017.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_018.jpg b/old/65034-h/images/ill_018.jpg
deleted file mode 100644
index f13cf56..0000000
--- a/old/65034-h/images/ill_018.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_019.jpg b/old/65034-h/images/ill_019.jpg
deleted file mode 100644
index c54a6d3..0000000
--- a/old/65034-h/images/ill_019.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_020.jpg b/old/65034-h/images/ill_020.jpg
deleted file mode 100644
index aabc93d..0000000
--- a/old/65034-h/images/ill_020.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_021.jpg b/old/65034-h/images/ill_021.jpg
deleted file mode 100644
index 3cd9ed5..0000000
--- a/old/65034-h/images/ill_021.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_022.jpg b/old/65034-h/images/ill_022.jpg
deleted file mode 100644
index 682063c..0000000
--- a/old/65034-h/images/ill_022.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_023.jpg b/old/65034-h/images/ill_023.jpg
deleted file mode 100644
index eb7ee50..0000000
--- a/old/65034-h/images/ill_023.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_024.jpg b/old/65034-h/images/ill_024.jpg
deleted file mode 100644
index 2f0e040..0000000
--- a/old/65034-h/images/ill_024.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_025.jpg b/old/65034-h/images/ill_025.jpg
deleted file mode 100644
index dc1c0a8..0000000
--- a/old/65034-h/images/ill_025.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_026.jpg b/old/65034-h/images/ill_026.jpg
deleted file mode 100644
index e004aad..0000000
--- a/old/65034-h/images/ill_026.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_027.jpg b/old/65034-h/images/ill_027.jpg
deleted file mode 100644
index 12c70ef..0000000
--- a/old/65034-h/images/ill_027.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_028.jpg b/old/65034-h/images/ill_028.jpg
deleted file mode 100644
index 400a36d..0000000
--- a/old/65034-h/images/ill_028.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_029.jpg b/old/65034-h/images/ill_029.jpg
deleted file mode 100644
index fe91ccb..0000000
--- a/old/65034-h/images/ill_029.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_030.jpg b/old/65034-h/images/ill_030.jpg
deleted file mode 100644
index 16da628..0000000
--- a/old/65034-h/images/ill_030.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_031.jpg b/old/65034-h/images/ill_031.jpg
deleted file mode 100644
index 49f417c..0000000
--- a/old/65034-h/images/ill_031.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_032.jpg b/old/65034-h/images/ill_032.jpg
deleted file mode 100644
index 331e752..0000000
--- a/old/65034-h/images/ill_032.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_033.jpg b/old/65034-h/images/ill_033.jpg
deleted file mode 100644
index ee68e88..0000000
--- a/old/65034-h/images/ill_033.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_034.jpg b/old/65034-h/images/ill_034.jpg
deleted file mode 100644
index 8d7b9d9..0000000
--- a/old/65034-h/images/ill_034.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_035.jpg b/old/65034-h/images/ill_035.jpg
deleted file mode 100644
index 5530ec8..0000000
--- a/old/65034-h/images/ill_035.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_036.jpg b/old/65034-h/images/ill_036.jpg
deleted file mode 100644
index 432a355..0000000
--- a/old/65034-h/images/ill_036.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_037.jpg b/old/65034-h/images/ill_037.jpg
deleted file mode 100644
index cf783f3..0000000
--- a/old/65034-h/images/ill_037.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_038.jpg b/old/65034-h/images/ill_038.jpg
deleted file mode 100644
index a16023e..0000000
--- a/old/65034-h/images/ill_038.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_039.jpg b/old/65034-h/images/ill_039.jpg
deleted file mode 100644
index efc9ea2..0000000
--- a/old/65034-h/images/ill_039.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_040.jpg b/old/65034-h/images/ill_040.jpg
deleted file mode 100644
index 6f3ddd7..0000000
--- a/old/65034-h/images/ill_040.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_041.jpg b/old/65034-h/images/ill_041.jpg
deleted file mode 100644
index 58d36ef..0000000
--- a/old/65034-h/images/ill_041.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_042.jpg b/old/65034-h/images/ill_042.jpg
deleted file mode 100644
index 8d23470..0000000
--- a/old/65034-h/images/ill_042.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_043.jpg b/old/65034-h/images/ill_043.jpg
deleted file mode 100644
index 5511150..0000000
--- a/old/65034-h/images/ill_043.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_044.jpg b/old/65034-h/images/ill_044.jpg
deleted file mode 100644
index d861bb3..0000000
--- a/old/65034-h/images/ill_044.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_045.jpg b/old/65034-h/images/ill_045.jpg
deleted file mode 100644
index 5b19196..0000000
--- a/old/65034-h/images/ill_045.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_046.jpg b/old/65034-h/images/ill_046.jpg
deleted file mode 100644
index b746394..0000000
--- a/old/65034-h/images/ill_046.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_047.jpg b/old/65034-h/images/ill_047.jpg
deleted file mode 100644
index 145eba5..0000000
--- a/old/65034-h/images/ill_047.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_048.jpg b/old/65034-h/images/ill_048.jpg
deleted file mode 100644
index 30b1de4..0000000
--- a/old/65034-h/images/ill_048.jpg
+++ /dev/null
diff --git a/old/65034-h/images/ill_053.png b/old/65034-h/images/ill_053.png
deleted file mode 100644
index dbb9410..0000000
--- a/old/65034-h/images/ill_053.png
+++ /dev/null
diff --git a/old/65034-h/images/ill_054.png b/old/65034-h/images/ill_054.png
deleted file mode 100644
index 6bffa46..0000000
--- a/old/65034-h/images/ill_054.png
+++ /dev/null
diff --git a/old/65034-h/images/title.jpg b/old/65034-h/images/title.jpg
deleted file mode 100644
index 4ad2cc3..0000000
--- a/old/65034-h/images/title.jpg
+++ /dev/null