<b>Identifier</b>: dictionaryofpain05brya<br><p><b>Title</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookiddictionaryofpain05brya">Dictionary of painters and engravers</a><br><b>Year</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookyear1903">1903</a> (<a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookdecade1900">1900s</a>)<br><b>Authors</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorBryan__Michael__1757_1821">Bryan, Michael, 1757-1821</a> <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorWilliamson__George_Charles__1858_1942">Williamson, George Charles, 1858-1942</a><br><b>Subjects</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectPainters">Painters</a> <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectEngravers">Engravers</a><br><b>Publisher</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookpublisherLondon__G__Bell">London, G. Bell</a><br><b>Contributing Library</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookcontributorRobarts___University_of_Toronto">Robarts - University of Toronto</a><br><b>Digitizing Sponsor</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksponsorUniversity_of_Toronto">University of Toronto</a><br><br><b>View Book Page</b>: <a rel="nofollow" class="external text" href="https://archive.org/stream/dictionaryofpain05brya/dictionaryofpain05brya#page/n432/mode/1up">Book Viewer</a><br><b>About This Book</b>: <a rel="nofollow" class="external text" href="https://archive.org/details/dictionaryofpain05brya">Catalog Entry</a><br><b>View All Images</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookiddictionaryofpain05brya">All Images From Book</a><br>
Click here to <a rel="nofollow" class="external text" href="https://archive.org/stream/dictionaryofpain05brya/dictionaryofpain05brya#page/n432/mode/1up"><b>view book online</b></a> to see this illustration in context in a browseable online version of this book.<br><br><b>Text Appearing Before Image:</b><br><i>p. 79). Here-he copied Tintorettos Crucifixion and LastSupper. From Venice he went to Rome, by wayof Ferrara, Bologna, and Loretto. At Rome heremained for a whole year. Thanks to the in-fluence of the Count Monterey, at that time Philipsambassador to the Vatican, he was assigned alodging in the Villa Medicis. Thence, after a stayof two months, he was driven by fever to takerefuge in the Spanish Embassy. His time wasspent in making studies from the Italian masters,in painting such sketches as the two from theVilla Medicis now in the Madrid Gallery, and incompleting the Forge of Vulcan, now in theMuseo del Prado, and the Josephs Coat, at theEscorial. Towards the end of 1630 Velazquezwent to Naples, where he was the guest of theSpanish Viceroy, the Duke of Alcala, and wherehe struck up a close friendship with Spagnoletto.It was at the instigation of Velazquez that PhilipIV.bought many of those pictures by the Valencianmaster which now hang at Madrid. DIEGO RODRIGUEZ DA SILVA Y VELAZOUEZ</i><br><b>Text Appearing After Image:</b><br><i>Laurent photo] [Prado Gallery, Madrid DON CARLOS PAINTERS AND ENGRAVERS. Early in 1631 Velazquez was again in the Spanishcapital. Delighted to have his favourite back,Philip assigned him for a studio the north galleryof the Alcazar, which communicated with the royalapartments by a door of which Philip kept thekey. The king soon fell into the habit of payinga daily visit to the painter, with whose help hehimself made some by no means contemptibleessays in art. Soon after his return, Velazquezfinished a portrait of Don Baltasar Carlos, at theage of two, and provided a sketch of the equestrianstatue of Philip which was afterwards modelled byPietro Tacca, at Florence, and now stands beforethe royal palace at Madrid. The sketch hangs inthe Uffizi. In 1634, on the occasion of his daughterFranciscas marriage to Juan Bautista del Mazo-Martinez, Velazquez was permitted to hand downhis court appointment to his son-in-law, and washimself named an ayuda da guarda ropa, withoutsalary. Between this</i><br><br><b>Note About Images</b><br></p>
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