ilva. Velasquez was gently born,
though his father was in no higher position than that of a lawyer in
Seville.

The painter was well educated, though, according to his English
biographer (Sir W. Stirling Maxwell), 'he was still more diligent in
drawing on his grammars and copybooks than in turning them to their
legitimate use.' The lad's evident bent induced his father to painter.
He studied in two different Spanish studios, and married the daughter of
his second master, whom the talents, assiduity, and good qualities of
Velasquez had already strongly attached to the young painter.

From the first, Velasquez struck out what was then a new line in Spanish
art. He gave himself up to the materialistic studies, to which the
Flemish and Dutch painters were prone, painting diligently 'still life'
in every form, taking his living subjects from the streets and
way-sides, and keeping a peasant lad as an apprentice, 'who served him
for a study in different actions and postures (sometimes crying,
sometimes laughing), till Velasquez had grappled with every variety of
expression.' The result of those studies was Velasquez's famous picture
of the 'Aguador,' or water-carrier of Seville, which was carried off by
Joseph Buonaparte in his flight from Spain, taken in his carriage at
Vittoria, and finally presented by Ferdinand VII, of Spain, as a
grateful offering to the Duke of Wellington, in whose gallery at Apsley
House the picture remains. 'It is a composition of three figures,' Sir
W. Stirling Maxwell writes; 'a sunburnt way-worn seller of water,
dressed in a tattered brown jerkin, with his huge earthen jars, and two
lads, one of whom receives a sparkling glass of the pure element, whilst
his companion quenches his thirst from a pipkin. The execution of the
heads and all the details is perfect; and the ragged trader dispensing a
few maravidi's worth of his simple stock, maintains, during the
transaction, a grave dignity of deportment, highly Spanish and
characteristic, and worthy of an emperor pledging a great vassal in
Tokay.'

Just such a group may still be seen, or was to be seen till very lately,
in the quaint streets of Seville. I have read an anecdote of Velasquez
and this picture, which is quite probable, though I cannot vouch for
its accuracy. It is said that, while painting the water-carrier day
after day, when he had been engaged with his work for several hours,
Velasquez found himself vexed by perceiving, as it were, th