Page:The New International Encyclopædia 1st ed. v. 20.djvu/64

* VEITCH. 42 (1859-60), and translated from Descartes the Discourse on Method, Meditations, and selections from The Principles of Philosophy. To general literature he contributed the excellent Peeling for 'Nature in Scottish Poetry (1887), and the still more valuable History and Poetry of the Scottish Border (1893). After his death, his widow prepared for the press Border Essays (189G), containing "The Yarrow of Wordsworth and Scott." and other descriptive pieces. In verse Veitch published Hillside Rhymes (1872), The Tu-ecd and Other Poems (1875), and Mer- lin and Other Poems (1889). Consult the Me- moir by Jlary R. L. Bryce (Edinluirgh, 1896). VEJEB DE LA FRONTEKA, va-nar' da la fron-ta'ra. A town of the Province of Cadiz, Spain, on the right bank of the river Barbata, 28 miles southeast of Cadiz, and 5 miles east of Cape Trafalgar (Map: Spain, C 4). The sur- rounding country is covered with orchards and orange groves. Population, in 1900, 11.309. VELA, va'la, Vincenzo (1822-91). An Italian sculptor, born in Ligornetto, Canton of Ticino, Switzerland. He studied under Caccia- tore at Milan, and in 1840 took the first prize in the exhibition of sculpture at Venice, with his relief "Christ Raising the Daughter of Jairus." In 1847 he went to Rome, where he modeled his "Spartacus," completed in 1851, .which long stood upon the staircase of the Palazzo Litta in Milan, but is now in Saint Petersburg. In 1852 he became professor in the Academy of Turin, where he produced most of his important works. The best known are "Hope" and "Resig- nation," two funerary statues; "Harmony in Tears" (1855), for the tomb of Donizetti in Santa Maria Maggiore, Bergamo; "France and Italy;" the charming ideal statue "Primavera;" "Columbus and America," a colossal bronze group at Vera Cruz, Mexico ; and the "Dying Napoleon," at Versailles, his most celebrated work. Vela succeeded equally well with ideal and dramatic subjects, and was one of the prin- cipal representatives of the realistic school in Italy during the nineteenth century. VELA'BRTJM. A low, marshy district of ancient Rome between the Palatine and Capi- toline Hills, reaching from the Vicus Tuscus to the Forum Boariuni. VELAZQUEZ, or VELASQUEZ, v&lils'kath, Diego ue (O.14(!0-c.l522) . A governor of Cuba, born in Cuellar, Sjiain. He accompanied Colum- bus on his second voyage, and later participated in the conquest of Ilisjianiola. In 1511 Diego Columbus, Governor of llispnriiola, sent him with a force of 300 men to conquer Cuba. This, with the assistance of reinforcements brought by Piinfilo Narvacz, he easily accomplislunl, and then threw o(T the authority of Dic^'o Columbus. He founded Baracoa, Bayamo, Trini<lail, Puerto Principe, Santiago de Cuba, Havana, ami other places. In 1517 a slave-catching expedition which went out with his approval discovered Yucatan. In the following year Velazquez sent out an ex- pedition under Juan de Crijalva, and when this commander brought back word of the riches of Mexico, he sent (JUt the expedition under Her- nando Cortes. Before Cord's sailed, 'elazipiez, fearing that he might prove too independent, re- voked his commission, but Corti^s disregarded his authority and went to Me.ico. Velazquez later VELAZQtTEZ. sent the force under Narvaez to seize Cortgs, but Cortfs captured Narvaez. Velazquez died short- ly afterwards, in 1522 or 1523, as a result, it is said, of vexation over the loss of liis riches. VELAZQUEZ (VELASQUEZ), Dieuo Rod- riguez DE SiLVA Y ( 1599-ltJUO). The chief painter of the Spanish school, one of the greatest masters of all times. He was born at Seville, June 5, 1599, the son of Juan de Silva, of a noble Portuguese family established at Seville, and of Geronima Velazquez. Both were of the petty nobility (hidalgos), and the son, as is frequently the custom in Andalusia, added his mother'3 name to his own. He was educated in the gram- mar school of Seville, and in his thirteenth year was placed with the painter Herrera, but, un- able to endure his master's ferocious temper, he left him after a year to study with Pacheco. From the former he acquired little besides a taste for genre subjects and a tendency toward naturalism, but with the latter he remained five years. Although a poor painter, Pacheco was an excellent teacher, and the influence of his sound precejits may be seen in the wonderful sureness of Velazquez's drawing and the thoroughness of Ids work. The reputed influence of Luis Tristan of Toledo upon Velazquez is less evident, and probablj' applies only to his chiaroscuro. The earliest works of Velazquez are in the style of the Spanish naturalists, and show no evidence of the prevalent classical Italian in- fluence. They reveal the customary high lights and dark shadows, a sure and able draughtsman- ship,anda trenchantnaturalistic characterization. Such as survive are genre and religious subjects, and the prinei])al are the "Aguador" (Water- Carrier) and the "Adoration of the Shepherds," suggestive of Ribera, in the National Gallery, London; "Old Woman Cooking Eggs" (Sir Francis Cooke) ; and an "Epiphany" (Prado, Madrid). In 1618 he married Paclieco's daughter, and in 1022 he went for the first time to Madrid. The most important result of this visit was his ac- quaintance with the Sevillian canon Fonseca, who held an ecclesiastical office in the royal chapel, through whose efforts he won the sympathy of Philip IV.'s all-powerful minister, Olivarez. On Velazquez's return to Madrid in 1623 his portrait of Fonseca found such favor with the royal family that he was commissioned to paint an equestrian portrait of the King. His success was such that he was appointed Court painter, with the exclusive privilege of portraying the King, and given a liberal pension and a studio in the Alc.rtzar. His success was insured by his bril- liant victory in a competition with the three Italian painters in the King's service, the subject being "The Expulsion of the Moriscos from Spain." From now on the life of Velazquez was spent in the service of the King. Most of the early jjortraits of his great patron, Olivarez, have dis- appeared. One is preserved in the well-known plate of Paul Pontius, with emblematic design by Rubens, ami there is a full length in Dorchester House. The earliest surviving portrait of Philip IV. is probably the bust in the I'rado Jliiscum, which also |)ossesses the fine full-length portraits of the King and Don Carlos, his brother. The visit of Rubens as ambassador of Isabella,