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A dismal period of misrule ensued, which encouraged the Spanish generals, Pareja and Sanchez, to attempt the reconquest of Chili in 1813. Pareja and Sanchez were successfully resisted, and a better man, General Bernardo O'Higgins, the republican son of an Irishman who had been Viceroy of Peru, was put at the head of affairs.
Hostilities, however, were staved off for a while by the action of the Spanish authorities, who stated that Admiral Pinzon had exceeded his instructions. In the meanwhile the capture of one of his smaller vessels by the Chileans had so preyed upon the Admiral's mind that he committed suicide. He was succeeded in his command by Admiral Pareja.
At the sight of the canvas all doubt vanishes. There, indeed, is the style, the inimitable technique of Velasquez." This, from the connoisseur who has devoted years of study to the work of the master, and who rejects such well established examples as the Dulwich Philip IV. and the Admiral Pulido Pareja, is surely more conclusive than the academic pedantry of ignorance masquerading as authority.
Soon after his return to Spain in 1631, he probably painted the magnificent whole length Philip IV. in the National Gallery, which compares so well, on examination with the more popular and showy Admiral Pulido Pareja purchased some years ago from Longford Castle.
While in Rome Velasquez painted the pope, also his own slave, Pareja. When he returned to Spain he took with him three hundred statues, but a large number of them were nude, and the Spanish court, not over particular about most things, was very particular about naked statues, so that after Philip's death, they nearly all disappeared.
Like Erigonus, the color grinder of Nealces, or like Pareja, the mulatto of Velasquez, he devoted his leisure to the secret study of the principles of drawing, and in time acquired a skill with the brush rivalled by few of the regular scholars of Murillo.
His name was Pareja, and his master had already made an excellent artist of him. They went to Genoa, thence to the great art-centres of Italy, were received everywhere with honour, and the artist bought wisely. Velasquez did not care for Raphael's paintings as much as for Titian's, and he said so to Salvator Rosa, an honoured painter in Italy.
Then comes the great invader Velazquez, followed by his retainers Pareja and Carreno, and absorbs the whole life of the school. Claudio Coello makes a good fight against the rapid decadence. Luca Giordano comes rattling in from Naples with his whitewash-brush, painting a mile a minute, and classic art is ended in Spain with the brief and conscientious work of Raphael Mengs.
He studied painting secretly, and at last, on an occasion when the king visited the studio of his master, Pareja showed him a picture of his own painting, and throwing himself at Philip's feet begged pardon for his audacity. Both Philip and Velasquez treated him very kindly. Velasquez gave Pareja his freedom; but it is said that he continued to serve his old master faithfully as long as he lived.
This resulted in a letter summoning Velasquez to court, with an enclosure of fifty ducats for the journey. He was attended by his slave, Juan Pareja, a mulatto lad, who was his faithful attendant for many years, and who became an excellent painter. His former instructor, Pacheco, now his father-in-law, also accompanied him.
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