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VELAZQUEÑA COLLECTION

Studies on the life, work, and critical and iconographic fortune of

J O NAT HAN B R O W N
Velázquez:

Collections of scattered texts from prominent specialists written

New research and perspectives
Critical anthologies on their masterpieces
complete
about VELÁZQUEZ
PUBLISHED TITLES

COMPLETE STUDIES ON VELÁZQUEZ

VELÁZQUEZ, by Enriqueta Harris
VVELÁZQUEZ,SHAPE AND REFORM, by Martin Warnke
ECOMPLETE STUDIES ONVELÁZQUEZ, by Diego Angulo
VIN FRONT OF THE MIRROR. VELÁZQUEZ Y EL DESNUDO, por Andreas Prater

UPCOMING TITLES

POR LA FUERZA DEL ARTE. VELÁZQUEZ Y OTROS, por Svetlana Alpers

JONATHAN BROWN

Jonathan Brown is considered one of the great specialists in painting.

Spanish of the Golden Age and in Velázquez. To him has been dedicated Velázquez. Painter and
courtier(1986) and Velázquez. The technique of the genius(1998), with Carmen Garrido. Has
also studied the art of the European courts, about which he has published along with
John H. Elliott a fundamental study: A palace for the king. The Buen Retiro and the
Court of Philip IV (1st Spanish edition 1981; revised edition 2003). Jonathan Brown is
Carroll and Milton Petrie Professor of Fine Arts at the Institute of Fine Arts
New York University.

This book gathers 32 texts about Velázquez published between 1964 and 2006.
academic actions, exhibition catalogs, and general newspapers and magazines. A good
number of them is edited here in Spanish for the first time. The collection is the result of the
long dedication of Jonathan Brown to the life and works of the great Spanish painter, and
it also gathers their opinions on many of the attempts to solve the mysteries
What the paintings of this enigmatic artist evoke. All these questions are addressed.
in the latest of the essays, 'Velázquez, today and tomorrow', unpublished until now.
There are two themes that unify the set of essays. Velázquez was a painter of the
the court of Philip IV, and the changing relationship he had with the monarch is the framework
in which the artist's career must be interpreted. The central element of that relationship
with the collaboration of: Las Meninas, to which Brown dedicates two long essays: the already classic "On the
meaning of 'Las Meninas' (1978) and 'Las Meninas as a masterpiece' (1999).
C O L E C C I Ó N
The second topic is the issue of attributions and the related problem of the
innovative technique of the artist. Velázquez was not a prolific painter. Like the majority
CEEH part of his secure works is now found in museums, and as the price of the great
EicmptsobrVláquez
STUDY CENTER Paintings continue to break records, determining which new works are authentic is a
[Link] HISPANIC EUROPE
V E L A Z Q U E Ñ A increasingly controversial task. In this book, Brown addresses this topic in its most
broad dimension and participate in the debate on some specific attributions.
In front of Las Meninas, Museo del Prado, December 1990. Photo El País.

9
ABOUT THE ORIGIN OF THE LINES
1964

In studies about Velázquez, the question of the sources of his magnificent work remains unresolved.
historical painting The surrender of Breda (Madrid, Prado; fig. 1). Since 1888 Carl Justi
He warned of a similarity between its composition and that of a canvas by Rubens, The Encounter of Fernando.
from Hungary and the cardinal-infant Ferdinand in Nördlingen (Vienna, Kunsthistorisches Museum; fig.
Several hypotheses have been suggested about the stimulus that made it bloom.1. For practical purposes the
the problem has focused on the groups of the first term of the work, as far as it concerns the
It is beyond discussion that Velázquez consulted the monumental engraving where Callot
had represented the battlefield of Breda2If the problem has led to solutions
various, many seemingly of equal merit, must be attributed to the recurrent nature of
main reason, two central figures in a posture of affectionate approach and flanked by
both sides by soldiers with spears at rest position. In the absence of external evidence
direct, the relative vulgarity of that compositional scheme seems to prohibit any conclusion
decisive about the artist's choice among the different possibilities presented to him. Nonetheless,
At this moment, it may be useful to take a critical look at the known material and add other things to it.
alternatives, hoping to point the way towards a definitive solution.
An author who recently dedicated a systematic study to the issue deduces that the
the cited painting by Rubens, which Justi was the first to point out for this purpose, is without a doubt
doubts about the source of The Surrender of Breda3Before him, however, at least one author had

hesitated to establish a connection between the two works due to the dates, while another thought,
reversing the direction of influence, that Rubens was indebted to Velázquez's.4You are

1
C. Justi, Velazquez and his Century, Bonn, in the summary of the article that is provided in English,
1888. The edition used here is that of Phaidon, Zurich. although they are correct in the text itself.
1933, p. 364. 4
Those authors are, respectively, D. Angulo
2
F. Saxl, "Velasquez and Philip IV", in Lectures, Iñiguez, Velázquez. How he composed his main works
London, 1957, pp. 311-324. paintings, Seville, 1947, p. 38 [reproduced in D. Angulo,
3
O. Cederlöf, "The Sources of 'Las Lanzas'" Complete studies on Velázquez, Madrid, 2007, pp.
Art Historical Journal, XXVI (1957), pp. 43-62. It is advisable 65-123], [Link], Diego Velázquez, The Handing Over of
to warn that several important dates are wrong Breda, Stuttgart, 1956, pp. 19-20.

31
On the origin of the darts (1964)

1. The Surrender of Breda, oil on canvas, 307 x 367 cm. 1635. Madrid, Museo Nacional del Prado.

Divergent opinions arise from certain issues regarding the dates of one painting or another. The
Rubens was inspired by events following a military action in the Thirty Years' War.
Years, the important victory won in Nördlingen, on the 5th and 6th of September 1634, by
the joint forces of Austria and Spain. To honor the commander of the Spanish troops,
who was none other than Cardinal-Infante Fernando, brother of Philip IV, on November 13
next the citizens of Antwerp invited him to make a triumphant entry into their city. Among
the sumptuous decorations arranged for the occasion included several triumphal arches adorned with
paintings of appropriate scenes, one of them the meeting of the two Fernandos, all of it
designed by the city's chief artist, Peter Paul Rubens. The festivities were scheduled
initially for January 1635, and the preparations seem to have been completed in the
eighth day of that month at the latest5Therefore, the execution of Rubens' painting is

5 There is a summary of these facts extracted from the original source (D. Aedo and Gallart, Journey of the Cardinal Infant)

32
About the origin of the spears (1964)

2. Peter Paul Rubens, The Meeting of Ferdinand of Hungary and Cardinal-Infante Ferdinand in Nördlingen,
oil on canvas, 328 x 388 cm. 1634-1635. Vienna, Kunsthistorisches Museum.

it can be placed between November 13, 1634 (although it certainly would not have started until
some time after the invitation) and on January 8, 1635.
The surrender of Breda is usually dated to 1634-1635, a dating that is completely appropriate for
all the effects except the one we are discussing here. This painting was meant to be part of a large
set intended for the walls of the Hall of Kingdoms of the newly built palace of Buen
Retreat. It is known that it was finished in April 1635, when the ambassador of Florence
Serrano described it in one of his reports. That date actually coincides with the
the completion of the painting, as Cederlöf infers, is debatable. The weight of the evidence
circumstantial (no direct documentation has appeared) clearly favors a
termination date in 1634. Many years ago, Elías Tormo gathered and examined the evidence of
those that were available at the time, and after careful review concluded that they pointed to 16346.

Don Fernando of Austria, Antwerp, 1635) in M. Rooses, 6

[Link], «Velázquez, el Salón de Reinos del Buen
The work of P.P. Rubens, Antwerp, 1890, vol. III pp. 292-294. Withdrawal, and the Poet of the Palace and of the Painter," Bulletin of the

33
On the origin of the spears (1964)

Since the publication of your article, other materials have come to light that reinforce your
reasoning. It is now known that, in addition to the three battles of Carducho, dated in 1634,
also the cycle of Hercules by Zurbarán and its two military scenes were carried out that year7The
The fact that he was called from Seville in the first third of 1634 confirms that this is the year.
crucial, and it is not far-fetched to think that throughout it all the entire pictorial ensemble will be carried out.

If so, the possibility that there was any contact between Rubens and Velázquez while
the planning of their respective frameworks is very limited, if not discarded. Even they
I could argue that Velázquez would have finished his work before Rubens began his.
suya or when he was about to do it. It is very likely that Hager had that idea when
he proposed that Rubens had relied on The Surrender of Breda. In any case, the period
the time in which that contact could have occurred is short, even assuming that Velázquez
he had just finished his painting when the ambassador of Florence saw it. Consequently,
any hypothetical relationship between the two works would have to go through their inspiration in a
common source.
One possibility, mentioned in passing by Hager in his little book, is that this source
Outside the reconciliation of Jacob and Esau by Rubens (Munich, Alte Pinakothek; fig. 3). It is interesting
that this painting seems to be one of the eight that Rubens took with him to Madrid in 1628, and it
mention in the inventory of the royal collection in 16368The three compositions have in common
the basic scheme of the two main actors and the reason for the lances on the left. The
tight lancers and their informal grouping are repeated so much in the later painting of Rubens
like in The Surrender. Regarding the two works by Rubens, in addition to a general composition
similar, especially on the left half, share the motif of the rearing horse that
raise your right hand, just behind one of the protagonists. Consequently, to that
The previous composition of Rubens could account for the similarities between the later one and The Surrender.
and it should also be added to the list of possible and partial sources for the latter.
Also in graphic art, there are two works that can legitimately aspire.
to that category. The woodcut by Bernard Salomon depicting the meeting of Abraham and Melchizedek
In the Historical Quadrins of the Bible (Lyon, 1553) has been the most cited as the origin of the
general composition of Velázquez since Paul Jamot published it in 19349The idea was a
so refined by Martin Soria, for whom the engraving by Martin de Vos from 1579 on the same subject
subject was an even more likely source, and would certainly have been just as effective if

Spanish Society of Excursions, XIX (1911), pp. 274- when L. van Puyvelde published it, The sketches of
280. Reproduced enidem, Painting, sculpture and Rubens, Basel, 1940, p. 70. Puyvelde dated it around
architecture in Spain, Madrid, 1949, pp. 127-246. 1618, which would correspond with Rooses' dating for
7
M.L. Caturla, 'Zurbarán in the Hall of Kingdoms' the painting, which he attributes to an assistant, in 1615-1620.
Spanish Art Archive, XVIII (1945), pp. 292-300. 9
P. Jamot, 'Shakespeare and Velasquez', Gazette of
8
A sketch in oil for the painting was in the Beaux-Arts, 6andseries, XI (1934), pp. 122-123.
collection of Sir Felix Cassel in Luton (Bedfordshire)

34
3. Pedro Pablo Rubens,La reconciliación de Jacob y Esaú, óleo sobre lienzo, 328 x 279 cm. Hacia 1624.
Munich, Old Pinakothek.

35
ABOUT THE MEANING
Of the girls*
1978

Las Meninas (fig. 1), a painting as subtle as it is ambiguous, has been recognized for a long time.
as one of the masterpieces of Western art, a rarely matched pictorial tour de force
never surpassed. But if we try to explain what its greatness consists of, soon
we will verify that this evades both an intuitive and rational understanding. The reason for the
the apparent paradox fundamentally resides in the contradiction between form and content that
encircle. Due to its own size and unsurpassed virtuosity, The Maids of Honor presents to our
attention as a masterpiece in its own right. And yet its subject cannot be less
showy: an informal group portrait in the artist's studio. Fritz Saxl was able to express it well.
paradox when writing: "what deeply confuses us is the sensation that invades us of
what could be the subject of a snapshot has been metamorphosed by Velázquez into painting
representative courtesan1Such tension between form and content justifies the irresistible fascination.
that the painting has had an influence on writers of any genre. Critics, scholars, poets, authors
theatrical and philosophers, all have tried to reach its essence, seeking an explanation
truly definitive of its meaning; and in the end, the only thing they have proven is that the
painting has managed to navigate each of the intellectual traps that were set for it with everything
caution. In light of the circumstances and until conclusive documentation appears,
we must admit that no individual interpretation will ever be able to answer each one of
the aspects involved. As happens with every great work of art, time does not wear down
Girls, but it enriches her, remaining always full of vitality. For the same
reasons, every generation must accept the challenge of interpreting it within that process of
perpetual revitalization. It is in this spirit that the following pages have been written and conceived.

* The ideas that we propose in the present study abbreviated, in a communication read on the occasion of
were originally presented at a conference Annual Congress of the College Arts Association of America,
public, pronounced on October 16, 1973 in the in January 1974.
Institute of Fine Arts of New York University. 1
F. Saxl, "Velázquez and Philip IV", in Lectures,
Later they would be reformulated. London, 1957, pp. 311-324.

47
About the meaning of The Girls (1978)

We have known for a long time who the characters of Las Meninas are; in
In 1724, Palomino managed to identify nearly all the people who appear in the
canvas2In the center of the foreground is Infanta Margarita María, attended by two
bridesmaids girls: the one on the left is María Agustina Sarmiento, who offers to
drinking water from a clay jar; on the other side is Isabel de Velasco. In the right corner
the dwarfs Maribárbola and Nicolás Pertusato are present. In the middle shot is Mrs. Marcela of
Ulloa, lady of honor, and an unidentified gentleman-in-waiting, and, behind them, in the open door, José
Nieto, the queen's retiree. The left side is dominated by a large canvas before which one
find the painter. Finally, on the back wall we can see, reflected in a mirror, the
Images of Kings Philip IV and Mariana of Austria. According to the news provided by Palomino, the
The action takes place in the "gallery of the lower room of the Prince," also called the "main room".
because it had been the most important room of the second-floor apartment in its day
occupies Prince Baltasar Carlos3.
But, where the path of description ends, the attempts at understanding...
they get lost in a forest of speculations. In fact, no one basically agrees
about what the figures do or why the group was formed. The first references to
canvas also does not offer clues4In the palace inventory of 1666, the painting is titled 'His Highness'
the Empress with her ladies and a dwarf." In 1734 it is mentioned as "The family of the king
Felipe IV." Both titles are typical examples of the imprecise descriptions used by the
court personnel who prepared royal inventories, and only in a very general way
we can use it for identification purposes. Until 1843 it was not called Las Meninas, when
Pedro de Madrazo included it in the catalog of the Prado. Putting the servants before their masters.
perhaps arose unconsciously from the republican environment characteristic of Europe in
19th century, but in any case, the new title reveals no more than the previous ones.
At the end of the 19th century, the first significant interpretation of the canvas would be formulated.
It was then considered a genre painting of unparalleled spontaneity and verisimilitude.
The quintessential representative of the 'impressionist' reading is the description offered by Carl
Justi in his classic work Velazquez and His Century5For Justi and his contemporaries,
Girls will be a snapshot of palace life, captured with perfect fidelity by
a master of objective observation; in a sense, comparable to a photograph for its
the ability to reproduce without distortion a random event devoid of meaning

2 A.A. Palomino, The pictorial museum and optical scale Barcelona, 1943.
(1715-1724), 3 vols., Madrid, 1947, pp. 920-922. 5 C. Justi, Velázquez and his century, Madrid, 1943
3
For a detailed exposition of the identification of pp. 731-743. The analysis that we offer below of the
the room, see below. Bibliography on Las Meninas is not intended to be exhaustive.
4 They appear compiled in the useful book by F.J. Sánchez but merely to recapitulate the main lines of
Canton, Velázquez: Las Meninas and its characters, thoughts on this work.

48
About the meaning of The Girls (1978)

same rules. The first of its assumptions has no historical consistency, but the second
it is simply false. What's more interesting, it soon became clear that the perspective of
The square could be drawn in several different ways. In the successive numbers of Architecture.
other architects and engineers were criticizing Moya's drawings and their own until
to reach a point where the method as a whole was seriously compromised9Despite
Hello, the followers of Moya among art historians and men of letters have not lost
hope and they have continued searching for the meaning of painting in the differences that exist
between reality as revealed in perspective and as interpreted by Velázquez. His
explanations are, at best, simple games of wit, and, at worst, examples
of the monsters that the sleep of reason produces10.
The most recent approach relies fundamentally on interpretation.
What Tolnay offers about Las Meninas as an ideological exhibition, although now relative to status.
social of the art of painting. This hypothesis was first suggested by Martin Soria and
subsequently developed in a brief essay by Arturo del Hoyo and in excellent articles by
Halldor Soehner and George Kubler11As we will see later, such an idea is clearly
materialized in Las Meninas, but neither this approach nor any other by itself has managed
sufficiently explain the overwhelming impact produced by such a splendid painting.
Whatever the differences may be between the participants in this debate, about a
there has always been unanimity: Las Meninas is not just a great painting, it is
also the masterpiece of Velázquez. It is, of course, uncommon for such to exist
unanimity regarding the work of an important artist, and if it happens, it may be due to the fact that, since

9 See especially C. de Inza, "Proceedings continue the in its historical context. G. Kubler, 'Three Remarks on the
researches", Architecture, 3 (1961), pp. 44-48. Girls", The Art Bulletin, 48 (1966), pp. 212-214, presents,
10 For example, the following should be mentioned: A. BueroVallejo, "The like the other authors recently mentioned,
"Mirror of The Maids of Honour," Revista de Occidente, 31 (1970), interesting revelations about the painting that, to some extent
pp. 136-166, and B. Mestre Fiol, "The 'referential mirror' in the measure, anticipate some of the ideas that we present
"painting by Velázquez", Traza and Baza, 2 (1973), pp. 15-36, and here. Kubler also proposes a possible source of
3 (1973), pp. 75-100. In both articles, a grant is given a visual inspiration of the work, a miniature from the late
excessive importance to the mirror as an aid in the 16th century by Hans Mielich, illustration of the Psalms
realization of the painting. The recent book by A. del Campo, Pœnitentiales by Orlando di Lasso. The theme of the
The magic of Las Meninas. A Velazquez iconology, visual inspiration of Las Meninas is frustrating, and the most
Madrid, 1978, contains interesting flashes of It is likely that one may never reach a conclusion.
penetration into the painting, but takes the approach definitive, given the synthetic nature of the painting. In a
scientific to incredible extremes. mimetic article titled "Velázquez and Las Meninas"
11 G. Kubler and M. Soria, Art and Architecture in Spain and The Art Bulletin, 57 (1975), pp. 225-246, Madlyn M. Kahr
Portugal and their American Dominions, Harmondsworth, tries, rather unconvincingly, to elaborate on the interesting
1951, p. 268. A. del Hoyo, "The Conceptism of Velázquez" suggestion, proposed for the first time by M. Winner,
(The Maids of Honour), Island (May 15, 1960), pp. 4 and Painted Art Theory. On Gustave Courbet's 'Allegory
13, is partially attracted by the "hypothesis of "real" and the tradition", Yearbook of the Berlin Museums,
"mirror," but reveals, on the other hand, a clear understanding that the composition is inspired by the 'galleries of
of what the presence of the king and queen implies. H. flamenco paintings. As we will explain later, such
Soehner, "Las Meninas", Munich Yearbook of Fine Arts the hypothesis ignores the fact that the scene of the picture
Art, 16 (1965), pp. 149-169, conducts a thorough analysis faithfully reproduce a specific room from
"affective" of the painting, but also clearly situates it Alcazar.

50
About the meaning of The Girls (1978)

the intention was to make a painting out of the ordinary: we can almost feel the
the desire to amaze the viewer, which makes it something unique in the artist's work. The
size, the complex composition, the unmatched technique, are all signs that denote the
deliberate will to create an exhibition piece. And if that is the case, then perhaps we have
the most important question we can ask about Las Meninas: what
expected Velázquez to demonstrate with such a prodigious display of his talent?
But before exploring certain aspects of the painting that can help us to
finding the answer is important to solving a fundamental problem: what is happening
inside the frame? Various explanations have been proposed, of which the most plausible is
The one by Soehner is coherent, although it needs some tweaks.12The analysis of the 'argument'
It starts with one of the most striking qualities of the work: the feeling of movement.
paralyzed, which is deduced from the attitudes and gazes of the characters13It is surely this
quality, along with the subtle representation of space and atmosphere, which has suggested its
comparison with a photograph to countless writers, and the one that gives it that flavor
undeniably "modern" that explains the popularity of painting in our days. Another
peculiar aspect, and we must also take into account before attempting to reconstruct the
action, it is the gaze that three of the figures direct outward. Both observations are telling us
indicating the underlying structure of the action described by Las Meninas. A group of people is
doing something that is interrupted by something else that happens outside the limits of the
painting. If we accept this analysis of the pictorial moment and integrate it with the action
specific to the characters, we will see how the following plot develops.
The infanta has come to see the artist work. At some point, before it...
the 'curtain' rises, he has requested water, which is now being offered to him by the lady on the left. At that moment

that he brings a small jar closer to the princess, the king and the queen enter the room,
reflecting in the mirror at the back. One by one, although not simultaneously, the people
gathered begin to react to the real presence. The lady on the right, who has been
the first to see them starts to bow. Velázquez has also noticed her.
appearance and in the middle of the work, with a gesture as if about to drop palette and brush.
Maribárbola, like Velázquez, has also just become aware of the presence of the
real people, but she hasn't had time to react yet. The princess, who has been
watching Nicolás Pertusato play with the dog, suddenly looks to the left, in the direction of

12 Soehner, op. cit. (note 11), p. 149, recognizes that the numerous figures (for example, The Surrender of Breda, The
the germ of the idea was first presented by fable of Arachne), just like here, in order to increase the
K. Gerstenberg, Diego Velázquez, Munich and Berlin, 1957 likelihood of the represented event. An exact analogy
pp. 190-198. we can find it in the technique used by
13
The resource of 'freezing the movement' was Rembrandt in works as famous as The Night Watch
employee by Velázquez in other compositions of The trustees.

51
About the meaning of The Girls (1978)

his parents, although his head remains turned towards the dwarf. This is the reason for
strange dislocation effect between the position of the head and the direction of its gaze.
Finally, Isabel de Velasco, busy serving water to the princess, has not noticed.
still from the presence of the monarchs, just as it happens to the lady of honor, in
momentary conversation with the doorman, who, for his part, has just become aware.
This description of what happens not only explains the effect of instantaneity but also clarifies
the attitudes of the figures, but also confirms the fact that the wall mirror
back reflects the people of the king and the queen. That is to say, they are physically present in
the room, a fact that Velázquez emphasizes by turning them into catalysts of the action; for
In one way or another, all eyes are fixed or about to be fixed on Philip IV and his wife.
The attire and attitude of the queen's usher confirm the royal presence (fig. 2). According to the
court protocol, the usher had to be 'at the service of His Majesty, with a cape but
without a sword or hat, to open the doors as ordered14Although José Nieto may be
A little more than a blurry silhouette, we can clearly distinguish the hat in his hand.
left and the cloak thrown over the shoulders; he is standing in front of the door that he has just opened and
through which, soon, the king and queen will pass. Velázquez has provided us with,
numerous, albeit subtle, indications of what the crucial factor of painting is: the real epiphany.
The significance of this fact becomes clear when we realize that what is
it shows us an extraordinary event and, perhaps, unprecedented. We can hardly remember
any previous painting in which a living monarch and a painter have been represented together
full task15Of course, Velázquez shows us the king and queen indirectly, out of courtesy.
to her elevated position, although the infanta, also a royal figure, is displayed in full view.
Likewise, for reasons of decorum, Velázquez has not used the room for the scene that
I used it as a study, but rather a larger and more solemn room located very close to it. Thank you.
in the presence of the easel, the room is temporarily transformed into the artist's workshop,
even if that was not his usual place of work16But the meaning of such concessions to the

14
General labels of the Royal House of Our King in 17th century Spain.
Lord for the use and exercise of the offices of your servants, 15
The only previous representation of a monarch in the
National Library of Madrid, sign. 10666, p. 126. About the study of a painter I know is the woodcut of
a more detailed exposition of the labels and of the Hans Burgkmair in the Weisskunig (c. 1514-1519), which
obligations of the assignors will be discussed further reproduce Michael Levey in Painting at Court, London,
Go ahead. The king and queen maintained separate households, 1971, fig. 96. But in the engraving, commissioned by
organized according to parallel structures. See D. of the Maximilian I, the goal is to glorify the king as
Válgoma and Díaz-Varela, Norma and the ceremony of the queens of patron of the arts, not to the painter as an artist worthy of
the House of Austria, Madrid, 1958. The fact that kings.
Velázquez, the royal appointee and, therefore, the equivalent 16 There has been quite a bit of confusion about the identification.
of the Grandson, is painting while he has to carry out from this stay, despite the fact that Palomino, who is
the obligations of the position may be a subtle way of generally considered a reliable source of information
indicate that his category as a painter gave him a higher standing about the painting, she calls it 'gallery of the fourth of
elevated in court. Later it will be addressed about Prince." The confusion is due to the study of the painter
Girls in relation to the social position of painters the chamber moved after 1646. According to the plans

52
2. The Maids of Honor, detail with José de Nieto.

53