The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1899-11-19

| away sky line. Over all is a rich brown
| twilight that throws into obscurity the
details of the swamp. The colors are
| remarkably clear and harmonious, and
the lighting is lovely.
There are two portraits by Moroni
Both are masterpieces. Moroni can
! hardly be called Venetian, although
/ he studied in Venice. He was Titan S
last pupil.
1.-THE man with the helmet will, OF
the two Moronis in the present collec-
ton, be likely to catch the attention of
the visitor first. 1t represents a
youngish man with full brown beard,
dressed in a rich black suit striped
with gold, and standing beside a table
on which his helmet rests.
This portrait is what portrait
should be. 1t is a living man, man
we do not know, or anything about
| him, but there he is, in his habit, as he
lived 1t is all so simple that you do
not notice the fine technique. 1t pos
sesses that merit of great portrait.
1t sounds 1.-The abysmal depths of per-
sonality."
] About the portrait of Lucretia, the
noble abbess of Burgamo, there hangs
/ graceful story. 1t seems that this
| lady left her family to found a con-
vent in Burgamo, and that while alb
bess OF the institution, this portrait
was painted of her by her townsman.
, That was some time in the 18th centu-
ry for Moroni died in 1878
| About rs years ago, when the relig
| ious houses in Italy were being emp
tied and turned to secular uses at the
behest of the republic, this picture was
| returned by the authorities of the con-
vent to the abbess' family which still
survived, and in the same place where
| the countess had left it, 800 years pre-
vious. By that family it was sold to
| Mr.. Davis.
The portrait is mentioned in a work
of the 18th century on Lombard art,
and there can be no doubt as to its au-
thenticity. The abbess in her conven-
tional dress of black, with white band
around her head and a fall of white
lace over that stands against what
looks like a gallery in church, hold
| ing a prayerbook in her hands, which
rest upon the top Of the balustrade.
| Moroni is noted for his simplicity,
| gray backgrounds being a marked feat
ure of his work In this instance the
background is dull gray wall There
| is a fine contrast between the light
gray of the balustrade and the gowns
and hands of the abbess. George Ell
lot, by the way, knew Moronis skill in
painting hands, and in Daniel Deron-
| da" compares Grandcourt's with those
painted by this famous artist.
The abbess is ugly and plebeian of
countenance; her neck is withered and
wrinkled, but the picture commands
admiration by its force and honesty
and wonderful power.
The collection is especially rich in
portraits. Beside those of Moroni's,
there are some by Merevelt, one of the
great Dutch portrait painters. Mere
welt belonged to the generation that
fought the Spaniard in Holland. He
painted William the Silent.
In one of his portraits at the Worces-
ter Art museum he has given as the
counterfeit presentment of a noble
Dutch lady of his day-a pale, fair wo-
man, with wealth of warm, red hair.
Her frock is of black brocade, i'm
mense balloon sleeves and great
stomacher of heavy lace. More love
able, If less imposing, is the matronly
burgess in her black velvet and exqui-
site lace and pearls.
One can study a long time with pleas
] ure, the wonderful realism and sturdy