New-York tribune., 1904-08-29

-s4isr now hangs in the National GALLERY hav
ing been purchased from Sir George Donaldson
far fSooee. This is the portrait which Penn,
brandt is reputed 10 have seen when II wa. IN
.re nossession Of the Spanish Ambassador a+
Amsterdam: and * was subsequently, I'm fbA col
aection of Lord Darnley at Gotham Hall II
resembles another alleged portrait OF Artosto bv
T7tisn from which a woodcut was made fo-
sn early English translation of Orlando Fu-s-
oso. but 1t Is doubtful If 1t be the poe..s face
what IS indispuuabIe is its zenuineness az a
Tftian. and this is what Is really irnDor,an+
4he picture on the right Of the huge equestrian
portrait OF Charles IN the Dutch and Flemish
room was formerly described as portrait of
Rrbens but II Is now catalogued vaguely as the
rortraIt Of an artist What Is essential Is -ba
fact that Van Dyck painted t. and since IL was
highly priced by Sir Joshua Reynolds who con-
sidered fl a splendid example OF the art of nor
traiture, it is one of the treasures of the Ma
tional Gallery. The Ariosto from Sir George
ponaldson's collection looks less like q ,oe4
than Pslma'e fine work and more like moron;,s
elegant italian nobleTnRn, in the same room. h,,+
Titan alone among the Venetian painters eould
have impaired TO the face the intense individu
slity, the warmth Of tone and the pearly Iustre
of the skin
While II is an open question whether Titan
ever painted Ariosto's portrait they were
friends. and at one time were I'm the seryice of
;ne same patron Ariosto the son of the com
msnder OF the citadel of Reggie, was a gentle
mar % the household OF Cardinal Ippolito of
Este. and twice went to Rome as a special
envoy 10 Pope Julius II; but when hts services
were not properly appreciated he entered the
service OF the cardinals brother the Duke of
FerTara- He had begun to write poetry when
ne was twenty-nine. and had published Or
ianoo Furaoso' In 1916. and he lived until 1888
IN FeTrara, revising this work and writing
plays. Titan, meanwhile. had become the
master OF the Venetian school after the death
Of Giorgione, and had attracted the attention
Of the Duke Of Ferrara whose portrait he
painted twice. the earlier work being now in
the Madrid gallery and the later one in the
Louvre He also painted at Ferrara for the
agke in 1914 the ''Bacchus and Ariadne." which
was regarded by Mr.. Ruskin as one of the
chief treasures of the National Gallery He
must constantly have met Ariosto while he
was at work on these paintings and the "Baccha-
naI" and Sacrifice to the Goddess of Fes-
tivity" Of the Madrid gallery: and. while their
friendship may not have been as romantic as
tradition has represented, it justified the poets
reference 10 him IN one Of the later cantos of
Orlando Furioso." This was the period when
Titan painting the Assumption OF the
Virgin the masterpiece OF the Academy in
Venice The portrait purchased by the National
Gallery may not have been one Of Ariosto who
was 100 poor to have ordered il himself and
was not a marked favorite of the Duke of
Ferrara- but It was one OF the earliest of
Titisn's portraits and was probably painted
about the time OF his commissions for his first
patron when his supremacy the leader Of
Venetian art was firmly established.
II is the face Of q courtier Of high birth rather
than dreamy, imaginative poet, that is seen in
profile this he 67- hall a
beard are carefully trimmed and the weak and
sensual face is lightly and gracefully posed
The robe, with its quilted sleeve. is dull slate
color against neutral background Of gray
toned with green. and at the throat there is a
white spot where the edge Of the shirt catches
the light While there is no warmth OF color in
these subdued and delicateIy moduIated hues
there is subtle play of light in the glossy hair
and beard, the cynical patrician face with its
blends Of northern and southern blood and feat
tre. and the loose silk robe. The perfected
craftsmanship and the glowing vitality of the
Tribute Money OF the Dresden Gallery are in
this portrait Of a pleasure loving. self-ndulgent
italian gentleman. and II has the same golden
haze which iumines the splendid Veronese,
The Family Of Darius Before Alexander"
which hangs behind it That picture was left
behind by the painter in the Pisani villa at Este
where he was laid up by accident; and the
was finally sold by them 10 the National Gallery
for 1850 The Titan portrait has commanded
10000, and Mr.. Astor. Mr.. Belt Mr. Pierpout
Morgan, Lord Burton, Lord Iveagh and Lady
Vantage have assisted the nation IN purchasing
il, and ii is worth what has been paid for it is
noble example of Venetian portraiture When
there were scores Of Titan portraits in the gal
leries Of the Continent-especially Maarid. Flor
ence. Paris. Dresden and Naples-one was
eT ~
tainly is good the Pietro Aretino Of the
Pitt or the Man with the Glove" at the
Louvre and is worthy Of the companionship of
Moroni's tailor, lawyer and noblemen in the
Venetian room With the "Bacchus ana
Ariadne." the Madonna with st. Catherine
the "Noli Me Tangere' and the Holy Family
with Shepherd Adoring." il completes a re-
narkably fine group of fitians at the National
Gallery L N z.