New-York tribune., 1907-11-10
ASHBURTON TREASURE
lIuriHo's ST. Thomas - Gdinsbor-
oughS and COnStables.
London. October 30.

London. October 80.
A1urillo's star is again rising. The first pict-
,re of the Ashburton collection, recently puI-
chased bv the Agnew syndicate, 10 be puollcY
exhibited Is one of his masterpieces, and it has
the place of honor in the annual show ioT 'le
Artists Benevolent Neutrality-suspicious. the best
exhibition of the year. This large canvas is st
Thomas of Villanueva' originally painted for
the Convent of St Augustn. in Seville, and sold
subsequently by the monks to the Prince OF the
Peace. who presented it to General Sebastian
In 1914 it was bought by one Of the Earrings
and il is one of the treasures Of the Ashburton
collection This is not the picture of the
AInloner which MurilIo called affectionately his
own''-the beautiful work in the Museum oil
Seville in which the saint is represented as CIV
ing aims TO beggars at the door OF the catheaFa''
This one portrays him a child dividing his
clothing among four beggar boys in the street.
In the museum picture there is a vivid contrast
between the ecstatic face of the saint and the
poyertv. rags and sufferings of the beggars. in
the Ashburton picture the saint is the impulsiVe.
generous boy who is stripping himser OF MS
clothing and giving it away to the neglected.
half naked urchins. one seated at the right mas
already received his share, and another hehind
him is wearing the cloak. The third boy with
bare breast is taking the coat, and the fourth
gazing lntentN at tIe SlNeI, IL Noiu'ilIlS "il'''
viii be left for him; and there is reason for mis-
giving. for the white shirt, brown trunks and
green Ieggings alone remain. The expressions of
the five boyish faces are differentiated with
subtIety and the composition has wonderful
charm. The persrs tive OF the village road Is
mastery and the picture has beauty of color in
the dark greens and dull reds and the luminous
quality for which Murillo was famous.
One Of the finest groups of Gainsboroughs re-
Gently exhibited is also to be seen At the AgneW
gallery. There is a pair Of portraits from Corn
wall. purchased from the Basset collection after
prolonged negotiation and resold by the Agnews
to English collectors one is Lord de Dunstan-
VILE Of Stratton, Cornwall, a gray-haired baron,
in dark coat and light waistcoat, with arms and
hands denotIng a nervous. excitable nature. and
the other is Lady de Dunstanville, seated with
upraised arm and fingers against her check and
d feather fan in the other hand. The yellow
dress and blue petticoat against landscape
background give Gainsboroughs favorite color
scheme, and the laces. embroideries and jewels
are painted with Flemish detail. The portrait
of this stately lady IS a perfect example of
Gainsborough's art and as fresh in color as
though It had been painted yesterday Opposite
this splendid pair OF portraits never before ex-
hibited is "The Cottage Girl" with a wistful,
pathetic child carrying brown jug in hand
and clasping a small dog with the other arm,
and trudgng along barefoot through the heather.
With the browns and greens in costume and
landscape there is harmony of coIors and tones,
and there is the pathos of neglected childhood to
touch the heart Another Gainsborough is q
portrait of William Pitt gracefully posed against
a red curtain. and with much character in
the hands in the face Another is George "
when he Prince of Wales, with slight traces
in the green and gold uniform Of the tailor King
he was destined TO become; and there is a fifth
portrait-Viscount DOwne, in blue coat and red
collar painted with directness and force
In contrast with this work OF a painter who
was Influenced only by Van Dyck and the FIem-
ish school is 'Ino and the Infant Bacchus"
painted in Sir JOshua's grand style rejecting
classical traditions. The light is centred on the
nude mother and the sprawling child, and there
is a rich play of ruby tones and dull reds. An
other Reynolds is the Countess of Eglinton in
yellow, with dark blue draperies and touch of
the same color in the hem of the petticoat,
with a golden harp in front of her and dark
column behind her; still another full length in
yellow is Viscountess Townshend, with green
waistband and touches of dull red: and fourth,
with more character than the others. is Mrs.
Armstead. who nursed Charles James Fox
through critical illness at Bath and subse-
quently became his wife. There are three Rom
neys-Mrs. Lambarde. brown-hared lady IN
blue and white Miss Lawrence, stiffly posed
against a nebulous background and Catherine
Vernon, sedate lady, who was Sydney Smiths
sister-in-law and privileged to hear many of his
best jokes The ambitious Hoppner is
Lady Whitefoord, with arms folded red coral
about her neck and eyes and forehead shaded;
but there is a sharper revelation of character
in Mrs. Gale. painted with more simplicity The
Lawrence is Miss West. dark haired ivory
faced with a red sash around her neck: and
"a RaPburnS--Sir
with finely modelled Scottish face and Mrs
Hay, stately lady in brown. There is also a
Peters-.a lady of quality, with sensitive face a
shapely neck and mass of dark tresses
Gainsborough leads in landscape as well as in
portraiture in this splendid exhibition of old .
masters His pastoral landscape purchased at
Christies is a beautiful composition, with two