New-York tribune., 1910-09-18

CFrom the portrait by Moro at P--ua)
thinks that the Queen Mary may have n
spired Ve1asquez when he came to paint the
innocent X" of the Doria Gallery. It IS
shrewd suggestion and at all events there Is ID
doubt that Moro's portrait was worthy Of ths
Spaniard's emulation It is very Characteristics
in the disposition of the figure Moro was W0n-
in this simple unconstrained way of his to body
forth a sitter with all the vitality IN the world
and yet with something of that iumobiA
hauteur which would appear to have been cult
waited by the European rulers of his time. rs
kings, queens and princesseS are veTitahly roya.
types and it is worth noting that while he Is
solicitous as Holbefn himself for the splen-
did details of their trappings- again like the
BasIe master he always contrires to make
character the leading interest
1t is, indeed, to that point that one IS sure to
return, haunted by his almost pirilessly calm
interpretations of memorable PhysiOgrouies. As
a painter of hands too. he is easily to be com
pared with HoIbein: and. by the way another
sign of his mastery over form may he found in
his treatment of the ear Again and again in
his work this feature is modelled with touch
curiously searching and eloquent But. for tha;
matter, there was no weak point in his deliHea-
ton of the human countenance. N. HyTnanS
remarks that after the mouth in Van Eycks
Man with a Pink he knows no other more
marvellOusly characterized than that in Moros
portrait of Van Scorel. and this praise is none
too high. His grasp upon anatomical structure
was profound Again We notice a su5ordiEation
of costume in his work. for all that il is 50 often
nOminally conspicuous. It covers authentN
bodies. Moro's figures. like those OF Telasquez
in Whistler's phrase, stand upon their legs
TIere is a second point of contact between me
two, one in respect to linear purity and power
The silhouette with Moro has 4 fascination o5
itself: it is handled at once with such strength
and with such delicate precision. He was not
a great Colorist. There alone one can quicAN
understand the Emperor's fidelity 20 Titan h'-
neither was he deficient in Il true piinterh"1
feeling for tone and harmony. His duie'
schemes. at first blush. may seem monotonouS'
but thoughtfully considered they disclose an
original charm.
His range was. in a sense limited The single
religious subject from his hand which is iLHS-
trated by NJ. Hymans. is Il negligible piece anu
gives us no reason for regrettinS the other IT.
corded themes OF a sacred or profdne chaTac'''
which have disappeared from the body or h-s
work But in his proper domain of portrai'1is
his scope was wide fact emphasized by h.S
ure- 1t was we repeat, at character thdl -
aimed. and into its secrets he could peneu".'
through many different masks. King anc coui'
ier. churchman and warrior. princess ana pe.
ant, he painted them ali with movins 'hS-s
and in his history. as in Velasquez's, thel0
also a chapter embracing the portrayal oil IT, ~
sinister and pathetic parasites of old court -
the dwarfs and buffoonS Moro was f0
human creature. All his life lorS he PAIN
men and women, and painted them as H'i''
breathing beings whose thoughts and pdsSio
poignantIy stirred his imagination as he looN--
into their eyes. 1t would seem. too. that ne W
no nattercr. He worked much ut court =
evidently 1t never occurred to him 10 p'd-'
the profitable complalsance OF the merely l'
ionable painter Was he, then. one OF tht
standing heroic figures in the history o. a..
He Just failed OF reaching the topm'7I MS
Something he lacked. something OF thdl ~ "
whelming individuality and power IN WHICH
detect the divine fire. But among the S0~'4
airy masters he plays a commandins Iole' -
there times when il is better 10 reSS- =
temptation to classify him. leaning slInPN %
the solid merit of his sincere. accohk'i-