Evening star. [volume] (Washington, D.C.) 1854-1972, 1928-08-26
BY HELEN BUCHALTER AND
ELIZABETH FORD.

rs the Minerva Triumphant" a
painting owned by a Washington
woman, an authentic Titan? Only
4 recently, the Metropolitan Gallery
Of Art In New York bought the
ALFONSO D'Este, Duke Of Ferrara," by
Titan. for, 1t is reputed, the astounding
sum OF $1,000, 600. II II can be eStab-
hshe6 that the Minerva Triumphant"
is portrait of the famous Lucresia
Rorgia. who was the wife Of this same
Duke of Ferrara, its value should not
only equal that of the Alfonso D'Este"
in the Metropolitan. but. in its interest
TO EFT lovers, surpaSs 1t.
Purchased in 1890. of family which
Vas having Washington for its home in
one OF the Central American countries.
the Minerva Triumphant" has been
through all the adventures and expert
ences which generally surround pic
ture with romantic aura and the In
terest of art lovers.
The painting came into the possession
of Miss May Warner, its present owner,
with its lineage scratched upon furni-
ture tag by the Central American gen.
tleman who was anxious to settle his
affairs "A Spanish Princess, by Velas-
cuez." was its first name, a commercial
whifnSy on the part of its former owner.
gallery Of the New National Museum in
Washington, attracting only the notice
Of DR.. Fred Brendel. who was formerly
connected with the Vatican Art Gallery
In Rome. He expressed surprise that
such a painting should be in America
and held the opinion. after extended
study. that 1t was of the same technic
as the Assumption. which has now
been assigned to Titan.
DR.. Holmes, director of the New Ma
tional Museum. has commented on the
fine drawing of the hand.
The painting was then allowed to
hang for three months at the Cosmos
Club in Washington.
So fascinated had its owner become
with the painting that. upon going
abroad In 1921, she took 1t with her as
a temporary importation into Italy
hoping that in that country the mystery
might be solved.
Customs examiners at Naples declar-
ed. under the authority of the Academy
OF Fine Arts, that the picture was of
sixteenth century technic, resembling
the work of Parmagianino. At Genoa,
further study was made by experts
representing famous art galleries who
gave written certification that 1t is a
genuine Italian sixteenth century paint
ing.
. Their statement In part was as follows:
1T Is TO be noted the mastery way
In which the colors have been applied,
the purity OF design, the elegance OF the
drapery and the transparency of the
mezzotints are all qualities which are
70 be found In the great masters of the
sixteenth century"
The picture itself was described by
the authorities in Genoa in the follow
ing manner:
1T represents a bust of Minerva, the
head being very beautiful in profile,
with richly plumed helmet. The dress
Is composed Of a cuirass, semi-covered
with rich red mantle, raised at the
left side to the height of the shoulder.
The right hand. lightly held, is one of
the features Of the lower part Of the
canvas-the elegance of the design and
the trueneSs Of the coloring making it
one Of the most distinctive features of
the picture
These experts advised a further study
and comparison with Venetian models,
having made the statement that the
painting was beyond question a six
teenth century picture and undoubtedly
the work Of master.
y y
IT'S owner, accordingly, visited the
galleries OF Europe in an attempt to
discover the master whose work most
nearly represented the technic employ
ed In the Minerva Triumphant" She
gpent many months in this search, delv-
ing deeply and attempting by her own
observations TO identify the artist of
her painting with one Of those whose
works hung IN the galleries and were
members OF the school Of sixteenth CEN
tzlry italian painters.
Parmagianino was suggested, for he
was In the habit Of painting ladies in
arnor and plumes. His flesh tints, how
ever, are pink, while the flesh of the
Minerva Is Of richest amber.
The owner next studied Correggio, be-
cause Of the deep richness and har-
rony Of color in his pictures, but dis