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PDF of Licitacoes E Contratos Administrativos Casos E Polemicas Flavio Amaral Garcia Full Chapter Ebook
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Duke of Wellington’s half-length, or head and shoulders, of Innocent
the Tenth. It is probable that in more than one of the portraits of
Mariana—those in which she is depicted at full-length—much of the
painting of her raiment is due to the hand of some pupil of the
master’s. But by Velasquez wholly, as we should surmise, is Sir
Francis Cook’s bust of the little lady, and this is the earliest of her
portraits here, and is succeeded by Mr. Cuthbert Quilter’s three-
quarters length, and by Sir Clare Ford’s extraordinarily fresh and
vigorous and thorough rendering of the girl in much the same
manner. Greatest of all, perhaps, for colour, character, and—there is
no other word for it—‘modernness,’ or actuality, is the ‘Innocent the
Tenth.’ It belongs to the Duke of Wellington. Seven years ago we
paid it, at the Old Masters, our tribute of homage. It is one of several
treatments of the same dignitary, wrought by Velasquez after that
voyage to Italy in which the artist had Spinola for companion. But it is
one of the most genuine and one of the most intact; and perhaps it is
but by an error of phrase that it is described as a ‘repetition’ of the
picture at the Hermitage. In it, at all events, the finest qualities of
masculine portraiture are combined and displayed. It is said that the
key to human expression is most of all at the corners of the mouth.
Charged with the love of life, the love of its good things, and the love
of domination, is this mouth of Innocent’s. But is his eye less
revealing?—wary, here, and shrewd; watchful, yet full of fire. What a
study of character, and what a triumph of brush-work! A noble ‘Philip
the Fourth,’ harmonious in silver and rose-red, from the Dulwich
Gallery, sets forth, certainly not better than this does, the greatness
of Velasquez’ mission, nor has it quite as fully as this the pre-
eminent decisiveness which is so much of his charm.