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| Moretto da Brescia Portrait of Count Fortunato Martinengo Cesaresco ca. 1540-45 oil on canvas National Gallery, London |
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| Moretto da Brescia Portrait of a man 1526 oil on canvas National-Gallery-London |
Henry James (1843-1916) earned great respect as a novel and story writer, but his numerous plays found little favor, several of them never produced in his lifetime at all. One of these unproduced three-act dramas was The Outcry, completed in 1909. James redid it as a short novel of the same title which came out in 1911 and sold quite well, though it is not often mentioned in the vast literature of James criticism. By the time it appeared the author was in poor health. He published no additional new fiction of substance during the remaining five years of his life.
The Outcry concerns a great Italian Renaissance portrait of a man which has reposed for many generations in the grand country mansion of a nobleman, Lord Theign. This painting is always referred to by the family as "The Moretto" – believed to be the work of Alessandro Bonvicino (ca. 1498-1554), commonly called Moretto da Brescia. Directly above are two male portraits by Moretto in London's National Gallery, and another directly below at the Metropolitan Museum in New York
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| Moretto da Brescia Portrait of a man ca. 1520-25 oil on canvas Metropolitan Museum of Art, New York |
On a beautiful April afternoon shortly before the turn of the century two young men arrive separately, and coincidentally, at Lord Theign's estate to view the famous picture collection. Mr. Bender is one of the staggeringly rich Americans known for buying up European art treasures, while the other visitor, Mr. Crimble, is a young British academic who lacks every advantage of birth and fortune, but brings a passionate enthusiasm for the new school of scientific art scholarship. After examining the "Moretto" Mr. Crimble declares that he believes it ought to be reattributed as a "Mantovano" painted by the far more obscure but even more prestigious Rinaldo Mantovano (flourished 1527-39). Mr. Crimble explains that there exist in the world only seven known paintings by Mantovano. He proposes to establish that the Theign picture is the eighth. If he succeeds it will become immensely more famous and immensely more valuable. Mr. Bender immediately expresses an interest in buying it, rather than any of the other masterpieces in the house. Lord Theign is known to be in need of money, though he initially rejects the idea of selling any part of his patrimony. Directly below are three actual "Mantovanos" (two easel paintings and a ceiling decoration). I have not located any authenticated portraits by that artist.
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| Rinaldo Mantovano God the Father supported by Angels ca. 1529-35 oil on canvas Galleria Sabauda, Turin |
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| Rinaldo Mantovano Assumption of the Virgin ca. 1529-35 oil on canvas Galleria Sabauda, Turin |
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| Rinaldo Mantovano (working under Giulio Romano) Zephyr blowing Psyche over the sea 1527 oil on stucco Sala di Psiche, Palazzo del Tè, Mantua |
Lord Theign's younger daughter, Lady Grace, forges an alliance with the lowly Mr. Crimble when her father begins to yield to Mr. Bender's tempting moneybags. Lady Grace and Mr. Crimble share an overriding idealism about preserving the artistic heritage of the nation and preventing its export. They try to persuade Lord Theign that this is his highest duty. He resents their interference and particularly resents Mr. Crimble's growing intimacy with Lady Grace. After numerous permutations of the plot which involve several additional characters and a succession of energetic arguments and maneuvers, Lord Theign grudgingly makes a gift of the Moretto/Mantovano to the National Gallery. Mr. Bender is foiled. Lady Grace and Mr. Crimble have their way, and celebrate by eloping together.
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| Moretto da Brescia St Justina with Unicorn and Donor ca. 1530 oil on panel Kunsthistorisches Museum, Vienna |