Relations Between the Danish Academy of Fine Arts and the Accademia Di S

ANALECTA ROMANA INSTITUTI DANICI

XXXVII

ANALECTA ROMANA

INSTITUTI DANICI

XXXVII

2012

Published with the support of a grant from: Det Frie Forskningsråd / Kultur og Kommunikation

Scientific Board

Ove Hornby (Bestyrelsesformand, Det Danske Institut i Rom) Maria Fabricius Hansen (Ny Carlsbergfondet) Thomas Harder (Forfatter/writer/scrittore) Michael Herslund (Copenhagen Business School) Hanne Jansen (Københavns Universitet) Hannemarie Ragn Jensen (Københavns Universitet) Kurt Villads Jensen (Syddansk Universitet) Mogens Nykjær (Aarhus Universitet) Vinnie Nørskov (Aarhus Universitet) Birger Riis-Jørgensen (Den Danske Ambassade i Rom) Niels Rosing-Schow (Det Kgl. Danske Musikkonservatorium) Poul Schülein (Arkitema, København) Lene Schøsler (Københavns Universitet)

Editorial Board Marianne Pade (Chair of Editorial Board, Det Danske Institut i Rom) Patrick Kragelund (Danmarks Kunstbibliotek) Carsten Hjort Lange (Det Danske Institut i Rom) Gitte Lønstrup Dal Santo (Det Danske Institut i Rom) Gert Sørensen (Københavns Universitet) Maria Adelaide Zocchi (Det Danske Institut i Rom)

Analecta Romana Instituti Danici. — Vol. I (1960) — . Copenhagen: Munksgaard. From 1985: Rome, «L’ERMA» di Bretschneider. From 2007 (online): Accademia di Danimarca

ANALECTA ROMANA INSTITUTI DANICI encourages scholarly contributions within the Academy’s research fields. All contributions will be peer reviewed. Manuscripts to be considered for publication should be sent to: [email protected] Authors are requested to consult the journal’s guidelines at www.acdan.it Contents

Thomas Grane: Pliny and the wandering mountain. A new interpretation of Pliny’s account of the northern Barbaricum with an archaeological comment 7

Carsten Hjort Lange: Constantine’s Civil War Triumph of AD 312 and the Adaptability of Triumphal Tradition 29

Luigi Silvano: Saltationes: A Notebook on Ancient Dance by Angelo Poliziano 55

Knud Arne Jürgensen: “Con placido sembiante….” L’opera Il Valdemaro di Domenico Sarro (Roma, 1726) 79

Karen Ascani: Il carteggio di Georg Zoëga (1755-1809) mediatore fra Roma e la Danimarca 151

Emma Salling: Relations between the Danish Academy of Fine Arts and the Accademia di S. Luca in Rome during the eighteenth and early nineteenth centuries 159

Relations between the Danish Academy of Fine Arts and the Accademia di S. Luca in Rome during the eighteenth and early nineteenth centuries.*

by Emma Salling

Abstract. This paper seeks to offer an insight into the relationship between the Copenhagen and the Roman academies of fine arts during the eighteenth and early nineteenth centuries. A number of similarities existed between Rome and Copenhagen in respect to the principles of administration and education. These similarities probably owed most to the fact that the French academy, which had been founded on the principles of the Italian academy, had been the model for the Danish one in 1754. The author has found no evidence that Danish art students formally visited the famous Roman academy of S. Luca in this period. Nevertheless, many Danish art students stayed in Rome and came into contact with S. Luca’s members in less formal ways. This paper discusses the different kinds of relationships that existed between Danish artists and the S. Luca academy, including the role as honorary members played by high-ranking visitors, diplomats and more senior members of the academies in Rome and Copenhagen. In the first half of the nineteenth century, the Danish sculptor Bertel Thorvaldsen, who was active in Rome and a member and professor of both academies, seems to have served as the most significant link between the academies at Copenhagen and Rome. The study concludes that the relationship between the Danish and the S. Luca academy was mainly based on the personal relationships that developed between the artists and on knowledge of their works. Throughout this period Danish art students maintained stronger connections to the French academy in Rome than they did with San Luca. The paper shows examples of a negative attitude held by Danes towards the education of the S. Luca Academy and to contemporary Italian art.

This paper offers an insight into the that existed between them, as exemplified in relationship between the Copenhagen and a number of personal connections. Roman academies of fine arts during the eighteenth and early nineteenth centuries. The Two academies subject is treated from a Danish perspective, The Roman Accademia di S. Luca was focusing on material in the Danish academy’s founded in 1593 with the painter Federico archives. Much more evidence remains Zuccari (c. 1541-1609), a former member to be found in other archives, including of the Accademia del Disegno in Florence, contemporary correspondence and memoirs. acting as its first head.1 As early as 1577, Regarding the Roman academy, the sources Pope Gregor XIII had decided to found an are limited to literature available in Denmark academy of fine arts in Rome and, in 1588, The paper begins with introductory Pope Sixtus V donated the church S. Martina remarks on the foundation, organization to the artists’ congregation. The church was and teaching of the two academies. I then hereafter renamed SS. Luca e Martina, and the demonstrate the nature of the relationship new academy’s various activities took place in 160 Emma Salling surrounding buildings. Between the 1630s and of 1748. He was soon succeeded, however, by 1660s, the architect Pietro da Cortona rebuilt the French sculptor Jacques François Joseph the church, while the academy continued to Saly (1717-1776), who had come to Denmark use a number of other premises over the to execute an equestrian statue of Frederik V. centuries. Since 1934, its seat has been the Saly re-organized the teaching and structure Palazzo Carpegna in Piazza dell’Accademia.2 of the academy and elaborated out a detailed The Danish academy of fine arts was new foundation statute in 1758. This was founded (or, more properly, refounded) in strongly inspired by the rules of the French 1754 by King Frederik V (1723-1766).3 Two academy in Paris, where he had been educated, previous Danish academies, founded in 1738 and of which he remained a member. and 1748 respectively, had primarily been art While the Roman academy of S. Luca was schools, but the new academy was a much founded as a papal institution, the foundation more ambitious project. It was intended statute of the Danish academy more than 150 to function not only as a school, but also years later was the act of an absolute monarch. as a learned society - a national institution The king was anxious to train native Danish designed, in the prevailing absolutist spirit, artists. Frederik V desired the fine arts to to control artistic life in the country on the flourish in his lands, not only for the benefit French model. The academy was housed in of royalty and aristocracy or to glorify his one of the finest old buildings in the centre absolute power, but also to promote Danish of Copenhagen: Charlottenborg, built in handicraft and trade - in short for commercial the years 1672-1683 as a private residence, purposes. As is well known, similar thinking but from 1700 royal property (Fig. 1). It is inspired the foundation of many other still used by the academy, though it is now European academies during the last four too small to house the different schools and decades of the eighteenth century such as administrative offices. those at Dresden, Vienna and St. Petersburg.4 The Academy’s first director was the In Copenhagen, the majority of students in the architect Niels (Nicolaj) Eigtved (1701-1754), lower classes were made up of craftsmen, and who had been transferred from the academy from 1771 academy assemblies spent much

Fig. 1. Charlottenborg Palace, Copenhagen. From Pontoppidan 1764, 174 (photo: © Danish National Art Library, Copenhagen). Relations between the Danish Academy and the Accademia di S. Luca 161 time evaluating masterworks from the guilds. In Copenhagen too the students competed From 1814, test pieces were also considered. for silver medals for model-drawings, reliefs, For its part, the Roman S. Luca academy or architectural drawings, before proceeding included the three main branches of art: to more advanced gold-medal competitions. painting, sculpture and architecture. According Compared to the winners of the Roman to Federico Zuccari they could be thought prizes, Danish gold-medal recipients for of as three sisters, all of them daughters of biblical subjects in oil or reliefs were much Disegno. Similar ideas recur in treaties on art less experienced artists, far indeed from the from the sixteenth to the nineteenth century, Roman grand style. They knew the classical and were employed, for instance, by Saly and masters only from prints or art collections Johannes Wiedewelt (1731-1802), in a more or in Copenhagen, above all the royal one. less philosophical way.5 The Danish academy Moreover, they executed their works in a of 1754 was also dedicated to all three arts period of only about two months and under (Fig. 2), as had been the former academy very difficult circumstances in small, cramped of 1748. In this respect it differed from the rooms. Académie Royale de Peinture et de Sculpture in Paris, which was only devoted to the first two. Indeed, a separate French architectural academy, Académie Royale d’Architecture, was not established until 1671. The organizational structure behind the Italian and Danish academies was very similar and was also to be found in the French academy and others. Given that the Roman academy had been consciously chosen as the model for the French one upon its foundation in 1648, this is not surprising. In simple terms, the core was made up by the academy assembly under the leadership of a president6, with the assembly itself consisting of professors and other officials, ordinary and honorary members, all of whom possessed Fig. 2. The seal of the royal Danish academy of pain- varying voting rights. ting, sculpture and architecture. In Forbedring 1758, 6 Whether in Rome or Copenhagen, the (photo: © Danish National Art Library, Copenhagen). principles of education were similar. In both, model-drawing served as a common foundation for future painters and sculptors. This de- Danish art students in Rome veloped into more complicated exercises for After winning a major gold medal, Danish the pupils of S. Luca, stimulated by competi- art students were sent abroad at the expense tions such as the Concorsi Clementini (from of the academy for the final part of their 1702), and the Concorsi Balestra (from 1768). education. In the eighteenth century, the There were different levels for painters and Danish Academy had close relations with the sculptors, ranging from drawings of statues French academies in Paris and Rome, partly or models to complicated biblical composi- because of the nationality of the director and tions in the Concorsi Clementini and classical that of some of the professors in Copenhagen themes in the Concorsi Balestra. The subjects up to the 1770s, and partly because of were announced one year before the awarding the dominance of French art at the time. of a prize.7 Nevertheless, Paris could not compete with 162 Emma Salling

Rome when it came to ancient monuments, mainly in model-drawing sessions that took impressive architecture and paintings by place in the studios of established artists or the great masters of the sixteenth and the were privately arranged by the young students seventeenth centuries, so Rome too was a themselves. For instance, Peder Als, a student “must” for Danish art students. Here they in Rome from 1756 to 1761, was a pupil in could also profit from the Danish academy’s the private studio of Anton Raphael Mengs French connections. We know, for example, (1728-1779), who was also a professor at S. that the students were allowed to draw from Luca; Nicolas Dajon (1748-1823) reported to plaster casts and nude models at the French the Danish academy in 1776 that he and some academy in Rome, as did Johannes Wiedewelt, of his compatriots had arranged a private Peder Als (1727-1776), C.F. Stanley (1738- school at their own expense.11 We know that 1813) and Cornelius Høyer (1741-1804). in 1767 the painter Cornelius Høyer copied In his memoirs, the German painter Johan a miniature in the S. Luca art collection: Christian von Mannlich (1741-1822), a student Rosalba Carriera’s (1675-1757) reception at the French academy in Rome from 1766 piece from 1705, Chastity represented by a to 1770, related that the Romans felt a strong young girl with a dove.12 So far, however, I animosity, even hatred, towards the French, have found no definite evidence proving that a feeling that extended to other nations Danish students visited the schools of the fraternizing with the Frenchmen.8 Indeed, Roman academy in anything like a regular or such prejudices have to be borne in mind systematic way. when looking for contacts between Italian and Danish artists during the eighteenth century. Johannes Wiedewelt Information on relations between Danish The Danish sculptor Johannes Wiedewelt art students and the S. Luca academy might be arrived in Rome in June 1754 and stayed expected to appear in the directions (brevets) for four years as the Danish academy’s first which Danish art students received from the art student in Rome. In letters to Denmark academy in Copenhagen in advance of their he expressed his feelings about S. Luca and departure for Italy. The statutes of 1754, 1758 its artists very clearly.13 (He mostly wrote in and 1771 expressly stated that the purpose French, albeit primarily on the basis of his of the students’ travels was to visit the most exposure to the spoken language). After two famous foreign academies. But the brevets are years in Paris, where he had won a silver medal mostly written as standard formulae.9 In the at the French academy, Wiedewelt continued eighteenth century, for instance, orders to visit his studies at the French academy in Rome. But academies and the studios of the best artists he was also interested in the activities of the were given without any further specifications S. Luca academy and did not miss the opening as to which were intended.10 In the first half of S. Luca’s new model-school in the Capitol of the nineteenth century, students bound in December 1754. This was the so-called for Rome were occasionally referred to the Accademia del Nudo (officially, Accademia advice of Bertel Thorvaldsen (1770-1844) del Disegno), which was intended for Italians or Vincenzo Camuccini (1771-1844), both as well as for foreigners. It was installed by members of the S. Luca (see further below). Benedict XIV in a newly constructed hall The letters which travelling artists were under the Pinacoteca Capitolina.14 Winners of obliged to send back to the academy assembly competitions held twice a year were awarded in Copenhagen might also be expected to silver medals. shed light on the subject. However, these In 1754, Wiedewelt wrote to Joachim letters only occasionally describe the students’ Wasserschlebe (1709-1787), his protector work in foreign academies, which, besides in Copenhagen, honorary member of the the French academy, seems to have consisted Danish academy and francophile. Although Relations between the Danish Aca demy and the Accademia di S. Luca 163

Wiedewelt reported the opening of the academy was very beautiful, Wiedewelt wrote, Capitolian academy, it is unclear whether it was experiencing a number of difficulties Wiedewelt ever attended the new school in establishing itself. It was still very far from himself, or whether other Danish art students the order in the Parisian academy, where did so either. In a letter dated 17th November harmony and good style ruled. He also took 1754, he announced the academy’s opening the opportunity to make malicious comments and described the model-drawing that took about the quality of the statues made for S. place there free of charge. This was, he Peter’s by the S. Luca sculptors. reported, a departure from earlier practice Wiedewelt’s low opinion of Italian in Rome where it had been necessary for contemporary art and the members of the students to form a group and join forces to Roman academy extended to architecture. In pay a model. On 25th December 1754, he 1756 a committee of Roman architects and continued to describe the new model-school members of S. Luca examined the French and opined about injustice in the awarding of architect and Danish academy professor prizes. “Mai ma foy ce qui à Eté juge â eté Nicolas Henri Jardin’s (1720-1799) proposals juge,” he concluded (“But by God, what has for a large church in a new part of Copenhagen, been judged, has been judged”). The following “Frederiksstaden”. The drawings had been year, he reported on 31st May that the S. Luca sent to Wiedewelt in Rome in January 1756 for academy had lost some of its energy, partly as delivery to the Danish minister A.P. Bernstorff a result of a poor choice for a new principe. (1735-1797), who was to arrive there later. The While Wiedewelt found that the successful four Italian architects, Ferdinando Fuga (1699- candidate, architectural painter and architect 1781), Giovanni Paolo Pannini (1691-1765), Giovanni Paolo Pannini (1691-1765) was Carlo Marchionni (1702-1786) and Domenico competent in his own field, he believed that Gregorini (c. 1700-1777), found the drawings Pannini did not understand what was necessary deficient in respect of the rules then followed for the perfection of the arts; indeed, he had in Rome, and, as such, unsatisfactory. The dismissed the professors of architecture, reborn classicist Wiedewelt was enraged, when geometry and perspective and he had even he reported back to Wasserschlebe on 20th wanted to introduce ornament painters in the March 1756, and he did not fail to express academy. Wiedewelt was evidently scandalized his low opinion of the Roman architects. that Pannini did not understand that art was The new basilicas, S. Maria Maggiore by a science, and that the leader of an academy Ferdinando Fuga, S. Croce del Gerusalemme had to be a learned person. Despite this, on by Domenico Gregorini, and others, he 9th August Wiedewelt was able to report that opined, were built in a style suitable for the the Roman academy had re-established a chair kind of little sugar building to be found on for anatomy, proportion, and so forth. Still, he top of cakes. Indeed, he concluded viciously: concluded that the Roman academy did not “cést deja presque pir que le gotique” (it is present a fixed and solid order such as existed almost worse than Gothic). Wiedewelt was not in Paris, though he added hopefully that he alone in his criticism of the Roman evaluation believed that, given time, such solidity would of the project for the Danish church. All the doubtless come into being. same, Jardin was forced to revise his drawings In his new-year letter of 3rd January 1756 before they were approved by the Danish king to Saly as director of the Danish academy, on 26th June 1756.15 Wiedewelt reiterated his opinion regarding the inferiority of the Roman academy in Erik Pauelsen comparison to the French one, probably The experience of another Danish artist in supposing that the French sculptor would Rome may illustrate conditions of academic appreciate it. Though the papal Capitolian membership in the two cities. 164 Emma Salling

In 1783 the Danish painter Erik Pauelsen for executing a preliminary reception piece, (1749-1790) came to Rome and stayed there which would thus make him a so-called for some months on his journey from France agréé. This was done on the basis of works to Denmark. He had received the major gold presented in the academy by the applicant. medal in Copenhagen in 1777 and had left The subject for the reception piece was then Denmark in 1780, travelling through Germany decided by the assembly. After his return to to Paris before reaching Rome. His guidelines Denmark, Pauelsen was accepted as an agréé from the Danish academy as mentioned above on 2nd February 1784 with “Cupid bending his stated that he should diligently visit academies bow” and “Mercury and Phyche”, with the of painting abroad. Pauelsen did visit several figures in life size.18 “Mercury and Phyche” academies and became a titular professor in was probably the painting he had previously Düsseldorff in 1781, and member of the presented in the Roman academy. The Danish academy of Bologna in December 1783 and academy chose quite a different theme for of the Florentine academy in January 1784. his reception piece. Among other historical But it was not so easy in Rome, as the archives Danish subjects suggested by the (then) of the Roman academy document. Pauelsen director Johannes Wiedewelt, the assembly confidently applied for membership in July chose “Queen Margrethe I unites the Nordic 1783, presenting a large painting with a motive countries in the Calmar Union of 1397”. He called “Cupid and Venus” to the assembly. was elected a member in the assembly on 3rd With some probability, this painting has May 1784 in the same year. 19 Since then the been identified by J. Hartmann as Pauelsen’s picture has been part of the academy’s art “Mercury persuades Psyche to accompany collection with other Danish reception pieces him to the gods” (from Apuleius: The Golden from the period before 1857. Ass), painted in Paris in 1782.16 Pauelsen wanted a quick answer to his Bertel Thorvaldsen application for membership of S. Luca, As we know, one Danish artist did succeed in because he was about to leave Rome. It was becoming an accademico di merito (academic explained to him, however, that he could member) of the Roman academy: Bertel not simply be appointed member on the Thorvaldsen in 1808, on 6th March.20 He spot. According to the academy’s rules, the arrived in Rome with an academic scholarship academy could not decide on the election in 1796 and stayed on as a sculptor with of a foreigner until the latter first proved growing international reputation. In 1805 he his membership of the leading academy of was elected member of the Danish academy, his native country and presented a certified without, as an exception to the rule, first original work for thorough consideration by presenting a reception piece. In the same year, the Roman academy.17 In these circumstances, he was appointed professor at the Danish Pauelsen had to leave Rome with his picture, academy, initially in absentia and without a which, incidentally, would have been quite salary.21 Indeed, the Danish academy was large (2,47 x 1,73 m), if this is correctly extremely anxious to attach its former student identified as “Mercury persuades Psyche to and now internationally recognized sculptor accompany him to the gods.” to the institution. Pauelsen had apparently been under the In 1808, Thorvaldsen, as a new member impression that it was less complicated to of S. Luca, was asked to donate a work of become a member of the academy in Rome his own in plaster and his portrait to the than it was in Denmark. Rules in Copenhagen, Roman academy’s art collection. He delivered however, meant that, after an applicant had the relief “A Genio Lumen” from 1808, travelled abroad for several years, the Danish representing a genius pouring oil in the muse assembly first had to vote on his qualification of art’s lamp, a proper subject for an academy. Relations between the Danish Aca demy and the Accademia di S. Luca 165

(Fig. 3). As early as July, Thorvaldsen took donated in marble to the academy 20 years back this relief and never returned it to S. later, to mark Thorvaldsen’s death in 1844. Luca. 22 However, a plaster copy of Ganymede Its reception in the S. Luca academy was with Jupiters’s eagle from 1817 was presented celebrated in an extraordinary assembly on in 1831 as his reception piece.23 As for the 23rd June 1844 with a speech by the secretary, academy’s demand for Thorvaldsen’s portrait, the architect Luigi Canina (1795-1856), who, this is supposed to have served as the impulse the year before, had been elected honorary for a portrait by Vincenzo Camuccini, dated member of the Danish academy.25 1808. But this original portrait never entered In Canina’s commemorative speech he the gallery, perhaps because Thorvaldsen points to the election of Thorvaldsen as primo did not like it, as suggested by Else Kai Sass. professore di scultura in 1812.26 However, he Today, the S. Luca gallery owns a copy of already appears to have taken up this position Camuccini’s portrait painted in 1827 by Luisa two years previously. New statutes had been Bersani. Camuccini depicts Thorvaldsen in published in 1812 with imperial French a sort of Renaissance-style costume. In a support. These statutes had been under German newspaper from 1810, it was called negotiation since 1810 and owed much to the “Danish”.24 initiative of Antonio Canova (1757-1822). For its part, Thorvaldsen’s portrait bust in As early as November 1810, it was decided the S. Luca collection is a work by his Italian to re-organize the schools, of which Canova pupil Pietro Tenerani (1798-1869), according was elected direttore perpetuo. Thorvaldsen to its inscription modelled in 1824. It was was elected professor of sculpture at the

Fig. 3. Bertel Thorvaldsen. A genio lumen, 1808. Plaster (original model). 50,5 x 66, 5 cm (photo: © Thorvaldsens Museum). 166 Emma Salling same time.27 On 8th August in the same year 1812, following the reorganization of the the Danish traveller in Rome, Hans West schools, Thorvaldsen had to give lessons on (1758-1811), sent a copy of S. Luca’s new Mondays and Thursdays, while his parallel statutes to the president of the Danish professor, the Italian sculptor Francesco academy, Prince Christian Frederik, later Massimiliano Laboureur (1767-1831), took King Christian VIII (1786-1848). West told care of Tuesdays and Fridays.31 From 1827 to the prince that Thorvaldsen was a professor 1828, Thorvaldsen was president of S. Luca.32 of S. Luca , and that during the months he In 1814-1815 when C.W. Eckersberg (1783- was responsible for teaching he had to be 1853) painted the portrait of Thorvaldsen present in the model-school at six o’clock he subsequently presented to the Danish every morning.28 In the archives of S. Luca it academy, he chose to show him in the habit is recorded that on 1st July 1810 Thorvaldsen, of the Roman academy, thus underlining his who for this month was responsible for the importance in the Roman artistic world. The model-class, was requested to take action German painter Carl Christian Vogel von against the prevailing disorder.29 The Danish Vogelstein (1788-1868) did the same in his National Art Library owns a copy of Statuti portrait of the Danish sculptor from 1815.33 dell’Insigne Accademia del Disegno di Roma, Detta As mentioned, young Danish art students di San Luca Evangelista, Roma 1796 with a bound for Rome in the nineteenth century dedication to Thorvaldsen: “Al Sign. Cav. were occasionally referred to Thorvaldsen’s Alberto Thorvaldsen Profess. dell’Accademia advice in their travel instructions. The first di S. Luca” (Fig. 4-5). This publication may example is the sculptor Hermann Ernst have been given to Thorvaldsen on the Freund’s (1786-1840) brevet from 1817.34 This occasion of his professorship in 1810 as a probably was less motivated by Thorvaldsen’s copy of the statutes valid at that time.30 From professorship of S. Luca than the fact that he and his studio, as is well known, had become the centre of Danish artists and other Danish travellers in Rome.35 Thorvaldsen may be regarded as the Danish artists’ closest link to the Roman academy at that time. His studio had become a sort of art academy in itself.

Fig. 5. Statuti dell’insigne Accademia del disegno di Rom, detta di San Luca Evangelista, Roma 1796. Dedication to Thorvaldsen (photo: © Danish National Art Library, Copenhagen.

Danish and Roman members of respectively the Roman and Danish academies The first Danes on the list of honorary members of S. Luca were not artists, but diplomats: Count Fritz Reventlow (1755- Fig. 4. Statuti dell’insigne Accademia del disegno di Rom, detta di San Luca Evangelista, Roma 1796. Title page (photo: 1828), who was elected in 1796, and Baron © Danish National Art Library, Copenhagen). Herman Schubart (1756-1832), who became Relations between the Danish Academy and the Accademia di S. Luca 167 a member in 1814.36 The latter accompanied Prince Christian Frederik on his travels in Italy from 1819 to 1821. The prince stayed in Rome for several months in 1820 and 1821. Here he and his wife, Princess Caroline Amalie (1796- 1881), who accompanied him on his journey, were portrayed by Thorvaldsen (Fig. 6). On 26th April 1820 he received a deputation of representatives from three academies: Accademia Arcadia, Accademia di S. Luca, and Accademia Tiberina. He accepted their invitation to become an honorary member of these academies and asked them to dinner. His S. Luca diploma is dated 16th April and signed by Canova as principe perpetuo. Princess Caroline Amalie was also elected a member. The busy prince, after several months in other Italian cities, visited the S. Luca academy on 14th March the next year. As præses he was responsible for the Danish academy’s newly revised foundation of 1814 (Fig. 7) and was seriously interested in the organization of Fig. 6. Bertel Thorvaldsen, Prince Christian Frederik (later foreign academies. He commented briefly King Christian VIII), 1820-21. Plaster (original model). 69 cm (photo: © Thorvaldsens Museum, Copenhagen, in his diary: “Visited the St. Luca academy, inv.no. A753). organized in a rather disorderly manner” (“temmelig uordentlig”). The next day he returned to see the model-school of the Academy, which he found “not conveniently arranged” (“ej bequemt indrettet”).37 As mentioned above Thorvaldsen had become a membro academico of San Luca in 1808. On 20th October 1821 another Danish artist was elected a member of the Italian academy, albeit then an honorary one. It was the architect Jørgen Hansen Koch (1787-1860), who was travelling under a Danish academic scholarship. In 1821 Koch had already been elected a member of the Academy of Fine Arts in Naples in March 1821, and next year he became a member of the art academy in Florence.38 His election may have been promoted by his acquaintance with Prince Christian Frederik, who served as his patron abroad as well as in Denmark. The Danish academy elected him an ordinary member in 1831, and in 1835 he became a Fig. 7. Fornyet Fundats for Det Kongelige Academie for de professor in architecture. skiønne Kunster i Kiøbenhavn 1814. Title page (photo: © The Danish academy could boast of Danish National Art Library, Copenhagen). 168 Emma Salling quite a few foreign artists as members39 The members, who decided to make Zoëga “an first Italian member was Antonio Canova in absentee member” (“Fraværende Medlem”). 1804. At that time he had been a member of In a letter to the prince, the academy underlined the S. Luca academy for four years and was the importance of being kept up to date on indisputably one of the most famous sculptors the news of Rome from a sensible, scholarly in Rome. The Danish academy was delighted man.43 Though Zoëga was expected to send a to receive a plaster copy of his Perseus-statue monthly report, he never exceeded 10 letters as a gift. In the assembly on 26th November a year, and from some years only a few letters he was unanimously elected a member, and in are known, in 1799 none at all. The minutes January 1805 he was sent a diploma in Latin. of the academy assemblies briefly mention Perseus was placed in the hall of antiquities the fact whenever a new one has arrived. and admired by torchlight.40 This amounts to forty-nine reports from Not until 1823 did further Italian artists 1790-1801, recorded in the period 1790-1802. become members of the Copenhagen acade- Seven reports that are known today cannot my, now as honorary members according to be identified with letters mentioned in the the new rules of 1823 regarding the member- minutes.44 In 1790 it is occasionally recorded ship of foreign artists. By making them hon- that Zoëga’s reports were read aloud by the orary instead of ordinary members, the new secretary. This may have been the practice rules relieved foreign artists of the obligation for some years and must have prolonged the to present reception pieces. In this way, the meetings considerably. However, in 1800 it number of foreign artistic members increased, is said that Zoëga’s letters circulated among which was precisely the intention of Prince the members in a portfolio.45 The original Christian Frederik.41 Two S. Luca artists were reports (written in Danish) were still in the elected: the painters Pietro Benvenuto, (1769- possession of the academy in 1811, when 1844, member of S. Luca 1802), and Vincenzo they were mentioned in a letter from Prince Camuccini (principe of S. Luca 1806). They Christian Frederik to the academy regarding had both met Prince Christian Frederik in loan of the documents to the diplomat and Rome. The only Roman non-artist member author Nicolaus Nissen (1761-1826), who was before the 1840s was Cardinal Stefano Borgia preparing a biography of his cousin Georg (1731-1804) in 1793 for his support to Danish Zoëga. The prince explained that for the time artists in Rome.42 being the letters had been borrowed by the archaeologist, Professor Niels Iversen Schow Georg Zoëga (1754-1830), who had published a biography In 1790 the Danish academy elected a special on Zoëga in 1809, including reference to kind of member, an honorary member (but Zoëga’s reports to the academy.46 Today not quite so) and Danish (but living abroad). Zoëga’s original letters on Roman art and It was the Danish archaeologist Georg Zoëga archaeology to the heir presumptive, Prince (1755-1809) who was living at that time in Frederik, are not to be found in the Danish Rome. The president of the Danish academy, academy’s archives. the heir presumptive, Prince Frederik (1753- Though many of Zoëga’s letters report 1805), had engaged him to send regular on contemporary art as seen for instance reports on cultural life in Rome for an annual in exhibitions in the French Academy or in salary. In the academy assembly of 29th private studios, there is surprisingly little March 1790 the secretary presented the first information on the activities of the Roman of many reports with news on Roman art academy. It may be due to the fact that and archaeology. The report itself had been Zoëga was no great admirer of Roman written in Rome on 12th February. contemporary art and architecture, with a This report pleased the academy’s few exceptions such as Antonio Canova and Relations between the Danish Academy and the Accademia di S. Luca 169

Domenico Cardelli (1767-1797). In his first been inspired by the galleries of the famous report of 12th February 1790 he stated that foreign academies, which he knew from the Roman school was in absolute decline, and his early years in Paris and Rome, probably that the best artistic achievements in Rome including S. Luca’s gallery.51 were by foreigners or men who had educated themselves independently of the weak style Conclusion (“svage Stil”) that existed in Rome.47 His In this paper it has been possible only to hint interests were primarily archaeological, and he at the relations between the Roman and the often seems to have depended on the opinion Danish academies of art in the eighteenth and of others when it came to modern art. the early nineteenth centuries. The preliminary There are nonetheless a few references to conclusion to be drawn is that regarding the Roman academy and its artists, such as, principles of administration and education for instance, on 11th December 1790 to the the influence of the Roman academy on the paintings for the new Ospedale di S. Spirito by Danish one was to a great extent indirect. Antonio Cavallucci (1752-1795) and Antonio Its traditions were passed down through the Concioli (c. 1736-c. 1820). In Zoëga’s opinion, French academy, which was the foremost however, they do not deserve to be discussed model for the Danish one. Danish students (“men fortiene for Resten ikke, at man profited from the schools of the French opholder sig ved dem.”).48 academy in Rome, but though S. Luca had a On 27th October 1790, Zoëga directly longer tradition and roots in the Florentine mentioned the S. Luca academy, not for its and Roman Renaissance, it does not appear education or members, but for its collection to have been very attractive to young Danish of paintings. This had recently been installed artists. Mutual membership was limited. From in a new hall, augmented with a suite of the Danish point of view, a connection to portraits of all the academy’s living members, the Roman academy was mostly based on a including several by Anton von Maron personal relationship (sometimes as private (1733-1808), Domenico de Angelis (1735- students) with S. Luca artists or knowledge of 1804), and Antonio Concioli. Zoëga was, their works. In the first half of the nineteenth again, rather negative: This suite consists so century, Thorvaldsen, as a member and far of twenty-four portraits, but is not yet professor of S. Luca as well as a professor in complete. The hall is quite beautiful, but the absentia of the Danish academy of art, was collection itself is, as is well known, very the closest link between the two academies. meagre (“meget maver”).49 This probably was read aloud to the Danish assembly as it sat Emma Salling surrounded by its own art collection and next Mag.art., former research librarian, to its own portrait gallery, which at that time Assistant Director, consisted of twenty-two portraits in uniform Danish National Art Library, Copenhagen gold frames.50 When Saly created the Danish [email protected] portrait gallery in the 1760s, he had no doubt

ABBREVIATIONS

KA Kunstakademiets Arkiv (Archives of the Academy of Fine Arts) in The Danish National Archives, Copenha- gen. Provenance number 1626, Reference number in parenthesis. Bs Behandlede sager (letters received and other documents) in: KA Db Dagbog (minutes) in: KA Kb Kopibog (letterbook) in: KA 170 Emma Salling

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Cipriani, A. Hartmann, J. 1989 “Thorvaldsen e l’Accademia di San Luca”. In: 1965-1966 “Alcuni documenti inediti, nonché di Majo, E. et al. (eds.) Bertel Thorvaldsen 1770- estratti ed appunti inerenti a Bertel Thorvaldsen 1844 scultore danese a Roma. Roma, Galleria Na- e l’Accademia di S. Luca”, Atti della Accademia zionale d’Arte Moderna, 31 ottobre 1989-28 gennaio Nazionale di San Luca nuova serie 8, 33-83 (Ap- 1990, Rome, 110-112. pendice to “Feste degli artisti nordici a Roma all’epoca del Thorvaldsen”, 1-30). Cipriani, A. & Valeriani, E. (eds.) 1988-1991 I disegni di figura nell’Archivio Storico dell’Accade- Hartmann, J. mia di San Luca I-III, Rome. 1980 “Erik Pauelsen, pittore danese, mancato accademico di S. Luca”, L’Urbe 43/1, 11-17. Colding, T. 1961 Cornelius Høyer 1741-1804, Copenhagen. Maestà di Roma 2003 Maestà di Roma. Da Napoleone all’unità d’Italia. Di Majo, E. et al. (eds.) Universale ed Eterna. Capitale delle Arti. Rome. 1989 Bertel Thorvaldsen 1770-1844 scultore danese a Roma. Roma, Galleria Nazionale d’Arte Moderna, Marconi, P. et al 31 ottobre 1989-28 gennaio 1990, Rome. 1974 I disegni di architettura dell’Archivio storico dell’Acca- demia di San Luca I-II, Rome. Erslew, T. 1868 Supplement til “Almindeligt Forfatter-Lexicon for Kon- Meldahl, F. & Johansen, P. geriget Danmark med tilhørende Bilande” indtil Ud- 1904 Det kongelige Akademi for de skjønne Kunster 1700- gangen af Aaret 1853 S-Ø, Copenhagen. 1904, Copenhagen. Relations between the Danish Academy and the Accademia di S. Luca 171

Meyer, S.A. Pontoppidan, E. 2002 “Il trasferimento dell’Accademia del Nudo alle 1764 Den Danske Atlas eller Konge-Riget Dannemark II, Convertite”. In: Picardi, P. & Paciotti, P.P. (eds.), Copenhagen. Le “scuole mute” et le “scuole parlanti”. Studi e documenti sull’Accademia di San Luca nell’Ottocento, Reglement Rome, 13-34. 1771 Reglement for Maler-, Bildhugger- og Bygnings-Acade- miet paa Charlottenborg Slot i Kiøbenhavn. (21. juni Missirini, M. 1771), Copenhagen. 1823 Memorie per servire alla storia della Romana Accade- mia di S. Luca fino alla morte di Antonio Canova, Salling, E. Rome. 1975 Kunstakademiets guldmedalje konkurrencer 1755- 1857, Copenhagen. Nielsen, M. 2003 “Between art and archaeology: Johannes Wie- Salling, E. dewelt in Rome (1754-1758)”. In: Nielsen, M. 1989 “The creation of an art collection at the Danish & Rathje, A (eds.), The rediscovery of antiquity - the academy”, Leids Kunsthistorisch Jaarboek V-VI role of the artist, (Acta Hyperborea .Danish studies in (1986-1987), 533-548. classical archaeology 10), Copenhagen, 181-208. Salling, E. & Smidt, C.M. Nielsen, M. 2004 “Fundamentet. De første hundrede år”. In: 2009 “For king and country. Johannes Wiedewelt’s Fuchs, A. & Salling, E. (eds.) Kunstakademiet Roman drawings in his artistic practice”. In: 1754-2004 I, Copenhagen, 23-117. Nielsen, M. & Rathje, A (eds.), Johannes Wie- dewelt. A Danish artist in search of the past, shaping Sass, E.K. the future, (Acta Hyperborea. Danish studies in classi- 1963-1965 Thorvaldsens portrætbuster I-III, Copenhagen. cal archaeology 11), Copenhagen, 85-111. Scano, G. Noack, F. 1974 “Insegnamento e concorsi”. In: L’Accademia 1927 Das Deutschtum in Rom seit dem Ausgang des Mittel- Nazionale di San Luca, Rome, 29-36. alters I-II, Stuttgart. Schow, N. Noehles, K. 1809 En Beretning om afdøde Professor og Ridder Georg Zoë- 1970 La chiesa dei SS. Luca e Martina nell’opera di Pietro gas Liv og Fortieneste især med Hensyn til ældre Littera- da Cortona. Con contributi di Giovanni Incisa tur, Archæologie og af bildende Kunster, Copenhagen. della Rocchetta e Carlo Pietrangeli, (Saggi e studi di storia dell’arte 3), Rome. Stollreither, E. (ed.) 1910 Ein deutscher Maler und Hofmann. Lebenserinnerun- Pevsner, N. gen des Joh. Christian v. Mannlich 1741-1822, Berlin. 1940 Academies of art. Past and present, Cambridge. Susinno, S. Picardi, P. & Racioppi, P.P. (eds.) 1974 “I ritratti degli accademici”. In: L’Accademia Na- 2002 Le “scuole mute” et le “scuole parlanti”. Studi e do- zionale di San Luca, Rome, 200-270. cumenti sull’Accademia di San Luca nell’Ottocento, Rome. Swane, L. 1935 “Danske Malere i Rom fra Slutningen af det 18. Picardi, P. Aarhundrede”. In: Bobé, L. (ed.), Rom og Dan- 2002 “Spazi et strumenti didattici dell’Accademia di mark gennem Tiderne I, Copenhagen, 183-212. San Luca negli anni della Restaurazione”. In: Pi- cardi, P. & Racioppi, P.P. (eds.), Le “scuole mute” Thiele, J.M. et le “scuole parlanti”. Studi e documenti sull’Accade- 1852 Thorvaldsen i Rom I. 1805-1819, Copenhagen. mia di San Luca nell’Ottocento, Rome, 169-214. Thiele, J. Pietrangeli, C. 1854 Thorvaldsen i Rom II 1819-1839, Copenhagen. 1974 “Origini e vicende dell’Accademia.” In: L’Ac- cademia Nazionale di San Luca, Rome, 3-28. Thiele, J. 1869 Thorvaldsen and his works (transl. by Paul C. Sind- 172 Emma Salling

ing), I-IV, Copenhagen. 56 1799 (Apr.-Jun.), 1-21, 139-169, 269-288.

Thorlacius-Ussing, V. Zoëga, G. 1935 “II. Danske Malere i Rom paa Winckelmanns 1967-2013 Briefe und Dokumente, herausgegeben von Tid og Billedhuggerne fra Aarhundredets Slut- Øjvind Andreasen † und Karen Ascani. I-VI, ning”. In: Bobé, L. (ed.), Rom og Danmark gennem Copenhagen. Tiderne I, Copenhagen, 142-182. Zuccari, F. & Romano Alberti Zoëga, G. 1604 Origine e progresso dell’Accademia del Dissegno, de Pit- 1798-1799 “Breve om Konstsager fra Rom”, Minerva et tori, Scultori & Architetti di Roma, Pavia (preface Maanedsskrift vol. 52 1798 (Apr.-Jun.), 317-339; dated 1599). vol. 53 1798 (Jul.-Sept.), 48-80, 129-165, 257- 270; vol. 54 1798 (Oct.-Dec.),121-161, 319-330; vol. 55 1799 (Jan.-Mar.), 209-215, 257-290; vol.

NOTES

* This contribution was originally given as a paper at the international conference On Renaissance Academies held at the Danish Academy in Rome from 11-13 October 2006.

1 The academy’s first name appears to have been Accademia del Dissegno, de Pittori, Scultori, & Architetti di Roma: see Zuccari & Alberti 1604 (preface dated 1599). It changed many times: e.g., in the statutes of 1796, it was called the Accademia del disegno di Roma detta di San Luca Evangelista, while in 1812 it was called the Accademia Romana di S. Luca. On the history of the S. Luca Academy, see Missirini 1823; Arnaud 1886; Picardi & Racioppi 2002. 2 Noehles 1970, 41-47, 188; L’Accademia Nazionale di San Luca 1974, 20-26, 32; Picardi 2002, 169-180, 184-186. 3 In 1754, the academy’s name was Det Kongelig Danske Skildre- Bildhugger- og Bygnings-Academie i Kiøbenhavn. In 1771, it was changed to Maler- Billedhugger- og Bygnings-Academiet paa Charlottenborg Slot i Kiøbenhavn, and in 1814 to Det kongelige Academie for de skiønne Kunster i Kiøbenhavn, cf. the statutes: Fundation 1754; Forbedring 1758; Reglement 1771; Fornyet Fundats 1814. On the history of the Danish academy, see Meldahl & Johansen 1904; Fuchs & Salling 2004. 4 Pevsner 1940, 152-164. 5 Goldstein 1996, 31-32; Salling 2004, 32, 38. 6 In Rome a principe/presidente was elected from among the academic members for a limited period. In Copenhagen, there was a superior leader called a præses (initially Count Moltke 1754-1770, and members of the Royal family between 1772 and 1848) as well as a direktør elected for a limited period from among the professors. 7 Scano 1974, 33-34; Marconi et al. 1974 (with reproductions of seventeenth- to twentieth-century architectural projects, including Concorsi Clementini and Balestra); Cipriani & Valeriani II-III, 1989-1991 (with reproductions of eighteenth-century drawings and paintings, including Concorsi Clementini and Balestra). 8 Stollreither 1910, 94-95, 107. 9 The brevets are found in KA, Kb, the artists’ letters in KA Bs. 10 E.g. Erik Pauelsen, KA (1.3.3) Kb 4 Nov. 1780, no. 23 “ikke alene flittig at søge de derværende til Maler Konsten hen- hørende Academier, men og søge at forskaffe sig Adgang hos en af de i Maler Konsten berømmeligste Professorer”. 11 Thorlacius-Ussing 1935, 157-162 (Als); KA (1.2.2) Bs, 1776 Skrivelser fra forskellige, no. 5 (Dajon); Pevsner 1940, 79 (on academies in private studios, e.g. Batoni, Trippel, Mengs). 12 Colding 1961, 56, 250 (cat. no. 63), pl. 37. 8,7 x 6,6 cm.; Statens Museum for Kunst, inv. no. 4815. 13 Wiedewelt’s letterbook and drafts from Rome are found in The Royal Library, Copenhagen, NKS 2152c 4o; and in Add. 192 2o IVa; Thorlacius-Ussing 1935, 147-155; on Wiedewelt’s drawings in Rome, cf. Nielsen 2003, 181-208; 2009, 85-111. 14 Pietrangeli 1974, 19-20; Scano 1974, 31; Missirini 1823, 239-240; Cipriani & Valeriani III, 1991, 3, 198-199; Meyer 2002, 13. 15 Thorlacius-Ussing 1935, 152-155; Bøggild Johannsen 1983, 505-518 (on Jardin’s projects), fig. 33-36 (copies of Jardin’s first projects for the Church of Frederik, combination of two alternative proposals, the so-called Doric and Relations between the Danish Academy and the Accademia di S. Luca 173

Ionic projects, of 24.June 1755, National Archives, Copenhagen, Kortsamlingen. 16 Statens Museum for Kunst, Copenhagen, inv. no. KMsp875. 17 Swane 1935, 201-202; Hartmann 1980, 11-15 including citations from the archives of S. Luca. 18 KA (1.1.10 ) Db 2 Febr. 1784, 115; “Cupid bending his bow”, Statens Museum for Kunst, Copenhagen inv. no. KMS23; “Mercury and Psyche” may be “Mercury persuades Phyche to accompany him to the gods”, cf. note 16, or “The flight of Mercury and Psyche”, Statens Museum for Kunst, inv. no. KMsp876, pendants, both signed 1782, see Kunstindeks Danmark, http://www.kulturarv.dk/kid/English.do.The three paintings were acquired in 1801 from Pauelsen’s widow. 19 KA (1.1.10) Db 4 Febr.1784, 116, 3 May 1784, 126-127. “Queen Margrethe I unites the Nordic countries”, Royal Academy of Fine Arts, Copenhagen, inv. no. KS 152; Salling 1989, 537. 20 Thiele 1852, 98; Arnaud 1886, 126; Hartmann 1966, 35. 21 KA (1.1.14) Db 6 May 1805, 94; 12 June 1805, 97-98. 22 Thorvaldsen composed a larger version of the relief about 1828, and had it carved in marble (Thorvaldsens Mu- seum, inv.no. A828). 23 Thiele 1852, 98; Cipriani 1989, 111; Di Majo et al. 1989, 163 (cat. n. 30). 24 Thiele 1852, 98, 152; Sass I 1963, 172, 180-181, 183, III, 145 (note 685), 146 (note 697); Di Majo et al. 1989, 152-154, cat. no.18 and Maestà di Roma 2003, 301, cat. n. II.2, text by Giacomini (copy in private collection). 25 Canina 1844; Di Majo et al. 1989, 321-322 (cat. no. 200); KA (1.1.26 ) Db 6 March 1843, 145. 26 Canina 1844, 8; cf. Hartmann 1966, 82 (reference to Noack’s abstracts in the Bibliotheca Hertziana): Thorvaldsen was elected professor of sculpture on 5 January 1812. 27 Accademia Nazionale di S. Luca 1812; Missirini 1823, 351- 352; Arnaud 1886, 91-93; Accademia Nazionale di San Luca 1974, 22. 28 Breitenstein 1955, 229. 29 Hartmann 1966, 82 (reference to F. Noack’s abstracts in the Bibliotheca Hertziana). 30 It is uncertain when the Statuti entered The Danish National Art Library, which was originally the academy’s library. 31 Canina 1844, 8; Missirini 1823, 364-365; Cipriani 1989, 110-112 (on Thorvaldsen and S. Luca). 32 Missirini 1823, 364-365; Thiele 1854, 348; Arnaud 1886, 144-145; Hartmann 1966, 46-48. 33 For Eckersberg’s portrait in the Royal Academy of Fine Arts, inv. no. KS 38, see Kunstindeks Danmark, http:// www.kulturarv.dk/kid/English.do.; for Vogelstein’s portrait in Thorvaldsens Museum, inv. no. B 425, see http:// http://www.thorvaldsensmuseum.dk/samlingerne/soeg?order=artist&q=vogelstein. 34 KA (1.3.4) Kb 25 Nov. 1817. Other examples registered in the letterbooks (1.3.4 and 1.3.5) are the sculptor H.W. Bissen 16. Dec. 1823, the painters Ditlev Blunck and Albert Küchler 4/5 Aug. 1828, 12 Jul. 1830 and the architect Gottlieb Bindesbøll 7 Jul. 1834. 35 See e.g. Thiele 1851, 1854; English translation Thiele 1869. 36 Noack II 1927, 484 and Missirini 1823, 477 (Reventlow), 477 (Schubart); Erslew 1868, 109. 37 Fabritius 1973-1976, II/1 1973, 237, 329, 330; II/2 1976, 549; Missirini 1823, 476. 38 Missirini 1823, 478; Noack II 1927, 322; Weilbachs Arkiv NKS, 23081 4o, Koch (The Danish National Art Library). 39 Fuchs & Salling 2004, III, 49. 40 KA (1.1.14 ) Db 5 Nov. 1804, 72-73, 26 Nov. 1804, 74-75; KA (1.3.3) Kb 29 Jan. 1805, no. 28 (diploma). 41 Fuchs & Salling 2004, III, 38; KA (1.1.20) Db 29 March 1823, 138. 42 KA (1.1.12) Db, 4 Nov. 1793, 126. 43 Friis Johansen 1935, 240-241; KA (1.1.12) Db 29 March 1790, 31-32; KA (1.1.3) Kb 11 March 1790, no. 11. Cf. Karen Ascani’s article in this volume, pp. 151-157. 44 The reception of Zoëga’s letters is mentioned in KA (1.1.12) Db in the period 29 March 1790-5 April 1802. I wish to thank Karen Ascani, who kindly allowed me to study her manuscript for the forthcoming revised edition of Zoëga’s comprehensive correspondence; cf. Zoëga 1967 and 2013. 43 letters to the academy (1790-1798) were published in Minerva 1798-1799, often differing from other transcripts, Zoëga 1798-1799. 45 KA (1.1.12) Db 31 May, 30 Aug., 27. Sept. 1790, 7 July 1800. 46 KA (1.2.7) Bs 1811 II Skrivelser fra præses, no. 6, 6 March 1811; Schow 1809, 30-31. 47 Zoëga 1798, vol. 52, 317-318; Zoëga 1967 and 2013, no. 449. 48 Zoëga 1798 vol. 53, 80; Zoëga 1967 and 2013, no. 499. 49 Zoëga 1798 vol. 53, 72; Zoëga 1967 and 2013, no. 493. 50 Salling 1989, 538-543. 51 Susinno 1974.