Titian ✦ ✦ Veronese rivals in

Frederick Ilchman

with contributions by Linda Borean,Patricia Fortini Brown,Vincent Delieuvin, Robert Echols, John Garton,Rhona MacBeth, John Marciari, David Rosand, Jonathan Unglaub,and Robert Wald

MFA P Museum of Fine Arts, Boston MFA PUBLICATIONS For a complete listing of MFA publications, Museum of Fine Arts, Boston please contact the publisher at the above  Huntington Avenue address, or call   . Boston, Massachusetts  www.mfa.org/publications Front cover: , with a Mirror, about  (detail, cat. ) This book was published in conjunction with Back cover: Tintoretto, Tarquin and , the exhibition “Titian, Tintoretto, Veronese: ‒ (detail, cat. ) Rivals in Renaissance Venice,” organized by Pages ‒: Giovanni Merlo, Map of Venice, the Museum of Fine Arts, Boston, and the , published by Stefano Scolari. Courtesy Musée du Louvre, Paris. of the Kunsthistorisches Institut in Florenz— Max-Planck-Institut. Site numbers and key Museum of Fine Arts, Boston added by Mary Reilly and MFA Publications, March , –August ,  with permission. Musée du Louvre, Paris September , –January ,  Research assistance by Martha Clawson Linda Borean’s essay translated by Martha The exhibition is sponsored by Clawson and Frederick Ilchman Pioneer Investments and UniCredit Group. Vincent Delieuvin’s contribution to “Late Styles” translated by Mark Polizzotti Edited by Matthew Battles, Mark Polizzotti, and Sarah McGaughey Tremblay Copyedited by Dalia Geffen and Jodi M. Simpson

Designed by Cynthia Rockwell Randall Produced by Cynthia Rockwell Randall and Jodi M. Simpson Printed and bound at Arnoldo Mondadori Editore, , Generous support for the catalogue is provided by the Andrew W. Mellon Publications Fund Available through and by Scott and Isabelle Black. D.A.P. / Distributed Art Publishers  Sixth Avenue, nd floor ©  by Museum of Fine Arts, Boston New York, New York  ISBN ---- (hardcover) Tel.:    · Fax:    ISBN ---- (softcover) Library of Congress Control Number:  FIRSTEDITION Printed and bound in Italy This book was printed on acid-free paper. All rights reserved. No part of this book may be reproduced in any form or by any electron- ic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except in the case of brief quotations embodied in critical articles and reviews.

The Museum of Fine Arts, Boston, is a nonprofit institution devoted to the promo- tion and appreciation of the creative arts. The Museum endeavors to respect the copy- rights of all authors and creators in a manner consistent with its nonprofit educational mis- sion. If you feel any material has been includ- ed in this publication improperly, please con- tact the Department of Rights and Licensing at   , or by mail at the above address. CONTENTS ࣍

Directors’ Foreword  Curator’s Introduction and Acknowledgments  Contributors  Map of Venice with Selected Major Public Commissions of the Three Painters  essays in an Age of Rivals    Where the Money Flows: Art Patronage in Sixteenth-Century Venice     Collecting in Sixteenth- and Seventeenth-Century Venice:  Originals, Copies, and “Maniera di”   Materials and Techniques of Painters in Sixteenth-Century Venice    Catalogue Prologue: The Transformation of Venetian Painting around   Titian to   New Rivals  Sacred Themes  Beneath the Surface: Revelations from Three Works by Veronese, Titian, and Tintoretto  Tactile Vision: The Female Nude  Portraiture  Late Styles  Appendices Boston Collects Venetian Paintings  Notes  Checklist  Figure Illustrations  Chronology  Selected Bibliography  Index 

࣍ Collecting in Sixteenth- and Seventeenth-Century Venice: Originals, Copies, and “Maniera di”

linda borean

In a famous letter sent to Jean-Pierre Mariette from Potsdam on February , , the Venetian writer and art dealer Francesco Algarotti affirmed that “when acquiring old paintings I would always proceed, as I have done, with the greatest caution. It is not enough that a painting be a Titian; it should be well preserved, beautiful, and demonstrating his most bella maniera. Otherwise one runs the risk of admiring only names.” Algarotti’s reaction reveals an attitude common among art collectors of the era, that is, appreciation for works of art based solely on the artist’s name rather than on the quality of execution. In this context originals by the great masters of the Renaissance, including Titian, Tintoretto, and Veronese, were truly rare and for the most part lacked signatures. This last point encouraged connoisseurs to consider not only style and manner, but also—under the pressure of new collecting patterns and the business of art dealing, forces in rapid expansion by the middle of the sixteenth century—to practice a certain nonchalance regarding attribution, which caused paintings from the workshop or from able copyists to be identified as autograph works. It is possible to consider the rivalry between Titian, Tintoretto, and Veronese by reexamining the critical fortunes of their works in precisely this context of early collections and the art market through a purely quantitative approach to the popularity of replicas and copies—naturally taking into consideration the different trajectories and conclusions of the careers of Titian, Tintoretto, and Veronese and their respective workshops as they sought to meet the demands of a growing client base. Sixteenth- and early-seventeenth-century writers on art from Marcantonio Michiel and Francesco Sansovino to  noted the expansion of art collections in Venice, above all the shift from heterogeneous “cabinet” collections to galleries often dedicated exclu- sively to paintings, some with a preference for a single artist. One famous example was the group of Veronese canvases owned by the ducal secretary Simone Lando and donated by him in  to the church of , including an Agony in the Garden, the painting now housed in the Pinacoteca di Brera, Milan (fig. ). The collection owned by Gabriele Vendramin, on the other hand, renowned for its , was appraised by Tintoretto during the compilation of the inventory of the collection in . At the end of the century, Cristoforo Barbarigo, who in  had bought Titian’s house in the neighborhood of Biri grande from Titian’s son Pomponio Vecellio, boasted that he possessed at least four autograph works by Titian, diligently enumerated in his will of . Literary sources, however helpful, only offer a starting point: the cited sources, Michiel, Sansovino, and Scamozzi, followed in the mid-seventeenth century by and , constitute precious guides to Venetian collecting practices. Their objective, however, was not to offer a systematic summary or to detail the ways in which collectors judged the works of Titian, Tintoretto, and Veronese, but to demon- cratic patrons (particularly non-Venetians) who wished strate these artists’ fame through examples, thus placing to be immortalized through proud portraits; it is clear them at the top of the aesthetic canon while simultane- that for an owner or heirs, the value of a painting ously promoting the value of good taste. Regarding increased if it could be attributed to Titian by school or Veronese, Ridolfi remarked that “important princes and manner. Such clients would also permit Titian to experi- gentlemen . . . through excessive spending” were pur- ment with sensual mythological subjects with minimal chasing many paintings by the artist, and furthermore, interference. The Spanish monarchy monopolized this that a palazzo was not considered properly adorned aspect of the artist’s production, deeming only Veronese “without a work by his hand.” Particularly desirable a worthy substitute after Titian’s death. For the were his Last Suppers and other paintings of religious Venetian market, however, Titian generally preferred to feasts (upon which, according to Ridolfi, Paolo’s fame make available canvases produced by his workshop from was based), with their sumptuous settings “in the man- prototypes, now and then adding finishing touches of ner of royal banquets.” Titian, on the other hand, was his own. Yet Venetian collectors continued to seek acclaimed by Boschini as the unsurpassable “Dio dela paintings by Titian (and his workshop) with tenacity, a Pitura” (God of Painting), to whom every artist must process that began to accelerate at midcentury. These subordinate himself as a “servant” and an admirer. collectors included fellow artists and competitors; it As a juicy anecdote reported by Ridolfi suggests, seems that Jacopo Tintoretto owned several paintings by however, Tintoretto would not have agreed with that Titian, including the Crowning with Thorns (fig. ), a view. The enfant terrible of the trio, Tintoretto was dis- masterpiece either unfinished or in Titian’s least fin- turbed by the praise bestowed upon Titian’s portrait of a ished style. The mosaicist Valerio Zuccato, a member woman by many artists and connoisseurs who were gath- of Titian’s circle, had to be content with copying or ered in the house of Giacomo Contarini (the influential reworking a “Christ in the garden which came from nobleman responsible for the selection of painters for Titian,” probably based on a replica of that subject kept the redecoration of the Palazzo Ducale after the fires of in Titian’s studio following the shipment to Spain of  and ). One of these connoisseurs declared in two versions of the Agony in the Garden prior to  Tintoretto’s presence that “one must paint” as Titian (Museo Nacional del Prado, Madrid, and El Escorial). does—a comment particularly galling given Tintoretto’s In his will of March , , Zuccato bequeathed the success in portraiture. To get even, Tintoretto forged a painting to his wife, Apollonia, the celebrated actress, “Titian” and submitted it for judgment to the same so- along with a Saint Catherine by Veronese. called experts, who commended this portrait as a singular Titian’s name was specified in inventories even work by Titian, not recognizing Tintoretto’s hand. Thus, when other paintings were listed anonymously, and Tintoretto had the last laugh, exclaiming, “Now, gentle- in the period between  and  the few works men, you see the value of authority and opinion in judg- that were noted were all considered “of the hand of ment, and how few people truly understand painting.” Titian.” These documents, however, do not specify These hapless connoisseurs were not the only contempo- whether canvases date from the painter’s youth or his raries to confuse the portraits of Titian and Tintoretto; old age (a situation similar to the listings of Tintoretto Raffaello Borghini noted in  that “in his coloring and Veronese); for example, sacre conversazioni in the Tintoretto has truly imitated nature, and then especially manner of the “Madonna et San Iseppo schietto de man Titian, so much so that many portraits by him are held to de Titian” (Virgin and Saint Joseph, a genuine Titian) in be by the hand of Titian.” the house of Lorenzo Donà in , but also paintings The situation presented in the printed sources is with improbable attributions, such as “Saint Cosmas largely confirmed by archival documents, including done in part by Titian and in part by Tintoretto,” owned inventories (more than four hundred dating from  to by the Widmann family and valued by the painter  were sampled for this essay; see note ) and wills. Nicolas Régnier in  at  ducats. These documents shed light on a wide variety of issues Only in the second half of the seventeenth century, relevant to Venetian private collections beginning in the by which time many kinds of people—artisans, mer- sixteenth century: the formation of an artistic canon; chants, nobles, ecclesiastics—had dedicated themselves supply and demand; and the varying appeal of auto- to collecting art, does one observe the distinction graph works, copies, and paintings “in the style of ” (in between originals and paintings described as being done maniera di) the most highly esteemed artists. Titian’s in Titian’s “maniera,” assigned to his “scuola,” or which popularity, for instance, was pronounced among aristo- “came from him,” meaning copies—a distinction that

 | RIVALSINRENAISSANCEVENICE Fig.  Titian Crowning with Thorns, about – Oil on canvas Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Munich

Collecting in Venice |  emerges in parallel with a growth in the number of paintings attributable to Titian and his circle. As origi- nals were always extremely scarce, the hunt for paint- ings shifted to works found in churches on the main- land, for example the altarpiece from the Duomo of Santa Maria at Serravalle or the Assumption of the Virgin silhouette from the cathedral of Verona. Nor did collectors hesi- tate to remove Titian’s works from their original archi- tectural settings (such was the case with canvases of Tintoretto and Veronese as well). These copies and imitations won approval among collectors and critics, so much so that these paintings were even in competi- tion with originals and were defined as “delights among paintings” or “laudable deceits” because they were the fruit of two arts, that of the inventor and that of the copyist (one example among many would be the Venus and Adonis, an “extremely beautiful copy of Titian” purchased for only  ducats in  by Giovan Donato Correggio, the owner of many Titian replicas executed by his painter of choice, Antonio Cecchini). The derivations from original Titians had, for some time, not been limited to his own workshop’s production (an analogous argument can also be made for Tintoretto and Veronese). Artists of modest ability such as Rocco da San Silvestro had sniffed out the avail- able opportunities and set up businesses based on creat- ing copies of the works of famous painters. This mar- ket made use primarily of Flemish artists such as Gasparetto Piterman, who is recorded as having made a copy of a Titian Magdalen that was “ritocata dal Rotenhamer,” that is, retouched by Hans Rottenham- mer and acquired by Gaspare Chechel, consul of the in the first half of the seven- teenth century. Even in the workshop of the fourth protagonist of the Venetian Renaissance, namely , there were numerous replicas of origi- nal paintings by other artists, including Titian. For example, a “Magdalen, copy of Titian, finished by the hand of signor Geronimo [Gerolamo],” together with a Fig.  “Magdalen derived from Titian, finished by the hand of Martino Rota (Croatian, about signore Geronimo,” was listed in the  inventory of –), after Titian’s lost original the painter’s son Gerolamo Bassano, himself a painter. of  In this context, where illustrious imitatori operated— Saint Peter Martyr, about  one thinks of Pietro Vecchia—doubts about attribu- Etching and engraving tions increased, and the connoisseurship skills of the The Metropolitan Museum of Art, experts were continually put to the test when confront- New York ed with accurate replicas, imitations, and pastiches “in the manner of.” One interesting case is the perplexity the painters Stefano Rubini and Nicolò Rossi expressed in  when challenged to confirm the authenticity of the

 | RIVALSINRENAISSANCEVENICE eight (!) Titians owned by Giorgio Bergonzi. A refined Saint Peter Martyr altarpiece (fig. ) installed in  collector, Bergonzi had inherited a rich picture gallery of in the church of Santi Giovanni e Paolo. The astute sixteenth-century masters from his father, Francesco, a dealer Daniel Nijs offered the amazing sum of , friend of the writer Carlo Ridolfi; Giorgio subsequently scudi for the original. The “Bacanal copy of Titian in added to this collection. If the two appraisers, Rubini ’s hand,” listed by Boschini in a posthumous and Rossi, could be forgiven for mistaking a Polidoro da inventory of Paolo del Sera in , brings to mind Lanciano for a Titian, it is astonishing that they would what may be another set of replicas, now in Bergamo, confuse Perino del Vaga with Titian. The best Titians made by Padovanino (–) after the celebrated in the Bergonzi collection were two portraits, one of mythologies by Titian for the camerino of Alfonso I a jeweler and the other, from the Marcello family, of a d’Este. By  Titian’s paintings from the camerino woman “painted with great freshness” and recorded also could be found in the Aldobrandini collection in , by Ridolfi. Each portrait was assigned the high value of where Padovanino, of a generation that sought inspira-  ducats, well above the market at the time. tion from the masters of sixteenth-century Venice, has- Descendants of the first owners of autograph por- tened for the express purpose of copying these master- traits by Titian tended to hold on to them as family pieces. Padovanino was evidently able to meet the heirlooms or because this had been stipulated in a will, demand for paintings in a market continually being and portraits constitute one of the more common cate- depleted of original Titians, so much so that one begins gories found in Venetian inventories. For example, to wonder if his choice to take over Titian’s seat (the Andrea de Franceschi (–), of the Leone branch of “sedia di Tician,” in Boschini’s words) had been influ- the family, occupied the important government post of enced by commercial motivations and perhaps the prod- grand chancellor from  until the time of his death. ding of Boschini, who as a successful dealer intended to Titian painted two versions of his portrait; Andrea’s satisfy his clientele, guaranteeing also the success of will of March , , left “my first portrait painted by painters of his own era. As many documents attest, the hand of Titian” to one of his nephews, Pietro de Padovanino made a career of imitating Titian; one Franceschi, and “my second portrait by the hand of such document describes a work in the paintings gallery Titian” to another nephew, Girolamo de Franceschi. of Cecilia Corner (of the San Maurizio branch, widow Pietro was the secretary to the , and on of the Procurator of San Marco “de supra” Daniele June , , his property was divided. Among Pietro’s Bragadin) as a “Lord in Emmaus, three figures in a goods was a portrait of Andrea by Titian, made when black frame with a gold band, copied from a Titian by the sitter was “sixty years old.” To the de Franceschi Padovanino.” The painting may be related to the ver- family, then, information about the priority (and thus sion (fig. ), once located in the Palazzo Ducale, that perhaps the quality) of the two portraits, as well as the the Contarini family gave to the Republic in the six- age of the sitter, seems to have been confirmation of teenth century, having judged the work more appropri- value important enough to pass on to the next generation. ate for a public building than a private residence. The Besides portraiture, the most popular subject by fortunes of collecting, however, returned Titian’s Titian in Venetian collections was without doubt that of Supper at Emmaus to a private home (Brocklesby Park in the Magdalen. The theme, which combines piety with Lincolnshire, seat of the Count of Yarborough) thanks female beauty, was thought to be very dear to Titian—so to the well-timed efforts of Sir Richard Worsley, the last much so that Giovanni Battista Cavalcaselle noted in the British diplomatic resident in Venice and ancestor of the middle of the nineteenth century in the margin of his painting’s current owner, who seems to have purchased drawing after the Barbarigo Magdalen, “They say [Titian] the celebrated work from French authorities in . died holding this [painting].” The oldest document Another version of this composition by Titian, made for from an inventory concerning this subject is the  divi- Count Nicola Maffei, an official in Mantua, was later sion of property belonging to Antonio Grimani of San sold to the ruling Gonzaga family (cat. ). Polo among his sons, Giovanni, Alvise, and Girolamo. If the popularity of Titian paintings in Venetian Girolamo received a Magdalen by Titian, which can prob- collections rested principally on works executed for pri- ably be connected with a “document of messer Titian on vate patrons, in Tintoretto’s case, besides portraiture, the th day of July ,” corroborated in the  family commissions for government or religious buildings inventory. played a significant role, providing the foundation of the Certain other themes appeared frequently, corre- artist’s fame. Regarding princely patrons, Tintoretto sponding to high points in Titian’s oeuvre, such as the did receive requests from the Gonzaga family as well as

Collecting in Venice |  Fig.  Rudolf II, the Holy Roman Emperor, but he did not Tintoretto had reached. Less than a century after his Titian gain more than a foothold in the Spanish court. They death, Tintoretto’s enduring position within local taste Supper at Emmaus, about –, preferred Parrasio Michiel, and even after Michiel’s was documented also in a literary appreciation, when possibly earlier Oil on panel death in , Tintoretto was largely shut out. His plan he was celebrated in a collection of verses published in Brocklesby Park, Lincolnshire, in  to give Philip II a “beautiful painting of the Last  by the painter and man of letters Giovanni Prati. Earl of Yarborough, on loan to Judgment” made little difference. Prati devoted a sonnet to a Last Judgment by “Robusti Walker Art Gallery, Liverpool In his Breve istruzione inserted in the  publica- immortal opra sublime.” Tintoretto was the only tion of Ricche minere della pittura veneziana, Boschini Venetian painter of the sixteenth century to be included expressed his opinions on Robusti’s huge canvases in the in this collection of poems. An examination of the church of the Madonna dell’Orto this way: “Tintoretto inventories of the second half of the sixteenth century painted them for  ducats each. Now, if one had to sell through the seventeenth century has revealed that them, and I know who you would be, I estimate that to above all, starting from the middle of the seventeenth the two numerals that make up the number , you century, there was a growing circulation of replicas and would add another three zeros, and not lettering of a works classified as “scuola di” or “si dice di” (said to pen, but in lettering of gold.” Boschini’s observation be by), but with a clear distinction, however, between justifies his conclusion that great painting was more Tintoretto vecchio and Tintoretto giovane, which is to say valuable than gold—“più vale la pittura che l’oro”— between Jacopo and his son Domenico. Despite the fact and also emphasizes the high commercial value that that his father had bequeathed him the workshop, with

 | RIVALSINRENAISSANCEVENICE the obligation to complete all of the paintings left unfin- ished at the time of his own death with “diligence,” accuracy, and patience, Domenico, in fact, developed his own personal style, a distinction that did not escape the expert’s eye. References to portraits dominate the documents and early sources on Tintoretto. Indeed, the painter earned great fame in this category in his early maturity. In  the publisher Francesco Marcolini, who consid- ered Tintoretto something of a protégé, declared to Pietro Aretino, the referee of the Venetian artistic scene, how skilled this artist was at making a sitter appear alive. That the personality of the sitter could constitute some of the appeal for a collector is shown by an inter- esting portrait dated  of Giovanni Paolo Cornaro (or Corner), nicknamed dalle Anticaglie (of the antiquities) because he was a famed accumulator of antiquities from the classical world (fig. ). Tintoretto portrays precise- ly this aspect of the sitter, showing him with his forearm resting on top of a presumably ancient statue. Ridolfi mentions that the portrait is in the possession of the Zaguri family, who seemed to have owned it after , thanks to the inheritance of Pietro Pellegrini. Pellegrini, the illustrious secretary of the Council of Ten, was known above all as an antiquities expert, a passion that may have encouraged a marriage of convenience to Samaritana Corner, the daughter of Giovanni Paolo. Pietro came to possess, in fact, his father-in-law’s collec- tion, including the portrait by Tintoretto, which would have been particularly appealing to a collector of antiq- uities such as Pellegrini. The appreciation, commercial or otherwise, for Tintoretto’s portraiture among seventeenth-century col- lectors is exemplified by the efforts Paolo del Sera made Del Sera concludes his letter by remarking that the Fig.  to track down portraits by Tintoretto. Del Sera, a great painting “could stand alongside any portrait by Titian,” Tintoretto Giovanni Paolo Cornaro,  admirer of the painter, seems to have been inspired in the painter evidently considered supreme in portraiture. this category of painting by the enthusiasm of his employ- Oil on canvas Many of the faces immortalized by Tintoretto Museum voor Schone Kunsten,  er, Cardinal Leopoldo de’ Medici. In May del Sera remain unidentified; one example is the Portrait of a Ghent found in the house of the collector Stefano Celesti Man Aged Twenty-Six (cat. ), which has a coat of arms a portrait by Tintoretto the Elder of a man armed on its reverse side, identified according to one hypothe- from the knees up and with a spirited attitude, with a sis as that of the Giustinian-Lolin family of Venice; on colonnade behind and a window through which one the frame one can also read the inscription “C. Giusti,” sees the distant sea with a galleon, in the most exqui- while a second inscription states “Count Balbi Venezia,” site manner of this artist, with the armor being both suggesting that the painting passed through an English so beautiful and awesome, that if one did not know collection. the sitter’s face, which shows Tintoretto’s hand, any Compared with his portraits, Tintoretto’s religious one of us would believe that the painting had been works appeared less frequently in private collections. done by Titian. The portrait depicts Venier, who would later become the Capitano Generale da Mar of the Among these paintings, some themes are common and Venetian fleet in  but was, at the time this portrait others are quite rare—as is the case with the Supper at was painted, forty years old and the Capitano di Golfo. Emmaus attributed to him. This work is mentioned in

Collecting in Venice |  the  inventory of the possessions of Lorenzo Gabrieli, the version in the Museo Nacional del Prado (fig. ), the Procurator of San Marco starting in  and the son where it would have arrived from the collection of of Zaccaria Gabrieli, who had been one of the candidates Charles I of England prior to . It is precisely in for in . So far, this record constitutes the only Spain, among noble families who had diplomatic posts mention in the Venetian context of a work by Robusti of in Italy, that an extraordinary interest in Tintoretto that subject, and can perhaps cast new light on the prove- developed in the seventeenth century. In this period nance of the Budapest Supper at Emmaus (cat. ), which Tintoretto’s popularity nearly rivaled that of Titian in was purchased in Paris in  with the attribution of Spain. The Marquis of Carpio’s efforts to acquire the , a painter whose works were often con- contents of Tintoretto’s studio in  provides power- fused with those of Tintoretto. ful testimony of Tintoretto’s appeal, as does the inven- Records of Venetian private collections attest to tory of the Marquis’s collection, crammed into his Tintoretto’s fame in the public sphere, documenting palazzo at the Piazza di Spagna in Rome, where appar- reduced-scale copies, preparatory models, and reproduc- ently  works attributed to Robusti were recorded in tive prints. Such smaller works could serve as substitutes . But by this time, the workshop of the celebrated for immovable originals. The from the Scuola painter, squalidly maintained by Sebastiano Casser, Grande di San Rocco was engraved by Agostino Carracci Tintoretto’s son-in-law, had already given up its great- in , and the print immediately became highly esteemed, est treasures; Casser’s death sparked a raging debate so much so that Boschini could claim that Tintoretto con- about the fate of the remaining works of art, with sidered the engraving the equal of the canvas; meanwhile, chests full of pictures carried away in secret. the copperplate ended up in the hands of the dealer By comparison, the descendants of Paolo Daniel Nijs, who took it to Flanders and purportedly faced Veronese demonstrated a more careful attitude to it in gold to prevent its deterioration. The Paradiso in the their inheritance. Upon the death of Gabriele Caliari, Palazzo Ducale (fig. ), painted after a hard-fought official Paolo’s son, in , the contents of the workshop competition among the top painters in Venice following passed to his son Giuseppe, who then became their the calamitous fire in the Sala del Maggior Consiglio in faithful custodian, despite never having taken up the , was also admired by connoisseurs, as seen in the profession himself, which his father had abandoned case of one of the modelli related to the great canvas. The earlier. The paintings and drawings recorded—though friendship between Tintoretto and Grand Chancellor without specific attributions—in the famous inventory Giovan Fancesco Ottobon, and the influential position of of the house of Caliari in  would mostly have his nephew Leonardo, secretary of the Council of Ten been workshop productions from the end of the from  on, meant that they were perfectly placed to Cinquecento and the start of the Seicento, though acquire and to appreciate a modello for a famous painting there may have been some works by Paolo himself, in the Sala del Maggior Consiglio, as part of a conspicu- according to Ridolfi (). To take on numerous com- ous group of paintings by Robusti. missions, Veronese had created an enterprise character- Even though in the seventeenth century modelli were ized by the practice of what Beverly Louise Brown often considered superior to the finished canvas and could calls “collaborative imitation,” indicated by the signa- be obtained for modest prices, preparatory models were ture Haeredes Pauli, adopted by his heirs; the system not enough for some demanding collectors. Indeed, writ- produced “autograph” paintings with or without the ten sources bear witness to numerous attempts to acquire direct intervention of the master, making it tricky to large-scale canvases suitable for “royal salons.” In  distinguish the hand of Paolo from that of Carletto Paolo del Sera tried to persuade Leopoldo de’ Medici to and Benedetto, core members of the Caliari workshop. conclude a deal for Tintoretto’s Wedding Feast at Cana The experts thus limit themselves to using terms such from the refectory of the brothers of the Crociferi, taking as “copy of ” and, in rare cases, “coming from” (viene advantage of the suppression of the order by the pope da) without being more specific. One pertinent exam- to finance La Serenissima’s war against the Ottoman ple is offered by a painting of the “Virgin Annunciate Empire. Thanks to the intervention of painters and the with the Eternal Father carried by two angels and Venetian government, the painting remained in Venice, three cherub heads with the Holy Spirit by Carletto, now housed in the church of the Salute. An outcome less retouched by ,” in the collection of fortunate for Venice befell the Washing of the Feet from the Giovan Donato Correggio; the description furnished church of San Marcuola, which left the lagoon at a still- by the owner suggests that the painting was being cir- unknown date and has been identified by scholars with culated as an autograph work on the authority of col-

 | RIVALSINRENAISSANCEVENICE lectors and experts. Similarly, one should not be sur- who owns something of his deems it to be of great Fig.  prised that collectors and agents made negative, indeed worth (as if it were by Titian himself, who has always Tintoretto   cutting, judgments about the works remaining in the been regarded as divinity itself in this country), judging Washing of the Feet, – Oil on canvas  Caliari studio. In Giovanni Antonio Massani, the that Paolo was perfect in disegno, beautiful in colorito Museo Nacional del Prado, Madrid secretary to Giovan Battista Agucchi, brought back to . . . and skillful in inventions.” Veronese, therefore, Cardinal Francesco Barberini, at that time searching for was admired as being capable of eclipsing Titian, works by Veronese, the opinion of an expert that in reflected in “the universal taste of great princes and the Caliari house “there are many things that could lords for this eminent painter.” have been designed by Paolo, but not colored or fin- According to the documentary record, those in ished by him; and I have been assured that among the Venice who had the good fortune to own original said pieces there is not even one which is worthy of works by Veronese (or were capable of recognizing being valued as a good thing by the hand of this mas- them) were mostly patricians; merchants and citizens ter.” At this time Veronese’s fame had expanded possessed predominantly replicas and derivative works. beyond the borders of La Serenissima. Already he was These patrician collectors were loath to relinquish the undisputed protagonist of prestigious decorative paintings by Veronese, and they even attempted to campaigns sponsored by the Venetian government and prevent their being copied. This is exemplified by the religious orders; starting in the s, the painter tried negotiations in  between Pietro Basadonna, the to bring his work to international collectors through Venetian ambassador to Rome, and the agents of allegorical canvases of considerable size, like Wisdom Queen Christina of Sweden on the matter of a picture and Strength (The Frick Collection, New York) and much admired before the nineteenth century, the Family Allegory of Virtue and Vice (The Choice of Hercules) (fig. of Darius before Alexander, then owned by the Pisani ). The goal would have been to impress (with the Moretta and now in the National Gallery, London. This help of influential dealer Jacopo Strada) princes from esteemed picture inspired the appetites of the wealthi- Northern Europe such as Albert of Bavaria and est collectors, but the asking price was astronomical, Maximillian II Hapsburg, who in  came into contact over , ducats, and no one dared spend that much. with the artist through his ambassador in Venice, Viet Perhaps the hope for a similar price inspired stipula- von Dornberg. Particularly after Veronese’s death, his tions in the wills of the family’s ancestors that prohibit- critical reputation and the prices for his works grew; ed its sale and forbade its copying, presumably to pre- the aforementioned Massani specifies that “the works serve the uniqueness of the work. In fact, replicas did by this Master were not very esteemed here in the past, exist, as did workshops that specialized in them, such as but today their worth is much appreciated, and anyone the dealer-restorer Michele Spietra (d. ). Such work-

Collecting in Venice |  Fig.  Veronese Allegory of Virtue and Vice (The Choice of Hercules), about  Oil on canvas The Frick Collection, New York

 | RIVALSINRENAISSANCEVENICE shops offered copies at reasonable prices, after popular edly the event in the art market at the middle of the themes such as the Adoration of the Magi, Christ and Seicento, the struggle has been recently reconstructed. the Centurion, and the Finding of Moses—religious Such episodes were fueled by heated competition subjects that Veronese interpreted in an elegantly secu- between collectors and dealers, since all princes and sov- lar manner. Returning to the Family of Darius before ereigns hoped to acquire a Supper by Veronese for their Alexander, the derivatives made by the French artist own salons, for which the sumptuous costume banquets Valentin Lefèvre, one of the painters most influenced of the biblical episodes were well adapted as decoration. by the language of Caliari in the seventeenth century, Fortunately many attempts to remove paintings satisfied impassioned admirers of Veronese; Giorgio by Veronese from Venice failed. In  Paolo del Sera Bergonzi valued his copy of the Pisani Moretta painting, wrote to Cardinal Leopoldo de’ Medici and recommend- in fact, at  ducats, a rather high price if we consider ed the purchase of a Rape of Europa, since at that time that the same collector valued at only  ducats the there were no other large works by Veronese in private “portrait done by the hand of Paolo Veronese of the hands, with the exception of the Family of Darius before famous Agostin Barbarigo, with the arrow in one hand, Alexander of the Pisani Moretta. Leopoldo’s nephew dressed in armor, with a baton in the other,” hanging in Cosimo III, Grand Duke of Tuscany, later considered the portego of his palace. This most probably relates to acquiring the painting from del Sera. The tale of Europa the same version Pietro Edwards recorded later in an was one of the subjects most beloved by connoisseurs, a unpublished manuscript catalogue he compiled in  fad that began when Giacomo Contarini commissioned of the Gerolamo Manfrin Gallery, which probably from Veronese the famous version in which the mytho- included the portrait of , now in the logical episode was transformed into a kind of marriage Cleveland Museum of Art (cat. ), a painting whose feast (Sala dell’Anticollegio, Palazzo Ducale). It has commemorative character one would associate with a recently been proposed that the painting in the public setting or a residence of the Barbarigo family. Gemäldegalerie (attributed to the workshop) be recog- Bergonzi had ordered that his painting be transferred nized as the one owned by del Sera. Indeed, the infor- to the church of Sant’Andrea della Certosa “so that it mation del Sera supplied in the letter to Leopoldo of hangs in the chapel above the chest wherein lie the illus- March , , corresponds with the example at the trious remains,” that is, those of the admiral Agostino German museum (“the Story of Europa seated on a Barbarigo. As far as we know, the portrait was never white bull, with maidens who serve her, little cupids, conveyed to this location. and additional little figures and animals, with a country- The Venetian state wholeheartedly supported side and beautiful trees”), down to the measurements Veronese during his lifetime by involving him in the expressed in “braccia fiorentine.” Boschini records that prestigious decorations of the Palazzo Ducale. A little del Sera had claimed the painting was worth the enor- less than a century after his death, however, the govern- mous sum of , ducats. Perhaps that high price ment decided to remove from Venice one of his major caused the negotiation with Cosimo III to fail, even works and send it abroad for political ends. In , at though experts had judged the painting “the sweetest the suggestion of the able diplomat Alvise Molin, the work created by that famous brush.” Venetian government donated the enormous Supper in With another acquisition in mind, the Grand Duke the House of Simon from the refectory of the Servite later sent his architect, Pier Maria Baldi, to Serravalle monastery to Louis XIV (now at the Musée National (Vittorio ) to evaluate the quality of Titian’s large du Château, Versailles), thus sealing the artist’s interna- altarpiece in Santa Maria Nuova. The architect did not tional reputation and his fame among collectors. The acquire that altarpiece, deciding that it was in poor con- removal of the painting to Versailles fueled the trade in dition, nor did he bring back any canvases from Venice. replicas and derivatives and provided a destination for Baldi visited a Venice awash in copies, workshop produc- endless visits by princes and collectors who would never tions, and works “in the manner of ” Titian, Tintoretto, have let the picture return to the lagoon, since it had so and Veronese. But paintings by the very hands of these fed the taste for the Venetian master within France. The three equally supreme artists so astounded the architect episode, which mobilized all of the ambassadors and that although unsuccessful in his mission, he was principal agents of the city between  and , was consoled by what his eyes had enjoyed. In  Baldi a fascinating struggle among rival princely collectors— returned to empty-handed but “with his head Leopoldo de’ Medici, the Duke of Mantua, Alfonso IV full of paintings . . . of extraordinary beauty by the most d’Este, the Marchese Spinola, and Louis XIV. Undoubt- famous artists.”

Collecting in Venice |  Banca Popolare di Castelfranco Veneto, ); . Fernando Checa, “Beyond Venice: Titian Collecting in Sixteenth- and Seventeenth- . Ibid., . Bernhard Rupprecht, “Sanmichelis Villa and the Spanish Court,” in Late Titian, ed. Century Venice: Originals, Copies, and . Boschini, La carta, –. Soranza,” in Festschrift Ulrich Middledorf, ed. Ferino-Pagden, –. “Maniera di” . Ridolfi’s original, in Le maraviglie dell’arte Antje Kosegarten and Peter Tigler (Berlin: . Ibid., . Cf. Humfrey, Titian, ; Hope, . This essay derives from my work on the     :, reads: “hor vedete signori, quanto pre- De Gruyter, ), : – ; Pignatti and Titian, . survey of art-collecting practices in Venice, Pedrocco, Veronese :cats. –. vaglia nei giudizi l’autorità e l’opinione, e . Hans von Voltelini, “Urkunden und from their origins to the nineteenth century; come pochi siano coloro, che bene intendono . Rearick, Art of Paolo Veronese, –; Regesten aus dem K. u, k. Haus-, Hof- it was coordinated by Stefania Mason at the di pittura.” Pignatti and Pedrocco, Veronese :cats. , . Università di Udine and supported by the und Staats-Archiv in Wien,” Jahrbuch der . The original reads: “nel colorire dice ha Fondazione di Venezia. Algarotti’s letter is . Pignatti and Pedrocco, Veronese :cats. Kunsthistorischen Sammlungen des Allerhöchsten vere imitation la natura, e poi particolar- from Francesco Algarotti, Opere (Livorno: –, ; Hochmann, Peintres et commandi- Kaiserhauses  (): xxvi–clxxiv, docs. , mente Titiano, in tanto che molti ritratti fatti Marco Coltellini, ), :. The original taires, –, –. , . da lui sono stati tenuti di mano di Titiano.” reads: “nell’acquistare quadri antichi io avrei . See de Maria, “Merchants of Venice,” . Nichols, Tintoretto, –, ; Cornelia Raffaello Borghini, Il riposo [Florence, ] proceduto sempre, come feci, con cautele –; Brown, Private Lives, , ; Syre, Tintoretto: The Gonzaga Cycle, exh. cat. (Hildesheim: Georg Olms grandissime. Non basta che un quadro sia di Hochmann, Peintres et commanditaires, –; (Ostfildern-Ruit: Hatje Cantz, ), –; Verlagsbuchhandlung, ), . Tiziano, vuol essere ben conservato, della Pignatti and Pedrocco, Veronese :cats. –. Pallucchini and Rossi, Opere sacre e profane bella maniera e del fior della bella maniera del . Peter Humfrey, “Epilogue: The Demand :cats. –; Echols and Ilchman, “Toward . Roskill, Dolce’s “Aretino,” –. pittore. Altrimenti si corre risico di ammirar from Abroad,” in Venice and the Veneto, ed. a New Tintoretto Catalogue,” cats. – . Hope, “Titian and His Patrons,” . On solamente i nomi.” Peter Humfrey (Cambridge: Cambridge (all either Jacopo or studio design, with studio University Press, ), , , with bibliog- Aretino, Dolce, and other literati as interme- . Louisa C. Matthew, “The Painter’s execution). raphy. It was not by chance that Veronese diaries, see Hochmann, Peintres et commandi- Presence: Signatures in Venetian Renaissance . Xavier F. Salomon, Veronese’s Allegories: had modified his Annunciation for El Escorial taires, –. Pictures,” Art Bulletin  (): . Virtue, Love, and Exploration in Renaissance in a Titianesque manner. On the competition     . Ridolfi, Le maraviglie dell’arte : – ; Venice, exh. cat. (New York: Frick Collection, . Michel Hochmann, Peintres et commandi- at the Spanish court after the death of Titian,  Freedman, Titian’s Portraits, . ). Salomon argues that the Metropolitan taires à Venise (–8) (Rome: Ecole see Miguel Falomir, “Tintoretto and Spain: . Wethey, Paintings of Titian :–, –, Museum’s Venus and Mars United by Love, “dat- française de Rome, ), –. From El Greco to Velázquez,” in Falomir, and passim. ing from the first half of the s, seems to . Marcantonio Michiel, Notizia d’opere di dis- Tintoretto, –; and Philip Cottrell and . Pietro Aretino, Lettere sull’arte, ed. Ettore have been an ideal candidate for Emperor egno [Vienna, ], ed. Theodor Frimmel Rosemarie Mulcahy, “Succeeding Titian: Camescasa (Milan: Edizioni del Milione, Maximilian’s patronage” (). Cf. Rearick, in (Florence: Edifir, ); Francesco Sansovino, Parrasio Michiel and Venetian Painting at the –), :–; Biadene and Yakush, Titian: Art of Paolo Veronese, –, who sees the Venetia città nobillisima et singolare descritta in Court of Philip II,” The Burlington Magazine Prince of Painters, . Allegories of Love as a commission by Rudolf XIIII libri (Venice: Jacomo Sansovino, ); , no.  (): –. around , and the other allegories as com- Vincenzo Scamozzi, Dell’idea dell’architettura . Cited by Clare Robertson, “Il Gran . See Ridolfi, Le maraviglie dell’arte :. missions or purchases over the next six years. universale (Venice: for Giorgio Valentino, ). Cardinale”: Alessandro Farnese, Patron of the Erica Tietze-Conrat (“Titian’s Workshop in See Pignatti and Pedrocco, Veronese :–, Arts (New Haven, CT: Yale University Press, . On the Vendramin, see Rosella Lauber, “Per His Late Years,” Art Bulletin , no.  []: , cats. –. ), . un ritratto di Gabriele Vendramin: Nuovi con- ) hypothesizes that the  scudi Girolamo . Nichols, Tintoretto, –. tributi,” in Figure di collezionisti a Venezia tra Dente requested to copy the Martyrdom of . Ferino-Pagden, Late Titian, –; Cinque e Seicento, ed. Linda Borean and Saint Laurence by Titian at El Escorial could Robertson, “Il Gran Cardinale,” . . Rearick, Art of Paolo Veronese, ; Pignatti and Pedrocco, Veronese :cats. –. Stefania Mason (Udine, Italy: Forum, ), be a standard price for a workshop painting. . Robertson, “Il Gran Cardinale,” . –. On Titian’s atelier, see also Giorgio Tagliaferro, . Falomir, Tintoretto, –; Miguel . Ibid., ; Wethey, Paintings of Titian “In the Workshop with Titian, –,” in Falomir, “Tintoretto and Spain: From El . On Simone Lando, see Hochmann, Peintres :–. Late Titian, ed. Ferino-Pagden, –. Greco to Velázquez,” in Falomir, Tintoretto, et commanditaires, –. On Cristoforo . Charles Hope, “A Neglected Document –; Nichols, Tintoretto, –; Pignatti and Barbarigo and his collection, now housed at . Wethey, Paintings of Titian : n. . about Titian’s Danaë in Naples,” Arte Veneta  Pedrocco, Veronese :cat.  (with workshop); the State , St. Petersburg, . Wilhelm Bode, Georg Gronau, and Detlev (): –; Roberto Zapperi, “Alessandro Pallucchini and Rossi, Opere sacre e profane see Herbert Siebenhüner, Der Palazzo von Hadeln, Archivalische Beiträge zur Farnese, Giovanni Della Casa and Titian’s :cat. A; Echols and Ilchman, “Toward a Barbarigo della Terrazza in Venedig und sein Geschichte der venezianischen Kunst, aus dem Danaë in Naples,” Journal of the Warburg and New Tintoretto Catalogue,” cat. . Tizian Sammlung (Munich: Deutscher Nachlass Gustav Ludwigs (Berlin: Cassirer, ), Courtauld Institutes  (): –; Biadene Kunstverlag, ), , ; and Charles Hope, . Ridolfi, as translated in Carlo Ridolfi, The ; and Francesca Pitacco, “Fonti per il and Yakush, Titian: Prince of Painters, –; “Titian’s Family and the Dispersal of His Life of Tintoretto and of His Children Domenico collezionismo veneziano (–)” (gradu- Wethey, Paintings of Titian :–, –; Estate,” in Late Titian and the Sensuality of and Marietta, trans. Catherine Enggass and ate thesis, Università di Udine, –), Robertson, “Il Gran Cardinale,” . Painting, ed. Sylvia Ferino-Pagden, exh. cat. Robert Enggass (University Park, PA: Penn –. (Venice: Marsilio, ), – (Cristoforo’s . Wethey, Paintings of Titian :–, : n. State University Press, ), –. . Documentation on sixteenth-century col- will is discussed on –). ; Augusto Gentili, “Titian’s Venetian . Ridolfi, Le maraviglie dell’arte :: lecting practices is concise, and inventories Commissions: Events, Contexts, Images, . Carlo Ridolfi, Le maraviglie dell’arte [Venice, “Le Pitture sparse nelle Galerie più famose often lack attributions. See Michel Hochmann, –,” in Late Titian, ed. Ferino-Pagden, ], ed. Detlev von Hadeln,  vols. (Berlin: dell’Europa . . . non parendo per appunto “Quelques réflexions sur les collections des –. Grote’sche Verlagsbuchhandlung, –); adorno qualsivoglia Palagio, ove non entri peintures à Venise dans la première moitié du Marco Boschini, La carta del navegar pitoresco . Andrew John Martin, “La bottega in viag- alcuna cosa di questa mano.” See also XVI siècle,” in Il collezionismo a Venezia e nel [Venice, ], ed. Anna Pallucchini (Venice: gio. Con Tiziano ad Augusta, Füssen e Salomon, Veronese’s Allegories, . Veneto ai tempi della Serenissima, conference Istituto per la collaborazione culturale, ), . Innsbruck (): Domande e ipotesi,” Studi proceedings, ed. Bernard Aikema, Rosella Tizianeschi  (): –, esp. ; Hope, . Ridolfi (Le maraviglie dell’arte :) Lauber, and Max Seidel (Venice: Marsilio, “Titian and His Patrons,” –. describes how “i maggiori prencipi e signori ), –. di questo chiaro pittore, havendo eglino con . Wethey, Paintings of Titian :–, –, . Archivio di Stato di Venezia, Notarile, Atti, eccessive spese fatto di quelle numerosa rac- –, :–. notaio Pietro Partenio, b. , cc. v–v, colta, non parendo adorno qualsivoglia pala- February , , inventory of the property gio, ove non entri alcuna cosa di questa of Lorenzo Donà quondam Alvise at Santa mano.” Maria Formosa.

 | RIVALSINRENAISSANCEVENICE . Fabrizio Magani, Il collezionismo e la com- . Isabella Cecchini, Quadri e mercato di quadri . The replicas (now at Accademia Carrara, ed by Linda Borean, Massimo Favilla, and mittenza artistica della famiglia Widmann dal a Venezia nel Seicento: Uno studio sul mercato del- Bergamo) were in the possession of Dario Ruggero Rugolo discuss Prati and his artistic Seicento all’Ottocento (Venice: Istituto Veneto di l’arte (Venice: Marsilio, ), –, –; Varotari, son and heir to Padovanino (see and literary culture.    Scienze, Lettere e Arti, ), . Ridolfi, Le maraviglie dell’arte :. Ridolfi Boschini, La carta, ) by the middle of the . Archivio di Stato di Venezia, Notarile, . Boschini, La carta, . states that not only did the portrait of a seventeenth century. Testamenti, Antonio Brinis, b. , no. , woman come from the Marcello family, but it . Stefania Mason, “‘By the hand of Titian,’ . Boschini, La carta, . May , , will of Jacopo Tintoretto. The depicted a member of that family. ‘Derives from Titian’: Clues from Venetian . Mitchell F. Merling, “Marco Boschini’s document is transcribed in Carlo Ridolfi, Vite Collections,” in Late Titian, ed. Ferino-Pagden, . Mary Frances Neff, “Chancellery Carta del navegar pitoresco: Art Theory and dei Tintoretto da Le Maraviglie dell’arte overo le –. Secretaries in Venetian Politics and Society, Virtuoso Culture in Seventeenth-Century vite degli illustrissimi pittori veneti e dello stato –” (PhD diss., University of California, descritte dal cavalier Carlo Ridolfi (8), intro- . Maria Stella Alfonsi, “Cosimo III de Medici Venice” (PhD diss., Brown University, ), ), . duction by Antonio Manno (Venice: Filippi, e Venezia. I primi anni di regno,” in Figure di . ), –; and in Borean, collezionisti, ed. Borean and Mason, –. . Hochmann, Peintres et commanditaires, . Maria H. Loh, Titian Remade (Los Angeles: “Documentation,” –. Among the complaints about the rarity of –. Getty Research Institute, ), –, . . Francesco Marcolini to Pietro Aretino, originals, see that of Paolo del Sera in a letter . Giuseppe Tassini, Cittadini veneziani, . The original reads “Signor in Emmaus September , . See Borean, “Documen- of  to Leopoldo de’ Medici: “in truth, Biblioteca del Museo Correr, Venice, ms. P.D. tre figure soaze nere con fillo d’oro copia del tation,” , with bibliography. there are no more drawings or paintings, and c / , p. ter. Tician fatta dal Padovanin.” Cecilia Corner’s none to be found on the streets, a sign that if I . Archivio di Stato di Venezia, Giudici del inventory of  is transcribed in Borean and . Museum voor Schone Kunsten, Ghent. were ordered to provide something—not nec- Proprio, Divisioni, reg. , cc. v–v, June Mason, Il collezionismo d’arte, –, with fur- On the painting, see the entry in Arnout essarily a painting, but a beautiful portrait by , . Pietro possessed, therefore, the first ther discussion on –. Balis et al.,  Jaar Verzamelen: Collectieboek Titian or someone else of his stature—even Museum voor Schone Kunsten Gent (Ghent: version, but current opinion holds that both . Wethey, Paintings of Titian :– n. . regardless of cost, I would not know where to Ludion, ), cat. ; and Paola Rossi, Jacopo versions should be dated to around , when In the manuscript catalogue of paintings sent begin looking”; Gloria Chiarini De Anna, Tintoretto, vol. , I ritratti (Venice: Alfieri, the sitter was about to turn sixty. The painting  “Nove lettere di Paolo del Sera a Leopoldo de’ by Worsley to London in (soon to be had been first assigned to Pietro’s widow, as ), . Medici,” Paragone , no.  (): . published by this author), the painting does seen in the inventory compiled three weeks not appear, while an Ecce Homo is noted along . Ridolfi, Le maraviglie dell’arte :. . The first citation is in Giulio Mancini’s earlier restoring her dowry, which listed with a replica of the made . Giovanni Paolo Corner and Pietro Considerazioni sulla pittura, –, ed. Anna “ritrato del Concilior grando Francisci d’età for Philip II and a Saint Christopher derived Pellegrini will be discussed in my contribu- Marucchi and Luigi Salerno (Rome:   d’anni ”; Pitacco, “Fonti,” . The canvas at from the fresco in the Palazzo Ducale. For the tions and those by Paola Benussi in Il col- Accademia Nazionale dei Lincei, ), :; the Detroit Institute of Arts is generally Louvre’s Supper at Emmaus (cat. , where it is lezionismo d’arte a Venezia: Dalle origini al the second is in Boschini’s La carta, . thought to be of higher quality than the por- dated about –), see Guido Rebecchini, Cinquecento, ed. Michel Hochmann, Rosella Regarding the role of copies from the six- trait in Washington, DC, which contains “Tiziano e Mantova: La Cena in Emmaus per Lauber, and Stefania Mason (Venice: Marsilio, teenth and seventeenth centuries, see Jeffrey workshop intervention and bears the frag- Nicola Maffei,” Venezia Cinquecento , no.  ). Pietro Pellegrini’s July , , invento- M. Muller, “Measures of Authenticity: The mentary inscription “TIS OLX,” which may (): –. Regarding the dispersal of Titian ry was transcribed by Hochmann in Peintres et Detection of Copies in the Early Literature on be interpreted as the remnant of the original paintings, see Rosella Lauber, “Itinerario di commanditaires, –. Connoisseurship,” in Retaining the Original: “AETATIS SUAE LX”; see Wethey, Paintings of una diaspora: Il giro del mondo alla ricerca . The original reads: “ritratto di mano del Multiple Originals, Copies, and Reproductions, Titian :– nn. , . Wethey associated dei Tiziano non più a Venezia,” Venezialtrove: Tintoretto vecchio, dal ginocchio in su arma- exh. cat. (Washington, DC: National Gallery the painting in Detroit with the portrait of Almanacco della presenza veneziana nel mondo  to in attitudine spiritosissima con architettura of Art, ), –; and Maria Loh, the chancellor Ridolfi saw at the house of (): –. “Originals, Reproductions, and a ‘Particular Widmann (in the  inventory of the collec- di colonne dietro, e da una finestra si vede il . On Tintoretto’s critical fortune among Taste’ for Pastiche in the Seventeenth-Century tion, transcribed in Magani’s Il collezionismo, mare lontano con una galeazza, della più Venetian collectors, see Linda Borean, “Jacopo Republic of Painting,” in Mapping Markets for , is cited a “Ritratto di un cancellier grande esquisita maniera di questo autore, essendo Tintoretto nelle collezioni veneziane tra Sei Paintings in Europe, –, ed. Neil De di Tiziano”). The  inventory of pictures anco così belle e terribili le armature, che se e Settecento,” in Jacopo Tintoretto: Actas del Marchi and Hans J. Van Miegroet (Turnhout, owned by Costantino Franceschi of the delle non si conoscessi dalla testa, che è mano del congreso internacional / Proceedings of the Belgium: Brepols, ), –. Rose branch of the family includes a “Ritratto Tintoretto, ogn’uno crederebbe che fussi di International Symposium, Museo Nacional del mano di Tiziano. Il ritratto rappresenta il . Linda Borean, La quadreria di Agostino e del nostro antico Cancellier Grande di Tizian” Prado, Madrid, February –,  (Madrid: Veniero che fu poi Capitano Generale de’ Giovan Donato Correggio nel collezionismo (Donatella Bernardi, “Interni di case Museo Nacional del Prado, forthcoming). veneziani nell’Armata Navale del  essendo veneziano del Seicento (Udine: Forum, ), veneziane del Settecento,” Studi veneziani, n.s.,  stato fatto dell’eta’ di  anni quando era , .  []: . Alberto Bagnara, in “I De . This information is from a letter from the Franceschi collezionisti a Venezia tra XVI e Venetian ambassador to Madrid, Girolamo Capitano di Golfo.” See Miriam Fileti Mazza, . Hochmann, Peintres et commanditaires, . XVIII secolo,” Venezia Arti, no. / [/ Lippomano. See Mary Pittaluga, “L’attività di ed., Archivio del collezionismo mediceo: Il  . Linda Borean, “‘Desegni e stampa de ]: –, published a  inventory of Tintoretto in Palazzo Ducale,” L’Arte  Cardinal Leopoldo, vol. , Rapporti con il mercato    rame.’ La collezione grafica di Gaspar Costantino Franceschi’s collection, identical to ():  n. ; and Linda Borean, “Documen- Veneto (Milan: Ricciardi, ), – . Chechel, mercante tedesco nella Venezia del that of ). tation,” in Falomir, Tintoretto, , with the . This information was graciously provided Seicento,” Aprosiana: Rivista annuale di studi complete transcription of the letter. . Siebenhüner, Der Palazzo, . by Julia Armstrong-Totten (oral communica- barocchi, n.s.,  (): –. . Boschini (La carta, ) recounts: “il tion, September , ). The coat of arms, . Mason, “‘By the Hand of Titian,’” . . The document is being published by Tintoretto dipinse per cinquanta ducati l’uno. however, does not exactly coincide with that Stefania Mason, whom I thank for allowing its . Boschini, La carta, . Ora, se si dovessero vender, so io che vi of the Giustinian-Lolin, a family that died out inclusion here. The actual quotations read as . I thank Isabella Cecchini for the annota- sarebbe chi, appresso alle due figure che for- in the first half of the nineteenth century, at follows: “Madalenna Copia de Titian de man tions to the list. In the preceding inventory of mano il numero , v’aggiungerebbe altri tre which point their palace was occupied by   del s[igno]r Geronimo finida” and “Madalena the del Sera collection, compiled in  upon zeri, e non in caratteri di penna, ma in carat- Francesco Aglietti ( – ), a noted cavada dal Titian de man del s.r Ger finida.” the request of his creditors and without the teri d’oro.” Venetian collector. . Linda Borean, “Il caso Bergonzi,” in Il assistance of an expert, “ quadreti di bacanali . Giovanni Prati, La musa delirante (Venice, . Archivio di Stato di Venezia, Marco collezionismo d’arte a Venezia: Il Seicento, ed. de bona man” are mentioned. The document ), –. The other artists praised in Barbaro-Alessandro Tasca, Arbori de Patritii Linda Borean and Stefania Mason (Venice: is published in Borean and Mason, Il collezion- Prati’s sonnets were all from the seventeenth Veneti, II, c.  and ; and Andrea da Marsilio, ), –. ismo d’arte, –. century. Essays in a forthcoming volume edit- Mosto, I dogi di Venezia (Florence: Giunti,

Notes |  ), . Archivio di Stato di Venezia, . The inventory of  reads: “un quadro Turin. See Linda Borean and Stefania Mason, . The painting was relined, and without Giudici del Proprio, Mobili, b. , c. v. rappresenta la Nontiata con il Padre Eterno “Cristoforo Orsetti e i suoi quadri di ‘perfetta photographic documentation of the back of . In the  inventory of the Spanish noble portato da due angioli e tre testine di serafini mano,’” in Figure di collezionisti, ed. Borean the canvas during the treatment, it is impossi-  Luis Méndez de Haro, a painting of the same col spirito santo di Carletto retocata da Paulo and Mason, . ble to verify inscriptions or other marks that subject is listed. See Falomir, “Tintoretto and Veronese altri si spaza.” See Borean, La . In the fiscal declaration to the Ufficio might support the Manfrin provenance. I  Spain,” . quadreria, . The painting was acquired in dell’Inquisitorato alle Acque from , on thank Jon Seydl of the Cleveland Museum of  for  ducats. Art for this information. A copy of this por- . Pallucchini and Rossi, Opere sacre e profane Chiara Pisani’s behalf, the value of the paint-     trait is housed in the National Gallery of :, cat. . . In , the Patriarch of Aquileia gave to ing was fixed at “only” , ducats. Giuseppe Scipione Borghese The Preaching of John the Gullino, I Pisani dal Banco e Moretta: Storia Art, Washington, DC; see Fern R. Shapley, . Ridolfi, Le maraviglie dell’arte :; Baptist and Saint Anthony Preaching to the Fish di due famiglie veneziane in età moderna e delle Catalogue of the Italian Paintings: National  Boschini, La carta, –; Diane DeGrazia (Galleria Borghese, Rome), which may have loro vicende patrimoniali tra  e 8 (Rome: Gallery of Art, Washington, vols. (Washing- Bohlin, Prints and Related Drawings by the sparked interest in Veronese within the Istituto Storico Italiano per l’età Moderna e ton, DC: , ), :, Carracci Family: A Catalogue Raisonné Barberini circle. See Pignatti and Pedrocco, Contemporanea, ), . cat. . (Washington, DC: National Gallery of Art,       Veronese :cats. , . . Bert W. Meijer, “Per la fortuna di Paolo . Rearick, Art of Paolo Veronese, , cat. . ), – n. a; and Maria Agnese Chiari . The original reads: “vi son ben delle cose, Veronese sino al ,” in Veronese e Verona, . As was specified in the  will (Borean, Moretto Wiel, ed., Jacopo Tintoretto e i suoi che possono essere state disegnate da Paolo, ed. Sergio Marinelli, exh. cat. (Verona: Museo “Il caso Bergonzi,” ). incisori, exh. cat. (Milan: Electa, ),  n. mà non colorite, ò perfettionate da lui; e sono di Castelvecchio, ), –. The prohibi- .. . Regarding the Supper from the Servite insomma stato assicurato, che tra detti pezzi tion on copying this work apparently con- monastery, see Laura De Fuccia, “Collezion- . See Jean Habert, ed., Le Paradis de Tintoret: non ve ne è uno, che meriti di essere stimato tinued in subsequent centuries; see Penny, isti francesi di pittura veneziana nel Seicento” Un concours pour le palais des , exh. cat. per cosa buona di mano di quel maestro.” See Sixteenth Century Italian Paintings, :. For a (PhD thesis, Università di Udine–Ecole (Paris: Musée du Louvre Editions, ). William L. Barcham and Catherine R. Puglisi, full discussion about the patrons and history Pratique des Hautes Etudes, ), :–. . Andrea Zannini, Burocrazia e burocrati a “Paolo Veronese e la Roma dei Barberini,” of the painting, see – in the same catalog. In the collections of prints Opera selectiora Saggi e memorie di storia dell’arte  (): . Venezia in età moderna: I cittadini originari (sec. . Simona Savini Branca, Il collezionismo by Valentin Lefèvre, published in  (Ugo In addition to publishing this important July XVI–XVIII) (Venice: Istituto Veneto di Scienze, veneziano nel Seicento (: Cedam, ), Ruggeri, Valentin Lefèvre [–]: Dipinti, , , letter by Massani, Barcham and Lettere e Arti, ), . The relationship –. Martinioni’s  additions to disegni, incisioni [Manerba: Merigo Art Books, Puglisi discuss the rise of Veronese’s populari- between the artist and Giovan Francesco Francesco Sansovino’s guidebook, Venetia, ], –), and Pitture scelte by Carla ty among Roman collectors in the first half of Ottobon is noted by Ridolfi in Le maraviglie città nobillisima et singolare descritta in XIII libri, Caterina Patin (Padua: Tipografia del the seventeenth century, as well as the general dell’arte :–. ed. Giustiniano Martinoni (Venice: S. Curti, Seminario, ), one sees the decline of influence of Venetian Renaissance masters on . This modello is now owned by the Istituti ), contain a list of painters active in Tintoretto’s fame by comparison to that of later Italian painters, particularly Pietro da di Ricovero e di Educazione (IRE) in Venice. Venice, “Quinto catalogo,” including one Titian and Veronese in French taste. Alvise Cortona. The article includes another appen- See Barbara Mazza, “Tracce dei Tintoretto “Bastian Bombello da Udine [who] while he Molin, who owned a splendid art collection, dix listing paintings by Veronese in four notable nei fondi archivistici dell’IRE,” in Jacopo was a student made magnificent copies from compiled a list of its contents in , includ- Roman collections of the early Seicento. Tintoretto nel quarto centenario della morte: Paolo Veronese,” :. ing a Supper at Emmaus and a Risen Christ by . Klara Garas, “Veronese e il collezionismo Veronese. See Linda Borean, “Alvise Molin,” Atti del convegno internazionale di studi. Venezia, . The February  inventory, drawn up by del Nord nel XVI–XVII secolo,” in Nuovi studi in Il collezionismo d’arte, ed. Borean and – Novembre, , ed. Paola Rossi and the owner, mentions “La copia del quadro su Paolo Veronese, ed. Massimo Gemin (Venice: Mason, –. Lionello Puppi (Padua: Il Poligrafo, ), d’Alessandro di Paulo Veronese che è in Ca Arsenale Editrice, ): –. See also Xavier –. Pisani Moreta fatta da Monsù Lefebre.” The . Marguerite Allain-Lunay, “A Token of F. Salomon, Veronese’s Allegories: Virtue, Love,  document is published in Borean and Mason’s Franco-Venetian Friendship,” in The Feast in . Del Sera to Leopoldo de’ Medici, March and Exploration in Renaissance Venice, exh. cat. , , Archivio di Stato di Firenze, Il collezionismo d’arte, –. the House of Simon: Veronese. History and (New York: Frick Collection, ), –. Restoration of a Masterpiece (Paris: Alain de Carteggio di Artisti, V. . Agostino Barbarigo, the . The original reads: “le opere di questo Gourcuff, ), –.     Generale da Mar, died on October , , . Falomir, Tintoretto, – , cat. . Maestro non erano qui un tempo fa in molta from an arrow to the eye at the Battle of . Michel Hochmann, “La Collection de . Marcus B. Burke and Peter Cherry, stima, mà hoggi è salito a segno il credito di Lepanto. The  inventory of paintings Giacomo Contarini,” Mélanges de l’école Collections of Paintings in Madrid, –, esse, che chi hà alcuna cosa di lui, ne tiene owned by Marchesa Manfrin Plattis (Library française de Rome  (): –. The paint- Documents for the History of Collecting, assai più conto, che sé fosse di Tiziano istesso, and Archive of the National Gallery, London) ing reached its present location in  with Spanish Inventories,  (Los Angeles: Getty che è stato sempre tenuto il nume de Pittori lists as no.  “P. Veronese. Ritratto d’un gen- the donation of the Contarini collection to Research Institute, ), –; Falomir, di questo paese, giudicandosi, che Paolo sia erale con freccia in mano.” The Catalogo dei the Venetian state. “Tintoretto and Spain,” –. perfetto nel disegno, vago nel colorito…e quadri esistenti nella Galleria Manfrin in Venezia,   valente nelle inventioni.” See Barcham and . The Dresden painting (dimensions x . Stefania Mason, “Dallo studiolo al    Venice, , includes as no. a portrait  cm [ / x  / in.]) is reproduced ‘camaron’ dei quadri. Un itinerario per dipin- Puglisi, “Paolo Veronese,” . In Le maraviglie   with dimensions close to those of the paint- in color and discussed by Penny in Sixteenth dell’arte : , Ridolfi underscores that “many  ti, disegni, stampe e qualche curiosità nelle ing now in Cleveland (. x . cm [ ⁄ x    were the paintings collected after the Painter’s Century Italian Paintings : and fig. . This collezioni della Venezia barocca,” in Il  in.]), assigned to Veronese and believed to death.” connection between the Dresden painting and collezionismo d’arte, ed. Borean and Mason, depict Onfrè Giustinian, the admiral who the picture owned by del Sera was advanced –. . Of course, these same collectors would communicated the news from Lepanto to by Alfonsi (“Cosimo III,” ). Del Sera’s have found it difficult to turn down a painting . Ridolfi, Le maraviglie dell’arte :; Venice. Ridolfi (Le maraviglie dell’arte :) painting would later reach the hands of by Titian; see Ridolfi, Le maraviglie dell’arte Hochmann, Peintres et commanditaires, –. records a Veronese portrait of Onfrè Francesco Algarotti, who bought it for the :. For an exploration of the critical for- Giustinian in the Giustinian house at San Dresden Gallery in . According to Savini . Gregorio Gattinoni, Inventario di una casa tune of Veronese, see Richard Cocke, Moisé. The Cleveland painting (inv. .) Branca (Il collezionismo veneziano nel Seicento, veneziana del secolo XVII (La casa degli Eccellenti “The Development of Veronese’s Critical was published in  as a portrait of the ), del Sera may have purchased the work Caliari eredi di Paolo il Veronese) (Mestre: Reputation,” Arte Veneta  (): –. admiral Manfrin, based on the supposed from the Caliari family. Von Hadeln’s notes to Officine Grafiche, ). . One exception was the collection of provenance of the painting. See Terisio Ridolfi (Le maraviglie dell’arte :) associated . Boschini, La carta, ; Beverly L. Brown, Cristoforo Orsetti, a merchant of Greek Pignatti, Veronese: L’opera completa (Venice: the Dresden painting, which von Hadeln “Replication and the Art of Veronese,” in malvasia wine, who seems to have owned the Arsenale Editrice, ), , cat. ; and attributed to Carletto, with that mentioned Retaining the Original, –. Venus and Mars now in the Galleria Sabauda, Pignatti and Pedrocco, Veronese :–, cat. by Ridolfi as owned by Giuseppe Caliari.

 | RIVALSINRENAISSANCEVENICE . The original reads: “Historia dell’Europa The Netherlands, June –,  (Los . For a general discussion of the topic, see DC: National Gallery of Art, ), –. posta a sedere sopra un toro bianco, con Angeles: The J. Paul Getty Trust, ), –. Arie Wallert and Carlo van Oosterhout, From See also Paolo Spezzani, “Le Indagini non damigelle che la servono, con amorini, et con . The Wedding Feast at Cana for the mon- Tempera to Oil Paint: Changes in Venetian Paint- Invasive,” in Il colore ritrovato: Bellini a Venezia, altre figurette et animali, con paese et alberi astery of San Giorgio Maggiore was not ing, – (Amsterdam: Rijksmuseum, ). ed. Rona Goffen and Giovanna Nepi Scirè, bellissimi.” See Paola Santin, “Paolo del Sera stretched onto a wooden frame but mounted . Jill Dunkerton and Marika Spring, exh. cat. (Milan: Electa, ), –; and dis- a Venezia (–)” (graduate thesis, directly to the wall with spikes. Hans Dieter “The Development of Painting on Coloured cussion of ’s Adoration of the Kings Università di Udine, /), . Huber, Paolo Veronese: Kunst als soziales System Surfaces in Sixteenth-Century Italy,” in in David Bomford, ed., Underdrawings in . Lucia Procacci and Ugo Procacci, (Munich: W. Fink, ), . Painting Techniques, History, Materials and Renaissance Paintings: Art in the Making (London: National Gallery, ), –. “Carteggio di Marco Boschini con il cardinale . Franz Mares, “Beiträge zur Kenntnis der Studio Practice: Contributions to the Dublin  Leopoldo de’ Medici,” Saggi e memorie di storia Kunstbestrebungen des Erzherzogs Leopold Congress, – September 8 (London: . Oberthaler and Walmsely, “Technical   dell’arte  (): –. Wilhelm,” in Jahrbuch der Kunsthistorischen International Institute for Conservation of Studies,” – . See also Cavigli Bagarotto . Alfonsi, “Cosimo III,” . Sammlungen des Allerhöchsten Kaiserhauses Historic and Artistic Works, ), –. et al., “La Tecnica Pittorica di Giovanni (Vienna: Verlag Holzhuasen, ), :. . For the examination of grounds and impri- Bellini,” in Il colore ritrovato, ed. Goffen and . Wethey, Paintings of Titian :, cat. ; Scirè, –. Pedrocco, Titian: Complete Paintings, , cat. . Bruno Heimberg, “‘Nostro Apelle Novello’: matura of selected mid- to late-career works  ; Humfrey, Titian: The Complete Paintings, Tintoretto and Italian Easel Painting from the by Titian, see Martina Griesser and Natalia . , Das Leben des Tizian, ed. , cat. . Thirteenth to the Sixteenth Century,” in Gustavson, “Observations on Technique and Alessandro Nova and Christina Irlenbusch, Materials in Titian’s Late Work,” in Late trans. Victoria Lorini (Berlin: Verlag Klaus   Tintoretto: The Gonzaga Cycle, ed. Cornelia . Alfonsi, “Cosimo III,” . Some of the Titian, ed. Ferino-Pagden, –. Wagenbach, ), . aforementioned topics concerning the socio- Syre, exh. cat. (Ostfildern-Ruit: Hatje Cantz, . Carmen Bambach, Drawing and Painting economic conditions of Venetian painters and ), . The details in fig.  are from three . Jill Dunkerton, “Developments in Colour in the Workshop: Theory and the art market, including prices for paintings, paintings in the , and Texture in Venetian Painting of the Practice, – (Cambridge: Cambridge are discussed in greater detail in a forthcom- Vienna. From left to right, they are Titian, Early th Century,” in New Interpretations University Press, ),  n. . ing essay by Philip Sohm, “Venice,” in Painting Ecce Homo (inv. ); Veronese and Workshop, of Venetian Renaissance Painting, ed. Francis for Profit: The Economic Lives of Painters in Mystic Marriage of Saint Catherine (inv. ); Ames-Lewis (London: University of London, . A woodcut from Cesere Vecellio, , Seventeenth-Century Italy, ed. Richard Spear and Titian, Danaë (inv. ). Birkbeck College, ), . depicts an enlarging/diminishing grid togeth- and Philip Sohm. . Robert Wald, “Titian’s Vienna Danaë: . Joyce Plesters, “Tintoretto’s Paintings er with a pricking instrument; see Bambach, Observations on Execution and Replication in the National Gallery,” National Gallery Drawing and Painting, . in Titian’s Studio,” in Late Titian and the Technical Bulletin  (): –. See also Syre, . Sylvia Ferino-Pagden and Robert Wald’s Materials and Techniques of Painters in Sensuality of Painting, ed. Sylvia Ferino- Tintoretto: The Gonzaga Cycle, . catalogue entry on Saint Jerome in Falomir, Sixteenth-Century Venice Pagden, exh. cat. (Venice: Marsilio, ), . Nicholas Penny, “Paolo Veronese: The Tintoretto, –. . See Paola Lanaro, At the Centre of the World:   – . See also Xavier F. Salomon, Veronese’s Adoration of the Kings,” in Penny, Sixteenth . Bruce Cole, “Titian and the Idea of Trade and Manufacturing in Venice and the Allegories: Virtue, Love, and Exploration in Century Italian Paintings :. Originality in the Renaissance,” in The Craft Venetian Mainland, –8 (Toronto: Centre Renaissance Venice, exh. cat. (New York: Frick . Syre, Tintoretto: The Gonzaga Cycle, . of Art: Originality and Industry in the Italian for Reformation and ,   Collection, ), . Renaissance and Workshop, ed. Andrew University of Toronto, ). . For the description of the problems associ- . For an example of a painting from the cycle Ladis and Carolyn Wood (Athens, GA: ated with the transport of Titian’s Venus and . See M. Murano, “Tecniche della pittura for Philip II (Titian’s Rape of Europa), see University of Georgia Press, ), –. See Adonis, see Wethey, Paintings of Titian :. murale Veneta,” Pittura murali nel Veneto e tec- Hilliard Goldfarb, Titian and Rubens: Power, also Miguel Falomir, “Tiziano: Replicas,” in More recent investigations have brought into nica dell’affresco (: Neri Pozza, ), Politics, and Style, exh. cat. (Boston: Isabella Tiziano, ed. Miguel Falomir, exh. cat. (Madrid: question which version of Venus and Adonis is – n. . Stewart Gardner Museum, ), . Museo Nacional del Prado, ), –. the canvas that was actually damaged during . Diana Gisolfi, “Tintoretto e le facciate . Veronika Poll-Frommel, Jan Schmidt, and this initial transport from Italy to England; see . Wenke Deiters, “Tizians Sacre Conversa- affrescate di Venezia,” in Jacopo Tintoretto nel Cornelia Syre, “The Gonzaga Cycle,” in also W. R. Rearick, “Titian’s Later Mythologies,” zioni im Kunsthistorischen Museum, im quarto centenario della morte: Atti del convegno Tintoretto: The Gonzaga Cycle, ed. Syre, –. Artibus et Historiae , no.  (): –. The Chiswick House und im Musee du Louvre,” in internazionale di studi. Venezia, – Novembre, Der Späte Tizian und die Sinnlichkeit der Malerei, . An examination of the ground layers from characteristics and subsequent repair (perhaps , ed. Paola Rossi and Lionello Puppi ed. Sylvia Ferino-Pagden, exh. cat. (Vienna: Gypsy Madonna, Madonna of the Cherries, and original) of a series of horizontal losses to the (Padua: Il Poligrafo, ), –. Kunsthistorisches Museum, ), –. Madonna and Child with Saints (all before , painting Girl in a Fur Wrap (Kunsthistorisches . See Luca Mola, The Silk Industry in Venice Kunsthistorisches Museum, Vienna) reveals Museum, Vienna) suggest that this painting . Robert Wald, “Titian’s Vienna Danaë: (Baltimore: John Hopkins University Press, monochrome calcium sulphate grounds. was damaged in transit and repaired (repaint- Observations on Execution and Replication ). Tintoretto’s Susannah and the Elders as well as ed with modifications) by the artist himself. in Titian’s Studio,” in Late Titian, ed. Ferino- The repairs to the losses were made with   . Although production stamps have been Saint George and the Dragon (both mid-s) Pagden, – . original paint from an overlying composition, found on wooden panel and copper supports, are executed on light-colored gesso grounds. . Julius von Schlosser, “Aus der Bilderwerk- which considerably modified the underlying little has been documented concerning the See Jill Dunkerton, “Tintoretto’s Painting statt der Renaissance,” Jahrbuch der Kunsthis- composition. See Ferino-Pagden, Late Titian, . manufacture of and market for canvases Technique,” in Falomir, Tintoretto, . torischen Sammlungen des Allerhöchsten . Robert Wald, “Titian’s Portrait of Johann specifically for artists’ use. The illustrated . Armenini writes, “the darker the impri- Kaiserhauses  (–): –. Friedrich von Sachsen in the Kunsthistorisches stamp shows a design that is quite similar to matura the muddier the colors become. But . Roland Krischel, Tintoretto und die Skulptur Museum,” in Tiziano: Téchnicas y restaura- weavers’ marks on tapestries from the north- for those who do not want the colors to der Renaissance in Venedig (Weimar: VDG, ciones, exh. cat. (Madrid: Museo Nacional del ern regions during this time frame. The change in time, the priming should be almost ); Julius von Schlosser, “Aus der Bilder- Prado, ), –. stamp/production facility (weaver) has not, entirely of white lead, with one-sixth of var- werkstatt der Renaissance,” Jahrbuch der as yet, been identified. This stamp is present nish, and a little red that dries at the same . Giorgio Vasari, Vasari on Technique, ed. G. Kunsthistorischen Sammlungen des Allerhöchsten on Gentileschi’s Way to Cavalry (about , rate.” He provides alternative recipes as well. Baldwin Brown (New York: Dover, ), –. Kaiserhauses  (‒): . See also Lucy Kunsthistorisches Museum, Vienna). See Giovanni Battista Armenini, On the True . Elke Oberthaler and Elizabeth Walmsely, Whitaker, “Tintoretto’s Drawings after . Andrea Rothe, “’s Precepts of the Art of Painting, trans. Edward “Technical Studies of Painting Methods,” in Sculpture and His Workshop Practice,” in Adoration of the Magi,” in Historical Painting Olszewski (New York: B. Franklin, ), . Bellini, Giorgione, Titian and the Renaissance of The Sculpted Object, –, ed. Stuart Currie Techniques, Materials, and Studio Practice: Also see Armenini, De’veri precetti della pittura Venetian Painting, ed. David Alan Brown and and Peta Motture (Aldershot, UK: Scholar Preprints of a Symposium, University of Leiden, (Ravenna: Libro Secondo, ), . Sylvia Ferino-Pagden, exh. cat. (Washington, Press, ), –.

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