16 "D'alcuni disegni, ed alcuna volta anche 25 Brown 1993, 19-20. For more generally pitture, fatte con istraordinaria facilita, on the taste for loose, painterly brushwork, e con un tale accordamento e freschezza, see Philip Sohm, Pittoresco: Marco Boschini, senza niolta matita o colore, e in tal modo His Critics and Their Critiques of Painterly che quasi pare, che ella non da mano Brushwork in Seventeenth- and Eighteenth- d'Artefice, ma da per se stessa sia apparita Century Italy (Cambridge: Cambridge sul foglio o su la tela, e dicono: questo e University Press, 1991), especially 1-62. una bella macchia" (Baldinucci 1681, 86). 26 Francis Haskell, Patrons and Painters: 17 Beverly Louise Brown, "In Search A Study in the Relations between Italian Art and of the Prima idea: The Oil Sketches of Society in the Age of the Baroque (New Haven: Giambattista Tiepolo," in Brown 1993, 19. Yale University Press, 1980), 373-76. 18 Brown 1993, 19-20. 27 I am grateful to Linda Borean for sharing 19 Levey I96ob, 250-53. aspects of her important forthcoming study of Sir Abraham Hume, Giovanni 20 Beverly Louise Brown (1993, 17) cites a Maria Sasso, and Giovanni Antonio 1760 letter from Tiepolo to Cardinal Armano, from which these observations Daniele Dolfin in which Tiepolo noted derive. that before the commissioned modelli 28 Brown 1993, 19-20; Levey I96ob. could be sent for inspection, they needed to be copied in the studio. 29 Pavanello 1996, 7-75. A cousin of 21 Brown 1993, 18. Giandomenico, Ferdinando Tonioli, played a key role in the transactions with Canova, 22 This phenomenon is well documented further underscoring the importance of from artists' estate inventories. See Ferrari family networks in these sales (as well as !993> $6; and especially Linda Freeman the popularity of Giambattista Tiepolo's Bauer, "Oil Sketches, Unfinished Paintings, oil sketches among artists). and the Inventories of Artists' Estates," 30 Burton Fredericksen, "Niccolo Leonelli in Light on the Eternal City: Observations and the Export of Tiepolo Sketches to and Discoveries in the Art and Architecture of Russia," Burlington Magazine 144, no. 1195 Rome, edited by Hellmut Hager and (October 2002): 621-25. Susan Scott Munshower (University Park: Pennsylvania State University, 1987). 31 This section depends heavily on the Linda Bauer notes the considerable important study of Seilern's collection by semantic challenges in determining from Helen Braham. See the introduction to inventories the difference between oil Braham 1981, as well as Ernst Vegelin van sketches and unfinished paintings. Claerbergen, "'Everything connected with Nonetheless, the inventories appear to be Rubens interests me': Collecting Rubens' consistently peppered with oil sketches. Oil Sketches: The Case of Count Antoine 23 Bauer 1978, 45. Seilern," in Cuno 2003, 23—30. 24 Ferrari 1993, 56; Giovan Pietro Bellori, 32 Seilern 1959; Seilern 1969; Seilern I97ia; Le vite de pittori, scultori, e architetti Seilern I97ib. moderni, edited by Evelina Borea 33 Ernst Vegelin van Claerbergen, "'Every- (Turin: Giulio Einaudi Editore, 1976); thing connected with Rubens interests for Rubens see 237-68. me': Collecting Rubens' Oil Sketches: The Case of Count Antoine Seilern," in Cuno 2003, 26-27. 20