8 The Translation of the Holy House of Loreto 1743 Oil on canvas 3 3 123 x 77 cm (48 /s x 3O /s in.) Los Angeles, J. Paul Getty Museum, 94.PA.2o PROVENANCE Scotland; sold, Sotheby's, London, Piovene and Pallucchini 1968, 108-9, Probably retained by Giambattista December n, 1974, lot 15, to the fig. I5ia.i; Rossacher 1968, 112; Tiepolo in his studio; upon his death, British Rail Pension Trustee Company, Zampetti 1969, 378-79, fig. 175; Rizzi probably by inheritance to his son, Ltd., London; sold through Hazlitt, 1971, 1:93; Sotheby's 1975, I (illus.); Giandomenico Tiepolo; Edward Gooden and Fox Ltd., London, to the Barcham 1979, 430, 433, 438-40, fig. 14; Cheney (d. 1884), London and Badger J. Paul Getty Museum, 1994. Levey 1986, 112-14, fig- 108; Barcham Hall, Shropshire, England; upon his 1989, 137; Brunei 1991, 172-73; Scire death, held in trust by the estate of EXHIBITIONS Nepi 1991, 247; Barcham 1992, 88, Edward Cheney; sold, Christie's, London and Birmingham 1951, no. 120; fig. 22; Brown 1993, 228-31, cat. no. 29; London, April 29, 1885, lot 160, to Venice 1951, no. 51; London 1954-55, Gemin and Pedrocco 1993, 379, Archibald Philip Primrose, fifth earl no. 504; London 1984, no. 31; Fort fig. 346b; Alpers and Baxandall 1994, of Rosebery (1847-1929); by inheri- Worth 1993, no. 29; Venice and New 64, 68, 151, fig. 76; Fredericksen 1995, tance to Albert Edward Harry Mayer York 1996, no. 4ob. no. 15 (illus.); Christiansen 1996, 295, Archibald Primrose, sixth earl of 298, 300-301; Pavanello 1996, 21, 69, no. 24, 16 (illus); Jaffe 1997, 125 (illus.); Rosebery (1882-1974), Dalmeney BIBLIOGRAPHY Pedrocco 2002, 267-68, fig. i86.i.b. House, Lothian, Scotland; by inheri- Lorenzetti 1951, 65-67, no. 51; Watson tance to his wife, Eva Isabel Marian 1952, 44; Mras 1956, 40-44; Crivellato Strutt, countess of Rosebery (1892- 1960, 43; Pallucchini 1960, 88; Wescher 1987), Dalmeney House, Lothian, 1960, 49; Crivellato 1962, 53; Morassi 1962, 19, 54, 57; Watson 1963, 244; Rossacher 1965, 166; Knox 1968, 397; THE TRANSLATION OF THE HOLY HOUSE to the Madonna of the House of Loreto. The of Loreto depicts the legendary transport Carmelites enjoyed a special relationship to (or translation) by angels of the Virgin Mary's the Santa Casa, having been granted control over home—and thus the place where Christ was the site in 1489. The order traced its genesis conceived—from Nazareth to Europe. According to the prophets Elias and Eliseus, and they con- to legend, the Santa Casa first landed in Slovenia sidered Mount Carmel in Palestine their point in 1291, then traveled to a number of other of origin. They claimed to have protected the sites in the eastern Marches in order to find house even before its move to Europe in 1291; the most sacred ground before landing in Loreto the order had thus been firmly affiliated with the in 1294. While its medieval history remains cult for centuries. shadowy, by the fifteenth century the Holy The city of Venice itself maintained a special House of Loreto had become a major European devotion to the Santa Casa, as well as political pilgrimage site, which it remains to this day and economic ties to the Marchigian town.1 The The Getty painting is a preliminary sketch Discalced Carmelites established themselves for the ceiling of the Venetian church of Santa in Venice in 1646, dedicated their church on the Maria di Nazareth (also known as Santa Maria feast day for the Holy House in 1650, and had a degli Scalzi) (fig. 8.1). The choice of subject was spectacular edifice, designed by Baldassare not at all unexpected for the order of Discalced 2 Longhena, built between 1649 and 1659. In the Carmelites, given that their church was dedicated second quarter of the eighteenth century, interest 53