FIGURE 4.7 Giambattista Tiepolo. Study for Apollo and Phaethon, ca. 1730. Pen and ink with brown wash on paper. London, The British Museum, 1917-5-12-2. Presented by Henry Oppenheimer. details as the chariot pushed by putti, the 3 For an interpretation of the ceilings and the overall grouping of the Seasons, the zodiac crossing the progression of the paintings, see especially Sohm 1984; auroral sky, and the position of father and son. and Levey 1986, 54-61. Beverly Louise Brown considers the Vienna pic- 4 Like the other smaller ceilings, Apollo and Phaethon ture a preliminary sketch executed after Tiepolo was surrounded by stuccos, which incorporated eight grisailles by Tiepolo, in this case presenting other accepted the commission but before he arrived stories from Apollo's life. in Milan, but other scholars disagree, considering 5 Sohm 1984, 71. both paintings later reworkings of the same 6 Sohm 1984, 70-71. Clytie also derives from Ovid's theme, with Christiansen dating them as late as Metamorphoses (4:169-270). 8 7 Beverly Louise Brown (1993, 167) and Richard Rand ca. 1733-36 Equally puzzling is a large drawing in Conisbee, Levkoff, and Rand 1991, 163, argue con- in the British Museum (fig. 4.7) that seems vincingly for the work as a ricordo. Keith Christiansen to come between the Vienna picture and the provides the most significant counterargument, asserting Archinto ceiling. The drawing retains the posi- that the uniform level of "style and character" of the tion of the rearing horse and chariot from the LAC MA sketch with the modelli in Lisbon and the New York makes it difficult to argue for this picture as a easel painting, but it adopts the J/ sotto in su per- ricordo (Christiansen 1996, 295^4). The Lisbon sketch, spective— only the earlier type that Tiepolo however, differs considerably from the final composition, had used for the Palazzo Sandi ceiling, with the and Tiepolo executed the Frick sketch on paper mounted scene arranged along a cornice line. aj> on canvas, two important distinctions from the LAC MA painting that make it difficult to see the three paintings as a unified group. 8 Antonio Morassi (1962, 3, 66) also considered the NOTES works preliminary sketches. Beverly Louise Brown (1993, 161-66) considers the Barnard Castle sketch a nineteenth-century pastiche but accepts the Vienna 1 Pedrocco 2002, 198. canvas as a preliminary sketch. For the most persuasive 2 Entry by Richard Rand in Conisbee, Levkoff, and Rand arguments for the paintings as later interpretations 1991, 161, 163. of the myth by Tiepolo, see Christiansen 1996, 292-9$. 8 3