faces of the putti are portrayed in a number of the most useful analysis of the puzzling work (Derstein different ways: Tiepolo, for example, built up 2005). the sunlit forehead and open mouth of the 3 For the Detroit fragment, see Derstein 200$. cherub at left with thick layers of paint, and the 4 On the Spanish tradition, see especially the work of Charlene Villasenor Black, including "Saints and Social delicate, gleaming lips of this figure come from Welfare in Golden Age Spain," Ph.D. diss., University of the surprising application of transparent glazes. Michigan, 1995, and "Matrimony and Gender Discourses Two pentimenti further reveal Tiepolo's careful in Seventeenth-Century Spain," Sixteenth-Century Studies 32, attention to this passage, for the clouds originally no. 3 (2001): 637-68; as well as Christopher Chadwick 9 Wilson, "St. Teresa of Avila's Holy Patron: Teresian were raised much higher behind the heads. ij" Sources for the Image of St. Joseph in Spanish American Colonial Art," in Patron Saint of the New World: Spanish American Colonial Images of St. Joseph, edited by Joseph F. Chorpenning (Philadelphia: Saint Joseph's University NOTE S Press, 1992). $ D. Stephen Pepper, Guido Reni: A Complete Catalogue of 1 Morassi (1962, fig. 199) published a photograph of the His Work with an Introductory Text (New York: New York larger fragment before its separation. A squared drawing University Press, 1984): 285-86. in Vevey (fig. 13.3)—the only full record of the finished 6 Whistler (1998, 76) has suggested that the change in age altarpiece—suggests that the halves came from different came from Tiepolo's interest in distinguishing Joseph sections of the composition and were later stitched from Anthony of Padua in the painting originally together, possibly in the early twentieth century. No mounted across the nave (see fig. i, p. 60). records survive about the separation of the two parts, 7 The typology of Joseph with the standing Christ Child but conservation treatment conducted after Count also had a precedent in Tiepolo's own oeuvre, appearing Antoine Seilern acquired the right fragment revealed in the ca. 1732 altarpiece Saint Joseph with the Christ Child that the putti were nestled among the evergreens with Saints Francis di Paola, Anna, Anthony Abbot, and Peter of and that the branches had been overpainted as sky See Alcantara, painted for the Church of San Prosdocimo Seilern I97ib, 67. in Padua, and now in the Galleria dell'Accademia,Venice 2 George Knox (1980, 1:74, 194) attributed this drawing to (Pedrocco 2002, 224). Tiepolo's son, Giandomenico. Andria Derstein, however, 8 Christiansen 1996, 338-43. rightly questions this attribution and has provided 9 See the reports by Candy Kuhl in the conservation files of the Courtauld Institute of Art. 86