FIGURE 7.2 Giambattista Tiepolo. Oil sketch for Saint Clement Adoring the Holy Trinity, ca. 1734-39. Oil on canvas. London, National Gallery. © National Gallery, London. in honor of his namesake, such as The Martyrdom NOTES of Saint Clement by Tiepolo's Venetian contempo- rary Giambattista Pittoni for the Clemenskirche 1 Christiansen 1999, 687-88. in Minister.4 2 Michael Levey (1971) first correctly identified the sub- ject and connected the Courtauld sketch to the Notre-Dame-Kirche was an Augustinian paintings in Berlin and London, while Barbara Heine church, and the Trinitarian subject of Tiepolo's (i974) clarified the details of the commission and painting was a cornerstone of Augustinian the meaning of the picture within the archbishop's larger 5 pattern of patronage. theology. Thus, one possible reason for the 3 Christopher M. S. Johns, Papal Art and Cultural Politics: rejection of the Courtauld sketch may have been Rome in the Age of Clement XI (Cambridge: Cambridge that the church wanted an altarpiece focused University Press, 1993), especially 103-4. exclusively on the Trinity, and a representation 4 The altarpiece was destroyed in World War II but an of Clement's imminent martyrdom may have oil sketch survives in Uppsala, Sweden. See Franza Zava been seen as a distraction from that theme. Roccazzi, Pittoni (Venice: Alfieri, 1971). A second version of the Courtauld com- 5 For more on the Augustinian aspect of the church, see Heine 1974, especially 150-51. position appears in the Galleria dell'Accademia 6 Whistler 1995, 626; Pedrocco 2002, 325, fig. 227. Carrara in Bergamo. It is probably a studio copy made as a ricordo for the artist when the original was sent to Germany for approval. & 52