Giambattista Tiepolo: Fifteen Oil Sketches

Giambattista Tiepolo

Fifteen Oil Sketches Giambattista Tiepolo Jon L. Seydl The J. Paul Getty Museum, Los Angeles

© 2OO5 J. Paul Getty Trust Library of Congress Cataloging-in-Publication Data This publication is issued in conjunction Seydl, Jon L., 1969- with the exhibition For Tour Approval: Giambattista Tiepolo: fifteen oil sketches / Oil Sketches by Tiepolo held at the J. Paul Jon L. Seydl Getty Museum, May 3-September 4, 2005. p. cm. "This publication is issued in conjunction Getty Publications with the exhibition, For your approval: 1200 Getty Center Drive, Suite 500 oil sketches by Tiepolo, held at the J. Paul Los Angeles, California 90049-1682 Getty Museum, May 3-September 4, 2005." www.getty.edu Includes bibliographical references and index. Christopher Hudson, Publisher ISBN-I3: 978-0-89236-812-9 (pbk.) Mark Greenberg, Editor in Chief ISBN-10: 0-89236-812-8 (pbk.) 1. Tiepolo, Giovanni Battista, 1696-1770 John Harris, Editor —Exhibitions. 2. Artists' preparatory Jeffrey Cohen, Designer studies—Italy—Exhibitions. 3. Art— Suzanne Watson, Production Coordinator England—London—Exhibitions. Cecily Gardner, Photo Researcher 4. Courtauld Institute of Art—Exhibitions. Kathleen Preciado, Indexer I. Tiepolo, Giovanni Battista, 1696-1770. II. J. Paul Getty Museum. III. Title. Color separations by Professional ND623.T5A4 2OO5 Graphics Inc., Rockford, Illinois 759.5—dc22 Printed by Colornet Press, 2004021141 Los Angeles, California Bound by Roswell Bookbinding, Front cover: Saint Luigi Gonzaga in Glory Phoenix, Arizona (detail). See cat. no. 3. Unless otherwise specified, all photographs Back cover: The Immaculate Conception. are courtesy of the institution owning the See cat. no. 10. work illustrated. Frontispiece: The Translation of the Holy House of Loreto (detail). See cat. no. 8.

CONTENTS Foreword 6 WILLIAM M. GRISWOLD Acknowledgments 7 Introduction 8 Catalogue I Allegory of the Power of Eloquence 22 2 The Madonna of the Rosary 27 3 Saint Luigi Gonzaga in Glory 30 4 Apollo and Phaethon 33 5A Saint Rocco 39 5B Saint Rocco 39 6 The Martyrdom of Saint Agatha 44 7 The Trinity Appearing to Saint Clement 49 8 The Translation of the Holy House of Loreto 53 Tiepolo and the Oil Sketches for 58 the Church of San Pascual Baylon, Aranjuez 9 Saint Pascal Baylon's Vision of the Eucharist 64 10 The Immaculate Conception 68 11 Saint Francis of Assisi Receiving the Stigmata 72 12 Saint Charles Borromeo Meditating on the Crucifix 76 I3A Saint Joseph with the Christ Child 80 I3B Two Heads of Angels 80 (Fragment of Saint Joseph with the Christ Child) Exhibitions and Literature Cited 87 Index 93

FOREWORD IN 2002, THE J. PAUL GETTY TRUST AND the strong Tiepolo holdings in Los Angeles, one the Courtauld Institute of Art in London work each from the Los Angeles County Museum inaugurated a close partnership. This collabora- of Art, the Huntington Art Collections, and tive venture has brought the staff and collections the J. Paul Getty Museum. The LAC MA and of both institutions closer together, opening Getty paintings help present a broader range of the door to exciting projects and bringing ceiling sketches, complementing the early important works of art to Southern California. Palazzo Sandi sketch from the Courtauld with Over the past two years, the Courtauld has works from the subsequent two decades. allowed a number of masterworks to travel from The Huntington canvas, a devotional painting London to Los Angeles on short-term loan, in Tiepolo's Saint Rocco series, sets off the where these works are placed in a dialogue with Courtauld's painting of the same subject, demon- the Getty collections. The present project takes strating the depth and invention that Tiepolo as its point of departure twelve glorious paint- brought to these commissions. ings by Giambattista Tiepolo in the Courtauld's The exhibition and this catalogue could collection. not have come into being without the work of These paintings, assembled by Count Jon L. Seydl, Assistant Curator of Paintings, Antoine Seilern and donated to the Courtauld under the direction of Curator Scott Schaefer. in 1978, are a significant and varied collection I also thank the Museum's former director, of the Venetian artist's work. Seilern concen- Deborah Gribbon, who supported this project trated on highly refined oil sketches by Tiepolo, from the very beginning. works of exceptional quality and in fine condition. Finally, I am grateful to the Samuel They represent the full arc of the artist's long Courtauld Trust and the Courtauld Institute career, ranging from a sketch for the earliest of Art—particularly the former director, of his major ceiling paintings to the modelli for James Cuno, and the current director, Deborah his final great commission, the altarpieces Swallow—for generously sharing with us for San Pascual Baylon in Aranjuez, Spain. These such a significant part of their collection and paintings — and now this exhibition—present for being such warm and gracious collaborators. a refined and delectable survey in miniature of this towering eighteenth-century artist's work. WILLIAM M. GRISWOLD We have augmented the Courtauld's excep- Acting Director and Chief Curator tional collection with three examples from J. Paul Getty Museum 6

ACKNOWLEDGMENTS THE OPPORTUNITY TO WORK SO CLOSELY Banks, Alexandra Gerstein, Emma Hayes, and with such beautiful and provocative Jonathan Vickers helped enormously, and at the works of art as the oil sketches by Tiepolo Getty, I must single out Cherie Chen, Catherine in this exhibition has been a real highlight of my Comeau, Lorraine Forrest, Sally Hibbard, Quincy experience at the Getty This project, moreover, Houghton, and Amber Keller for making the brought me in contact with many gifted col- exhibition happen. Reid Hoffman and Silvina leagues both here in Los Angeles and in London, Niepomniszcze developed a stylish, nimble instal- an equally great pleasure. lation befitting Tiepolo, which Bruce Metro's An exhibition and catalogue such as this one team ably installed. Finally, I would like to could not have happened without the collabora- offer special thanks to Mari-Tere Alvarez in the tion of many willing partners. I am especially Education Department, whose counsel shaped grateful to the Courtauld Institute of Art, under this exhibition, catalogue, and related programs. the direction of Deborah Swallow, who encour- It has been a particular joy to work with aged the project so warmly, and it has been won- Getty Publications on this book. Mark Greenberg, derful to work with such a committed and capable Christopher Hudson, and Kara Kirk all played group. Chief among them has been Chief Curator key roles in bringing this catalogue together, Ernst Vegelin van Claerbergen, who has shep- and I would especially like to thank John Harris herded and warmly supported this project from for his patience and deft touch in guiding me the very beginning, kindly opening the Courtauld's through my first publication at the Getty. Kathleen storage vault as well as the curatorial and con- Preciado gave careful attention to bibliographic servation files, answering a constant stream of matters, for which I am grateful, and Cecily inquiries, and offering me continuous encour- Gardner performed the important task of assem- agement. I would also like to offer special thanks bling the illustrations. For creating a beautiful to the former director, James Cuno, whose volume so in tune with the brio of Tiepolo, exhortation to produce a meaningful catalogue as I thank Jeffrey Cohen and Suzanne Watson. a testament to the seriousness of the collabora- Andria Derstein, Christopher Drew tion between the Getty and the Courtauld came Armstrong, and Linda Borean graciously shared at exactly the right moment in the project. aspects of their forthcoming research, and I am At the Getty, I am grateful to the Museum's also grateful to Denise Allen, Julia Armstrong- former director, Deborah Gribbon, for her con- Totten, Joseph Baillio, Shelley Bennett, Keith stant support. William Griswold and Mikka Gee Christiansen, Jay Gam, Jean Linn, J. Patrice Conway spearheaded the collaboration with the Marandel, Melinda Me Curdy, Tanya Paul, Audrey Courtauld at this end, making the partnership Sands, Carol Togneri, Jennifer Vanim, Catherine possible, and Scott Schaefer offered the constant Whistler, and Betsy Wiesman. Finally, for their encouragement, perspective, and intellectual intellectual insights, practical advice, and neces- energy I needed for the endeavor. Mikka Gee sary encouragement, I extend heartfelt thanks Conway deserves special thanks for her consider- to Victoria C. Gardner Coates, Judith Dolkart, able skills in negotiating every complexity with Daniel McLean, and Anne Woollett. grace, dexterity, and aplomb. I have depended daily on a wide array of JON L. SEYDL colleagues at both institutions to realize this Assistant Curator of Paintings catalogue and exhibition. At the Courtauld, Julia J. Paul Getty Museum 7

Introduction B y any account, Giambattista Tiepolo (1696- 1770) stands among the most significant artists of the eighteenth century. <§> One of the most remarkable aspects of this nimble and productive painter was his capacity to work so brilliantly, over a half-century across so many media and genres, ranging from his modest drawings to the ceiling frescoes for which he is best known today £• Tiepolo's large number of oil sketches exemplify the deft touch, great intellect, and assured handling characteristic of the artist. & Oil sketches—-small, rapidly executed paintings that usually preceded a larger composition-— were standard European practice by the eighteenth century £• Because of the astonishing variety, invention, visual delight, and bravura technique of these works, the Venetian artist remains—alongside Peter Paul Rubens-— the most memorable practitioner of this type of painting.

FIGURE A Federico Barocci (Italian, 1528-1612). The Entombment, ca. 1579-82. Black chalk and oil paint on oiled paper. Los Angeles, J. Paul Getty Museum, 85.00.26. The History of Oil Sket flies he oil sketch emerged from the Renaissance tradition of preparatory T 1 studies. Painters customarily used drawings to plan a composition, but they also often painted a subsequent sketchy draft on the support, a practice described by such authors as Giorgio Vasari and Ludovico Dolci in their 2 sixteenth-century treatises on painting. The notion of a small, painted pre- paratory work on a separate panel, canvas, or sheet of paper first emerged among the most idiosyncratic sixteenth-century artists of Tuscany and Rome. These artists—such as Polidoro da Caravaggio, Domenico Beccafumi, and Federico Barocci (fig. A)—used these sketches to plot the effects of color and chiaroscuro in their final compositions. A broader change in artistic practice emerged in earnest in the late six- teenth century among Venetian artists, including Veronese, Tintoretto, and Palma il Giovane. In keeping with Venetian tradition, these painters grounded their works in color as much as line, and the oil sketch placed equal empha- sis on color relationships in the early development of a composition. These Venetian artists developed a distinct language of sketchy, assured handling 9

FI GURE B Jean Joseph-Xavier Bidauld (French, 1758 -1846). View of a Bridge and the Town of Cava, Kingdom of Naples, 178$. Oil on paper mounted on canvas. Los Angeles, J. Paul Getty Museum, 2001.55. for these paintings, in which form grew out of juxtapositions of color rather than line, a way of painting that came to characterize the oil sketch.3 At this early stage, oil sketches were not part of general teaching prac- tice, and painters did not employ them consistently Many artists continued to sketch in paint only as the underlayer for the final, finished work. Signifi- cantly painters used oil sketches to develop religious or history paintings— the traditionally more challenging and intellectual genres — rather than portraits, still lifes, or landscapes. (Oil sketches for these genres, especially landscape, would only emerge in the late eighteenth century [fig. B].) The seventeenth- and eighteenth-century oil sketch was thus much more closely linked to invenzione, or the cerebral and creative contribution of the artist, than to the spontaneous observation of nature. Already in the late sixteenth century artists had begun to use oil sketches to win their patrons' approval for large-scale works, and so these quickly executed paintings became instruments by which a patron could judge the viability of a larger project. This use of oil sketches in turn stemmed from the conditions of patronage emerging in the Counter-Reformation, which called for more careful attention to orthodox iconography and clear visual language.4 The oil sketches of Peter Paul Rubens (1577—1640) transformed oil sketches from functional objects, designed to project the form and meaning of the final work, into an independent mode that could itself be appreciated 5 as an independent work of art. Rubens's approach to oil sketches had twin 10

FIGURE c Peter Paul Rubens (Flemish, 1577-1640). The Miracles of Saint Francis ofPaola, ca. 1627-28. Oil on panel. Los Angeles, J. Paul Getty Museum, 9i.PB.$o. INTRODUCTION II

FIGURE D Pete? Paul Rubens. The Meeting of King Ferdinand III of Hungary and the Cardinal-Infante Ferdinand of Spain at Nordlingen, 1635. Oil on panel. Los Angeles, J. Paul Getty Museum, 87.PB.i5. points of origin: his study with Otto van Veen—the first Flemish artist to paint independent preparatory works — and his later study in Italy. Rubens's sketches stand out from those of his predecessors for their remarkable vari- ation in size, color, degree of finish, use of underdrawing, and support (figs. C-D). As Julius Held has argued, Rubens's sketches were "never bound by 6 fixed rules of procedure/' and he painted them both for patrons and his own use. Rubens clearly thought quite highly of these works: in 1620, the artist jumped at the offer by the patrons of the Jesuit church in Antwerp to keep his thirty-nine sketches for the ceiling in his own possession, in exchange for 7 a new, full-scale altarpiece. Well aware of the value of his sketches, Rubens was the first painter whose oil sketches were collected aggressively during his own lifetime. They were prized not only by other artists but also by a wide range of collectors, not least because of the perception, often quite accurate, that the oil sketch represented the master's undiluted genius, unlike the finished work, which was often painted with studio assistants. By the eighteenth century the making of oil sketches had become com- mon practice among Italian, French, and Northern artists, who brought 8 these paintings to an extraordinarily high level of refinement. The shift had begun with Rubens; oil sketches were now seen as autonomous works of art and indices of the artist's brilliance and technical skill (figs. E-F). While the practical role of the oil sketch remained constant, artists and collec- tors increasingly praised the works for their aesthetic qualities. The French critic Denis Diderot extolled these paintings as being a more immediate 12

FIGURE E Placido Costanzi (Italian, ca. 1690-1759). The Immaculate Conception, ca. 1730. Oil on canvas. Los Angeles, J. Paul Getty Museum, 70.PA.42. FIGURE F Pompeo Batoni (Italian, 1708-1787). Christ in Glory with Saints Celsus, Julian, Marcionilla, and Basilissa, 1736-37. Oil on canvas. Los Angeles, J. Paul Getty Museum, 69.PA.3. INTRODUCTION 13

expression of the artist than the artifice of the final composition: "Why does a beautiful sketch please us more than a beautiful pictured It is because there is more life and fewer forms. As one introduces these forms, the life of it 9 disappears/' Claude-Henri Watelet's entry on sketches in the Encyclopedic (177$) extended this idea even further, seeing in the quick preparation of an oil sketch the mark of genius and individual personality: "It is this rapidity of execution which is the essential principle of the fire one sees ablaze in the esquisses, the sketches, of painters of genius: there one recognizes the mark left by the movement of their soul, one calculates its force and fruitful- 310 ness/ This increasingly modern critical attitude toward the painted sketch extended to Italy, and the 1731 remarks to Count Giacomo Tassi by Sebas- tiano Ricci — a painter who particularly influenced the young Tiepolo — have special significance. Ricci argued that the sketch was the primary work cc of art, with the final composition merely a reflection of the original: Your Excellency should know that there is a difference between a bozzetto, which bears the name ofmodello, and what you will be receiving. Because that is not a mere modello, but a completed picture. . . . You should also know that this small one is the original and the altarpiece is the copy/'11 It was from this tra- dition— surely instilled by Tiepolo's early training with Gregorio Lazzarini as well as close observation of artists such as Ricci and Giovanni Battista Piazzetta—that Tiepolo emerged. Today we appreciate oil sketches as spontaneous expressions of artistic inspiration, but these works held a complex position in the seventeenth and eighteenth centuries, often functioning simultaneously as artistic tools as well as expressive, collectible works of art. The word sketch in English retains this double meaning, on the one hand describing the work's purpose as a preparatory study while on the other referring to a loose and rapid manner of execution. This multivalency also appears in the early terminology de- scribing oil sketches. A vocabulary for these paintings only came into being slowly, with the first terms emerging from the language of drawing, for these paintings were understood initially as a subset of drawing instead of paint- 12 ing. For example, in one of the few references Rubens made to his own 13 sketches, he used the expression "dissegno colorito" derived from disegno ad olio, an Italian term for oil sketch used well into the seventeenth century. Rubens's term thus associates the oil sketch with disegno, or drawing. In Italian artistic theory, disegno refers to the intellectual component of making art, while the adjective colorito connects not only to the manual and corporeal aspects of art but also to the senses, indicating that Rubens considered oil sketches a tool to sharpen the intellectual content of a work as well as a concrete way to 14 establish color relationships. We nowadays distinguish between a bozzetto, or an initial idea laid out in paint, and a modello, a more elaborate, finished composition used by the artist in developing a larger work, but these terms only began to gain consis- tent use in the eighteenth century The Italian bozzetto derives from the verbs abbozzare and sbozzare, words used to describe roughing out a design in paint on a canvas. In actual practice, however, the words were used more loosely referring to both underpaint and independent preparatory works. In 1681, 14

Filippo Baldinucci sought to codify these shifting terms in his dictionary Vocabolario toscano dell'arte del disegno, reserving modello for sculpture and archi- 15 tecture and using bozza and abbozzo to describe independent oil sketches. Baldinucci used an additional term—macchia—to characterize "some draw- ings, as well as some paintings, made with extraordinary facility, and with harmony and freshness, without much ink or paint, and in such a way that they almost seem not made by the hand of artifice, but as if they appeared by 516 themselves on the page or canvas/ The advent of this term thus demon- strates the key shift in the perception of oil sketches in the later seventeenth century. By defining sketches not exclusively by function or medium but by the works' handling and relationship to the artist's mind, critics began to separate the oil sketch from the preliminary drawing and the final painting; ease of handling, freshness, and spontaneous brilliance became the defining and desired qualities. Tiepolo and the Oil Skettfi At the beginning of Tiepolo's career, oil sketches were standard practice among eighteenth-century Venetian painters, and his zeal for this type of painting was not unusual. Tiepolo's oil sketches, however, stood apart from those of his contemporaries by their assuredness, sophistication, inven- tiveness, and luxurious handling of paint. These qualities—which remained consistent for over fifty years — derived in part from the innovative way in which Tiepolo conceived of the oil sketch in the overall development of a work. While most eighteenth-century artists began large-scale composi- tions with preliminary drawings, only eventually working up to a painted oil sketch, Tiepolo reversed that process, beginning major works with an oil sketch and only later using drawings—which ranged from free ink and wash drawings to carefully finished sheets—to develop individual aspects of the entire composition. Likewise, while artists often executed multiple modelli for a large project, Tiepolo consistently painted a single complete sketch, rarely revealing palimpsests and overpainting (see cat. no. 12 for an unusual exception). For Tiepolo, the sense of the whole started with exploring color relationships; oil sketches were essential at the inception of a composition. Despite the clear relationship of oil sketches to drawing, the precise role of these paintings for Tiepolo is not always easy to determine, partly because the sketches could serve multiple purposes over time. Many of the Courtauld paintings were presentation sketches, such as the five modelli for the church of San Pascual Baylon in Aranjuez (cat. nos. 9—13), approved by King Charles III of Spain in 1767. With rare exceptions, patrons did not lay claim to these sketches, and they seem to have been perceived, like drawings, as the artist's property.17 Indeed, the oil sketches consistently remained in Tiepolo's studio throughout the development of the final composition, available for the artist and his assistants to consult. In other cases, especially for ceiling paintings, Tiepolo created sketches with more of an eye to devel- oping the finished composition in relation to the space where the fresco or INTRODUCTION 15

altarpiece would eventually be seen. As the Getty modello for the ceiling of Santa Maria degli Scalzi (cat. no. 8) demonstrates, oil sketches could even play a role in the dialogue between Tiepolo and other collaborators, such as Giro- lamo Mingozzi Colonna (ca. i688-ca. 1766), whose illusionistic architecture often accompanied Tiepolo's frescoes. Works retained by Tiepolo could also enjoy a second life as a salable commodity, such as the sketches sold to the 18 Swedish collector Count Carl Gustav Tessin. He also regularly gave away oil sketches as gifts to clients, colleagues, and friends, such as the works Tiepolo presented to his great advocate, the critic Count Francesco Algarotti.19 Sketches made as ricordi, or copies after the original composition, re- 20 main controversial. That Tiepolo's studio made such copies is not in doubt, but scholars disagree as to whether Tiepolo would have produced such works himself (although the high quality and poised handling of the oil sketch rep- resenting a ceiling from the Palazzo Archinto in Milan [cat. no. 4] surely comes from Tiepolo's own hand). At the same time, many ricordi are clearly studio copies, exercises Tiepolo—to judge from the number of such works in circulation—enthusiastically encouraged, both as records of projects in far- flung locations and as part of his pupils' education. These copies evidently enjoyed a large resale market, and his sons Giandomenico (1727—1804) and Lorenzo (1736-1772), as well as another pupil, Giovanni Raggi (1712- 1792/94), emulated his oil sketches with convincing, salable results.21 Collecting Oil Sketfaes 22 Most oil sketches—like drawings—remained in painters' studios. These paintings served as pedagogic tools, guides for realizing a larger composition awarded to the studio, or j ump ing -off points to develop related compositions, practices often continued after the death of the master. Ap- preciation of oil sketches by art collectors began in the early seventeenth century and swelled over the next two hundred years. The transformation of 3 these paintings from artists tools to treasured objects was inextricably tied to the growing understanding of oil sketches as distillations of an artist's unique genius. The excitement of the fresh, painterly surfaces became an end in itself, and the works were prized for their closeness to the hand and mind of the artist.23 While many collectors competed for oil sketches by Rubens, such broad enthusiasm for modelli by other artists remained unusual at the beginning of the seventeenth century, and a small number of figures, such as Carlo, Leopoldo, and Ferdinando de' Medici, as well as Pietro Aldobrandini, domi- nated the market. Even for these well-known collectors, oil sketches played a relatively minor role in their overall patronage. Symptomatic of this dis- regard, the seventeenth-century theorist Gian Pietro Bellori ignored oil sketches throughout his Le vite de pittori, scultori, e architetti moderni, even in his biography of Rubens.24 Eighteenth-century collectors and dealers sparked interest in the oil sketch, particularly in Venice. This new enthusiasm for modelli reflected a 16

growing taste for a spontaneous style of, painting, exemplified by such sophisticated collectors as Tessin and Algarotti, who grouped oil sketches 25 together with loosely painted easel pictures. Oil sketches also proved ex- tremely popular among connoisseurs from the Veneto, such as Giovanni Vianello and Giuseppe Toninotto, who developed important collections of 26 these paintings. The Venetian collector and dealer Giovanni Maria Sasso was the most powerful figure in this shift in taste. His collection included drawings and painted sketches by such artists as Giambattista and Gian- domenico Tiepolo, Sebastiano Ricci, Giambattista Pittoni, and Giovanni Battista Piazzetta, and he developed a market for these works, fostering clients in the Veneto and abroad. Recent research on one of these collectors, Sir Abraham Hume, has revealed that for Hume and Sasso the category of modello was extremely broad, incorporating oil sketches, colored drawings, and other types of works—including highly polished, reduced copies — indicating the continuing fluidity of the category even into the nineteenth 27 century Tiepolo's oil sketches largely remained in his studio throughout his life. Although he occasionally sold these paintings, he bestowed others as gifts, including the Courtauld Saint Luigi Gonzaga in Glory (cat. no. 3), which he pre- sented to the family of a recently deceased colleague, indicating that Tiepolo himself valued these works as more than studio tools. Other patrons, nota- bly Algarotti, also commissioned ricordi from the artist, although in many cases these paintings came from the studio rather than Tiepolo himself28 Far more oil sketches entered the market after Tiepolo's death in 1770, when his son Giandomenico inherited the numerous remaining paintings and drawings in his father's studio. The Spanish painter Francisco Bayeu owned Tiepolo's sketches for the Aranjuez altarpieces from 1770 until his death in 1795 (cat. nos. 9—13A), suggesting that Giandomenico began selling sketches even before his return to Venice, and he certainly sold paintings to dealers, including Giovanni Maria Sasso. Giandomenico—who surely used his father's sketches in his own prac- tice as a painter — still owned a substantial number of these sketches even after 1800, to judge from the acquisition of five such works by the sculptor Antonio Canova, including one version of the sketch for the ceiling of Santa 29 Maria degli Scalzi (see cat. no. $). The dispersion escalated after Giando- menico's death in 1804, when, for example, the Venetian dealer Niccolo Leo- nelli exported twenty oil sketches by Giambattista Tiepolo to St. Petersburg in i8i4.3° Tiepolo Oil Sket&es at the Courtauld The remarkable collection of works by Tiepolo at the Courtauld, includ- ing the twelve paintings in this exhibition, stand among the signal holdings of the institution. Count Antoine Seilern (1901-1978) assembled these canvases, which form part of his 1978 bequest of 492 works of art to 31 the Courtauld Institute of Art as the Princes Gate Collection. Seilern's INTRODUCTION YJ

holdings range from the early Italian Renaissance through the mid-twentieth century, but his taste is best characterized by his small, highly refined paint- ings and drawings that date from the mid-sixteenth through the late eigh- teenth century Seilern began studying art at Vienna University in 1933, and his activi- ties as a serious collector also began around this time. His first scholarly and collecting activities centered on the work of Peter Paul Rubens, and his early absorption in the colorism of this painter foreshadowed his interest in Vene- tian art (Seilern eventually owned works by Tintoretto, Palma il Vecchio, and Titian) and led directly to his interest in Tiepolo. Seilern bought his first oil sketch by Rubens in 1933, launching a special interest in the working practices of artists. His collection contained numerous examples spanning the history of the oil sketch, including an important early sketch by Poli- doro da Caravaggio, as well as striking works by van Dyck, Grayer, Pittoni, and Sebastiano Ricci. Seilern acquired his first two oil sketches by Tiepolo in 1937 (cat. nos. 9 and n), and he quickly aimed to create a broad collection of the artist's modelli. In some cases, such as the Aranjuez sketches (cat. nos. 9-I3A), Seilern sought completeness, acquiring all five painted sketches (and one drawing) by 1967; he always selected pictures of exceptional refinement and quality, advised by the Tiepolo scholar James Byam Shaw. Seilern expanded beyond the category of oil sketches in only two cases, the similarly scaled devotional picture of Saint Rocco (cat. no. $A) and a small fragment of an altarpiece related to the sketch Saint Joseph with the Christ Child (cat. no. 136). Seilern produced extensive scholarship on his collection, which sur- vives in the catalogues he published as well as in his extensive notes housed 32 in the Courtauld archives. In these writings, remarkable for their thor- oughness and modest, reflective tone, his enthusiasm, knowledge, and pre- science reveal a keen understanding and appreciation of the works of Tiepolo. Seilern participated in a larger movement in the mid-twentieth century to recuperate oil sketches not only into the larger understanding of an artist's production but also as a way to understand an artist's work as an 33 active intellectual process. Beyond the radiant beauty of Seilern's oil sketches by Tiepolo, the collection as a whole argues for the artist's intellect, presenting Tiepolo as not only a brilliant technician but an active mind, thoughtfully considering the most suitable form for the complex subjects of these pictures. 18

NOTE S 1 Our understanding of the role of the early The Ceiling Paintings for the Jesuit Church in modern oil sketch has been amplified Antwerp (London: Phaidon, 1968). considerably in the past thirty years, thanks 8 For the French tradition of oil sketches, especially to the landmark studies of see French Oil Sketches from the Los Angeles Linda Freeman Bauer and Oreste Ferrari. County Museum of Art: Seventeenth Century- See especially Linda Freeman Bauer, Nineteenth Century. Los Angeles: Ahmanson "On the Origins of the Oil Sketch: Form Foundation, 2002, especially the essay and Function in Cinquecento Preparatory by J. Patrice Marandel, "A Taste for Oil Techniques/' Ph.D. diss., New York Sketches," ix-xiv. University 197$; Linda Freeman Bauer, "'Quanto si disegna si dipinge ancora': 9 Denis Diderot, Salons, 3:1767, edited by Some Observations on the Oil Sketch," Jean Seznec and Jean Adhemar (Oxford: Storia delVarte 32 (1978): 45-57; Oreste Clarendon Press, 1963), 241: "Pourquoi Ferrari, Bozzetti italiani dal manerismo une belle esquisse nous plait-elle plus al barocco (Naples: Electa, 1990); Oreste qu'un beau tableau? C'est qu'il y a plus de Ferrari, "The Development of the Oil vie et moins de formes. A mesure qu'on Sketch in Italy," in Brown 1993, 42-63; and introduit les formes la vie disparait." Linda Bauer and George Bauer, "Artists' 10 "Esquisse," Encyclopedic ou dictionnaire Inventories and the Language of the Oil raisonne des sciences, des arts, et des metiers Sketch," Burlington Magazine 141, no. 1158 (Paris, 1775). Translated in Ferrari 1993, 63. (September 1999): 520-30. Other impor- tant studies include Bruno Buschart, "Die 11 Bottari and Ticozzi 1822, 4: 93-94: "Sappia deutsche Olskizze des 18. Jahrhunderts als VS. 111.ma che vi e differenza da un autonomes Kunstwerk," Munchner Jahrbuch bozzetto, che porta il nome di modello, e des bildenden Kunst 15 (1964): 145-76; quello che le peverra. Perche questo non Masters of the Loaded Brush: Oil Sketches e modello solo, ma quadro terminato . . . from Rubens to Tiepolo, exhibition catalogue sappia di piu che questo piccolo e originale (New York: N.p., 1967); and Riidiger e la tavola d'altare e la copia." Translated Klessmann, ed., Beitrdge zur Geschichte in Ferrari 1993, 61. Also, consider Ricci's der Olskizze von 16. bis zum 18. Jahrhundert, slightly earlier words to Tassi, which exhibition catalogue (Braunschweig: indicate the patron's interest in possessing Herzog Anton Ulrich-Museum, 1984). an oil sketch that is a beautiful object in 2 Ferrari 1993, 42-43. itself: "II modello della consaputo tavola e terminato; e siccome VS. illustriss. bramava 3 Bauer 1975, ch. 3; Ferrari 1993, 59. che fosse piu bello della tavola stessa, 4 Ferrari 1993, 47~49- credo che ne avera 1'intento, essendomi veramente riuscito in conformita di quello 5 The primary source on Rubens oil sketches che bramava" (Bottari and Ticozzi 1822, remains Julius S. Held, The Oil Sketches of 4:91). Peter Paul Rubens: A Critical Catalogue, 2 vols. 12 As Linda Bauer and George Bauer (1999) (Princeton: Princeton University Press, have noted, this phenomenon is consistent 1980), especially 1:3-18. Also see Peter across Europe, reflected in the vocabulary Sutton and Marjorie Wieseman, Drawn by in use at the beginning of the seventeenth the Brush: Oil Sketches by Peter Paul Rubens, century: disegno, dessin, and tekeningen. exhibition catalogue (New Haven: Yale University Press, 2004). For an alternative 13 Peter Paul Rubens to Archduke Albert, approach to oil sketches in the north, see March 19, 1614, in The Letters of Peter Paul Ronni Baer, "Rembrandt's Oil Sketches," in Rubens, translated and edited by Ruth Rembrandt's Journey. Painter—Draftsman— Saunders Magurn (Cambridge, MA: Etcher, exhibition catalogue, edited by Harvard University Press, 1955), 56. Clifford S. Ackley (Boston: MFA Publi- 14 Joanna Woodall, "Drawing in Color," in cations, 2003), 29-44. Cuno 2003, 9-11. 6 Held 1980, 4. 15 Baldinucci 1681. For the complexity of 7 On the Jesuit church sketches, see Held meanings for these terms in seventeenth- 1980, 33—62; and John Rupert Martin, century Italy, see especially Bauer and Bauer 1999. INTRODUCTION 19

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

Catalogue

I Allegory of the Power of Eloquence ca. 1725 Oil on canvas 5 46.5 x 67.5 cm (18% x 26 /s in.) The Samuel Courtaulct Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 340 PROVENANCE EXHIBITIONS 1989, 167-68, fig. 97; Bradford and Private collection, Madrid; None. Braham 1989, 24; Farr, Bradford, and Hiigelshofer, Zurich, by 1955; sold to Braham 1990, 68, 69 (illus.); Brunei Count Antoine Seilern (1901-1978), BIBLIOGRAPHY 1991, $6 (as "collection privee"); London, 1959; by bequest to the Home Brown 1993, 201, fig. 89; Gemin and House Trustees for the Courtauld Morassi I955b, 4—7, figs. 2, 4—6; Piovene Pedrocco 1993, 245; Knox 1993, 135-37, Institute of Art, University of London, and Pallucchini 1968, 89, fig. 32; Seilern fig. 2; Pedrocco 2002, 208-9, fig- 52.1.a. 1978. 1969, 27, pi. XXX; Braham 1981, 72, fig. 105; Levey 1986, 23-24, fig. 30; Farr 1987, 62^63 (illus.); Barcham THIS PAINTING IS THE INITIAL SKETCH Amphion building the walls of Thebes with his for the ceiling of the main salone of music. Amphion—the son of Zeus and Antiope, the Palazzo Sandi in Venice (fig. i.i). Tommaso the queen of Thebes—was abandoned at birth Sandi, a powerful Venetian lawyer, launched and raised by shepherds, and through the tutelage a major renovation of the palazzo in 1721 under of Mercury he became a remarkable musician. the direction of the architect Domenico Rossi. When Amphion and his twin brother, Zethus, Despite a paucity of documentation, scholars sought out their mother as adults, they discovered have consistently dated the frescoes to 1725-26 her mistreatment at the hands of their uncle and for stylistic reasons, placing them between the his wife. Overthrowing Antiope's tormentors, presumed end of the construction of the palazzo they assumed power over Thebes and sought to in 1725 and the start of Tiepolo's work in Udine fortify the city. Amphion began to play his lyre, the following year.1 and through the sheer power of his music The first reference to the fresco, Tiepolo's the stones flew through the air and moved into first major ceiling commission, comes only place. As in all the scenes in Tiepolo's sketch, in 1732, when Vincenzo da Canal described the the figures, seen di sotto in su, rise from the cor- work as four stories illustrating the power nice line. Amphion stands on an outcrop at 2 of eloquence. Tiepolo painted several mytho- left, wrapped in a blue windswept cloak (a detail logical scenes on canvas for the walls below;3 the artist picked out in lapis, in contrast to the the comission also involved a collaboration with Prussian blue used elsewhere on the canvas). Nicolo Bambini, who executed the frieze of He stands before the viewer, confidently plucking grotesques beneath the ceiling and the walls and his lyre, and turns back to behold the masonry contributed two wall paintings.4 his music sends flying through the air, con- In the sketch, Minerva and Mercury—gods structing a gleaming white fortification, while of reason, wisdom, and eloquence—preside spectators point, gaping in surprise. at center over four mythological scenes that sur- Orpheus claiming Eurydice from Hades round the edges of the rectangular canvas. appears at bottom. Best known from Ovid's ver- On the right appears a subject well known from sion in the Metamorphoses (10:53-63), Orpheus, such classical sources as Apollodorus's Library another remarkable musician trained by Mercury, (3:5:5-6) but unprecedented in painting, descended into Hades hoping to reclaim his 22

CAT. NO. I 23

FIGURE i.i Giambattista Tiepolo. Allegory of the Power of Eloquence, 1725-26. Fresco. Venice, Palazzo Sandi. Photo: Scala/Art Resource, New York. wife, Eurydice, who had been killed by a snakebite. him by chains. Antonio Morassi, who first pub- With music so moving it brought even the Furies lished the sketch in 1955, identified this scene as to tears, Orpheus persuaded Pluto to release 5 Hercules and the chained Cercopes. The Eurydice, which the god granted on the condition Cercopes were gnomes whom Hercules seized that Orpheus not gaze upon her until he had and carried away in chains after they attempted passed Cerberus at the gates of the underworld. to rob him. Dangling behind his back, the In Tiepolo's sketch, Orpheus—supporting his 5 Cercopes joked about their view—Hercules wife with one hand and raising a stringed instru- hairy and sunburned buttocks — and their witty ment with the other—crosses the rocks near comments caused the hero to laugh so uproari- the exit of Hades, with its menacing dark cloud, ously that he agreed to free them. while the three-headed Cerberus barks fiercely While the story lends itself to the overall in front of them. Tiepolo thus presents the theme of eloquence, the large crowd of figures, charged moment just before Orpheus, fearing Hercules' lack of amusement, and the position that Eurydice might falter on the rocky path, of the chains indicate another story Hercules glances back at his wife and loses her forever. Gallicus captivating his audience. This ancient Across from Amphion appears the strap- Celtic tradition, first described by Lucian in ping figure of Hercules, clad in animal skins, who Herakles: An Introduction, casts Hercules, rather strides above eight prostrate figures attached to than Mercury, as the god of eloquence and 24

had been represented emblematically by Hercules Scholars have gradually worked out the dragging his listeners with chains attached from interpretation of the ceiling and the sources for his mouth to his audience's ears. Artists such the unusual combination of myths. The stories as Albrecht Durer depicted the story and it all come from common ancient texts, but appeared regularly in Renaissance literature, the chief sources are emblem books, suggesting 10 including the widely published Imagini degli dei a highly literary unifying theme. That degli antichi of Vincenzo Cartari.6 Tiepolo, theme may have been eloquence, an especially typically strayed far from the early sources and appropriate subject for the Sandi family, who did a free variation on the print tradition to made their fortune through the law and n create an image better suited to an illusionistic were ennobled in 1685. In this interpretation, ceiling. In the sketch the figures expand hori- Hercules and Amphion directly exemplify zontally across the ceiling, with Hercules at the eloquence, Orpheus implies it indirectly, and acme of a low pyramid of figures. Tiepolo also Bellerophon represents the general triumph 12 alters the standard interpretation, depicting of civilization and culture. Sandi patronage the chains attached more plausibly to the hero's demands further study and should ultimately 13 neck and hands. provide the key to the program. While the The final image in the sketch depicts a com- iconography no doubt bears some relation to mon myth, Bellerophon attacking the monstrous the legal profession that secured the Sandi Chimaera while mounted on Pegasus, the flying their wealth and noble status, the ceiling stands steed provided him by Minerva. Tiepolo presents apart from other eighteenth-century Venetian the horse and rider at a particularly startling frescoes in not openly glorifying the family angle, rearing to charge the monster. The subject name, suggesting a highly specific intellectual appears infrequently in painting, and Tiepolo program in play14 again drew on the emblematic tradition for his Music may also be a more important orga- imagery: the motif of Bellerophon attacking nizing theme than previously acknowledged. the Chimaera with a branch derives from a print In revising the sketch Tiepolo placed the two first published by Andrea Alciati in the sixteenth musical subjects in primary position and 7 substituted a contemporary stringed instrument century This composition is the first extant oil for Orpheus's traditional lute. While the sub- sketch by Tiepolo for a ceiling painting and rep- jects were all atypical for painters to represent resents an early stage in his development as and certainly never appeared together, Amphion, 8 Orpheus, and Bellerophon were all common a ceiling frescoist. He pushes each scene to the margins of the composition, where each pyra- subjects in early modern music, including cele- midal vignette stands on an independent bit brated compositions such as Carlo Grossf s of landscape, in turn connected to the architec- chamber work L'Amphione, first performed tural frame of the salone, with the sky opening in Venice in 1675; Antonio Draghi's 1682 opera up behind each group. Tiepolo revised this La Chimera; Paolo Magni's 1698 opera L'Amphione; composition considerably in the fresco, most and Jean-Philippe Rameau's 1721 cantata significantly by rearranging the order of Orphee.^ & the stories, placing Orpheus and Eurydice across from Amphion on the long walls, and placing Bellerophon opposite Hercules Gallicus on the NOTES short wall.9 He also increased the proportions of the figures, highlighting the gods at center 1 For detailed analysis of the palazzo and frescoes, see Knox 1993. through a burst of white light and a whorl 2 Vincenzo da Canal, 1732 manuscript published as Vita of clouds. In painting the ceiling Tiepolo shifted di Gregorio Lazzarini (Vinegia: Palese, 1809), XXXII: his palette considerably, moving from the "Dipinse a Venezia nel palazzo Sandi il sojfitto della sola in quattro warm tones of the sketch (derived from the thin stork indicanti la Eloquenza sotto altrijeroglifici." 3 Achilles among the Daughters ofLycomedes, Apollo and Marsjas, application of paint over the reddish ground) and Hercules and Antaeus, now in the da Schio collection, to the bright, saturated colors of the fresco. Castelgomberto, Vicenza. ALLEGORY OF THE POWER OF ELOQJJENCE 25

4 Veturia and Volumnia Appealing to Coriolanus and The Three decorations for the room, also viewed the ceiling as an Graces, now in the da Schio collection, Castelgomberto, exemplum virtutis for the marriage of Tommaso Sandi's Vicenza. son, Vettor, in 1724. Aikema's thesis, however, depends 5 Antonio Morassi (i95$b, 4). Bernard Aikema (1986, on a misreading of the date of the wedding. I7in.n) and Filippo Pedrocco (2002, 280) have 13 For example, Christopher Drew Armstrong has pro- reaffirmed this interpretation. posed an important new interpretation of the ico- 6 Vincenzo Cartari, Le imagini degli dei degli antichi nography, rooted in Giovanni Battista Vice's theories (Venice: Vincentio Valgrisi, 1571), 341. of history and natural law, first outlined in a lecture, 7 Andrea Alciati, Emblematum liber (Paris: Christiani "Myth and Enlightenment: Tiepolo and the New Wecheli, 1542), 226-27. Science," University College, University of Toronto, 8 Brown 1993, 201. March 17, 2004 (to be published in a forthcoming 9 As Antonio Morassi first observed (i9$$b, 7), Tiepolo article). For important insights into the intellectual probably reworked the Hercules scene much later, interests of the Sandi family, see Francesco dalla perhaps on account of some damage to the original, Colletta, I principi di storia civile di Vettor Sandi: Diritto, which explains the more even handling of light and the istituzioni, e storia nella Venezia de metd Settecento (Venice: neater contours of the figures, connected to his much Istituto veneto di scienza, lettere, e arti, 1995). later style, perhaps post-1753. 14 Knox 1993, 141. 10 Knox 1993, 135-37. 15 See entries in The Oxford Guide to Classical Mythology in 11 Knox 1993, 135; and Levey 1986, 23. the Arts. Pegasus held a crucial position in Arcadian 12 Others have interpreted the theme even more broadly poetics, suggesting a possible connection of the Sandi with Michael Levey (1986, 23) considering the work to Arcadian circles. See, for example, Liliana Barroero as centering on the notion of ingenuity Bernard and Stefano Susinno, "Arcadian Rome: Universal Aikema (1986, 167), connecting the ceiling with the full Capital of the Arts," in Bowron and Rishel 2000, 52. 26

2 The Madonna of the Rosary ca. 1727-29 Oil on canvas 3 3 44.2 x 23.9 cm (i7 /s x 9 /s in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 341 PROVENANCE EXHIBITIONS an Angel); Barcham 1989,164,166,168, Jaffe, Berlin; private collection, Venice and New York 1996, no. 3ob. fig. 96 (as The Madonna and Child with Bergamo, Italy, by 1962-64; sold to an Angel); Bradford and Braham 1989, 2$ (as The Madonna and Child with Count Antoine Seilern (1901-1978), BIBLIOGRAPHY an Angel); Gemin and Pedrocco 1993, London, 1964; by bequest to the Home Thieme-Becker 1939, 147; Morassi 249, fig. 73 (as Madonna con bambino e House Trustees for the Courtauld 1962, 4, 19, fig. 80 (as Madonna and angeli); Christiansen 1996, 205, 207-8, Institute of Art, University of London, Child with an Angel); Piovene and fig. 3ob; Pedrocco 2002, 209, fig. 55 1978. Pallucchini 1968, 90-91, fig. 41 (as (as Madonna col bambino e angeli). Madonna col bambino e un angelo); Seilern 1969, 28, pi. XXI (as Madonna and Child with an Angel); Braham 1981, 73, fig. 107 (as The Madonna and Child with AMONUMENTAL STATUE COME TO LIFE, blue reflections of the blue cloth in the cloud the Virgin steps forward grandly and on the white fabric held by the Virgin. from a niche, presenting the Christ Child to the Likewise, Tiepolo portrays Mary in a red-orange beholder while an angel kneels humbly before gown, shot through with bravura strokes of them. The infant Jesus gazes out with curious white and canary yellow. intensity sweetly mimicking the Virgin's Antonio Morassi first connected the painting stance and her outstretched arm. He stands on to a small altarpiece, documented to 1735 (fig. a cerulean cloth held by his mother, as well 2.x).1 Subsequent scholars have generally agreed as a cloud supported by two putti. Both mother that the sketch dates to an earlier mode in and son hold rosaries: the Virgin's coral beads Tiepolo's career, around the time of his work in flicker in the shadows at right, while Christ's Udine, since the sharp color contrasts and spiky golden rosary gleams brightly proffered to the figures recall the artist's early inspiration from viewer. 2 Giovanni Battista Piazzetta. Although the altar- This work beautifully demonstrates the piece takes its basic format and color scheme brilliant technique Tiepolo brought to his oil from the oil sketch—particularly in the figure sketches. The coloristic richness of this painting of the statuesque Virgin—the changes between depends on the artist's deft and economic use of the early painting and the final work are con- ground layers. Tiepolo prepared the canvas with siderable, demonstrating a major stylistic and a warm reddish brown ground, followed by a conceptual break between the two images. stratum of cool blue-gray. He then incorporated The altarpiece strikes a more ecclesiastical note, these layers in the overall palette, using them, marked by the angel's transformation into an for example, to describe the faces and the niche's acolyte carrying an incense burner. It also has a frieze. Less interested in precise anatomical more personal tone, with Tiepolo lowering description than in defining form through color, the viewpoint slightly and placing the Madonna Tiepolo employed bold passages of wet-on-wet solidly on the ground. Moreover, the final work paint, such as the lemon, ice blue, and rust emphasizes the Madonna's role in presenting strokes of the angel's shoulder, or the greenish the gift of the rosary to humanity, as well as her 27

CAT. NO. 2 28

well as the contrast between the tender infant and the grave expression of the Virgin—thus speaks directly to the rosary. According to legend, Saint Dominic (ca. 1170-1221) initiated the practice of the rosary, which he received from the Virgin in a vision. Historically, however, the rosary developed out of Marian devotions in the twelfth century and—influenced by the Dominican order — its use was widespread by the fifteenth century. In the eighteenth century the rosary enjoyed newfound popularity under the Dominican pope Benedict XIII Orsini (r. 1724-30), who extended the feast of the rosary to all Roman Catholics in 1726. For this reason the painting may connect to Dominican patrons, perhaps a Dominican church or a related con- fraternity. Given that the rosary functioned as a means to grace and an instrument of communal, controlled prayer, the image may have partic- ularly appealed to patrons participating in the revival of traditional, Counter-Reformation values in the early eighteenth century Certainly the renewed interest in the rosary under Benedict XIII argues for an early dating for the sketch. Tiepolo may well have executed this modello on a currently popular devotional FIGURE 2.1 GiambattistaTiepolo. The Madonna of the Rosary, theme in the hope of attracting patrons, rather than as a study for a specific commission.4 173$. Oil on canvas. Private collection. He may have turned back to the sketch years later as the jumping-off point for the full-scale role as intercessor. Tiepolo moves the Virgin's altarpiece. & arm forward and picks out her hand with light. All the central figures train their attention on her rosary, and Christ holds a small cross instead NOTES of beads. Tiepolo also moves away from the dramatic color relationships and startling con- 1 Morassi 1962, 4. trasts of light and dark so crucial to the sketch, 2 The earlier dating was first proposed in Piovene and Pallucchini 1968, 90-91. toward the more even lighting and more blended 3 For more on the connection of the cult of the rosary color scheme that mark the finished work. and the visual arts, see especially Esperanca Maria The rosary, an exercise in mental and vocal Camara, "Pictures and Prayers: Madonna of the prayer, involves the repetitive recitation of Rosary Imagery in Post-Tridentine Italy" Ph.D. diss., the Hail Mary while meditating on the life of The Johns Hopkins University 2003. 4 Entry by Catherine Whistler in Christiansen 1996, 3 Christ. Mary's centrality in both images — as 205-8. THE MADONNA OF THE ROSARY 29

3 Saint Luigi Gonzaga in Glory ca. 1728-29 Oil on canvas 5 58 x 44.7 cm (22/8 x i7 /s in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 170 PROVENANCE EXHIBITIONS 73, fig. 106; Martini 1988, 154, no. 10, Probably the heirs of Andrea Fantoni London 1954-55, no. 478; London 1960, fig. 4; Barcham 1989, 164, 168, pi. V; (1659-1734), 1735; by inheritance within no. 411. Bradford and Braham 1989, 25; Farr, the Fantoni family Casa Fantoni, Bradford, and Braham 1990, 72 (illus.); Gemin and Pedrocco 1993, 249, fig. 74; Rovetta, near Bergamo; sold through BIBLIOGRAPHY Pedrocco 2002, 209, fig. 57. W Burchardt to Count Antoine Fiocco 1938, 152; Morassi 1938, 141-42, Seilern (1901-1978), London, 1953; by frontispiece; Watson 1955, 262, 264, bequest to the Home House Trustees fig. 298; Seilern 1959, 159, pis. CXXXII, for the Courtauld Institute of Art, CXXXIII; Morassi 1962, 20, fig. 113; University of London, 1978. Piovene and Pallucchini 1968, 91, fig. 44; Seilern I97ia, 57; Braham 1981, HELD ALOFT BY A GROUP OF PUTTI, his slenderness, youth, and overpowering super- the Host rises on a cloud before Luigi natural experience, and the artist intensifies the (Aloysius) Gonzaga (1568-1591). The young young man's gray pallor through the intense Jesuit throws his head back and closes his white of his robe and the spectrum of pinks that eyes, in the throes of an ecstatic vision. Clad in appear on the fleshy angels surrounding him. swirls of fabric, three angels accompany him, Born into one of Italy's most illustrious noble and they—along with the putti at lower right— families, Luigi Gonzaga came under the spiritual bear garlands, crowns, and scepters, signaling guidance of Charles Borromeo at the age of the majesty of the event. The open book on twelve. In 1585 he renounced his inheritance and the steps suggests that the young man's prayers entered the Jesuit order in Rome as a novice, have been interrupted, but the event takes energetically devoting himself to Christian ser- place in an entirely fantastic Veronesian setting, vice, most remarkably by nursing the sick during conveying the overwhelming grandeur of Luigi the 1591 outbreak of plague in Rome. Always Gonzaga's rapture. A sculpture of Faith—the physically weak, Luigi died at the age of twenty- only figure touching the ground in the painting three and immediately became a beloved popular —underscores the profound belief that fuels religious figure and one of the best-known Jesuits. this vision, but the oil sketch accentuates above Representations of the saint began to all the high emotional key and otherworldliness appear frequently in the Veneto during the late of the scene. The vivid contrasts of dark and 17208, for example, in altarpieces by Antonio light around the perimeter of the canvas empha- Balestra and Giovanni Battista Piazzetta, size the spectacular nature of the event, and an interest surely sparked by his canonization in the peculiar perspective, especially the exagger- late 1726 and the 1729 declaration of the saint ated tilt into space created by the pattern as patron to youth by Pope Benedict XIII Orsini of floor tiles, further transports the event into (r. 1724-30). the spiritual, rather than the material, realm. In its depiction of a mystical experience, Tiepolo elongates the proportions of all the this image stands squarely at the center of funda- figures, especially Luigi Gonzaga, emphasizing mental religious debates in eighteenth-century 30

CAT. NO. 3 31

Italy between advocates of visionary, emotive Glory dates to the late 17208. Its handling recalls spirituality and supporters of regolata devozione, another early sketch, The Martyrdom of Saint or the moderated, Enlightenment-influenced Agatha (cat. no. 6), a similar work difficult to movement, supported by such rationalist reform- align with a major commission of the late 17208. ers as Ludovico Antonio Muratori. Tiepolo's Tiepolo received few altarpiece commissions altarpiece charts a middle ground, demonstrating early in his career, and so another possibility is the young artist's already keen sensitivity to that Tiepolo executed this work on speculation complex ecclesiastical arguments. Rather than in order to present his skills as a major ecclesi- represent a specific moment in the young saint's astical painter. life, Tiepolo concentrates on Luigi Gonzaga's An inscription on the verso, GIO : BATTISTA ; well-known devotion to the Eucharist, in this TIEPOLO 1735, connects the painting to the fam- way identifying him with a fundamental Christian ily of the sculptor Andrea Fantoni (1659-1734), sacrament and allying the new saint with main- who worked with Tiepolo on the sculpted frame stream Catholicism. On the other hand, the surrounding the painter's 1734 high altar of the ahistoricism, tenderness, and evanescence of this Ognissanti in Rovetta. However, this inscription work reaffirm the values of a mystic, popular surely refers to the date he presented the sketch spirituality1 to the family rather than to the date of execu- The purpose of this sketch remains unclear, tion.3 This work thus demonstrates how Tiepolo and no known drawings, paintings, or documents could sometimes use an oil sketch, first as relate to it. The painting possibly functioned an object retained in the studio, then as a gift to as a modello for an altarpiece or other religious a friend and colleague, a token of the close painting that Tiepolo never executed, perhaps working relationship between the two men. & commissioned in the outpouring of interest caused by the saint's recent canonization. The exaggerated perspective and the use of illu- NOTES sionistic sculpture connect the work to one of Tiepolo's most celebrated early projects, the 1 For more on these fundamental debates, see Rosa 1999, frescoes in the Palazzo Patricale in Udine,2 47-57- 2 Pedrocco 2002, 212-14. another indication that Saint Luigi Gonzaga in 3 Morassi 1938, 142. 32

4 Apollo and Phaethon ca. 1731 Oil on canvas 64.1 x 47.6 cm (25/4 x 18% in.) Los Angeles County Museum of Art, M.86.257 PROVENANCE EXHIBITIONS 294n.4; Giambattista Tiepolo 1998, 33, 37, Veil-Picard collection, France, until Fort Worth 1993, no. 8. 112, fig. 14; Pedrocco 2002, 219-20, about 1960; private collection, fig. 7I.2.K Switzerland; sold, Sotheby's, London, BIBLIOGRAPHY December n, 1985, lot 19, to Bob P. Conisbee, Levkoff, and Rand 1991, Habolt and Co., New York; sold 161—64, fig. 42; Brown 1993, 167—68, to the Los Angeles County Museum fig. 8; Gemin and Pedrocco 1993, of Art, 1986. 268, fig. io2b; Christiansen 1996, 292, THE STORY OF APOLLO AND PHAETHON 1719-20 fresco for the Palazzo Baglioni in is best known from Ovid's moving 1 Massanzago, near Padua. By contrast, in the Los interpretation from the Metamorphoses (1:750- Angeles composition Tiepolo presents the psy- 2:380). When aspersions were cast on the divine chologically taut moment in which Apollo vainly parentage of Phaethon—son of the mortal attempts to dissuade his son from his imprudent Clymene and the sun god, Apollo—his mother desire to drive the chariot. Father and son stand brought the young man to Apollo's heavenly at center, bathed in an aureole of light. Their palace to meet his father. After warmly embrac- gestures echo one another: Apollo raises his arm ing his son, Apollo granted Phaethon one wish, to ward off his son's entreaties while Phaethon and the young man impetuously asked to drive gestures urgently at the horses and—foreshad- the chariot of the sun. Apollo tried to dissuade owing later events—points to Scorpio in the Phaethon from this rash request, but—incapable zodiac behind him. Meanwhile, three horses of overcoming his son's steadfast insistence rear up at bottom right, barely restrained by the and rushed by the departure of the goddess of winged Hours. At the top of the canvas, Saturn, dawn—Apollo unwillingly assented. Apollo the god of time, rises, bearing his scythe in instructed his son carefully, but the steep path ominous anticipation of Phaethon's impending across the sky and the unmanageable horses doom. Tiepolo paid close attention to the clas- overwhelmed the young man, who quickly lost sical text, carefully representing such Ovidian control of the chariot and veered too close to details as the monumental marble column of the zodiac. Scorpio thrashed his tail in response Apollo's palace; the golden chariot, attended by to the heat, terrifying Phaethon, who dropped the Hours; and the personifications of the four the reins. The horses bolted wildly across the seasons at center right: Spring bearing a garland skies, scorching heaven and earth, until Zeus of flowers, Summer with wheat and a flaming threw a thunderbolt to regain control of the sun, torch, Autumn holding a crown of grape leaves, demolishing the chariot and sending Phaethon 2 and Winter as a bearded man huddled at rear. plunging to his death. The sketch at the Los Angeles County Artists depicting this myth were usually Museum of Art represents a frescoed ceiling for attracted to the dynamism of Phaethon's fall, a the Palazzo Archinto in Milan (fig. 4.1), destroyed subject Tiepolo himself had painted in an early by an American bombardment in August 1943. 33

CAT. NO. 4 34

FIGURE 4.1 Giambattista Tiepolo. Apollo andPhaethon, 1731. Fresco destroyed in World War II. Formerly Milan, Palazzo Archinto. Photo: Scala/Art Resource, New York. FIGURE 4.2 Giambattista Tiepolo. Oil sketch for The Triumph of the Arts and Sciences, ca. 1731. Oil on canvas. Lisbon, Museo Nacional de Arte Antiga. Photo: Jose Pessoa; Divisao de Documenta^ao Fotografica, Institute Portugues de Museus. APOLLO AND PHAETHON 35

FIGURE 4.3 Giambattista Tiepolo. Oil sketch for Perseus FIGURE 4.4 Giambattista Tiepolo. Juno Presiding over and Andromeda, ca. 1730. Oil on paper mounted on canvas. Fortune and Venus, 1731. Fresco destroyed in World War II. New York, Frick Collection, 18.1.114. Formerly Milan, Palazzo Archinto. Photo: Scala/Art Resource, New York. Carlo Archinto, a major early settecento Milanese Borromeo families. Others may relate to epithal- patron of science and the arts, commissioned amic poetry commissioned at the time of the the frescoes in 1731, probably at the instigation marriage, including Apollo and Phaethon, which of Archinto's librarian, Filippo Argelati. These draws on the genre's common association Milanese works were Tiepolo's first major of the bride with the sun.5 Tiepolo underscores ceiling projects outside the Veneto, at the cusp this connection by the unusual inclusion of of Tiepolo's soon-to-explode international sunflowers at bottom right, surely a reference to recognition.3 Clytie, transformed into a sunflower to follow The project comprises five frescoes, probably her beloved Apollo and thus a symbol of fidelity6 executed in two separate campaigns. The vast Despite his devotion to Ovid, Tiepolo pre- Triumph of the Arts and Sciences (fig. 4.2) dominated sents the narrative with creative invention the family's important library, while four smaller and remarkable ease and assurance. In contrast ceiling frescoes appeared in surrounding rooms: to the early Palazzo Sandi ceiling (see cat. no. i), Perseus and Andromeda (fig. 4.3), Juno Presiding over in which Tiepolo separated the principal scenes Fortune and Venus (fig. 4.4), Nobility, and Apollo around the edges of the composition, Apollo and 4 and Phaethon. While the main ceiling refers Phaethon represents an enormous step forward, primarily to the magnanimous artistic patronage interweaving the subnarratives into a sophis- of the Archinto family, the other works relate ticated spiraling composition. Imagined as to the marriage of Filippo Archinto to Giulia a ceiling painting, the di sotto in su composition Borromeo Grillo in April 1731. Some of these radically foreshortens all the figures, accentuating nuptial references are straightforward, such the rise of Phaethon to the heavens. Sharp con- as, in Juno, the presence of Hymen, the god of trasts of light and dark create a dramatic sense marriage, holding the arms of the Archinto and of sunlight by opposing the bright rings of light 36

FIGURE 4.5 Giambattista Tiepolo. Apollo andPhaethon, FIGURE 4.6 Giambattista Tiepolo. Apollo and Phaethon, ca. 1733-36. Oil on canvas. County Durham, England, Barnard ca. 1733-36, Oil on canvas. Vienna, Gemaldegalerie der Castle, The Bowes Museum. Akademie der bildenden Kiinste. that surround the protagonists with the rich, dark early career remains a hotly contested question. colors below (the double ground layer, reddish Around the time of the Palazzo Archinto browns and ocher, heightens this intensity of commission Tiepolo executed a number of other color). The light tonalities of the painting's cen- sketches on the theme of Apollo and Phaethon, ter band stand apart from the sinister shadows but their relationship to the LAC MA canvas and formed by the horses and the clouds, accentuating the ceiling itself remains unclear. Two beauti- the sense of foreboding. ful oil sketches from Barnard Castle and Vienna This painting follows the finished fresco (figs. 4.5—6) are easel paintings, with composi- quite closely a feature rarely exhibited in Tiepolo's tions in a rising S-curve, free of any di sotto in su sketches for ceiling frescoes (for example, cat. effects. The Vienna sketch, breezily painted nos. i and 8). For this reason most scholars have on an unusual blue-gray ground, depicts a slightly argued against it as a preliminary design, seeing later moment in the narrative, with Time taking the work as an unusually high-quality ricordo of Phaethon away from Apollo to the awaiting the ceiling, entirely by Tiepolo's hand.7 chariot. The Barnard Castle work, by contrast, How this painting relates to the other paint- bears a much closer connection to the actual ings and drawings of this subject from Tiepolo's ceiling, not only in its tonality but also in such APOLLO AND PHAETHON 37

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

$A Saint Rocco ca. 1730-3$ Oil on canvas 3 44 x 33.$ cm (i7 /s x 13/8 in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 171 PROVENANCE Courtauld Institute of Art, University BIBLIOGRAPHY Sold, Christie's, London, 1905, to Julius of London, 1978. Sack 1910, 99, 191; Morassi 1950, 209; Bohler, Munich; sold to Baron von Seilern 1959, 160, pi. CXXXIV; Stumm, Rauisch-Holzhausen, Hessen, EXHIBITIONS Morassi 1962, 20, fig. 163; Piovene and Germany, 1906; Count Zoubow, London 1960, no. 445. Pallucchini 1968, 96-97, fig. 77!!; Paris; sold to Count Antoine Seilern Seilern i97ia, 57; Braham 1981, 73-74, (1901-1978), London, 1952; by bequest fig. 108; Bradford and Braham 1989, to the Home House Trustees for the 25; Gemin and Pedrocco 1993, 306, 308-9, fig. 193; Pedrocco 2002, 230-31, fig. 103.9. 5B Saint Rocco ca. 1730-35 Oil on canvas 9 5 43 x 32 cm (i6 /i6 x i2 /s in.) San Marino, California, The Huntington Library, Art Collections, and Botanical Gardens PROVENANCE EXHIBITIONS Probably James Smith Inglis (1852— None. 1907), New York; upon his death probably held in trust by Cottier and BIBLIOGRAPHY Co., New York; sold, Cottier and Co. Morassi 1950, 202-3, 206, fig. 9; sale, American Art Gallery, New York, Morassi 1962, 47, fig. 157; Piovene and March n, 1909, lot 78, to Henry E. Pallucchini 1968, 96-97, fig. 77n; Huntington, San Marino, California. Gemin and Pedrocco 1993, 306, 310, fig. 200; Pedrocco 2002, 230-31, fig. 103.16. sAINT ROCCO (CA. 1295-1327; ALSO CALLED with bread from a nearby bakery and healed his Saint Roch) relinquished his family fortune, wounds by licking them. After recovering he traveled from Montpellier, France, to Italy in returned to France, where he was — according the disguise of a pilgrim, and dedicated himself to some versions of his life—mistaken as a spy to curing the plague-stricken. Contracting the and thrown into prison unrecognized, and died. disease himself near Piacenza, Rocco withdrew Pilgrims and those suffering from the plague to the outlying forest, where a dog provided him commonly invoked Rocco, and many altars, 39

CAT. NO. $A 40

CAT. NO. 5B SAINT ROCCO 41

FIGURE $.1 Giambattista Tiepolo. Saint Rocco, 1730-35. FIGURE 5.2 Giambattista Tiepolo. Saint Rocco, 1730-3$. Oil on paper mounted on canvas. Philadelphia Museum Oil on canvas. Sydney, Art Gallery of New South Wales, of Art, John G. Johnson Collection. gift of Sir J. S. Heron 1912, 1152. Photo: Ray Woodbury for AGNSW. churches, and confraternities were dedicated to landscape visible through the window at right. the saint throughout Europe. Exhausted and haggard, Rocco—now bearded, In the Courtauld canvas, a beardless Saint modestly clad, and significantly older—rests Rocco, with downturned head and closed eyes, his head and shoulder against the wall, barely sits facing the viewer. Tiepolo pulls the young able to open his eyes, prop up his staff, and clasp man to the front of the picture plane; the simple a piece of bread. Here Tiepolo reverses the gray wall, stone ledge, and dark shadows accen- relationship of light and dark, brightly lighting tuate the saint's monumental profile. Despite the composition from the right and shrouding his patched cloak, unkempt hair, and shabby the saint's face and torso in darkness. The boot, Saint Rocco bears clear traces of his cast- striking shadow formed on the wall increases his off wealth. Tiepolo paints his garments with distance from the viewer, locking the saint into radiant luxuriousness: a brightly lit apricot his enervated position. mantle covers a long, shimmering, vermilion In 1950, Antonio Morassi first identified a robe. The walking stick, loaf of bread, and scal- unified group of images by Tiepolo, all of similar loped shell pinned to his cloak all indicate he scale, depicting the same model in various is a pilgrim, but the saint rests from his peregri- 1 guises as Saint Rocco (figs. S.i-i). Subsequent nations, pulling back his robe to reveal a plague authors expanded this group of paintings, sore, highlighted with transparent red glaze, with Filippo Pedrocco recently counting twenty- tenderly observed by the dog, whose head and one as autograph.2 All scholars agree that the paw poke into the image at bottom right. works connect to the Confraternita di San Rocco By contrast, the Huntington's Saint Rocco in Venice. The church of San Rocco was long depicts an urban outcast instead of a pilgrim, 3 the site of exhibitions in the city and Tiepolo slumped before a stuccoed wall, a distant himself had a lengthy relationship with the 42

FIGURE 5.3 Francesco Pittoni (Italian, ca. 1654-ca. 173$). Saint Rocco, 1727. Oil on canvas. Budapest, Szepmiiveszeti Muzeum. church, the site of the painter's first exhibition, ceaseless variations on a single theme, they in 1716. Moreover, his mother was in close con- connect to similar series executed by Tiepolo tact with two key confraternity leaders, and one throughout his life, including the Flight into of these men, Anton Francesco Giusti, is the Egypt variations that span his career, the Capricci only person in Tiepolo's lifetime documented as prints of the early 17405, and the Scherzi di 4 owning a painting from this series. Tiepolo Fantasia of about 1743 — 57. These last two series was not the first artist to paint multiple versions are customarily described as capricci, a term of the confraternity's titular saint. Giambattista applied to the inventiveness of musical variation, Pittoni (fig. 5.3), Giovanni Battista Piazzetta, and the Saint Rocco group should be considered Sebastiano Ricci, and Gaspare Diziani all painted a sober relation to these works.5 similarly scaled versions of Saint Rocco in the same period, presumably for members of the sodality. The decidedly urban setting of most of NOTE s these representations (relatively unusual in depictions of the saint) accentuates the connec- 1 Morassi 1950, 202. tion of the images to the urban mission of the 2 Pedrocco 2002, 230-31. organization. 3 For the San Rocco exhibitions, see, for example, Francis Haskell and Michael Levey, "Art Exhibitions in Tiepolo brought astonishing variety to this Eighteenth-Century Venice," Arte veneta 12 (1958): series, presenting the saint as ecstatic, contem- 181-83, 185. plative, despondent, learned, and even con- 4 Federico Montecuccoli degli Erri, "Giambattista Tiepolo: frontational, all within the same limited format. Nuove pagine di vita privata," in Puppi 1998, 1:71. The works combine genre painting and devo- $ For an intelligent review of these works, including the terms capriccio, fantasia, and scherzo, see Christiansen tional imagery, and in their ability to present 1996, 338-69. SAINT ROCCO 43

6 The Martyrdom of Saint Agatha 1734 Oil on canvas 7 48 x 29.1 cm (i8 /s x 11% in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtaulct Institute of Art, London; inv. 396 PROVENANCE EXHIBITIONS (illus.); Gemin and Pedrocco 1993, 316, Private collection, Vienna, by 1937; Vienna 1937, no. 125. fig. 2i$a (as formerly Broglio collection, Broglio collection, Paris, after 194$; Paris); Giambattista Tiepolo 1998, Agnew's, London; sold to Count BIBLIOGRAPHY i2

CAT. NO. 6 45

FIGURE 6.2 Giambattista Tiepolo. Oil sketch for The Martyrdom of Saint Agatha, ca. 1734. Oil on canvas. Present location unknown. Dipartimento di Storia delle Arti e Conservazione dei Beni Artistici "G. Mazzariol," Universita Ca' Foscari di Venezia, Fototeca A. Morassi, unita 177. FIGURE 6.1 Giambattista Tiepolo. The Martyrdom of Saint Agatha, 1734-37- Oil on canvas. Padua, Basilica of S ant Antonio. inconsistent anatomy of the figures reveal that the composition, in contrast to the pale, drained Tiepolo concentrated on building this composi- flesh of the martyr. The red splashes of Agatha's tion chiefly through color relationships. Although blood mix with passages of rust, pink, and tomato this painting is the most seriously damaged (as well as the reddish ground), while layered of all the Courtauld oil sketches—the left side zigzags of paint, drawn in wet with a brush, con- of the canvas has been abraded, and there vey the agitation of the drapery. are many losses to the upper layers of the bald Tiepolo returned to the subject in the mid- attendant's red-brown robes and the mourners 17505 for an altarpiece, now in the Gemalde- at bottom—it still presents an immensely galerie, Berlin, commissioned by the Benedictine sophisticated palette. A complex balance of reds, nuns at Sant'Agata, Lendinara, near Rovigo oranges, and yellows dominates the center of (fig. 6.3). The prominent play of halberds and 6 4

FIGURE 6.3 Giambattista Tiepolo. The Martyrdom of Saint Agatha, ca. 1755. Oil on canvas. Berlin, Staatliche Museen zu Berlin, Gemaldegalerie. Photo: Jorg P. Anders, Berlin. THE MARTYRDOM OF SAINT AGATHA 47

Agatha's raised knee—features of the original oil sketch, abandoned in the Padua altarpiece — suggest that Tiepolo retained the sketch and consulted this composition before embarking on the second version twenty years later. The intense facial expression, worked out coloristi- cally in the Courtauld sketch, is also documented 4 in a series of drawings, including two in Berlin and one at the Getty (fig. 6.4). & NOTES 1 Based on documents indicating that a delegation from Padua went to Venice to sign the contract for the altar- piece with Tiepolo in 1734, Antoine Seilern (1971!), 20-21) hypothesized that the artist must have presented the sketch to his patrons at that time. 2 Rodolfo Pallucchini (Piovene and Pallucchini 1968, 101) considered the second sketch a copy after the final composition, but it differs considerably from the altar- piece and surely records an intermediate stage, even if it is a studio work. Antoine Seilern (i97ib, 20-21) noted that the motifs of the stone platform, the executioner, and the halberds also appear in a number FIGURE 6.4 Giambattista Tiepolo. Head of a Man Looking of related works by Tiepolo from the same period, Up, ca. 1755. Red and white chalk on blue paper. Los Angeles, including the 1733 Beheading of Saint John the Baptist in the J. Paul Getty Museum, 2002.31. Colleoni Chapel in Bergamo and a drawing of The Martyrdom of Saints Domnius, Eusebia, and Domninus in the Metropolitan Museum of Art (to which I would add the Metropolitan's Martyrdom of Saints Gervase and Protase), suggesting that a variety of drawings and modelli were circulating around the studio in this period. 3 On this point, see especially Christiansen 1999. 4 Knox 1980, 1:212-14. 48

7 The Trinity Appearing to Saint Clement ca. 1734 Oil on canvas 58.5 x 32.5 cm (23 x 12% in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 39$ PROVENANCE for the Courtauld Institute of Art, John Nepomub); Piovene and Pallucchini Possibly Cheremetiev (Cheremetjew) University of London, 1978. 1968, 100, fig. 101 (as La Trinitd e il collection, Russia; Nicholson, London, martirio di San Giovanni Nepomuceno); 1935-39; John Bass, New York; sold, EXHIBITIONS Levey 1971, 224-2$, no. 8; Seilern I97ib, Parke-Bernet Galleries, New York, None. 18-19, pi-V; Heine 1974, 148-49, fig. 2; January 25, 1945, lot 3 (as Sketch for an Levey 1980, 211, 249; Braham 1981, 74, fig. 109; Levey 1986, 76; Bradford Altar Painting); sold, Sotheby's, London, BIBLIOGRAPHY and Braham 1989, 25; Gemin and June 24, 1970, lot 34, to Colnaghi, Morassi 1957, 176-77, I77n.6 (as Pedrocco 1993, 324-25, fig. 226; Levey London; sold to Count Antoine Giovanni Nepomuceno e la SS. Trinitd); 1994, 22$; Whistler 199$, 626; Pedrocco Seilern (1901-1978), London, 1970; by Morassi 1962, 19, fig. 128 (as The 2002, 242, fig. 133. bequest to the Home House Trustees Holy Trinity with the Martyrdom of Saint sAINT CLEMENT, GENERALLY ACCEPTED collapsed onto the ground before the boat in as the third pope to follow Saint Peter, was despair, seven men and a spotted hound gaze banished to the Crimea by the emperor Trajan. coolly upon the praying pope. These exotically Clement initiated an immense missionary effort clad figures —with long beards, turbans, and there, resulting in a church-building campaign fur hats — signify the Russian setting rather than and massive conversions at the fringes of the Trajanic Empire, and they mark an early the Roman Empire. To stem this success, Trajan appearance of the theatrical chorus of extras ordered Clement tossed into the sea, bound to Tiepolo often employed, not so much for narra- an anchor. tive purposes but for thoughtful and dramatic 1 Tiepolo presents the saint in the moment contrast to the protagonist's mood. before his martyrdom. An oarsman prepares This painting is probably an early sketch for the boat — an enormous iron anchor ominously a major altarpiece commissioned by Clement protrudes into the sky at left —with the Black Augustus, archbishop elector of Cologne Sea visible in the lower corner. Clad in full (r. 1723—61), for the high altar of Notre-Dame- papal regalia with his miter and crosier on the Kirche, an Augustinian church at Schloss ground before him, Clement has thrown himself Nymphenberg (fig. 7.1). (This altarpiece is also to his knees as he experiences an overwhelming known through its spectacular presentation vision of the Trinity, suspended on an enormous sketch in the National Gallery, London [fig. blue-gray cloud that descends to the crowd below. 7.2] .)2 While no specific documents connected Flanked on the left by two angels gracefully to the Schloss Nymphenberg painting have supporting an enormous cross, God the Father yet emerged, it is known that Clement August presides, leaning forward and spreading his traveled to Venice three times, and he commis- arms in blessing. Christ, by contrast, reclines on sioned work extensively from Venetian painters a globe, gazing tenderly down at the pope, (although no record of contact with Tiepolo while the Holy Spirit, in a naturalistic touch survives). The scalloped top of the Courtauld characteristic of Tiepolo, vigorously flaps its sketch further underscores its connection to the wings to slow its descent. Although a woman has German altarpiece, for this shape reflects that 49

CAT. NO. 7 $o

FIGURE 7.1 Giambattista Tiepolo. Saint Clement Adoring the Holy Trinity, ca. 1734-39. Oil on canvas. Loan of the Staatliche Schlosserverwaltung to the Bayerische Staatsgemaldesammlungen, Munich; inv. no. L 877. of the final painting and indicates that Tiepolo Albani (r. 1700-1721) adopted the saint as his had information transmitted to him regarding namesake and promoted scholarship on this 3 the intended scale and the framing of the work. early Christian figure. Saint Clement became The altarpiece represents a radical revision the subject of lively interpretations by early of the initial sketch. Instead of presenting settecento Roman artists, especially the series of Clement at the moment of his martyrdom, paintings for the Roman basilica of San Clemente. Tiepolo eliminated any sense of historical nar- These works concentrated on narrative detail; rative in the final painting, reducing the subject Tiepolo, on the other hand, chose to follow the of the composition to Clement kneeling in format of his other early religious paintings papal regalia within a grand ecclesiastical interior by placing the saint in a highly charged visionary before a majestic vision of the Trinity. moment (e.g., cat. no. 3). Clement Augustus Saint Clement, a shadowy first-century identified closely with this early Christian saint, figure, enjoyed an explosion of interest in the and besides the altarpiece by Tiepolo, he commis- early eighteenth century. Pope Clement XI sioned numerous churches and other altarpieces THE TRINITY APPEARING TO SAINT CLEMENT 5i

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

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

CAT. NO. 8 54

FIGURE 8.1 Giambattista Tiepolo and Girolamo Mingozzi FIGURE 8.2 Santa Maria di Nazareth (Santa Maria degli Colonna (Italian, ca. 1688-ca. 1766). The Translation of Scalzi), Venice, after the bombing in 191$. Photo: Archivio the Holy House ofLoreto, 174$. Fresco destroyed in World War I. Naya-Bohm, Venice. Formerly Venice, Santa Maria di Nazareth (Santa Maria degli Scalzi). Photo: Alinari/Art Resource, New York. in the Santa Casa increased considerably. Pope Moreover, Tiepolo had worked in Santa Maria Benedict XIII Orsini (r. 1723—30) extended the di Nazareth earlier in his career, frescoing office and mass for the cult to Venice, and an two chapels in the church between 1727 and 1733, important compendium of documents, as well as including an illusionistic ceiling depicting the an archaeological study reaffirming the Holy founder of the Discalced Carmelites, The Apotheosis House's biblical origins, appeared in the 17305. of Saint Teresa ofAvila.4 Pope Benedict XIV Lambertini (r. 1740-58) The detailed documents regarding the ceiling focused yet more attention on the Santa Casa, indicate that Tiepolo received the commission writing a treatise on Loreto. In 1744, a local in September 1743. Although Tiepolo was the Venetian parish church even sponsored the con- lead designer for the project, he worked with 3 his longtime collaborator, Girolamo Mingozzi struction of a replica of the house. Tiepolo would have been the obvious choice Colonna, who created a fictive architectural for the Carmelites' commission. The artist setting for the fresco. By the end of the year enjoyed great favor from Carmelite patrons Mingozzi Colonna had asked to have the ceiling in Venice, including a major recent commission restructured, and he only finished his share from the Scuola Grande dei Carmini in 1740. of the work in April 1745, after which Tiepolo THE HOLY HOUSE OF LORETO 55

5 completed the fresco in eight months. Their work presents a fictive cornice, with a balustrade above, surrounding a huge opening into the sky, through which the Miracle of the Holy House appears. On the pendentives and the lower section of the vaulting, Tiepolo and Mingozzi Colonna painted scenes referring to the Ark of the Covenant, an Old Testament precursor to the 6 Translation of the Holy House. In October 1915, the Austrian army bombed the church, destroying the ceiling (fig. 8.2), so the two preliminary oil sketches are now all that remains (cat. no. 8 and fig. 8.3). The exis- tence of two different sketches for the same commission is unusual in Tiepolo's practice and indicates the commission's theological and compositional complexity. From the beginning, Tiepolo envisioned the central scene as entirely open to the sky. To convey the ascent and flight of the house, and to connect the heavens, the cottage in flight, and the expelled figures, Tiepolo radically foreshortened the figures and presented them all di sotto in su (daringly ren- dering the angels far larger than the Virgin and Child). The work in Venice, the earlier of the two sketches, contains the basic elements of FIGURE 8.3 Giambattista Tiepolo. Oil sketch for the later versions but positions the house in the The Translation of the Holy House ofLoreto, 1743. Oil on canvas. lower register, with an energetic tilt that gives Venice, Galleria delFAccademia. Photo: Scala/Art Resource, New York. the impression of rapid movement, an effect enhanced by the figures moving across the edges of the oval composition. trumpets. At top, executed in near-grisaille, a The oval shape of the sketches proves that concert of angels accompanies God the Father, they were made before Mingozzi Colonna who opens his arms to greet the Santa Casa. invented the more complex,architectural form In contrast to the general upsurge, a mass of seen in the finished fresco. This change dates dark, flailing figures in the lower register hurtles the sketches securely to 1743 and underlines downward into the viewer's space, while a the close working relationship between the two throng of turbaned men with halberds peers in painters; the trumpeting angels at right, for from the periphery. example, reveal the artists' interest in down- Unlike in the earlier sketch in the Accademia, playing the unalterable side vaults that encroach Tiepolo shifted the Santa Casa higher, thereby on the otherwise smooth expanse of the main centralizing and stabilizing the primary group. 7 ceiling. To increase the grandeur and monumentality of In the Getty sketch, the Virgin and Child the Holy House, Tiepolo divided the complex stand atop the humble structure, accompanied composition into three distinct zones. The by Saint Joseph, who kneels on a cloud to fallen angels and heretics at the bottom of the the right, his staff discarded and hands raised canvas now take on more force, and the heavenly above his head in prayer. A swarm of angels figures at the top mass in a more focused pyra- and putti, swathed in rich daubs of color, raise mid. To stress the upward motion of the house, the house to a distant heaven, while a group Tiepolo reduced the number of figures in the of angels enters at far right with a blast of upper register gazing in from the edges. 56

the figure of the Virgin once again, so that she and the Christ child both look down at the worshiper, accentuating their roles as intercessors. A second crucial change came with the silvery moon that forms an enormous halo behind the Holy House. This nocturnal shift follows the legend more accurately (the Translation took place at night) and links the Madonna of Loreto to the iconography of the Immaculate Conception, a still-controversial doctrine associated with Loreto and defended with particular vigor by the Discalced Carmelites in the eighteenth century.10 Given the exceptionally large scale of the Getty sketch, Tiepolo executed the painting with remarkable verve and freedom. It is one of the most loosely and confidently handled of all the oil sketches in this exhibition. Particularly astonishing is the loose relation of line and FIGURE 8.4 Giambattista Tiepolo. The Virgin and Child color, with lines of brown paint drawn over (Study for "The Translation of the Holy House of Loreto"). 1743. broad swaths of color in order to articulate the Pen and ink on paper. Princeton University Art Museum. forms, a technique that recalls Tiepolo's ink Bequest of Dan Fellow Platt, Class of 1895 (1948-882). and wash sketches. The ground shows through everywhere, and the mark at the far left, clearly made by the end of a paintbrush striking the In addition to these important compositional surface of the wet paint, speaks to the dash alterations, the two sketches reveal important and bravado with which the artist executed this doctrinal shifts, suggesting the active role of the presentation modello. & Discalced Carmelites in creating the icono- graphic program. The modello in Venice depicts the Virgin standing on the house alone, while NOTES Christ appears in the heavens along with God the Father and the Holy Spirit, and an angel 1 Barcham 1979, 436. descends at upper left, bearing a lily. By contrast, 2 For the architecture of Santa Maria degli Scalzi, see in the Getty sketch, Christ appears as an infant especially Douglas Lewis, The Late Baroque Churches of in his mother's arms rather than as part of the Venice (New York: Garland, 1979). Trinity. This change not only follows traditional 3 Barcham 1979, 436-38. 4 See Pedrocco 2002, 203. Loretan iconography but also moves the work $ For the documents surrounding this commission, see away from Trinitarian themes to stress Mary's especially Fogolari 1931. role as Christ's mother and to present the Santa 6 Knox 1968, 394-95, 397. For images of the pendentives, Casa as the home of Christ as well as the see Pedrocco 2002, 267-69. 8 7 Christiansen 1996, 300-301. Virgin. Two preliminary drawings of the Virgin 8 For traditional Loretan iconography and discourse, see (fig. 8.4), now at Princeton, record discarded Barcham 1979, 433-34; and Floriano Grimaldi and possibilities and testify to the importance placed Katy Sordi, eds., L'iconografia della vergine di Loreto nell'arte, 9 exhibition catalogue (Loreto: Cassa di risparmio di on this part of the picture. The Getty sketch also highlights Saint Joseph in more saturated Loreto, 1995). colors to draw more attention to his figure — 9 Mras 1956, 42-43. 10 Barcham 1979, 445-46; for more on the Immaculate appropriately, given that Saint Joseph played Conception, see cat. no. 10 in the present volume. a crucial role in Discalced Carmelite devotion. In the fresco, Tiepolo expanded the space among the various clusters of figures and adjusted THE HOLY HOUSE OF LORETO 57

Tiepolo and the Oil Sketflies for the Church of San Pascual Baylon, Aranjuez A .t the very end of his career Tiepolo embarked on an unprecedented commission: seven large altarpieces for San Pascual Baylon, a new church constructed at the behest of King Charles III (r. 1759-88) for the Alcantarine friars of Aranjuez. £ In the nine- teenth century the altarpieces were dispersed. Many were cut up or destroyed, and for this reason the five sketches of 1767 (cat. nos. 9-13A) best reveal Tiepolo's intentions for this commission. & Moreover, the fine state of preservation, radiant beauty, and inventive approach to the subject matter of these paint- ings reveal Tiepolo's continued vitality as an important religious painter during his final years. £• The Aranjuez sketches from the Courtauld stand among the artist's signal accomplishments and remain a highlight of the Spanish phase of his career.

San Pascual Baylon was the first religious foundation initiated by the king, and its development was accorded the most careful attention. The church itself—the first major building project of Charles III—was designed by a Roman-trained Neapolitan architect working in Spain, Marcelo Fonton. In line with the king's taste in religious art, Fonton followed a restrained Roman baroque model for the interior (fig. G) and the facade (fig. H). Despite the riches bestowed upon the project, the church housed a community of friars known for their rigorous austerity, the Alcantarines. Founded by Saint Peter of Alcantara (1499 — 1562) in the mid-sixteenth century, this order — also known as Discalced Friars Minor or Spanish Reformed Conventuals—was a Spanish offshoot of the Franciscans.1 FIGURE G Plan of the Church of San Pascual Baylon, FIGURE H Facade of the Church of San Pascual Baylon, Aranjuez, Spain. From I desegni di architettura dell'Archivio storico Aranjuez, Spain. Photo: Madrid, Patrimonio Nacional. dell'Accademia di San Luca (Rome, 1974), vol. II: no. 2143. The pioneering research of Catherine Whistler on the Spanish phase of Tiepolo's career has revealed the full complexity of the Aranjuez com- 2 mission. In 1762, the king persuaded the artist to come to Madrid to paint the vast ceilings of the Palacio Real, and Tiepolo evidently sought the Aran- juez commission just after he and his studio had completed these frescoes. The new project—a set of unified altarpieces for a large church—was un- like anything the artist had taken on and marked Tiepolo's turn to public, ecclesiastical painting in Spain. He received the commission for seven altar- pieces in March 1767. The artist quickly completed five presentation sketches —there are no records of sketches for Saint Anthony of Padua with the Christ Child (fig. i) and Saint Peter of Alcantara (fig. j) — and the king bestowed his 59

FIGURE I Giambattista Tiepolo. Saint Anthony of Padua with F i CURE j Giambattista Tiepolo. Saint Peter of Alcantara, the Christ Child, 1769. Oil on canvas. Madrid, Museo Nacional 1769. Oil on canvas. Madrid, Palacio Real. del Prado. All rights reserved © Museo Nacional del Prado, Madrid. formal approval for Tiepolo to move forward on the altarpieces in August of that same year. Granted a larger studio in Madrid, which he would need to produce the enormous canvases, Tiepolo and his atelier worked on the seven paintings for the next two years. With his characteristic efficiency he completed the series of paintings before construction of the church had even finished. The works remained in Tiepolo's studio and were installed only in May 1770, two months after the artist's death. Joaqufn de Eleta, the king's confessor and himself an Alcantarine, over- saw the commission. Profoundly committed to royal protocol, Eleta pre- vented the artist from submitting the sketches directly to the king and closed off any direct contact with the court regarding the commission. For an artist such as Tiepolo, who had decades of experience as a court artist and who had regularly engaged in close communication with his patrons, the layers of bureaucracy involved in the Aranjuez commission were particularly galling. Yet Charles III carefully monitored the details of the commission, and Eleta only served as intermediary between the king and the artist and did not actively participate in iconographic and aesthetic decisions.3 The court evidently selected the subjects of the altarpieces. The church's titular saint and a key Alcantarine figure, Saint Pascal Baylon (1540-1592), was the subject of the high altar, Saint Pascal Baylon's Vision of the Eucharist. The transept altars were to present two key Franciscan subjects, the Immac- 6o

ulate Conception at left and Saint Francis of Assisi receiving the stigmata at right. In the nave at left would be Saint Joseph with the Christ Child, followed by a smaller oval altarpiece of Saint Peter of Alcantara, both important Alcantarine subjects. On the opposite wall would hang a painting of the king's name saint and a protector of the Franciscans, Saint Charles Borromeo, shown venerating the Crucifix, along with a smaller work portraying a famil- iar Franciscan saint and subject, Saint Anthony of Padua with the Christ Child. The seven altarpieces address the key concerns of eighteenth-century Franciscans and express the particular spiritual identity of the Alcanta- rines. They articulate themes central to Franciscan piety: devotion to Christ (Joseph, Francis of Assisi, and Anthony of Padua), to the Eucharist (Pascal Baylon, Charles Borromeo, and Peter of Alcantara), and to the Immaculate Virgin. The altarpieces advocate both the active life (such as the Imitation of Christ by Pascal Baylon and Francis of Assisi and the protection of the Infant Christ by Joseph) and the contemplative life (the vision of Anthony of Padua and the prayer of Charles Borromeo).4 More generally, these works depart from the dramatic, hearty voice that had exemplified Tiepolo's ear- lier religious paintings; a spirit of unprecedented austerity and economy marks both the sketches and the final compositions. This restraint gives the ascetic piety of the Aranjuez friars a visual form, but it also marks the ad- vent of a new, more personal approach to image-making in the twilight of the artist's career. Soon after the installation of the paintings, Charles III elected to re- place them with another set of altarpieces, depicting exactly the same sub- jects, by Anton Raphael Mengs (1728-1779), Mariano Salvador Maella (1739- 1819), and Francisco Bayeu (1734-179$). Tiepolo's altarpieces hung until the new paintings were completed and mounted in 177$; they were then trans- ferred to the associated convent. The fate of Tiepolo's commission, for many scholars, stemmed from the rivalry in the Spanish court between Tiepolo and the Saxon artist Mengs, an agon between the late Baroque tradition rep- resented by Tiepolo and the new classicizing approach represented by Mengs. But such an interpretation misreads the relationship between the artists as 5 well as the reception of Tiepolo's works in Spain. Tiepolo and Mengs did not consider themselves in competition; in fact, they were rarely in Madrid at the same time, remained cordial, and held different positions at court. Moreover, Tiepolo's ceilings were received with unreserved enthusiasm in Spain, and he received a major ceiling commission on the heels of the Aran- juez commission.6 Tiepolo's iconography and interpretation of the subject matter were 7 not in themselves disturbing to the monarch. Indeed, a comparison of Tiepolo's Saint Pascal Baylon s Vision of the Eucharist (cat. no. 9) with the later interpretation of the subject by Mengs (fig. K) demonstrates their similar approaches to the subject. The problem was that the language Tiepolo used for religious painting jarred with the taste of the king and led him to reject 8 the altarpieces. The ecstatic, emotive spirituality presented by Tiepolo — accentuated by the very spareness of the paintings—was diametrically op- THE CHURCH OF SAN PASCUAL BAYLON 6l

FIGURE K Anton Raphael Mengs (German, 1728- 1779). Saint Pascal Baylon's Vision of the Eucharist, 1776. Oil on panel. Aranjuez, Spain, Church of San Pascual Baylon. Photo: Madrid, Patrimonio Nacional. posed to Mengs's restrained approach to ecclesiastical painting, which Charles III enthusiastically embraced. The king owned numerous easel pic- tures on religious themes by Mengs, and he considered the grave, more sculptural Roman language of these images to be the appropriate mode for 9 religious painting. The work of Mengs consciously drew on the canon of Western art, providing a sense of universality and investing these sober images with the authority of Rome that was so important to Charles III. In the end, the very inventiveness, individual feeling, and otherworldliness of Tiepolo's paintings may have led the king to reject them. Their Venetian religious sen- sibility, suffused with sentiment and mysticism, was at odds with a commis- sion designed to express the king's orthodoxy. 62

Tiepolo's altarpieces stood for years in the convent adjacent to the church and were ultimately dispersed in the early nineteenth century. The quality of the final canvases is often disparaged, but several of these altar- pieces—such as The Immaculate Conception (fig. 10.1) — stand among his greatest ecclesiastical works. Nonetheless, other paintings are less inspired in their final form, in some cases because of the heavy hand of studio assis- tants, in others because of serious damage to the works. The sketches, on the other hand, stand among the most remarkable examples of religious art in the late eighteenth century. They are masterpieces of this artist's late style, at once noble and restrained, as well as deeply personal expressions of a 10 visionary spirituality NOTES 1 The Alcantarines later joined with other of illusionistic Baroque ceiling painting Observant friars to form the Order coexisting with rigorously classicizing of Friars Minor, a currently active order. easel painting, consider the late eighteenth- 2 This essay depends heavily on Catherine century redecoration of the Villa Borghese Whistler's many crucial contributions, in Rome (see Carole Paul, "Mariano Rossi's including the accurate chronology Camillus Fresco in the Villa Borghese," of events. See especially Whistler 1984; Art Bulletin 74 (1992): 297-326). Whistler I98$b; Whistler 1986; 7 The friars of Aranjuez appear to have had Christiansen 1996 (entries by Whistler), no substantive contribution to the debate, 194, 196-97, 242-53; and Whistler 1998. and their opinions on the vicissitudes 3 For the relationship of Eleta and Tiepolo, of Tiepolo's work for their church remain see Whistler 1984, 99-103; and Whistler unclear. 1985^ 202. Eleta's staunch allegiance 8 Whistler 1984, 379-80; Whistler 1985^ to protocol led him to eschew direct com- 325-26. munication with Tiepolo. The artist was 9 On Anton Raphael Mengs's religious required to communicate to Eleta through paintings for Madrid, see Steffi Roettgen, Francesco Sabatini (1721-1797), the Anton Raphael Mengs, 1728-1779, 2 vols. king's architect and the overall head of (Munich: Himmer Verlag, 1999), i: 143-47, the Aranjuez project. Documents suggest and 2:351-54; the entry by Steffi Roettgen that Tiepolo mistakenly believed that Eleta in Bowron and Rishel 2000, 410-11; had decision-making powers. For Tiepolo's and especially Jose Luis Sancho and Javier correspondence, see G. B. Urbani de Jordan de Urries y de la Colina, "Mengs Gheltof, "Tiepolo in Ispagna," Bolletino e la Spagna," in Mengs: La scoperta del de arti e curiosita veneziane (1880): 174, 180. Neoclassico, exhibition catalogue, edited by 4 Whistler 1984, 323; Whistler 1998, 72-73. Steffi Roettgen (Venice: Marsilio, 2001), 5 Whistler 1984, 108, 159-62; Whistler 1986, 70-85. 199-201. 10 For the critical response to the sketches, 6 For Tiepolo's final fresco commission, see Whistler 1984, 52. see Whistler I985a. For another case study THE CHURCH OF SAN PASCUAL BAYLON 63

9 Saint Pascal Baylon s Vision of the Eucharist 1767 Oil on canvas 63.7 x 38.9 cm (25/8 x 15 Y in.) 4 The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 454 PROVENANCE EXHIBITIONS 20-21; Gaya Nuno 1964, 94, fig. 112; Probably retained by Giambattista Venice 1951, no. 98; London 1954-55, Piovene and Pallucchini 1968, 134-35, Tiepolo in his studio; upon his death, no. 500; London 1960, no. 412. fig. 299a; Rizzi 1971, 1:143, 152, fig. 87; probably by inheritance to his son, Seilern I97ia, 57-58; Knox 1980, 1:328; Levey 1980, 236; Braham 1981, 76—77, Giandomenico Tiepolo; probably sold BIBLIOGRAPHY fig. in; Whistler 1984, 303-4, 323-57; to Francisco Bayeu, Madrid, 1770-95; Mayer 1935, 300 (illus.); Coletti 1936, Whistler 1985^ 323; Levey 1986, upon his death, held in trust by the 170-71 (illus.); Fiocco 1942, 8, fig. 4; 272-74, 277; Bradford and Braham estate; sold to Leonardo Chopinot, Morassi 1943, 38, fig. 126; Sanchez 1989, 25; Farr, Bradford, and Braham Madrid, 1795-1800; by inheritance to Canton 1949, 632; Morassi 1950, 206; 1990, 70-71; Brown 1993, 40, 318-21, his wife, 1800; Hulot collection, Lorenzetti 1951, 130-31, fig. 98; fig. 59; Gemin and Pedrocco 1993, 1800; sold, Galerie Georges Petit, Paris, Pallucchini 1951, 382; Pignatti 1951, 308-9, fig. 281.i.a; Whistler 1998, May 10, 1892, lot 141; private collection, 147, 150-51, fig. 112; Vigni 1951, fig. 124; 71, 74, 78, fig. 8; Pedrocco 2002, 491, Brazil; sold, Milan, 1937, to Count Saltillo 1952, 76; Sanchez Canton 1953, fig. 5i9a. Antoine Seilern, London; by bequest 19, 24, fig. 17; Morassi I955a, 37, to the Home House Trustees for the fig. 63; Seilern 1959, 162, pi. CXXXV; Courtauld Institute of Art, University Crivellato 1960, 79; Levey I96oa, of London, 1978. 123; Crivellato 1962, 89; Morassi 1962, P ASCAL BAYLON (1540-1592) is AN IMPOR- newly constructed church in Aranjuez.1 In con- ptant Spanish saint associated with the trast to this imposing backdrop, a humble Alcantarine order as well as the titular saint of wooden fence extends across the canvas, sepa- the church in Aranjuez. Born in poverty and rating the cleric from the edifice, and a hoe receiving only a rudimentary education, Baylon and sack lie in the foreground. These details spent his youth as a shepherd, devoted to soli- mark the saint's famous humility and rejection of tude and contemplation as well as acts of charity. priestly activities. At the same time the saint's As a young man he developed a powerful devo- prayer in the church garden creates an unmistak- tion to the Eucharist and experienced regular able parallel with Christ's agony in the Garden ecstatic visions. In 1564 he joined the Alcan- of Gethsemane. tarines, a rigorous reform movement within the The color scheme further valorizes Baylon's Franciscan order, but he insisted on retaining humility by accentuating the sharp contrast his highly personal form of extreme humility, between his asceticism and his vision of splendor. remaining a shepherd and associating with the The saint's monochrome garment and the drab, laity rather than the priests of his order. arid garden are juxtaposed with the bright, In Tiepolo's sketch, Pascal Baylon, in black flickering whites of the angel's wings and silken Alcantarine robes, kneels before a vision of the robe. The angel's vestment—a highly saturated Eucharist. He gazes upward at an angel, who yellow humeral cloth, lined in rose — provides descends with a cluster of cherubim and holds the coloristic focal point of the painting. the Host in a sumptuous gilt monstrance. Tiepolo attended to the finish of this work Behind the saint stands a monumental portico more than he did to the other sketches for that resembles the Roman baroque facade of the Aranjuez, such as Saint Francis ofAssisi Receiving 64

CAT. NO. 9 65

the Stigmata or Saint Charles Borromeo Meditating on the angel's head and spine, and he abandoned the Crucifix (cat. nos. 11—12). Even so, he executed the humeral veil, baring the angel's right arm and the painting with his customary economy of means, using a more complex pattern of folds, colors, applying a second layer of reddish brown ground and shadows in the garments. The angel also over the putty undercoat, and then using this now holds a cloth around the base of the chalice. warm tone for the shadows in the flesh tones. He These relatively minor alterations transform the also sketched extensively in brown pigment, de- tone of the work considerably, moving from fining the architecture, for example, with ragged the more intimate relationship of the figures in painted lines. Although he applied paint rather the sketch to the grander experience of the thickly in passages, Tiepolo still used only one or finished work. This shift, as the Palazzo Sandi two strata, laid in wet-on-wet, to create form sketch also demonstrates (cat. no. i), remains and shadow. For additional depth and complexity in keeping with Tiepolo's practice of heightening he used layers of glazes, especially on the humeral the formality in his public compositions from veil and the faces, particularly that of the angel. his initial, personal oil sketches and drawings. The two extant fragments in the Prado While Tiepolo may have altered the humeral (figs. 9.1—2), and a print by his son Giandomenico cloth for compositional reasons (to add more (fig. 9.3), reveal small changes to the saint in the variety to the figure), the shift may also owe a final composition. His pose is now more erect, 2 debt to ecclesiastical demands. The angel bearing and Tiepolo used shadows to ground the saint the Eucharist with a humeral cloth implies the more convincingly. Tiepolo also moved the hoe sacrament of communion, an unorthodox repre- closer to Pascal Baylon and transformed the sentation (and one not specifically described in amorphous sack into a basket to accentuate his sources recounting Pascal Baylon's visions). pastoral vocation. The angel underwent more Clerical interventions of this type took place significant revisions, first worked out in a drawing regularly in Spain (for example, the rejection of now in the Courtauld (fig. 9.4). The artist aligned the Saint James ofCompostella altarpiece for the FIGURE 9.1 Giambattista Tiepolo. Fragment of Saint FIGURE 9.2 Giambattista Tiepolo. Fragment of Saint Pascal Pascal Baylon's Vision of the Eucharist, 1767-69. Oil Baylons Vision of the Eucharist, 1767-69. Oil on canvas. Madrid, on canvas. Madrid, Museo Nacional del Prado. All rights Museo Nacional del Prado. All rights reserved © Museo Nacional reserved © Museo Nacional del Prado, Madrid. del Prado, Madrid. 66

FIGURE 9.3 Giandomenico Tiepolo FIGURE 9.4 Giambattista Tiepolo. Study for Saint Pascal (Italian, 1727-1804), after Giambattista Baylon's Vision of the Eucharist, 1767—69. Red and white chalk. Tiepolo. Saint Pascal Baylon's Vision of The Samuel Courtauld Trust at the Courtauld Institute the Eucharist, ca. 1770. Engraving. Venice, Gallery, Courtauld Institute of Art, London. Museo Correr. Spanish Embassy in London), opening up the the setting, aspects particularly important for possibility of such an imposed change.3 paintings designed for a king who had recently A comparison with Saint Luigi Gonzaga in expelled the Jesuit order, aimed to downplay Glory (cat. no. 3), an early work that also depicts mysticism, and imposed Enlightenment values on a private vision of the Eucharist, demonstrates the Church. While Tiepolo filtered these ideas the immense evolution that Tiepolo's handling through his unique personal language, the paint- and treatment of anatomy underwent over ings demonstrate his awareness of the new four decades. It also reveals the particular icono- mode of religious painting fostered especially by graphic and spiritual demands of the Aranjuez Mengs and reveal Tiepolo's inventive approach commission. From the disembodied vision, flick- to new patronal demands, even at the end of his ering brushwork, hyperrefined and elongated long career. & bodies, and unexpected color contrasts of the early sketch, Tiepolo moved to a reified vision, a NOTE s restrained and monumental composition, and a unified palette with quieter brushwork. While 1 Whistler 1985^ 321-33. this nobility and restraint speak to the formal 2 A suggestion first made by Michael Levey (1960, 123). Keith Christensen (1996, 24711.3) correctly notes that changes across the artist's long career, Saint Pascal the substitute altarpiece by Mengs shows the angel with Baylons Vision of the Eucharist also shows the painter the monstrance in a humeral veil (see fig. K, p. 62). The explicitly responding to the severity associated possibility exists, however, that the ecclesiastical demands with Alcantarine commisions and the eighteenth- might have been handed out unevenly especially given century Catholic reforms of that were supported the general dissatisfaction that met Tiepolo's final altar- pieces. Moreover, the humeral veil has a far greater by his royal patron. Tiepolo presents the vision prominence in Tiepolo's sketch. of the Host as a concrete event and emphasizes 3 Entry by Catherine Whistler in Christiansen 1996, 231. SAINT PASCAL BAYLON S VISION OF THE EUCHARIST 67

io The Immaculate Conception 1767 Oil on canvas 63.7 x 38.9 cm (25/8 x 15% in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 451 PROVENANCE Fitzgerald. 1923-1967, twelfth baron Piovene and Pallucchini 1968, 134-3$, Probably retained by Giambattista Kinnaird; sold to Count Antoine fig. 299b; Seilern 1969, 29, pi. XXII; Tiepolo in his studio; upon his death, Seilern (1901-1978), London, 1967; by Rizzi 1971, 1:143, I50> figs- 8$-86; probably by inheritance to his son, bequest to the Home House Trustees Knox 1980, 1:328; Braham 1981, 77, Giandomenico Tiepolo (1727-1804); for the Courtauld Institute of Art, fig. 112, pi. XIV; Levey 1986, 273-76, probably sold to Francisco Bayeu University of London, 1978. 279, fig. 229; Farr 1987, 64-6$; (1734-179$), Madrid, 1770-9$; upon Bradford and Braham 1989, 2$; Helston his death, held in trust by the estate; EXHIBITIONS 1989, $8-$9, fig. 12; Farr, Bradford, and sold to Leonardo Chopinot, Madrid, London i9$4-$$, no. 498; London Braham 1990, 68, 70 (illus.); Gemin i795—i8oo; by inheritance to his wife, 1963—64, no. $; London 1989, no. 12. and Pedrocco 1993, 492, fig. $2oa; 1800; George William Fox, ninth Christiansen 1996, 242, 244, 246—47, baron Kinnaird, Rossie Priory, Perth- BIBLIOGRAPHY fig. 4oa; Giambattista Tiepolo 1998, shire, by 1826-78; by inheritance to 117, 241, fig. 123; Whistler 1998, his grandson, Arthur Fitzgerald, Sack 1910, 226; Saltillo 1952, 76; Knox 71, 76-77, 84, fig. 14; Pedrocco 2002, 1878-1923, eleventh baron Kinnaird; 1955, 37-39, %• 12; Morassi I9$$a, 308-9, fig. 281.2.a; Derstein 200$. by inheritance to his son, Kenneth 37; Morassi I9$$b, n, fig. i; Watson 2 19$$, 262-63, fig- 96; Morassi 1962, 19; sTANDING ON A GLOBE AND A CRESCENT The handling of this work is immensely moon with a serpent squirming underfoot, sophisticated; it is largely painted in summary the Virgin Mary rises heavenward in a glowing, daubs of opaque pigment, with dark lines of yellowish ocher sky accompanied by a swarm paint defining the elaborate folds of the Virgin's of angels, putti, and cherubim. The only female complex drapery Tiepolo applied passages of protagonist in Tiepolo's series of altarpieces delicate glazes, especially in the lower half of in the church at Aranjuez, the Virgin also stands the sketch, such as in the rose cloth surrounding apart from the other saints because of her the putto at lower left. The lapis glaze of imposing monumentality and emotional distance. cherub's wings at right is an especially luxurious While the other works for San Pascual Baylon touch, speaking to the level of refinement of present ardent interactions between the saints these presentation modelli. and their visions or objects of prayer, this canvas Tiepolo brought a touching humanity to the offers an image of overwhelming grandeur. The historical figures depicted in the other paintings compositions of the other paintings unfold in the church, but for The Immaculate Conception along diagonals; in this one, the Virgin ascends he sought to represent, by contrast, an abstract in a commanding vertical and is the only figure theological idea, and for that reason the Virgin in the series to dominate the upper half of appears as an iconic, commanding figure. The the canvas. Without lowering her chin, she gazes Immaculate Conception—the belief that the grandly downward at the worshiper, and her Virgin Mary was born free of Original Sin — erect stance, abstracted pose with hands clasped would not become fully accepted Catholic in prayer, and blue mantle billowing outward dogma until 1854. But the Immaculate Conception create an image of stately, serene authority. had begun to be incorporated into Christian 68

CAT. NO. 10 69

FIGURE io.i Giambattista Tiepolo. The Immaculate Conception, 1767-69. Oil on canvas. Madrid, Museo Nacional del Prado. All rights reserved © Museo Nacional del Prado, Madrid. liturgy as early as 1128 and made important The imagery of the Immaculate Conception inroads in the sixteenth and seventeenth cen- coalesced in the sixteenth century, and Spanish turies, although it remained highly controversial, artists established its definitive iconography dur- even in the eighteenth century Its prominent ing the early seventeenth century This repre- presence in Aranjuez stemmed from the special sentation merged the early tradition of depicting vigor with which the Franciscan order advocated Mary among symbols of immaculacy with the the Immaculate Conception, as well as the Virgin of the Apocalypse, and Tiepolo drew on dogma's massive popularity in Spain, particularly this conjoined typology for the Aranjuez altar- among its monarchs, including Charles III.1 piece. Symbols of immaculacy—many drawn 70

from the Song of Songs — surround the Virgin. The rose and flawless mirror signify purity; the palm symbolizes victory; and the obelisk drawn in white at left recalls the comparison of the Virgin's neck to the tower of David, impregnable 2 and pure. The crown of stars, crescent moon, and serpent all derive from Revelation 12, which describes the Woman of the Apocalypse who triumphs over the original sin of Eve (the serpent carries an apple in its mouth) to become the pure vessel of Christ. In the altarpiece Tiepolo further heightened the abstract majesty of the figure (fig. 10.1). He increased the relative proportion of the Virgin to the overall picture plane and brought Mary closer to the top of the canvas by reducing the space between the dove and the Virgin's crowned head. Tiepolo also expanded the Virgin's cloak outward, surrounding her with more shadows and thereby increasing the monumentality of the overall composition. In the final painting Tiepolo eliminated the strapping angel, who raised Mary up in the sketch, in order to empha- size the Virgin's agency in her ascent. The flashing, nervous brushwork of the sketch gives way to the more even handling of the altarpiece, and the contrast between the brightly glazed passages and the earth tones moves to a more modulated overall palette. FIGURE 10.2 Giambattista Tiepolo. The Immaculate Tiepolo no doubt knew of precedents for Conception, ca. 1732-34. Oil on canvas. Amiens, France, Musee the iconography in Spain—such as the promi- de Picardie. Photo: Marc Jeanneteau. nent examples by Guido Reni (now in the Metropolitan Museum of Art) and Bartolome Esteban Murillo (now in the Prado)—which depicted a delicate and beautiful young girl. He NOTE S had represented the Virgin long before his 1 For the iconography of the Immaculate Conception, the arrival in Spain, both as a figure incorporated key source remains Mirella Levi dAncona, The into larger compositions (cat. no. 8) and as Iconography of the Immaculate Conception in the Middle Ages an independent subject, with versions in Amiens and Early Renaissance, Monographs on Archaeology and 3 Fine Arts, 7 (New York: College Art Association (fig. 10.2), Vicenza, Dublin, Udine, and Detroit. of America in conjunction with the Art Bulletin, 1957). The stately, placid Virgin had considerable For the Immaculate Conception in Spain, see especially precedent in Tiepolo's oeuvre (see cat. no. 2 for Suzanne L. Stratton, The Immaculate Conception in Spanish a related type, the Madonna of the Rosary). Art (Cambridge: Cambridge University Press, 1994). However, in both the Courtauld sketch and the 2 The reference to the Tower of David comes specifically Prado altarpiece, Tiepolo transformed these from Song of Songs 4:4: "Your neck is like the tower prior representations into a totem of strength of David, built for an arsenal, whereon hang a thousand bucklers, all of them shields of warriors" (RSV). and orthodoxy. 3 For these works, see Pedrocco 2002, 234, 301, 314. THE IMMACULATE CONCEPTION 71

ii Saint Francis of Assist Receiving the Stigmata 1767 Oil on canvas 3 63.5 x 28.9 cm (25 x ii /s in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 455 PROVENANCE Seilern (1901-1978), London, 1937; by 19-20, fig. 24; Morassi I955a, 37, Probably retained by Giambattista bequest to the Home House Trustees pi. 91; Seilern 1959, 163, pi. CXXXVI; Tiepolo in his studio; upon his death, for the Courtauld Institute of Art, Crivellato 1960, 79; Morassi 1962, probably by inheritance to his son, University of London, 1978. 20, 22; Gaya Nufio 1964, 94, fig. ill; Giandomenico Tiepolo (1727-1804); Piovene and Pallucchini 1968, 134-35, probably sold to Francisco Bayeu EXHIBITIONS fig. 299c; Rizzi 1971, 1:143, 152, fig. 89; (1734-1795), Madrid, 1770-95; upon Venice 1951, no. 99; London 1954-55, Seilern I97ia, 57—58; Knox 1980, 1:328; his death, held in trust by the estate; no. 507; London 1960, no. 419; London Braham 1981, 75, 78, fig. 113; Whistler sold to Leonardo Chopinot, Madrid, 1989, no. 13. I985b, 323; Levey 1986, 272-74, 276, 1795-1800; by inheritance to his wife, 279, fig. 232; Bradford and Braham 1800; Anatole-Auguste Hulot BIBLIOGRAPHY 1989, 25; Helston 1989, 60-61, fig. 13; (1811-1891), Paris; upon his death, Brown 1993, 41, 319, fig. 12; Gemin probably held in trust by the estate; Mayer 1935, 300 (illus.); Coletti 1936, and Pedrocco 1993, 492, fig. 52ia; sold, Galerie Georges Petit, Paris, 370-71 (illus.); Fiocco 1942, 8, fig. 3; Christiansen 1996, 196-97, 248-49, 253, May 10, 1892, lot 141; private collection, Morassi 1943, 38, fig. 127; Sanchez fig. 4ia; Whistler 1998, 71, 74-75, Brazil, by 1935; private collection, Canton 1949, 633; Lorenzetti 1951, 77, 79, fig. 77; Pedrocco 2002, 308-9, Milan, by 1936; sold to Count Antoine 131-32, fig. 99; Vigni 1951, fig. 125; fig. 281.3.a. Saltillo 1952, 76; Sanchez Canton 1953, IT IS NO SURPRISE THAT AN ALTARPIECE attends him. Francis instead looks upon a depicting the founding saint of the makeshift crucifix, no more than a slender stick, Franciscan order would play a prominent part leaning away from him and out of the picture in the Alcantarine, or Discalced Franciscan, frame. As his companion Leo kneels in prayer at program at Aranjuez. For this work Tiepolo the foot of the cross, the saint weakly holds out drew upon the most common representation of his hands while an eight-winged cherub emits Francis of Assisi, with myriad precedents in thin bands of light (now rather abraded) that the history of art: the moment when he received reach down to Francis to create the imprints of the stigmata in 1224 on La Verna in Tuscany. Christ's Passion on his body. Tiepolo himself had painted the subject In the final painting (fig. 11.2) Tiepolo early in his career, but this work—known clarified the composition considerably, abandon- only from a print (fig. n.i) —presented a highly ing the figure of Saint Leo and the makeshift energized figure, thrust backward into the cross to concentrate on the central relationship viewer's space by the explosive event. In sharp of saint, angel, and cherub. In closer alliance contrast, Tiepolo adopted a profoundly intro- with the textual sources, the sacred event now spective approach for his touching interpretation takes place just before dawn rather than at day- of the subject for Aranjuez. break; the deep blues of the background stand In the sketch, Francis of Assisi (1181-1226) apart from the other, brightly lit altarpieces for reclines on a straw mat draped over a boulder. Aranjuez. As a result the cherub gains in bright- His eyes, barely open, register little awareness ness, and this light focuses more intensely of the half-nude angel with gleaming white on Francis and the angel, clarifying their forms, wings and a flowing saffron robe who gracefully emphasizing the lithe musculature of the angel, 72

CAT. NO. II 73

moving encounter of angel and saint. The sketch sharply contrasts the tautness of the angel's body, as well as its bright fabrics and rosy flesh (for this detail, Tiepolo skillfully exploits the pinkish ground layer), to the limp body, grayish pallor, patched chocolate brown cope, and semiconscious state of Saint Francis. In the final work Tiepolo retained this powerful distinction but altered the position of Francis so that he now gazes directly at the cherub and consciously receives the stigmata. Tiepolo worked up this alteration in a red and white chalk drawing, in which he considered the idea of posing the saint 1 with his arms raised higher and opened wider. This change in the position of Francis from the oil sketch to the final work reveals Tiepolo's great sensitivity to contemporary religious con- cerns. Ecclesiastical reformers in the eighteenth century increasingly looked upon mysticism with suspicion. While Franciscans remained more open to visionary spirituality2 the Enlightenment-rooted reforms embraced by Charles III aimed to rein in the most extreme mystical aspects of Catholicism. Thus the restraint of Tiepolo's altarpieces for Aranjuez FIGURE II.I Pietro Monaco (Italian, 1710-after 1775), not only expresses the austerity of the Alcantarine after Giambattista Tiepolo. Saint Francis of Assist Receiving the order but also articulates the specific demands Stigmata, ca. 1735-39. Engraving. London, The British of Spanish Catholic reform that the San Pascual Museum, 1865-5-20-703. Baylon series was meant to exemplify. Tiepolo's revisions present the saint's experience as more active, moving from the swooning trance of and elegantly reducing the play of folds and the sketch to direct physical and mental contact shadows that add such delicacy and liveliness to 3 with the cherubic vision in the final altarpiece. the sketch. Tiepolo also pulls the shadowed He emphasized the parallel between Saint clump of trees at right—one of the most inven- Francis and Christ by increasing the size and tive details of the Courtauld painting—beyond redness of the wound in the saint's side; he the top of the canvas to anchor the composition also changed the saint's facial expression from more solidly. The artist, in other words, sought one of pure suffering to one that more clearly a significantly more monumental effect in the conveys the passionate love of Christ so final altarpiece, playing down the more capricious central to the traditional narrative of Francis details of the sketch and pulling the figures 4 of Assisi receiving the stigmata. & closer to the picture plane while increasing their proportions vis-a-vis the open sky above. By placing the mat on the ground and emphasizing NOTES the skull, Bible, and walking stick, Tiepolo brought the familiar attributes of the saint more 1 Knox 1980, 1:194, 2:pi. 60. into play in the final work, creating a grander, 2 This idea needs to be explored in more depth with more traditional image. regard to Tiepolo's altarpieces. For example, during the Like Saint Pascal Baylon's Vision of the Eucharist eighteenth century, Spanish Franciscans were aggressively promoting the seventeenth-century mystic Sor Maria de (cat. no. 9), Saint Francis gains its power from the Jesus de Agreda (Maria Fernandez Coronel; 1602-1665), 74

FIGURE 11.2 Giambattista Tiepolo. Saint Francis of Assisi Receiving the Stigmata, 1767-69. Oil on canvas. Madrid, Museo Nacional del Prado. All rights reserved © Museo Nacional del Prado, Madrid. whom the papacy under Benedict XIV Lambertini altars were probably in tune with the order's spiritual (r. 1740-58) vigorously opposed because of her perceived attitudes, if not with those of the king himself. mystical excess (on these debates, see Rosa 1999, 47-68). 3 For the representation of Francis of Assisi from the late That Joaqum de Eleta, the Alcantarine in charge of the sixteenth century on, see Pamela Askew, "The Angelic Aranjuez commission, was a great supporter of Maria de Consolation of St. Francis of Assisi in Post-Tridentine Jesus de Agreda's cause (Whistler 1998, 81, 8511.39) indi- Italian Painting" Journal of the Warburg and Courtauld cates that the emotive, visionary subjects of Tiepolo's Institutes 32 (1969): 280-306. 4 Entry by Catherine Whistler in Christiansen 1996, 196. SAINT FRANCIS OF ASSISI RECEIVING THE STIGMATA 75

12 Saint Charles Borromeo Meditating on the Crucifix 1767 Oil on canvas 63.4 x 38.3 cm (24% x 15 in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 452 PROVENANCE EXHIBITIONS 323-57; Whistler 1985!), 323, 325, Probably retained by Giambattista Venice 1951, no. 100; London, 1954-55, 327n.38; Levey 1986, 272-77, 279, 282, Tiepolo in his studio; upon his death, no. 508; London 1960, no. 417. 295n.22; Bradford and Braham 1989, 25; probably by inheritance to his son, Barcham 1992, 122-23, fig- 39; Brown 1993, 4O, 318-21, fig. 60; Gemin and Giandomenico Tiepolo (1727-1804); BIBLIOGRAPHY Pedrocco 1993, 495, fig. 527a; Spike probably sold to Francisco Bayeu Mayer 1935, 300 (illus.); Coletti 1936, 1993, 82, 84-85, fig. 30; Christiansen (1734-179$), Madrid, 1770-95; upon 170-71; Morassi 1950, 206, 209, fig. i; 1996, 242; Marini 1998, 1:102, 2:44, his death, held in trust by the estate; Dazzi 1951, 184; Lorenzetti 1951, 131, fig. 8; Whistler 1998, 71, 73-75, fig. 4; sold to Leonardo Chopinot, Madrid, 133, fig. 100; Saltillo 1952, 76; Venice Pedrocco 2002, 208-10, fig. 281.7.3.. 1795-1800; by inheritance to his wife, 1952, no. 72; Sanchez Canton 1953, 1800; private collection, Brazil, in 1935; 19-21, fig. 26; Morassi I955a, 37, fig. 6r, London dealer, 1948; sold to Count Seilern 1959, 165, pi. CXXXVII; Antoine Seilern (1901-1978), London, Crivellato 1960, 79; Crivellato 1962, 89; 1949; by bequest to the Home House Morassi 1962, 9, 20; Gaya Nuno 1964, Trustees for the Courtauld Institute of 93, fig. 109; Piovene and Pallucchini Art, University of London, 1978. 1968, 134-3$, fig- 299g; Rizzi 1971, i:i43, 154, fig- 90; Knox 1980, 1:328; Braham 1981, 80, fig. 115; Whistler 1984, 303-4, AN ANGEL HOVERING AT UPPER RIGHT in lay education and in consolidating the power pulls back a rust orange curtain to of the parish. He also served as cardinal protector reveal Saint Charles Borromeo kneeling before of the Franciscan order, and for this reason— an altar. Deep in meditation, the saint has along with the fact that he shared the name of crossed his arms in prayer and gazes intently on the king—he appears in this Alcantarine altar- a wooden or ivory crucifix. This large object piece. Yet the saint's crosier, miter, and cope leans against the altar, energizing the work with have been discarded at right, deemphasizing his its powerful diagonal. A monumental Veronesian identity as a reformer and public leader. Instead, structure irradiated in daylight—by far the most Tiepolo presents him in the midst of a deeply splendid setting for all the Aranjuez paintings— personal meditation, and in this way he joins rises behind the saint. The low vantage point the company of the other saints depicted by the accentuates the grandeur of the backdrop: two artist at Aranjuez (cat. nos. 9 and n). colossal white columns anchor the composition Tiepolo took great care to align this compo- at right, and a monumental arch of tan stone sition with the other canvases for San Pascual opens at left to a white marble balustrade in the Baylon. In particular, the architectural setting of distance. this altarpiece relates closely to that of Saint Archbishop of Milan and founder of the Pascal Baylon's Vision of the Eucharist (cat. no. 9), Oratorians, Charles Borromeo (1534—1584) was and the two works were clearly meant to be one of the great Counter-Reformation figures. understood in tandem, divided into a system of He played an important role at the Council of 1 structural opposites. Tiepolo juxtaposed the Trent and spearheaded key reforms, particularly Lombard's noble origins and civic status with 76

CAT. NO. 12 77

the Spanish saint's humility; he contrasted the magnificence, coloristic richness (note how Borromeo's rich fabric compares to his mono- chrome crucifix), indoor setting, and meditative contemplation of Charles Borromeo with the plainness, humble convent garden, and ecstatic spirituality of Pascal Baylon. While Tiepolo summarily blocked in the ancillary details (the architecture has simply been scratched into the surface), he paid considerable attention to the color scheme, especially the symphony of reds, with subtle gradations uniting the pinks and crimsons of Charles Borromeo's garments with the altar cloth, the carpet covering the stairs, the seat cover at right, and the dusty rose fabric swirling around the angel. For the saint himself, Tiepolo sought such a saturated intensity that visible particles of pigment appear FIGURE 12.1 Giambattista Tiepolo. Study for Saint Charles in the surplice. Borromeo Meditating on the Crucifix, ca. 1769. Black chalk Two preparatory drawings exist, including with white gouache on paper. Vienna, Graphische Sammlung Albertina (32968). a red chalk drawing for the cherubim at lower 2 left and a black chalk study of the saint's gar- ments (fig. 12.i). The latter sheet depicts Charles Borromeo kneeling upright, with his proper right This work was the only one in the series by arm and shoulder raised higher than in the pres- Tiepolo never to be mounted in San Pascual ent work. A prominent pentimento—including Baylon. Between the time of Tiepolo's commis- a double halo — appears behind the cleric's head sion for the full-scale altarpiece and the mounting and left shoulder in the painting, and X rays of the pictures, the chapel received a new reveal that the saint originally held his left hand dedication to the Crucifixion, and a crucifix over the crucifix. These details—rare instances went up in the painting's place. When Maella of Tiepolo altering a painted sketch—indicate and Bayeu executed the altarpieces in the that he revised the composition directly on the mid-i77os, to replace those by Tiepolo, no com- canvas. The Albertina drawing (fig. 12.1) likely mission came for a new version of the subject. served as an intermediate stage in that process. The rejection may have come, not from Tiepolo's In reworking the oil sketch the artist made fur- interpretation, but from religious politics ther changes, ultimately leaning the saint slightly in late eighteenth-century Spain that rendered forward and sinking his arm behind the crucifix, Charles Borromeo a particularly controversial alterations that forge an even greater sense of figure. The saint had consistently been celebrated intimacy between the saint and the object of his as a reformer from the late sixteenth century veneration. forward, and he grew increasingly popular Only one fragment of the altarpiece itself among Jansenist sympathizers in the eighteenth survives, a large section depicting the saint's century, who saw Borromeo as a precursor of the head and torso and the crucifix (fig. 12.2). The austere, parish-based, decentralizing reforms flatness of this work (which may also derive they advocated. A key Spanish Jansenist, Bishop from an aggressive relining), as well as the finicky Jose Climent, had particularly identified himself handling of the lace and facial features (a candle with Charles Borromeo, even as he clashed is also introduced, which interrupts the intense with Spanish authorities in the 17605. For these gaze that connects the saint and the crucifix), reasons the subject may have become too con- suggests significant contributions by Tiepolo's troversial for the king's first major ecclesiastical studio to the final painting. commission.3 78

FIGURE 12.2 Giambattista Tiepolo. Fragment of Saint Charles Borromeo Meditating on the Crucifix, 1767- 69. Oil on canvas. Cincinnati Art Museum, John J. Emery Fund, 1924.178. NOTE S 1 Brown 1993, 320-21. since the idea of royal circles rejecting Borromeo 2 Knox 1980, 1:193; George Knox, "Tiepolo Drawings as the subject for an altarpiece is seriously called into from the Saint-Saphorin Collection," in Atti del Congresso question by the dedication of the hospital across the internazionale di Studi sul Tiepolo con un'appendice sulla street from San Pascual Baylon to Charles Borromeo Mostra (Udine: Electa, 1970), 62, fig. 10. in the 17705. 3 Whistler 1985^ 32$. Charles Borromeo's role in Spain under Charles III merits more investigation, especially SAINT CHARLES BORROMEO MEDITATING ON THE CRUCIFIX 79

I3A Saint Joseph with the Christ Child 1767 Oil on canvas 63.2 x 33.6 cm (24% x 13Y in.) 4 The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art, London; inv. 453 PROVENANCE EXHIBITIONS fig. 114; Levey 1986, 273-74, 276-77, Probably retained by Giambattista Venice 1951, no. 101; London 1954-55, 279, fig. 230; Barcham 1989, 229; Tiepolo in his studio; upon his death, no. 501; London 1960, no. 414. Bradford and Braham 1989, 25; Brown probably by inheritance to his son, 1993, 319, fig- 154; Gemin and Pedrocco Giandomenico Tiepolo (1727-1804); BIBLIOGRAPHY J993; 49O, 494, fig. 524a; Whistler 1998, probably sold to Francisco Bayeu 71. 77> 79> 81, fig. 12; Pedrocco 2002, (1734-1795), Madrid, 1770-95; by Morassi 1950, 206-8, fig. 12; Saltillo 308-10, fig. 281.6.a; Derstein 2005. inheritance to his wife, 1800; possibly 1952, 76; Sanchez Canton 1953, private collection, South America, 19-20, fig. 22; Knox 1955, 37, 39, fig. li; nineteenth century; sold to Count Seilern 1959, 164, pi. CXXXVIII; Antoine Seilern (1901-1978), London, Crivellato 1960, 79; Morassi 1962, 1949; by bequest to the Home House 20; Gaya Nufio 1964, 92-93, fig. 107; Trustees for the Courtauld Institute of Piovene and Pallucchini 1968, 134-35, Art, University of London, 1978. fig. 299f; Knox 1970, no. 97; Rizzi 1971, 1:143, 152, fig. 88; Seilern I97ia, 57-58; 2 Knox 1980, 1:194, 3 8; Braham 1981, 79, 13 B Two Heads of Angels ("Fragment of Saint.Joseph with the Christ Child) 1768-69 Oil on canvas 5 51.4 x 42.4 cm (20% x i6 /s in.) The Samuel Courtauld Trust at the Courtauld Institute Gallery, Courtauld Institute of Art; London; inv. 343 PROVENANCE Count Antoine Seilern (1901-1978), BIBLIOGRAPHY Church of San Pascual Baylon, London, 1959; by bequest to the Home Morassi 1962, 22, 31, 35, fig. 199 Aranjuez, Spain, 1770—75; transferred House Trustees for the Courtauld (as A Cherub with Lilies and Two Heads of to the Convent of San Pascual Baylon, Institute of Art, University of London, Cherubim); Piovene and Pallucchini Aranjuez, Spain, 1775-1827; Eugenic 1978. 1968, 134-35, fig. 299f (with Prado Lucas, Madrid; Rafael Garcia Palencia, and Courtauld fragments combined); Madrid; Thomas Harris, Esq., London, EXHIBITIONS Seilern 1969, 30-32, pi. XXIII; Seilern 1928-29; F. Rothmann, Berlin; Caspari, None. 19713., 67; Knox 1980, 1:328; Braham Munich, until 1930; M. de Frey Paris 1981, 81, fig. 116; Bradford and Braham (who divided the fragment into two 1989, 25; Gemin and Pedrocco 1993, parts); sold, June 1933, Charpentier, 49O, 494, fig. 526; Christiansen 1996, Paris, no. 36; Mr. and Mrs. Heinemann, 242; Pedrocco 2002, 308-10, fig. New York; French & Co., New York; 281.6.3; Derstein 2005. A. and C. Canessa, Rome; sold to 80

CAT. NO. I3A 81

CAT. NO. I3B 82

AINT JOSEPH AND THE CHRIST CHILD Three fragments remain from the altarpiece, ssit atop a white cloud in a verdant land- revealing the significant changes from the scape before a radiant blue sky. Firs and an sketch. The largest, in the Detroit Institute of encroaching cloud close off the composition on Arts, depicts Joseph with the Christ Child (fig. the right, while mountains appear far in the 13.1). A second fragment, taken from the upper distance at lower left. Instruments of Joseph's reaches of the canvas, was separated into two profession as carpenter, including a saw and a 1 parts in the early 1930s. The left half of this plank of wood, lie prominently in the fore- fragment, depicting a putto carrying a garland of ground, calling attention to Joseph's role as a flowers, now survives in the Prado (fig. 13.2), craftsman and maker. Clad in a dark-buttoned while Antoine Seilern purchased the right half cloak, Joseph holds his attribute, a flowering in 1959—the only instance in the Courtauld staff, upright, while supporting his son with the collection in which a sketch and finished compo- other arm. Seated on a bright yellow cloth, sition can be compared. In addition, a squared Christ leans on a book and turns his shoulder drawing also survives (fig. 13.3), perhaps executed squarely to the picture plane, gazing out sweetly in preparation for a print either lost or never at the beholder. Meanwhile, Saint Joseph looks 2 executed. down on his child with a sense of foreboding, All these works indicate that Tiepolo revised aware of his son's fate, as two putti rush in to the treatment of Saint Joseph with the Christ crown the saint with a garland of white flowers. Child far more radically than any of the other FIGURE 13.1 Giambattista Tiepolo. Fragment of Saint Josep h with the Christ Child, 1767-69. Oil on canvas. Detroit Institute of Arts, 44.213. Copyright © Detroit Institute of Arts. SAINT JOSEPH WITH THE CHRIST CHILD 83

FIGURE 13.2 Giambattista Tiepolo. Fragment of Saint Joseph with the Christ Child, 1767-69. Oil on canvas. Madrid, Museo National del Prado. All rights reserved © Museo Nacional del Prado, Madrid. paintings for San Pascual Baylon, transforming Carmelites, and Franciscans, and the founder the sketch from the hieratic, almost iconic image of the Alcantarines, Peter of Alcantara, wrote into a tender and intimate composition—an extensively on the saint, which explains his pres- unusual reversal of Tiepolo's customary progres- ence among the altarpieces of Aranjuez. Spanish sion from more intimate sketches to more formal artists—heavily influenced by the descriptions final works. In the altarpiece, Joseph, now signi- of Joseph in Jeronimo Gracian's Sumario de las ficantly older, holds the Christ Child in both excelencias del glorioso San Jose (1597) and Teresa of arms, gently touching his infant's body. Instead of Avila's Libro de su vida (1611)—began to represent holding his shoulders square to the picture plane, the saint consistently as a young, vigorous figure. Joseph torques inward, his stance emphasized In the seventeenth century, Spanish clerics by the staff that leans diagonally against his torso. increasingly called for this type of representation, Father and son look affectionately at one another, and guidelines from the Inquisition insisted on 4 a loving parent-child relationship supplanting the youthful Joseph as late as the 1750s. Tiepolo's the grand, emotionally distant presentation origi- sketch draws explicitly from this Spanish 3 tradition, showing the saint with a full head of nally conceived by Tiepolo. He also considerably altered the landscape, making the cityscape dark hair, a broad chest, and muscular forearms, much more prominent at left and emphasizing the virile protector of Christ on earth. the basket, a reference to the Flight into Egypt By contrast, the altarpiece stresses the and Joseph's role as protector of the Holy Family. affective bonds between Joseph and Christ. The While the cult of Joseph grew considerably saint now appears as a significantly older, during the Counter-Reformation, the saint balding man, and in this way Tiepolo aligned the enjoyed particular popularity in Spain, demon- image with a broader, pan-European tradition strated by his nomination in 1689 as official of Joseph imagery that emerged in earnest during protector of the kingdom. His worship was the Counter-Reformation. Coming out of the encouraged especially by the Jesuits, Discalced language of popular prints and devotional paint- 84

7 in Seville). The final altarpiece surely came out of Tiepolo's sensitivity to the entire program at Aranjuez. He increased the personal, emotional pitch of the work, thus aligning its tone as well as its structure with the other altarpieces of male saints around the church. Rather than hold Saint Joseph apart from the surrounding visionary saints, Tiepolo placed him in formal and psycho- logical harmony with the figures in the other altarpieces, further emphasizing the grandeur, nobility, and distinction of The Immaculate Conception (cat. no. 10). Tiepolo painted the subject of Saint Joseph a number of times across his career and did not conform to a single stock representation. For example, in Tiepolo's Flight into Egypt variations —paintings the artist executed while at work on the Aranjuez sketches and altarpieces — the figure of Joseph appears in a wide variety of guises, from the youthful and active to the 8 wizened and desiccated. These capricci may even have served as a kind of laboratory for Tiepolo's depiction of Joseph, and the idea to change the altarpiece may in fact have derived from Tiepolo's experiments in these small pictures. The scale of the fragment with the two cherubim heads, which matches that of the other Courtauld oil sketches, clearly convinced Count Antoine Seilern to incorporate it into his col- lection of modelli. The work also demonstrates how Tiepolo's larger paintings could retain the FIGURE 13.3 Copy after Giambattista Tiepolo. Saint Joseph remarkably complex and subtle technique that with the Christ Child, ca. 1770-180$. Pen and ink on white characterizes the oil sketches. The cherubim in paper. Vevey, Switzerland, Musee Jenisch. Photo: Claude the fragment, to judge from the drawing in Bornand, Lausanne. Vevey (fig. 13.3), appeared in the painting's upper reaches. The level of finish Tiepolo brought even to this relatively minor swath of canvas high ing, especially an influential prototype by up on a large altarpiece—intended to be viewed Guido Reni (Museum of Fine Arts, Houston),5 at a great distance—demonstrates the great care Tiepolo's altarpiece presents Joseph as a loving, he and his studio lavished on these paintings. demonstrative father. Moreover, the fragment shares the sophisticated Why Tiepolo made such a drastic change and varied handling of the sketches. As might remains open to debate. No documents survive be expected, some passages are summary, par- indicating whether Padre Joaqum de Eleta or ticularly the thick, opaque strokes defining the another church official dictated the change fronds and the sketchy wet-on-wet passages or whether Tiepolo altered the composition on of wings and hair. The loose application of blue his own, nor has a second modello emerged.6 The in the sky reveals pinkish ground, which in sketch certainly demonstrates Tiepolo's under- turn gives a warm luminosity to the sky, passages standing of Spanish tradition (including a famous which stand in notable contrast to the heavily composition by Bartolome Esteban Murillo impastoed clouds. On the other hand, the SAINT JOSEPH WITH THE CHRIST CHILD 85

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

Exhibitions and Literature Cited Exhibitions Cited VENICE AND NEW YORK 1996 BARCHAM 1989 Giambattista Tiepolo, 1696-1770. Barcham, William L. The Museo del Settecento veneziano, Religious Paintings of Giambattista FORT WORTH 1993 Ca' Rezzonico, Venice, Tiepolo: Piety and Tradition in Giambattista Tiepolo: Master of the September 5-December 9, 1996; Eighteenth-Century Venice. Oil Sketch. Kimbell Art Museum, Metropolitan Museum of Art, Oxford: Clarendon Press, 1989. Fort Worth, September 18 — New York, January 22-April 27, BARCHAM 1992 December 12, 1993. 1997. Barcham, William L. Giambattista LONDON 1954-55 VIENNA 1937 Tiepolo. New York: Harry N. European Masters of the Eighteenth Italienische Barockmalerei. Abrams, 1992. Century. Royal Academy Galerie Sanct Lucas, Vienna, BAUER 1975 of Arts, London, November 27, May 14-June 15, 1937. Bauer, Linda Freeman. "On the 1954-February 27, 1955. Origins of the Oil Sketch: Form LONDON I960 and Function in Cinquecento Italian Art and Britain. Royal Literature Cited Preparatory Techniques/5 Ph.D. Academy of Arts, London, diss., New York University, 1975. January 2-March 6, 1960. BAUER AND BAUER 1999 AIKEMA 1986 Bauer, Linda, and George Bauer. LONDON 1963-64 Aikema, Bernard. "Nicolb Goya and His Times. Royal Bambini e Giambattista Tiepolo 'Artists' Inventories and the Academy of Arts, London, nel salone di Palazzo Sandi a Language of the Oil Sketch." December 7,1963-March I, Venezia." Arte veneta 40 (1986): Burlington Magazine 141, no. 1158 1964. 167-71. (September 1999): 520-30. LONDON 1984 BOTTARI AND TICOZZI l8l2 ALPERS AND BAXANDALL 1994 Bottari, M. Giovanni, and Thirty-five Paintings from the Alpers, Svetlana, and Michael Collection of the British Rail Pension Baxandall. Tiepolo and the Stefano Ticozzi. Raccolta Fund. Thomas Agnew's and Pictorial Intelligence. New Haven: di lettere sulla pittura, scultura, ed Sons, London, November 8- Yale University Press, 1994. architettura scritte da piu celebri December 14,1984. personaggi dei secoli XV, XVI, BALDINUCCI l68l eXVII. Vol. 4. Milan: Silvestri, LONDON 1989 Baldinucci, Filippo. Vocabolario 1822. Painting in Spain during the toscano dell'arte del disegno . . . Later Eighteenth Century. Florence: Per Santi Franchi al BOWRON AND RISHEL 2OOO National Gallery, London, 1989. segno della passione, 1681. Bowron, Edgar Peters, and Joseph J. Rishel, eds. Art in Rome LONDON AND BIRMINGHAM BARCHAM 1979 in the Eighteenth Century. Exhibition 1951 Barcham, William L. catalogue. London: Merrell, Eighteenth Century Venice. "Giambattista Tiepolo's Ceiling 2000. Whitechapel Art Gallery, for S. Maria di Nazareth London, January 3-March 14, in Venice: Legend, Traditions, BRADFORD AND BRAHAM 1989 1951; Museum and Art Gallery, and Devotions." Art Bulletin 61 Bradford, William and Helen Birmingham, March 21— (1979): 430-47- Braham. Checklist of Paintings: April 18, 1951. University of London. London: Courtauld Institute Galleries, VENICE 1951 1989. Mostra di Giambattista Tiepolo. Ca' Rezzonico, Venice, June i6-October 7, 1951. 87

BRAHAM 1981 CUNO 2003 FOLGOLARI 1931 Braham, Helen. The Princes Gate Cuno, James, Peter Paul Rubens: Folgolari, Gino. "Il bozzetto del Collection. Exhibition catalogue. A Touch of Brilliance: Oil Sketches Tiepolo per il trasporto della London: Trustees of the and Related Works from the Santa Casa di Loreto." Bollettino Home House Society for the Collection of the State Hermitage d'arte, ser. 3, 25, no. i (July 1931): Courtauld Institute of Art, 1981. Museum/Courtauld Institute. 18-32. BROWN 1993 Exhibition catalogue. London: FREDERICKSEN 1995 Brown, Beverly Louise, ed. Prestel, 2003. Fredericksen, Burton B., ed. Giambattista Tiepolo: Master of the DAZZI 1951 Masterpieces of Painting in Oil Sketch. Exhibition cata- Dazzi, Manilio Torquato. thej. Paul Getty Museum, 3d ed. logue. Milan: Electa; New York: "Scheda per il procuratore di Malibu: J. Paul Getty Museum, Abbeville, 1993. G. B. Tiepolo." Arte veneta, 17-20 1995. BRUNEL 1991 (1951): 178-85. GAYA NUNO 1964 Brunei, Georges. Tiepolo. DERSTEIN 2005 Gaya Nufio, Juan Antonio. Mensil-sur-TEstree: Fayard, Bissell, R. Ward, Dwight Miller, Pintura europea perdida por Espana, 1991. and Andria Derstein. Masters of de Van Eyck a Tiepolo. Italian Baroque Painting: The Madrid: Espasa-Calpe, 1964. CHRISTIANSEN 1996 Detroit Institute of Arts. Detroit: Christiansen, Keith, ed. GILES in association with the GEMIN AND PEDROCCO 1993 Giambattista Tiepolo, 1696-1770. Detroit Institute of Arts, 2005. Gemin, Massimo, and Exhibition catalogue. New York: Filippo Pedrocco. Giambattista Metropolitan Museum of Art, FARR 1987 Tiepolo: I dipinti, opera completa. 1996. Farr, Dennis, ed. One Hundred Venice: Arsenale, 1993. Masterpieces from the Courtauld CHRISTIANSEN 1999 Collections: Bernardo Daddi to Ben GIAMBATTISTA TIEPOLO 1998 Christiansen, Keith. "Tiepolo, Nicholson; European Paintings Giambattista Tiepolo, 1696-1770. Theater, and the Notion and Drawings from the Fourteenth Exhibition catalogue. of Theatricality." Art Bulletin 71 to the Twentieth Century. London: Paris: Paris-Musees, 1998. (December 1999): 665-92. Courtauld Institute of Art HEINE 1974 COLETTI 1936 Fund, 1987. Heine, Barbara. "Tiepolos Coletti, Luigi. "Zwei Entwiirfe Dreifaltigskeitbild in der von Tiepolo." Pantheon (May FARR, BRADFORD, Klosterkirche zu Nymphenberg." 1936): 17,0-71. and BRAHAM 1990 Pantheon 32 (1974): 144-52. Farr, Dennis, William Bradford, CONISBEE, LEVKOFF, AND and Helen Braham. The Courtauld HELD 1980 RAND 1991 Galleries. University of London. Held, Julius S. The Oil Sketches Conisbee, Philip, Mary L. London: Scala, 1990. of Peter Paul Rubens: A Critical Levkoff, and Richard Rand. Catalogue. 2 vols. Princeton: The Ahmanson Gifts: European FERRARI 1993 Princeton University Press, Masterpieces in the Collection Ferrari, Oreste. "The Develop- 1980. of the Los Angeles County Museum ment of the Oil Sketch in Italy" of Art. Los Angeles County In Giambattista Tiepolo: Master HELSTON 1989 Museum of Art, 1991. of the Oil Sketch, edited by Beverly Helston, Michael. Painting Louise Brown, 42-63. Exhibition in Spain during the Later Eighteenth CRIVELLATO 1960 catalogue. Milan: Electa; Century. Exhibition catalogue. Crivellato, Valentino. Tiepolo. New York: Abbeville, 1993. London: National Gallery, 1989. Bergamo: Istituto italiano d'arti FIOCCO 1938 JAFFE 1997 grafiche, 1960. Fiocco, Giuseppe. 'An Early Jaffe, David. Summary Catalogue CRIVELLATO 1962 Work by Giambattista of European Paintings in thej. Paul Crivellato, Valentino. Tiepolo. Tiepolo." Art in America 26 Getty Museum. Los Angeles: Translation by Anthony Rhodes. (1938): 147-57- J. Paul Getty Museum, 1997. New York: W W Norton, 1962. FIOCCO 1942 KNOX 1955 Fiocco, Giuseppe. "Tiepolo in Knox, George. "Venetian Spagna." Le arti 5, no. i History Painters of the (October 29, 1942): 7-10. Settecento." Connoisseur 135 (March 1955): 29-39. 88

KNOX 1963 LEVEY 1980 MORASSI 1950 Knox, George. "The Paintings Levey Michael. Painting in Morassi, Antonio. "Nuovi inediti by G. B. Tiepolo." Burlington Eighteenth-Century Venice. del Tiepolo." Emporium 112, no. Magazine 105, no. 724 (July Revised 2d ed. Ithaca, NY: 671 (November 1950): 195-209. 1963): 327-28. Cornell University Press, 1980. MORASSI I955a KNOX 1968 LEVEY 1986 Morassi, Antonio. G. B. Tiepolo: Knox, George. "G. B. Tiepolo Levey, Michael. Giambattista His Life and Work. Translated and the Ceiling of the Scalzi." Tiepolo: His Life and Art. New by Dr. and Mrs. Peter Murray. Burlington Magazine no, Haven: Yale University Press, New York: Phaidon, 1955. no. 784 (July 1968): 394-400. 1986. MORASSI I955b KNOX 1970 LEVEY 1994 Morassi, Antonio. "Some Knox, George. Tiepolo: A Levey, Michael. Giambattista 'Modelli' and Other Bicentenary Exhibition, 1770—1970. Tiepolo: His Life and Art. Reprint Unpublished Works by Tiepolo." Drawings, Mainly from American with corrections. New Haven: Burlington Magazine 97, no. 622 Collections, by Giambattista Tiepolo Yale University Press, 1994. (January 1955): 4-12. and the Members of His Circle. Exhibition catalogue. Cambridge, LORENZETTI 19$! MORASSI 1957 MA: Fogg Art Museum, Harvard Lorenzetti, Giulio. Mostra del Morassi, Antonio. "I quadri University, 1970. Tiepolo: Catologo ufficiale. veneti del Settecento nella Exhibition catalogue. Venice: riaperta Alte Pinakothek' di KNOX 1980 Alfieri, 1951. Monaco." Arte veneta n (1957): Knox, George. Giambattista and MARINI 1998 173-80. Domenico Tiepolo: A Study and Marini, Giorgio. "Novita per Catalogue Raisonne of the MORASSI 1962 Chalk Drawings. 2 vols. Oxford: Lorenzo Tiepolo incisore." Morassi, Antonio. A Complete Clarendon Press, 1980. In Giambattista Tiepolo nel terzo Catalogue of the Paintings of centenario della nascita: Atti G. B. Tiepolo, Including Pictures KNOX 1993 del Convegno internazionale di studi, by His Pupils and Followers Wrongly cc Knox, George. Ca' Sandi: La Venezia, Vicenza, Udine, Parigi, 29 Attributed to Him. Translated forza della eloquenza." ottobre-4 novembre 1996, edited by by Dr. and Mrs. Peter Murray Arte/Documento 7 (1993): 135-4$. Lionello Puppi. 2 vols. Quaderni London: Phaidon Press, 1962. di Venezia arti, 4. Venice: MRAS 1956 LEVEY I9$9 Universita Ca' Foscari di Mras, George P. "Some Drawings Levey Michael. Painting in Venezia, 1998: 1:99-104. by G. B. Tiepolo." Record of the Eighteenth-Century Venice. MARTINI 1988 Art Museum, Princeton University London: Phaidon Press, 1959. Martini, Egidio. "Un'opera gio- 15, no. 2 (1956): 39-59- LEVEY I96oa vanile di Giambattista Tiepolo." Arte veneta 42 (1988): 152-54. PALLUCCHINI 1951 Levey, Michael. "Count Seilern's Pallucchini, Rodolfo. Lezioni de Italian Pictures and Drawings." MAYER 1935 storia delVarte. La pittura veneziana Burlington Magazine 102, no. 684 Mayer, Augusto L. "Dos bocetras r del Settecento. Bologna: Riccardo o o ' ^ (March 1960): 122-23. de Juan Bautista Tiepolo." Patron, 1951. Revista espanola de arte 4 (1935): LEVEY I96ob 300-309. PALLUCCHINI 1960 Levey, Michael. "Two Paintings Pallucchini, Rodolfo. La pittura by Tiepolo from the Algarotti MORASSI 1938 veneziana del Settecento. Venice: Collection/' Burlington Magazine Morassi, Antonio. "Yet More Istituto per la collaborazione 102, no. 687 (June 1960): about the Young Tiepolo." culturale, 1960. 250-53. Burlington Magazine 73, no. 427 PAVANELLO 1996 (October 1938): 141-42. Pavanello, Giuseppe. Canova LEVEY 1971 MORASSI 1943 collezionista di Tiepolo. Monfalcone: Levey Michael. National Gallery Morassi, Antonio. Tiepolo. Edizioni della Laguna, 1996. Catalogues: The Seventeenth- and Bergamo: Istituto italiano d'arte Eighteenth-Century Italian Schools. grafiche, 1943. London: National Gallery 1971. EXHIBITIONS AND LITERATURE CITED 89

PEDROCCO 2002 SALTILLO 1952 SOTHEBY'S 197$ Pedrocco, Filippo. Giambattista Saltillo, Miguel Lasso de la Vega "Sotheby's: Sales in December." Tiepolo. Milan: Rizzoli libri y Lopez de Tejada, marques Burlington Magazine 117, no. 863 illustrati, 2002. del. "Goya en Madrid: Su familia (February 197$): i —ii. PIGNATTI 1951 y allegados (1746-1856)." SPIKE 1993 Pignatti, Terisio. Tiepolo. Verona: Miscelanea madrilena, historica Spike, John T Italian Paintings in Mondadori, 1951. y artistica, first series. Madrid: the Cincinnati Art Museum. Maestre, 1952. Cincinnati Art Museum, 1993. PIOVENE AND SANCHEZ CANTON 1949 PALLUCCHINI 1968 Sanchez Canton, F. J. Museo del THIEME-BECKER 1939 Piovene, Guido, and Anna Prado. Catdlogo de los cuadros. Thieme, Ulrich, and Felix Becker. Pallucchini. Lopera completa Madrid: Museo del Prado, 1949. Allgemeines Lexikon der bildenden di Giambattista Tiepolo. Classici Kunstler von der Antike bis dell'arte, 25. Milan: Rizzoli, SANCHEZ CANTON 1953 zur Gegenwart. 37 vols. Leipzig: 1968. Sanchez Canton, F. J. J. B. Tiepolo E. A. Seemann, 1907-50. PUPPI 1998 en Espana. Madrid: Institute VENICE 1952 Puppi, Lionello, ed. Giambattista Diego Velazquez, 1953. Venice 1700-1800. Exhibition Tiepolo nel terzo centenario della SCIRE NEPI 1991 catalogue. Detroit: Detroit nascita: Atti del Convegno inter- Scire Nepi, Giovanna. Treasures Institute of Arts, 1952. nazionale di studi, Venezia, Vincenza, of Venetian Painting: The Gallerie Udine, Parigi, 29 ottobre-4 novembre dell'Accademia. London: Thames VIGNI 1951 1996. 2 vols. Quaderni di Venezia and Hudson, 1991. Vigni, Giorgio. Tiepolo. Milan: Arti, 4. Venice: Universita Electa, 1951. Ca'Foscari di Venezia, 1998. SEILERN 1959 WATSON 1952 Seilern, Antoine. Italian Paintings Watson, Francis. "Reflections RIZZI 1971 and Drawings at 56 Princes Gate on the Tiepolo Exhibition." Rizzi, Aldo, ed. Mostra del Tiepolo. London SW/. 2 vols. London: Burlington Magazine 94, no. 586 2 vols. Exhibition catalogue. Shenval Press, 1959. (February 1952): 40-44. Milan: Electa, 1971. SEILERN 1969 ROSA 1999 Seilern, Antoine. Italian Paintings WATSON 1955 Rosa, Mario. Settecento religioso: and Drawings at 56 Princes Gate Watson, Francis. "Venetian Politica della ragione e religione London SW?: Addenda. 2 vols. Painting at the Royal Academy, del cuore. Venice: Marsilio, 1999. London: Shenval Press, 1969. 1954-55." Arte veneta 9 (1955): 253-64. ROSSACHER 1965 SEILERN I97la WATSON 1963 Rossacher, Kurt. Visionen des Seilern, Antoine. Corrigenda and Watson, Francis. Review of A Barock: Entwurfe aus der Sammlung Addenda to the Catalogue of Paintings Complete Catalogue of the Paintings Kurt Rossacher. Exhibition cata- and Drawing at 56" Princes Gate of G. B. Tiepolo, Including Pictures logue. Darmstadt: Hessisches London SW/. London: Shenval by His Pupils and Followers Wrongly Landes museum, 1965. Press, 1971. Attributed to Him by Antonio ROSSACHER 1968 SEILERN I97lb Morassi. Apollo 77 (March 1963): Rossacher, Kurt. Images and Seilern, Antoine. Recent 244-48. Imagination: Oil Sketches of the Acquisitions at 56 Princes Gate Baroque. Collection Kurt Rossacher. London SWy. London: Shenval WESCHER 1960 Exhibition catalogue. Los Press, 1971. Wescher, Paul. La prima idea: Angeles: Los Angeles County Die Entwicklung der Olskizze von Museum of Art, 1968. SOHM 1984 Tintoretto bis Picasso. Munich: Sohm, Philip L. "Giambattista Bruckmann, 1960. SACK 1910 Tiepolo at the Palazzo Archinto Sack, Eduard. Giambattista und in Milan." Arte lombarda, n.s., no. WHISTLER 1984 Domenico Tiepolo: ihr Leben 1-2 (1984): 70-78. Whistler, Catherine. und ihre Werke: Ein Beitrag zur "Giambattista Tiepolo in Spain: Kunstgeschichte des achtzehnten The Late Religious Paintings." Jahrhunderts. Hamburg: Ph.D. diss., University College Clarmanns, 1910. Dublin, National University of Ireland, 1984. 90

WHISTLER I98$a WHISTLER 1986 WHISTLER 1998 Whistler, Catherine. "A Modello Whistler, Catherine. "G. B. Whistler, Catherine. "Decoro for Tiepolo's Final Commission: Tiepolo at the Court of Charles e devozione nelle pale di The Allegory of the Immaculate III." Burlington Magazine 128, Giambattista Tiepolo ad o o ' Conception." Apollo (March 1985): no. 996 (March 1986): 199-204. Aranjuez." Arte veneta $2 (1998): 172-73. WHISTLER 1995 70-85. WHISTLER I98$b Whistler, Catherine. Review of ZAMPETTI 1969 Whistler, Catherine. "G. B. Giambattista Tiepolo, i dipinti, opera Zampetti, Pietro. Dal Ricci Tiepolo and. Charles III: completa by Massimo Gemin al Tiepolo: I pittori difigura del The Church of S. Pascual Baylon and Filippo Pedrocco. Burlington Settecento a Venezia. Exhibition r r at Aranjuez." Apollo 121 (May Magazine 137, no. mo catalogue. Venice: Alneri, 1969. 1985): 321-37- (September 199$): 625-27. EXHIBITIONS AND LITERATURE CITED 91

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Index References to illustrations Benedict XIII Orsini (pope), 29, Counter- Reformation, 10, 29, are in italics. 30,$$ 76,84 Benedict XIV Lambertini (pope), Grayer, Caspar de, 18 5$, 75n.2 abbozzo, i$ Bidauld, Jean Joseph-Xavier Agatha, Saint, 44 View of a Bridge and the Town of Diderot, Denis, 12 Agnew's (London), $$ Cava, 10 Discalced Carmelite order, 53, $$, Agreda, Maria de Jesus de, 74n.2 Bob P. Habolt and Co., 33 57,84 Alcantarine order, $8, 59-61, Border, Julius, 39 disegno, 14 63n.i; 64, 67, 72, 74 Borromeo, Saint Charles, 30, 61, disotto in su, 22, 36, 37, 38, 56 Alciati, Andrea, 2$ 76,78 Diziani, Gaspare, 43 Aldobrandini, Pietro, 16 bozza, 1 5 Dolci, Ludovico, 9 Algarotti, Count Francesco, 16, 17 bozzetto, 14 Dominic, Saint, 29 American Art Gallery (New York), British Rail Pension Trustee Draghi, Antonio, 2$ 39 Company, Ltd. (London), $3 Diirer, Albrecht, 2$ Amphion, 22, 24, 25 Broglio collection, 44 Dyck, Anthony van, 18 Anthony of Padua, Saint, 61 Burchardt, W, 30 Antiope, 22 Apollo, 33, 36, 37 Eleta, Joaqufn de, 60, 63n.3; Apollodorus, 22 Canessa, A. and C., 80 75n-2; 8$ Aranjuez Canova, Antonio, 17, 2on.29 Eucharist, 32, 61, 64, 66-67 Church of San Pascual Baylon, Cartari, Vincenzo, 2$ Eurydice, 22, 24, 2$ sketches for, i$, 18, 58-86 Caspari (Munich), 80 Convent of San Pascual Cerberus, 24 Baylon, sketch transferred to, Cercopes, 24 Fantoni, Andrea, 30, 32 61, 63, 80 Charles III (king of Spain) Fitzgerald, Arthur, 68 Archinto, Carlo, 36 and Borromeo, 78, 79n.i Fitzgerald, Kenneth, 68 Archinto, Filippo, 36 and Mengs, 61, 62 Fonton, Marcelo, $9 Argelati, Filippo, 36 and Tiepolo, 15, $8, $9, 60 Fox, George William, 68 Charpentier, 80 Francis of Assisi, Saint, 60, 72, 74 Cheney, Edward, $3 Franciscan order, $9, 64, 72, 76 Baldinucci, Filippo, i$ Cheremetiev (Cheremetjew) subjects, 60, 70, 74, 74n.2; 84 Balestra, Antonio, 30 collection, 49 French & Co. (New York), 80 Bambini, Nicolo, 22 Chimaera, 2$ Frey M. de, 80 Barocci, Federico Chopinot, Leonardo, 64, 68, 72, 76 Entombment, The, 9, 9 Christie's (London), 39, 53 Bass, John, 49 Clement I, Saint (pope), 49 Galerie Georges Petit (Paris), Batoni, Pompeo Clement Augustus, 49 64, 72 Christ in Glory with Saints, 13 Clement XI Albani (pope), $i Giusti, Anton Francesco, 43 Bayeu, Francisco, 17, 61, 64, 68, Climent, Jose, 78 Gonzaga, Luigi (Aloys ius), Saint, 76, 78, 80 Clymene, 33 30,32 Baylon, Saint Pascal, 60, 61, 64, Clyde, 36 Gracian, Jeronimo, 84 66, 78 Colnaghi (London), 49 Grillo, Giulia Borromeo, 36 Beccafumi, Domenico, 9 Costanzi, Placido Grossi, Carlo, 25 Bellerophon, 2$ Immaculate Conception, The, 13 Bellori, Gian Pietro, 16 Cottier and Co. (New York), 39 93

Habolt, Bob. See Bob P. Habolt Mengs, Anton Raphael, 61, 62, 67 regolata devozione, 32 and Co. (New York) Stfmf Pascal Baylons Vision of the Reni, Guido, 71, 85 Harris, Thomas, 80 Eucharist, 61, 62 Ricci, Sebastiano, 14, 17, 18, 43 Hazlitt, Gooden and Fox Ltd. Mercury, 22, 24 ricordo (ricordt), 16, 17, 37, 38n.7; $2 (London), 53 Milan Rocco, Saint, 39, 42 Heinemann, Mr. and Mrs., 80 Palazzo Archinto, 16, 33, 35, 37 Rome Held, Julius, 12 Minerva, 22, 2$ . basilica of San Clemente, $i Hercules, 24 Mingozzi Colonna, Girolamo, 16, rosary, 27, 29 Hercules Gallicus, 24—25 55-56 Rossi, Domenico, 22 Hulot, Anatole-Auguste, 72 modello (modellt), 14-17, 18, 2On.2O Rothmann, F., 80 Hulot collection, 64 Monaco, Pietro Rovetta Hume, Sir Abraham, 17 Saint Francis ofAssisi Receiving the Casa Fantoni, 30 humeral veil, 66, 67n.2 Stigmata, 72, 74 Ognissanti, 32 Huntington, Henry E., 39 Muratori, Ludovico Antonio, 32 Rubens, Peter Paul, 8, 10, 12, 14, Hymen, 36 Murillo, Bartolome Esteban, 71, 85 16, 18 mystical subjects, 30, 62, 67, 74, Meeting of King Ferdinand III of 7$n.2 Hungary and the Cardinal- Infante Immaculate Conception, 49, 60, Ferdinand of Spain at Nordlingen, 61, 68, 70 The, u Inglis, James Smith, 39 Nicholson (London), 49 Miracles of Saint Francis ofPaola, Inquisition, 84 The, n invenzione, 10 Oratorian order, 76 original sin, 68, 71 Sandi, Tommaso, 22, 2$, 26n.i2 Jaffe, 27 Orpheus, 22, 24, 25 Santa Casa (Holy House), 53, 5$, Jesuit order, 30, 67, 84 Ovid, 22, 33, 36 5^, 57 Joseph, Saint, 57, 61, 83, 84, 8$, Sasso, Giovanni Maria, 17 86nn.6, 7 Schloss Nymphenberg Padua Notre- Dame- Kirche, 49, 52 Basilica of SaintAntonio, 44 Seilern, Count Antoine, 17-18, Lazzarini, Gregorio, 14 Church of San Prosdocimo, 86n.7 48nn.i, 2; 83, 8$, 86n.i Lendinara, Sant'Agata, 46 Palencia, Rafael Garcia, 80 bequest, 6, 17, 22, 27, 30, 39, 44, Leo, Saint, 72 Palma, Jacopo, il giovane, 9 49, 64, 68, 72, 76, 80 Leonelli, Niccolb, 17 Palma, Jacopo, il vecchio, 18 Shaw, James By am, 18 Longhena, Baldassare, 53 Parke-Bernet Galleries (New Sotheby's (London), 33, 49, 53 Loreto, 53, $$ York), 49 St. Petersburg, 17 Lucas, Eugenic, 80 Pegasus, 2$, 26n.i$ Strutt, Eva Isabel Marian, $3 Lucian, 24 Peter, Saint, 44 Stumm, von, 39 Peter of Alcantara, Saint, 59, 61, 84 Phaethon, 33, 36, 37 macchia, 15 Piazzetta, Giovanni Battista, 14, 17, Tassi, Count Giacomo, 14 Madonna of the House of Loreto, 27, 30, 43 Tessin, Count Carl Gustav, 16, 17 53, 57 Pittoni, Francesco Tiepolo, Giambattista Madonna of the Rosary, 27, 71 Martyrdom of Saint Clement, The, $2 Allegory of the Power of Eloquence Madrid Saint Rocco, 43, 43 (ca. 172$), 22, 23, 24-26 Palacio Real, 59 Pittoni, Giambattista, 17, 1 8 Allegory of the Power of Eloquence Maella, Mariano Salvador, 61, 78 Pluto, 24 (1725-26), 22,24, 24 Magni, Paolo, 2$ Polidoro da Caravaggio, 9, 18 Apollo and Phaethon (ca. 1730), Mary. See under Virgin Primrose, Albert Edward, $3 3S,38 Massanzago Primrose, Archibald Philip, $3 Apollo and Phaethon (ca. 1731), Palazzo Baglioni, 33 Princes Gate Collection, 17 33, 34, 36-38 Medici, Carlo de', 16 Apollo and Phaethon (1731), 34, 35, 5 Medici, Ferdinando de , 16 36 Medici, Leopoldo de', 16 Raggi, Giovanni, 16 Apollo and Phaethon (1733-36; Rameau, Jean- Philippe, 25 Barnard Castle), 37, 37, 38n.8 94

Apollo and Phaethon (1733-36; Saint James ofCompostella altar- Tintoretto, Jacopo, 9, 1 8 Vienna), 37, 37, 38n.8 piece, 66 Titian, 1 8 Apotheosis of Saint Teresa ofAvila, Saint Joseph with the Christ Child Tonioli, Ferdinando, 2On.29 The, 55 (1767), 18, 80, 81, 83-86 Toninotto, Giuseppe, 17 Beheading of Saint John the Baptist, Saint Joseph with the Christ Child Trinity, depiction of, 49, 51, 52, 57 48n.2 (1767-69; Detroit), 83, 83 Capricci series, 43 Saint Joseph with the Christ Child Flight into Egypt series, 43, 85 (1767-69; Madrid), 83, 84 Udine, 22, 27 Head of a Man Looking Up, 48, 48 Saint Joseph with the Christ Child Palazzo Patricale, 32 Immaculate Conception, The (1732- (copy after; ca. 1770-1805), 34) ,7i, 71 85, 85, 86 Immaculate Conception, The (1767), Saint Joseph with the Christ Child Vasari, Giorgio, 9 back cover, 63, 68, 69, 70-71, with Saints, 86n.7 Veen, Otto van, 12 85 Saint Luigi Gonzaga in Glory, front Veil-Picard collection, 33 Immaculate Conception, The (1767- cover (detail), 17, 30, 31, 32, 67 Venice, 16 69), 70, 71 Saint Pascal Baylons Vision of Confraternita di San Rocco, 42 Juno Presiding over Fortune and the Eucharist (1767), 60, 61, Palazzo Sandi, 22, 24, 36, 38 Venus, 36,^6 64, 65, 66-67, 76 Santa Maria di Nazareth (Santa Madonna of the Rosary, The Saint Pascal Baylons Vision of the Maria degli Scalzi), 16, 17, 53, (1727-29), 27, 28, 29 Eucharist (1767-69; London), 55, 55 Madonna of the Rosary, The (1735), 66, 67 Scuola Grande dei Carmini, 55 27, 29, 29 Saint Pascal Baylons Vision of the Veronese, Paolo, 9 Martyrdom of Saint Agatha, The Eucharist (1767-69; Madrid), Vianello, Giovanni, 17 (ca. 1734), 44, 4