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Portrait of Sir Charles Lock Eastlake
© National Gallery Libraries and Archive
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Translation by Francesco Mazzaferro
CLICK HERE FOR ITALIAN VERSION
CLICK HERE FOR ITALIAN VERSION
Susanna Avery-Quash
The Travel Notebooks
of Sir Charles Lock Eastlake
The Walpole Society, 2011
N.B. On Sir Charles
Lock Eastlake also in this blog: Giovanni Mazzaferro, Lotto
in the Marche: a Comparison Between the Notebooks of Charles Lock Eastlake
(1858) and Giovanni Morelli (1861); Susanna
Avery-Quash, Julie Sheldon, Art for the Nation. The Eastlakes and the Victorian
Art World; Susanna
Avery-Quash, The Travel NotebookGiovs of Sir Charles Lock Eastlake; Susanna
Avery-Quash and Corina Meyer, 'Substituting an approach to historical evidence
for the vagueness of speculation': Charles Lock Eastlake and Johann David
Passavant's contribution to the professionalization of art-historical study
through source-based research
Charles
Lock Eastlake was the first Director of the National Gallery of London (1855-1865).
His name is inextricably linked to the modernization and expansion of the
museum's collections, through incessant work for the acquisition of works,
mostly of Italian Old Masters. For all the information about the life,
education, the thought of Eastlake and the political and cultural situation in
which his appointment as Director was decided, see Susanna Avery - Quash and Julie Sheldon: ' Art for the Nation. The Eastlakes and the Victorian Art World'. The National Gallery, 2011.
The travels
of Eastlake and his impressions of the paintings that he saw are witnessed by
the 36 autograph Notebooks that have come down to us and which are now
preserved in the archives of the National Gallery. In 2011, the Walpole Society
has published a beautiful two-volume critical edition of Notebooks, edited by
Susanna Avery-Quash. It is the result of at least six years of work.
Personally - it being understood that the two volumes will be more accurately
described below - I would like to state upfront that I have had in my hands
only a few times volumes of such a quality and wealth of contents.
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| Eastlake's Travel Notebooks (1852), © National Gallery Libraries and Archive |
What are the Notebooks? Please, do not think in any way to anything that has to do with the journeys à la Grand Tour, or a series of writings that gather impressions about the visited places, their people, their cultures and habits. From this point of view the Notebooks are of an extraordinary dryness. It suffices to say that the years in which Eastlake travelled are fundamental to the Italian history: between 1859 (Second Italian War of Independence) and 1861 (unification of Italy), Italy is the scene of conflicts and indelible experiences as the shipment of Garibaldi’s voluntary troops to Sicily (the so-called ‘Mille’, i.e. one-thousand-man Garibaldi’s army). Nothing of it appears (it should also be said that a notebook of 1860 is missing) in the notebooks of the Director of the National Gallery (except, as we shall see, a few lines written in a completely detached tenor).
The
Notebooks are Eastlake’s working tool, which is the place where every evening
Charles transcribes what he wrote down (on loose sheets or on catalogues and
print guides, if any exist) on the paintings that has seen in the day. The
style is dry and brief; abbreviations abound (time is short and the paper is
not so much); no place is left in the judgments for any enthusiasm. The
ultimate goal of Eastlake is to assess whether every painting is "suitable" ("eligible") or "unsuitable" ("not
eligible") to be eventually bought or not bought by the National Gallery
. In short, the Notebooks are a unique data bank on paper, which Eastlake
naturally used later as a reminder and reference tool. In a future post we will
publish the commentary that Susanna Avery - Quash dedicated to the issue of the
“eligibility" of paintings.
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| Sir Charles Eastlake, Notebook n. 18 (1858), f. 13 v © The National Gallery, London |
The chronology of Notebooks
Some
clarifications are needed. The idea of compiling the Notebooks did not
originate from his election to the Directorate of the National Gallery (1855).
Of the 36 notebooks that remained, one (the first one) is undated, but from
internal evidence it is clear that it was written at the end of 1830. Moreover,
in the Memoir that precedes the
second edition of the Contributions to
the Literature of the Fine Arts (1870), Elizabeth Rigby (the widow) cites
passages from a previous notebook of in 1828, which was lost. At that time,
Charles had been living in Italy, in Rome, for more than ten years.
Hard to say
if and when Eastlake has decided to take written memories of his travels. The
authoress writes:
“The very idea of keeping a notebook was inspired by the example of Sir Joshua Reynolds, whom Eastlake venerated, not only as a father of the English School of painting, but as a writer and thinker of distinction… Eastlake’s tour of northern European galleries made in 1828 followed in the footsteps of Reynolds, whose notes of a journey made in 1781 had been published in 1797 as The Journal of a Tour through Flanders and Holland” (p. 12) [1] .
What I
personally find it hard to understand is why Eastlake had not used the same
"method" at an earlier stage, when he moved to Rome in 1816 (where
he remained for fourteen years), if not for the Roman heritage, which he had anyway
the possibility to observe every day, at least for the trips that he made at
that time (a three-month journey to Greece is documented, as well as visits to
Naples, Malta and Sicily). However, it is not impossible that Eastlake kept
notebooks in that period. What we need to take note, however, is that we know
the Roman years of Eastlake in a totally inadequate manner.
It was said
that the first notebook came to us from the late 1830. The second is of 1852.
There are twenty-two years in between. Years which Eastlake spent mostly in the
United Kingdom, except occasional journeys. Again, it is hard to believe that
nothing was put into writing. In short, the impression is that, beyond the
identified gaps for 1828 and within the time series from 1852 to 1865 (reported
in Appendix I) there could be more, which went lost.
Interests and itineraries
A first
comparison of the contents of Notebooks shows how they changed over the years
in terms of their form. The notebook of 1830, for example, is the notebook of a
painter with theoretical and practical interests. It opens with records on the
Venetian painting (one of the great loves of Eastlake, who aspired to a 'high
art' scoping between Titian and Raphael ); there appears an interesting
attempt to determine how the different light conditions of the places where
Giorgione and the Bassani lived had an impact on the way they painted landscapes (a
clear echo of Goethe's Theory of Colours,
which Eastlake would translate into English in 1840), and , especially, at the end of the notebook appears a dozen of
recipes on colours and varnishes that he thought had been used by Titian,
Parmigianino, Correggio, Giorgione for their accomplishments. The interest
in art techniques - the interest of a painter who looks with great interest to
the colouring of Northern Italy and the Veneto region in particular - is
therefore really precocious. It will result, as is well known, in the Materials for a History of Oil Painting
(1847).
The second
notebook is of 1852. Eastlake had become President of the Royal Academy (1850).
The contents of notebooks between 1852 and 1854 seem to be affected by his
role. The journey also becomes an occasion for reflection on issues that will
be revisited by Eastlake as part of his academic work. This includes
reflections in the notes on the warm and cool colours, starting from an
examination of the painting by Rubens (one of the great passions of the President),
up to notes on painting techniques (oil and tempera), to reflections on
‘general’ and ‘particular’ in painting and those on light and colour.
From 1855 on, theoretical reflections decrease and examination and reporting on paintings become the pre-eminent interest. From July 2 Eastlake is the first Director of the National Gallery. On August 22, he went to Paris (from where he begins his annual trip) and made it immediately clear what has become his role, watching the first picture, a Saint Sebastian attributed to Leonardo da Vinci from a private collection:
“…On the whole I consider this picture certainly not by Leonardo; I am inclined to think it by Beltraffio [n.d.r. note of the editor: it is a Bernardino Luini today in St. Petersburg]… I should not consider it a desirable acquisition for the N. Gallery at that sum” (p. 239).
From the
day he takes office at the National Gallery, Eastlake’s goal is to make it a
museum that shows a complete and comprehensive development of European painting
schools, with particular reference to Italian art. This is why Italy is always
the necessary travel destination and also the reason for the classification of
paintings - which occurs most often in notebooks - in 'eligible' or 'not eligible' to be purchased . As I said, it will be the same author to explain
us what were the criteria used to decide on by Eastlake.
Scrolling
quickly Eastlake’s travel destinations, at least two different types of
movement can be noted: the direct examination, where every inch of the territory
is explored (for example, the village-by-village trip in Umbria and the
Marches of 1858, or the one in Friuli, 1863) and the repetition of some
‘regular’ stages, such as Milan, Venice, and Bologna.
There are
not, of course, only logistical reasons (all trips, moreover, had been largely
preceded by the excursions of the Traveller
Agent of the National Gallery, Otto Mündler, so that - as far as possible -
time losses were contained to a strict minimum). Simply, in these cities
Eastlake had trusted men, like traders, antique dealers, restorers and
friends, who often placed themselves as intermediaries between the potential
buyer and those who wanted to sell (very often the sellers were nobles who were
in need of money ), so it is not difficult to imagine that the most important
names of this milieu, in turn, worked as a filter for Eastlake’s operating
network, by initially screening their proposals and then subjecting a small
number of works to the attention of the Director of the National Gallery . The
more than 40 pages (sic) of the second volume of this edition, dedicated to the
index of collectors and dealers with whom Eastlake came into contact in the
course of travel express by themselves the breadth of his work. Mind you: the
director knew whom to trust and whom not. In Milan, for example, Eastlake’s
headquarter is - in fact - the study of Cavalier Giuseppe Molteni, a (failed)
painter but a (famous) restorer, Director of Brera between 1861 and 1867. At
his studio in Brera, either Eastlake or Mündler met potential sellers and led
the negotiations. Of course, today we might raise our eyebrows on the fact that
the Director of Academy harboured and indeed assisted the Director of a foreign
museum in the purchase of Italian art pieces destined to end up abroad. But
that it is like it was, and anyway Molteni was a man of confidence for
Eastlake. In Molteni’s studio Eastlake happened also to meet from time to time Antonio
Fidanza, painter, restorer and known forger. So Sir Charles describes him in
his notebooks - making us understand to be astute and able to distinguish whom
he met:
“The forgeries of the Fidanza family (father & son – the son [n.d.r. Antonio] is now nearly 80 - are proverbial – A St Michael delicately executed but belonging to a school of central Italy has an admirably imitated inscription “Andreas Mantinea &c” (taccuino 28, f. 5v; p. 561 in this edition) [2].
It has been
said that there is nothing accidental in the itineraries of Eastlake. From the
map on p. 79, referring to the Italian locations visited, it becomes
immediately clear which the favourite areas are: Lombardy, Veneto and Friuli,
Emilia, Tuscany, Umbria and the Marches. His stays in Rome (which he knew by
heart) were only three in consecutive years (1856-1858), the first one,
however, lasted for two weeks. Two visits to Naples and the surrounding
areas. For the rest, the whole of southern Italy is completely cut off. Of
course we do not know the reason for these choices: it is probably a
combination of personal taste, schools sought to be represented in the National
Gallery, reliability and ease of trading partners in the purchase and export of
paintings. In the Papal States, for example - at least as regards Rome – control
on purchases and exports seems to be rather stringent. This is not the case for
the territories under Austria-Hungary (until 1859 for Lombardy and for to the
whole travelling time travel for Veneto, whose annexation to Italy followed the
Third War of Independence of 1866): here the trade of works of art and
especially the sale by the noble classes is not hampered by the imperial
administration, which, taken with other matters, has no interest in
antagonizing the local aristocracy.
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| Passport of Sir Charles Lock Eastlake, 1859-1865. © The National Gallery, London |
What is
certain is that the frequency with which Eastlake crosses borders to see the
paintings is impressive; even more impressive is the fact that the boundaries
change, that the story flows before the eyes of the Director of the National
Gallery, and that he continues in his travels as if nothing had happened,
whatever the form of government of the country across which he is travelling.
One could wonder what Eastlake thought of the Italian patriotic turmoil, the
creation of the Kingdom of Italy, and Garibaldi’s endeavours. We remain
disappointed. The Second Italian War of Independence broke out on April 27,
1859 and officially ends on July 12, 1859, seeing the French, Austrian and
Piedmontese fight in Piedmont first and Lombardy later on. Eastlake is in
Venice (then, on the Austro-Hungarian side) on 8 September 1859, and in Milan
on September 15 (anyone in his place would have fled). One cannot even say,
historically, whether at that time Milan was already under Italian control. The
armistice of Villafranca led to the transfer of Lombardy from Austria to
Napoleon III of France, but the latter had not yet delivered the territories to
the Savoy. The public opinion discusses the failure to transfer the Veneto
region to Italy, the pro-Savoy governments who settled in Parma, Tuscany, etc.
(that Napoleon did not want to be annexed to the Kingdom of Piedmont), the
transfer of Nice and Monferrato to France by the same Savoy. The political
outcome of the negotiations will only be cleared in the first few months of
1860, when however the above mentioned Expedition of the Mille resulted in a
dramatic acceleration of the process of national unification. It is easy to
imagine that the chaos must have been complete. In the midst of all this
confusion, Eastlake arrived in Milan and opened his notebook (No. 23) with a
note on two paintings seen in Molteni’s office, as if nothing had happened.
The only reference
to all Italian war events of those years, and the years to come, is a note that
appears (always in notebook 23), between a Macrino d’Alba and a Borgognone,
written in a dry style, very similar to that used to describe the paintings.
[3]
The scketches
We cannot be silent on the drawings. The notebooks are dotted with a multitude of sketches that are placed within the text. We're talking about a thousand sketches of minimum size (very often just of two or three centimetres) and which also have the task of better remembering details. It may happen that simply inscriptions are drawn, but more often it is the gesture of a hand, of a face, the manner in which a figure is posed or a particular in the landscape. When it comes to connoisseurs and drawings, the first thing coming to mind are the designs of Cavalcaselle. We are light years far away, of course. However, we must remember that these definitely are drawings on drawings (in the sense that Eastlake does not take notes directly on notebooks, but transcribes all in the evening, including sketches that he drew in the day. If a comparison is to be done is the one with the drawings by Giovanni Morelli (see I Taccuini manoscritti di Giovanni Morelli, edited by Jayne Anderson. Federico Motta editore, 2000), but they are infinitely fewer.
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| A scketch from Notebook 4 (1852). Original size: cm 2,2 x 2,4 © National Gallery Libraries and Archive |
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| Another Scketch from Notebook 4 (1852). Original size: cm 1,5 x 1,4 © National Gallery Libraries and Archive |
Eastlake as a connoissuer
It was
inevitable to end up talking about the connoisseurship
of Eastlake. With a particularly accurate synthesis, speaking of connoisseurs (in
whose group she rightly included herself), Elizabeth Rigby - Eastlake's widow
- wrote that they needed to combine ‘something of the astuteness of the lawyer,
the accurate power of diagnosis of the physician, and the research of the
antiquary and historian; all summed up in an art which most of us are
practising every day, more or less consciously – the art of comparison’ (p.
24).
Avery-Quash succeeds brilliantly to point out to some traits that characterized Eastlake as a connoisseur: of course this encompasses ocular inspection (which Eastlake, as we said, practiced tirelessly) as well as acquaintance and comparison with other connoisseurs. A special mention goes to the relationship with Giovanni Morelli, of which Eastlake had always unconditional esteem, considering him the best one in the field; a special mention, because somehow the Director of the National Gallery seems to have borrowed something of 'Morelli’s scientific method', trying for example to have attention to those details which are so characteristic of the style of a painter to be present even not intentionally (that is, those features of an artist which Morelli called idiosyncrasies and Eastlake defined as 'leading features'). The comparison between the notebooks of Eastlake and those of Morelli with reference to the artistic heritage of the Marches (where the first toured in 1858 and the second in 1861) will be discussed in a future article.
It is worth pointing out, however, to the use of other media such as graphical reproduction (sometimes Eastlake accompanied his reports to the Trustees of the National Gallery with engravings of the works of which he was talking about) and even, as a pioneer, photography (Eastlake saw it with favour and willingly authorised the first photographic reproductions of works of art housed in the museum who directed).
A few more words - because so far we have never talked about – are well worth on his vast library. The passion for books was probably second only to that for paintings. Sir Charles was buying books everywhere and dutifully catalogued all those he possessed, so that he could access them in case of need (there are situations where Eastlake, abroad, even wrote home to employees, telling them to go and see a certain book in his library for him). It is certain that Eastlake was really proud of his book patrimony. The value of the library, anyway, was known to all, so much so that the National Gallery provided in 1869 to buy it in bulk. In 1872, George M. Green published the official catalogue of Eastlake’s library (Catalogue of the Eastlake library in the National Gallery). The modern version of the catalogue was edited by Susanna Avery - Quash , and thanks to the fruitful collaboration between the National Gallery and the Memofonte Foundation is available from 2012 on the website of the Foundation. [4] Susanna Avery-Quash also published in Studi di Memofonte (10/2013) an important essay on Eastlake's library, called The Eastlake’s Library: Origins, History and Importance [5].
But without any doubt what it is unique in the connoisseurship of Eastlake is its extraordinary wealth of experience in the field of artistic techniques : "He invested effort into studying the way artists prepared paint and applied it to their panels and canvases because, in his opinion, this was the surest and most efficient way of gaining a true understanding of what distinguished the work of different artists and schools" (p. 24). So, about a painting by Callisto Piazza Eastlake wrote:
“sharp white l[ights] here and there particularly in wh[ite] drapery – impasto free – sometimes in flesh swept up to outline & in parts accidentally loaded next outline… a liquid somewhat minute oily touch with edgy lights on up[per] lip, on nostril in hair.
This sort of description of the artist’s touch – of the thickness and oiliness of paint and of the way it relates to the contours – singles out Eastlake’s connoisseurship, revealing it to be influenced not only by his own practice as a painter but also his lifelong study of painting technique” (p. 24).
The modern edition of Eastlake's Notebooks
The issue that the Walpole Society has published in 2011 as 73rd yearbook of its history is divided into two volumes. I find it difficult to talk about in non-enthusiastic terms. [5] I try summing up their contents:
Volume I:
· 'The Happy Tour': an Introduction to Eastlake's Notebooks Compiled on His Foreign Travels, by Susanna Avery Quash;
· General Table of the Notebook [in fact, you find it in the Appendix I below];
· 'Itinerary of Eastlake's Foreign Travels';
· Three maps of Eastlake’s routes, dedicated respectively to a) France and Spain, b) Northern Europe, c) Italy (maps obtained with the assistance by Antonio Mazzotta);
· Transcription of the Notebooks.
Volume II
· Photographic reproduction of all the drawings in the notebooks. The presence of the drawings (around one thousand, of small size, but still very different from each other) confronted the curator with a drastic choice: to reproduce the notebooks photographically or to reconstruct the text by separating them from the sketches. Within the written part, of course, specific references appear to images that can be easily consulted keeping the volumes next to each other. A perfect choice.
· Glossary of abbreviations. Eastlake writes in a hurry and, to save time and space, uses hundreds of abbreviations that are explained (as long as possible) in this glossary, which is essential for understanding the text.
· Glossary of foreign words used by Eastlake: since for the most part these are Italian words, they do not create problems to a reader like me. Something different for those who speak other languages.
· List of grammatical errors: Avery - Quash gets to assume that Eastlake was to some extent dysgraphic, since he committed some trivial mistakes writing some English words. The correct terms are presented in this list
· List of collectors and dealers met by Eastlake abroad.
· List of paintings bought from Eastlake in Europe to the National Gallery between 1855 and 1865.
· Excerpt
from the Memoir prefixed by Lady Eastlake in 1870 to the second edition of Contributions to the Literature of the Fine
Arts. Includes excerpts from the first notebook to Eastlake, the journey of
1828 , now lost .
· Transcription of reports which Eastlake provided annually to the Trustees of the National Gallery as an account of travels and actions taken. Often the reports contain valuable information on the opinions expressed by the Director (sometimes not found in the Notebooks, which are by nature more a personal reminder).
· List of Guides annotated by Eastlake in the course of his travels. As I said at the beginning, Sir Charles was accustomed to travel taking with him - if it existed - museum guides or guides of the cities in which he noted his remarks that he then copied on notebooks in the evening. This shows a list of only those guides which Eastlake annotated (and not all of the titles that made up his library). List compiled with the assistance of Elspeth Hector.
· General index of people, things and cities.
· Index of
artists and their art pieces viewed by Eastlake. The index of the artists
follows the attributions by Sir Charles, except that differing attributions
occurred afterwards are signalled, as it also signalled the current location of
the works , if known. The index ( magnificent ) was prepared in collaboration
with Giovanni Agosti , Sara Poretti and Valentina Urizzi .
NOTES
Quite different are the ten notebooks by Reynolds documenting his Italian journey between 1750 and 1752. Here we are dealing first of all with visual documents, in which the design prevails on written text and whose purpose is precisely to borrow compositional models to insert, edit and use for his work as an artist. One of these ten notebooks (201 to 10) was recently the subject of a critical edition by Giovanna Perini Folesani. See Giovanna Perini Folesani: Sir Joshua Reynolds in Italia (1750-1752). Passaggio in Toscana. Il taccuino 201 a 10 del British Museum, (Sir Joshua Reynolds in Italy ( 1750-1752 ). Passage to Tuscany . The Notebook 201 to 10 in the British Museum), Florence , 2012.
[2] That Eastlake considered Antonio Fidanza little more than a charlatan is clear, moreover, from notebook 6, 1854. He noted (f. 7v , p . 207 modern edition) : “When at Milan Fidanza finding I was the author of a book (Materials) which he studied much immediately confided what he fancied was a secret & which Mrs Merrifield tried to obtain from him in vain). He says that when young he found directions respecting the vehicle of the Venetian behind a picture by Giorgione” etc… Fidanza behaves as a classic braggart who trusts as a secret to Eastlake something he has been hiding to Merrifield, without knowing that, by and large, Merrifield had come to Italy with the encouragement of Eastlake .
[3] The report:
“In the cemetery at Melegnano one trench contained 350 Zouaves another large & deep pit above 1000 bodies… The South west corner of the enclosure (South side) on the side of the town was broken through by the Austrians when they wished to retire to the Town [n.d.r. Milano] but the French were too quick for them & they were made prisoners. The cemetery is a square enclosure walled all round except where the iron barred gates are.
In the North East corner [on] a small [wooden] stuck in the ground is written “Ici reposent les Officiers du 33.e” & on the wall near is a permanent tablet – incised gilt letters on block stone – “À la mémoire de MM. Descubes chef de Bataillon, Combes Capitaine, Carbuccia Lieutenant, Bonnel et André Sous Lieutenants, morts au Champ d’Honneur au combat de Melegnano le 8 Juin 1859 – Leurs Comarades du 33e de Ligne”.
Portions of a shot were shown by a priest – It had fallen in their convent – [hollow &] bottle shaped – the heel circular sides [curved] conical one apart showed the winding to fit a screw stopper – outside a projection (there are two in each shot) to fit into the grooves of the rifled canon.
At the entrance of Melegnano the houses (almost all on one side) completely covered with shot marks large & small – most of them in a slanting direction, showing whence the attack was directed.” (Taccuino 23, f. 4v; pag. 503 modern edition).
[4] The address is http://www.memofonte.it/home/files/pdf/EASTLAKE_S_LIBRARY.pdf
[5] The address is http://www.memofonte.it/contenuti-rivista-n.10/s.-avery-quash-the-eastlake-library-origins-history-and-importance.html
[6] I have
never done so far in this blog. I will do it now: if you want to buy volumes
(well spent £ 80) the e-mail address to be used is
publishingservices@charlesworth-group.com
APPENDIX I) General Table of the Notebooks
Notebook 1 Undated (but late 1830)
Notes on Venetian painting techniques, Treviso, Castelfranco Veneto, Notes on Giorgione and the Bassani , Bassano del Grappa, Feltre, Belluno, Pieve di Cadore, Notes on Titian, Cividale del Friuli, San Daniele del Friuli, Villach, Conegliano, Pordenone, Vittorio Veneto (Ceneda), Udine, Cividale del Friuli, San Daniele del Friuli, Munich, Vienna, Further Notes on Giorgione, Recipes for varnish, picture-cleaning, pigments.
Notebook 2 Year 1852
Notes on warm and cold colours, Antwerp, Cologne
Notebook 3 Year 1852
Notes on painting technique, Berlin, Dresden, Notes on description of pictures
Notebook 4 Year 1852
Dresde (cont.), Vienna, Venice
Notebook 5 Year 1852
Venice (cont.), Treviso, Castelfranco Veneto, Venice, Verona, Venice, Verona, Munich, Frankfurt, Bruges, Ghent
Notebook 6 Year 1854
Notes on the general versus the particular in painting, Notes on colour and light in painting, Paris, Basle, Milan, Brescia, Padua, Milan amd notes supplied by Fidanza, Venice, Vicenza, Mantua, Milan, Mantua, Brescia
Notebook 7 Year 1854
Bergamo, Mannheim, Parigs
Notebook 8 Year 1855
Paris, Strasburg, Karlsruhe, Bergamo, Milan, Pavia, Milan, Parma, Milan, Florence, Pisa, Florence, Bologna, Lucca, brief notes on collections at Pisa, Milan, Cologne, Aachen and Stuttgart
Notebook 9 Year 1855
Lucca, Ferrara, Rovigo, Padua, Venice, Munich, Frankfurt
Notebook 10 Year 1856
Paris, Lyon, Marseilles, Rome
Notebook 11 Year 1856
Narni, Spoleto, S. Giacomo di Spoleto, Trevi, Foligno, Spello, Assisi, Perugia, Città di Castello, Borgo Sansepolcro, Arezzo, Castiglion Fiorentino, Cortona, Siena
Notebook 12 Year 1856
Siena (cont.), Florence, Prato, Pistoia, Pisa, Florence, Pisa, Genoa
Notebook 13 Year 1856
Genoa (cont.), Turin, Milan, Brescia, Vicenza, Venice, Treviso, Venice, Munich, Cologne
Notebook 14 Year 1857
Mechelen, Notes on collections at Louvain, Hannover, Braunschweig and Darmstadt, Cologne, Frankfurt, Notes on collections at Munich and Söder, Frankfurt (cont.), Notes on Stuttgart Gallery, Pommersfelden, Mannheim, Karlsruhe, Mannheim, Darmstadt, Heidelberg, Stuttgart, Bergamo, Milan, Genoa, Pisa, Rome
Notebook 15 Year 1857
Rome (cont.), Siena, Sinalunga, Cortona, Arezzo, Florence, Volterra, San Gimignano, Monteoliveto, Bologna, Ferrara, Rovigo, Padua, Pesaro, Rimini, Cesena, Forlì, Faenza
Notebook 16 Year 1857
Venice, Motta di Livenza, Verona, Mantua, Verona, Brescia, Treviglio, Milan, Pavia, Rebecchino, Saronno, Castiglione Olona, Isola Bella (Lago Maggiore)
Missing Notebook
Notebook 17 Year 1858
Rotterdam, The Hague, Hanover, Söder, Braunschweig, Kassel, Frankfurt, Paris, Turin, Milan, Venice, Rovigo, Ferrara
Notebook 18 Year 1858
Ferrara (cont.), Bologna, Faenza, Bologna, Notes on collections at Rome and Spoleto, Florence, Arezzo, Sargiano, Castiglion Fiorentino, Cortona, Passignano, Perugia, Gubbio, Gualdo, Nocera Umbra, Fabriano, Matelica.
Notebook 19 Year 1858
Matelica (cont.), San Severino, Tolentino, Macerata, San Ginesio, Sarnano, Falerone, Massa Fermana, Montegiorgio, Fermo, Sant’Elpidio a Mare, Monte San Giusto, Castel Nuovo. Loreto, Ancona, Jesi, Senigallia, Fano, Pesaro
Notebook 20 Year 1858
Urbino, Pesaro, Rimini, Santarcangelo di Romagna, Cesena, Forlì, Faenza, Florence, Prato, Pistoia, Florence and environs, Rome
Notebook 21 Year 1858
Rome, Genoa, Turin, Milan, Crema, Novara, Geneva, Paris
Notebook 22 Year 1859
Hanover, Berlin, Notes on the waterglass technique, Leipzig and environs, Dresden, Vienna, Venice, Treviso, Notes on painting vehicles
Notebook 23 Year 1859
Venice, Notes from Rawdon Brown, Milan, Legnano, Busto Arsizio, Melegnano, Turin, Milan, Notes from Sig. Orlandi, La Spezia, Genoa, Marseilles, Barcelona, Alicante, Madrid, Burgos
Notebook 24 Year 1859
Bourdeaux, Tours, Paris, Hanover, Aachen, Lille
Notebook 25 Year 1860
Paris, Brussels, Cologne, Berlin, Poznan, Dresden, Nuremberg, Munich, Cortina d’Ampezzo environs, Pieve di Cadore, Vittorio Veneto (Serravalle), Vittorio Veneto (Ceneda), Conegliano, Venice, Padua, Venice, Padua, Verona, Notes on the Pettenkofer Process
Missing Notebook
Notebook 26 Year 1860
Milan (cont.), Novara, Paris, Note on use of white in painting, Amsterdam
Notebook 27 Year 1860
Amsterdam (cont.), Brussels
Notebook 28 Year 1861
Paris, Notes on chiaroscuro preparation in paintings, Milan, Como, Lugano, Lovino, Arona, Varallo, Novara, Vercelli, Casale Monferrato, Genoa, Turin, Milan, Bologna, Ferrara, Florence, Fiesole, Naples
Missing Notebook
Notebook 29 Year 1861
Bologna, Modena, Parma, Turin, Beaune, Dijion, Paris
Notebook 30 Year 1862
Lille, Cambrai, Valenciennes, Namur, Liege, Cologne, Mainz, Frankfurt, Stuttgart, Zurich, Lenzburg, Bellagio, Milan, Lodi, Milan, Parma, Bologna, Portici, Naples, Florence
Notebook 31 Year 1862
Florence (cont.), Pistoia, Bologna, Modena, Ferrara, Venice, Brescia, Bergamo, Notes from Sig. Morelli, Milan, Genoa
Notebook 32 Year 1863
Lille, Engis, Namur, Liege, Aachen, Cologne, Düsseldorf, Linz am Rhein, Koblenz, Mannheim, Strasburg, Colmar, Basle, St. Gallen, Bellagio, Como environs, Milan environs, Piacenza, Parma, Modena, Bologna, Ferrara, Florence
Notebook 33 Year 1863
Florence and environs, Bologna, Ferrara, Rovigo, Venice, Conegliano, Castello Roganzuolo, Vittorio Veneto (Serravalle), Vittorio Veneto (Ceneda), San Vito al Tagliamento, Portogruaro, Udine, San Daniele del Friuli, Cividale del Friuli, Portogruaro, Udine, Casarsa della Delizia, Spilimbergo, Valvasone, Pordenone, Torre, Pordenone, Treviso, Venice, Padua, Vicenza
Notebook 34 Year 1863
Vicenza (cont.), Verona, Bergamo, Milan, Miscellaneeous Notes, Venice, Bellagio, Ferrara, Rovigo
Notebook 35 Year 1864
Calais, Amiens, Paris, Dijon, Neuchatel, Geneva, Lausanne, Bern, Zurich, Winthertur, Konstanz, Rorshach, Chur, Bellagio, Como, Notes from Sig. Morelli, Milan, Verona, Venice, Verona, Bologna, Florence, Faenza, Milan
Notebook 36 Year 1864
Genoa, Savona, Sanremo, Nice, Marseilles, Arles, Montpellier, Nimes, Avignon, Lyone, Dijon, Paris
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