Giovanni Mazzaferro
Lotto in the Marche:
a Comparison Between the Notebooks of Charles Lock Eastlake (1858) and Giovanni Morelli (1861)
Part One
[N.B. For the review of two different editions (dated 1969 and 2018 respectively) of Lorenzo Lotto's Libro di spese diverse, see in this blog: https://letteraturaartistica.blogspot.com/2013/11/english-versione-lorenzo-lotto-libro-di.html and https://letteraturaartistica.blogspot.com/2018/05/lorenzo-lotto4.html]
[N.B. On Sir Charles
Lock Eastlake see also in this blog: Susanna
Avery-Quash, Julie Sheldon, Art for the Nation. The Eastlakes and the Victorian
Art World; Susanna
Avery-Quash, The Travel Notebooks of Sir Charles Lock Eastlake; Susanna
Avery-Quash, In search of paintings for the National Gallery: taste and
collectionism in Charles Lock Eastlake’s choices; 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]
The purpose of this essay is to contrast the notes which Sir Charles Lock Eastlake, and Giovanni Morelli compiled on their travel notebooks, at the time of their encounter with the works of Lorenzo Lotto, preserved in the territory of the Marche.
The
literature on Lorenzo Lotto is very vast. The data on Lorenzo Lotto’s critical
fortune (and in particular of Lotto in the Marche) are known. The fortune was enhanced
by the re-evaluation of the work of the Venetian painter by Bernard Berenson in
a famous monograph of 1895 [1], and then continued with Adolfo Venturi (who
printed the same year the Libro di spese diverse (Book of various expenditure) [2]), Longhi, Pallucchini
and many others). On this, it seems useful to refer to the essay by Peter
Humfrey, published in the catalogue of the recent Roman exhibition on the
painter (2011) [3].
With
specific regard to the paintings located in the Marche, we cannot disregard the
fundamental Lorenzo Lotto nelle Marche (Lorenzo Lotto in the
Marche) by Pietro Zampetti of 1953 [4] (who in the same year oversaw the
catalogue of the seminal exhibition on the artist held in Venice) until the
very recent acts of the International Study Conference held in 2007 [5] and the
work Lotto nelle Marche (Lotto in the Marche) by
Vittoria Garibaldi and Giovanni C.F. Villa [6]. In this flourishing publishing activity,
however, I am not aware (apologies if am wrong) of anybody who thought so far of
doing a thing in itself trite, but important: recovering the passages on Lotto’s
paintings in the Marche in the notebooks of two great connoisseurs of 1800,
Charles Lock Eastlake, the first director of the National Gallery, and Giovanni
Morelli, and comparing them to understand similarities, differences and
perception of Lorenzo’s artistic activity in the mid-nineteenth century.
Charles Lock Eastlake, and Giovanni Morelli
Mind you:
this is not a race. It's not about whether either Eastlake or Morelli were
better (by the way, if any comparative appraisal were to be made, we would pool
them in a still immature understanding of the work of Lotto. Berenson, in short,
will come only after thirty years). This is about putting data in order and recreating
a climate and a working method (or two methods) at the dawn of the history of
connoisseurship. Although laid out for different purposes, the notebooks - now
finally available in print - are comparable to each other, first of all for
reasons of chronological order. Eastlake visited the Marche in 1858 and Morelli
did it in 1861, i.e. only three years away from each other. It is true that these
are crucial years in the history of Italy (Eastlake’s journey takes place when
the Marche are still under the Papal States, while Morelli’s journey finds its
raison d'être in Italy’s achieved unification), but the artistic heritage is
essentially the same. Thus, it is possible – an almost unique opportunity - to
compare two figures who are so important in the history of art.
We
spoke of different purposes: when Eastlake visits the Marche is 1858. From 1855,
he is Director of the National Gallery, and travels every summer all over
Europe - but especially throughout Italy - to view pictures of potential
interest to be purchased and exhibited at the London museum. Eastlake,
therefore, travels to the Marche with the specific purpose of acquiring works
of art to give lustre to the British collections. All accounts of his travels
are returned from 36 notebooks (actually kept in the National Gallery) in which
every evening the Director noted the report of the work of a day of
inspections. Those notebooks were published in 2011 by the Walpole Society,
edited by Susanna Avery-Quash [7].
The purpose
of Morelli is diametrically opposed. Between April and July of 1861, along
with Giovanni BattistaCavalcaselle, Morelli - who was appointed Ministerial Inspector for Marche and
Umbria by the Ministry of Education of the Kingdom of Italy - sifts meticulously
the Marche to do an inventory of local artistic heritage (totally unknown until
then) to take urgent action in order to avoid that this legacy would go lost
for sales, especially abroad, and in view of the creation of a major new national
art museum that would be based in Florence. In short, if Eastlake wants to buy
the heritage, Morelli wants to avoid that it would be sold. The design of the
new museum in Florence will soon become a dream, but there is no doubt that the
inventory of Morelli contributed decisively to stop the flow of Italian works
of art abroad. Also Morelli, as Eastlake, notes his working days on two
notebooks (indeed, certainly more than two; two are those which have reached
our days). They have been printed in 2000, edited by Jaynie Anderson and under
the sponsorship of the Marche Region [8]. Those of Eastlake and Morelli, therefore,
are not essays, but work notes, sometimes enriched with small drawings; they are
the notes of connoisseurs, who briefly recall those aspects of a work of art,
which they deem fundamental, the intuitions and the references that those
intuitions have suggested, the personal impressions (more in the case of
Morelli than in the Eastlake), and the conservation status of the works. Even
under this point of view, therefore, the notebooks by Eastlake and Morelli are
comparable. [9]
Mündler and Cavalcaselle: stone guests?
The picture
would not be complete without also involving Otto Mündler and Giovanni Battista
Cavalcaselle. Mündler was the Travelling Agent of Eastlake in those years. Sent
by the Director of the National Gallery to "prepare the ground" for his
inspections, of course he also travelled in the Marche and in turn also left
travel notebooks, which were printed in 1985 by the Walpole Society [9].
Cavalcaselle, as mentioned, accompanied Morelli in 1861, but it is possible
(according to Donata Levi is almost certain) that he had previously accompanied
Eastlake on his trip in 1858 [10]. The question is: how did Mündler and
Cavalcaselle influence the notes by Eastlake and Morelli? My impression,
however, is that this is an idle question. It is true that in the notebooks appears
a substantive equality of views on Lotto, but I think we can talk of the common
feelings of the same cultural milieu and it is not possible to push it beyond.
The notebooks of Morelli and the Official Report to the Ministry of
Education
It seems to
me more interesting, however, to try to shed light on the relationship between Morelli’s
notebooks and the Official Report delivered, at the signature of Cavalcaselle and
Morelli, to the Ministry of Education (before May 1862). This report has been
published thanks to Adolfo Venturi in number II of Le
Gallerie Nazionali Italiane (The National Italian Galleries) with
the title Catalogo delle opere d’arte nelle Marche
e nell’Umbria di G.B. Cavalcaselle e Gio. Morelli (1861-1862) [(Catalogue
of works of art in the Marche and Umbria of Giovanni Battista Cavalcaselle and
Giovanni Morelli) (1861-1862)]. I would not want to look picky, but I have
strong doubts that this is the original title. Firstly, because 1862 seems to
be the delivery year of the report and definitely not the one of the trip. Then,
because the authors are placed in alphabetical order: in my humble opinion,
Morelli - who was responsible for the shipment, while Cavalcaselle was only the
assistant - would have never ever submitted a report where he appeared as the
second [11]. And then - and most importantly - why comparing notebooks and
report, it is clear that the report was written by Morelli (Cavalacaselle, moreover,
was notoriously illiterate). There are, admittedly, some differences. One is
understandable: the text of the report is more orderly, concise, and bureaucratic.
Many personal considerations by Morelli himself are cut short (and then a lot of
the contents is lost). The other one is less easy to explain. There are cases
in which works appear in the official report which are not described in Morelli’s
notebook. In the specific case of the Marche paintings by Lotto they are: (i) the
lunette of the Madonna of the Roses, (ii) the Jesi diptych of the Annunciation and
(iii) the Crucifixion of Monte San Giusto. Who added the new material?
Cavalcaselle? Morelli on the instructions of a third party? We will never know.
I, however, would have an explanation of common sense: it is possible that, as
in the case of Eastlake, Morelli wrote on loose sheets and then copied them at
the end of the day on the notebook. He probably forgot to copy the pieces, and
recovered them at a later time. Anyway, I think it is right to give to Morelli the
total authorship of writing notebooks and official report, except to say that
what is written reflected the opinion of both Morelli and Cavalcaselle. In the
text that you will read, however, I reported from time to time possible differences
between notebook and Report.
Methodological notes
In
presenting the texts of the two notebooks I have chosen to follow the order
(chronological, sometimes with an imprecise assignment of the years) set in Lotto nelle Marche (Lotto in the Marche) edited by Garibaldi
and Villa. I completed the list of Marche works by tapping from http://www.lorenzolottomarche.it/. In the display of the material, I always put
first the notes by Eastlake, then those by Morelli. Both the notebooks of
Eastlake and Morelli are enriched by drawings. This theme is always delicate,
in the sense that when it comes to connoisseurs and designs, we are always
thinking of Cavalcaselle. In the case of Eastlake and Morelli, however, the
importance of design is much lower: it consists of agile sketches of tiny
dimensions, serving either to reproduce inscriptions or to memorise a gesture,
a particular, a posture (in the case of Eastlake, the 36 notebooks present more
than 1000 of them). As I am unable to display them, I am indicating the exact
position within the respective critical editions.
The
illustrations of the pictures are taken from the site http://www.lorenzolottomarche.it/, set up at the occasion of the homonymous
"widespread" (in the sense of involving all the areas affected)
exhibit, held from March 9 to July 7, 2013.
Not having specific
philological ambitions, the texts have been "normalised", being presented
both in Italian in the Italian version of the web post, and in English for the English
version. Abbreviations were spelt out. Of course, the absolute fidelity to the
content was maintained.
Recanati
Altarpiece of San Domenico (1508)
Currently
in Recanati, Civic Museum, Villa Colloredo Mels
Both
Eastlake and Morelli saw the altarpiece (carried out between 1506 and 1508) in
its original location, i.e. in the church of San Domenico at Recanati, but when
it had been already dismembered for a long time and was therefore no longer on
the main altar of the Church. The work is well known, as mentioned by Vasari in
the Lives in the Giunti edition (1568). Just from what told by Vasari, we must regretfully
report the disappearance of the predella of the altarpiece. The altarpiece was
dismembered in its different (and remaining parts) between the choir and the
sacristy of the church. The current frame is of course not the original one.
Since the
altarpiece is composite, we report first of all today's attributions about the
subject (see Lotto in the Marche, p.
20):
Cymatium: Dead Christ Supported by an Angel, St. Joseph
of Arimathea, the Virgin and Mary Magdalene;
Top panel left side: Saint Lucia and Saint Vincent Ferrer;
Top Panel Right Side: St. Catherine of Siena and St.Sigismund;
Middle panel: Virgin and Child with Saints Dominic, in the
act of receiving the scapular, Gregory and Urban, an angel and putti musicians;
Lower panel left side: Saints Thomas Aquinas and Flavian;
Lower panel right side: St. Peter Martyr and St. Vitus.
 |
| Lorenzo Lotto, The Altarpiece of Recanati |
EASTLAKE
Notebook 19 sheets 10v - 11v
( vol. 1 ,
p. 446-447 Avery-Quash edition )
S. Domenico (Recanati) choir – Dead Christ supported by an angel on left – Magdalen kissing left hand of Christ on right – a figure veiled with blue drapery behind. Lorenzo Lotto –
Joseph of Arimathea with right hand round Christ’s head – left round body Magdalen holding right arm, hand dropping Christ seated on sepulchre legs outside, cut off by frame. Half figures – Sky on left behind Magdalen rest dark –
Drapery sharp and paper-like (Like Previtale) [n.d.r. Andrea Previtali] – Profile of Magdalene half hidden behind hand of Christ. Foreshortened hand of Christ almost defaced whole much injured.
Two Saints – a Bishop and St Benedict – same master -
Two other Saints – one in armour and a Benedectine – same master
Sacristy Two half figures of Saints – Magdalen and a Benedectine – same
Two other half figures – St Catherine of Siena? and St. Winceslaus – with chain round neck, pointing with right hand – resting left on sword well drawn heads and hands in all these - The two last named pictures eligible that with St Winceslaus perhaps the best, but the colour is gone from the hands of the female Saint – all wood – The whole by Lorenzo Lotto.
Centre picture “Laurint Lotus MDVIII” – Madonna and Child enthroned under coffered architectural arch – Left S. Gregorio – Rt Pio Quinto [Terzo] both in Pontificals and holding long crozier-like crosses
Left, below, half kneeling S. Alano in white receiving the scapulary as monk – The Madonna holds the end with left hand and an angel is about to place it over his head –
Two infant angels seated on step below – one older than the other – both looking over their shoulders at the ceremony – the elder holding but not playing on violin – the younger playing guitar
Inscription in centre below next frame
Nativity (which must have been of this shape) [Fig. 19.49] missing.
The half figures 2 – 1 ½ square – Centre picture 3 – 5 [[width]], 7 -4 ½ height to centre of arch [Fig. 19.50] – Larger whole length Saints 5 – 6 height 2 -3 width. Pietà 2 – 6 height 3 – 7 width. The whole length Saints had originally arched tops [Fig. 19.51]
MORELLI
Notebook A, Sheets 48v - 49r and 53r.
(pp. 79 and
82-83 Anderson edition)
In the sacristy of the church of S. Domenico at Recanati is to be seen: Madonna Enthroned with the naked Child in her arms, two holy bishops at the sides with the cross in their hand, on the right side St. Dominic kneeing. On the base of the throne, two little angels in bizarre postures, of which the smallest plays the mandola, the elder has the violin in his hand; an angel receives from the hands of the Beata Vergine Mary wearing a white cloth for delivery in St. Domenico. Bramante-style architecture. At the bottom of the table we read LAVRENT. LOTVS M.D.VIII. The type of the Madonna is serious, but not beautiful.
White cloth from the head down on his shoulders; red corset with green dress, blue mantle. Fleshy hands, similar to those of Previtali. The moves of the holy are compound, moderate; the St. Dominic really beautiful, worthy of Giovanni Bellini. Some scraping off in the painting and holes in the panel, the remaining well preserved.
On the side walls of the sacristy (also from Lotto and belonging to the same altarpiece), two paintings framed are to be found, representing one the holy Dominic and Mary Magdalen (Bellini-like indeed, very well designed), and the other one a holy warrior (gorgeous) and St. Catherine of Siena with her heart in his hand (value of these 3 boards 30,000).
In the choir of the same church: three panels of the same author: a) one diagonal representing a Pietà. Christ supported on the tomb by an angel to his right side, backed by St. Joseph of Arimathea; at the left St. M. Madeleine, who kisses the left hand of the Lord. The table has suffered much; the head of Christ in perspective but all lost; missing colours in many parts; fine workmanship, petite, conscientious, Bellini-like at all. Behind the head of St. M. Maddalena, it is to be seen the upper part of the heads of the other two Maries. Value of 15,000 fr.
Next to this board a new one representing the new Saint Domenico with the book in hand and a holy bishop, supposed s. Florian - good condition.
In the third table there are the Saint Peter Martyr and Vitale (warrior) good preservation . [12]
Recanati
Transfiguration of Christ (1511-1512 circa)
Currently
in Recanati, Civic Museum, Villa Colloredo Mels
 |
| Lorenzo Lotto, Trasfiguration of Christ |
EASTLAKE
Notebook 19 sheets 10r - 10v
(vol. 1, p
. 446 Avery-Quash edition )
Castel Nuovo (close to Recanati) Chiesa della Collegiata Lorenzo Lotto – Transfiguration – 6 – 8 ½ width, 9 -10 height arched top wood [Fig. 19.47] Christ in white or grey tunic, pale rose in shadows, outer robe white – head turned towards Moses (left) – both hands on other side, where “Helyas P.P.” is – Both Moses and Elias kneel on one knee – Apostles below all with name – gold letters – cherubs heads about Christ – Below “Moyses P.P” the two tables –
Peter in purplish grey and orange (usual) John red and green (usual) James lake red tunic, blue robe – warm brown shadows to flesh – parts blistered particularly in blue of James – Peter holds keys –
Cartellino under left foot of St John next frame below in which “LAVRENTIVS” only is now visible –
Moses dressed in a white tunic with purplish shadows (fine colour) a green above, fastened at knee [Fig. 19.48] – Above all and passing over his head a drapery with yellow lights and lake shadows – but below it is white and lake merely –
Fine Giorgionesque impasto throughout (quite unlike many thin works on Lotto on cloth) -
The Elias and the action of Christ unfortunate – no good heads – Peter’s right hand holding keys good and St John’s not bad – some feet poorly drawn but good colour –
The mount is almost [[semi]]circular – some rock under Moses - and green much embrowned – Elias dull yell, tunic, red robe with white lights Christ’s head very poor. – cool half shadow on head of John like Lotto – good tones and good harmony especially in the Moses – but on the whole an indifferent picture
MORELLI
Notebook A, Sheet 47v
(p. 78
Anderson edition)
Half a mile outside the city [Recanati], and almost as a suburb of it there is Castelnuovo, in whose collegiate there is a church. In the sacristy is a table of a nearly size to that of S. Bernardino in Bergamo, a panel painting by L. Lotto representing Christ on high between Moses on the right and Elijah on the left. Christ is standing above the top of a mountain, the robe is red - white, with a white blanket. Elijah, in the act of explaining to Christ with his hands, is seen in profile, with greenish robe and red cloak. The aureole is [drawing XXVI]. Moses with his left hand to his chest, his right arm outstretched middle has a white robe, overcoat and green - yellowish red cloth that drops from the head on his shoulders and hits the ground with flaps. Its tables are on the ground beside him. On the top three cherubs. Under the figures of Christ is written in golden letters: IESVS. CHRISTUS. Under Moses: MOYSES. PP.; under Elijah HELYAS. PP. Below that group is to be seen: as higher, the apostle Peter with a key in his hand and his head facing Elijah; below to the right, John; to the left, Jacob. Next to each, their name is also written in gold letters; their aureoles are simple gold rims. Under the left foot of St. John see a card with written on it: LAVRENTIUS [design XXVII] deleted from touch-ups. The painting has suffered more from time than any other cause. There are paint chips in some parts. It is dirty. It is a work of his advanced life, floppy, with various corrections in design, especially in the right hand of St. John and the right of Jesus Christ. Above the head of Christ in a vertical line and red letters you can read: Hic east filius meus dilectus [This is my beloved son]. Figure ¾ size. Value of 18,000 fr.
Jesi -
Church Of St. Florian
Entombment (1512)
Currently
in Jesi, Pinacoteca Civica
 |
| Lorenzo Lotto, Entombment |
EASTLAKE
Notebook 19 sheets 14v - 15r
( vol. 1 ,
p . 449 Avery - Quash edition )
St. Florian – Entombment – signed “Laurentius Lotus MDXII” on corner of Sepulchre near frame – 6 – 6 width – 9-10 height to centre of arch [fig 19.73]. Magdelen kneeling and holding rt hand of Christ ill drawn, with short arm – Action of Madonna with uplifted arms extravagant White drapery wrapped round legs of Christ & held by a figure at his feet ill managed. But except in drapery of Madonna and a few other parts, well preserved – The man at Christ’s feet holding the white drapery one of the best – Heads of men full in frontal – hair massive, not unlike Correggio - Head of Christ regular and poor – an uplifted female head badly foreshortened – Infant Angels above.
Color generally robus, but surface smooth – a light preparation evidently underneath – Figure at feet with light blue grey dress (quilted) – Landscape embrowned & distance evanescent – Precision in architecture of tomb – thorns, pincers & hammer. A yellow drapery under the Christ going tight round the corner of the tomb neatly executed – Glory of IHS with infant angels round in centre above – a thin brown tree in mid distance on left – All noses full and rising [[prominent]] at origin from forehead -
MORELLI Notebook A, sheets 38V - 39r
(p. 70 Anderson edition)
In St. Florian, on the 3rd altar on the left there is the deposition of L. Lotto: Jesus died in the middle, supported in a white cloth at his feet by a large man in blue jacket (Correggio-like figure); marvellous glimpse of the arms. Kneeing on the right side of the body M. Madeleine, in red robe, kneeing supporting with both hands the right hand of Jesus, from the left side the Beata Vergine Mary with blue cloth on his head, red robe, his arms raised in the act of professing pain; at the head of the Lord, a strong man holding the body of Jesus in her arms, supporting with his teeth the white cloth or sheet. Behind them, 4 other people grieving, in all 9 figures. At the bottom above a hill are seen the three crosses with figurines around. A lanscape on the back. On the top, glory of 4 angels. Above the marble lid of the sarcophagus is written LAVRENTIUS LOTUS X.D.XII. Crown of thorns on earth, pliers, and hammer.
Recanati -
Church of San Domenico
St. Vincent Ferrer in Glory (1514-1515)
Currently
in Recanati, Church of San Domenico
 |
| Lorenzo Lotto, St. Vincent Ferrer in Glory |
EASTLAKE
sheet 19 Notebook11v
(vol. 1 , p
. 447 Avery-Quash edition )
A ruined altarpiece in choir – School of Lotto – a fresco in church
MORELLI
Notebook A, sheets 38V - 39r
(p. 83
Anderson edition)
In the same church, on the second altar on the
left as you enter, it is to be seen - painted in fresco - the whole figure of St.
Domenico in the clouds, with open book in his hand on which we read: Timete Deum et date illi honorem [Note of
the translator: Be scared of God and honour him]. On the top, glory of little
angels. Two angels hold on every side the black cloak of the saint, other two angels
holding up the clouds. Shadows are dashed (there is no good fresco shown).
Imitation of Raphael in the left angel. Painting well-kept and very well
designed. Wall sawn elsewhere and moved to the present place.
Recanati -
Oratory of San Giacomo
St. James the Pilgrim (1516)
Currently
in Recanati, Civic Museum, Villa Colloredo Mels
 |
| Lorenzo Lotto, St. James the Pilgrim |
The work,
of very small dimensions (20 x 15 cm), was neither seen by Eastlake nor by
Morelli, who do not appear to have visited the Oratory of San Giacomo.
NOTES
[1]
Bernhard Berenson, Lorenzo Lotto. An Essay in
Constructive Art Criticism, New York -London , G.P.Putnam's Sons,
1895. See in Italian the version published by Abscondita in 2008.
[2] Present
in this library in the edition by Pietro Zampetti in 1969: Lorenzo Lotto, Il «Libro di spese diverse» (The Book of various
expenses), Venice - Rome, Institute for Cultural Collaboration Venice - Rome,
1969.
[3] Peter Humfrey, La fortuna
critica di Lorenzo Lotto (The critical fortune of Lorenzo Lotto) in “Lorenzo Lotto. Catalogo della mostra alla Scuderie del
Quirinale”. (Lorenzo Lotto. Catalogue of the exhibition at the
Quirinal Stables) March 2 - June 12 2011, p. 61-69 , edited by Giovanni Carlo
Federico Villa, Cinisello Balsamo, Silvana Editoriale, 2011.
[4] Pietro Zampetti, Lorenzo
Lotto nelle Marche (Lorenzo Lotto in the Marche), Istituto Statale d’arte (State
Institute of Art), 1953.
[5] Lorenzo Lotto nelle Marche.
Per una geografia dell’anima. (Lorenzo Lotto in the Marche. For a geography of the soul). By Loretta
Mozzoni, Florence, Giunti, 2009.
[6] Lotto nelle Marche. (Lotto in the Marche).
Edited by Vittoria Garibaldi and Giovanni C.F. Villa, Cinisello Balsamo ,
Silvana Editoriale, 2011.
[7] Susanna
Avery-Quash, The Travel Notebooks of
Sir Charles Eastlake, Two volumes, London, The Walpole Society, 2011.
[8] Jaynie Anderson, I taccuini
manoscritti di Giovanni Morelli. (The manuscript notebooks of Giovanni Morelli). Marche Region, Centre of
Culture and Federico Motta publisher, 2000.
[9] Otto
Mündler, The Travel Diary, edited by
Carol Togneri Dowd, London, The Walpole Society, 1985. Quite simply, I do not
own it and I have not had the opportunity to consult it as well.
[10] Donata Levi, Cavalcaselle.
Il pioniere della conservazione in Italia (Cavalcaselle. The pioneer of conservation in Italy). Turin, Einaudi,
1988. See especially pp. 152-159 and also p. 166 n. 144. "The common
journey is evidenced by the notes in a notebook of Cavalcaselle, Biblioteca
Marciana, Cod It. IV 2037 [= 12278], tacc. 12. At c.23v, with the date of
September 20, 1858, Eastlake and the town of Pesaro are named". In all
honesty, I would take this with a formula of doubt. And not so much because the
fact is never mentioned in Eastlake’s notebooks (he never mentions even his
wife), but because the fact that the two are seen together in Pesaro does not
imply that they did the whole trip together.
[11] I am
taking the opportunity for an additional consideration with respect to what I
wrote in the online review on the manuscript notebooks of Giovanni Morelli. As
known, the coexistence Morelli - Cavalcaselle went immediately into crisis.
There was much discussion of this enmity, which has produced its effects for
the next thirty years; reference was made to different characters, cultures, and
friendships. But all of this in my opinion is not enough. What is needed is a precipitating
cause. And the cause is written by Morelli, very evidently, on his notebooks: while
being both patriots, Morelli is monarchical and a supporter of Cavour, while Cavalcaselle
supports Garibaldi. Morelli writes in his notebook that Garibaldi is a foolish
and wants the triumph of a violent minority. In short, for the duration of the
trip two very different ways to see Italy collided. It is easy to imagine how the
situation immediately degenerated and to understand that the two hated themselves
since then (we are in the crucial months for the destinies of Italy, let us not
forget).
[12] In the Morelli Cavalcaselle report (p. 256): "Very fine work of the author and can be estimated at around 60 to 70,000 lire, i.e. seventy thousand pounds."
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