Giovanni Mazzaferro. Lotto in the Marche: a Comparison Between the Notebooks of Charles Lock Eastlake (1858) and Giovanni Morelli (1861) - Part Two

Translation by Francesco Mazzaferro

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Giovanni Mazzaferro
Lotto in the Marche:
a Comparison Between the Notebooks of Charles Lock Eastlake (1858) and Giovanni Morelli (1861)
Part Two

Read 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]

[N.B. On Giovanni Morelli see also in this blog: The Hand-Written Manuscripts by Giovanni Morelli. A cura di Jayne Anderson, Federico Motta editore – Regione Marche, 2000]

Jesi - Church of San Francesco al Monte

Enthroned Madonna and Child with Saints Joseph and Jerome (Madonna of the Roses) (1526),

Currently in Jesi, Pinacoteca Comunale

Lorenzo Lotto, Madonna of the Roses

EASTLAKE Notebook 19 sheet  14r

(vol. 1, p . 448 Avery - Quash edition )

Jesi. Padri Riformati - “Laurentius Lotus MDXXVI” 5 feet ½ inch square – wood.

Madonna and Child enthroned – Christ stretching out hands to Joseph, left, who offers both hands in return – he has a staff and has placed a white wallet  and wooden keg [Fig. 19.68] on pedestal – right, St Jerome. Rose and petals on ground – curtain right – Left sky and a rose tree above wall. [Fig. 19.69]  Action of Christ very natural – Madonna entirely in blue – inner dress only lighter with warm lights – robe darker – a dull yellow orange scarf crossing tunic – Head of Madonna very low and brown in tint – her left hand on contrary (about to receive book offered by St. Jerome) quite pale – Joined horizontally – split (open) passing through Madonna’s chin. Picture spotted and in bad state – usual defects in drawing – for example in Child (but the intention very pleasing) – the  Titianesque Madonna -

[Eastlake does not describe the lunette]

MORELLI Notebook A, sheets 36r - 36v

(pp. 78-79 Anderson edition) [13]

Jesi. Church of Zoccolanti.

On the third altar by Lorenzo Lotto, Madonna Enthroned with the naked baby Jesus on his right knee, moving his arms to come into those of S Joseph, who hands him his owns, staying at the right of the throne. To the left of the throne St. Jerome in a Cardinal dress. The Madonna with blue robe and mantle places her right foot on a stool. With her left hand she touches a book, which she got from St. Jerome. Above the throne - which is in the shape of a niche with rounded arch, turns a dark - green awning. St. Joseph has a yellow-brown dress and blue trousers; a yellow belt wraps around the sides of the Beata Vergine Mary and drops on his lap.

On the face of the ladder, on which lies the throne , it is written LAVRENTIUS LOTVS M. D. XXVI

In front of the staircase on the ground leaves of roses and a rosebud.

Panel, blackened by time but of perfect preservation. Some paint chips and wormholes, a rift that runs through the cross at the top of Mary’s mantle. Here Lotto likens again Palma the Elder, the tone of his colorito is gain golden (as in the portrait of home Sernagiotto 1526). [editor's note: The reference here is to the Portrait of the Bursar of the Dominican convent of Santi Giovanni e Paolo in Venice (Marcantonio Luciani), from the collection Sernagiotto and now kept at the Museum of Treviso].

Jesi - Church of St. Florian

Diptych of the Annunciation (about 1526)

Currently in Jesi, Pinacoteca Comunale

Lorenzo Lotto, Diptych of the Annunciation

EASTLAKE Notebook 19 sheet 15r

(vol. 1, p. 449 Avery-Quash edition)

In room of Convent – Announcing angel & Annunziata – Lotto – 1 – 3 ½ width – 2 – 7 height wood – In head of Madonna nose full at origin – eyes deeply seated (Cammucinesque) – Hands of Madonna good – both pictures much worm eaten – The angel in the light grey-blue colour peculiar to Lotto – Knee of left leg looks broken. The other pictures (predella) ascribed to Lotto, much more modern.

.

MORELLI CAVALCASELLE 

Catalogue of works of art in the Marche and Umbria 1861-1862 in Gallerie Nationali Italiane (The National Italian Galleries). News and Documents Vol II p 265

In Morelli’s notebook no reference to the Diptych of the Annunciation. It appears instead in the official report, signed jointly by Morelli and Cavalcaselle, and submitted to the Ministry of Education in 1862 (p. 265). Here is the text:

In the same convent in two tables: the Angelic salutation, work well by Lorenzo Lotto: figures a third of the natural size and value of L. 2000, i.e. two thousand lire.

Monte San Giusto - Church of Santa Maria in Telusiano

Crucifixion (1529)

At present in the same location

Lorenzo Lotto - Crucifixion

EASTLAKE Notebook 19 sheet 10r

(vol. 1, p. 446 Avery-Quash edition)

S. Giusto – S. Maria - a large arched altarpiece – cloth – Christ on Cross with Thieves – entirely filling the Apse – many figures the Christ and figures on Crosses looking rather small for the space – seen when nearly dark – signed Lorenzo Lotto -

MORELLI CAVALCASELLE

Catalogue of works of art in the Marche and Umbria 1861-1862 in Gallerie Nationali Italiane (The National Italian Galleries). News and Documents Vol II, p 229-230

In Morelli’s notebook there is no reference to the Crucifixion of Monte San Giusto. It appears instead in the official report, signed jointly by Morelli and Cavalcaselle, and submitted to the Ministry of Education in 1862. We display hereafter the text:

In the choir, behind the high altar of the Church of St. Mary, owned by the family Bonafede di S.Giusto, there is a great canvas on which the Crucifixion is represented. Christ on the cross in the middle of the robbers. At the foot of the cross, two soldiers with spear in hand, to the right, two soldiers on horseback, at the bottom a bishop of the Buonafede family on his knees with crossed arms. Next to him an angel, who shows him with both hands the group, which consists of fainted Mary, and supported by St. John and one of Maries, on the left St. Mary Magdalen and the other Mary. Canvas excellent preservation. Number of figures around 23. It is marked by the author's name and the year 1531: Lorenzo Lotto. Value of 60,000 lire, i.e. sixty thousands. Beautiful frame of original time.

Jesi - Church of St. Florian

Altarpiece of Saint Lucia (1532)

Currently in Jesi - Municipal Art Gallery

Lorenzo Lotto - Altairpiece of Saint Lucia

EASTLAKE Notebook 19 sheet 15r

(vol. 1, p. 449 Avery-Quash edition)

[[same church]] Sta Lucia – Lotto very indifferent – 7 – 7 width higher than wide – wood possibly the work of a Scholar – some parts very bad – The executioner dragging back the Saint (with slashed grey sleeves) like Lotto – his head also good – In general below Lotto.

[editor's note: Eastlake does not describe the predellas]

MORELLI Notebook A, Sheet 39v

(pp. 70-71 Anderson edition)

Opposite is a high square panel representing St. Lucia, in yellow robe, to whom a caricatured villain tears up the red cloak. Many surroundings figures. There is a judge over high throne, painted in a floppy and very loaded way.

On the marquee of the predella [note of the editor: the central one], in which the saint is dragged by oxen to be martyred, there is the following brand [design XXII]. Well preserved and beautiful colorito and especially the man who pricks 4 veal - excellently treated the perspective of a porch.

In the 2nd predella you see 6 copies of oxen with three men pricking animals (Martyrdom of St. Lucy). On the bottom manufactures and views of the open countryside beautifully painted and preserved.

In the 3rd (or earlier) predella you see a grave in the middle on which is written: SEPVLCRUM SANCTE AGATE. The saint kneeling listens to the mass, and other facts of the life of the saint [14]

Jesi - Church of St. Florian

Visitation (1532)

Currently in Jesi - Municipal Art Gallery

Lorenzo Lotto - Visitation

EASTLAKE Notebook 19 sheets 14r - 14v

(vol. 1, p. 449 Avery-Quash edition)

Opposite,a picture by some master – same dimensions – Salutation – cloth – ticking – Madonna again entirely in blue – the under blue a little lighter [Fig. 19.70]. The Madonna stretches forward holding right hand of Elizabeth with both hers – The expression of Elizabeth looking up and pointing to Madonna finely conceived. Two female attendants standing behind Madonna. Old man coming out of door on left [Fig. 19.71]. Violets, well executed, strewed on ground on right - Signed, on the wooden bench in background between Madonna and Elizabeth [Fig. 19.72]. Picture suffering from damp but still in good state – The head [[hand]] of Elizabeth not very well drawn – Heads of the other women common – The figure of the Madonna head and hands admirable in action and expression and well executed –

The background – with shelf and various things, as well as the execution of the woodwork and c. show that Lorenzo Lotto must have been the painter of the St Jerome in the Manfrin Gallery ascribed to Bellini. [15]

[editor's note: Eastlake does not describe lunette]

MORELLI Notebook A, sheet 37r - 37v

(pp. 69 Anderson edition)

Opposite to this painting, the meeting of the Beata Vergine Mary with Elizabeth in a room, two women stand behind Our Lady, on the threshold of the door of the room there is an old man in blue robe with a pink drape on his head, and long white beard. On the wall is a shelf, covered by a green awning; above the shelf a vase, an orange and other objects; flowers in the ground; figures half of the natural; robe and mantle of the Virgin Mary are blue; one of the two women behind the Beata Vergine Mary dresses with yellow-brown, green overcoat, and rosy mantle that descends from the head; for the other blue robe and red cloak, and yellow drape on his head. Over the face of a wooden bench in the Beata Vergine and St. Elizabeth is written: L.Lotus 1532. The last two digits being written above the blue mantle are almost unintelligible. [16]

Recanati - Santa Maria sopra Mercanti

Annunciation (1534-1535) 

Currently in Recanati - Civic Art Gallery

Lorenzo Lotto - Annunciation

Neither Eastlake nor Morelli seem to have seen the work, which is also not mentioned in the official report by Morelli and Cavalcaselle to the Ministry of Education.

Loreto - 'Royal Palace'

St. Christopher with Saints Roch and Sebastian (1535 approx)

Currently in Loreto, Ancient Treasure Museum

Lorenzo Lotto - St. Christopher with Saints Roch and Sebastian

EASTLAKE Notebook 19 sheet 12v 

(vol.  , p. 447 Avery-Quash edition)

[Editor's note - All Lotto’s paintings in Loreto are summarily dismissed with the following words]:

In the Palace of the Delegato nothing of importance – but many some pictures with imposing names – Large Lottos very indifferent.

MORELLI Notebook A, sheet 46r

(pp. 76 Anderson edition)

Antechamber of the Royal Palace and over the front door: a) St. Christopher on canvas, colossal figure, with a beautiful Christ over his left shoulder, at the sides the great figures in true size of St. Sebastian and St. Rocco - in the ground near the foot of St. Rocco a crumpled up card that says LAVRENTII LOTI, PICTORIS, OPUS. 6,000. High 1.70 - large 1 - ct. 33 and above [design XXV] [17]

Ancona - Santa Maria della Piazza

Altarpiece of the Halberd (1538-1539 circa) 

Currently in Ancona, Pinacoteca Civica

Lorenzo Lotto, Altarpiece of the Halberd

EASTLAKE Notebook 19 sheet 12v

(vol. 1 , p. 447 Avery - Quash edition)

Ancona - S. Maria della Piazza – Lorenzo Lotto – cloth – figures life size – Madonna and Child enthroned high – Two angels above holding crown over her head, flying with uplifted arms – Madonna wrapped up in blue – white head dress – Infant Christ blessing, Madonna’s hands, adoring, round him [Fig. 19.58] – Two standing Saints on each side below – Left Madonna and Child pale as if glazing gone – lower figures richer – but picture dark and ill seen – Saints – Left – St Stephen and St. John Baptist – Right an apostle with an axe & S. Lorenzo

MORELLI Notebook A, Sheets 42v - 43r

(p. 73 edition Anderson)

Santa Maria in Piazza. Behind the high altar, at the left a large canvas by L. Lotto representing an Enthroned Madonna, blue robe, with a white cloth on his head, the naked cherub in his left arm. She has her hands joined in prayer. Two flying angels hold the crown over the Virgin. Bottom right St. John the Evangelist, red robe, the eagle on the ground beside him, behind him St. Stephen in white embroidered robe; on the left side Saint Joseph (whose coat is all badly re-painted), S. Lorenzo behind him. Back landscape on the sides.

On the face of the last step of the ladder upon which the throne lays is written: Lorenzo Lotto. Figures larger than natural. Work of his old age, floppy in colorito and design. Value of 15,000 lire. It should be relined. There are holes in the canvas.

Cingoli - Church of St. Dominic

Madonna of the Rosary (1539)
At present in the same location

Lorenzo Lotto, Madonna of the Rosary

Neither Eastlake nor Morelli cite it (and they did not visited Cingoli).

Loreto - 'Royal Palace'

The sacrifice of Melchizedek (pre-1545)
Currently in Loreto, Ancient Treasure Museum

Lorenzo Lotto, The Sacrifice of Melchizedek

EASTLAKE

See the comment for the St. Christopher with Saints Roch and Sebastian

MORELLI Notebook A, Sheet 46v

(p. 77 edition Anderson)

Canvas of the same size [editor's note, the same as the Adoration of the Child in Loreto. See below]. 2 m wide and 45 cm - 70 cm and 1 metre high. Moses, with the golden calf, and unleavened bread. Portrayed by Lot in a blue dress among the many figures, it is found behind Aaron. He suffered and it is of his last floppy way.

Loreto - 'Royal Palace'

St. Michael the Archangel expels Lucifer (1545)

Currently in Loreto , Ancient Treasure Museum

Lorenzo Lotto, St. Michael the Arcangel expels Lucifer

EASTLAKE

See the comment for the St. Christopher with Saints Roch and Sebastian

MORELLI Notebook A, Sheet 46v

(p. 77 edition Anderson)

St. Michael with the devil, one half of the true size figures in the canvas. Intonation like Titian.

Loreto - 'Royal Palace'

Christ and the adulteress (1546-1550 circa)

Currently in Loreto, Ancient Treasure Museum

Lorenzo Lotto, Christ and the adulteress

EASTLAKE

See the comment for the St. Christopher with Saints Roch and Sebastian.

MORELLI Notebook A, Sheet 46v
(p. 77 edition Anderson)

First salon [note of the editor of the Royal Palace]. Above the door next to the window canvas that represents the Adulteress; the figures of Christ and the adulteress on the front of the old are all re-painted. Doctors’ heads as caricatures.

Loreto - 'Royal Palace'

Adoration of the Child (1549-1555 circa)

Currently in Loreto, Ancient Treasure Museum

Lorenzo Lotto, Adoration of the Child

EASTLAKE

See the comment for the St. Christopher with Saints Roch and Sebastian

MORELLI Notebook A, Sheet 46v

(p. 77 edition Anderson)

In the Granary [editor's note: of the Royal Palace]: a large canvas depicting the Holy Family, two angels, the small St. Giovanni Battista, St. Anna and St. Gioachino (alike Paolo Veronese and Bassano) in the act of adoring baby Jesus lying naked on the floor on a white cloth. Our Lady dressed in blue, both mantle and robe. Behind there is a grey curtain. Figures failed. ¾ size - 10,000 [n.d.r. lire]

Loreto - Private Collection

Fighting between the Fortress and the unhappy Luck 

(pre-1550)

Currently in storage at Loreto, Ancient Treasure Museum

Lorenzo Lotto, Fighting between the Fortress and the unhappy Luck

Neither Eastlake nor Morelli refer to the work.

Mogliano - Church of Santa Maria della Piazza

Madonna in Glory and Saints John the Baptist , Anthony of Padua, Mary Magdalene and Joseph (1548)

At present in the same location

Lorenzo Lotto, Altarpiece of Mogliano

Neither Morelli nor Eastlake view and report on the work.

Ancona - Church of Santa Maria Liberator

San Rocco (1549)

Currently in Urbino, Galleria Nazionale delle Marche

Lorenzo Lotto, Saint Roch

Neither Eastlake nor Morelli refer to the work.

Ancona - Church of St. Francis at the Stairs

Assumption (1550)

At present in the same location

Lorenzo Lotto - Assumption

Neither Eastlake nor Morelli refer to the work.

Loreto - 'Royal Palace'

Baptism of Christ (1551-1555 circa)

Currently in Loreto, Ancient Treasure Museum

Lorenzo Lotto - Baptism of Crist

EASTLAKE

See the comment for the St. Christopher with Saints Roch and Sebastian

MORELLI Notebook A, Sheet 46v

(p. 77 edition Anderson)

The baptism of Christ. In the back Titian-like landscape, figures a little stubby, coloured like Paris Bordone. Canvas. 4,000.

Loreto - 'Royal Palace'

Adoration of the Magi (1552-1555 circa)
Currently in Loreto, Ancient Treasure Museum

Lorenzo Lotto, Adoration of the Magi

EASTLAKE

See the comment for the St. Christopher with Saints Roch and Sebastian

MORELLI Notebook A, Sheet 46v

(p. 77 edition Anderson)

The Adoration of the Magi. Canvas which has also suffered a lot from injury of time and men. The old king kissing the foot to the Child is lying on the ground, holding on with both arms. 3,000. Large 1 and 30 ct, ht. M. 1 ct. 2.

Loreto - 'Royal Palace'

Presentation of Jesus at the Temple (around 1555)

Currently in Loreto, Ancient Treasure Museum

Lorenzo Lotto, Presentation of Jesus at the Temple

EASTLAKE

See the comment for the St. Christopher with Saints Roch and Sebastian

MORELLI Notebook A, Sheet 46v

(p. 77 Anderson edition)

The presentation in the temple with many figures at the sides. Weak in color. Probably among his last works, as it seems. 1,500.

A Lost Painting?

Fermo - Casa De Menicis

Madonna and Child with Saint Jerome [year ?]

Currently in ? ?

On his notebook 19, spreadsheet 9r. (p. 445 Avery-Quash edition) , Eastlake refers to a painting of Lotto seen in Fermo in these terms:

[Case de Menicis] – L. Lotto signed [Fig. 19.39] 2 – 2 width, 1 – 3 ½ height cloth – Madonna seated – Child on her knees [Fig. 19.40]. St. Jerome rt holding crucifix in left hand – linear nimbi Christ with [Fig. 19.41] M. strong red drapery – dull yellow on head – dark background – sky low [Fig. 19.42].

We do not think that today the picture has been identified.

NOTES

[13] In Morelli’s notebook the description of the lunette does not appear, which instead is present in the official report by Morelli of Cavalcaselle (p. 262) . "On top of this framework its lunette is affixed to the wall, representing St. Francis receiving the stigmata, and a saint of the Franciscan Order (Santa Chiara?). Landscape and tent on the back. This table is somewhat emaciated. The value of these two paintings forming a single work is L. 30,000 i.e. thirty thousand lire."

[14] The report by Cavalcaselle and Morelli adds (pp. 264-265): "very blackened and emaciated painting "(with reference to the altarpiece)."It is falsely attributed to Titian. Inside the convent you find its predella in good conservation ... Value 10,000 L. i.e. ten thousand lire."

[15] Here Eastlake alludes to St. Jerome in his study, seen several times in the collection Manfrin in Venice, attributed to Giovanni Bellini and which, in fact, he believes to be of Lotto. Eastlake considered the painting suitable for purchase, so much so that he bought in 1862. San Girolamo is now in the National Gallery [NG 694] and is a work of Vincenzo di Biagio Catena.

[16] In Morelli’s notebook the description of the lunette does not appear, which instead is present in the official report by Morelli and Cavalcaselle (p. 263). "Above this picture its lunette affixed to the wall is also seen, representing the Angelic salutation. Both of these paintings have suffered from excessive cleaning. Value of L. 20,000, i.e. twenty thousand lire."

[17] In addition, the report by Morelli and Cavalcaselle (p. 252): "In many parts of the background colour has dropped, as well as the figure of St. Sebastian, and so on. This canvas needs to be lined. Worth about L. 5000, i.e. five thousand lire."