Giovanni Mazzaferro. Mary Philadelphia Merrifield in Italy. Part Two: Emilia and Veneto

Translation by Francesco Mazzaferro
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Giovanni Mazzaferro
Mary Philadelphia Merrifield in Italy.
Part Two: Emilia and Veneto

GO BACK TO PART ONE (PIEDMONT AND LOMBARDY)

Figure 7) Annibale Carracci, Jason meets Medea, Palazzo Fava, Bologna

JUNE 2018: This post was published in 2014. Afterwards, an important set of letters were discovered in Brighton. They were sent by Mary Philadelphia Merrifield to her husband from Italy during the trip she conducted there between 1845 and 1846, in search of manuscripts evidencing the artistic techniques of the ancient Italian masters. Much of the information contained in this post may therefore be outdated, incomplete and sometimes incorrect. I published the letters in 2018 in La donna che amava i colori. Mary P. Merrifield. Lettere dall’Italia (1845-1846) – i.e. The Lady Who Loved Colours. Mary P. Merrifield. Letters from Italy (1845-1846) – Milan, Officina Libraria, 2018, isbn 88-99765-70-5. I would therefore like to point out this new publication to anybody interested. Nevertheless, I am keeping the old posts visible, as they testify ​​what information was available before the letters were discovered and how the research on Mary P. Merrifield has evolved in recent years.

PARMA

People met:

• Angelo Pezzana, director of the Ducal Library [37];
• Francesco Scaramuzza. The "Signor Scaramuscia" shown on page 11 note, is Francesco Scaramuzza, a Parma painter of some significance. Even the relationship with Scaramuzza appears to be mainly of a technical order [38];
• A seriously ill professor who had long studied the methods of oil painting. Difficult to say who is involved. The episode describes very well Merrifield’s obstinacy while pursuing the objectives assigned to her. [39] With the benefit of the doubt, I believe that it may be Paolo Toschi, i.e. a central figure in the cultural life of Parma: just think that was part of the Commission of experts assigned the task to track down and bring back the pictures seized by Napoleon Bonaparte in the Duchy of Parma (1816); that he oversaw the design of the Teatro Regio and that, even with some breaks due to political problems, he was for decades the Director of the Gallery and the Schools of the Academy of Parma. Toschi suffered, since 1831, of violent rheumatic attacks who forced him to total immobility for many months [40].

Archives visited

• Ducal Library in Parma

BOLOGNA

Bologna appears to be an important milestone for the journey of Merrifield, in part for professional reasons (see the publication of the manuscript at that time kept at St. Saviour), but also for personal reasons: because of her visit to Bologna, Merrifield was appointed honorary member of the local Academy of Fine Arts, an honour to which she held a lot. The visit to Bologna is marked by the relationship with Michelangelo Gualandi, scholar, collector and dealer in works of art, whose importance appears to me to have been strongly underestimated. I apologize if I will prolong myself, talking about Gualandi (I am reserving the pleasure to write again on him in the future); but be aware that he is the only counterpart with which it is proved that Ms Merrifield maintained a correspondence even after the return to Brighton; moreover, Gualandi himself entertained collaborative relationships and business from 1855 to 1865 with Charles Lock Eastlake. Gualandi is therefore a focal point for understanding the dynamics of trade in works of art between Italy and foreign countries.

People met:

Gaetano Giordani, director of the Art Gallery; Giordani was without doubt one of the key figures of the cultural world of the nineteenth century in Bologna [41].

Cesare Masini, secretary of the Academy of Fine Arts in Bologna from 1845 to 1871 [42].

Liborio Vegetti, director of the University Library from 1838 to 1866 [43].

Michelangelo Gualandi: that of Gualandi is an elusive figure, starting from the biographical data. On the online version of the Dictionary of Art Historians appears to have lived between 1795 and 1865; the Oxford Index reports that he was born on 13 March 1793 and died after 1860 [44]; but in reality Gualandi was extremely long-lived, and lived almost 95 years, from 1793 to 1887, as written in the obituary appeared in the issue 1/1888 of the Archivio Storico dell’Arte (Historical Archive of Art) that I detected on the net and that is reported in full in note [45]. I do not think that there is (I am always ready to excuse me, if I am wrong) any essay or monograph dedicated to him (which is peculiar, because at least two of Gualandi’s works are most quoted in the literature of the time, even abroad). We are talking of the Memorie originali risguardanti le belle arti (Original Memories concerning fine arts) (published in three volumes between 1840 and 1844) [46] and the Nuova raccolta di lettere sulla pittura, scultura ed architettura (New collection of letters on painting, sculpture and architecture) (also in three volumes, 1844-1856) [47]. The literary models that inspired Gualandi are clear: on the one hand (see Memories) the Carteggio Inedito d’artisti (Unpublished correspondence of artists) of Giovanni Gaye (1839-1840) [48], of whose work Gualandi was an ideal prosecutor; on the other hand, the world-famous collection of letters of Giovanni Gaetano Bottari, continued and expanded by Stefano Ticozzi in 1822 [49]. It is however impossible that Gualandi did not look to the experience of the Bologna-born Luigi Crespi, an  unscrupulous artist and scholar, who in 1773 had published the seventh volume of Bottari’s collection, de facto without agreeing about the content with the author (and by inserting fake letters addressed to him [50]). A thorough analysis of the cited corresponding persons in both works is highly desirable. One might see, for example, that all counterparts of Ms Merrifield in the ​​Emilia area personally knew Gualandi. This shows that Gualandi is fully inserted in a wide-ranging scholar circuit (I will quote – to make only one example - the relationship with the brothers Milanesi), and induces me to think that Merrifield was introduced to some partners (such as those from Ferrara) by Gualandi in person.

Ms Merrifield comes into contact with Gualandi because of his reputation as a scholar. And she tells us that she became aware of the Bologna manuscript published in her Original Treatises reading the Third series (in the second volume) of the Memoirs by Gualandi. It was Gualandi to introduce the son of the Brighton scholar to the regent of the convent of St. Saviour, where he was granted permission to copy it. [51] As we said before, the erudite Italian Bolognese is the only interlocutor about whom an evidence exists of a correspondence even after returning to Brighton. A mutual exchange of information. Ms Merrifield cites Gualandi in her Original Treatises for a letter he sent to Brighton (page 10 note 3) [52], but in the third volume of the New collection of letters, which came out in 1856 (but was in preparation for a decade), Gualandi thanks Merrifield for having provided information on 'Margherita Paston Alberty, Contessa di Yarmouth' [53].

Merrifield’s letter to Gualandi is dated 10 July 1847. Already since six months Gualandi must have earned the gratitude of the writer of Brighton, for making sure she is appointed honorary member of the Academy of Fine Arts. These are new elements of information that I have recovered from the Archives of the Bologna Academy and are reported in full in the notes, not to excessively burden the present text. [54]

This was about Gualandi as a scholar (known, more or less, by everyone). In addition to interests for culture, however, there are by far more venal ones, such as to suggest that Gualandi was at the centre of a brokerage network for sale of works of art (including abroad), for the most part among those owned by the aristocracies local. A first evidence is a printed brochure in Piacenza in 1843, signed by Luciano Scarabelli and titled Alcuni quadri di Michelangelo Gualandi (Some paintings by Michelangelo Gualandi) [55]. We might think that this is the description of a private collection, but, if you just browse them, you understand that the review by Scarabelli, a writer from Piacenza and pupil of Pietro Giordani (in his time Secretary of the Academy of Fine Arts in Bologna) is a review written in courtly language to promote the sale of the works kept by Gualandi. The recipients clearly belong to the upper middle and aristocratic classes who have the financial resources needed. If there were any doubt, it is sufficient to recall some expressions of Scarabelli (who was a personal friend of Gualandi and who wrote most likely on commission): "Surprising from the torso, magnificent for colorito, graceful as to the moves, though of a little squat and mannered, it could beautifully decorate the room of any gentle woman "(page 5); or, again, "Bruloff painted this beautiful painting between 1829 and 1830 in Rome. Shortly afterwards Mr Gualandi purchased it; and now it is available to anyone who loves to equip apartments with beautiful works of art" (p. 35). The reading of the text shows that Gualandi was in charge of purchases (and sales, probably) since 1824, when he bought two frescoes by Cesi and one by Camassei, which will be discussed below (page 41).

Two years later, in 1845, a few sheets of prints simply titled Catalogo di stampe Ottobre 1845 (Print catalogue October 1845) go to print. A copy of them is preserved (not intact) in Bologna at the Library of the Archiginnasio. In the second cover is marked: "Delivering for Sale at MICHELANGELO GUALANDI in his Studio, FAVA Palace from Madonna di Galliera in BOLOGNA." It is neither more nor less but a price list of over 1000 prints. The copy kept in Bologna is preceded by a letter dated January 1859 addressed to a "professor", who clearly is Luigi Frati, the Director dell'Archiginnasio, appointed as such in 1858. The sender, Pietro Spagnuoli, explains that it is the collection of prints by Pelagio Palagi [56], that it would be a shame if sooner or later it ended up in foreign hands, and that the owner puts himself in Frati’s hands, precisely in order to solicit him doing as much as possible. Now, whether the owner is still Palagi (who died in 1860) or Gualandi, little changes: it is clear that the latter, either directly or as an intermediary, is responsible for placing more or less ancient works on the market.

If the evidence quoted so far points out anyhow to an Italian network of knowledge and trade, there are other elements suggesting that the name of Gualandi was known in artistic circles throughout Europe. Here we are talking of Ms Merrifield; we have already seen on other occasions that she was a relentless reader of the Art Union; and just on the issue of September 1842 of this magazine a short review of Gualandi’s Memoirs was released. [57] Much more interesting, however, the paragraph appeared in the same journal in January 1843; more interesting, because it shows us that Gualandi received foreign personalities in his studio and tried to meet their needs: "M. Rio, the elegant author of “L’Art Chrétien”, is now at Bologna, and has visited Signor Gualandi in his studio, which is in the celebrated Galleria Fava, painted by the Carraccis, and bestowed many encomiums on his great and useful enterprises in the history of the Fine Arts". [58]

It may seem odd, but I understand that any memory of the studio of Gualandi, located in Palazzo Fava, a place of absolute prestige, in the building where the Carracci were able for the first time to express their talent frescoing the myth of Jason and Medea, has gone by now (fig. 7). We must go back to an English source to figure out how much it was known. Ms Merrifield definitely read the articles on Art Union, and just as certainly as she was received by Gualandi in Palazzo Fava (no trace of this appears however in the Original Treatises).

We are making now a leap in the mid-1850s. The publishing activity of Gualandi has severely reduced itself (except for the last volume of the New Letters of 1856, all subsequent publications will be essentially of local level), but the prestige of Michelangelo is intact, if it is true that he becomes one of the landmarks of Charles Lock Eastlake, Director of the National Gallery, in his explorations in search of Italian paintings for the English museum and for his personal collection [59]. Eastlake needs reliable people who act as intermediaries with potential sellers, who deal with the financial, logistics and transportation aspects of the works. Gualandi is one of these. And it is certain that Gualandi is, at the local level, the reference point for Eastlake’s purchases from Ferrara Costabili collection. It is Eastlake himself to tell us at the beginning of a letter addressed to the Marquis Costabili from Turin on 26 October 1858: "Sir, Mr Michelangelo Gualandi writes to me from Bologna that the box with the two well-known paintings I have chosen for your gallery has been sent to Livorno, and I hope that it will arrive safely ..." [60]. I would give it for granted that Gualandi has also arranged the transport to Molteni's studio of the Madonna and Child with Saints by Pisanello, bought shortly thereafter always from Costabili for Charles’ personal collection (the most beloved piece of his prestigious collection) and then passed to the National Gallery (Fig 8). Seven years passed and we find once again Gualandi alongside Eastlake. This time his wife Elizabeth writes to R.N. Wornum (on 27 November 1865) from Pisa, where her husband is gravely ill (he died only one month later) and says: "He [note of the editor: her husband, Charles Eastlake] begs me to inform you that he has taken measures through Sigr Gualandi at Bologna to purchase a picture, belonging to Count Mazza at Ferrara, pronounced by Cavalcaselle to be by Giovanni Santi. It is to be had for the comparatively small sum – £120 – and would probably rise much in price if Cavalcaselle’s opinion were generally known. Also the Count will not give more than a few days liberty for decision. Sir Charles has therefore empowered Mr. Gualandi to purchase it as for himself, and will nominally purchase it of him… In addition to £120 for the picture Sir Charles has directed 50 napoleons (£40) to be paid to Sigr Gualandi” [61].

Figure 8) Pisanello, Madonna and Child with Saints, National Gallery, London

In short, all elements are there to say that it is necessary to study in more detail the life of this scholar from Bologna to better understand certain dynamics of market and collectors. Unfortunately, they collide with the loss of the personal archive. However, before closing with Gualandi, I think it is appropriate to mention another pamphlet, published this time in 1886, one year before the death of the more-than-ninety years old Michelangelo. The booklet, entitled Collezione del Cavaliere Michelangelo Gualandi di pitture, disegni... esistenti nella Via S. Felice N. 65 (1° piano) in Bologna (Collection of Cavalier Michelangelo Gualandi of paintings, drawings ... in Via S. Felice No 65 (1st floor) in Bologna). Under the title, the purpose of the writing is already clarified: "Daily sale from 12 am to 2 pm" [62]. The times of the study in the Palazzo Fava are a distant memory. What remains of the Gualandi collection is now in Via S. Felice, and is sold before the death of the owner. The idea is that rather than a sale it is a hasty sale. It would be important to know whether in that study there was also the personal archive of Michelangelo. Certainly, in the collection there were still (are mentioned) the two frescoes of Cesi and that of Camassei bought in 1824 and resulting in the 1843 booklet of Scarabelli.

Museums, collections and archives visited:

• Gualandi Library;
• Library of the Archiginnasio;
• University Library;
• Academy of Fine Arts;
• Art Gallery (Pinacoteca);
• Library of the Monastery of St. Saviour

Art work pieces examined:

Stained-Glass of the Basilica of San Petronio

Ms Merrifield cites San Petronio, when retracing the history of painting on glass, and in particular the work of Jacob of Ulm, which, as noted, decorated some stained glass in the Bologna church. The references are, totally understandably, to the writings of Abbot Sugero on the complex of St. Denis. [63].

Federico Barocci, Lamentation - Archiginnasio (Now in the Town Hall of Bologna)

The work was at the time in the Archiginnasio building; from there it moved to the Art Gallery first and is now part of the Communal Collection of Fine Arts (it is shown in the Sala Farnese). The analysis by Merrifield is, once again, of a purely technical nature. [64]

Some not Terminated Paintings By Guido Reni and Guercino

The quotation is too vague to allow any identification, and occurs in the course of the description of procedures for the production of paintings [65].

FERRARA

On the visit to Ferrara there is no other indication but two thanks in the preface of the Original Treatises (needless to say that in both cases they are close contacts of Gualandi).

People met:

• Giuseppe Antonelli. The Abbot Giuseppe Antonelli, scholar, was long director of the public library of Ferrara (now Ariostea Library) [66].
• Luigi Napoleone Cittadella, a scholar and famous collector of Ferrara (in 1862 he took over from Antonelli as director of the library) [67]

ROVIGO

People met:

• Luigi Ramelli (but also Luigi Ramello). At the location of Canon Luigi Ramelli (librarian and then rector of the Seminary of Rovigo, known for his erudition) Ms Merrifield founds a manuscript that she decided not to publish, because the recipes contained in it are in good part already present in other texts from other sources. Are transcribed only some recipes that relate to the colours and the methods in use at the time of Brother Fortunato [68].
• Vincenzo De Vit (1811-1892), Director of the Library of the Academy of Concordi between 1844 and 1849 [69].

Archives visited:

• Seminary Library;
• Library of the Academy of Concordi.

PADUA

In Padua, Ms Merrifield tracks in the University Library the MS. 992, who publishes in the second volume of the Original Treatises.

People met

• Francesco de' Lazara. The interest of Ms Merrifield for the Count Francesco de' Lazara, grandson and heir of Giovanni, a great scholar who lived between the eighteenth and nineteenth centuries, is probably twofold; Giovanni de’ Lazara collaborated in fact to the preparation of the Storia pittorica (History of Painting) [70] by Lanzi, one of the favourite texts of the English scholar. But it is easy to imagine that Mary also knew that de’ Lazara had been appointed in 1793 as Inspector and Superintendent of major works of art in Padua and was engaged in their safeguard. It is obvious that, among his papers, Ms Merrifield looked for information on possible methods of restoration used by the noble in Padua [71].
• Giuseppe Furlanetto. The Abbot Giuseppe Furlanetto was one of the most prestigious figures of scholarship in Padua. Distinguished archaeologist and epigraphist, he headed for some years the Seminary Library, preferring then to give up any administrative responsibility for the benefit of his studies [72].
• Domenico Barbaran. The abbot Domenico Barbaran was the Director of the Seminary Library [73].
• Antonio Roncetti. The Abbot Antonio was Roncetti’s 'assistant’ in the University Library [74]
• Baldassare Poli, a professor at the University of Padua. [75]

Archives visited

• Seminary Library;
• University Library;
• Biblioteca de' Lazara.

VERONA

People met:

• Giovanni Girolamo Orti Manara. The family of the counts Orti Manara was one of those most prominent in the cityscape. Giovanni Girolamo became particularly interested in antiquarian goods [76].
• Giacomo Mosconi. Even the family of Count Giacomo Mosconi is one of those most prominent around Verona. Giacomo seems to have mostly historical and literary interests (Ms Merrifield cites him as a translator of some works of Walter Scott), but he is also reported to be a collector of works of art [77].
• An artist: " We breakfasted this morning with Count… , who had invited an artist, principally employed in restoring pictures, to meet us…"; see Merrifield at pages 125-126. Impossible, of course, to figure out who he is. The meeting is an opportunity to talk about the painting techniques of Titian [78].

BASSANO DEL GRAPPA

Travelling to Bassano del Grappa means following the traces of the art from the da Ponte family (i.e. of the Bassanos). In the town of Vicenza, Merrifield tracked a manuscript by Gian Battista Volpato and published it. The meeting with Gian Battista Baseggio, director of the University of Bassano, is friendly, but will be the basis of an unpleasant episode.

People met

• Gian Battista Baseggio. Baseggio lends to Merrifield the manuscript by Volpato, in order to makes possible for her to copy and publish it. However, once the scholar of Brighton will have left, he will print it with a new name, and not mentioning what had happened before. The whole story has already been explained in Luciano Mazzaferro, The ‘Original Treatises’ of Mary Philadelphia Merrifield. Part II: The Volpato manuscript and the 'pirate'edition in Bassano del Grappa, to which we refer for the sake of brevity.
• Giuseppe Bombardini, poet and local politician. Bombardini held various positions in Bassano, including that of Lord Mayor [79].
• Giuseppe Riva. Count Giuseppe Riva had origins from Padua. A man of great erudition, he was particularly interested in archeology and ancient architecture, also writing comments to the De Architectura of Vitruvius. In his villa on the Berici Hills, where he actually lived very long, Riva amassed a very rich library and personal collection, which he then donated to the Museum of Bassano del Grappa in 1871. [80]

Archives visited:

• Public Library
• Riva Library

VENICE

For Ms Merrifield, Venice is the main stage of the Italian journey. And it is the homeland of the colour, it is the colour itself. We have already seen in Luciano Mazzaferro, The 'Original Treatises' of Mary Philadelphia Merrifield. Part Three: The manuscripts connected with the Edwards family that, in fact, the results obtained in the lagoon city did not match the expectations of the scholar of Brighton. We are referring to that text. Beyond all, however, the Venetian experience must have been unforgettable, if in Brighton Past and Present: a Hand-Book for Visitors [81], the authoress claims the parallelism between the colours of Venice and those of the city in which lives [82]; what superficially might seem like a common place, is for Merrifield a reflection that involves precise artistic repercussions [83]. The Venetian sojourn unfolds on three levels: the encounter with the artists and restorers, the consultation of archives, and the examination of the works in order to analyse techniques and the conservation status of the works.

People met:

• Francesco Galvagna. The Baron Francesco Galvagna was the President of the Academy of Fine Arts from 1839 to 1851 [84].
• Giovanni Edwards O’ Kelles. On Giovanni Edwards O’ Kelles (as he signed) or Giovanni O’Kelly Edwards, as Ms Merrifield calls him, it has already been written extensively. We refer to the respective notes [85]. The son of Peter Edwards is anyway a central figure in the Venetian permanence of the scholar;
• Rawdon Brown. The historian Rawdon Brown is one of the key figures of the British community in Venice. Here he lives between 1833 and 1883. The friendship that bound him, among others, to John Ruskin [86] is well-known.
• Giuseppe Cadorin. The Abbot Giuseppe Cadorin is remembered by Merrifield as the biographer of Titian. We are of course talking about a leading exponent of the Venetian scholarship [87].
• Giuseppe Valentinelli. The Abbot Giuseppe Valentinelli is the director (the 'prefect’) of the Marciana Library since 1845 [88].
• Vincenzo Lazzari. When he meets Merrifield, Lazzari has little more than twenty years and is remembered for having published a recent edition of the travels of Marco Polo. Lazzari will then be director of the Correr Collection (then the Correr Museum) and especially great expert in numismatics [89].
• Antonio Emmanuele Cicogna. With Cicogna (1789-1868) we are really at the centre of great erudition. The Merrifield cites him as the author of the 'Iscrizioni Veneziane’(Venetian Inscriptions), but his literary output is boundless, as it is amazing the number of manuscripts and books that he managed to collect, although he could not take advantage of particularly wealthy economic conditions [90].
• The Count and Countess Papadololi. The two are on the scene on p. 848, when we learn that it is thanks to them that Ms Merrifield receives permission from the Baron Galvagna (i.e. from the President of the Academy) to search among the papers of Pietro Edwards (a procedure that shows how much they were jealously guarded). It is quite trivial to point out that Spyridon Papadopoli was a Venetian nobleman of Greek origin (namely, from Creta). Perhaps it is not trivial to point out that the Countess Teresa is Teresa Mosconi, i.e. the sister of that Giacomo Mosconi that Ms Merrifield meets in Verona; therefore, she also originates from a family of aristocratic collectors. [91]
• Mr B, Mr C, Mr D, Mr E. Up to now we have only met scholars and nobles from Venice. But we cannot forget that Merrifield is a sharp detective and seeks contact with local painters and restorers to better investigate techniques. About twenty pages of her introduction are devoted to talks with Messrs. B, C, D and E (Mr. A was Antonio Temanza, who she had met in Milan). Any idea on identifications? We can assume that one of these was just Giovanni Eastlake O’Kelles, of which the authoress recalls the past experience as a restorer; for others the thanks are again coming to our aid, in particular those aimed at "Gentlemen Felice Schiavone, Tagliapietra and Quarena" in the preface. Let us examine more carefully who they are. Felice Schiavone (or Schiavoni) had inherited the activity from his father, and was an appreciated painter not only by the local aristocracy, but also internationally. That he also operated as restaurateur is witnessed by the authoress herself in a couple of steps of the work [92]. The surname Tagliapietra is very common in Venice, but is it really likely that, in our case, we are faced with Andrea Tagliapietra, a member of the Academy in mid-century 1800, and by whom several restorations are proven in the literature [93]. Regarding Mr Quarena, it must be said that we do not have the certainty whether, to meet with the scholar of Brighton, it has been the most famous Lattanzio (1768-1853) or his son Luigi, both painters. Lattanzio is remembered as a restorer of works by Veronese, but the argument is not conclusive [94]. Of course, these are research hypotheses only based on clues. However, we do not believe to be particularly far away from truth.

Collections, churches, libraries, archives visited:

• Academy of Fine Arts; the archive of the Academy is mentioned on several occasions and not only in relation to the Edwards documents. There is a reference also to a writing, with the terms of payment for the purchase of pigments, which at the time was believed to be an autograph by Raphael [95].
• Marciana Library; in the Marciana Library the authoress finds a manuscript that she will publish in the second volume of the Original Treatises.
• Barbarigo collection. The Merrifield proves to have very clear ideas: “The principal private collection now existing in Venice are those in the Manfrini and Barberigo palaces.” (page. 858 note 1); it follows a description of the conservation status of some works held in the two collections. Palazzo Barbarigo is also quoted on pages 110 and 280;
• Manfrin Collection: see the Barbarigo collection. See also p. 137;
• St. Mark's Basilica;
• School of St. Roch;
• Doge's Palace;
• Ca' Pisani.

Art work pieces examined:

Golden Shovel - St. Mark's Basilica

The Pala d'Oro is the proof for the author that the Byzantines knew the practice of niello [96].

Figure 9) The Golden Shovel, St. Mark's Basilica, Venice

Tintoretto in the 'Scuola Grande di San Rocco'

The dozens of paintings by Tintoretto in the 'Scuola Grande di San Rocco' are mentioned only in passing, and once again with an eye of the scientist on colours [97].

Works by Antonio Balestra – Academy of Fine Arts

The works by Antonio Balestra, preserved at the Academy, are judged to be able to compete with those of the great masters of colourism. [98]

Paolo Veronese, The Family of Darius at the feet of Alexander – National Gallery, but at that time Ca' Pisani

Ms Merrifield sees the big picture by Veronese yet at Palazzo Pisani, a decade before Eastlake let it purchase for the National Gallery and made it so famous to the British public. The analysis is still on the preservation of the work [99].

Titian, The Magdalene – Hermitage, St. Petersburg, but at that time in the Barbarigo Collection

Ms Merrifield has the good fortune to examine two prestigious collections as the ones of Barbarigo and Manfrin, a few years before they were dismembered. At Palazzo Barbarigo she cites several paintings by Titian. Amongst them the Magdalene, sold to the tsar around 1850, and now preserved in St. Petersburg. It must be said that the celebrity of the work was absolute. The analysis of the scholar is held on a technical level [100].

Figure 10) Titian, Penitent Magdalene, Hermitage, St. Petersburg

Titian, St Sebastian – Hermitage, St Petersburg, but at that time Barbarigo Collection

A similar fate for the St. Sebastian, the work of an elderly Titian (but not his last painting). It is also preserved at the Hermitage. The painting is a perfect example for studying the technique of Titian according to Merrifield, because it was left unfinished. [101]

Figure 11) Titian, St. Sebastian, Hermitage, St. Petersburg

Bonifacio de' Pitati, Adoration of the Magi – Accademia Galleries

Giovanni Edwards says his father had to repaint the head of one of the Magi around 1777, as it was literally cut off by an unknown (and that Pietro had succeeded with excellent results). The painting was at the time in the Ducal Palace. Ms Merrifield notes that, in her day, it had been moved and was visible in the Academy[102].

Figure 12) Bonifacio de' Pitati, Adoration of the Magi, Venice, Accademia Galleries

Titian, St. Christopher - Doge's Palace

The fresco with St. Christopher by Titian in the Palazzo Ducale is notoriously one of the few survivors of the Venetian frescoes by Titian to the adverse climate conditions. Also in this case, Ms Merrifield examines the state of conservation [103].

Figure 13) Titian, St. Cristopher, Doge's Palace

Titian, Assumption of the Virgin – Santa Maria Gloriosa dei Frari (at that time at the Accademia Galleries)

The altarpiece of the Assumption of the Virgin was preserved in the Accademia Galleries from 1818 to 1919. Merrifield examines the state of preservation with high accuracy [104].

Figure 14) Titian, Assumption of the Virgin, Santa Maria dei Frari, Venice

Titian, Presentation of Mary in the Temple – Accademia Galleries

As in the previous case, the researcher suspects that inattentive restorations have led to the poor state of conservation [105].  

Tintoretto, Miracle of San Marco – Accademia Galleries

In a quick review of masterpieces, also on the Miracle of St. Mark the focus is on the precarious state of health. [106]

Titian, The Doge Grimani adoring Faith - Doge's Palace

Once again Giovanni Edwards reports an act of vandalism. The father was forced to repaint the face of the Faith, literally cut off from an unknown. The Merrifield went on purpose to examine the picture (in the Sala delle Quattro Porte) twice, to see if perceptible differences were evident (even from a great distance). [107]

Figure 15) The Doge Grimani adoring Faith, Venice, Doge's Palace

Paolo Veronese, Paintings on the Ceiling of the Room of the Great Council of Venice

In two occasions Ms Merrifield refers to paintings by Veronese on the ceiling of the Palazzo Ducale, in poor condition. [108]

NOTES

[37] Original Treatises ... quoted, Page 11 note. The Cavalier Angelo Pezzana was the famous director of the Ducal Library in Parma, where he worked from 1804 to 1862. For more information: http://www.bibpal.unipr.it/index.php?it/149/lottocento-pezzana-e-lo-sviluppo

[38] For news on Francesco Scaramuzza see: http://it.wikipedia.org/wiki/Francesco_Scaramuzza. Note the indication that "between 1836 and 1842 he created frescoes in the Dante Room and in the Reading Room of the Palatine Library. On the ceiling of the reading room he painted Prometheus stealing fire, protected by Minerva." This information coincides perfectly with what is written by Merrifield regarding the use of painting with wax: “Wax painting is now practised at Parma. An apartment of the Museo di Antichità, and another in the public library of that city, are now being painted with a wax vehicle, and after a process invented by an artist of that city, which he freely and obligingly communicated to me…” (page 102). There is no doubt that the artist in question is Scaramuzza. Just as it is very likely that Scaramuzza explains the practices of the Parma school to Ms Merrifield, regarding the oil painting (page 147).

[39] Original Treatises ... quoted, pages 147-153: “I was informed that a professor of that city had devoted much time and attention to the study of the good method of oil-painting, and that he knew more about it that any other person. The professor had been suffering from illness; but at the request of the Cav. Pezzana, of the Ducal Library at Parma, he kindly permitted us to pay him a short visit. He perfectly recollected having sent a bottle of varnish to an English artist, and he said that the reason he had not written to him was because he had lost the use of his hand, and could not write legibly; that he had written out the recipe for some person, that it proved useless, for the varnish could not be made from this recipe on account of the difficulty of the manipulation. (…) I immediately inquired whether he had found any document showing it was used by Correggio? He said no. I asked whether he had ever analysed any of Correggio’s picture? He replied without hesitation, No, no; and as I saw it was painful to him to talk, I took my leave. On my return to the library, I was told that the professor had analysed parts of pictures by Raphael and had found amber”.

[40] Against this hypothesis plays the fact that Toschi was mainly (but not exclusively) an engraver. For a biography of Paolo Toschi, see: 
http://www.parmaelasuastoria.it/ita/Tornielli-Tuzzi.aspx?idMostra=38&idNode=290#toschi p

[41] Original Treatises, page 11 note. Ms Merrifield crippled the name of Giordani in Giordini. It is just a misunderstanding due to the authoress, not a misprint. The Merrifield will send to "Giordini" a copy of his statement on the Volpato manuscript, an abstract now preserved in the Archiginnasio. See Luciano Mazzaferro The ‘Original Treatises’ of Mary Philadelphia Merrifield. Part II: The Volpato manuscript and the 'pirate' edition in Bassano del Grappa, n. 26. Giordani (1800-1876) was the 'inspector' (director) of the Art Gallery from 1822 to 1859.

[42] Original Treatises, page 11 note Cesare Masini (1812-1891) 
http://www.treccani.it/enciclopedia/cesare-masini_(Dizionario-Biografico)/#

[43] Original Treatises, page 11 note.

[44] http://oxfordindex.oup.com/view/10.1093/gao/9781884446054.article.T035247

A warning: in Bologna, in fact, lived at the same time our Michelangelo (di Romano) Gualandi and the attorney Angelo Gualandi (1828-1903), scholar and historian. It is easy to get confused.

[45] The obituary is not signed: "Michelangelo died on 19 June at the very old age of 95 years. Born from a noble family, since youth he preferred his studies of Fine Arts and the country's history. Convinced of the immense benefits which relations and correspondences with scholars of other countries (and especially frequent travelling) bear to the arts, he made many of them and very long ones, he knew or cultivated the friendship of illustrious men in Italy and abroad, and left copious memoirs, which could usefully be consulted; in addition to a fine gallery of paintings, often visited by Italians and foreigners. Among his works in print the first place is held by the Memorie originali italiane di belle arti (the original Italian Memories of Fine Arts), la Nuova raccolta di lettere sulla pittura, scultura ed architettura (New collection of letters on painting, sculpture and architecture), la Guida per la città di Bologna e suoi contorni (the guide for the city of Bologna and its suburbs), le Memorie intorno ad Aristotele Fioravanti (the Memoirs around Aristotele Fioravanti) and gradually several other publications and articles that are found in magazines and included in the Proceedings of the Royal Deputation of Memories and History homeland of Bologna, of which he was a founding member and took care, as long as he could, of development and growth. He was friend with all the worthiest people of his time:  Baruzzi, Rosaspina, Mazzoni-Toselli, Muzzi, Giordani, and last but not least Palagi, Predieri, Gualandi [note of the editor, the lawyer Angelo cf. n. 44], who always adored him as the Nestor of the scholars of Bologna. He came to decrepitude, but he loose neither any clarity of mind nor the memory of the past; and truly exemplary until the last was the resignation with which he endured the hassles and inconveniences of the existence, much prolonged beyond the ordinary."

[46] Memorie originali risguardanti le Belle Arti (Original Memoirs concerning Fine Arts), curated by Michelangelo Gualandi, 3 vols., Bologna, 1840-1844.

[47] Nuova raccolta di lettere sulla pittura, scultura ed architettura scritte da’ più celebri personaggi dei secoli XV a XIX con note e illustrazioni di Michelangelo Gualandi in aggiunta a quella data in luce da Mons. Bottari e dal Ticozzi, (New collection of letters on painting, sculpture and architecture written by the most famous characters from the fifteenth to the nineteenth centuries, with notes and illustrations by Michelangelo Gualandi in addition to the collection highlighted by Monsignori Bottari and Ticozzi, 3 vols., Bologna, 1844-1856).

[48] ​​ Carteggio inedito d’artisti dei secoli XIV, XV e XVI, pubblicato ed illustrato con documenti pure inediti dal Dott. Giovanni Gaye (unpublished correspondence of artists of the centuries XIV, XV and XVI, published and illustrated with also previously unpublished documents by Dr Giovanni Gaye), Turin, Bottega d'Erasmo, 1968. Reprinting 1839-1840 edition of Giuseppe Molini in Florence.

[49] Raccolta di lettere sulla pittura, scultura ed architettura scritte da’ più celebri personaggi dei secoli XV, XVI e XVII pubblicata da M. Gio. Bottari e continuata fino ai nostri giorni da Stefano Ticozzi. (Collection of letters on painting, sculpture and architecture, written by the most famous characters of the fifteenth, sixteenth and seventeenth published, by Mr Giovanni Bottari and continued to the present day by Stefano Ticozzi), Milan, 1822.

[50] See Giovanna Perini, Luigi Crespi inedito (An inedited Luigi Crespi), in Il Carrobbio 1985.

[51] “The first intimation we had of the existence of this MS was from the 3^rd series of the “Memorie di Belle Arti”, p. 111, of Sig. Gualandi (Bologna, 1842)… On my arrival at Bologna Sig. Gualandi very kindly introduced my son to the Generale of the Canonici Regolari at the convent of S.Salvatore, and obtained permission for him to copy it” (page 325).

[52] “While I was preparing these notes, I received the following note (which I translate literally) from Sig. Michaelangelo [sic] Gualandi of Bologna, whose archaeological researches in the cause of the fine arts are well known and appreciated…” (page 10).

[53] It seems to us that this fact was never sufficiently stressed; it is the only evidence of a correspondence between Merrifield and an Italian scholar: "We are indebted to the kindness of Ms Maria Filadelfoa Merrifield, in Brighton, the most famous authoress and translator of works around the fine arts, for the following news that we are translating hereafter very faithfully from English; it is dated July 10, 1847... "(p. 285 n.2).

[54] I thank Professor Antonietta Di Fazio for having facilitated my searches. The recovered material tells a very straightforward story: on 20 February 1847, Gualandi writes to Cesare Masini, the secretary of the Academy, enclosing to the letter a copy of The Art of Fresco Painting, written by Merrifield in 1846 and inviting him to appoint her as an honorary member. The day after the Academy Council makes the appointment. On 23, February, Masini writes to Ms Merrifield thanking her for the gift, informing her of the appointment and sending her the diploma that attests her. It is just obvious that this whole affair is nothing more but the official formalisation of earlier taken decisions (we do not know at the request or offer by whom). The cards are only written to comply with the formalities laid down for the appointment of a member. As a curiosity, it is worth noting that the name of Merrifield already appears in the list of honorary members inserted at the bottom of the Acts for the distribution of prizes 1845-46, printed in 1847 (after February), but due to a misunderstanding the Brighton writer is placed in alphabetical order under the letter P: Philadelphia Merrifield, Mary. Here is the text of the letters and the minutes:

AABA (Archivio Accademia Belle Arti Bologna, 1847, Faldone Contabilità e Scuole. Provvidenze generali. Carte sciolte) (Archive Fine Arts Academy of Bologna, 1847 Folder Accounting and Schools. General providence. Loose cards)

Letter written by Michelangelo Gualandi (honorary member) to Caesar Masini (Secretary)

"Studio, 20th February 1847

To the illustrious Professor

Cesare Masini

Secretary of the Academy of Fine Arts in Bologna

Most devoted Servitor

Michelangelo Gualandi

Honorary member
Most Illustrious Mr. Secretary,

I have the honour to present the accompanying book in English on the = Art of painting in fresco = an original work of the celebrated Ms Mary Philadelphia Merrifield of Brighton, translator of the Treaty of Cennino Cennini and other works relating to the Fine Arts, for which she has travelled a long time in Italy visiting archives, etc..

The illustrious Mr Secretary will be pleased to forward the Book to the eminent academy, inviting to honour the author of the title of correspondent member, as worthy in every respect of this favour.

I am pleased to confirm my esteem, your Lord. "

AABA, Atti della Pontificia Accademia di Belle Arti (Proceedings of the Pontifical Academy of Fine Arts)

Minutes of the Secretary Professor Cesare Masini 1845-1855

Session of Sunday, 21^st February 1847

".... I have proposed, and it was acclaimed, the academic honours for: the famous Ms Mary Philadelphia Merrifield of Brighton, translator of the Treaty of Cennino Cennini, and the Roman sculptor Alessandro Massimiliano Laboureur, Cavalier".

AABA (Archivio Accademia Belle Arti Bologna, 1847, Faldone Contabilità e Scuole. Provvidenze generali. Carte sciolte) (Archive Fine Arts Academy of Bologna, 1847 Folder Accounting and Schools. General providence. Loose cards)

Draft letter from Cesare Masini to Mary Philadelphia Merrifield (the address does not appear; it is not excluded that the original was hand-delivered to Gualandi to be sent to Ms Merrifield)

"To Ms Mary Philadelphia Merrifield, Brighton

On 23rd February 1847

Illustrious Madame,

We have presented the lovely and highly appreciated gift you made to the Academic Body, your book entitled "The Art of Fresco Painting as practised by the old Italian and Spanish masters With a preliminary inquiry into the nature of the colours used in fresco painting with observations and notes". The Body, full of admiration and gratitude for you as famous translator of the Treaty of Cennino Cennini, so deserving of Italian art, could not do less but acclaim you as Honour Member in the current session of 21. This is an evidence of the very high esteem in which your revered person is kept, and also aims at adding a magnificent name to our list of members.

As a witness of what mentioned above, I have the honour to send you the relevant diploma; and I am bidding farewell to you with a sense of special esteem and reverence.

Yours faithfully

Professor Secretary

C. Masini"

[55] Luciano Scarabelli, Alcuni quadri di Michelangelo Gualandi in Bologna descritti da Luciano Scarabelli  (Some paintings of Michelangelo Gualandi in Bologna, described by Luciano Scarabelli), Piacenza, Printing House Antonio del Majno, 1843.

[56] When we talk about Pelagio Palagi (1775-1860), we are speaking of the most prominent artist in Bologna in the first half of the nineteenth century. Since the 1830s Palagi was court painter at the House of Savoy: http://www.treccani.it/enciclopedia/pelagio-palagi_(Enciclopedia_Italiana)/

[57] Art Union, September, 1842, page 216.

[58] Art Union, January 1843, page 15.

[59] See Susanna Avery-Quash and Julie Sheldon, Art for the Nation. The Eastlakes and the Victorian Art World, London, The National Gallery, page 156; The Travel Notebooksof Sir Charles Eastlake, edited by Susanna Avery-Quash, London, The Walpole Society, 2011.

[60] Jaynie Anderson, The Restoration of Renaissance Painting in the mid Nineteenth-Century Milan. Giuseppe Molteni in Correspondence with Giovanni Morelli, Florence, Edifir, 2014, page 35 note 18.

[61] Julie Sheldon (ed.), The Letters of Elizabeth Rigby, Lady Eastlake, Liverpool, Liverpool University Press, 2009, page 235.

[62] Collezione del Cavaliere Michelangelo Gualandi di pitture, disegni, album, stampe, incisioni, rami incise, sculture, oggetti antichi e diversi (Collection of the Cavalier Michelangelo Gualandi of paintings, drawings, albums, prints, etchings, carved branches, sculptures, antiques and different) Bologna, Typography Militare, 1886.

[63] “The colours in the old glass in S. Petronio are extremely vivid – ruby red, emerald green, ultramarine blue, and opaque black. The two former are transparent, but the blue is semi-opaque. Resembling in effect thin plates of ultramarine, rather than blue glass. I could imagine the colour was produced by stirring the ultramarine in powder into glass, as described by Suger when speaking of the blue glass for the abbey of S. Denys. In one of the windows is another kind of blue, more transparent, but the colour is neither so deep nor so pure – This resembles the blue seen in the old Venetian coloured glass windows” (page 68 note 2).

[64] “Baroccio always adopted the latter method [note of the editor: in order to ensure greater correctness the subject was frequently traced in the usual way from a drawing on paper], and the outlines deeply indented, as if with a style, may be seen in a large unfinished picture by him in the library of the Archiginnasio at Bologna. The outline was then secured by marking over it with a brown colour (as in the unfinished picture by Lionardo da Vinci in the gallery of Brera at Milan), or with a tint composed of carmine and dark ochre” (p. 306).

[65] “This practice seems to have been common to all the later schools, and some unfinished pictures by Guido and Guercino at Bologna present the appearance of having undergone this operation” (p. 306).

[66] Original Treatises, p. 11 note.

[67] Original Treatises, p. 11 note, Luigi Napoleone Cittadella: http://www.treccani.it/enciclopedia/luigi-napoleone-cittadella_(Dizionario-Biografico)/

[68] “This MS, which is in two thick volumes in 8vo., is in the possession of the Canon Ramelli, of Rovigo… I have transcribed a few only, which show the colours and methods in use during the time of Fra Fortunato” (p. 311).

[69] Original Treatises, page 11 note Vincenzo De Vit http://www.treccani.it/enciclopedia/vincenzo-de-vit_(Dizionario-Biografico)/

[70] Luigi Lanzi, Storia pittorica della Italia (History of Painting in Italy), edited by Martino Capucci, 3 volumes, Florence, Sansoni, 1968-1974.

[71] Original Treatises, page 10.

[72] Original Treatises, page 10 note. Giuseppe Furlanetto http://www.treccani.it/enciclopedia/giuseppe-furlanetto_(Dizionario-Biografico)/

[73] Original Treatises, page 10 note. See 
http://bibnum.enc.sorbonne.fr/omeka/files/original/471fc466019e87dab991341a56810a91.pdf page 47 note 68.

[74] Original Treatises, page 10 note. Rector since 1849. Refer to
http://www.paolomalerba.it/Malusa/Testi/Poli.htm

[75] Original Treatises, page 10 note. See http://www.paolomalerba.it/Malusa/Testi/Poli.htm

[76] Original Treatises, page X note. Giovanni Girolamo Orti Manara
https://biblioteche.comune.verona.it/nqcontent.cfm?a_id=19878

[77] Original Treatises, page 10 note. See Giovanni Orti Manara, Sull’esposizione delle belle arti in Verona (On the show of fine arts in Verona) 1836 http://books.google.it/books?id=DclLAAAAcAAJ&pg=PA26&lpg=PA26&dq=conte+giacomo+mosconi+arte&source=bl&ots=43gRsrKJtm&sig=skNfXr8c2Z5hwDkFIGXjjApwuCk&hl=it&sa=X&ei=LZ2lU-q5G-y20QWJmoCgBA&ved=0CDEQ6AEwAg#v=onepage&q=conte%20giacomo%20mosconi%20arte&f=false

[78] Original Treatises, pages 125-126. It could be the same artist also mentioned on pages 183 and 261.

[79] Original Treatises, page 11 note. http://it.wikipedia.org/wiki/Giuseppe_Bombardini

[80] Original Treatises, page 10 note.

[81] Mary Philadelphia Merrifield, Brighton Past and Present: a Hand-Book for Visitors (Whittaker and Co., 1857).

[82] See Alexandra Loske, Mary Philadelphia Merrifield of Brighton and 19^th Century influences on Pre-Raphaelite Colour in The Flyer, February 2014.

[83] It is clear the influence of the writings of Goethe: on the one hand the Theory of colours, translated by Eastlake into English and on the other hand the considerations contained in the Journey to Italy, where, just of Venice and the Veneto, he emphasises the influence of the landscape on the colouring of the local painters. See Susanna Avery-Quash and Julie Sheldon, Art for the Nation ... quoted, pages 28-29.

[84] Original Treatises ... quoted, page 11 note.

[85] See Luciano Mazzaferro, The 'Original Treatises' of Mary Philadelphia Merrifield. Part Three: The manuscripts connected with the Edwards family and in particular notes [5] and [25].

[86] Original Treatises ... quoted, page 11 note.

[87] Original Treatises ... quoted, page 11 note. http://it.wikipedia.org/wiki/Giuseppe_Cadorin

[88] Original Treatises ... quoted, page 11 note. See http://www.treccani.it/enciclopedia/giuseppe-valentinelli/

[89] Original Treatises ... quoted, page 11 note. On Lazzari see 
http://www.treccani.it/enciclopedia/vincenzo-lazari/. On the origins of the Correr collection please refer to http://correr.visitmuve.it/it/il-museo/la-sede-e-la-storia/dalla-raccolta-correr-ai-musei-civici-veneziani/

[90] Original Treatises ... quoted, page 11 note. On Cicogna see 
http://www.treccani.it/enciclopedia/emmanuele-antonio-cicogna_(Dizionario_Biografico)/

[91] Original Treatises ... quoted, p. 848.

[92] Original Treatises ... quoted, page 11 note, 879 note 2 and 880 note 1. See 
http://www.centropalazzote.it/mostra/pdf/Biografia-Schiavoni.pdf

[93] It is indeed probable that there was a close relationship between Giovanni Edwards O’Kelles and Mr Tagliapietra - see note 25 in the essay by Luciano Mazzaferro on the Edwards manuscripts - when the former wrote a letter in 1847, he sent his letter from 'House Tagliapietra'.

[94] For Lattanzio Quarena or Querena, see: http://www.treccani.it/enciclopedia/lattanzio-querena/

[95] “Giallolino was recommended by Lionardo da Vinci… There is reason to suppose it was also used by Raphael, since it is mentioned in an account of payments for colours found on the back of a drawing by the great painter preserved in the Academy at Venice, and supposed to be in his hand-writing” (page 162).

[96] “That the art [of niello] was practised by the Byzantine Greeks is proved by the specimens in the Pala d’Oro, which was made at Costantinople in 976, by order of the Doge Pietro Orseolo, for the church of St. Mark at Venice, where it may now be seen” (page 112).

[97] “I observed that the blue draperies in the pictures of Tintoretto in the Scuola of S. Rocco were painted with a flat and uniform tint of colour, and that the shades had all disappeared, probably in cleaning” (page 141).

[98] “Antonio Balestra, born at Verona in 1666, died in 1740… His Nativity, in the Convent of La Carità (now the Academy), and the Deposition from the Cross, may compete with the best paintings of the age. His S. Vincenzio is one of the best preserved of his pictures; for his method of painting with boiled oil has spoiled not a few. Those painted with oil less boiled have changed less” (page 851).

[99] “The Family of Darius at the feet of Alexander, in the Cà Pisani. This exquisite picture is in a perfect state of preservation: the colours appear to have undergone but little change; the flesh tints are beautiful, and the whites quite fresh. Sig. Edwards informed me it had been restored by Bertani in 1778, under the superintendence of Sig. Pietro Edwards, his father…” (page 856 note 1).

[100] “The Magdalen by Titian has suffered much from copyists, who have applied oil and other substances to it in order to see to copy it. The celebrity of this picture may be estimated by the fact, that one artist employed himself solely for eight years in making copies of it. In return for the liberality who had granted him this indulgence, the artist injured the sky by the tricks he employed to develop the colours, to such an extent, that he thought it necessary to repaint it, in order to conceal the mischief he had done. This part of the picture does not now harmonize with the rest” (page 858 note 1).

[101] “…and his St. Sebastian, left unfinished by this great artist, who was working on it when he was attacked, at the age of 99, with the plague. For those who are desirous of studying the method of Titian, there cannot be a better opportunity than that afforded by this picture. It should be studied with the work of Boschini in the hand. In the sky, on the left of the Saint, may be seen, distinct and unsoftened, those vigorous touches of terra-rossa, ocrea [sic], biacca, and nero, of which he speaks. The distant landscape, bounded by mountains, and a group of trees in the background, are merely indicated. The face and head are finished, the colours on the upper part of the body have been repeated, but the rest of the body is merely an “abbozzo”. It is easy to see, from the length and boldness of the strokes, that the artist used a large brush when painting, and stood at a distance from the picture” (page 858 note 1).

[102] “The Adoration, by Bonifazio. This picture is now in the Academy at Venice” (page 863 note 2).

[103] “Since this was written the whitewash has been removed from one of these frescoes, the S. Cristoforo over the door leading down to the Church of S. Nicolò. Kugler says the head is fine, the rest of the figure very mediocre. The surface of the picture is broken in a few places as if from accident, and the surface is dirty. The figures are perfect, and have never been retouched. The colours are dark like those of a painting in oil, the red (terra rossa) drapery is of a good colour, but it was impossible to say whether the inner drapery had been blue or green. The sky was also a heavy dirty grey…” (page 870 note 1).

[104] “Among the pictures restored in this hasty manner was the assumption of the Virgin by Titian, formerly in the Church of the Frari, but now in the Gallery of the Academy. I saw the contract for the restoration of this picture among the papers of Sig. Pietro Edwards... [page 877] The general effect of this picture is fresh and beautiful in the extreme, but on looking into, many parts are perceived which appear to have been retouched with megauilp, for they exhibit the cracks to which paintings executed with this vehicle are liable. In other parts the colour is lowered, as if oil had been used, evidently showing that the painting had been repaired with more than one vehicle. The darks of the picture look as if they had been injured by the application of something corrosive. From these remarks I think it very probable that the picture has been repaired more than once since its restoration under Sig. Edwards in 1816, now 30 years ago….” (page 876 note 1).

[105] “Titian’s picture of the “Presentation in the Temple” is also much cracked in several parts, apparently from the effects of restorations” (page 876 note 1).

[106] “The same may be observed of the Miracle of St. Mark by Tintoretto….” (page 876 note 1).

[107] “I went purposely to see this picture twice, but from the distance at which I stood, it was impossible to detect any difference in the tone of the colours, or to distinguish the seams. This fine picture is injured in many places, and appears to be decaying fast . The paint is scaling from the canvas in many of the dark parts” (page 863 note 1).

[108] “The picture is still in existence and in its original situation, but it is much injured” (p. 862 n. 2); “I had an opportunity of closely examining one of these works which had been removed from the ceiling for the purpose of being repaired (unclear whether it refers to the Conquest of Smirne or the Liberation of Scutari) (page 868 note 1).