dossier L’Annonciation. Hommage à Daniel Arasse

Georges Didi-HubermanIntroduction. L’Annonce faite à l’histoire

«L’Annunciazione in Toscana nel Rinascimento»,colloque organisé par la Villa I Tatti (The HarvardUniversity Center for Italian Renaissance Studies)et l’Institut français, Florence, 29-31 octobre 1986

Sara LongoL’Annonciation en Toscane, enjeuxméthodologiques et historiographiques.Autour du colloque florentin de 1986Daniel ArasseLa perspective de l’Annonciation

Cyril GerbronLes Annonciations de Fra Angelico, Pollaiuolo,Piero della Francesca et Robert Campin:questions d’ornementalité et de couleur

Sara LongoL’intervalle sacré

Valentina Frascarolo, Emanuele PellegriniL’ombra di Tiziano: l’Annunciazioneche visse più volte

Giovanna Perini FolesaniLe Annunciazioni di Ludovico in prospettiva.Riflessioni in margine al ricercare del Carraccimaggiore

Christine GouziL’Annonciation dans l’espace ecclésial parisien au XVIIIe siècle : liturgie française et modèle italien

Gabrielle de Lassus Saint-GenièsLa «religion de la beauté». Regards surl’Annonciation en Angleterre au siècle de Victoria

Blandine ChavanneRegarder au-delà d’un titre (Alberto Magnelli,Deux femmes debout, 1917)

Erik VerhagenRendre l’inexplicable accessible. Les Annonciations d’après Titiende Gerhard Richter (1973)

dossier / champ libreL’Annonciation vue par les pensionnaires del’Académie de France à RomeEmmanuel Van der Meulen / Manon Recordon /Clément Cogitore / Caroline Duchatelet – YannickHaenel – Neville Rowley / Olivier Vadrot

variaJoana Barreto

Une peinture de Pisanello à Naples? Hypothèse pour la Vierge à l’Enfant avec saint Antoine et saint Georges

Éric PaglianoDessin de liaison – dessin de survivance. Deuxformules de disposition intergénétique graphique

Claudia CaramannaLa precoce diffusione delle opere dei Bassano in Francia

Barbara FurlottiFrom Paolo Giordano II Orsini to Cardinal GiulioMazarino: the Journey from Rome to France of aPainting by Jacopo Bassano

Nicholas Alfrey, Richard Wrigley Guillaume Guillon Lethière’s Homer Singing the Iliad Outside the Gates of Athens (1814): A French Neoclassical History Painting’s Journeyfrom Rome to Nottingham

débatsFrancesca Fiorani

Reflections on Leonardo da Vinci Exhibitions in London and Paris

Liliana BarroeroIl paradigma Pécheux nel Settecento romano

informationsL’histoire de l’art à l’Académie de France à Rome – Villa Médicis, 2012

patrimoineLes chantiers de restauration à la Villa Médicis,2012

Maria Gabriella De Monte, Alessandra Gariazzo

Nuova luce sulla statua colossale della Dea Romaa Villa Medici

Antonella Fenech Kroke, Michel HochmannUn dessin sur panneau de Jacopo Zucchi à la Villa Médicis

pensionnaires historiens de l’art, historiens des arts et restaurateurs / bourses Daniel Arasse et André Chastel / colloques, journées d’étude,séminaires de recherche et dialogues d’artcontemporain / publications

ISBN 978-2-7572-0731-4ISSN 1635-087129 euros328 pages / 195 illustrations

Studiolo

revue d’histoire de l’art de l’Académie de France à Rome – Villa Médicis

2013 10

Studiolo

revue d’histoire de l’artde l’Académie de France à Rome – Villa Médicis

2013 10

Studiolo 10 – 2013

directeur de la publicationÉric de Chassey, directeur de l’Académie de France à Rome

rédacteur en chefAnnick Lemoine, chargée de mission pour l’histoire de l’art

comité scientifiqueEnrico Castelnuovo, Marisa Dalai Emiliani, Sybille Ebert-Schifferer, Catherine Goguel, Alvar González-Palacios, Yves Hersant, Bert W. Meijer,Claude Mignot, Anna Ottani Cavina, Sandra Pinto, Gérard Régnier, Steffi Roettgen, Pierre Rosenberg, Victor I. Stoichita, Henri Zerner

comité de rédactionClaire Barbillon (Université Paris Ouest Nanterre), Marc Bayard (Mobilier National), Laurence BertrandDorléac (Sciences Po Paris), Olivier Bonfait (Université de Bourgogne), Maurice Brock (CESR, Université de Tours),Luisa Capodieci (Université Paris 1 Panthéon-Sorbonne),Caroline van Eck (Université de Leiden), Christoph Franck(Accademia di architettura di Mendrisio), Elena Fumagalli(Università degli Studi di Modena e Reggio Emilia), SophieHarent (musée Bonnat, Bayonne), June Hargrove(University of Maryland), Dominique Jarrassé (Université de Bordeaux 3, École du Louvre), Christophe Leribault(Petit Palais, musée des Beaux-Arts de la ville de Paris),Guitemie Maldonado (ENSBA), François-René Martin (ENSBA,École du Louvre), Maria Grazia Messina (Università degliStudi di Firenze), Christian Michel (Université de Lausanne),Patrick Michel (Université Charles de Gaulle – Lille 3),Philippe Morel (Université Paris 1 Panthéon-Sorbonne),Pierre Pinon (CNRS), Rodolphe Rapetti (Service des muséesde France), Patricia Rubin (Institute of Fine Arts, New YorkUniversity), Anne Spica (Université de Metz, InstitutUniversitaire de France)

secrétariat de rédactionMarie Caillat

stagiairePascaline Paul

correctionsFilippo Benfante, Anne Chapoutot, Bronwyn Mahoney

traductionsFlavia Pesci, Esther Samouelian, Karen Serres

conception graphiqueFrancesco Armitti

réalisé à Rome parRotostampa Group

© Académie de France à Rome – Villa Médicis / Rome, 2013viale Trinità dei Monti 1 – 00187 Rome – Italietél. (0039) 066761245 / fax. (0039) 066761207© Somogy éditions d’art / Paris, 201357 rue de la Roquette – 75011 Paris – Francetél. (0033) 148057010 / fax. (0033) 148057110

prix du numéro : 29 eurosISBN: 978-2-7572-0479-5ISSN: 1635-0871dépôt légal : octobre 2013imprimé en Italie

7 Éric de Chassey directeur de l’Académie de France à Rome – Villa Médicis Irene Baldriga

enseignante et membre de la directionnationale de l’Associazione NazionaleInsegnanti di Storia dell’Arte

Éditorial : L’enseignement de l’histoire de l’arten France et en Italie

17 Georges Didi-HubermanIntroduction. L’Annonce faite à l’histoire

«L’Annunciazione in Toscana nel Rinascimento», colloque organisé par The Harvard University Center for Italian Renaissance Studies de la Villa I Tatti et l’Institut français, Florence, 29-31 octobre 1986

25 Sara LongoL’Annonciation en Toscane, enjeuxméthodologiques et historiographiques. Autour du colloque florentin de 1986

35 Daniel ArasseLa perspective de l’Annonciation

59 Cyril GerbronLes Annonciations de Fra Angelico, Pollaiuolo, Piero della Francesca et Robert Campin : questions d’ornementalité et de couleur

75 Sara LongoL’intervalle sacré

93 Valentina Frascarolo, Emanuele PellegriniL’ombra di Tiziano: l’Annunciazione che visse più volte

111 Giovanna Perini FolesaniLe Annunciazioni di Ludovico in prospettiva. Riflessioni in margine al ricercare del Carracci maggiore

129 Christine GouziL’Annonciation dans l’espace ecclésial parisien auXVIIIe siècle : liturgie française et modèle italien

151 Gabrielle de Lassus Saint-GenièsLa « religion de la beauté». Regards surl’Annonciation en Angleterre au siècle de Victoria

163 Blandine ChavanneRegarder au-delà d’un titre (Alberto Magnelli, Deux femmes debout, 1917)

167 Erik VerhagenRendre l’inexplicable accessible. Les Annonciationsd’après Titien de Gerhard Richter

179 L’Annonciation vue par les pensionnaires de l’Académie de France à Rome

Emmanuel Van der Meulen / Manon Recordon/Clément Cogitore / Caroline Duchatelet–Yannick Haenel– Neville Rowley / Olivier Vadrot

débats

informations

variadossierL’Annonciation. Hommage à Daniel Arasse

dossier / champ libre

193 Joana BarretoUne peinture de Pisanello à Naples? Hypothèse pour la Vierge à l’Enfant avec saint Antoine et saint Georges

215 Éric PaglianoDessin de liaison – dessin de survivance. Deux formules de disposition intergénétique graphique

229 Claudia CaramannaLa precoce diffusione delle opere dei Bassano in Francia

243 Barbara FurlottiFrom Paolo Giordano II Orsini to Cardinal GiulioMazarino: the Journey from Rome to France of a Painting by Jacopo Bassano

251 Nicholas Alfrey, Richard Wrigley Guillaume Guillon Lethière’s Homer Singing the Iliad Outside the Gates of Athens (1814): A French Neoclassical History Painting’s Journey from Rome to Nottingham

267 Francesca FioraniReflections on Leonardo da Vinci Exhibitions in London and Paris

277 Liliana BarroeroIl paradigma Pécheux nel Settecento romano

287 L’histoire de l’art à l’Académie de France à Rome – Villa Médicis, 2012

288 patrimoine

Les chantiers de restauration à la Villa Médicis, 2012

291 Maria Gabriella De Monte, Alessandra GariazzoNuova luce sulla statua colossale della Dea Roma a Villa Medici

301 Antonella Fenech Kroke, Michel Hochmann

Un dessin sur panneau de Jacopo Zucchi à la Villa Médicis

310 pensionnaires historiens de l’art, historiens des arts et restaurateurs311 bourses Daniel Arasse et André Chastel312 colloques, journées d’étude, séminaires de recherche et dialogues d’art contemporain316 publications

318 biographies des auteurs320 résumés des articles

Barbara FurlottiFrom Paolo Giordano II Orsini to CardinalGiulio Mazarino: the Journey from Rome to France of a Painting by Jacopo Bassano

The Deposition by Jacopo Bassano, which is nowdisplayed in the same room as the Mona Lisaby Leonardoda Vinci at the Musée du Louvre (inv. n. 433), bears anillustrious provenance1 [fig.1]. It belonged to Louis XIVand, before him, to his minister Cardinal GiulioMazarino.2However, prior to this date, its early historywas unknown.3This article sheds light on the provenanceof this painting from the Orsini collection, and demon-strates that it reached France as a diplomatic gift in 1650.It also provides new documentary evidence that allowsus to revisit the date usually accepted for its execution.

In a letter to Paolo Giordano II Orsini, Duke ofBracciano4 [fig.2], written on 7 November 1646 fromParis, Cardinal Mazarino apologized for not being in aposition to intervene in the litigation concerning the pos-session of the estate of Piombino, which was at the timeopposing Isabella Appiani, Paolo Giordano’s wife,against the Ludovisi family.5 Since Pope Innocent XPamphili was supporting the latter’s claims, it would havebeen politically inappropriate for the cardinal to take theDuke of Bracciano’s side in the thorny matter. At the veryend of the letter, Mazarino also directed many thanks toPaolo Giordano II for the gifts he had sent to him fromRome: “I have to thank your excellency most graciouslyfor the three portraits that you have sent to me, one ofwhich is rendered with a brush, one with a finger of thehand, and the third with a toe, as well as for the enamelledJudith retouched by your excellency. These are worksworthy of esteem for their art and for coming to me fromthe hand of your excellency, in whose memory I willdeposit the former portraits in the gallery, and the lastone in my cabinet.”6

It is difficult to say if Mazarino truly enjoyed thegift of these three unusual portraits, which do not appearamongst the paintings listed in either of his inventories,dated 1653 and 16617 [fig.3].8However, in the context ofthis article, the letter is worth mentioning since it proves

that, by 1646, Paolo Giordano II had already establishedgood relationships with the cardinal and exploited art asmeans to support his requests at the French court.

Paolo Giordano II and Mazarino could have metin Rome during the 1630s, before the latter definitivelymoved to Paris in December 1639, in order to devotehimself to the service of Cardinal Richelieu and theFrench crown. In 1644, the Roman baron and the Italiancardinal were corresponding in cipher, a hint to the factthat they were sharing political interests that were bestkept secret.9 Their relationship might have intensifiedafter 1646, that is, after the second marriage of PietroMazarino, Giulio’s father, to Porzia Orsini of the Bomarzobranch of the family, an event that made them relatives.Until that moment, Paolo Giordano II had been loyal tothe king of Spain. However, the favour that Philip IVshowed for the Ludovisi family on the matter of the pos-session of the estate of Piombino mentioned above, thenew kinship with Mazarino, and the friendly relationshipbetween his wife, Isabella Appiani, and Anna of Austria,mother of the young Louis XIV and, since 1643, queenregent governing together with her minister Mazarino,persuaded the Duke of Bracciano to break his alliancewith Spain and become progressively closer to France.10

In 1647, he officially entered the service of Louis XIVwith an annual pension of 20,000 livres, which in fact, aswe shall see shortly, he did not receive regularly.11At theend of the same year, Paolo Giordano gave hospitality toMichele Mazarino, Giulio’s brother, who had just beenelevated to the rank of cardinal, first in his palace in Romeand then in the castle of Bracciano.12

Relying on this alliance, Paolo Giordano II beganto send frequent requests to the court of France. He wasespecially insistent upon the bestowal of some title orspecial honour that would allow him new revenuesbeyond his pension and increase his prestige.13 In orderto strengthen these requests, by March 1647 Paolo

1 Jacopo Bassano, The Deposition, c. 1575–1577,Paris, Musée du Louvre.

2 Ottavio Leoni, Portrait of Paolo Giordano II Orsini,c. 1621–1630, London, The British Museum.

3 Robert Nanteuil, Portrait of Cardinal Mazarino,1660, Los Angeles, The Getty Research Institute,Special Collections.

2-3

1

Studiolo 10 / varia / Barbara Furlotti / 245244

Giordano II sent many gifts to Mazarino, amongst whichwere several paintings by Johann Wilhelm Baur, a paintermuch admired by the cardinal.14 In July of the same yearhe also offered to act as an intermediary for the possiblepurchase of Truth Unveiled by Time (Rome, GalleriaBorghese) by Gian Lorenzo Bernini, whom Mazarinohad already unsuccessfully attempted to attract toParis.15However, the time was not propitious for PaoloGiordano II. France, in fact, was confronting the laststage of the Thirty Years’ War, which would end shortlythereafter with the Treaty of Westphalia (1648), and wasstill deeply involved in the war against Spain, which even-tually finished in 1658, with the Treaty of the Pyrenees.16

The discontent for the unstable political situation andfor the increase of taxes, a necessary but unpopularmeans of funding military expeditions, contributed tothe development of the Fronde and to the outbreak ofthe civil war. In this contingency, the royal family andMazarino were forced to leave Paris on several occasionsbetween 1648 and 1652. It is clear that, in such an entan-gled and delicate political situation, the Duke ofBracciano’s claims were very unlikely to be fulfilled.

In spite of the bad news arriving from France,Paolo Giordano II did not give up his hopes and, at theend of 1649, sent his personal secretary, the AbbotFrancesco Tinti, to Paris with the task of obtaining atleast the payment of the pensions which had been prom-ised to him in 1647 and never paid.17 Once again, theDuke of Bracciano turned to desirable works of art inorder to facilitate his agent’s mission and in March 1650sent to Tinti a cabinet for Anna of Austria and five paint-ings of different sizes for Mazarino. The Deposition con-stituted the showpiece of this shipment, as pointed outby the Duke of Bracciano in an unpublished letter dated30 March 1650: “the gift to Cardinal Mazarino will con-sist of a large, a medium sized and two small paintings.It is important to remember that the large one is by thehand of Jacomo Bassano, that is of Bassano the Elder,because, although all the Bassano paintings are esteemedand considered old paintings, they are however of threedifferent kinds, namely some have been made in theirworkshop and they are also named paintings by Bassanoand are esteemed, although they are valued less thanthose by Francesco Bassano. But, the most esteemedand rarest are those by Jacopo Bassano himself, and it isthe large number of the others that takes much appraisalaway from them, although the appraisal for those byBassano does not diminish at all. If the cardinal were inRome, it would not be necessary to let him know any-thing about this, because Antonio [Mariani] della Cornia

and others of his advisers could tell him, but there [inParis] it is necessary to inform him.”18

Paolo Giordano’s words demonstrate that he hadan excellent knowledge of the mechanisms of the artmarket, which implied that the higher the offer was, thelower were the prices and the economic and artistic valueassigned to the items. In such a context, Jacopo Bassano’sfame and the rarity of his original paintings made TheDeposition a particularly remarkable diplomatic gift,one that, in the Duke of Bracciano’s intentions, wouldhave assured a proportionate favour in return.

The sacrifice of this painting must have been care-fully considered, since it had belonged to the Orsini fam-ily for three generations and had always occupied a placeof honour within their artistic possessions. The workhad been acquired by Paolo Giordano II’s grandfather,Paolo Giordano I (1541–1585), a keen collector ofBassano’s paintings, by 1577, when it was recorded forthe first time as having been displayed in Rome.19Hereit must have been widely appreciated, since two yearslater, in 1579, Cardinal Ferdinando de’ Medici, anotheradmirer of Bassano and one of his first collectors inRome, asked Paolo Giordano I to have a copy madefrom his “removing of Christ from the cross... by thehand of Bassano”, which he eventually sent to the court of Spain, also in this case as a diplomatic gift.20

In 1585, at Paolo Giordano I’s death, The Deposition wasexhibited in the gallery of the Orsini palace at Campode’Fiori, where at the time the Duke of Bracciano lived.21

In 1609, Virginio II (1572–1615), Paolo Giordano II’sfather, had the painting hung in the main hall of theOrsini palace of Montergiordano, together with an imageof Laocoön.22 By 1615, it was joined by two other largeand prestigious paintings: the Calumny by FedericoZuccari (Rome, Palazzo Caetani) and the Conversion ofSt Paulby Taddeo Zuccari (Florence, private collection).23

The citation that allows for the indisputable iden-tification of The Deposition (now in the Musée du Louvrewith that once in the Orsini collection) is however presentin a previously unnoticed inventory of Paolo Giordano IIdated 1638, which provides an unmistakable descriptionof the iconography of the painting together with the indi-cation of its measurement: “one canvas 7 palmihigh and10¼ palmi wide, a full-length naked figure of the deadChrist with the Virgin and the Marys, when he is carriedto be buried by Nicodemus and Joseph, set during thenight, by torchlight, by the hand of Jacomo fromBassano.”24Accounting for 22.34 cm for each palmo,25

the 7×10.25 palmi romani of the Orsini inventory cor-respond exactly to the 154×225 cm of the painting by

Jacopo Bassano in the Musée du Louvre.26Three yearsafter having being shipped in France, it is listed amongMazarino’s possessions, in his 1653 inventory, as “laPieté, figure grande au naturel, sa bordure dorée.Bassano.”27

The identification of the provenance from theOrsini collection also calls into question the dating com-monly accepted for this painting. Since The Depositionappears for the first time in an Orsini inventory dated1577, it must have been completed by that year, and notbetween 1580 and 1582, as most scholars have main-tained.28The Depositionwould then be chronologicallycloser to the altarpiece for the church of Santa Maria inVanzo, in Padua, signed by Jacopo Bassano and dated1574, than it has been previously thought, and it woulddocument the prompt fortune that this iconographygained amongst Bassano’s collectors.29

In fact the sacrifice of Bassano’s painting did nothave any effective consequence: soon after March 1650,it became progressively evident that the worsening ofthe civil war gave Paolo Giordano’s agent very fewchances of success in the near future. The Duke ofBracciano therefore changed his strategy and looked fora new ally, starting to court the favour of one of the mostinfluential supporters of the Fronde, Jean-François Paulde Gondi, first coadjutor to the archbishop of Paris andlater, from January 1652, Cardinal de Retz. By April1652, he received from Paolo Giordano II a table madeof alabaster and a cabinet, which he liked to show to hisguests while praising the liberality and the exquisite tasteof the donor.30Another table and some paintings wereat his disposal in Rome.31However, at the end of 1652,the Abbot Francesco Tinti returned to Rome empty-handed, in spite of all the gifts addressed by the dukefirst to Mazarino and then to Cardinal de Retz, and ofhis own diplomatic efforts.32

The stream of works of art sent from Rome toMazarino did not stop after Paolo Giordano’s death.His brother Ferdinando, the newly appointed Duke ofBracciano, followed his example. In 1659, hoping togain the protection of the cardinal, who had by thenregained an important position on the internationalpolitical scene, Ferdinando shipped an extraordinarytable made of semiprecious stones, inlaid with floralmotifs and birds to Paris (Paris, Muséum Nationald’Histoire Naturelle).33The exceptionality of the objectis demonstrated by the astronomical valuation of10,000 livres, a figure that in Mazarino’s post-morteminventory is exceeded only by few sets of the cardinal’sfamously sumptuous tapestries and wall hangings.

However, following the deaths of Ferdinando in 1660and of Mazarino in 1661 the gift of this table would havebeen made as politically ineffectual as Paolo Giordano’sdonation of The Deposition by Bassano had been.

This article took shape during my year in residence as a Post-Doctoral Fellow at The Getty Research Institute in 2009–2010. I amgrateful to Professor Francesca Cappelletti, Dr Patrizia Cavazzini,DrGail Feigenbaum and Dr Guido Rebecchini for having read adraft of it, and to Dr Louis Marchesano for having helped me withpermissions to publish illustration number 3. I am particularly in-debted to Dr Barbara Gaehtgens, who kindly shared with me herknowledge on this topic and gave sound advice.

AO = Archivio Orsini ASC = Archivio Storico Capitolino

1 Jacopo Bassano, The Deposition, c. 1575–1577. Oil on canvas,Paris, Musée du Louvre (inv. n. 433).2 HABERT, 1998, p.174.3 Patrick Michel has cautiously suggested that the painting mighthave been part of Van Dyck’s collection and acquired by Mazarinoafter the painter’s death in 1641 (MICHEL, 1999, p.406), while JeanHabert and Cécilie Scailliérez have suggested that the work mighthave been in Louis Hesselin’s collection before arriving inMazarino’s hands (HABERT, SCAILLIÉREZ, 2007, p.67).4 Ottavio Leoni, Portrait of Paolo Giordano II Orsini, c. 1621–1630.Engraving, 14.3×11.1 cm, London, The British Museum (inv. n.1856,0913.277).5 Born in Rome in 1591, Paolo Giordano II inherited the title ofDuke of Bracciano in 1615, after his father Virginio II’s death; for abiographical profile, see CELLETTI, 1963, p.138–182. So far, a systematicwork on his artistic and cultural role in the context of seventeenth-century Rome has not been undertaken. After Francis Haskell suc-ceeded in bringing Paolo Giordano’s personality into the limelight(HASKELL, 1980, p.95–98), only a few contributions dealing with spe-cific aspects of Paolo Giordano’s patronage have been published;see in particular BRUNNER, 2001, KÄMPF, 2001 and BENOCCI, 2006.6 Paris, from Cardinal Giulio Mazarino to Paolo Giordano II Orsini,in Rome, 7 November 1646: “Devo render gratie affettuosissime avostra eccellenza delli tre ritratti che mi ha mandato fatti l’uno colpennello, l’altro col dito della mano et il terzo col dito del piede, ecosì anco della Giuditta fatta di smalto et ritoccata da vostra eccel-lenza. Sono tutte opere degne di stima per l’arte e per venirmi dallamano dell’eccellenza vostra, per la cui memoria consegnerò quellinella galleria e questa nel mio gabinetto, e qui le bacio le mani”(ASC, AO, serie I, vol.188/1, lett. 73). 7 Robert Nanteuil, Portrait of Cardinal Mazarin, 1660. Engraving,38.2×45.9 cm, Los Angeles, The Getty Research Institute, SpecialCollections (inv. n. 2010.PR.2*).8 For Mazarino’s 1653 inventory, AUMALE, 1861; for the 1661 inven-tory, see COSNAC, 1884, and more recently YOSHIDA-TAKEDA, LEBRUN-JOUVE, 2004. Both inventories have been analysed and commentedupon in MICHEL, 1999. On Giulio Mazarino as a collector, see alsoCONIHOUT, MICHEL, 2006.9 ASC, AO, serie I, vol.187/3, lett. 537 (17 November 1644).10 On 3 December 1646, Paolo Giordano sent Mazarino a “memo-riale”, asking him“di proteggerci in questo così importante affarenel quale da li spagnuoli ci è stato fatto un torto così manifesto atutto il mondo” (ASC, AO, serie I, vol.311, lett. 454).11 CELLETTI, 1963, p.173.12 ASC, AO, serie II, vol.1241, no foliation (2 September 1647;8 December 1647; 7 January 1648).13 At first, Paolo Giordano II asked that the French ambassador granthim a special right of precedence, as in ASC, AO, serie I, vol.189/2,lett. 280 (6 September 1647). After that, his request of the admiralshipof France failed, and from October 1647 Paolo Giordano II pressedto gain the position of general superintendent of the French strong-holds in Italy, as in ASC, AO, serie I, vol.188/2, lett. 401 (18 October1647). Although both the queen and Mazarino supported his claim,Paolo Giordano’s requests were doomed to failure. The current po-litical situation in France did not allow for the appointment of a for-eign prince to such important offices without risking violent reactionsfrom the Parliament and the dissat is fied people, as specified in ASC,AO, serie I, vol.188/3, lett. 593 (26 December 1648).

14 BONNEFOIT, 1996, p.70–81.15 MICHEL, 1999, p.135–137, with bibliography.16 As Zongo Ondadei, the ducal correspondent in Paris, wrote tothe duke in June 1646, he had not yet had the chance to confer withMazarino about the matter entrusted to him by the Duke ofBracciano, because the cardinal was plunged “into these confusionof armies and was in the middle of proceeding with war”; see ASC,AO, serie I, vol.188/1, lett. 69 (2 June 1646).17 ASC, AO, serie I, vol.189/1, lett. 157 (31 December 1649).Francesco Tinti entered the Orsini court in 1649. By March 1655, heleft Paolo Giordano II Orsini and entered the service of the Duke ofMantua, Carlo II Gonzaga-Nevers, as his resident first in Rome (13 March 1655–10 April 1660) and then in Venice (19 April1660–21 December 1663). In 1665, he became “segretario di statodi sua altezza serenissima” and held this office until April 1668. Inhis capacity of Gonzaga resident, he also dealt with artistic com-missions and acquisitions on the behalf of the duke. On this topic,see PICCINELLI, 2010, ad indicem, who sometime mistakes Francescofor his brother Agostino. The latter was entrusted with the office ofCarlo II Gonzaga-Nevers’s maestro di casa in Febrary 1661 (Archiviodi Stato di Mantova, Archivio Gonzaga, vol.1572, no foliation, letterdated 26 February 1661).18 Rome, from Paolo Giordano II Orsini to Francesco Tinti, in Paris,30 May 1650: “Sopra il regalo del cardinale Mazarino che consisteràdi un quadro grande, uno mezzano et due piccoli, è bene che vi ri-cordiate che il grande è mano di Jacomo Bassano, cioè il Bassanovecchio, perché, se bene tutti li Bassani sono stimati et passanoper quadri antichi, nondimeno sono di tre sorti, cioè alcuni fattinelle loro scole che si chiamano pure quadri del Bassano et sonostimati, ma però meno di quelli di Francesco Bassano, ma li stima-tissimi e rari sono quelli di Jacomo Bassano, è la moltiplicità deglialtri che li toglie alquanto di stima, non la scema però punto a quellidi Jacomo. Se il cardinale fosse in Roma non occorrerebbe farli pe-netrare niente di questo, perché Antonio della Cornia et altri suoiconfidenti glelo faranno sapere, ma costà per via del Longo o diNapoleone è necessario farglielo sapere. Il quadro mezzano è dimano di Luca d’Olanda et basta dir questo perché a sua eminenzasarà noto il resto et si è aggiunto perché dal regalo del cardinale siè levato il messale.” (ASC, AO, serie I, vol.313, lett. 47). This docu-ment is briefly mentioned by CELLETTI, 1963, p.175, without referenceto Jacopo Bassano and as in ASC, AO, serie I, vol.311, lett.393. Onthe painter, Antonio Mariani della Cornia “la cui fama era più nelgiudicare che nell’operare di propria mano”, according to the am-bassador of Piedmont, see DI SABATINO, 2007. 19 ASC, AO, serie II, vol.1205, no foliation (“un quadro grande diun Xristo diposto di croce con cornicie di albuccio tinte di rossoprofilate d’oro et argento”). For Paolo Giordano I as a collector, seeFURLOTTI, 2012, and for this inventory in particular p.141–154.20 CECCHI, 1999, p.65.21 ASC, Archivio Urbano, serie I, vol.301, Bernardino de’ Notariis,fol. 1r (“et primo in galleria [...] un quadro grande della Depositionedi Cristo dalla croce”). This document has been fully transcribed inFURLOTTI, 2012, p.168–189.22 ASC, AO, serie II, vol.1228, fol. 4 (“nel salone grande [...] un qua-dro del Bassano grande poco più di una canna che rappresenta lamorte di Cristo nostro signore corniciato di nero messo a oro digran prezzo, di dieci palmi”). This inventory has been partially tran-scribed in FURLOTTI, 2009, II, Appendix 23.1, p.542–550.23 ASC, AO, serie II, vol.1232, fol. 6v (“nel salone de’ staffieri, unquadro della Calunnia di Federigo Zuccheri, un quadro dellaConversione di san Paolo di Taddeo Zuccheri, un quadro d’una Pietàdi Nostro Signore morto del Bassano in cornice nere toccate d’oro,un quadro d’un Laooconte con cornice di noce”). This inventoryhas been partially transcribed in FURLOTTI, 2009, II, Appendix 23.2,p.550–565. On these paintings by the Zuccari brothers, see ACIDINILUCHINAT, 1998–1999, vol. I (1998), p.26–27, and vol.II (1999), p.32–37. 24 ASC, AO, serie II, vol.1240, no foliation (“tela una alta palmi 7incirca, larga palmi X¼, un Christo morto nudo figura intieragrande dal naturale con la Madonna e Marie, quando è portato aseppellire da Niccodemo e Ioseppe, finto di notte a lume d’una tor-

cia di mano di Jacomo da Bassano”). I am currently working onthis inventory, which I have fully transcribed in FURLOTTI, 2009, II,Appendix 24, p.573–588. 25 MARTINI, 1883, p.596.26 The fact that the “dead Christ” is not included in PaoloGiordanoII’s post-mortem inventory, drawn up at the end of May1656 (RUBSAMEN, 1980, p.6–16), confirms that it left the Orsini col-lection before this date.27 AUMALE, 1861, p.338.28 BALLARIN, 1995, I, p.46; GALANSINO, 2009, p.385 (catalogue entryno. 84) and p.388; HABERT, 1998, p.67; REARICK, 1992, p.CLXXVI. Asa consequence, also the dating of The Deposition at the MuseuNacional de Arte Antigua in Lisbon, which is considered the proto-type of that at the Louvre, should be reconsidered; for this painting,see COUTO, 1956, p.120, and HABERT, SCAILLIÉREZ, 2007, p.75.29 ALBERTONVINCO DA SESSO, 1992, p.144–145.30 Paris, from Francesco Tinti to Paolo Giordano II Orsini, in Rome,12 April 1652: “Io non so se haverò ben servito vostra altezza men-tre in sostanza, essendo concorso nel prudentissimo pensiero diregalare il signor cardinale di Retts, et non havendo tempod’aspettare le sue approvationi, ho preso una licenza interpretativaet donatoli la tavola d’alabastro col studiolo. Seguì appunto lunedìpassato, onde io restai ben sorpreso vedendo con le lettere chevostra altezza li haveva fatto costà altro bel regalo. [...] Io non sapròdirle men a bocca quanto li siano stati grati et cari et come me nehabbia giubilato, mentre ella è la sola che sin hora lo habbia rega-lato, et infatti gli è parsa attione così amorosa et heroica che mipare di poter essere hora sicuro che vostra altezza sia per haverlosempre a sua assoluta dispositione, et io, che ho veduto et vedoqua tuttavia l’andar delle cose, fo gran fondamento in sua eccel-lenza per gli affari dell’altezza vostra più che in chi si sia altri, nonessendo persona di vera legge et di tali amicitie, stima et autoritàper tutto che arrivarà dove vorrà” (ASC, AO, serie I, vol.190/3, lett.345); Paris, from Francesco Tinti to Paolo Giordano II Orsini, inRome, 26 April 1652: “Non lascia il signor cardinale di ricrearsi dicontinuo intorno la tavola et studiolo, che personaggio non va avisitarlo che non gliela facci vedere et gliela lodi in estremo, et checosì dà poi a tutti notizia di vostra altezza, della casa e della stimain che deve tenersi la persona di vostra altezza, onde la fa in fineconoscere da tutti con quegli encomi che sono dovuti alli meriti divostra altezza, anzi che poi gli altri regali fattili da vostra altezza inRoma et rimostra in sostanza a tutti gli amici suoi di far gran casodell’altezza vostra. Il contestabile gli ha fatto regalo di sei corsierigrossi del Regno et li saranno condotti per via di Lombardia, nonso sotto qual nome. Il gran duca li manda anche due stanze di broc-cati con un letto assai bello, onde il cardinale disse ‘Queste stanzesaranno forse proporzionate alli regali del signor duca di Braccianoe non quella che io ho al presente” (ASC, AO, serie I, vol. 190/3,lett. 330).31 Paris, from Francesco Tinti to Paolo Giordano II Orsini, in Rome,19 April 1652: “Il cardinale di Rets fa vedere a tutti con esagerarela bellezza et il valore della tavola et cabinotto a segno che ognigiorno più ne giubila. Ma ha detto scriverli il signor abbate Charrierche quella di Roma è singolarmente bella et così li quadri, onde neesulta attestandomi ad ogni momento la sua obligatione per infi-nito verso l’altezza vostra” (ASC, AO, serie I, vol.190/3, lett. 347);Paris, from Jean François-Paul de Gondi to Paolo Giordano II Orsini,in Rome, 9 August 1652: “Il signor abbate Charrier, oltre l’havermirappresentato al suo ritorno di Roma li favori che vostra altezzagl’haveva fatti al mio riguardo e quanto si era benignamente im-piegata a favorire i miei affari, mi consignò anche il disegno d’unabellissima tavola di pietre commesse che ella gli haveva donatoper me e mi disse essere accompagnata da due bellissimi quadri.Queste gratie tanto singolari altretanto mi sorpresero quanto cheil signor abbate Tinti mi haveva nello stesso tempo donato per partedell’altezza vostra un bellissimo studiolo et una tavola d’alabastronon meno rari per la loro qualità et disegno che molto bene ornati”(Archivio di Stato di Firenze, Miscellanea Medicea, vol.506, fol. 24).As we will see, in the end Cardinal de Retz never received theseobjects.

32 Bouillon, from Cardinal Giulio Mazarino to Paolo Giordano IIOrsini, in Rome, 10 October 1652: “Sento con rossore il ritorno delsignor abbate Tinti e che non porti a vostra eccellenza qualchesegno considerabile dell’affetto e della stima delle loro altezze. Egliha havuta cattiva fortuna rispetto alla passione che ha mostrata delsuo servitio e le continue diligenze et instanze che ha fatte per pro-muoverlo. Le speranze che gli hanno dato questi ministri in miaabsenza e quelle che gli ho date io medesimo al mio ritorno lohanno trattenuto così longo tempo alla corte, ma la continuationedelle turbolenze di Francia ha rotti i nostri dissegni et il luogo didove io scrivo mi potrà essere di bastante giustificatione appressovostra eccellenza, la quale, come buon servitore di questa corona,so che compatirà le loro maestà e deplorerà la nostra disgratia, chenel colmo delle vittorie contro gl’inemici riceviamo le perdite dall’in-fedeltà de’ medesimi sudditi. Vostra eccellenza si assicuri che, se ilregno ricupererà la quiete interiore, ella sarà de’ primi a risentiregli effetti della real beneficenza e di quella osservanza e cordialitàch’io professo a vostra eccellenza immutabile” (ASC, AO, serie I,vol.190/3, lett. 409).33 This table might be identified with the one already mentioned,first intended for Cardinal de Retz. It has been identified with onenow in Paris, Muséum National d’Histoire Naturelle; see SAULE,1982, p.2–4. The provenance of this table from the Orsini collectionhas already been pointed out by MICHEL, 1999, p.423–424. On thisobject see also GIUSTI, 2005, p.150, with illustration. Both Saule andGiusti suggest that the table was produced in Florence. New do-cuments show that, in 1615, it was in fact being manufactured inthe Orsini castle in Bracciano, in a room specifically devoted to thistask (Archivio di Stato di Roma, Trenta Notai capitolini, uff. 9,Gargarius Quintilianus, prot. 111, fol. 952r: “Nella stanza dove secaverà il tavolino [...] una tavola di marmo commessa di pietre te-nere e dure lunga palmi 10 e larga 4 imperfetta con quattro vasi allicanti et arme di casa Ursina con il rosone in mezo con fregio di tro-fei con diversi pezzi di varie pietre per finire detta tavola, scudi500”). Although this does not exclude that Florentine artists workedon it, it is worth remembering that in Rome too there was a longtradition for such objects. On this topic, see TUENA, 1988.

notes Studiolo 10 / varia / Barbara Furlotti / 247

ACIDINI LUCHINAT, 1998–1999: Cristina Acidini Luchinat, Taddeo eFederico Zuccari, fratelli pittori del Cinquecento, 2 vol., Milan,1998–1999.

ALBERTON VINCO DA SESSO, 1992: Livia Alberton Vinco da Sesso,“Trasporto di Cristo (1574)”, in Beverly L. Brown, Paola Marini(eds), Jacopo Bassano c. 1510–1592, exhibition catalogue(Bassano del Grappa, Museo Civico and Fort Worth, KimbellArt Museum, 1992–1993), Bologna, 1992, p.144–145.

AUMALE, 1861: Henry d’Orleans duc d’Aumale (ed.), Inventaire detous les meubles du cardinal Mazarin, London, 1861.

BALLARIN, 1995: Alessandro Ballarin, Jacopo Bassano. Scritti 1964–1995, Vittoria Romani (ed.), 3 vol., Padua, 1995.

BENOCCI, 2006: Carla Benocci, Paolo Giordano II Orsini nei ritratti diBernini, Boselli, Leoni e Kornmann, Rome, 2006.

BONNEFOIT, 1996: Régine Bonnefoit, “Mazarin collectionneur: lesminiatures de Johann Wilhelm Baur (1607–1642) au Louvre”,Revue des musées de France, vol. 46, 1996, no. 1, p.70–81.

BRUNNER, 2001: Michael Brunner, “Die Kunstförderung der Orsinidi Bracciano in Rom und Latium (1550–1650)”, in Daniel Büchel,Volker Reinhardt (eds), Die Kreise der Nepoten. NeueForschungen zu alten und neuen Eliten Roms in der frühenNeuzeit, Bern, 2001, p.179–193.

CECCHI, 1999: Alessandro Cecchi, “La collezione di quadri di villaMedici”, in Michel Hochmann (ed.), Villa Medici. Il sogno di uncardinale. Collezioni e artisti di Ferdinando de’ Medici, exhibi-tion catalogue (Rome, Accademia di Francia a Roma – VillaMedici, 1999–2000), Rome, 1999, p.59–65.

CELLETTI, 1963: Vincenzo Celletti, Gli Orsini di Bracciano, Rome, 1963.CONIHOUT, MICHEL, 2006: Isabelle de Conihout, Patrick Michel (eds),

Mazarin. Les lettres et les arts, Saint-Rémy-en-l’Eau, 2006.COSNAC, 1884: Gabriel Jules de Cosnac, Les richesses du Palais

Mazarin. Inventaire inédit dressé après la mort du cardinalMazarin en 1661, Paris, 1884.

COUTO, 1956: João Couto, Museu Nacional de Arte Antiga. Roteirodas pinturas, Lisbon, 1956 (2nd edition), p.120.

DI SABATINO, 2007: Barbara Di Sabatino, “Mariani della Cornia,Antonio”, in Dizionario Biografico degli Italiani, Rome, Istitutodella Enciclopedia Italiana, vol. 70 (2007), p.309–310.

FURLOTTI, 2009: Barbara Furlotti, Consumption and Baronial Identityin Sixteenth-Century Rome: Paolo Giordano I Orsini and hisPossessions (1541–1585), 2 vol., Ph. D. dissertation, Queen MaryUniversity of London, 2009.

FURLOTTI, 2012: Barbara Furlotti, A Renaissance Baron and hisPossessions. Paolo Giordano I Orsini, Duke of Bracciano (1541–1585), Turnhout, 2012.

GALANSINO, 2009: Arturo Galansino, “Des nocturnes dans la peinturevénitienne du XVIe siècle”, in Vincent Delieuvin, Jean Habert(eds), Titien, Tintoret, Veronèse: rivalités à Venise, exhibition cat-alogue (Paris, Musée du Louvre, 2009), Paris, 2009, p.346–392.

GIUSTI, 2005: Annamaria Giusti, L’arte delle pietre dure, Florence,2005.

HABERT, 1998: Jean Habert, “La Déposition”, in Jean Habert, CatherineLoisel Legrand (eds), Bassano et ses fils dans les musées fran-cais, exhibition catalogue (Paris, Musée du Louvre, 1998), Paris,1998, p.74–75.

HABERT, SCAILLIÉREZ, 2007: Jean Habert, Cécile Scailliérez, “La Dépo -sition”, in Jean Habert et alii,Catalogue des peintures italiennesdu musée du Louvre, Paris, 2007.

HASKELL, 1980: Francis Haskell, Patrons and Painters. Art and Societyin Baroque Italy, New Haven and London, 1980.

KÄMPF, 2001: Tobias Kämpf, “Aller Künsten Vatter. Bildnis des PaoloGiordano II. Orsini als Höfling und Mäzen”, in Daniel Büchel,Volker Reinhardt (eds), Die Kreise der Nepoten. NeueForschungen zu alten und neuen Eliten Roms in der frühenNeuzeit, Bern, 2001, p.329–353.

MARTINI, 1883: Angelo Martini,Manuale di metrologia ossia misure,pesi e monete, Rome, 1883.

MICHEL, 1999: Patrick Michel, Mazarin, prince des collectionneurs.Les collections et l’ameublement du cardinal Mazarin (1602-1661), histoire et analyse, Paris, 1999.

PICCINELLI, 2010: Roberta Piccinelli, Collezionismo a corte. I GonzagaNevers e la “superbissima galeria” di Mantova (1637–1709),Florence, 2010.

REARICK, 1992: William R. Rearick, “Vita e opere di Jacopo Dal Ponte,detto Bassano”, in Beverly L. Brown, Paola Marini (ed.), JacopoBassano c.1510–1592, exhibition catalogue (Bassano delGrappa,Museo Civico; Fort Worth, Kimbell Art Museum, 1992–1993), Bologna, 1992, p.LVII-CLXXXVIII.

RUBSAMEN, 1980: Gisella Rubsamen (ed.), The Orsini Inventories,Los Angeles, 1980.

SAULE, 1982: Béatrix Saule, “Précision sur la grande table en mar-queterie de pierres dures du muséum d’Histoire naturelle deParis”, Revue de gemmologie, 73, December 1982, p.2–4.

TUENA, 1988: Filippo M. Tuena, “Appunti per la storia del commessoromano: il ‘Franciosino’ maestro di tavole e il cardinale GiovanniRicci”, Antologia di Belle Arti, NS, 33/34, 1988, p.54–69.

YOSHIDA-TAKEDA, LEBRUN-JOUVE, 2004: Tomiko Yoshida-Takeda,Claudine Lebrun-Jouve (eds), Inventaire dressé après le décèsen 1661 du cardinal Mazarin, Paris, 2004.

bibliography