Reynolds in Venice Author(s): David Mannings Reviewed work(s): Source: The Burlington Magazine, Vol. 148, No.

1244, Art in Venice and the Veneto (Nov., 2006), pp. 754-763 Published by: The Burlington Magazine Publications Ltd. Stable URL: http://www.jstor.org/stable/20074610 . Accessed: 15/02/2013 11:56
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1 Reynolds jotted che daces in one of Che Cwo Iealian skecchbooks. A note in another Italian sketchbook reads: 'at Perugia bye a book of the Pictures'. opinions as expounded the subdy shadowed portraiture of the 1750s and 1760s.314. . 'it is that school which ing back in London to have after powerfully owned pictures by of his importance as a collector.K. . published in 1648.49). Supplement to the 3 ofArt) and The rape Including Titian's so-called Niccolo Orsini (Baltimore Museum 754 NOVEMBER 200? CXLVIII THE BURLINGTON MAGAZINE Drawings. did not arrive in Venice Reynolds to themid-nineteenth unprepared. to see what make he saw and to consider why certain works inspired him to ? to us at least as particular comments while others . there are references in his Venetian sketchbook to Carlo Ridolfi's Le Maraviglie delVarte. p. 13. of piceures.73v Departmenc (hereafter ciced as LB 13).. Venice sketchbook. London.a. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . diss. the burlington pp. revised by Anton Maria Zanetti the Younger to to include references early eighteenth-century updated this was. 87 (1945). although we have no way of knowing which book between two thieves. however. impressive apparendy passed reconstruct to the creative he and try enjoyed experience in the long run. London 1902.3 almost as many labelled 'Veronese' and half a dozen Tintorettos. British Museum. III: ibid. 20 by 15. pp. British Museum. In the Madonna dell'Orto Reynolds specifically noted could all small volumes which Reynolds as into around the his he moved pocket slipped to attention his works would have drawn city. development of British painting down century.27r. unpublished Ph.1 am grateful to Peter Humfrey for his advice on the text. spite pupil James seems most of his stay in the city. Son & Neale. Venice 1664. Broun: 'Sir Joshua Reynolds' Collection of Paintings'. see J. J. BosCon). Black chalk.Drawing afterPalma Giovane's Christ crucified by Joshua 1752. Like all serious travellers he relied upon guidebooks.1 Sixty years later his in of the shortness Northcote reflected that. not just to select places to visit but to direct his studies. London (176. My research on this topic has been supported by granes from eheCarnegie Trusc for cheUniversities of Scotland and cheUniversity of Aberdeen and two travel awards from the British Academy. see also [E. mosdy spent in Rome. I'. II. of which a photographic copy is kept in theDepartmene of Prints and 'Editorial: Sir Joshua Reynolds' collection 1987. does not specify and toMarco Boschini. . or the one inToronto. 87 (1945). in the British Museum. now in che This is an expanded version of a Calkgiven aC eheReynolds Stady Day aCTaCe Britain on 9th September 2005. eieher che version on loan Co This content downloaded on Fri. 6 copy of Zanetti: Descrizione di tutte le pubbliche pitture della dtta Reynolds's was loc 1987 in ehe sale of his books overseen by Phillips di Venezia e Isole circonvicine. che transcriptions in che presenc kalian period. short. of PrinCs and Drawings. He stayed in Reynolds the city only threeweeks. Ann A Didionary ofBritish and Irish Travellers in Italy 1701-1800. Wacerhouse]: magazine 86 (1945). Joshua on in arrived Venice 24th July 1752.206-21 excremely useful. For a summary of Reynolds's Antony Griffiths and Tom Nichols for help with illustrations. New Haven and London 1997? pp. had such a profound effect on the which. and to John Gash and Lois Oliver for answering queries. Boschini: Le Minere della Maraviglie dell'Arte. London. see Broun. p.This is III. of course. He owned about thirty pictures attributed to Titian. Ingamells: stady are my own. 211-17.4 We should also consider theVenetian element in his own painting. A complece Cranscription of che noces was published by L. II: ibid. (PrinceCon University 1987). British Museum. departing on 16thAugust and arriv two on 16th October. p. i8ch day. 5 C. ifnot beyond. (Venetian SkeCchbook. so to speak. Reynolds almost all the great Venetians from Giovanni Bellini to such contemporaries as Canaletto and Zuccarelli. fol. London.xvi.808-10. fol. to Arbor Wallace Collection. M. 4 Including Tincoretto's Christ washing thedisciples'feet. cit. pp. Reynolds. Although Reynolds artists. it can be deduced that he had which edition of Boschini.2 [Reynolds's] art would have to include an assessment of his considered and years later in the Discourses. London 1815. pp. in hand. his copy of Ridolfi was loc 1977 GaCeshead Art Gallery. years in Italy.133-34. access to both Le minere della pittura of 16645 and to the 1733 and edition. (note 3). LB 13. 26chMarch 1798. The Perugia note occurs in the so-called Copland-Griffiths pittura.5 cm. London). op. Binyon: Catalogue of Drawings byBritishArtists .D. In some cases. especially influenced the professional conduct of A full account of his response toVenetian life'.263-73. University Microfilms.are over to in In silence. 2 Northcoce: Memoirs ofSirJoshua Reynolds.Reynolds by DAVID in Venice Aberdeen University of MANNINGS. 24. Ridolfi: Le 1648.6These were easily have are likely particular pictures or details within compositions to have attracted the attention of any reasonably observant visitor. noe the original in Europa (ehe small copy now in ehe of che Isabella Scewart Gardner Museum. and. The limited: to object of the present article is however more retrace as far as possible the artist's footsteps during those three weeks with his sketchbook. The definitive stady ofReynolds's collection of paintings is F. They specific in churches filled with pictures.

This is almost a straight of the page. by Joshua Reynolds. cit.332. p. De Vecchi: L'opera completa del Tintoretto. p. Giustina was converted inco a school c. II.3 iv and 32V. p. Maria on notes the any spot. Veronese ehe Library in 1750 is confirmed by Cochin. translation of'?Z Salvatore in aria [. However.1840. 'much decayed' (LB13. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . fols. This is unusual. who are and BaCtisCa Franco. op. 141-68. wrote: Francesco di Paolo [sic] Tintoret'. 5). he jotted phonetically 'St Maria Giubenicco' traditional name.53v. (Zobenigo). fols. (noce 5). Scefano Malerei: BritischeKunst und Europa 1680 bis 1880. (noce 5).REYNOLDS IN VENICE a basso Santa Giustina. cit. ed.9 note provides a clue. pp. (noce 7). Munich 1979. leaving awhite border. reminding himself of what he had seen by checking in 'Christ in the air.12 Occasion ally he quotes differing opinions on points of attribution. Cochin: he noces frescos by Pordenone.. fol.20-21. However. as when in S.16 A comparable figure caught his eye in the 'Around the Altar under church of theMadonna dell'Orto. p. 107. op. p.. Drawings afterTintoretto's Baptism ofChrist and Giuseppe Salviati's Deposition. annocaCed in ink. he commented on the over the guide aesthetic response surely took precedence sketch book.' Journal of the Warburg and Courtauld Institutes 51 (1988). II. D. The two sketched by Reynolds Schiavone.39.325. wrote that it foot of the cross (Fig. esp. 1752. each folio 20 by 15.5 cm.Originally cherewere eighceen. . op. '. (noce 7). below. p. see Ridolfi. Ridolfi. Nor ishe concerned with awareness of the anatomy of a figure inmove Tintoretto's ment. . cit. 16 own description in his commenCary This corresponds quice closely Co Reynolds's on Du Fresnoy's Art of Painting. 3 LB13. Reynolds: Works. of his cechnique.IO damaged condition more than a century earlier. op. ehe picture is lose. E. cit. Le Voyage d'Italie de Charles-Nicolas Cochin (1758). (noce 7). . In che cloiscer of S. when in Venice. (noce lises che artistewho painced chem as TinCoretto. Ridolfi's when the clouds in Tintoretto's Adoration of the golden calf and feature in the river in the Last Judgment. that this painter's reputation had long been under attack by seventeenth. 15 LB13. at the the remarkable figure of the Magdalene lamenting (now in the Accademia. 12 LB13. The church was demolished in 1806.29. p. Giustina he made a whole-page with of Palma Giovane's Christ crucified between two thieves. cit. description Sometimes of the picture with its 'donne gentili & ornate'. op. THE BURLINGTON MAGAZINE CXLVIII NOVEMBER 200? 755 attributed to Tintoretto by P. no. 144. London 1798. II. (noee 12). St Giustina and Boschini. 189. op. but inwhat looks very much like it isworth remembering isTintoretto. 8 Boschini. British Museum. Ridolfi says tis Paolo'. cit (noCe 5). Francesco della Vigna. Milan 1970. del Tintoretto'. p. Angelo (since demolished) he the Piet? as when. op.. Perini: 'Sir Joshua Reynolds and Italian Art and Art Liceratare. he rarely paused to note the physical state of pictures. 10 Boschini: op. Malone. Trovaso. pp. p.15 Although of five philosophers they are not annotated. fol. . Black chalk. the wording of Reynolds's in the church of S.F.]& e San Francesco di Paola.11 In figure with the sacristy at S. Nevertheless may not be entirely this that Ridolfi had coincidental specifically mentioned its hands aggroppate.-N. light and shadow. III. but perhaps coincidentally. III. fol. shell-niches behind the does not draw the decorative a creates but of pool deep shadow in themiddle philosophers. von Hadeln. S.?iv. 187.35. 89.25). cit. pp. efomito dal Palma: li chiari oscurisono tutti di Tiziano . aecribuces che pictare Co Paolo Veronese and assiscancs. C. C. fol.8 In S. and.13 artist who deterioration of a mural by Veronese. Piecro Vecchia. and young Reynolds's taste. who had noted its 26.14 Certainly two of the most pendence from 'official' powerful drawings in the sketchbook are afterTintoretto's set sketchbook in the Biblioteca Marciana. expressive of grief.and eighteenth-century writers in both Italy and interest in him shows his inde France. y Ridolfi. both of which descriptions. ed. Instead he concentrates analytically on the system of nature and purpose ofReynolds's sketchbook studies (Fig. III. 'St Anthony noted Tintoretto's tempted by the Reynolds which echoes Pddolfi's Devil & some handsom women'. p.39V and 40r. Nicol? ai Frari he noted a Last Supper. 'By Benedetto Caliari according to Boschini. see Boschini. Berlin 1914-24. ed. London). and they were presumably still cherewhen Reynolds skecched ehem. Kicson: Zwei Jahrhunderte Englische by Michael in ehe same sale (Luge 5722).7 However. (noce 7). Michel. (Venetian SkeCchbook. 2nd ed. no two pages tell us more about the Itwill not surprise themodern visitor to the city that the Venetian appears most frequendy in Reynolds's He made a note written the up later in ink. I. of skeCching any 'extraordinary effecCof lighc and shade' in a pictare. but in this case he was again echoing Ridolfi. quoeed in G. '. Venice) 'was begun by Titian and finished by Palma.147?48. noting that theywere transferred Co ehe Doge's Palace in ehe eighceeneh cheir presence in centary and noc retained Co ehe Library until 1929. del Gigho he seems not to have he visited S. see Ridolfi. Rome 1991. describes chem as 'presque touteseffac?es'. in J.which is almost an exact translation entirely of Titian In some cases Reynolds's of the description in Boschini. The statues are . In S. for in the course of his rapid survey of the treasures of Venice. 7 LB13. This content downloaded on Fri. cit. cit. I.54v. **This was scressed KiCson inM. all further references are Co chis edition. op.24). Perini's useful article ranges widely over Reynolds's kalian period buc couches only briefly on his time inVenice. 120: 'questo fit principiato da Tiziano. 11 Ridolfi.43r).

easy Reynolds was lighting. the pages shut before the ink was dry. He made a fluent sketch and noted that 'this is a light figure.6ov (punctaacion added). fols. He covered most of the facing page with notes. is placed in the centre of the upper range of the apse and is the only one of theVirtues It is not which is generally agreed not to be by Tintoretto.64. (noce 7). light catches on his left of [sic] leg. ed. 22 Ibid. Reynolds's in the Scuola di S. 756 op. San Francisco and London 1971. p. fol. and yet it isnot one of Tintoretto's most in Cochin fils. London 1965^. Rocco inspired Reynolds Last Supper is a purely dark heads of the the study. (British afterTincoretto. 18 Ibid. Napol?on and the 21 LB13.. some of them very fine. Charles-Nicolas 1750.21. Occasionally the stance of a particular to lift itfrom a composition and copy figure inspiredReynolds it as an isolated motif. Diminishing glasses are still available from specialise suppliers of optical inscrumente. he [a shepherd] before her in red.19 Reynolds's choice is interesting. 1720? With tendencies. fol. fol. but the woman he describes as receiving the 'principal light' is in to the left.. this may reflect its relatively 'classical' composi tion. (noCe 14). Guinness: Blessings in Disguise. apostles silhouet compositional ted against the patch of light in the middle of the page and the surrounding rough strokes of the chalk extending the area of shadow to the four sides of the page with no border. op.21 This Baptism ofChrist.REYNOLDS IN VENICE 'Religion'. in Perini. 69V. cit. at the foot of the page in question. p. Fig. op. her right hand placed across her breast. fol. which at that time hung in the Scuola tions Ravenna 1983.24 the pictures Among in his lodgings. & strong reflections. see A. also in the Scuola di S.57. 41 by 52 cm. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . Lepschy: TintorettoObserved: a documentarysurveyof criticalreac Creation of the Louvre. p. carefully framing itwith its arched top within the area of the page.e. notes on black. Faith. but it may be connected with his use why Reynolds of a diminishing glass to view large pictures. F. NOVEMBER 200? THE BURLINGTON MAGAZINE This content downloaded on Fri.22 Reynolds does not comment on the poses of the figures.69r. unappealing century official taste. other little light. he wrote. New York.. by Andrea Zucchi Museum. StMark liberatingtheslave. (but did not sketch) Tintoretto's Pool of Bethesda. must have been made in situ. fol..no. right] the Ground Lighter. gold-rimmed. ibid.313. And although it commissioners pictures by Tintoretto selected by Napoleon's to to to in 1797 be removed Paris be displayed in the Louvre aswar booty. Rocco this issue. lower edge. Age of the rev. III. fol. 23 LB13. In this case Principal light. which he evidently recognised.17 The figure of [Outline] Scumbled and Lost'.18 In the same church he made a full-page sketch of Tintoretto's St Agnes raising Licinius in the Contarini Chapel. often censured the artist forwhat we would nowadays see as his 'Mannerist' 27. and sometimes the name of the artist. p. Reynolds's Tintoretto's Adoration of the shepherds in the Scuola di tomake not only a careful study S. II. Rocco. particularly religion'.59r. the upper part of the Picture and on this side [i. 25 Ibid. In the adjacent and probably on the same day.65v. being less obtrusive By contrast. Reynolds checked the pages he had used and noted the location.47r.40). when held a few inches infrone of ehe eye. (noce 12). back of the pattern of light and shade in the lower half of the composition but also notes on light and colour: 'Woman in an unlikely error if he mistakenly wrote 'School of StMark'.L. its 'Mannerist' features. produced a brillianc miniatare pictare'. repr. Painters: a Study in the Relations between Italian Art and Society in the Baroque.. 'are 5 figures representing vertues. Rocco to late eighteenth than usual.Another wo [man's] head over hers. all the linnen inmezzo Tint. again attending only to the broad scheme of the composition: 'Between the Christ and the figure he looks at [is] a mass receive the of Shadow. and the way that small areas of light can be used to break up larger masses of shadow. he made church of S. Frequently thiswas done quickly. the figure lying at one end light. London).20 a Glass Eye one sees no colours scarce'. even to but with electric see. 26). is reduced so far as to occupy only the top leftquarter of an otherwise blank page (Fig. pl. cit. The accor Alec Guinness had one: 'lewas a small. profile fingers slightly spread in a way reminiscent of a number of later female portraits. Part of that figure and a woman (see detailed most to the most that spurred Reynolds and analytic descriptions were two of Tintoretto's famous works.The removal of the body ofStMark. It is not clear did this.66v and 67r. Temperance and Fortitude. or more properly. later. 20 Cochin. p.23 Such jottings.were copied by Gian Anconio Guardi for Schulenburg. Removal of the body. cit. theCupoly [sic]'. its analysing Tintoretto's picture-making technique with balance of light and dark colours contrasting with patches of white. CXLVIII C. unsteadily written with frequent blots and crossings out.4ov. London 1986. EvansCon.. left shoulder & tips of his fingers'. 19LB 13.163. see A.ioc. The altarpiece is described by Ridolfi. aswhen he made an almost portrait-like study of the armoured soldier who flanks the recumbent Christ in Tintoretto's Ecce Homo. The picture is of marvellous quality.. eleganc eighceench-centary glass which. white Handkerchief. nevertheless he thought this well picture composed. Another similar sketch from the same series. Reynolds was noC alone in chisperiod in admiring chese figures. leaving a border at the sides and impressed. Cwo Marshal of chem. Haskell: Patrons and from the 16th to the 20th century. in Venice spectacular works. Engraving. fol. fol. giving it rather lukewarm praise in the was one of only two course of a brief notice.45r (punctaation added) 2* Ibid. this time of the sketch of Tintoretto's is not annotated. written on the spot. Gould: Trophy of Conquest: the Mus?e 17 LBi3.

Vianello. scumble white and figures.REYNOLDS IN VENICE Grande cut. . cit. op.396. as New observations on Italy and its Lepschy. 'aChigh noon. fol. and he ends to decide how Tintoretto achieves his effects by by trying the ground and scumbling either white or darker exposing scumbled.but] picked them up again more compli on returning to terra case is firma' . This is formal analysis of a kind.31 In the nave he noted Christ beforePilate by Benedetto Caliari and Christ on theCross by But it seems that. 55V. in a very brighc day. Geminiano he saw 'AnAngel says chac. theMadonna with six saints.33 described pictures. probing. London 1769. p. p. ai Frari'. wrote Reynolds.26 Reynolds's cated. Tro vaso he saw the Casa Toffetti (or Casa Marcello his primary interiors that greeted the art-conscious visitor in the century have long since disappeared.1. but with 'many portraits [in] most profile incomparably well painted. Renaissance artists sometimes cast the that way remembering headless much oil'.41.34 In S. cit. II. when concern was to assess the relative value of particular pictures Italian later he presented polished analyses of many in celebrated his public lectures. Virgin with Angels to saints the listed five of the unable sixth. see could hardly make anything of the design. This is followed by an enthusiastic description of the Pesaro Madonna. fol. His description is interesting.261. seeR. Marco: The removal of the body of St Mark and In St Mark the slave (both now in the Accademia). I. the Burlington Nicol? 103 (1961)^. ? which jotting spontaneous notes was very differentfrom that he addressed as President of the Royal Academy. the ground to upper part of the figure is light'. in a Below. the extraordinary display of and writers such as Ridolfi described earlier pictures by Boschini was beginning to be dispersed. noce 5. which is dark. 'I saw itnear[. beyond the sort of description he was familiar with from Boschini. fusing itwith the masses of shadow and allowing splendid sights inVenice. By 'a beautiful shape' Reynolds probably meant a classical shape. in spite of the fact that Reynolds paid more attention unusually long list of pictures. (noce 31). liberating both cases itwas the pattern of light and dark that intrigued him. when you would have after having dead-coloured it shine. op. it PJ.London 1764.68. Reynolds decorated for the student and to locate them in art-historical terms. This must refer to the frightened Alexandrine at the left. Schulz: 'Veronese's Ceiling aC San 1977. even if mid-eighteenth saw and made the individual pictures survive. thewhole laid in soft and broad in the colour. drawing upon years of careful reading and reflection.. with freezes [sic] of boys and naked figures. whose quite closely.241.whose identify head is turned away. describes chispictare as 'tellement 26 Inhabitants. Rossi: Tintoretto: Le opera sacre eprofane. 'Most terribly dark'. it blue. he wrote. minus its arched top. 28 Zanecti. Tro vaso). p. LorenzeCCi: Venezia e il suo estuario. Aurora and [a] Titan. and the ground left here & there for the partitions between stone. 'The and he above'. some of the most remarkable Among Venetian S. admirably drawn and colourd. p.. (noce 18). churches. In her study of Tintoretto's reputation. G. 33 Ibid. bricks. II. to emerge into the light. on the other side. 32 Schulz. p. ed. THE BURLINGTON MAGAZINE CXLVIII NOVEMBER 200? 757 This content downloaded on Fri. he jotted an the high altar of the Frari. For this he offers a rather sophisticated art 'No doubt itwas painted a litde so at historical explanation: detailed notes on one of themost first to preserve themass of his body of a beautiful shape'. although preserved in Andrea Zucchi's Mezzo Tint mass. searching for the secrets of the dead shadows: 'Sometimes on a dark dead colour white this classicising observation is his next remark that StNicholas 'is said to be from the head of Laocoon [sic]'. but it pictures none is revealing that of Tintoretto's pictures is the subject of an analysis. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . what remained of the convent was later incorporated into the Archivio di Stato. as posiced by P. Milan magazine noces 4 and 5. Zorzi: Venezia and J.377. p. pp.' he was so blackened by candle smoke. cit. Nicol? ai Frari. Scomparsa. op. 3? LB13. 'painted in fresco by Tintoret. 'and he looks as ifhe had lost his head. and the way that Tintoretto exploits the tone of the ground. 31 For che dispersal and presenc locations of these pictares. for instance Occasionally Reynolds two Sybils 'by Paolo' ai Frari. p. Similarly the StMark liberatingthe slave is subjected to a thorough formal and technical analysis. Nicol? trace. see P. which so alarmed general and Pierre eighteenth-century French visitors like Cochin seem not to does have worried Jean Grosley. in theVatican Picture Gallery. &c.Grosley Cochin. N. (noce 31). Rogers: Reynolds's Discourses. 27 In view of Reynolds's warm response Co chis image ic is surely noc che Se Sebastian ? by Titian described so unsympachecically inDiscourse XI. a figure praised by Ridolfi but since excised when the canvas was di S. Nicol? he noted Titian's great altarpiece. p. His agenda as a young artist exploring. (noce 12).30 In the presbytery of S.25 These are private jottings. 34 LB13.29 Reynolds. including the camel in the Removal of the body. and then the shadows added by scumbling'. . Years to them when inVenice than he did to thework of any other artist. Rogers ? in his nevertheless very useful following ehe earlier suggestion by Louis Dimier noces.27 Consistent with masters. in S. which [Veronese]. He notes that 'this is estemed the best fresco inVenice [though] much decayed'. op. even before Reynolds's visit. op. which masses with the ground at the bottom. he studied the great Assumption of the Virgin. TriesCe 1963.] tis nobly after the suppression of 1806 when the church place was demolished. the quote is from the English translation. he wrote. 'tis so dark'. Veronese (both now in the Accademia).28 In description of Titian's the darkening pictures. che lase two words are crammed into the bottom corner of the page. Grosley: Nouveaux M?moires ou observations sur l'Italie et sur les italiens.57. 29 noirci'.281. sketching. And near the church of have disappeared without a S. 'This light body issues out of a print (Fig. On the high altar small oratory of S. without shadow'.32 Titian's altarpiece was removed in 1770 toRome. but it concludes on a purely technical note: 'In painting Architecture.307.377?79. reference to he follows Zanetti. He was questioning. Milan 1982. Harmondsworth 1992. not intended for anyone else.One figure in particular interests him in that painting: 'The body of the figure recovering himself [is] fine'. Sec. see A. and wich chemosC favourable light. Flesh. a. the ai Frari. and the final dispersals took painted'. now.577.47v. also 'very dark'.cit. (noce 6). p. as he says that the picture is so dark that you can see nothing but the body of St Sebastian.On perhaps the heads of their nude figures in shadow thereby imitating the effect of so many antique torsos. Laura Lepschy comments dryly on 'travellers who left their prejudices behind when they crossed the lagoon [. cit.27). p.41: Zorzi. Ridolfi or any of the other printed accounts. who saw as an it aspect of the sublimity of Titian's style. the Discourses. Cibelle Car'. For Tintoretto's lost decoration. III. Pallucchini and P.

a taken up onto the balcony. picture described by Boschini as gready admired and 'copiosa di figure'J8 The church was suppressed in 1806 and has totally disappeared. Black chalk. been locaced since. This is situated on the upper wall of the nave between the clerestory windows and is difficult to see from the floor of the church . in che short cime he was inVenice. Burano and Torcello. (Incidentally.5 cm. p. 126. (noce 5). no. p. an early intimation of his later concern with what he would come to call the Great Style. (noce 5). Co my knowledge.6or. annotated in ink. 36Boschini.by Andrea Zucchi afterTin Coretto.36 on the island of Burano.REYNOLDS IN VENICE 29. fol. However.) The church of S. Co 75^ NOVEMBER 2006 CXLVIII THE BURLINGTON MAGAZINE visie ehe islands ofMurano.37 In the church of S.29).Drawing after a female satyrby Veronese in S. (Venetian Sketch Reynolds.part of a grisaille frieze of prophets and sybils set between painted saw. cit. men in of old the the group background. That he many of them could be had a to make sketch of the satyr attests to his lively visual paused Solomonic columns (Fig. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . specifically to the 'columns. 133. before describing the famous refers ceiling. quoCedby Zorzi. Boschini records this as the first picture on the left as you enter the church. of whom Reynolds was certainly one. Zorzi traced Veronese's painting Co 1853. begins with a paragraph about Veronese and the fact that he is buried there. Mauro. Pallucchini: L'opera completadel Pallucchini in a privaCe collection inChicago. tho' very small thought 'sweedy Painted figures' (Fig. which itmay be significant that Boschirii's sketchbooks. Only che central figure is actaally 'sitting'. Veronese's Martyrdom of Reynolds a S. book.Milan 1968. Mauro quoting point towhich we shall return. 39 R. (BritishMuseum. which he particular a in large manner. cit. 38 Boschini. by Joshua 1752. 1720? Engraving. which Reynolds surely read. The pictare disappeared after 1818 bue was idencified in 1959 by seeR. Sebastiano. of a grotesque female satyr.presumably Reynolds was strikes anyone looking through the Italian curiosity. One reason why he did not sketch themajor pictures in the church may be that he knew prints of and he noted these.5 cm. 37 le is remarkable chac Reynolds managed. II. and then. his epitaph. This content downloaded on Fri. we may detect here. 20 by 15. op. op. Marini: L'opera completa del Veronese. statues and architec tural ornaments' with which Veronese frescoed thewalls. On another island close to Torcello. entry for S. Tintoretto. An angel foretelling St Catherine of hermartyrdom. Sebastiano has always been revered by admirers of Veronese. bue iehas noc. 50 by x 33. When he visited ithe wrote notes on many of the pictures but he made only one sketch.3* At the risk of over-interpreting Reynolds's jottings. 28. on the high altar.34r.432. Venice. Milan 1970. op. (noce 31). cit.333. no. Sebastiano. British Museum. and in similar comments.28). 35 LBi3. fol. London). admiring in foretelling to Sta Catterine of her martyrdom'. London).

(Venetian SkeCchbook. 31) is still in the church of S. pp. op. The left arm in shadow'. 'The white Rocket shadows dark tomass with the ground. Pietro now on the north wall. visited S. saw it. S. wrote 'is all painted by Paolo'. Hungary.45v.fol. he thought in S. a convent of Benedictine Reynolds nuns also suppressed in 1806. Titian's pictare is. see Cochin. cit. Meeting of Joachim and Anne.46r. 20 by 15. one of a holy woman attending to the fainting Virgin (Fig.. Croce. (noce 7). p. annotaced in ink. Antonio Abate. I. by Joshua Reynolds. Black 30. (noce 5). III.44r. at. Milan.buc omitted by Cochin. 42 Ibid. Deposition. London). British Museum. comments on particular pictures by the great Reynolds's us of what sixteenth-century Venetians frequently remind we see as 'Venetian' In elements in his own painting. 126-27. still in Che church. see J. following Ridolfi. op.43 was on the high altar when Reynolds He jotted an enthusiastic note. (note 12).. who settled in Venice. fol. anticipate the distinctive fighting effects that we associate with Reynolds's portraiture made soon after his inVeronese's return to England from Italy. In both cases Reynolds to establish the pattern of fight and shade.REYNOLDS IN VENICE 1752. (S. 1757.26). 43 Seen chere and praised by Boschini. indicating. side of the church. fol. Italy & Lorrain. THE BURLINGTON MAGAZINE CXLVIII and also noCed by Reynolds describes inscead Che two pictures by Veronese two by Litterini. fol. Polo he notes that. NOVEMBER 200? 759 This content downloaded on Fri. is now in the Brera. stands at the right the figure of the soldier in armour who is careful of the composition (Fig. p.. who Bohemia. Tintoretto and Veronese the artistwho features most often inReynolds's After Giuseppe great altarpiece of the Deposition ofChrist (Fig. op. he calls it 'a celebrated piece'. Switzerland. calls ic 'ehe Marriage of eheVirgin'. the short cloak being dark. saints sitting'. Salviati. cit.41 In S. and saw on the high altar 'three Sts Anthony Abbot. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions .39 31. fol. it Martire on the island ofMurano.42 These.G. chalk. looking toward the high altar'. His He ilar to one he had seen in Florence. Giovanni the three great Venetians Titian. Keysler also saw itover the high altar.40 Reynolds.528. St Joseph catches comments. p. for 40 41 Ibid. 30).39r. the upper part of the rocket is likewise so.302. Veronese's 'The right Cornelius and Cyprian. Canvas. London 44 LB13. This picture. to mass with it. by Giuseppe Murano).44 also made two sketches. observing that the figure of Christ was sim Salviati. of course. 'the lower part of a and many similar little fight'. Reynolds. Early 1550s. Pieero Martire. Keysler: Travels through Germany.325. III. 2nd ed. LBi3.44r.5 cm. Drawing afterGiuseppe Salviati's Deposition. and on the next page he drew Venetian sketchbook is the Roman-trained Elemosinario he admired Titian's altarpiece rep saint the [rochet] resenting giving alms.

.REYNOLDS IN VENICE obscurity of thismiracle of the Virgin did not studies of such details as Reynolds. London 1798. Royal Academy than thirtyyears later he remembered itwhen painting Lady StAsaph with her baby in her lap. to in conservative features his work. and a woman The concern the boy drawing a 'white apron.as Pietro della Vecchia. It does not correspond to Reynolds's drawing. sleeves [of] white satin striped with green. op. They are mentioned by Ridolfi. Ibid. 'awoman who is delivered in the sea' (Fig.52 Like in the eighteenth century (1588-1648) was better known than he is today: Cochin describes five pictures by him in S. Maria della Salute he paused to make a small sketch of a baby from Luca Giordano's Assumption whole iswell Prochno has pointed out. broad manner.694. Cochin. for although we would be more inclined nowadays to notice theMannerist elements in Salviati's style.. Maria Maggiore. presumably made in frone of ehe picture and subsequently crossed ouC... which he claimed was by Bambini but seems to have disappeared. which. fol. praising this composition particularly 32..7ov and 71 v. a Yorkshire ? so vicar who was in Venice in 1750 often dismissed as popish trumpery. Milan 1981.68v. 490 by 636 cm. seeM. op. on horseback wearing in England'. We should bear in mind that the Reynolds's Deposition would have been more colourful when Reynolds saw it. Padovanino's Miracle of a woman giving birthon source for early sevenCeench-centary Venetians. il Padovanino he. San Giorgio di Nogaro. (noce 5).Matthew Pilkington 'Ic praises 'an excellene picture of chismasCer's hand' in S. cit. pp. own time was to Reynolds's Nearer Nicol? Bambini taste is also its over with painting. awork now in theBdtimore is Pietro Muttoni.55 More exhibited the Bacchus. son from and instructive. right forearm and right leg of the soldier and the sequence of light and dark areas on the ? face in shadow. (noee thesea shore woman on horseback and her satin dress. p. fol. indeed. 50 In the entry forAlessandro Varotari in his Dictionary of 1764. the although to that his tend reflect earlier eye pictures caught styles. pp. Maria della Salute47 and in the Frari. where he admired the altarpiece of the Purification of the Virgin.50 who made a a motif 'of [which] I have seen a clutching dog. and so on. As Renate the almost verbatim into his Ino and pose Reynolds copied at in 1771. che pictares long ago removed.533?35. *2Cochin. In view of che vagueness of chis accounc.46v. a tiny pinpoint in such a large. Cogecherwich che face chac Ridolfi. with other pictures.45v.48v (punctaation added). II. the pages of the Venetian sketchbook . cit. 53LB 13. 46 Ibid. as we has evidendy been cleaned. Pilkington's chief NOVEMBER 200? CXLVIII THE BURLINGTON MAGAZINE 47 wheeher was praised by Boschini. a light red petticoat. ie. who omits any reference to the picture.56 Was Bambini's picture painted for a side chapel and eventually sold off. The baby's attention is here directed ? a to its mother instead of the grapes dangled by the nymph sensitive reinterpretation of themotif.55V. represents some legendary miracle of cheVirgin'. does noc mention Pilkington had heard abouc ehe piccure from Reynolds. Polo. p.3 3). On which the high altar today is the same subject by Palma Giovane.242. pp.265.] the church of Ognissanti struckReynolds the French critic would have Reynolds. pp.48 This is a significant example. fight torso. cit. 32). Pilkington: The Gentleman's and Connoisseur's Dictionary ofPainters. and so-called known significandy His somewhat histrionic by Reynolds. op. conservative The more side of Reynolds's very evident whelming in the Venetian sketchbook. one wonders Ic is now in che 7?0 This content downloaded on Fri. comment. The church still exiscs. fol. (note 7).386. Whae appears Co be Reynolds's firsc scribbled noCe. 48 Ibid. a Conversion ofSt Paul. 34). Pallucchini: Lapittura Veneziano del seicento.97-98. [her] shoe striped' (Fig. op. San Giorgio di Nogaro). 451 Which perhaps did not appeal to Cochin. Zacear?a. . III. to pay for the restoration of the church in 1804? Cochin. cit. slumped figure of the Virgin shadowed thighs. closer to the Purification. III. emphasis on sixteenth-century see it today. 'Four pictures [. che noce is on fol.25). Polo. province ofUdine. Reynolds also noted the shadowed composed and the particularitys [sic] are nobly a painted [in] large. There are heads in this Picture equal to any masters whatsoever'. op. fight knees. and Zanetti. fols. see Zorzi. p. is on church of che Madonna Addoloraca. cit. op. responded positively seicento master praised in Another backward-looking Museum of Art (Fig.51 This note on her striped shoe. incorporaCed inco a prison. . it seems always to have been there. II Padovanino highly. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . sharp eye for the kind a standard part of of costume detail that was to become his repertory as a society portrait painter. See also 6).46 in S. Crucifixion in the as 'admirable [. of the Virgin (Fig. (Madonna Addolorata. pictures by Salviati in S. (noce 31) II.49 itwas above all his debt to Titian particularly in his use of rich ? colour and cleverly shadowed that attracted figures attention. new edition. multi-figured attests to Reynolds's composition. which he thought 'as fine as Titian or Paolo tis in their stile'. Canvas.' according toReynolds's note. somewhat Titianesque (whom composition by Alessandro Varotari. 51Punctaation added. fol. like other representing eighteenth-century writers. The skecches are LB13. . (note 12). ]The History of Christ. (noce 12). 1628. calls Varottari).54 In S.by II Padovanino. And a interest in he took keen seicento painting.53 It is pleasant. Reynolds sketched (1651-1739). to think of this schoolmaster's sort Devonshire of image that other totally unfazed by the British visitors such as theRevd Francis Drake. Maria Maggiore. . Maria Maggiore he noted huge. 362-63 actually mentions Che R.Miracle of a woman giving birthon thesea shore. Venice. II. cit.45 in S. pl. fols.68-69. In a S. who visited 45 Ibid.32r and 33r. In the church of S.

op. On flyleaf: 'Mr Drake's Oxford. he wrote. (noce 31). ed. if ic does record ehe fresco in ehe Palazzo Labia. it is ? Padovanino. of Art. London. 59 Breval: Remarks on several J. 176.48v was evidenely wriccen up lacer. Giordano and Bambini only Giordano in the Discourses. None of the pictures by this artist visible inVenice today. p.228.5 cm. (noce 51) I. 1786.7 foreign visitors. each folio 20 by 15. cit. parts ofEurope. for S. 55 R. ie isunclear whecher he actaally visiced Smich or whecher che noce records However.299.Reynolds: JANUARY 2006 j6? This content downloaded on Fri. Stae and describes in some detail the pictures shortly before Reynolds. '. III.] are less accessible. I. Black chalk and ink. III. 'the . the third is rather slight study of a draped seems to correspond to any figure seen from the back. p. ? in the church of S. painted 'Poussinesque' and examples of which are displayed in the Ca' Rezzonico. (noce 12). in addition to the large altarpieces now in S. THE BURLINGTON MAGAZINE CXLVIII a piece of information he had been given. pp. p.a. They seem Co have become more accessible in Che second half of ehe centary Co judge from che comments of another traveller. Stefano. 57 Cochin. plus the Doge's Sansoviniana all apparendy visited. New Haven and London 1975. figs. 503 and 504. p. Lady StAsaph with her son. Anna. fol. This is an extraordinarily high proportion of the potential sites of interest.5 cm. London).57 The disappeared in three the sketchbook have drawings openings following after other pictures by this artist. 'the palaces here [. But it is unclear where Reynolds he seems not to have visited any private collections while in Venice.58r and 57V. Photographic record. 56 LB13. (noce 43). by Joshua Reynolds. London 1738. Bambini (all of which Reynolds a number of small history pictures. 58There is a noce in che skeCchbook: 'ac Venice aeMr Smich Copland-Griffichs a fine figure'. 62 LB13.62-64. Still. p. than in other parts of Italy'.59 This helps to explain why there is not one reference in the sketchbook reflect the Venetian-born Roman Bambini's presumably saw them. pp.35r. Magdalen College. p. Two are full-page sketches the Scalzi visited). Prochno: Joshua Reynolds. see Pallucchini.. In the 1750s G. he noted St Francis by Guido ismentioned 'the same as that in the Colonna'.62 This was presumably to any of the private palaces or great houses of Venice. as an earlier writer explained. and then only in passing. Discourses onArt. S. Wark. Weinheim: 1990. DepartmenC of Princs and Drawings.R. Reynolds would hardly have had time. painters striking that of these late Baroque Pietro della Vecchia. AcCa Humaniora. (Venetian SkeCchbook. Seroud 2003. Anna see Zorzi. palaces of the noble Venetians very open to our curiosity quoeed in J.58 We know that the Venetian nobility were. 172. However. II.488-89. R. expect a abandoned church of S. op. VCH. by Sir Joshua Reynolds. III. cit. (The Baltimore Museum 141. p.78r. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . op.REYNOLDS IN VENICE 33-Noces and a skeCch of a baby afterLuca Giordano's Assumption of theVirgin. 60 Keysler. 61 Reynolds dismisses Luca Giordano's histories asmediocre inDiscourse VII (1776) bue inDiscourse XII (1784) praises him for 'readiness of invention'. by 110. is anocher possible exception..60 of churches. for sketchbook contains references tomore than fifty Reynolds's Palace and the Librer?a churches and scuole. Jacob EpsCein Collection). p.215. political reasons. op. cit. Polo including three which have since no mention but makes of any by Bambini. . of figures grouped inwhat appears to be a Baroque interior.61 was his attention Occasionally caught by the work of an not to In the since artisthe perhaps did find inVenice. 54 246 and 247. discouraged from welcoming and so. at. Canvas. [presumably Consul Joseph Smich] a Rebecca. 12). fols. The Tiepolo skecch (Fig. in 1787: 'We found'. Keysler computed the number the German travelwriter J.304. But in any case.The pictare is now in che Fondazione Cini. a perhaps a temple. see J. fol. saw some of these pictures which it is possible thatReynolds 34.Sophia. Venice. British Museum. convents and hospitals in Venice Reni fol.Adam Walker. . for sojourn. 13. British Museum. Black: The BritishAbroad: the Grand Tour in the Eighteenth Century. The description on fol. I. MSS Tour in ehe year 1750'. 173. 14. 1752.4. to be 180.67v.

66 We pictures were inVenice at this time. II. (noce 6). no. afterwards crossed this out. Black chalk. considered it so good that itmight perhaps be an original. 3 5) but ithas puzzled Tiepolo scholars because itdoes not correspond One of 1971. 68Now see M. was baffled by the 'a good picture' he thought. Reynolds Lazarus. by C. op.73 covering. Zaccaria he comments on Salviati's 'fine' Miracle of Cosmos and Dami?n. (noce 12). Zanetti.67 The woman ofSamaria.22v.68v. fols. ? a in it as 'St Domenico the books the fire' tide throwing in his hand. 65 Cochin. cit. p. and he jotted a note that thiswas 'the only Picture in Venice He of Guercino'. no. fol. Joshua Reynolds. 71 For ehe see Zorzi. fol. seen by the visitor on entering the building. presumably know that a few other Bolognese the same one. op.64 With this inmind. pictares inCorpus Domini. p. (noce 18). Daniels: Sebastiano Ricci. 64 in E. op.63 Gallery in Rome. art that he expresses in the Discourses.5 cm. cit.A. III.4iv and 53r.65 Earlier. then. op. cit. op. p. This content downloaded on Fri. as But del Fiore early fifteenth-century altarpiece by Jacobello to sixteenth-century works by. London 1964.: Catalogo sommario della Galleria Colonna inRoma: Quoted Rome 1981.75 he admired Titian's Tobias and theangel. Ridolfi. di S. eighteenth-century examples by Gian Antonio the last Gregorio Lazzarini and Giovanni Battista Pittoni was there. 74 LB13. Levey: The Later Italian Pictures in the in CheRoyal CollecCion. op.505. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . 526. G?rboli. London). 72 LB13. III. III. book surely with Zanetti's down. 70 LB13. Reynolds's been picked up in theReni literature. (noce 7). among others. (noce 12). on the first altar to the left as one enters the church. Annotated 'Tiepoli'. cit. pp. see Cochin. Rocco he made sketches from several on notes two: but took Christ pictures beforePilate and only the Annunciation. untraced from a now history of painting that Reynolds.XXIV. pp. cit.301?02. Milan reference to this picture does not seem to have pp. calls ic 'SaintDominique qui jette ses livresaufeu'.REYNOLDS IN VENICE since although it had been firmly attributed to Guido Reni Malvasia.71 still very active in Venice when Reynolds 35-Drawing afterGiambattisea Tiepolo's Meeting of Antony and Cleopatra (?). This is not the only instance when we find him very attentive to the first picture he sees and afterwards more selective. ignoring the many other canvases as then almost now. fol. op. confirms ehe location of chis alearpiece. the status of the picture that was seen by Reynolds in S. Domini he noted only one work.423.68 In the church of the Consul Smith by Joseph a picture of Sts Helena saw and Mendicanti. Zanetti. (noce 12). but theywere in private a version of St Francis inprayer with two angels in the Colonna an attribution now of uncertain status. excellenc in every way and perfeccly preserved. (noce 6). Anna is intriguing. op.72 He follows with an enthusiastic description of Veronese's admired Virgin and Child with saints on the altar of the sacristy (now in the Accademia). cit. presumably also following Zanecti. was seen by Cochin in the Palazzo Sagredo and was acquired in 1752. was Antonio Maria who described librarian of the Librer?a Marciana. Safarik. NoC mentioned by Boschini. ed. describes chis alearpiece as one of chemose admirable pictares in Icaly. 116?17.242. Marziale the In the Scuola now. p. (noce 6). op. by Boschini church.119. dipinti. while listing it as a copy. op. cit.44. 67 See Haskell. cit. it is clearly identifiable as The meeting of and Antony Cleopatra (Fig. I. III. incr. described as the first picture on the left upon entering the most intriguing sketches represents an eighteenth-century subject. 149.262. quocedbyj. p. a virtual in Venice.48?49. Cima da Giovane and and seventeenthand Palma early Conegliano Fumiani. 20 by 15. for Cochin. Collection of Her Majesty The Queen.4iv. 66 'Neil'uscire di chiesa vedesi una tavola con un Santo Francescano di maniera Bolognese'. and it is just conceivable that he did so on hearing of Smith's acquisition. (note 12). demolished duly jotted in i860. which is the first picture seen by the visitor wrote two separate notes. collections which Reynolds did not get the chance to visit. 73 Cochin. did Reynolds entirely In the church of Corpus neglect eighteenth-century painting. Reynolds he notes none of them.70 know that the We church. 109. rather surprisingly. Hove 1976. In S. Baccheschi: 69 According CoZanecti. L'op?ra completa di Guido Reni. contained a remarkable sequence of works. Cochin. now considered a copy afterGuercino. at. by 1752.69 St Dominic submitting theholy scripturesto the testof fire by Sebastiano Ricci. see Zanetti. apparendy the first picture obscure subject as. Zanetti had noted a picture of a Franciscan saint 'in the Bolognese style'. every surface in the building. 7?2 NOVEMBER 200? CXLVIII THE BURLINGTON MAGAZINE 63 E. p. Cochin. in spite of the low opinion of contemporary Italian Nor. no. British Museum. (Venetian SkeCchbook. cit. p. (noce 31).74 In and on which Reynolds S.205. p.

the very day he left in Canaletto's and commemorated Venice. They survivals that document lished travel literature while visual curiosity and aesthetic Reynolds's most formative period of his career. his Rather. 1 79 LBi3. pp. Edinburgh.80Perhaps significandy. (noce 7).155?56. 15 Feb 2013 11:56:01 AM All use subject to JSTOR Terms and Conditions . ? a are spontaneous. (noce 6). cit. dismissed it as 'ni brillante. (noce 14). fol. while never intended for publication. Reynolds noCed ehe Christ carrying the cross in ehe church of S. but the it that suppose differences between Reynolds's drawing and the fresco in the Palazzo Labia are very particular as regards the placing of figures and the distribution of light and dark and. eighteenth-century pictures tend to get short shrift. repr. Baroque masterpiece the feast day of S. even allowing for the fact that his drawings from pictures seen are not always attesting to the critical and artist. cit. 81 exhibitions'. (noce 5). priorities to warrant delaying his enough saw the traveller Grosely.26r. Stae (St Eustacio a in Reynolds's filled with notes). Reynolds choughc ehe pictare was Bassano. ni nombreuse'. cherewere no caCalogues. who describes Ridolfi two pictures framed the Flagellation by together. pp. II. In theRedentore he sketched the into the tomb from the body of Christ being lowered Entombment by Palma Giovane. 16th August. and in the top half sketched the risen Christ from Francesco Bassano's Reynolds a figure Resurrection. op. London 1959.'. II. and discusses several ocher examples ofReynolds's pi. (noce 29). The at this Maseers'. Leandro by 78 Reynolds's design survives only in che form of an engraving by J. 'These San Rocco Levey. Rocco (now in ehe Scuola) buc followed Ridolfi. 146-47. taking into account the unlikelihood of his having visited any of the can only conclude that he was one city's private collections. 76 Perini. 12. Jones of Martin Poscle's entry inD.78 Chapel In general.438. cm. I. taken from the group of holy women in Tintoretto's Ascension on the adjacent altar. Drawings after Francesco Bassano's Resurredion ofChrist and Palma Giovane's 1752. 158. When he visited S. There is one ocher reference Co a pictare sometimes accribuced Co Giorgione. in Catalogue of his Paintings. op. are we notes and sketches? As we have seen.77 He probably thought of Bassano's Christ as quite the several figures are disposed separate. cit. his opinion of contemporary Venetian 36. op. who exhibition in 1758. but the way on the page sets up a composition in its own right. who illuscraces ehe skecch afterTiepolo as her 'free CreacmenCof eheOld ob. 80 Zanecti. to the fresco in the Palazzo in the National match Labia.the writer knew be widely read within his circle of family and friends. Reynolds (presumably) missed the public exhibition of pictures displayed every year on he designed his own Resurrection for the Lady of Salisbury Cathedral.81 Certainly Reynolds makes no reference to it in his sketchbook. noC mentioned by Cochin. Levey: Painting in Century Venice. 77The skecch is LB13. by Joshua Reynolds. The general skeCches iswell summarised problem of identifying che exacc sources ofReynolds's by Perini. (Venetian SkeCchbook. op. cit. New Haven and London 2000. Rocco. artist. This seems exact. 20 by 15. fol. and hardly any XVIII foreign visitors to the city knew of che annual evenc. he returned with to itwhen its arms spread. Italian notes constitute purely private material. unedited.5 Entombment. p. in attributing ie CoTitian (fol. che noce is fol. op. op. THE BURLINGTON MAGAZINE CXLVIII JANUARY 200? 7^3 This content downloaded on Fri. then.36).REYNOLDS IN VENICE sketch occupies the lower half of the page. Either he had not heard about it or. to approach Reynolds's Venetian How. would . picture in the National Gallery. One might was drawn partly from memory. adding a wailing Magdalene eighteenth-century paintings.79 This was not mentioned by or Boschini but is listed in Zanetti. London). But the circumstances remain mysterious. a shown version of the composition that has not survived. 'has a fine sweep'. op. one the other Christ carrying the crossby an unknown Giorgione. British Museum. London. on at least one occasion Reynolds to be improvising a composition by combining figures from more than one picture. he noted (Fig. 1685. 122-24. seeM. III.76 Indeed.26r. however. more likely.4iv. The picture is now in che sacristy. they draw upon pub painting was not high French departure. with outstretched arms. p. pp. excepe chac eherewas no organization.67v. Black chalk. which. cit. 58V). 75 Boschini. fol. (noce 14).473. uncensored type of They material most likely to be lost or destroyed with the passing are precious of time. mind of the enquiring They are not like Reynolds's four surviving letters from his Italian period.Whether or not the artist was conscious of this at the time. which. Mannings: SirJoshua Reynolds: A Complete 1796. 'are really Che nearesC form Co an organized exhibition that took place in the city. (noce 12). annotaCed in ink. pi. p. wroce Michael Grosley. also in the church of the Redentore. p. p.30. cit. nor does it the sketch Gallery of Scodand. cit. the only picture he noted was a Flagellation 'by Georgione'.

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