Titian's Hidden Double Portrait by ACC Art Books

Tiziano Vecellio, called Titian

(Pieve di Cadore, ca. 1488/1490 – 1576, Venice)

Portrait of a Lady and her Daughter 88.3 x 80.7 cm Oil on canvas. The stretcher bears the Hermitage inscription, recording G.C.Bevilacqua’s catalogue number of the Barbarigo collection (see Literature): �N17 Kol: bah:ʼ (N17 Coll: Bar [arigo]) In a late 16th Century Venetian carved and gilt cassetta frame, with bees at the corners and eagles at the upper and lower centres, fleur-de-lys at the left and right centre. Provenance: Presumably by descent from the artist to his son, Pomponio Vecellio, and sold by the latter, with the contents of the artistʼs house, on the Biri Grande, S.Canziano, to Cristoforo Barbarigo (1544-1614), 1518, and then presumably by descent through his son, Andrea Barbarigo (1595-1640); and Domenico Barbarigo (1616-1648), Palazzo Barbarigo della Terrazza, S.Polo, Venice, where first securely recorded in 1758, to Count Nicolò Antonio Giustinian Barbarigo, by whom sold, through Felice Binetti with 102 other pictures for a total of 562,000 Austrian lire, to the Russian consul-general in Venice, 31 July 1850, on behalf of Tsar Nicolas I of Russia; sold from the Hermitage, St. Petersburg, probably in 1854; (Probably) Count Michael Tyszkiewicz (1828-1897), and by descent to Count Tyszkiewicz, St. Petersburg, by 1913; with Luca Comerio & Co., Milan, by whom offered to Joseph, later Lord, Duveen, January 1920 (photograph in the Fototeca Berenson, I Tatti, Settignato); with Wildenstein, New York, March 1927 (photograph in the Fototeca Berenson, I Tatti, Settignato); M.Maner, St Roque, France, before June 1936; Purchased through August L.Mayer by René Gimpel (1881-1945), 12 January 1937 for 160,000 francs (plus 10,000 francs ʻresearchʼ fee) (Gimpel archives: we are indebted to Diana Kostyrko for this information) and retained by the latter, by whom taken to London in 1939 and found by his heirs, November 1946; Estate of René Gimpel: Sothebyʼs, London, 17 December 1947, lot 51, as Titian (bought in); The Property of the late René Gimpel; Christie's, London, 24 May 1963, lot 51, as Titian (bought in); Jean Gimpel, son of René Gimpel; The Pelican Trust; Private European Collecion. Exhibited: London, Grosvenor Gallery, IInd National Loan Exhibition: Woman and Child in Art, 1913-1914, no.49 (An Illustrated Catalogue of the Second National Loan Exhibition, 1913-1914, London (1913), p. 86; London, Kenwood, Clerics and Connoisseurs, An Irish Collection through three Centuries, 19 October 2001 – 27 January 2002, no. 51 (catalogue entry by Jaynie Anderson); Madrid, Museo del Prado, Tiziano, 10 June – 7 September 2003, no.29 (catalogue entry by Jaynie Anderson); Paris, Palais du Luxembourg, Titien. Le Pouvoir en Face, 2006, nr. 59; Pieve di Cadore, Palazzo Crepadona, Belluno, and Palazzo Magnifica Comunità, Tiziano: L’ultimo atto, 15 September 2007 – 6 January 2008, nr. 87; New York, Met Breuer, Unfinished: Thoughts Left Visible, 18 March – 4 September 2016, (catalogue entry by Andrea Bayer); Antwerp, Rubenshuis, loan from 2017-2019; Venice, Palazzo Ducale, From Rubens to Titian – Masterpieces from Flemish Collections, 5 September 2019 – 1 March 2020; Venice, Palazzo Ducale, on long term loan from spring 2020. Literature: C.-N. Cochin, Voyage dʼItalie ou receuil de Notes sur les ouvrages de Peinture & de Sculpture, quʼon voit dans les principales villes dʼItalie, Paris, 1758, p. 140, L ̒ ʼAnge Gardien & Tobias, deux figures en buste. Les têtes ne sont pas peintes dʼun pinceau si gras que les autres; elles ont même quelque chose de plat, & les ombres, qui sont presquʼégales aux demi-teintes, ne leur donnent pas de rondeur, & dʼautant moins que les draperies ont beaucoup de vigueurn & ont encore noirci.ʼ; J.-J. le François de Lalande, Voyage dIun françois en Italie, fait dans les années 1765 & 1766, Venice, (1769), pp. 109-11, L ̒ ʼAnge gardien qui conduit un jeune homme ; la tête de lʼAnge est belle, & le profil du jeune homme fin; mais les têtes sone peintes trop également du même tonʼ; G.C. Bevilacqua, Insigne Pinacoteca della nobile veneta famiglia Barbarigo della Terrazza, Venice, 1845, no. 17, ʼ17. LʼAngelo col giovine Tobia di Tiziano. In tela, alt. 0.90, largh. m. 0.90. In mezza figura di grandezza naturale dipinse Tiziano lʼAngelo alato, con veste di colore rosso-giallastro, cinta da una fascia, e con maniche di lino candido sino al gomito. Nella destra mano alzata, tiene un piccolo vaso col fiele del pesce preso da Tobia. La testa sembra un ritratto do bellissimo giovine, con capelli lunghi inanellati. Egli appoggia la sinistra mano sulla spalla sinistra del giovine Tobia che gli sta accanto, e che porta nella destra mano il raccolto pesce, mentre innalza lo sguardo verso lʼAngelo, suo condottiere. Anche in questʼopera si ravvisa il grande maestro; ed il profile del giovine Tobia non può essere più perfettamente disegnato.ʼ; E. Förster, W ̒ anderungen durch einige Privatgalerien Italiens, Nr. I: Die Galerie Barbarigo in Venedigʼ, Kunstblatt, 1 January 1846, p. 6, ʻ4. Tobias mit dem Engel, Kniestuck, sehr schadhaft. Der Engel scheint (ein) Bildniss eines vornehmen Knaben su sehn. Uebrigens verwahren wir uns gegen eine sichere Annahme der Aechtheit dieses Bildes – um so mehr, da es einem etwas an steifheit gränzenden Charakter der Komposition trägt.ʼ: A. Selvatigo and V. Lazari, Guido di Venezia e delle isole circonvicine, Venice, Milan and Verona, 1852, p. 232.; C.A. Levi, Le Collezione Veneziane dʼArte e d'Antichità del secolo XIV ai nostri giorni, Venice, 1900, pp. 281-289.; H. Wethey, The Paintings of Titian, Complete Edition, I, The Religious Works, London, 1969, p. 163, no. 145, copy 3; III, The Mythological and Historical Paintings, London, 1975, pp. 263-264, pls. 219220, Addenda I; J. Anderson, T ̒ itianʼs Unfinished ʻPortrait of a Patrician Woman and her Daughterʼ from the Barbarigo collection, Veniceʼ, The Burlington Magazine, CXLIV, 1196, November 2002, pp. 671-679; R. Rearick, review, Studi Tizianeschi, I, 2003, p. 26; M. Falomir (ed.), Tiziano, Madrid: Museo Nacional del Prado, 2003, pp. 206-207, 377; P. Joannides, ʻTitian in London and Madridʼ, Paragone, V, no. 657, 3, 58, 2004, p. 5; Titien. Le Pouvoir en face, 2006, pp. 59-60; Mattia Biffis and Mark Broch in Tiziano: L’ultimo atto, ed. Lionello Puppi, Milan: Skira, 2007, pp. 201-202; A. Bayer, Unfinished: Thoughts Left Visible, New Haven and London: Yale University Press, 18 March to 4 September 2016, Met Breuer, p. 322; B. van Beneden, ʻRubens and Tintorettoʼ, David Bowieʼs Tintoretto: Angel Foretelling the Martyrdom of Saint Catherine of Alexandria, London and Madrid: The Colnaghi Foundation, pp. 112-113.

CONTENTS

Introduction

GABRIELLA BELLI

An unfinished portrait of Titianʼs sweetheart Milia and their Daughter Emilia from the Barbarigo collection, Venice

JAYNIE ANDERSON

Shifting taste and conservation choices: Portrait of Titian’s Sweetheart Milia and their Daughter Emilia

LARRY KEITH

Titian, Pomponio, the Barbarigo family and Tsar Nicholas I of Russia

RICCARDO LATTUADA

The history of the acquisition of the Galleria Barbarigo della Terrazza for the Hermitage

IRINA ARTEMIEVA

100

Noble, beautiful, and sacred faces: Titianʼs portraits of women

BEVERLY LOUISE BROWN

130

Renaissance views of the unfinished

ANDREA BAYER

154

Selective Bibliography

INTRODUCTION

Hidden from public view both by its first owners, the Barbarigo family of Venice, and by the Tsar of Russia, Titian’s marvellous Portrait of a Lady and her Daughter returns to Venice, received with all honours in the rooms of the Palazzo Ducale. The fate of this painting over the past five centuries is truly an incredible story, and its mystery was only solved recently, thanks to a bold restoration campaign that restored the work to its original state and revealed its true subject. The process of unveiling the Portrait of a Lady and her Daughter began in 1948 at the Courtauld Institute in London when an X-radiograph was taken of a painting depicting Tobias and the Angel. There was great surprise when, beneath the topmost layer of paint, the portrait of a girl and a woman was discovered, which the eminent scholar Jaynie Anderson hypothesised with impeccable arguments (as documented in this publication) to be the double portrait of Milia, Titian’s lover, and their daughter Emilia. So what happened to this picture, which immortalises the woman and daughter Titian loved? In all likelihood, the picture was in the artist’s studio, unfinished, when he died in 1576. The fact that Titian depicted such a personal subject, his secret love for his natural daughter, led Pomponio Vecellio, who inherited his father’s studio, to do away with any potentially embarrassing repercussions by having the two female figures overpainted with a more neutral subject that was in vogue at the time: Tobias and the Angel. As such, the painting was sold in 1581, together with everything else in the studio, to Cristoforo Barbarigo, a member of the illustrious Venetian family. The Barbarigo family bought the building in Calle dei Biri in Cannaregio after a long negotiation, which we know was not without arguments and discussions between Pomponio and the family of Titian’s legitimate daughter Lavinia, and requiring a commercial agreement with the family of his illegitimate daughter Emilia, the same girl as depicted in our painting. Titian’s studio in Calle dei Biri was rented to Jacopo Bassano, who died there in1592, and later passed to Leonardo Corona, who died in 1605. The paintings went in a different direction: they were immediately transferred to the Palazzo Barbarigo della Terrazza in San Polo, thus constituting the most important nucleus of the family collection which was unique, according to Giancarlo Bevilacqua (1845), precisely for the number of Titian’s works it contained – more than twenty canvases! By virtue of this exceptional reputation, the Barbarigo collection aroused the interest of Tsar Nicholas I, who bought the entire collection in 1850.

This was the last great acquisition made for the Italian section of

fundamental essay by Jaynie Anderson which proposes the identi-

the Hermitage, effected in a series of purchases since the time of

fication of the subjects portrayed, giving a history to the faces of

Catherine the Great, but also, and unfortunately, the most recent

those two figures to whom Titian chose to dedicate one of his most

Venetian collection, undivided for three hundred years, to leave La

intense masterpieces.

Serenissima. Larry Keith (Head of Conservation and Keeper at the National The most famous work in the Barbarigo collection is undoubtedly

Gallery, London) writes about the decisions made to assure the

Titian’s Penitent Magdalene, still one of the museum’s star pieces. It

conservation of the painting.

arrived in Russia with a group of about 100 paintings, including our Tobias and the Angel, but it did not remain long in Saint Peters-

The picture’s presence in the Barbarigo collection is reconstructed

burg: in 1854 it was sold at auction, along with 1,200 other works

by Riccardo Lattuada, while Irina Artemieva, curator at the State

from the Imperial Gallery.

Hermitage Museum, Saint Petersburg, traces the history of the purchase of the painting for the Hermitage collection in the nine-

The eventful life of the painting continued during the twentieth

teenth century.

century in a new series of incredible twists and turns. We know that in the 1920s the painting belonged to a French dealer, René

Titian’s extraordinary range of female portraits from celebrated

Gimpel, who, worried by the winds of war already threatening Eu-

members of court to idealised beauties is explored in Beverly Lou-

rope, made sure his own collection was safe by moving it to a ware-

ise Brown’s essay. Whether the models Titian employed were cour-

house in London. The operation was conducted in such secrecy

tesans or family members, they acted as artistic muses.

that following Gimpel’s tragic death in the Neuengamme concentration camp where he had been imprisoned for being a member

Andrea Bayer (Deputy Director for Collections and Administration

of the Resistance, the family did not know where to look for the

at the Metropolitan Museum of Art, New York) was curator of the

hidden treasures. Only in 1946 did his son Ernest manage to locate

“Unfinished” exhibition (MetBreuer 2016), where the double por-

the deposit, which included our canvas.

trait was one of the highlights. To conclude this publication, she explores the poetics of “thoughts left visible” in her essay entitled:

Yet the story does not end here because, while the X-radiographic

Renaissance views of the unfinished.

analysis of 1948 mentioned above revealed the underlying painting, this did not immediately lead to the decision to undertake the

It is with great joy and emotion that the Palazzo Ducale can wel-

very risky and complex operation of removing the superficial paint

come back after almost 500 years Titian’s sweetheart Mila and

layer of what was still considered an important sixteenth-century

their daughter Emilia to La Serenissima.

Venetian painting. It was the courage of restorer Alec Cobbe, on behalf of its next owner The Pelican Trust, to bring the splendid double female por-

Gabriella Belli

trait to light after nearly twenty years of work between 1983 and 2001. This painting, which Miguel Falomir reunited for the first time with other splendid masterpieces in the monographic exhibition dedicated to Titian at the Prado museum in 2003, returns today to the city from which it departed many centuries ago! The incredible history of the painting has been reconstructed in this volume through a number of fascinating details in contributions from scholars of international renown, starting with the

Shifting taste and conservation choices: Portrait of Titian’s Sweetheart Milia and their Daughter Emilia Larry Keith

Like every Old Master painting, Titian’s Portrait of a Patrician Woman and her Daughter (Portrait of Titian’s Sweetheart “Milia” and their Daughter Emilia) (fig 49) has a hidden history that determines its present appearance, a succession of choices about its finish, conservation, and display that began with the artist’s conception of how it should look. However, this particular work has a complex and dramatic subsequent physical history, the unspooling of which demonstrates how both the shifting notions of aesthetics or value can have a dramatic impact on what we see today. It is the literal uncovering of that past that has yielded such a dramatic recovery and new understanding of this remarkable work. The painting was never completed by Titian, and was reworked soon after his death into an image of Tobias and the Angel Raphael. As such it was in the famous Barbarigo collection in Venice until the mid-nineteenth century, then the Russian Imperial Collection until eventually it found its way to Britain in the early twentieth century.1 Fig. 49. Titian, Portrait of a Lady and her Daughter, ca. 1550, oil on canvas, 88.3 x 80.7 cm, Venice, Palazzo Ducale, on long term loan.

The original composition was discovered through X-radiography in the 1940s, and the decision was taken to remove the historic repainting, returning the image to its original portrait subject. The lengthy restoration treatment was undertaken by Alec Cobbe over some twenty years around the end of the century.2 Such a treatment is rare, and the decision to carry out such a work is

Fig 49a. Ultraviolet light reveals the almost perfect condition of the

one that requires careful thinking about both its wider historical

original state of the faces.

context and aesthetic implications.

Fig 50. Bronzino, An Allegory with Venus and Cupid, ca. 1545, oil on wood,

Fig 51. Bronzino, An Allegory with Venus and Cupid, before treatment of 1958,

146.1 x 116.2 cm, London, The National Gallery.

ca. 1545, oil on wood, 146.1 x 116.2 cm, London, The National Gallery.

Even in the absence of extensive repainting there is often some

As such these interventions can leave fascinating evidence of the

degree of tension between our appreciation of the simple fact of

taste of different eras; a shift in societal mores might provoke a

the antiquity of a painting and the pleasure inherent in its more

prurient covering up of imagery from a more permissive age giving

timeless artistic qualities – whether its brushwork, psychological

us, for example, Daniele da Volterra’s improbably placed draperies

insight or any number of aspects. However, a whole new set of

commissioned by Pius IV to Michelangelo’s Last Judgement, or

choices presents itself which must be taken into account when

the comically strategic Victorian foliage placed on Bronzino’s

considering a conservation intervention on a painting which has

Allegory (since removed) (figs. 50 & 51).3 More pragmatically, earlier

undergone a significant repainting. In these cases there is a kind

notions of effective hanging and display have at times dictated the

of competing interest between its material history – that trail of

addition of significant additions to completed works in order to

alterations writ across the painting’s surface – and a wish to move

rationalise the display, as occurred in the Spanish Royal Collection,

closer to the artist’s original intentions. A decision to give primacy

for example, amongst many other collections.4 Market forces

to the former gives a profound if implicit emphasis to the idea of

often provoked improbable new presentations of dismembered

the painting as an historical document, an artefact through which

altarpieces elements in the nineteenth century; before the

we can examine the passage of time and shifting taste. A radical

reconstitution of Lorenzo Monaco’s Coronation of the Virgin in the

alteration or extensive repainting can be undertaken for a wide

National Gallery its outer sections were displayed as a diptych,

range of reasons – sometimes philistine, sometimes pragmatic,

a deception which occasioned the extensive covering up of the

sometimes more thoughtful and relatively respectful.

evidence of the composition’s missing central area (figs 52 & 53).5

Fig 52. Sections from Lorenzo Monacoâ€™s Coronation of the Virgin with Adoring Saints, photographed in 1932, showing the two panel fragments presented as a diptych and retouched accordingly.

Fig. 53. Lorenzo Monaco, The Coronation of the Virgin with Adoring Saints, 1407-1409, egg tempera on wood, 220.5 x 115.2 cm (central), 194.5 x 104.8 cm (left), 197.2 x 101.5 cm (right), London, The National Gallery.

Fig. 54. Master of the Mornauer portrait, Portrait of Alexander Mornauer, ca. 1464-1488, oil on wood, 45.2 x 38.7 cm, London, The National Gallery.

The National Gallery’s Portrait of Alexander Mornauer – a painting in

interventions wherever possible seems pretty straightforward. The

excellent condition – was substantially repainted to make it appear

seeking of something like an original state gives primacy to the

more like a Holbein (as it was thought to be in the late eighteenth

idea of the painting as a pure work of art through which the artist

century), presumably to increase its market value (figs. 54 & 55).

still can address us directly, outside of time.

Palma Giovane’s well-known completion of works left unfinished by Titian at his death seems to have elements of both respectful

This is at the heart of the thrilling experience we have when we

duty and enhanced marketability. With the Portrait of a Lady and her

confront an Old Master painting in amazing physical condition

Daughter Jaynie Anderson’s hypothesis describes a conventional wish;

– Velazquez’s Juan de Pareja or Rembrandt’s Jan Six, for example.

first simply to provide finish and make it a more saleable subject

This feeling is enhanced when the subject matter is relatively easily

picture, but then adding the fascinating prospect of his son Pomponio

understood by our modern age – and can be hugely amplified

having had the image reworked as part of his resolving longstanding

when we see site-specific works such as Pontormo’s Deposition

paternal tensions by cleaning some familial dirty laundry through the

or Caravaggio’s St Matthew canvases in San Luigi dei Francesi

suppression of the evidence of illegitimate half-siblings. All of these

displayed more or less exactly as intended.

types of intervention tell us important, often fascinating things, though usually at the cost of obscuring the painter’s wishes to varying degrees.

Yet this seemingly straightforward choice to restore pre-eminence to the artists’ wishes carries yet another set of assumptions. It presumes

The aim to restore the artist’s intent by stripping away the layers

that our present understanding of an artist is superior to that of

of historical reinterpretation is more or less in opposition to this

preceding (or succeeding) generations – and brings with it a willingness

experience of the painting as a window on the passage of history.

to do away forever with the physical manifestation of those differing

Today we are inclined to view the artist’s vision as overwhelmingly

interpretations (if eased somewhat by the increasing capabilities of

important, and as a result the decision to reduce these later

documentation). However, the most cursory look at the history of

n ote s * “The history of the acquisition of the Galleria ‘Barbarigo della Terrazza’ for the Hermitage” by Irina Artemieva was originally published as: “Three quarters of former Barbarigo paintings in Russia now missing” in VeneziAltrove - Almanac of the Venetian Presence in the World, Copyright © 2007 Marsilio Editori, s.p.a. Venezia. Courtesy of Fabio Isman via Irina Artemieva. 1. C.A. Levi, Le Collezioni Veneziane d’Arte e d’Antichità dal Secolo ...Venice: F. Ongania, 1900, p. 288. 2. Ibid. 3. В.Ф.Левинсон-Лессинг, История картиной галереи Эрмитажа (1764-1917), Ленинград 1985, с. – V.F. Levinson-Lessing, La Storia della Pinacoteca dell’Ermitage (1764-1917), Leningrad, 1985. 4. V. Zanella, Giacomo Quarenghi Architetto di Pietroburgo.Venice, 1988, p. 314. 5. G.C. Bevilaqua, Insigne Pinacoteca della nobile veneta famiglia Barbarigo dalla Terrazza. Venice,1845. 6. Ibid. 7. C. Ridolfi, Le Maraviglie dell’Arte Ovvero le Vite degli Illustri Pittori Veneti e dello Stato (ed. originale Venezia 1648), a cura di D.F. von Hadeln, Berlin 1914-1924, I, p. 200.

8. M. Boschini, La Carta del Navegar Pittoresco, 1660; ed. critica a cura di A. Pallucchini, Venice & Rome, 1966, p. 664. 9. M. Cochin, Voyage en Italie ou Recueil de Notes sur les Ouvrages de Peinture et de Sculpture, qu’on voit dans les Principales Villes d’Italie, Paris, 1769, 3 vols., pp. 141-142. 10. [Ch.de Brosses], Lettres d’Italie du President de Brosses. Mercure de France, 1986, pp. 241-242 11. G. Cadorin, Dell’Amore dei Veneziani di Tiziano Vecellio delle cue Case in Cadore e in Venezia e delle Vite de’ suoi Figli, Venice, 1833. 12. J.A. Crowe and G.B. Cavalcaselle, Tiziano, Leben und Werke, Leipzig, 1877. 13. Cadorin, op.cit., p. 96. 14. L. Puppi, Su Tiziano, Milano, 2006, pp. 66-67, passim. 15. C. Hope, “Titian’s Life and Time”, in: Titian, London, 2003, p. 28. 16. G. Vasari, Le vite de’ piu` eccellenti pittori, scultori ed architettori scritte da Giorgio Vasari pittore aretino, Firenze,1568. Ed.Milanesi, Firenze 1881, v.VII, p. 429. 17. G. Fontana, Venezia monumentale I Palazzi, Nuova edizione con introduzione e note di Lino Moretti, Venice, 1967, p. 197. 18. L. Moretti, G.B. Cavalcaselle. Disegni da Antichi Maestri, Venice, 1973.

Fig. 94. Tintoretto, Perseus

and the Muses, oil on canvas, 44 x 97 cm, Saint Petersburg, Hermitage Museum.

19. J.K. Rössler, “Precisazioni su palazzo Barbariogo di San Polo e la sua collezione di quadri,” in Arte Veneta, 64 (2007), pp. 234-242. 20. Rudolf, op.cit.,II, p. 54.

27. S.K. Savvateev, “Il ritratto di Carlo Ridolfi di Matteo Ponzone nelle collezioni dell’Ermitage,” Soobščenija Gosudarstvennogo Ermitazha (Comunicazioni del Museo Statale Ermitage), LXVI, 2008, pp. 93-98.

21. РГИА, Ф.469; оп. No.8, дело 921, л.3. – Statale Archivio storico russo, Fondo 469, inv.8, atto 921, f. 3. 22. П.А. Вяземский, Старая записная книжка, 1853. Сочинения П.А.Вяземского, Санкт-Петербург, 1886, т.10, с.74. – P.A.Vjazemskij Vecchia agenda, 1853. Composizioni di P.A.Vjazemskij, Saint Petersburg, 1886, v.10, P.74 (in Russian). 23. F. Isman, “Augusto Gentili dà la caccia a un famoso Tiziano: era partito per la Russia”, in Venezia altrove, 1 (2002), pp. 78-95. 24. В.Маркова, ГМИИ им.А.С.Пушкина Собрание живописи. Италия VIIIXVI веков. Москва 2002, N.137, pp. 232-234 – V.Markova, Museo di Belle Arti A.S.Pushkin, La pittura italiana del VIII-XVI ss. Mosca 2002, N.137, pp. 232-234 (in Russian). 25. Ibid. 26. J. Gore, “An ‘Ecce homo’ in Dublin”, in The Burlington Magazine, XCVII, 1955, pp. 218-221.

Photographic credits

Every effort has been made to trace copyright holders and obtain permission for the use of copyright material. The publisher apologises for any errors or omissions in the list below and would be grateful if notified of any corrections that should be incorporated in future reprints or editions of this book. A msterdam © Rijksmuseum: Figs. 40a, 40b.

W ashington © The National Gallery of Art: Figs. 3, 4a, 4b, 45, 81. © The National Museum of Women in the Arts: Fig. 120.

B russels © KIK-IRPA Figs. 22, 23, 30, 36, 48a, 48b, 49, 149, 151. Pages 4, 6-7, 9, 10-11, 64. C leveland © The Cleveland Museum of Arts: Fig. 74.

C ootham © Parham Park: Figs. 56, 57. D resden © bpk / Staatliche Kunstsammlungen Dresden / Hans-Peter Klut: Fig. 31. © bpk / Staatliche Kunstsammlungen Dresden / Elke Estel / Hans-Peter Klut: Figs. 42, 129, 130. © bpk / Staatliche Kunstsammlungen Dresden / Hans-Peter Klut: Figs. 78, 96, 97. E ast C landon Hatchland Park – Alec Cobbe: Figs. 11, 12, 16, 18, 21, 24a, 24b, 24c, 24d, 28, 59, 60, 61, 62, 150. E dinburgh © Trustees of the National Gallery of Scotland: Fig. 112, 137. F lorence © ga-uff.fotografico@beniculturali.it. Figs: 102, 103, 104, 116, 118, 119, 122, 143. © Archivio Scala, Florence. Courtesy of the Venice Patriarchate: Fig. 139. L ondon © The Trustees of the British Museum: Figs. 5, 46, 47. © Courtauld Institute: Fig.17. © The Royal Collection Trust: Fig. 26. © The National Gallery: Fig. 33, 50, 51, 52, 53, 54, 55, 106, 106a, 111, 115, 117. Page. 100. © The British Gallery Museum: Figs. 5, 47. © Victoria & Albert Museum: Fig 140. © Royal Academy of Arts /Prudence Cuming Associates Limited: Fig. 142. © René Gimpel: Fig. 15. © Marie-Louise Sauerberg & Larry Keith: Fig. 49a. © Westminster Abbey NEW JERSEY: Fig. 58. N ew Y ork © The Metropolitan Museum of Art: Figs. 44, 126, 136, 141, 156, 157. P aris / T oulouse © Musée des Augustins/ Daniel Martin: Fig. 95. P rinceton © Princeton University Art Museum: Fig. 144. S aint P etersburg © Hermitage Museum: Figs. 6, 8, 9, 79, 80, 82, 83, 84, 85, 86, 87, 88, 89, 93, 94, 125. V enice © MUVE: Figs. 10, 13, 14, 29, 63, 64, 65, 66, 67, 68, 69, 70a, 70b, 71b,71c,73, 77, 121, 127, 128, 131, 132, 133, 134. Pages 2-3, 12 & 14. © akg-images: Fig. 25. © Veneziatrove – Almanac of the Venetian Presence in the World (2006): Figs. 90, 91, 92 (courtesy of Fabio Isman).

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