Caravaggio. Félix Witting

26

Baglione, op.cit., ch.1.

27

Goethe, Traité des couleurs, 1810, Triades, 1996.

28

Baglione, ch.1.

29

J. Meyer, op.cit., p. 623.

30

Baglione, Vita di Michelangelo da Caravaggio.

31

Baglione, op.cit., ch.1.

32

Exhibited at Burlington Fine Arts Club, 1894, illustrated catalogue pp.l, VII.

33

In Berlin (Museum III, 76) and Wilton House. – Lomazzo mentions, in his Trattato, 1584, p.439, that mural paintings can be found in several Italian osteria (both indoors and outdoors) with representations of ruffians, drinkers, gamblers in Milan – Compare with N. Bertolotti, Artisti belgi et ollandesi a Roma, Firenze, 1880. – The genre paintings by Dosso Dossi are also mentioned (oval paintings eaters, drinkers and musicians at the gallery in Modena, bambocciata in the Palazzo Pitti (n° 148) in Florence. In Delle Maraviglie dell’arte I, p. 79, Ridolfi talks of Giorgione’s genre paintings on façades (frescos).

34

Waagen, op.cit., II, p. 82.

35

Ibid., I, p. 249.

36

Compare with J. Meyer, Künstlerlexikon.

37

Catalogue n° 227 of the main collection. – Louvre catalogue n° 1122.

38

Capitolinian Collection, catalogue n° 244; Pommersfelden, Painting Department, n° 39.

39

Berlin, Gemäldegalerie, catalogue n° 369–1815 from the Giustiniani Collection. – Dijon, museum, catalogue n° 646.

40

Only example in Berlin, Gemäldegalerie, n° 381, this is the catalogue: „Wie durch gleichzeitige Berichte bestätigt wird, hat Caravaggio in Nr. 369 und 381 die irdische und die himmlische Liebe darstellen wollen.“ (“As contemporary reports confirm, Caravaggio wanted to represent earthly and heavenly love in n° 369 and 381”)

41

Musée des Offices, n° 1031; Phot. Alinari.

42

J. Buckhardt, op.cit., II, p. 1001.

43

Catalogue n° 408, toile

44

Baglione, op.cit., ch.1. – According to Baldunucci (Opere X, p. 204 s.), the order was given by a certain Vergilio Crescenzi.

45

See Baglione, op.cit., p. 251.

Baglione, Vita del Caval. Gius. Cesari d’Arpino, pittore, p. 129ff, Baglione, Vita di Caravaggio.

46

J. Buckardt, op.cit., p. 977.

47

Witting, Von Kunst und Christentum, 1903.

48

J. Burckhardt, op.cit., p. 984.

49

Ibid., pp. 3, 8.

50

Cat. n° 365; toile, H: 2,32 m × L: 1,83 m. – Compare with Hirth-Murther, Cicerone der Königliche Gemäldegalerie Berlin, p. 111; Gesellschaft (Photographic Association), Berlin

51

Catalogue n° 32; according to Eisenmann, op.cit., and Burckhardt, op.cit., p. 984, the painting belonged to C. himself; the colours are imprecise, undefined, which is why it seems clear that this copy is not by Caravaggio’s hand.

52

Baglione, op.cit., ch. 1; Louvre, catalogue n° 1121.

53

Compare with Eisenmann, op.cit., p. 12.

54

Baglione 1. c. – Catalogue of the pictures in the National Gallery, 1894, n° 172.

55

Innsbruck, Ferdinandeum cat. 565. – The image in Notre Dame de Bruges can be found on a pillar in the central nave, to the right of the crossing. – Bellori also mentions three variations of the Emmaus painting (1. c.); according to him, one featuring five figures was painted for the Marchese Patrizj, the second was made for Cardinal Scipione Borghese in Rome, and the third was painted in Zagarolo, near Palestrina, for Count Mazio Colonna.

56

J. Burckhardt, op.cit., p. 972.

57

See below, p. 4. The two small decorative pieces in the Kestnermuseum in Hanover (n° 61, 62) were probably made in collaboration with Prosperino.

58

See Baglione 1. c.; cf. Mariano Vasi 1. c. p. 5.

59

Buckhardt, op.cit., p. 995.