79 Algarotti, Count Francesco, Opere, 8 vols., Leghorn, 1764 ...

79

In general I have limited this bibliography to books and articles which have some direct bearing on Lafage, his work, or contemporaries, and which I have consulted specifically in the course of my writing. I also wish to call attention to the ex­haustive bibliography which Robert Mesuret has included in the section on Lafage in his very useful catalogue, Le dessin toulousain de 1610 a 1730. M. Mesuret lists many ob­scure references to Lafage which I consider it superfluous to repeat here.

Algarotti, Count Francesco, Opere, 8 vols., Leghorn, 1764-65.

Bartsch, Adam, Cataloaue raisonne des dessins oriainaux du cabinet de feu le Prince Charles de Liane, Vienna, 1794.

Basan, Pierre Francois, Cataloaue raisonne des dijferents objets de curiosite dans les sciences et les arts qui composaient le cabinet de feu M. Mariette, Paris, 1775.

Begouen, Comte Henri, L'Oeuvre de Raymond La Faae, Toulouse, 1925.

-, and Dol, Gabriel, "Raymond La Fage," Bulletin municipal de la ville de Toulouse, XLII, 1938, pp. 759-784.

Benard, M., Le cabinet de M. Paianon Dijonval, Paris, 1810.

Benezit, Emmanuel, Dictionnaire des peintres, sculpteurs, dessinateurs et araveurs, 8 vols., Paris, 1948-55.

Bertolotti, A., Artisti francesi in Roma nei secoli XV, XVI, XVII, Mantua, 1886.

Beschreibender Kataloa der Handzeichnunaen in der araphischen Sammluna Albertina, edited by Alfred Stix, 6 vols., Vienna, 1926-41.

Blanc, Charles, Histoire des peintures: Ecole fran~aise, 3 vols., Paris, 1862-63.

Blunt, Sir Anthony, Art and Architecture in France 150o-17oo, Baltimore, 1954.

-, The French Drawinas at Windsor Castle, London, 1945.

Bonnaffe, Edmond, Dictionnaire des amateurs franqais au XVIIe siecle, Paris, 1884.

Bottari, Giovanni, Recueil de lettres sur la peinture, la sculpture et ['architecture, translated by L. J. Jay, Paris, 1817.

Brahm, Alcanter de, L'Ecole toulousaine de peinture, Paris, 1935.

Bredius, Abraham, Kunstler-Inventare, 8 vols., The Hague, 1915-22.

Bruggen, Jan van der, Recueil des meilleurs dessins de Raimond la Faae, Paris, 1689.

Budde, Illa, Beschreibender Kataloa der Handzeichnunaen in der staatlichen Kunst­akademie Dusseldorf, Dusseldorf, 1930.

Cabie, Edmond, Dessins de Raimond Lafage en cinq planches avec des notices bio­graphiques, Toulouse, 1881.

Caylus, Comte Ann Claude Philippe de, "Conference sur les dessins," Revue universelle des arts, IX, 1859, pp. 314-323.

Chennevieres-Pointel, Charles Philippe de, Recherches sur la vie et les ou­vrages de quelques peintres provinciaux de l'ancienne France, 4 vols., Paris, 1847-62.

Clement de Ris, Louis, Les amateurs d'autrefois, Paris, 1877. Dacier, Emile, "Catalogue de ventes et Livrets de Salons illustres et an­

notes par Gabriel de Saint-Aubin: 13, Catalogue de la vente Calviere ~1779)," Gazette des Beaux-Arts, sixth series, XLIV, 1954, pp. 5-46.

Demonts, Louis, Musee du Louvre. Inventaire general des dessins des ecoles du nord. Ecoles allemande et suisse, 2 vols., Paris, 1938.

Le dessin franfais dans les collections du XVIIIe siecle, exhibition organized by the Gazette des Beaux-Arts and Beaux-Arts, preface by Henri Focillon, Paris, 1935.

De Tolnay, Charles, History and Technique of Old Master Drawings, New York, 1943·

Dezallier d' Argenville, A. J., Abrege de la vie des plus fameux peintres, Paris, 1745·

Dorival, Bernard, La peinture franfaise, Paris, 1946. Dumesnil, M. J., Histoire des plus celebres amateurs franfais, 3 vols., Paris, 1856. Dupuy-Dugrez, Bernard, Traite sur la peinture pour en apprendre la theorie et se

peifectionner dans la pratique, Toulouse, 1699. Dussieux, Louis, Les artistes franfais a l'etranger, Paris, 1876. Felibien, Andre, Entretiens sur les vies et les ouvrages des plus excellens peintres

anciens et modemes, third edition, 4 vols., London, 1705. Fontaine, Andre, Les doctrines d'art en France: Peintres, amateurs, critiques, de

Poussin a Diderot, Paris, 1909. Foucault, Nicolas Joseph, lvUmoires, edited by F. Baudry, Paris, 1862. Friedlaender, Walter, The Drawings of Nicolas Poussin, London, 1949. Gilpin, William, An Essay upon Prints, London, 1768. Gori Gandellini, Giovanni, Notizie istoriche degli' intagliatori, 15 vols., Siena,

1771. Grautoff, Otto, Nicolas Poussin, 2 vols., :Munich, 1914. Grosswald, Olgerd, Der Kupferstich des XVIII Jahrhunderts in Augsburg und

Nitmberg, Munich, 1912. Guiffrey, Jean, and Marcel, Pierre, Inventaire general des dessins du Musee du

Louvre et du Musee de Versailles: Ecole franfaise, 10 vols., Paris, 1906-27. Hake, Henry M., "Pond's and Knapton's Imitations of Drawings," The

Print Collector's Quarterly, IX, 1922, pp. 324-349. Herluison, H., Actes d'etat civil d'artistes franfais, peintres, graveurs, architectes,

etc., extraits des registres de l'hOtel de ville de Paris, Orleans, 1873.

80

Houbraken, Arnold, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam, 1718-21.

Jouin, Henry, Charles Le Brun et les arts sous Louis XIV, Paris, 1889. Kamphausen, Alfred, Asmus Jakob Carstens, Neumiinster in Holstein, 1941. Knight, Robert Payne, Principles of Taste, third edition, London, 1806. La Faille, Germain de, Traite de Ia noblesse des capitouls, Toulouse, 1667. La Mothe-Langon, Baron Etienne Leon de, et al., Biographie toulousaine,

2 vols., Paris, 1823. Lavallee, Pierre, Le dessin franfais, Paris, 1948. Lecomte, Florent, Cabinet des singularitez d'architecture, peinture, sculpture et

graveure, 3 vols., Paris, 1700. Lee, Rensselaer W., "Ut Pictura Poesis: Humanistic Theory of Painting,"

Art Bulletin, XXII, 1940, pp. 197-269. Lemonnier, Henri, "La peinture et les arts du dessin dans la seconde

moitie du XVIIe siecle," in Andre Michel, Histoire de l' Art, VI, 1922, pp. 581-646.

Lespinasse, Pierre, and Mesuret, Robert, "Documents inedits sur les Rivalz," Bulletin de la Societe Archeologique du Midi de Ia France, third series, v, 1943-45, pp. 210-215.

Lugt, Frits, Les marques de collections de dessins et d'estampes, Amsterdam, 1921. -, Les marques de collections de dessins et d'estampes, Supplement, The Hague, 1956. -, Musee du Louvre: Inventaire general des dessins des ecoles du nord: Ecole jlamande,

2 vols., Paris, 1949. Male, Emile, L' Art religieux de la fin du XVIe siecle, du XVIIe siecle et du XVIIIe

siecle; etude sur l'iconographie apres le Concile de Trente, 2nd ed., Paris, 1951. Marcel, Pierre, Charles Le Brun, Paris, 1909. -, La peinture franfaise au debut du XVIIIe siecle, Paris, 1906. Mariette, Pierre Jean, Abecedario et autres notes inedites, edited by C. P. de

Chennevieres-Pointel and A. de Montaiglon, 6 vols., Paris, 1851-60. (Archives de l'art franfais, vols. II, IV, VI, VIII, X, XII).

-, Description sommaire des dessins du cabinet de feu M. Crozat, Paris, 1741. -, Recueil d'estampes d'apres les tableaux des peintres les plus celebres qui sont d Aix

dans le cabinet de M. Boyer d'Aguilles, gravees par Jacques Coelemans, Paris, 1744. Meder, Joseph, Die Handzeichnung, ihre Technik und Entwicklung, Vienna, 1923. Mesple, Paul, "L'Ecole de Toulouse," Gazette des Beaux-Arts, sixth series,

XXXV, 1949, pp. 187-212. Mesuret, Robert, Le dessin toulousain de 1610 a 1730, Toulouse, 1953. -, Les graveurs en taille-douce de 16oo a 18oo, Toulouse, 1951. -, Inventaire general des dessins des musees de province. Toulouse, Musee Paul-Dupuy,

Paris, 1958. Mireur, Hippolyte, Dictionnaire des ventes d'art faites en France et a l'etranger

pendant les XVIIIe et XIXe siecles, 7 vols., Paris, 19u-12.

Mongan, Agnes, and Sachs, Paul J., Drawinss in the Foss Museum of Art, 2

vols., Cambridge, Mass., 1940.

Morassi, Antonio, Capolavori della pittura a Genova, Milan, 1951.

Moreri, Louis, Le srand dictionnaire historique, 10 vols., Paris, 1759.

Muntz, Eugene, "Biographies inedites des peintres Simon Vouet, Jacques et Guillaume Courtois, Raimond Lafage, Jacques-Baptiste Vanloo et du sculpteur Pierre Legros, par le romain Nicolas Pio," Nouvelles archives de l' art frangais, first series, III, 1874-75, pp. 191-203.

Nagler, Georg Kaspar, Die Monosrammisten, 5 vols., Munich, 1858-79.

Noack, Friedrich, Deutsches Leben in Rom, Berlin, 1907.

Nougaret, Pierre Jean Baptiste, Anecdotes des Beaux-Arts, 3 vols., Paris, 1776-80.

Orlandi, Pellegrino Antonio, Abecedario pittorico, Bologna, 1704.

Peries, J. B., "Raimond de Lafage," Biosraphie universelle, XXII, 1819, pp. 441-

442.

Pevsner, Nikolaus, Academies of Art, New York, 1940.

Pigler, Andor, Barockthemen, 2 vols., Budapest, 1956.

Raynal, Jean, Histoire de Ia ville de Toulouse, Toulouse, 1759.

Recueil de 44 Pieces imitees d l'Eau forte d'apres Raym. Lafase, tirees de Ia Collection de l'Academie des beaux-arts d Dusseldorf, Dusseldorf, 1787.

Reiset, Frederic, Notice des dessins du Louvre, 2 vols., Paris, 1869.

Reynolds, Sir Joshua, The Discourses, London, 1924.

Ripa, Cesare, Iconolosia, Padua, 1611.

Robert-Dumesnil, A. P. F., Le peinture-sraveur frangais, n vols., Paris, 1835-71.

Roschach, Ernest, "Catalogue des collections de peinture du musee de

81

Toulouse," Inventaire seneral des richesses d'art de Ia France. Province. Monu­ments civils, VIII, Paris, 1908, pp. r-256.

-, Etudes sur le musee de Toulouse, Toulouse, 1870.

-, "La galerie de peinture de l'h6tel de ville de Toulouse," Memoires de l'Academie de Toulouse, first series, I, 1889, pp. 16-38.

Rossetti, Domenico, Historia del Testamento Vecchio e Nuovo, Venice, 1688.

Rossignol, E. A., "Lisle-sur-Tarn," Monosraphies communales du Tarn, IV, Toulouse, 1866, pp. 207-356.

Schuchardt, Christian, Goethes Kunstsammlunsen, Jena, 1848.

Sterling, Charles, Les peintres de Ia realite en France au XVIIe siecle, Paris, 1934.

Thieme, Ulrich, and Becker, Felix, Allsemeines Lexikon der bildenden Kiinstler, 37 vols., Leipzig, 1907-50.

Tischbein, Johann Heinrich Wilhelm, Aus meinem Leben, 2 vols., Bruns­wick, 1861.

Voss, Hermann, Die Malerei des Barock in Rom, Berlin, 1925.

Weigert, Roger Armand, "Notes de Nicodeme Tessin le jeune relatives a son sejoura. Paris en 1687," Bulletin de Ia Societe de l' Histoire de /'Art fran­gais, 1932, pp. 220-279.

Whitman, Nathan T., "Four Related Drawings by Raymond Lafage," The Art Quarterly, XVIII, 1955, pp. 185-191.

-, "The Religious Drawings of Raymond Lafage," Gazette des Beaux­Arts, sixth series, XL VIII, 1956, pp. 23-34.

Winckelmann, Johann J., Gedanken iiber die Nachahmuns der sriechischen Werke in der Malerei und Bildhauerkunst, Dresden, 1755.

Notes

82

TO CHAPTER I

I 1. A lengthy analytic article by Erwin and Dora Panofsky, "The Iconography of

the Galerie Fran!rois I at Fontainebleau," Gazette des Beaux-Arts, sixth series, LU

(Sept., 1958), 113-190, illustrates this tendency very well. It should be noted, how­

ever, that as yet at Fontainebleau the veiled references to the monarch were

erudite and humanistic in contrast to the blatant propagandistic purpose of

the Galerie des Glaces at Versailles a century and more later. 2. Nikolaus Pevsner, Academies of Art (New York, 1940), pp. 86-102. 3. The chief study is by Pierre Marcel, La peinture franfaise au debut du XVIIIe siecle

(Paris, 1906), although it is now rather out of date. Perhaps the most lucid and

penetrating synopsis of this area of French art, utilizing the most recent re­

search and methods of modern art history, is the final chapter of Sir Anthony

Blunt, Art and Architecture in France 150D-1700 (Baltimore, 1954). The significance

of this transitional period for general intellectual history has been magnifi­

cently set forth by Paul Hazard, La crise de la conscience europeenne (Paris, 1939 ).

4. Marcel, op. cit., pp. 55-64.

5. Charles Perrault, Paralleles des anciens et des modernes (Paris, 1688-97 ), 4 vols. 6. Roger de Piles, Dialosue sur le coloris (Paris, 1673); Dissertations sur les ouvraaes des plus

fameux peintres (Paris, 1681 ). 7. P. J. Mariette, Description sommaire des dessins du cabinet de feu M. Crozat (Paris, 1741),

pp. 124-126; Abecedario et autres notes inedites, III, 34-40 (Archives de !'art franfais, VI, Par­

is, 1854-56). 8. Jan van der Bruggen, Recueil des meilleurs dessins de Raimond la Faae (Paris, 1689 ), pp.

4-6. Hereafter this book will be referred to only by the name of the editor.

9. The first source, chronologically, is the above mentioned introduction by Van

der Bruggen, but this contains only the most meagre and incidental infor­

mation on his life. However, the author apparently knew Lafage rather well in

Paris, and the few biographical details that he does mention must be given

considerable weight. Next there is the rather detailed account of the artist's life whcih Bernard Du­

puy-Dugrez inserts rather casually into his treatise of 1699, Traite s11r la peinture

pour en apprendre la theorie et se perfectionner dans la pratique, pp. 104-106. Dupuy-Dugrez

was a resident of Toulouse, probably knew Lafage at least slightly, and should

constitute a most reliable source. Unfortunately this is not so; for his account

contains several statements which are untrue, and he is rather casual as regards

details such as dates. Nonetheless he does give some sort of outline with which

to work and some undoubtedly authentic details of Lafage's appearance and

habits. Although compiled in the century after Lafage's death, it is that great

collection of notes jotted down by P. J. Mariette and finally published in the

185o's which contains the most reliable account of his life and work. This Abe­

cedario has several lengthy notes on Lafage, done at various intervals through­

out Mariette's life, as can be seen from the handwriting and the changing

opinions on the artist which they incorporate. This writer, always concerned

I with accuracy, sought out old associates of Lafage for information, and some of his material has been subsequently confirmed by documentary sources. Amidst conflicts and discrepancies I have generally tended to follow the statements of Mariette.

ro. E. Benezit, Dictionnaire des peintres, sculpteurs, dessinateurs et araveurs (Paris, 1952), V, 350; Sir Anthony Blunt, The French Drawings at Windsor Castle (London, 1945), p. 25.

II. H. Herluison, Actes d'etat civil d'artistesfram;ais (Orleans, I873), p. 200; A. Bertolotti, Artisti francesi in Roma nei secoli XV, XVI, XVII (Mantua, r886), p. 144; Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Kiinstler (Leipzig, 1907-50), XIII, 20o-20I.

12. Eugene Muntz, "Biographies inedites des peintres Simon Vouet, Jacques et Guillaume Courtois, Raimond Lafage, Jacques-Baptiste Vanloo, et du sculpteur Pierre Legros, par le romain Nicolas Pio," Nouvelles archives de I' art fran~ais, first series, III (Paris, 1874-75), 197. Pio owned a considerable collection of drawings and amused himself by compiling small biographical notices of the artists whose works he possessed. However, he fell on evil days and was forced to sell his collection to Crozat, retaining only the manuscript of biographies which now reposes in the Vatican. His biography of Lafage, like his orthography, is most picturesque, and as a collection of anecdotes it stands at the beginning of a series of accounts which become more and more overburdened by piquant stories. Pio in part initiates the legend of Lafage as distinct from the shabby reality. Hereafter this article will be referred to by the appellation, Miintz-Pio.

13. Mariette, Abecedario, Ill, 34. See also page 17 of this chapter. 14. See page r8.

15. Mariette, lac. cit. 16. Vander Bruggen, p. 4.

17. Dupuy-Dugrez, Traite sur Ia peinture, p. 104.

r8. Vander Bruggen, p. 4; Mariette, Abecedario, III, 34. 19. This date is given by Dupuy-Dugrez and seems acceptable because Lafage was

then at the age when boys in the seventeenth century were frequently put with some artisan in order to learn a trade. Dupuy-Dugrez also says he went to Toulouse, but I prefer to accept Mariette's more specific statement, "Il se refugia a Montauban chez un vitrier," Abecedario, III, 34.

20. Mariette, loc. cit. 21. Dupuy-Dugrez, Traite sur Ia peinture, pp. 104-105, but this author has to be treated

warily because of his local chauvinism. The name of Delbosc, an otherwise totally unrecorded artist, is mentioned in the Biographie toulousaine (Paris, 1823), I, 351, footnote, with Dupuy-Dugrez as the alleged source (see note 43). This nineteenth-century account ofLafage, probably written by Alexandre Dumege, represents one of the high points of the legend of the artist. It is largely a col­lection of readable, if hackneyed, anecdotes and cannot be given very much credence, although it has, unfortunately, formed the basis of several subse­quent notices.

22. Page 353. 23. Mariette, Abecedario, IV, 403, "M. D' Argenville, dont les lumieres ne sont pas

bien longues ... " 24. Ibid., IV, 400. 25. Ibid., IV, 401. According to this note Lafage would have been slightly acquainted

with Antoine in r682-83 at the time of Lafage's last visit to the city. Antoine was only fifteen at the time and a fervent imitator of Lafage's style.

26. Dupuy-Dugrez, Traite sur Ia peinture, p. 105; Florent Lecomte, Cabinet des singularitez

83

I d'architecture, peinture, sculpture et graveure (Paris, 1700 ), Ill, 207. This latter work con­tains one of the earlier accounts of Lafage, but it adds little to those of Dupuy­Dugrez and Vander Bruggen and is probably drawn largely from their two notices with possibly some information from an Italian source.

27. Vander Bruggen, p. 6.

28. Mariette, Abecedario, III, 35.

29. Biographie universelle, edited by Michaud and Desplaces (Paris, n.d.), XIV, 456-457; Edmond Bonnaffe, Dictionnaire des amateurs fran~ais au XVIIe siecle (Paris, 1884), pp. III-112.

30. N. J. Foucault, Memoires, edited by F. Baudry (Paris, 1862), p. 19. 31. It should be noted that Lecomte claims Lafage met Foucault in Paris, but this

seems unlikely and again I prefer to follow Mariette. 32. Pierre Marcel, Charles Le Brun (Paris, 1909 ), p. 9. 33. Dupuy-Dugrez, Traite sur Ia peinture, p. 105. 34. Domenico Rossetti, Historia del Testamento Vecchio e Nuovo (Venice, r688). 35. Stato d' Anime di Sant' Andrea delle Fratte, vol. 69, r68o, p. 14, preserved in the Archivio

del Vicariato di Roma at the Vatican. The other inhabitant of the house is listed as Signor Guglielmo, pittore. In the following year Lafage is no longer listed for this house although Guglielmo is. These lists were compiled each year at Easter time.

36. A fine description of the life and surroundings of the foreign art student in Rome in the seventeenth and eighteenth centuries is to be found in the first three chapters of Friedrich Noack, Deutsches Leben in Rom (Berlin, 1907).

37. J. H. W. Tischbein, Aus meinem Leben (Brunswick, r86r), I, 183. 38. Zeichnungen alter Meister im Kupferstichkabinet der Koniglichen Museen zu Berlin (Berlin,

1910 ), II, plate 263.

39. Mariette, Abecedario, III, 37.

40. Miintz-Pio, p. 198.

41. Noack, Deutsches Leben in Rom, p. 354, note 4; p. 421. 42. Van der Bruggen, p. 6.

43. Dupuy-Dugrez, Traite sur Ia peinture, p. ro6. In the Bioaraphie toulousaine, I, 350, there is a long footnote which purports to be a transcription of a written account of Lafage's life and appearance that was appended by Dupuy-Dugrez to the copy of Van Thulden once owned by Lafage. However, no trace of this album exists today and until it does appear I fear that one cannot accept this purported transcription. Nor does it add much to our knowledge of Lafage since it is largely a paraphrase of Dupuy-Dugrez' remarks in his treatise.

44. R. W. Lee, "Ut Pictura Poesis: Humanistic Theory of Painting," Art Bulletin, XXII (December, 1940), 235-242.

45. P. J. Mariette, Recueil d'estampes d'apres les tableaux dans le cabinet de M. Boyer d'Aguilles (Paris, 1744), plate XLIV. This particular plate is dated 1701.

46. Mariette, Abecedario, III, 36.

47. Notably a series of five drawings in the Rijksmuseum in Amsterdam which depict bacchanalian revels at the stage of human intercourse. They are possibly by Lafage's follower, Francois Boitard, whose work is frequently a vulgar­isation in both content and style of that of his master. According to Mariette (Abecedario, I, 145) Boitard left France for England and subsequently spent his last years in Holland where he was Aved's first teacher. I have been told that photographs of these five drawings were current among soldiers of the Dutch army in New Guinea during World War II!

48. P. A. Orlandi, Abecedario pittorico (Bologna, 1704), p. 379. This is the first Italian

I writer to mention Lafage, but he does so only briefly and very inaccurately. For example, he refers to Lafage as an "Ugonotto Parigino,'' a mystifying statement until one remembers that Lafage was born at l'Isle-en-Albigeoise and that to the clerical mind (Orlandi was a Bolognese monk) the word "Albi­geois" had remained synonymous with "heretical." It was errors such as this that so annoyed Mariette as to impel him to collect data for his own Abecedario.

49. The first plate after the text in most of the copies of the Van der Bruggen album. It was engraved by Vermeulen. Also see Mariette, Abecedario, III, 38.

50. These various influences will be discussed later on in reference to particular drawings.

51. Dupuy-Dugrez, Traite sur Ia peinture, p. 105; Mariette, Abecedario, ill, 35. 52. Verbali delle Consresazioni dell' Accademia di San Luca, XLV, 87. Preserved in the archives

of the said academy. 53. Miintz-Pio, p. 197. 54. The first prize went to Luigi Sceron, "pittore francese,'' and the second to

Giuseppe Nicola Natini, an Italian, and Michele Probener, a German. The first two seem to be unknown to history whereas Probener became court painter to the Elector of Brandenburg for whom he executed palace ceilings and battle pieces. He died in Berlin in 1701 (Thieme-Beeker, XXVII, 410).

55. Biosraphie toulousaine, I, 349-350. s6. It is significant that Van der Bruggen, who had strong commercial reasons for

praising Lafage, does not mention any prizes at all. 57. Mariette, Abecedario, III, 35. Orlandi says Lafage "fece stupire Roma ... " 58. Van der Bruggen, p. 6. In the Biosraphie toulousaine, I, 350, there is a hackneyed

legend about visit of Lafage to Maratta's studio. The same story is recounted by Raynal, Histoire de Ia ville de Toulouse (Toulouse, 1759), p. 163, and by Nougaret, Anecdotes des Beaux-Arts (Paris, 1776-80 ), II, 18o-181.

59. Miintz-Pio, p. 198. 6o. Enciclopedia italiana (Milan, 1929-37 ), V, 723.

61. Miintz-Pio, p. 198. 62. Ludwig Pastor, History of the Popes (St. Louis, 1940 ), XXXII, 344-345. 63. Miintz-Pio, pp. 198-199. 64. Miintz-Pio, p. 198. Giacinto Brandi (1623-1691) was a prominent Roman painter

of altarpieces and ceilings. His competent, if not exciting, work is a good ex­ample of late baroque painting in Rome.

65. Blunt, French Drawings, pp. 25-29. 66. Ibid., p. 25. 67. Robert-Dumesnil, Le peintre-sraveur franfais, IT (Paris, 1836), 152-155, nos. 7-12. 68. Ibid., II, 155-157, nos. 13-16. These prints are almost certainly from the Roman

period, for if they had been executed in Paris it is not likely that Vander Brug­gen would have found it necessary to have them redone by another artist.

69. Ibid., IT, 151, no. 4. 70. Vander Bruggen, p. 5.

71. Bonnaffe, Dictionnaire des amateurs franfais au XVIIe siecle, pp. 4o-41. 72. Mariette, Recueil d'estampes d'apres les tableaux dans le cabinet de M. Boyer d'Asuilles,

plates XLIV-LV. 73. Ibid., plate XLV. 74· Vander Bruggen, p. 6.

75. Interleaf by Mariette in his own copy of Orlandi, Abecedario piuorico, opposite p. 379. This volume is now in the Bibliotheque Nationale. The first part of Ma­riette's notation, a summary of Pio's biography of Lafage, was published by

84

I Chennevieres-Pointel in his edition of the French amateur's Abecedario, III, 33-34. Most, but not all, of the second part is quoted in Charles Philippe de Chennevieres-Pointel, Recherches sur Ia vie et les ouvrases de quelques peintres provinciaux de l'ancienne France (Paris, 1847-62), IT, 248-249.

76. Charles de Tolnay, History and Technique of Old Master Drawinss (New York, 1943), pp. 77-81.

77. Frits Lugt, Marques de collections (Amsterdam, 1921), pp. ns-ng, 55o-553.

78. Bonnaffe, Dictionnaire des amateurs franfais au XVIIe siecle, p. 28. See also R. A. Wei­gert, "Notes de Nicodeme Tessin le jeune relatives a son sejour a Paris en 1687," Bulletin de Ia Societe de l'Histoire de !'Art franfais (1932), p. 267. Nicodemus Tessin, the architect and father of the famous eighteenth-century amateur, Carl Gustaf Tessin, visited Bourdaloue and was shown among other fine works two volumes of drawings by Lafage: "deux volumes de dessins parfaits qui etaient merveil­leux."

79. Mariette, Abecedario, III, 36. so. Thieme-Beeker, XIII, 207-208. 81. Mariette, Abecedario, IT, n2-n3. 82. Ibid., IT, II3.

83. Thieme-Beeker, XIII, 77; IX, 558-559.

84. Ibid., V, III. 85. Interleaf by Mariette in his own copy of Orlandi. See note 75.

86. Weigert, loc. cit. 87. Van der Bruggen was apparently not too successful in the sale of the album.

There is a document published by A. Bredius, Kanstler-Inventare (The Hague, 1915-22), IT, 68o-683, which relates how Vander Bruggen, having taken the plates to Amsterdam, borrowed eight hundred florins from Hendrick Daeldorp and left him a chest containing the plates as security. After some litigation, as a result of which Johannes Luder was brought in as guarantor for the debtor, Vander Bruggen disappeared from the scene altogether, and on November 19, 1693, Daeldorp and Luder obtained a court order permitting them to open the chest. The document in question, dated February 3, 1694, is a record of the case and lists the plates found in the chest, a list which corresponds exactly to the contents of the first edition of the album. In addition to explaining how the plates reached Holland, where various editions of the album appeared in the eighteenth century under the successive direction of Gerard Valek, L. Schenk, and J. Intema, this account also throws some light on the character of Vander Bruggen, who seems to have been something of a speculator and untrust­worthy ne'er-do-well.

88. Mariette, Abecedario, III, 36. 89. Houbraken, De sroote schoubursh, I, 168-170. go. Ibid., I, 169. This was kindly translated for the writer by Miss Madeleine Rozen­

dahl. 91. Mariette, Abecedario, III, 37. 92. To the best of my knowledge this official was not a relative of the artist. Ac­

cording to the Biosraphie toulousaine, I, 351, Ferreol de Lafage was born "a Toulouse d'une famille ancienne et noble" and died in 1690. His grandson and great­grandson were leading citizens in Toulouse in the eighteenth century and were high in the provincial administration. The existence of such a family in the region of Toulouse was perhaps one reason for the addition of the ennobling "de" to Raymond's name in the century after his death.

93. Archives municipales de Toulouse, BB41, pp. 33-34. Among the four items of

I business proposed by Ferreol de Lafage the second is relative to this discussion: "Que l'assemblee approuve l'achat qui a este fait des dix desseins pour faire dix tableaux a la galerie de l'h6tel de ville pour la somme de trois cent livres."

94. Archives municipales de Toulouse, CC987, p. 16r. "Au sieur Raimond Lafage designateur, la somme de trois cents trente livres pour avoir fait dix desseins de dix histoires qui doivent etre peints dans la troisieme galerie de l'h6tel de ville, suivant la deliberation du conseil du seize. De ce mois par mandement du X decembre 1683."

95. Mariette, Abecedario, ill, 36. 96. Dupuy-Dugrez, Traite sur la peinture, p. 106. 97. Ernest Roschach, "Catalogue des collections de peinture du musee de Tou­

louse," Inventaire general des richesses d'art de la France. Province. Monuments civils, Vill (Paris, 1908 ), 4.

98. Mariette, Abecedario, III, 36. 99. Ibid., ill, 36-37.

1oo. Ibid., ill, 37. ror. Thieme-Beeker, XXII, 201; Benezit, Dictionnaire, V, 350.

102. Chennevieres-Pointel, Recherches, II, 231. 103. See note 75.

104. Pierre Lespinasse and Robert Mesuret, "Documents inedits sur les Rivalz," Bulletin de la Societe Archeologique du Midi de la France, third series, V (1943-45), m. Archives municipales de Lyon, paroisse Saint-Nizier, reg. 146, f. 148, no. 6r8o.

105. He does not give any dates in h1s introduction, but the self-portrait of Lafage leaning on the Belvedere Torso, engraved by Vermeulen and in most editions the first plate in the album, has an inscription which states that Lafage died in 1684 at the age of twenty-eight.

106. Herluison, Actes d'etat civil d'artistes fran~ais, p. 200.

TO CHAPTER II

II r. See page 12. The plate illustrated is listed in Robert-Dumesnil, Le peintre-graveur fran~ais, II, 153, no. 9, the second state. The copy by Ertinger is in reverse. A rather poor drawing after it is in the Louvre and is listed by Jean Guiffrey and Pierre Marcel, Inventaire general des dessins du Musee du Louvre, VII (Paris, 1912), no. 5437.

2. Lugt, Marques de collections, pp. 557-559, 544-549. These and other collectors are discussed in more detail in the last chapter.

3. This appears likely by comparison with the specimens of Crozat's handwriting reproduced by Lugt, Marques de collections, p. 564.

4. In Fig. 4 the nude in the very center and slightly to the left seems to be the goddess Diana (note the quivers hanging from the tree close by). She is di­recting the two nymphs below her who are forcibly removing the garments of a third nymph, presumedly Callisto. Fig. 3 is much more of a problem. At the left a woman, attended by a physician in the form of a satyr, is giving birth to a child. She is surrounded by numerous figures including Diana who is present in her capacity as goddess of birth. The presence of Cupid beside the woman and the man gnawing his hand in anguish behind her lead me to identify her as Venus. For a prominent feature of the picture is a forge and just below the grieving man is a hammer, from which details one may conclude

II that he is probably Vulcan. Thus his gesture is not one of sympathetic pain but of rage since the child, Aenaeas, is not his but was fathered by Anchises who may be the athletic young man in the center. One very puzzling detail is that if one looks closely it can be observed that a breech birth is taking place, that is, the child is emerging feet first rather than in the normal manner of head first. Nowhere have I been able to find any reference to Aenaeas being a breech birth nor to my knowledge is this circumstance mentioned in connection with any personage in classical mythology.

5. Mariette, who was extremely familiar with Lafage's drawings, praises Ertinger's work as being a faithful rendition of the artist's style. "Ce qui a ete execute par Ertinger est une copie tres fidele des dessins de !'auteur," Abecedario, III, 40.

6. Published and reproduced by Blunt, French Drawings, no. II3, plate m. He suggests that it may have been intended as the frontispiece to the series of illustrations to Ovid also to be found at Windsor.

7. This drawing was etched by Charles Dufresne in 1791 and published in Paris in 1795 as part of a collection of prints of various drawings in the possession of the elder Pierre Fran~ois Basan. Information communicated by Dr. J. Q. van Reg­teren Altena.

8. Mariette, Abecedario, III, 36. 9. Mariette, Description sommaire des dessins du cabinet de M. Crozat, p. 123. The buyer and

the price are from the annotated copy in the Bibliotheque Nationale. 10. This is the second Gerard Audran (1640-1703), the most famous member of this

prolific family of engravers. His graphic style is comparable to that of Le Brun in painting, and Colbert made him official engraver to the crown. He had great influence during his lifetime, and many of the illustrators of the eigh­teenth century utilized his general technique. Van der Bruggen was appro­parently clever enough to induce Audran to engrave three drawings for the projected album. However, this and the other drawings which Audran chose to copy are characteristic of his conservative academic taste, and his prints are very different from the far more spirited ones of Ertinger. Probably they were done not long before the album was published in 1689, a period when royal commissions were diminishing and when the former associates of Colbert were in disfavor at court. See Robert-Dumesnil, Le peintre-graveur fran~ais, IX (Paris, 1865 ), 254-256, nos. I, 4, 5.

u. Lugt, Marques de collections, p. 436. 12. Emile Dacier, "Catalogues de ventes et Livrets de Salons illustres et annotes

par Gabriel de Saint-Aubin: 13, Catalogue de la vente Calviere (!779)," Gazette des Beaux-Arts, sixth series, XLIV (July-August, 1954), 34. The listing is on page 65, number 438, of the catalogue itself. Likewise, one of the two drawings paired as number 439 may be the signed Entombment in the Louvre. It is specifically stated that it is on vellum.

13. Another drawing that could be included for its authenticity and historical value is the Marriage Feast of Bacchus and Ariadne (Guiffrey and Marcel, Inventaire des dessins du Louvre, VII, no. 5360), which bears the marks of both Mariette and his fellow dealer and amateur, Gabriel Huquier. It was earlier engraved by Ertinger for Vander Bruggen's album. It is presumedly one of the eight drawings listed in the catalogue of Crozat's collection under no. 1038: "Huit, composant en­semble une frise, ou est represente le triomphe de Bacchus et d' Ariane. II y en a des estampes gravees par Ertinger." The annotated copy of the catalogue notes that they were purchased by Mariette for one hundred livres. Two other drawings in this series, the Education of Bacchus and the Return of Bacchus from India,

II are in the Albertina (inv. nos. usgs, nS99). They likewise bear Mariette's mark and were later in the possession of the Prince de Ligne. See Adam Bartsch, Catalosue raisonne des dessins oriainaux du cabinet de feu le Prince Charles de Liane (Vienna, I794), p. 353, nos. s, 9; Mariette, Abecedario, ill, 39.

14. Charles de Tolnay, History and Technique of Old Master Drawinas, ch. ill. 15. I have particularly in mind a fine landscape drawing by Titian in the Albertina.

See Beschreibender Katalon der Handzeichnunaen in der Graphischen Sammlunn Albertina, I (Vienna, 1926), no. 42.

I6. Emile Male, L' Art relisieux du XVIIe siecle, md ed. (Paris, 195I), p. 290. 17. Otto Grautoff, Nicolas Poussin (Leipzig, I914), IT, 1S5. IS. Cesare Ripa, Iconolosia (Padua, I6n), p. 429. 19. In the National Museum in Stockholm there is a study by lafage of this famous

statue. It comes from the Tessin collection.

TO CHAl'TBR III

m I. Ernest Roschach, "La galerie de peinture a l'hotel de ville de Toulouse," Me­moires de l'Academie de Toulouse, I (xssg), I6 ff. Much of the following information was also obtained from this lucid article.

2. Mariette, Abecedario, ill, 40. He goes on to say that Crozat has the drawings, but then he crosses out this statement and writes that Crozat does not have them.

3. Mireur, Dictionnaire des ventes d'art, IV, I4I. 4. Alcanter de Brahm, L'Ecole toulousaine de peinture (Paris, 1935), p. 55. Guiffrey and

Marcel, Inventaire des dessins du Louvre, VIT, no. 5407. 5· The Tectosaees Build the City of Ancyre, Albertina inv. no. I5243. 6. The nine drawings of this series in Toulouse are described in elaborate detail

by Roschach, "Catalogue des collections de peintures du musee de Toulouse," Inventaire des richesses d'art de Ia France, Vill, 213-2I9. Very recently they have been catalogued and reproduced by Robert Mesuret, Inventaire aem!ral des dessins des musees de province. Toulouse, Musee Paul-Dupuy (Paris, I95S), nos. 58-66.

7. La Faille, Traite de Ia noblesse, p. n. In typical French seventeenth-century fashion the author continually appeals to the sacred authority of antiquity. A similar characteristic limitation to his thought is that he often seems more concerned with noble status, with questions of rank, than with the actualities of real power, thus revealing a confusion of symbol and authority that is not un­common in this period.

s. This drawing is falsely identified by Guiffrey and Marcel as Gregory IX giving the cross to some warriors at Spoleto. The engraving by Ertinger bears the correct title as does the de Silvestre catalogue.

9. First pointed out by Roschach, op. cit., pp. 217-21S. 10. This was taken, perhaps in all good faith, from a fifteenth-century chronicle by

Guillaume Bardin. La Faille, Traite de Ia noblesse, p. 53.

n. Encyclopedia Britannica (Chicago, 1952), XXII, 324. 12. Perhaps a brief summary of the subsequent history of this project is in order.

In the spring of 16S4 the city engaged the painters, Bon Boullogne, Jean Jouve­net, and Antoine Coypel, each to execute one picture. There were the usual delays and bickerings, but in September, I6S5, the paintings arrived from Paris, conventional academic machines which betray some relationship with La­fage's drawings although they are by no means copies. Then the project was

III forgotten because of political events and changes in administrative personnel.

86

M. de Fieubet died in 16S6; his successor, Morant, was not interested in the project; and above all the new royal intendant, Lamoignon de Baville, was harsh and highly efficient, and all the money was diverted elsewhere. In the period of financial difficulty at the end of the century the royal government was no longer prepared to tolerate expensive expressions of empty provincial pride, and their true position of impotence must by then have become obvious even to the parlement and the capitouls. However, in I70I the Due de Bourgogne and the Due de Berry visited the city and expressed surprise at three canvases alone in the empty room. Accordingly, a Toulousan sculptor, Marc Arcis, was employed to decorate the walls and put up inscriptions; and Antoine Rivalz was enjoined to do the rest of the paintings, the city now contenting itself with local talent rather than with expensive Parisian artists. Antoine's work on the paintings dragged on until I727 when he received his last payment for the com­mission. They were all in bad condition by 1756 and had to be restored by Pierre Rivalz. Some of them have since disappeared, but others still remain in Tou­louse, heavily restored and most uninspiring in appearance.

I3. That Lafage did study Roman reliefs is proved by a drawing in the Cabinet des Estampes in Paris which is a slightly modified copy of a handsome Hadrianic relief in the Louvre of a group of Roman soldiers. See Eugenia Strong, La scul­tura romana (Florence, I926), IT, Fig. 124.

I4. In Stockholm is a mediocre drawing from the "Cabinet de Crozat" of Louis XIV enthroned between Peace and Victory, crowned by Glory, and triumphant over his enemies. According to the inscription it is a copy of a painting by An­toine Coypel, and this circumstance probably accounts for the fact that it is tinted with rather discordant colored washes, the only instance in his authentic work where this seems to occur. I have not been able to locate the painting from which Lafage worked, but it is of the same type, stylistically and the­matically, as Coypel's admission piece to the Academy, Louis XIV RestinJl after the Peace of Nijmenen (Blunt, Art and Architecture in France 150D-1700, Plate IS5B). Lafage has tried to conform to the French milieu by copying a painting by one of the rising young academic artists; the result falls short of Coypel's effulgence and decorative vitality, and qualitatively it is far removed from Lafage's own more original creations.

15. Albertina inv. no. u242. 16. See page 67. I7. There are two in Stockholm from the Crozat and Tessin collections and a third,

the best known one, in the Louvre. For the latter see page 47.

IS. Grautoff, Nicolas Poussin, II, 146. 19. The engraving is one of a series of four published by Van der Bruggen in his

great album. Another engraving in the set is obviously derived from Poussin's Kinadam of Flora, but again the composition has been pulled out into a long and, in this case, rather disconnected frieze.

20. The Albertina owns a handsome frieze drawing (inv. no. ngoo), once in the collection of the Prince de Ligne, which depicts nymphs and satyrs dancing and drinking. It is comparable in style and quality to this Triumph, although less complex and less reminiscent of the rococo, closer, in fact, to Girardon's relief in the gardens of Versailles. Its purity, restraint, and rhythmic grace would, I think, have very much pleased Mariette and Caylus. A slightly looser and more sparkling version is in the Cooper Union Museum, and this, too, is probably by Lafage who not infrequently copied his own work.

III 21. Perhaps best known is the painting by Spranger in Vienna. The theme hardly occurs in French art at all. See A. Pigler, Barockthemen (Budapest, 1956), ll, 92.

22. A fan drawing in the Louvre (Guiffrey and Marcel, Inventaire des dessins du Louvre, VII, no. 5366) presents this familiar theme in an oddly undramatic manner. Certainly the reclining position of the unperturbed hero is most unusual. At Windsor are two drawings of this subject (Blunt, French Drawinas, nos. 71, 129) of which one belongs to the Ovid series. Neither resembles the version in Stock­holm. In all but one of the four Pegasus is included in the scene even though in the classical sources he is connected with Bellerophon rather than with Perseus. It is an interesting instance of an artist following pictorial tradition rather than the literary text itself.

23. Henry Jouin, Charles Le Brun et les arts sous Louis XIV (Paris, 1889 ), p. 515. But one would like to see these pictures before accepting this casual attribution.

24. Blunt, French Drawinas, no. II9. 25. Pierre Lavallee, Le dessin franfais (Paris, 1948 ), p. 58.

26. Guiffrey and Marcel, Inventaire des dessins du Louvre, VII, no. 5365. 27. Mariette, Abecedario, II, II3. 28. Guiffrey and Marcel, op. cit., nos. 5397-5404. On the back of the drawing in Mont­

pellier appears this long egotistic note by the collector, Xavier Atger: Les trois autres parties de ce vaste dessin dont j'ai achete la dite 4e partie, a !'hotel Bul­lion, magnifique composition, sont dans la collection immense et precieuse du musee royal a Paris. Je les y ai vus, en 1805, en portefeuille. Etonne de ne pas trouver encadre aucun dessin de ce celebre dessinateur a la plume dans la grande et belle galerie des dessins du musee je ne pus m'empecher d'en temoi­gner mon mecontentement, dans une note de mon opuscule sur la Vie de Bourdon. Depuis, on yen a mis trois ou quatre, du cote des croisees; j'offris cette 4e partie, si on voulait les reunir toutes, sous la meme glace - le conservateur des dessins du musee, sous Bonaparte, homme froid, lourd, et apathique, le protege de l'administrateur et architecte, Dufourny, fut indifferent et insen­sible a cette proposition desinteressee de rna part. J'appris longtemps apres par un artiste que ce conservateur avait ete jaloux de moi, a raison de mes connais­sances dans cette partie si difficile et si attrayante de la peinture, il me supposait des pretentious ambitieuses, ce pauvre individu me connaissait bien mal.

29. Mireur, Dictionnaire des ventes d'art, IV, 140. 30. Weigert, "Notes de Nicodeme Tessin le jeune relatives a son sejour a Paris en

1687," Bulletin de Ia Societe de 1' Histoire de !'Art franfais (1932), p. 267. 31. But perhaps more through dry and schematized engravings like that by Leo­

nard Gaultier than through close study of the original. 32. Pietro Tacchi Venturi, "Le convenzioni tra Giov. Battista Gaulli ed il generale

dei Gesuiti Gian Paolo per le pitture della cupola e della volta del Tempio Far­nesiano," Roma, XIII (1935), 153.

33. The subject of the defeat of the rebel angels is a very popular one in the late seventeenth century. See Pigler, Barockthemen, I, 397-402. Even Le Brun attempted it in the last years of his life in a futile effort to please Louvois. Lafage's huge drawing was never copied in a reproductive medium, but Vander Bruggen did publish in his album a large plate which is a slight readaptation of the central mass of demons. The engraver may have introduced modifications himself, or, more likely, he may have worked from another variant of the theme by Lafage.

34. Dezallier d' Argenville, Abreae de Ia vie des plus fameux peintres, p. 14. 35. The Rijksmuseum has a drawing of the same subject which I believe to be a

III very excellent eighteenth century copy after Lafage. The two are very similar but a close comparison reveals the differences: a degeneration of the wash on the lower figures into coarse black ribbons; details which cease to be clear, like the snake attacking the prone figure at the bottom of the drawing; and a sense of vibrant light, an effect almost never found in Lafage, for whom shadow is only a means of modelling form or achieving animation.

87

36. Antonio Morassi, Capolavori della pittura a Genova (Milan, 1951), p. 56.

37. In the album they form half of a series of four prints, the other two being Moses Strikina the Rock and the Worship of the Golden Calf. The latter is the only one of the set not to contain the artist's self-portrait.

38. Guiffrey and Marcel, Inventaire des dessins du Louvre, VII, nos. 5388-5393. 39. Katalo9 der Handzeichnunaen in der Sammluna Albertina, I, no. 239. 40. Louis Demonts, Musee du Louvre. Inventaire aeneral des dessins des eco/es du nord (Paris,

1938 ), II, no. 702. 41. Guiffrey and Marcel, op. cit., no. 5391. The second drawing is in Stockholm. 42. Stylistically very similar is another rapid sketch in the Albertina, Samson and the

Philistines (inv. no. n9o5). It was engraved in the early eighteenth century by or for Jeremias Wolff, a dealer who seems to have obtained his Lafage material on the Roman market. Hence it is a reasonable hypothesis that this drawing comes from Lafage's Roman period and, by extension, Lot and his Dauahters as well. See pages 6(rl)7.

43. In the British Museum a drawing which is an exact copy of the Louvre battle­piece. Here I believe it is a case ofLafage reproducing his own work; the Louvre version is slightly stronger and more assured and is probably the prior creation. At Windsor two examples (Blunt, French Drawinas, nos. 130, 131), both more constricted than the Louvre drawing but with a quality of movement and in­tense physical turmoil that places them apart from most of the other material by him in the royal collection. At Montpellier in the Musee Fabre a rapid sketch very similar to Samson and the Philistines (see previous note) and thus proba­bly from his Roman period. This was etched in 1709 by Ferdinand de la Monee and is mentioned by Mariette, Abecedario, Ill. 39. In the Atger collection in the same city a more finished and less fragmentary work bearing a title on the mount, Combat entre les Crees et les Troyens, a phrase which would just as easily fit any of the others.

44. Another and more specific instance of the influence of Giulio Romano on La­fage is the Marriaae Feast of Bacchus and Ariadne (see chapter II, note 13). It is a not too divergent adaptation of Giulio's fresco in the Palazzo del Te of the Marriaae Feast of Cupid and Psyche and contains many of the same motifs: the dishes in tiers on a table before an arbor, the couple reclining on couches, a similar company of satyrs and nymphs, a scattering of antique bric-a-brac, and the presence of an elephant. Behind this fresco in turn looms Raphael's depiction of the same subject in the Farnesina; but Lafage, like many practising artists of the seven­teenth century, preferred to follow the work of the less awesome pupil.

45. Another piece of antique sculpture which Lafage utilized is the Laocoon. This is clearly evident in a drawing of the same subject in Stockholm, although the group has been spread out in a manner suitable to a pictured, as opposed to a sculptured, representation. An exact copy of the Swedish drawing is in the Albertina (inv. no. II895) and is likewise almost certainly by Lafage. Once in the collection of the Prince de Ligne, it was engraved by J. G. Prestel in 1783.

46. Charles de LaHaye is an engraver ofthe late seventeenth and early eighteenth century about whom almost nothing is known. The few prints by him after

III Lafage are undated. They may have been executed in Rome during or shortly after Lafage's sojourn in that city, or they may have been produced in Vienna where de LaHaye seems to have resided after the turn of the century. Mariette praises his work after Lafage but also states that he does not know who de La Haye is (Abecedario, ill, 40). See Thieme-Beeker, XXII, 224.

47. Cesare Ripa, IconoloiJia, p. 529.

48. Ibid., p. 20.

49. A much more conventional French academic allegory, the type of drawing of which Le Notre would have approved, is in the Albertina (inv. no. 15244). A woman crowned with towers, the personification of a city, kneels in suppli­cation before the radiant figure of an advancing king, undoubtedly Louis XIV, who is accompanied by Justice and followed by Peace, the Arts, and the Sciences. The subject might refer to the capitulation of Strasbourg, which Louis had suddenly seized in 1681. Very similar scenes appear in the work ofLe Brun and his school. Another example of this drawing forms one of the eleven pages of an album in the Louvre attributed to Lafage but actually consisting of late eighteenth-century copies. See Guiffrey and Marcel, Inventaire des dessins du Louvre, VII, no. 5350.

50. Guiffrey and Marcel, op. cit., no. 5419.

51. A. Canel, Recherches historiques sur les fous des rois de France (Paris, 1873 ), pp. 238-242, 252.

52. Dr. Cornelius Vermeule has suggested that it might be a view of the ruins of the Baths of Titus with S. Pietro in Vincoli in the background. However, the relationship of the buildings does not exactly conform to the actualities of the site, and I still tend to regard this drawing as more a generalization of the Roman landscape than an absolutely specific place.

53. There is, however, in Stockholm, from the Tessin collection, a study of a man in contemporary dress seated on a bench and facing the observer. This sketch is in exactly the same style, if slightly coarser, as the main figure in the landscape drawing and provides additional evidence that Lafage did on occasion work directly from nature. Both these figures are precursors of drawings by Watteau of similar individuals of rather picaresque appearance and are executed with a similar stroke and with something of the same emphasis on sharp angles. But admittedly the evocative overtones, plasticity, and highly disciplined sense of design of the great rococo master are noticeably lacking.

54. This was executed after the drawing then in the possession of Jonathan Richardson. This print formed part of a series of twenty-five reproductions of caricatures produced by Pond between 1736 and 1747. The other artists repre­sented in the series included Annibale Carracci, Guercino, Ghezzi, Maratta, Mola, and Watteau. See Henry M. Hake, "Pond's and Knapton's Imitations of Drawings," The Print Collector's Quarterly, IX (December, 1922), 324-349.

55. Lugt, Marques de collections, p. 331.

56. Ibid., pp. 454, 535-536.

TO CHAPTER IV

IV I. Mariette, Abecedario, m, 39.

2. "Des l'annee 1683, c'est a dire dans le temps qu'il etait encore a Toulouse, il avait commence a acquerir des dessins de Ia Fage," Mariette, Description sommaire des dessins du cabinet de feu M. Crozat, pp. v-vi.

IV 3. Ibid., p. 124, no. 1049.

4· Ibid., p. 126.

88

5. Information taken from the annotated copy of this catalogue in the Biblio­theque Nationale.

6. Mireur, Dictionnaire des ventes d'art, IV, 139--140.

7. Le dessin frantais dans les collections du XVIIIe siecle, preface by Henri Focillon (Paris, 1935 ), p. 22.

8. Mireur, Dictionnaire des ventes d'art, IV, 140.

9. Charles Blanc, Histoire des peintres: Ecole franfaise, Ill (Paris, 1865), appendix, 16-17.

10. Giovanni Bottari, Recueil de lettres sur Ia peinture, Ia sculpture, et I' architecture, translated by L. J. Jay (Paris, 1817), p. 567.

II. M. J. Dumesnil, Histoire des plus celebres amateurs franfais (Paris, 1856), m, 371.

12. Count Francesco Algarotti, Opere (Leghorn, 1764~5), II, 175 If. 13. Blunt, French Drawings, p. 6.

14. Nymphs Surprised by Satyrs, a pen drawing cut to a rough oval, might be by Boitard. Prudence, justice and Fortitude, a crowded and not very attractive work in red chalk and pink wash, seems earlier than Lafage and may possibly be associated with Nicolas de La Fage.

15. Lugt, Marques de collections, pp. 127, 391. 16. Another English collector who can be added to this roster is Richard Houlditch,

a director of the South Seas Company who died at Hampstead in 1736. His in­itials appear on a drawing by Lafage of Atlas Supporting the Earth in the Victoria and Albert Museum. See Lugt, Marques de collections, p. 415.

17. See ch. II, note 13.

18. Lugt, Marques de collections, Supplement (The Hague, 1956), p. 87.

19. Lugt, Marques de collections, pp. 535-536. Albertina inv. no. 11886.

20. Information contributed by the authorities of the Albertina. 21. Olgerd Grosswald, Der Kuj,ferstich des XVIII Jahrhunderts in Augsburg und Niimberg

(Munich, 1912), p. 14. 22. llla Budde, Beschreibender KataloiJ der Handzeichnungen in der staatlichen Kunstakademie

Diisseldorf (Dusseldorf, 1930 ), p. vii. 23. Recueil de 44 Pieces imitees a I' Eau forte d' apres Raym. Lafage, tirees de Ia Collection de I' Aca­

demie des beaux-arts a Dusseldorf This extremely rare folio was the fourth volume in a series illustrating the paintings and drawings owned by the Dusseldorf Academy in the late eighteenth century. The folio completely reproduces the sketchbook, a most interesting collection of drawings that is worthy of further study. Much of the subject matter is baffling, and the style, too, seems at times unusual because of the almost mannerist overtones. Many little schematized figures, like those in the depiction of the Captain, appear on these pages; but here they are less angular, more sweeping, and rather elegant.

24. Christian Schuchardt, Goethes Kunstsammlungen (Jena, 1848), I, 317-318.

25. Vander Bruggen, p. 4.

26. Ibid., p. 4. 27. Les oeuvres posthumes de M. de La Fontaine (Paris, 1696), pp. 168-169.

28. Oeuvres de La Fontaine, edited by Henri Regnier, IX (Paris, 1892), 83-88.

29. Mariette, Abecedario, m, 38-39.

30. Mariette, Description sommaire des dessins du cabinet de feu M. Crozat, pp. 124-126.

31. Bottari, Recueil de lettres, p. 570.

32. Comte Ann Claude Philippe de Caylus, "Conference sur les dessins," Revue universelle des arts, IX (1859), 314-323.

33. Pp. 99--101.

IV 34. Sir Joshua Reynolds, Discourses (London, 1924), pp. 198-219. Passage on Lafage p. 2o8. 35. Richard Payne Knight, An Analytical Inquiry into the Principles of Taste, 3rd ed. (Lon­

don, 1806), p. 104. 36. Johann Winckelmann, Gedanken uber die Nachahmuna der ariechischen Werke in der

Malerei und Bildhauerkunst (Dresden, 1755 ), pp. 25-26. 37. Alfred Kamphausen, Asmus Jakob Carstens (Neumunster in Holstein, 1941), pp.

71-72, 75, 87. 38. Frederic Reiset, Notice des dessins du Louvre (Paris, 1869 ), II, 342-345. 39. Chennevieres-Pointel, Recherches sur Ia vie et les ouvraaes de quelques peintres provinciaux

de l'ancienne France, II, 229-264. For Blanc, see note 9. 40. VI, 6II-612. 41. Pierre Lavallee, Le dessin franfais (Paris, 1948), p. 58. 42. Charles de Tolnay, History and Technique of Old Master Drawinas, p. 76.

IV 43. Alphonse Wyatt, "Le 'Libro dei disegni' de Vasari," Gazette des Beaux-Arts, IV (1859), 339-340.

89

44. The whole problem of the emergence of the drawing as a clearly separate art form is very complex and has never been adequately explored. De Tolnay's short account refers largely to southern Europe and fails to distinguish in a precise fashion between the intentions of the artists and the attitudes of the collectors. Most of Rembrandt's numerous drawings, for example, are self­sufficient works of art and were in most cases not executed as studies for painted or etched compositions. Yet at the same time they remained in his possession and were not used as objects of financial gain by the artist, an attitude somewhat comparable to that of Watteau in France a century later. See Otto Benesch, Rembrandt as a Drauahtsman, London, 1960, and Jakob Rosenberg, Great Drauahtsmen, Cambridge, Mass., 196o.

Index

90

Academie de Peinture, Paris, 3, xo, 28, 30, 37, 43, 62, 70, 74

Academy of Fine Arts, Vienna, 55,66 Accademia di San Luca, Rome, 4, xo Adoration of the Shepherds, Paris, Louvre, 53 Agor, 22,65 Algarotti, Count Francesco, 66 allegorical subjects, 34-35, 57-58, 62, 86 n.14, 88 n.49

Allegory of Louis XIV, Stockholm, National Museum, 86 n.14

Amsterdam, Rijksmuseum: Brazen Serpent, 87 n.35; bacchanals, 83 n.47; Vision of St. Francis, 2o-21, 26-28, 34, 37, 38, 39, 52-53, 54, 56, 62, 77, 85 n.7, Fig. 6

Apollo Belvedere, 57

Artist Freed by Time, Stockholm, National Museum, 57-58, Fig. 47

Artists in a Landscape, Paris, Louvre, 6o-6I, 75, Fig. 53 Atger, Xavier, 48, 87 n.28 and n.43

Audran, Gerard, 22, 26, 68, 85 n.xo Azzolini, Decio Cardinal, n, 64

bacchanalian subjects, 7, 8, 12, 19, 20, 28-31, 58, 67, 70, 75, 83 n.47

Bartsch, Adam, 66 Basan, Pierre Frans;ois, 85 n.7 Battle Between Greeks and Trojans, Montpellier, Atger Collection, 87 n.43 battle scenes, 56-57, 87 n.43 Bellori, Giovanni Pietro, 9, 70 Belvedere Torso, xo, 36, 57, 85 n.105 Bernini, Gianlorenzo, II, 13, 24, 53, 57, 58, 64

Bertin, Pierre Vincent, 68 Bianconi, Carlo, 66

·Birth of Aenaeas (l), Stockholm, National Museum, 20, 31-32, 85 n.4, Fig. 3 Blanc, Charles, 66, 74

Blunt, Sir Anthony, 12, 46

Boitard, Frans;ois, 16, 54, 83 n.47, 88 n.14

Bosse, Abraham, 36 Borghese Warrior, 23, 34 Bottari, Giovanni, 66, 69, 70 Bouchardon, Edme, 70 Boucher, Frans;ois, 3, 44, 47

Bourdaloue, Claude de, 13, 14, 48, 64, 65, 84 n.78 Boyer d'Aguilles, Jean Baptiste, 9, 13, 43, 64

Brandi, Giacinto, II Brazen Serpent, Amsterdam, Rijksmuseum, 87 n.35; Paris, Ecole des Beaux-Arts, 49-50,

Fig. 31; Paris, Louvre, 50, Fig. 33; Vienna, Albertina, 5o-51, 52, Fig. 34

Brt!biette, Pierre, 35

Bruggen, Jan van der, 4, s, 6, 7, 8, II, 12, 13,15-16, IS, 22, so, 54, 65, 67--68, 69, 77, 82 n.s and n.9, 84 n.87

Cadmus Slaying the Dragun, Windsor, Royal Library, 45-46, Fig. 21 Cain Building the First City, Paris, Louvre, 22, 36-37, 38, 43, Fig. 10 Callot, Jacques, s9-6o

Calviere, Charles Frans:ois, Marquis de, 22 Cambiaso, Luca, 24, 73 Cambridge, Mass., Fogg Museum of Art: Figure Studies, 59, Fig. so

Capitulation of a Cit.v, Vienna, Albertina, 88 n.49

Captain, Stockholm, National Museum, s9-6o, ss n.23, Fig. 51 Carpio, Marchese del, II

Carracci, Annibale, et al., xo, 36, 45, 67, 68, 69, 74

Carstens, Asmus Jakob, 73, 75

Caylus, Ann Claude Philippe, Comte de, 22, 37, 66, 7(}-71, 72, 75, 77 Chantelou, Paul Freart de, 33 Chatsworth: Toilet of Venus, 66 Chennevieres-Pointel, Charles Philippe de, 17, 74, 77 Christ Healins a Blindman, Paris, Louvre, 53, 54

Christ in the House of Simon, London, British Museum, 21, 33--34, 43, Fig. s Christina of Sweden, s, II Chubere, 48, 64

Claude Lorraine, 25, 45, 6o Clement IX, II Coelemans, Jacques, 9, 13 Coli, Giovanni, 54

Conti, Louis Frans:ois, Prince de, 65

Correggio, 17 Cortona, Pietro da, II, 49

Courtois, Jacques, 3 Coypel, Antoine, 3, 62, 86 n.14 Coypel, Charles Antoine, 45

Crossing of the Red Sea, Paris, Bibliotheque Nationale, 22, 23-26, 27-28, 29, 30, 32, 34, 36, 38, 39, 42, 46, 54, Fig. II

Crozat Pierre, 14, 16, 19, 22, 41, 43, 44, 64-65, 69, 73, 76, ss n.13 Damery, Chevalier de, 65

Dancing Nymphs and Satyrs, New York, Cooper Union Museum, 86 n.2o; Vienna, Alber-tina, 86 n.2o

Defeat of Henry II by Louis VII, Toulouse, Musee Paul-Dupuy, 42-43, Fig. 14 Delbosc, s, 83 n.21 Descent of Aenaeas into the Underworld, 66 Devonshire, William Cavendish, Duke of, 66 Dezallier d' Argenville, A. J., 5 Diamantini, Giuseppe, 53

Diana and Callisto, Stockholm, National Museum, 20, 31-32, 85 n.4, Fig. 4

Diana and her Maidens, Stockholm, National Museum, 54

Dieu, Jean de, 13, 15, 17, 48, 64

Drevet, Pierre, 15 Dufresne, Charles, 85 n.7 Dupuy-Dugrez, Bernard, 4, s, 8, 9, ro, 16, 17, 54, 68-69, 82 n.9, 83 n.43 Duquesnoy, Frans:ois, 30, 70 Dusseldorf, Stadtische Kunstsammlungen: God the Father, 52, Fig. 38; I.apidatiun of St.

91

Stephen, 52, Fig. 38; Nativity, 52, Fig. 38; sketchbook, 67; unknown subject, 43, 45, Fig. IJ EducatiuncfBacchus, Vienna, Albertina, ss n.IJ Entombment, Paris, Louvre, 21, 32-33, 85 n.12, Fig. 7 Ertinger, Franz, 12, 15-16, 19, 20, 39, 41, so, 51, 52, ss n.s and n.IJ Fall of the Rebel Angels, Paris, Louvre, 48-49, 53, 73, 77, 87 n.28 and n.33, Fig. 30; Montpel-

lier, Atger Collection, 48, 87 n.28 fandrawings,4;-48 Farnese Hercules, xo, 36, 57

Fawkener, William, ss Felibien, Jean Frans:ois, 9, 67 Fieubet, Gaspard de, 16-17, 41, 86 n.n Figure Studies, Cambridge, Mass., Fogg Museum of Art, 59, Fig.5o;Hartford, Wadsworth

Atheneum, 58-59, Fig. 49

Florence, Uffizi: Time Revealing the Masterpieces of Sculpture, 57, Fig. 45

Four Putti Playing with a Goat, Stockholm, National Museum, 22, 37-38, 39, 44, Fig. 13 Foucault, Nicolas Joseph, 6-7, 83 n.JI Fragonard, Jean Honore, 3, 25, 31, 38 Fries, Count Moriz von, 62, 66 Gaillard, Rene, 15 Garnier, Louis, 13, 15, 64, 65 Gaulli, Giovanni Battista, 10, 49

Gersaint, Edme Frans:ois, 65

Gherardi, Antonio and Filippo, 54

Gillot, Claude, 3 Gilpin, William, 71, 72 Giordano, Luca, 72 Girardon, Frans:ois, 44

Giudici, Matteo, 12 Giulio Romano, 10, 32, 51, 56, 74, 87 n.44

Glaucus and Scylla, Stockholm, National Museum, 44-45, Fig. 19 Glomy, Jean Baptiste, 65 Goethe, Johann Wolfgang von, 67 Gouvernet, Marquis de, 65

Group of Deities, Haarlem, Teyler Museum, 46-47, Fig. 25 Haarlem, Teyler Museum: Group of Deities, 46-47, Fig. 25 Hartford, Wadsworth Atheneum: Figure Studies, sS-59, Fig. 49

Herluison, H., 18 historical subjects, 4(}-43

Holy Family, Vienna, Albertina, ss, Fig. 42 Holy Family Beneath a Tree, Paris, Ecole des Beaux-Arts, 54-55, 60, 75, Fig. 41 Houbraken, Arnold, 16, 73 Houlditch, Richard, 88 n.16 Hunt of Diana, Paris, Louvre, 47, Fig. 26 Huquier, Gabriel, 48, 65, ss n.IJ Innocent XI, II Intema, J., 84 n.87 Intercession of St. Charles Borromeo (?),London, British Museum, 54, 56, Fig. 40

Jabach, Everhard, 14 Jester, Stockholm, National Museum, 59-60, Fig. 52 Judgment of Paris, Windsor, Royal Library, 46, Fig. 22 Julienne, Jean de, 52, 53, 65

Jupiter and Io, Windsor, Royal Library, 46, Fig. 24 Kasimiras, Maria, 8 Knight, R. Payne, 66, 72 Krahe, Lambert, 67 Laer, Pieter van 8 Lafage, Ferreol de, 16, 84 n.92 La Fage, Nicolas de, 4, 88 n.14 Lafage, Raymond: confusion of the name, 4, 84 n.92; birth, 4, 18; parentage 4, 18;

early life, 4-5; at Montauban, 5; at Toulouse, 5; rumored visit to Paris, 6; leaves for Italy, 6; residence at Rome, 7, 83 n.35; drawings on walls, 7-8; physical description, 8-9; character, g-ro; study of antique and Renaissance art, 10; Accademia prize, 10; Italian patronage, II; illustrations to Ovid, n, 45-46; etchings, n, 84 n.68; return to France, u; at Aix-en-Provence, u; to Paris, u; French patronage, 13-15; connection with printsellers, 15-16; trip to Antwerp, 16; method of drawing, 16; return to Toulouse, 16; Toulousan history series, 16, 40-43, 46, 77; grisailles, 16-17; last trip to Paris, 17; death at Lyons, 17-18, 65; death of his daughter, 18

La Faille, Germain de, 41, 42 La Fontaine, Jean de, 68 La Fosse, Charles de, 3 La Haye, Charles de, 57, 87 n.46 Lambert, Elizabeth, 18 La Monee, Ferdinand de, 87 n.43 landscape, 6o-61 Lanfranco, Giovanni, 49 Langlois, Nicolas, 41 La Noue, Desneux de, 14 Laocoon, 36, 50, 87 n.45

Lapidation of St. Stephen, Dusseldorf, Stadtische Kunstsammlungen, 52, Fig. 38; Paris, Louvre, 51, Fig. 35; Vienna, Albertina, 51-52, Fig. 37

La Roque, Chevalier de, 65 Lavallee, Pierre, 47, 74-75

Lawrence, Sir Thomas, 62, 66 Le Brun, Charles, 3, 14, 25, 30, 33, 45, 49, 56, 74, 87 n.33, 88 n.49 Lecomte, Florent, 54, 68, 83 n.z6

Lee, Rensselaer W., 9 Lemonnier, Henri, 74, 75

Lempereur, Jean Denis, 65

Le Notre, Andre, 13, 14, 17, 88 n.49 Ligne, Charles, Prince de, 66, 85 n.13, 87 n.45 Lisle-sur-Tarn (l'Isle-en-Albegeois ), 4, 17 London, British Museum: Battle, 87 n.43; Christ in the House of Simon, 2r, 33-34, 43, Fig. 8;

Intercession of St. Charles Borromeo (l), 54, 56, Fig. 40; Love Summoned to Pamassus (l), 58, Fig. 48; Nymphs Surprised by Satyrs, 88 n.14; Prudence, justice, and Fortitude, 88 n.14; Self-Portrait. 62-63, Fig. 55

Lot and his Daughters, Vienna, Albertina, 55-56, Fig. 43 Loth, Johan Karl, 54

Louis XIII, 4, 59

Louis XIV, 6, 13, 14, 28, 33, 37, 59, 78, 86 n.r4, 88 n.49 Louis XV, 45, 6o, 65

Love Summoned to Parnassus (l), London, British Museum, 58, Fig. 48 Lover, Paris, Louvre, 48, Fig. 29

92

Lyons, Municipal Museum; Triumph of Amphitrite and Neptune, 43-44, Fig. 16 Magnien, Gabriel, 17-18 Maratta, Carlo, II, 27, 64 Mariette, Pierre Jean, 4, 5, 6, 8, 9, 10, 13, 15, 16, 17, 18, 21, 41, 48, 62, 63, 64-65, 66, 67, 69-70, 75,

76, 82 n.9, 84 n.75, 85, n.13, 87 n.46 Marriage Feast of Bacchus and Ariadne, Paris, Louvre, 65, 70, 85 n.u, 87 n.44 Meulen, Adam van der, 3 Michel, Andre, 74 Michelangelo, 3, ro, 25, 32, 36, 48, 49, 67, 68, 69, 71, 74 Mignard, Pierre, 2, 9, 36 Miracle at Bethesda, Paris, Louvre, 52-53, 54, Fig. 39 Monaville, Frans:ois, 8 Montpellier, Atger Collection: Fall of the Rehel Angels (segment), 48, 87 n.28; Battle

Between Greeks and Trojans, 87 n.43; Musee Fabre: Battle, 87 n.43 Murillo, Bartolome Esteban, 27 mythological subjects, 43-47 Nantes, Revocation of the Edict of, 6, 42 Natini, Giuseppe, 84 n.54 Nativity, Dusseldorf, Stadtische Kunstsammlungen, 52, Fig. 38 New York, Cooper Union Museum: Dancing Nymphs and Satyrs, 86 n.2o Nourry, 65

Nymphs Surprised by Satyrs, London, British Museum, 88 n.14 Occhiali, Gaspero degli, 8 Orlandi, Pellegrino Antonio, 9, 17, 83 n.48 Ovid, illustrations to, 12, 13, 45-46, 53, 58, 62, 85 n.6 Palladia, Andrea, 53 Paris, Bibliotheque Nationale: Crossing of the Red Sea, 22, 23-26, 27-28, 29, 30, 32, 34. 36, 38,

39, 42, 46, 54, Fig. n; Roman Soldiers, 42, 86 n.r3 Paris, Ecole des Beaux-Arts: Brazen Serpent, 49-50, Fig. 31; Holy Family Beneath a Tree, 54-55,

6o, 75, Fig. 41 Paris, Louvre: Adoration of the Shepherds, 53; album, 75; Artists in a Landscape, 60-61, 75, Fig.

53; Battle, 56-57. Fig. 44; Brazen Serpent, 50, Fig. 33; Cain Building the First City, 22, 36-37, 38, 43, Fig. 10; Christ Healing a Blindman, 53, 54; Entombment, 21, 32-33, 8511.12, Fig. 7; Fall of the Rebel Angels, 48-49, 53, 73, 77, Fig. 30; Hunt of Diana, 47, Fig. 26; Lapidation of St. Stephen, 51, Fig. 35; Lover, 48, Fig. 29; Marriage Feast of Bacchus and Ariadne, 65, 70, 85 n.u, 87 n.44; Miracle at Bethesda, 52-53, 54, Fig. 39; Perseus and Andromeda, 87 n.22; Putti Harvesting Wheat, 47, Fig. 27; Rustic Vintage Scene, 47-48, 58, Fig. 28; Triumph of Galatea, 47

Parmigianino, 70 Parrocel, Joseph, 3, 56

Perrault, Charles, 3 Perseus and Andromeda, Paris, Louvre, 87 n.22; Stockholm, National Museum, 45, Fig. 2o;

Windsor, Royal Library, 87 n.22 Pesne, Jean, 43 Piazzetta, Giovanni Battista, 54 Piles, Roger de, 3 Pio, Nicola, 4, 7, 8, 9, 10, II, 17, 65, 66, 83 n.12 Pond, Arthur, 61 Poussin, Nicolas, 5, 7, ro, 25, 28-29, 30, 33, 34, 37, 43-44, 55, 58, 70, 78, 86 n.r9 Prestel, J. G., 87 n.45

Probener, Michele, 84 n.54 Primaticcio, Francesco, 5

Prudence,Justice, and Fortitude, London, British Museum, 88 n.14 Puget, Pierre, 2, 3, 15, 75

putti, 37, 45, 47 Putti Harvesting Wheat, Paris, Louvre, 47, Fig. 27 Raimondi, Marcantonio, 26 Rape of Proserpine, Windsor, Royal Library, 46, Fig. 24 Rape of the Sabines, Vienna, Albertina, 43 Raphael, ro, 29, 43, 50, 67, 68, 69, 70, 71, 72, 76 Reiset, Frederic, 73-74, 76 religious subjects, 48-56, 71 Rembrandt van Ryn, 24,71 Reni, Guido, 25 Return of Bacchus from India, Vienna, Albertina, 85 n.13 Reynolds, Joshua, 66, 71-73 Richardson, Jonathan, 66, 88 n.54 Richelieu, Cardinal, 6, 43 Ripa, Cesare, 34, 57, 58

Rivalz, Antoine, 5--6, 17, 42, 83 n.25, 86 n.n Rivalz, Jean Pierre, 5

Roman Soldiers, Paris, Bibliotheque Nationale, 42, 86 n.r3 Rossetti, Domenico, 7, 54

Roullet, Jean Louis, 15 Rubens, Peter Paul, 34, 45, 46, 49 Rustic Vintage Scene, Paris, Louvre, 47-48, 58, Fig. 28 Saint-Aubin, Gabriel de, 22 Salvi, Giovanni Battista (Sassoferrato ), n, 27 Samson and the Philistines, Vienna, Albertina, 87 n.42 Sansovino, Jacopo, 53 Saxe-Teschen, Albert von, 66 Sceron, Luigi, 84 n.54 Schenk, L., S4 n.87 Seated Man, Stockholm, National Museum, 88 n.53 Seiter, Daniel, 54

self-portraits, 9, 13, 19, 20, 34-36, 61-63 Seguier, Pierre, 6 signature, problem ofLafage's, 20-21 Silvestre family, 41 Simonneau, Charles, 22 Sleeping Venus, Stockholm, National Museum, 44, 45, 62, Fig. rs Sobieski, John, 8 Somers, Lord John, 66 Spencer, John Earl, 66 Stanzione, Massimo, 49 Stockholm, National Museum: Allegory of Louis XIV, 86 n.r4; Artist Freed by Time, 57-58,

Fig. 47; Bacchanal, 20, 28-31, Fig. 2; Birth of Aenaeas (l), 20, 31-32, 85 n.4, Fig. 3; Captain, 59-60, ss n.23, Fig. 51; Diana und Callisto, 20, 31-32, 85 n.4, Fig. 4; Diana and her Maidens, 54;

93

Four Putti Playing with a Goat, 22, 37-38, 39, 44, Fig. 13; Glaucus and Scylla, 44-45, Fig. 19; Jester, 59--60, Fig. 52; Laocoon, 87 n.45; Perseus and Andromeda, 45, Fig. 20; Seated Man, ss n.53; Sleeping Venus, 44, 45, 62, Fig. rs

Suchtelen, Count Jan Peter van, 22 Sylvester, Peter, 66 Tallard, Due de, 65

Tectosages, 41-42 Tessin, Count Carl Gustaf, 19-20, 22, 44, 45, 48, 57, 65

Tessin, Nicodemus, 15, 48, 84 n.78 Testa, Pietro, 72, 76 Thulden, Theodor van, 5, 83 n.43 Tiepolo, Giovanni Battista, 25, 27 Time Revealing the Masterpieces of Sculpture, Florence, Uffizi, 57, Fig. 45

Tischbein, J. H. W., 7, 73 Titian, 31 Toilet of Venus, Chatsworth, 66 Toulousan history, series of drawings on, r6, 40-43, 46, 77 Toulouse, Musee Paul-Dupuy: Defeat of Henry II by Louis VII, 42-43, Fig. 14 Triumph of Amphitrite and Neptune, Lyons, Municipal Museum, 43-44, Fig. r6 Triumph of Bacchus and Ariadne, 65, 85 n.r3 Triumph of Flora, 64-65 Triumph of Galatea, Paris, Louvre, 47; Stockholm, National Museum, 86 n.17 Truth Revealed by Time, Vienna, Albertina, 56, Fig. 46 Valek, Gerard, 84 n.87 VanDyck, Anthony, 27 Vasari, Giorgio, 14, 73, 76 vellum, drawings on, 21, 49 Venetian influence suggested, 7, 53-54 Vermeulen, Cornelis, 43, 85 n.ro5 Vienna, Albertina: Brazen Serpent, 50-51, 52, Fig. 34; Capitulation of a City, 88 n.49; Dancing

Nymphs and Satyrs, 86 n.2o; Education of Bacchus, 85 n.r3; Holy Family, 55, Fig. 42; Laocoon, 87 n.45; Lapidation of St. Stephen, 51-52, Fig. 37; Lot and his Daughters, 55-56, Fig. 43; Rape of the Sabines, 43; Return ~f Bacchus from India, 85 n.u; Samson and the Philistines, 87 n.42; Tectosages Build the City of Ancyre, 41; Truth Revealed by Time, 56, Fig. 46

Vision of St. Francis, Amsterdam, Rijksmuseum, 20-21, 26-28, 34, 37, 38, 39, 52-53, 54, 56, 62, 77, 85 II.], Fig. 6

Voltaire, Frans:ois Arouet de, 42, 66 V ouet, Simon, 49-50

walls, drawings on, 7-8 Watteau, Antoine, 3, 27, 30, 31, 59, 70, 78, 88 n.53 Winckelman, Johann, 73, 75

Windsor, Royal Library: battles, 87 n.43; Cadmus Slaying the Dragon, 45-46, Fig. 21; Judg­ment of Paris, 46, Fig. 22; Jupiter and Io, 46, Fig. 24; Perseus and Andromeda, 87 n.22; Rape o; Proserpine, 46, Fig. 24; Self-Portrait, 21, 34-36, Fig. 5

Wolff, Jeremias, 66-67, 87 n.42 Zuccaro, Federico and Taddeo, 8, 32

Illustrations

I. Concert in a Boat

z. Bacchanal

J. The Birth of A enaeas ( l)

4. Diana and Callisto

5. Self-Portrait

6. The Vision of St. Francis

7. The Entombment

8. Christ in the House of Simon

9. Penance, NrcoLAS PoussrN

10. Cain Building the First City

n . The Crossing of the Red Sea

('

12. The Crossing of the Red Sea, engraved by GERARD AuDRAN

13. Four Putti Playing with a Goat

14. The Defeat of Henry II by Louis VII

U k nown u 15. n S bJect

17. The Triumph of Amphitrite and Neptune, NICOLAS PousSIN

18. Sleeping Venus

16. The Triumph of Amphitrite and Neptune

19. Glaucus and Scylla

20. Perseus and Andromeda

21. Cadmus Slaying the Dragon

22. The Judgment of Paris

21. The Judgment of Paris, PETE R PAUL RuBENS

24. The Rape of Proserpine

Jupiter and Io

25. Group of Deities

26. The Hunt of Diana

27- Putti Harvesting Wheat

28. Rustic Vintage Scene

29. The Lover

30. The Fall of the Rebel Angels

31 . The Brazen Serpent

32. The Brazen Serpent, SIMON VouET

33. The Brazen Serpent

H · The Brazen Serpent

35. The Lapidation of St. Stephen

36. The Lapidation of St. Stephen , Gwuo RoMANo

37· The Lapidation of St. Stephen

38. The Lapidation of St. Stephen (2), The Nativity, God the Father

39. The Miracle at Bethesda

40. The Intercession of St. Charles Borromeo (l)

())(Ar.

'i ~ -, ~ J~ ~ ' .

~ ).

41. The Holy Family Beneath a Tree

42. The Holy Family

4;. Lot and his Daughters

44 . A Battle

45. Time Revealing the Masterpieces of Sculpture

46. Truth Revealed by Time

47. The Artist Freed by Time

48. Love Summoned to Parnassus ( l)

49. Figure Studies

50. Figure Studies

51. The Captain

52. The Jester

53. Artists in a Landscape

54. Self-Portrait, etched by ARTHUR PoND

55. Self-Portrait