a.
The
Sedia Corsini, an antique chair or throne decorated with marble reliefs, a thumbnail sketch of which can be found in the
Vatican Fragments sketchbook (Tate
D15105; Turner Bequest CLXXX 1). The chair was the most important antiquity in the palazzo.
2b.
Ecce Homo by Guercino (1591–1666), the expression of which Turner compares to a painting by Annibale Carracci (1560–1609),
The Dead Christ Mourned (‘The Three Maries’) circa 1604 (National Gallery), formerly in the collection of Lord Carlisle of Castle Howard.
3 A small (crossed-out) study of the head of Christ can be seen in the
Vatican Fragments sketchbook (Tate
D15106; CLXXX 1a). Charlotte Eaton described it as ‘a painting which, notwithstanding the painful nature of the subject, and all its hackneyed representations, is full of such deep and powerful expression, is so elevated in its conception, and so faultless in its execution, that it awakens our highest admiration, and leaves an indelible impression on the mind.’
4c.
Rinaldo and Armida by Gaspard Dughet (known as Gaspar Poussin, 1615–75), which Eaton described as having ‘something of the witchery of the enchantress about it, for it charmed me so much, that I returned to the palace again and again to look at it.’
5d.
Carlo Dolci (1616–86) Christ
e.
Guido Reni (1575–1642) Christ and Madonna Albarno
f.
Philip of Spain by Titian (circa 1473/90–1576)
g.Prometheus by Salvator Rosa (1615–73), the gruesome details of which Turner describes as ‘horrible’.
h.
A Hare by Hans Hoffman (circa 1530–91/2) formerly believed to be by Albrecht Dürer
6i.
The Annunciation and
The Holy Family (or Madonna del Silenzio) which were then thought to be the work of Michelangelo, but were later attributed to Marcello Venusti (1512/15–79) working from the Renaissance master’s drawings.
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