Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-11T06:08:57.943Z Has data issue: false hasContentIssue false
  • English
  • Français

NEW INSIGHTS INTO THE ‘CARPIO ALBUM’ (SAL ms 879): COMMISSIONING, AUTHORSHIP AND CULTURAL AGENDA

Published online by Cambridge University Press:  26 March 2021

Giulia Fusconi ,
Jorge Fernández-Santos  and
Brigitte Kuhn-Forte
Giulia Fusconi
Affiliation:
Via di Fontanella Borghese 63/5, RomaI-00186, Italy. Email: giuliafusconi@virgilio.it
Jorge Fernández-Santos
Affiliation:
Paseo de San Francisco de Sales, 5 (Bajo D), MadridE-28003, Spain. Email: jorge.ortiziribas@urjc.es
Brigitte Kuhn-Forte
Affiliation:
Via Folco Portinari 59, RomaI-00151, Italy. Email: bkuhnforte@gmail.com
Get access Rights & Permissions [Opens in a new window]

Abstract

An outstanding cultural promoter, collector and patron of the arts in his native Spain, Gaspar de Haro y Guzmán (1629–87), 7th Marquess del Carpio, left his mark as ambassador in Rome (1677–82) and as viceroy in Naples (1682–7). In Italy, Carpio assembled forty-three volumes of drawings, of which only four, including SAL ms 879, have been spared dismemberment. Yet, lumping the ‘Carpio Album’ together with the nobleman’s collection of original drawings completely misses the point. Unlike the others, which were assembled to boost Carpio’s connoisseurship of Italian art, the Album was commissioned to showcase the collection of (largely antique) sculpture he had acquired in Rome and the series of modern fountains he commissioned, also in Rome. Like Vincenzo Giustiniani’s epoch-making Galleria Giustiniana of 1636–7, the Album was to be printed. The marquess’s departure for Naples cut short an ambitious publication project, the theoretical background and pedagogic scope of which have been largely overlooked. The attribution of drawings to artists Philipp Schor and Paolo De Matteis, amongst others, underlines the complex cultural agenda underpinning an Album conceived to reinstate the Roma antica myth by linking it to its Roma moderna counterpart. A new understanding of De Matteis’s artistry and objectives in configuring the Album is complemented with findings regarding Carpio’s commissioning or acquisition of antique, pseudo-antique and modern sculpture. The collection’s fateful dispersal helps unravel the Album’s most likely provenance.

Keywords

collecting of antiquitiesalbum of drawingsItalian Baroquefountain design7th Marquess del Carpio (1629–87)
Type
Research paper
Information
The Antiquaries Journal , Volume 101 , September 2021 , pp. 333 - 368
Copyright
© The Author(s), 2021. Published by Cambridge University Press on behalf of The Society of Antiquaries of London

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Manuscript sources

ADA, caja 217 (Inventory 1687–8)

ADA, caja 302, no. 4, fols 2–156v (Inventory 1682)

BAV, ms Barb. Lat. 6418, fol 393

BAV, ms Chigi L.V.155, fols 2, 8v, 12r–v, 17v, 18

BNE, ms 7526, fols 136–8, 235, 236

RBE, ms &. iv.25

SAL, ms 879

Printed sources

Anselmi, A 2006. ‘Gaspar de Haro y Guzmán VII Marchese del Carpio e la Montagna di Alessandro’, in La multiculturalidad en las artes y en la arquitectura, i, 139–45, Anroart Ediciones, Las Palmas de Gran CanariaGoogle Scholar
Anselmi, A 2008. ‘Gaspar de Haro y Guzmán VII Marchese del Carpio: confieso que debo al arte la magestad con que hoy triumpho’, Roma moderna e contemporanea, 15 (1–3), 187–253 Google Scholar
Avery, C 2003. ‘The Duke of Marlborough as a collector and patron of sculpture’, in Chaney, E (ed), The Evolution of English Collecting: the reception of Italian art in the Tudor and Stuart periods, 427–64, Yale University Press, New Haven and London Google Scholar
Bacchi, A 2015. ‘Alessandro Rondoni ritrattista e restauratore nella Roma di fine Seicento’, in Corberi, F (ed), Rondoni e Balassi, 38–63, Orsi, Milan Google Scholar
Banfi, F 1964. ‘Giochi sul Tevere nella festività di s. Rocco’, Palatino: Rivista Romana di Cultura 8, 173–5Google Scholar
Barbeito, J M 2007. ‘Velázquez y la decoración escultórica del Alcázar’, in Luzón Nogué, J M (ed), Velázquez: esculturas para el Alcázar, 113–31, Real Academia de Bellas Artes de San Fernando, Madrid Google Scholar
Bellini, P and Wallace, R W (eds) 1990. Italian Masters of the Seventeenth Century: commentary, The Illustrated Bartsch 45, Abaris Books, New YorkGoogle Scholar
Bellori, G P 1664. Nota delli musei, librerie, galerie, et ornamenti di statue e pitture ne’ palazzi, nelle case, e ne’ giardini di Roma, Rome, http://bellori.sns.it/bellori//TOC_15.html (accessed 8 Feb 2021)Google Scholar
Bellori, G P 1685. Veterum illustrium philosophorum, poetarum, rhetorum et oratorum imagines ex vetustis nummis, geminis, hermis, marmoribus, alijsque antiquis monumentis desumptae, Giovanni Giacomo de’ Rossi, RomeGoogle Scholar
Bernini, D 1713. Vita del cavalier Gio. Lorenzo Bernino descritta da … suo figlio, Rocco Bernabò, RomeGoogle Scholar
Blanco Freijeiro, A 1957. Catálogo de la Escultura I. Esculturas clásicas II. Esculturas, copias e imitaciones de las antiguas (siglos XVI – XVIII), Museo del Prado, MadridGoogle Scholar
Borea, E 1976. Giovan Pietro Bellori: Le vite de’ pittori, scultori e architetti moderni, Einaudi, TurinGoogle Scholar
Borea, E and Gasparri, C (eds) 2000. L’idea del bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori, 2 vols, De Luca, RomeGoogle Scholar
Bottari, G and Ticozzi, S 1822–5. Raccolta di lettere sulla Pittura, Scultura et Architettura scritte da’ più celebri personaggi di secoli XV, XVI, e XVII, 8 vols, Giovanni Silvestri, MilanGoogle Scholar
Buonocore, M and Pomponi, M (eds) 1996. Camillo Massimo collezionista di antichità: fonti e materiali, rev edn, Xenia Antiqua: monografie 3, ‘L’Erma’ di Bretschneider, RomeGoogle Scholar
Burke, M and Cherry, P 1997. Collections of Paintings in Madrid, Documents for the History of Collecting: Spanish Inventories 1, 2 vols, Getty Information Institute, Santa MonicaGoogle Scholar
Burnet, G 1738. Burnet’s Travels: or, a collection of letters to the Hon. Robert Boyle, Esq …, new edn, Ward and Chandler, LondonGoogle Scholar
Cacciotti, B 1994. ‘La collezione del VII Marchese del Carpio tra Roma e Madrid’, Bollettino d’Arte, 6th ser 79 (86–7), 133–96Google Scholar
Cacciotti, B 1996. ‘La dispersione di alcune antichità della collezione Massimo in Spagna e in Inghilterra’, in Buonocore and Pomponi 1996, 213–37Google Scholar
Cacciotti, B 2009, ‘Album de dibujos del Marqués del Carpio. Mercurio con amorcillo’, in Morán Suárez, I (ed), Brillos en bronce. Colecciones de reyes, 190–3, cat no. 39, Editorial Patrimonio Nacional, Madrid Google Scholar
Cacciotti, B 2012. ‘Statue egitizzanti da Tivoli tra rappresentazione e ritualità’, Horti Hesperidum 2, 473–502, Università degli Studi ‘Tor Vergata’, RomeGoogle Scholar
Careri, E 1993. Francesco Geminiani (1687–1762), Clarendon Press, Oxford Google Scholar
Cipriani, A and Valeriani, E (eds) 1988. I disegni di figura nell’Archivio Storico dell’Accademia di San Luca, 3 vols, Quasar, RomeGoogle Scholar
Coppel Aréizaga, R (ed) 1998. Catálogo de la escultura de época moderna, siglos XVI–XVIII, Museo del Prado, Madrid Google Scholar
Cropper, E 1992. ‘Vincenzo Giustiniani’s “Galleria”: the Pygmalion effect’, in Montagu, J (ed), Cassiano dal Pozzo’s Paper Museum 2, Quaderni Puteani 3, 101–26, Olivetti, MilanGoogle Scholar
Delbeke, M and Morel, A-F 2012. ‘ Roma Antica, Sacra, Moderna: The analogous Romes of the travel guide’, Library Trends 61 (2), 391–417 CrossRefGoogle Scholar
de Lotto, M T 1994. ‘Fancelli Cosimo’, in Dizionario Biografico degli Italiani, xliv, 525–31, Istituto dell’Enciclopedia Italiana, RomeGoogle Scholar
Farina, V 2009. ‘Collezionismo di disegni a Napoli nel Seicento. Le raccolte di grafica del Viceré VII Marchese del Carpio, il ruolo di padre Sebastiano Resta e un inventario inedito di disegni e stampe’, in Colomer, J L (ed), España y Nápoles. Coleccionismo y mecenazgo virreinales en el siglo XVII, 339–62, Centro de Estudios Europa Hispánica, MadridGoogle Scholar
Farina, V 2010. ‘La collezione del Viceré: il marchese del Carpio, padre Sebastiano Resta e la prima raccolta ragionata di disegni napoletani’, in Schütze and Solinas 2010, 183–98Google Scholar
Fernández-Santos, J 2003–4. ‘Las fuentes romanas de don Gaspar de Haro: del aplauso efímero a la eterna fama’, Montorio: Cuaderno de trabajos de la Real Academia de España en Roma 2, 60–80Google Scholar
Fernández-Santos, J 2008. ‘Philipp Schor’s contribution to the renewal of the Royal Chapel at the Madrid Alcázar and notes on his Spanish period (1697–1715)’, in Strunck 2008, 221–58Google Scholar
Fernández-Santos, J 2014. ‘Da Roma a Madrid passando per Napoli: aggiunte su Philipp Schor architetto e scenografo al servizio della monarchia spagnola’, in Anselmi, A (ed), I rapporti tra Roma e Madrid nei secoli XVI e XVII: arte, diplomazia e politica, 656–79, Gangemi Editore, Rome Google Scholar
Fernández-Santos, J 2015. ‘The politics of art or the art of politics? The Marquis del Carpio in Rome and Naples (1677–1687)’, in Baker-Bates, P and Pattenden, M (eds), The Spanish Presence in Sixteenth-Century Italy: images of Iberia, Transculturalisms 1400–1700, 199–228, Ashgate, Farnham Google Scholar
Fernández-Santos, J 2020. ‘Far tesoro del volto di un “tanto virtuoso” artefice: un programma berniniano per il Marchese del Carpio’, in Fagiolo, M (ed), Storia dell’arte e arte della storia. In memoria di Irving Lavin, Rome, https://www.aboutartonline.com/wp-content/uploads/2020/05/19.Fernandez.pdf (accessed 8 Feb 2021)Google Scholar
Finch, M 1991. ‘The Cantharus and Pigna at Old St Peter’s’, Gesta 30 (1), 16–26 CrossRefGoogle Scholar
Frutos Sastre, L de 2009. El Templo de la Fama. Alegoría del Marqués del Carpio, Fundación de Apoyo a la Historia del Arte Hispánico, MadridGoogle Scholar
Frutos Sastre, L de 2011. ‘Semíramis y Pentesilea en Aranjuez: dos bustos perdidos de Fischer von Erlach procedentes de las colecciones del Marqués del Carpio’, Reales Sitios 48 (188), 4–23 Google Scholar
Fusconi, G 1985. ‘Disegni decorativi di Johann Paul Schor’, Bollettino d’arte, 6th ser 70 (33–4), 159–80Google Scholar
Fusconi, G (ed) 2001. I Giustiniani e l’Antico, ‘L’Erma’ di Bretschneider, RomeGoogle Scholar
Fusconi, G 2008. ‘Philipp Schor, gli Altieri e il Marchese del Carpio’, in Strunck 2008, 175–91Google Scholar
Fusconi, G 2010. ‘ Il ‘buen gusto romano’ dei Viceré I. La ricezione dell’effimero barocco a Napoli negli anni del Marchese del Carpio (1683–1687) e del conte di Santisteban (1688–1696)’, in Schütze and Solinas 2010, 209–20Google Scholar
Gasparri, C 1994. ‘Collezioni archeologiche’, in Enciclopedia dell’arte antica classica e orientale. Secondo supplemento 1971–1994, ii, 192–225, Istituto dell’Enciclopedia Italiana, Rome, https://www.treccani.it (accessed 8 Feb 2021)Google Scholar
Ghezzi, G 1696. Il centesimo dell’anno M.DC.XCV. celebrato in Roma dall’Accademia del Disegno essendo principe il signor cavalier Carlo Fontana architetto, Stamparia di Giovanni Francesco Buagni, RomeGoogle Scholar
Giometti, C 2010. Domenico Guidi (1625–1701). Uno scultore barocco di fama europea, ‘L’Erma’ di Bretschneider, RomeGoogle Scholar
Giometti, C 2014. ‘Ottoni, Lorenzo’, in Dizionario Biografico degli Italiani, 80, http://www.treccani.it/enciclopedia/lorenzo-ottoni_(Dizionario-Biografico)/ (accessed 8 Feb 2021)Google Scholar
Giometti, C 2017. ‘Rondoni, Alessandro’, in Dizionario Biografico degli Italiani, 88, http://www.treccani.it/enciclopedia/alessandro-rondoni_(Dizionario-Biografico)/ (accessed 8 Feb 2021)Google Scholar
Goldberg, E 1983. Patterns in Late Medici Art Patronage, Princeton University Press, Princeton Google Scholar
Harris Frankfort, E 1997. ‘The ‘Alexander Mountain”, in Hadjinikolaou, N (ed), Ho Megas Alexandros stēn Eurōpaïkē technē/Alexander the Great in European Art, 2 vols, i, 632–45 and ii, 248–51, Organismos Politistikēs Prōteuusas tes Eurōpēs ‘Thessaloníkē ’97’, ThessalonicaGoogle Scholar
Haskell, F 1980. Patrons and Painters: a study in the relations between Italian art and society in the age of the Baroque, rev and enlarged edn, Yale University Press, New Haven and London Google Scholar
Haskell, F and Penny, N 1981. Taste and the Antique: the lure of classical sculpture 1500–1900, Yale University Press, New Haven Google Scholar
Hogwood, C 2013. ‘Gemininiani and Fine Art’, in Hogwood, C (ed), Geminiani Studies, Ad Parnassum Studies 6, 413–75, Ut Orpheus, Bologna Google Scholar
Hübner, E 1862. Die antiken Bildwerke in Madrid, Reimer, Berlin CrossRefGoogle Scholar
Incisa Della Rocchetta, G 1977. ‘La “Galleria Portatile” del p. Sebastiano Resta’, Oratorium: Archivium historicum Oratorii S. Philippi Nerii 8, 85–96 Google Scholar
Kuhn-Forte, B 1998. ‘Römische Antikensammlungen’, in Kunze, M (ed), Römische Antikensammlungen des 18. Jahrhunderts, 31–59, Von Zabern, Mainz Google Scholar
Kuhn-Forte, B 2013. ‘Römische Antikensammlungen in Stichen und Druckausgaben des 16. und 17. Jahrhunderts’, in Luchterhandt, M et al (eds), Abgekupfert. Roms Antiken in den Reproduktionsmedien der Frühen Neuzeit, 75–100, Imhof, Petersberg Google Scholar
Kuhn-Forte, B 2017a. ‘Sandrart und die Antike. Von London nach Rom’, Römisches Jahrbuch der Bibliotheca Hertziana 41, 341–92Google Scholar
Kuhn-Forte, B 2017b. “Tredici filosofi antichi’ nelle collezioni del cardinale Camillo Massimo e del marchese del Carpio e l’Album Carpio’, in Albl, S and Lofano, F (eds), I filosofi antichi nell’arte italiana del Seicento. Stile, iconografia, contesti, 233–58, Artemide, Rome Google Scholar
Lehmann, J 1980. Staatliche Kunstsammlungen Kassel. Italienische, französische und spanische Gemälde des 16. bis 18. Jahrhunderts, Klenau, Fridingen Google Scholar
López-Fanjul y Díez del Corral, M 2011. ‘Collecting Italian drawings in seventeenth-century Spain: the Marqués del Carpio’s collection’, unpublished PhD thesis, Courtauld Institute of Art, LondonGoogle Scholar
López-Fanjul y Díez del Corral, M 2013. ‘Las representaciones de don Gaspar de Haro y Guzmán, VII Marqués del Carpio: retratos, alegorías y emblemas’, Archivo Español de Arte 86 (244), 291–310 CrossRefGoogle Scholar
López Torrijos, R 1991. ‘Coleccionismo en la época de Velázquez: el marqués de Heliche’, in Velázquez y el arte de su tiempo, 27–36, Editorial Alpuerto, Madrid Google Scholar
Luzón Nogué, J M 2000. ‘Isabel de Farnesio y la Galería de Esculturas de San Ildefonso’, in Rodríguez Ruiz, D (ed), El Real Sitio de La Granja de San Ildefonso. Retrato y escena del Rey, 203–19, Patrimonio Nacional, Madrid Google Scholar
Mabillon, J 1687. Iter italicum litterarium annis MDCLXXXV & MDCLXXXVI, Widow of Edmond Martin, Jean Boudot and Étienne Martin, ParisGoogle Scholar
Marías, F 2003. ‘Don Gaspar de Haro, Marqués del Carpio, coleccionista de dibujos’, in Colomer, J L (ed), Arte y diplomacia de la Monarquía Hispánica en el siglo XVII, 208–19, Centro de Estudios Europa Hispánica, MadridGoogle Scholar
McDonald, M 2017. Ceremonies, Costumes, Portraits and Genre (Paper Museum of Cassiano dal Pozzo: a catalogue raisonné: Series C: Prints), 3 vols, The Royal Collection, Harvey Miller, London, https://www.rct.uk/collection/themes/trails/highlights-from-the-print-collection/the-paper-museum-of-cassiano-dal-pozzo (accessed 8 Feb 2021)Google Scholar
McDonald, M 2019. Architecture, Topography and Military Maps (Paper Museum of Cassiano dal Pozzo: a catalogue raisonné: Series C: Prints), 3 vols, The Royal Collection, Harvey Miller, London, https://www.rct.uk/collection/themes/trails/highlights-from-the-print-collection/the-paper-museum-of-cassiano-dal-pozzo (accessed 8 Feb 2021)Google Scholar
Morán Turina, M 2010. La memoria de las piedras. Anticuarios, arqueólogos y coleccionistas de antigüedades en la España de los Austrias, Confluencias 3, CEEH, Madrid Google Scholar
Muñoz y Manzano, C (Count de la Viñaza) 1889–94. Adiciones al Diccionario histórico de los más ilustres profesores de las bellas artes en España, de D. Juan Agustín Ceán Bermúdez, 4 vols, Tip. de los Huérfanos, MadridGoogle Scholar
Nicolò, A and Solinas, F 1987. ‘Cassiano dal Pozzo: appunti per una cronologia di documenti e disegni (1612–1630)’, Nouvelles de la République des Lettres 7 (2), 59–110 Google Scholar
Pascoli, L 1965. Vite de’ Pittori, Scultori, ed Architetti Moderni, Fonti per la Storia dell’Arte 2, 2 vols, Società Multigrafica Editrice SOMU, RomeGoogle Scholar
Pestilli, L 2013. Paolo De Matteis: Neapolitan painting and cultural history in Baroque Europe, Ashgate, Farnham Google Scholar
Pezzuto, L 2019. Padre Resta e il Viceregno. Per una storia della pittura del primo Cinquecento a Napoli, Horti Hesperidum: monografie 6, UniversItalia, Rome Google Scholar
Picozzi, M G 2000. “Nobilia Opera’: La selezione della scultura antica’, in Borea and Gasparri 2000, i, 25–38Google Scholar
Pomponi, M 1996. ‘La collezione del cardinale Massimo e l’inventario del 1677’, in Buonocore and Pomponi 1996, 91–153Google Scholar
Pratesi, L and Rendina, L (eds) 1999. Bernini e l’acqua: le fontane romane del regista del Barocco, Ingegneria per la Cultura, RomeGoogle Scholar
Prosperi Valenti Rodinò, S 1999. Review of ‘U V Fischer Pace, Disegni del Seicento romano, Olschki, Florence 1997’, Master Drawings 37 (3), 294–99Google Scholar
Prosperi Valenti Rodinò, S 2007. I disegni del Codice Resta di Palermo, Silvana Editoriale, Milan Google Scholar
Prosperi Valenti Rodinò, S 2008. ‘Additions to the drawings collection of the Marqués del Carpio’, Master Drawings, 46 (1), 3–35 Google Scholar
Schröder, S (ed) 1993. Katalog der antiken Skulpturen des Museo del Prado in Madrid, I: Die Porträts, Von Zabern, Mainz Google Scholar
Schröder, S (ed) 2004. Katalog der antiken Skulpturen des Museo del Prado in Madrid, II: Idealplastik, Von Zabern, Mainz Google Scholar
Schütze, S and Solinas, F (eds) 2010. Le dessin napolitain, De Luca, Rome Google Scholar
Spinosa, N (ed) 2010. Paolo De Matteis, «Danae» (Quaderni del Barocco, 10), Ariccia, http://www.palazzochigiariccia.it/img/dipinti_inediti_barocco_romano/pdf/DE%20MATTEIS.pdf (accessed 31 May 2020)Google Scholar
Sricchia Santoro, F and Zezza, A (eds) 2017. Bernardo De Dominici: Vite de’ pittori, scultori ed architetti napoletani, 5 vols, Artstudio-Paparo, NaplesGoogle Scholar
Stoichita, V 2008. The Pygmalion Effect: from Ovid to Hitchcock, University of Chicago Press, Chicago Google Scholar
Strunck, C (ed) 2008. Johann Paul Schor und die internationale Sprache des Barock, Römische Studien der Bibliotheca Hertziana 21, Hirmer, MunichGoogle Scholar
Thielemann, A 2012. ‘Rubens’ Traktat ‘De imitatione statuarum”, in Rombach, U and Seiler, P (eds), Imitatio als Transformation. Theorie und Praxis der Antikennachahmung in der Frühen Neuzeit, Imhof, Petersberg Google Scholar
Urra Ríos, O 2015. ‘Vida y obra de Juan Vélez de León’, unpublished DPhil thesis, Universidad Complutense, MadridGoogle Scholar
Warwick, G 2000. The Arts of Collecting: Padre Sebastiano Resta and the market for drawings in early modern Europe, Cambridge University Press, Cambridge Google Scholar
Wrede, H 2000. ‘L’Antico nel Seicento’, in Borea and Gasparri 2000, i, 7–24Google Scholar