DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.36839#0504
450 COUNT BALDASSARE CASTIGLIONE
by Rubens was in his studio at the time of his death in 1640,
and the bistre sketch of the portrait executed by Rembrandt is
preserved in the Albertina.
On April 9, 1639, Raphael's portrait was put up to auction
by its owner, and Joachim von Sandrart, the German painter
and writer, bid up to 3,400 florins, but was outdone by Don
Alfonso de Lopez, a Spanish councillor, who bought the picture
for 3,500 dorinsd When Lopez fell into disgrace at court a
few years later, and lost his property, the precious portrait
was bought by Cardinal Mazarin, and sold on his death to
Louis XIV. for 3,000 livres. In the sixteenth century it was
engraved by Persinius, and in the seventeenth by Edelinck and
several others; and a fine reproduction of the picture forms
the frontispiece of the English edition of the ' Cortegiano '
printed by Bowyer in 1787.
During the last year of Raphael's life, in the autumn of 1519,
Castiglione once more sat to him for his portrait. When the
Duke of Ferrara's ambassador called at Raphael's house and
asked to see him on urgent business, he was told that the
master could not receive him, as he was engaged in painting
Count Baldassare's portrait.^ It is doubtful whether Raphael
lived to finish this work, and certainly no trace of the original
remains in existence to-day. Beffa-Negrini, however, mentions
a second portrait by Raphael as being in the possession of the
Count's family, and in the eighteenth century a portrait of
Castiglione bearing the great master's name passed from his
descendants into the hands of Cardinal Valenti. This is evi-
dently the picture in the Corsini Gallery (see page 414), which
agrees exactly with the chronicler's description, and was prob-
ably executed from a sketch or painting by Raphael. The
Count is represented without a cap, and with his head turned
to the left, while his armorial bearings and his name and deeds
are inscribed in Latin on the panel. Another copy is preserved
among the portraits of illustrious citizens in the library of
Mantua; and yet a third, which in 1820 belonged to the
distinguished Mantuan scholar, Pasquale Codde, is said by
M. Gruyer to be now at Berlin.
1 Sandrart, ' Accademia Tedesca dell' Architettura, Scultura e Pittura/
Nurnberg, 1675.
2 Vol. II., p. 58.
by Rubens was in his studio at the time of his death in 1640,
and the bistre sketch of the portrait executed by Rembrandt is
preserved in the Albertina.
On April 9, 1639, Raphael's portrait was put up to auction
by its owner, and Joachim von Sandrart, the German painter
and writer, bid up to 3,400 florins, but was outdone by Don
Alfonso de Lopez, a Spanish councillor, who bought the picture
for 3,500 dorinsd When Lopez fell into disgrace at court a
few years later, and lost his property, the precious portrait
was bought by Cardinal Mazarin, and sold on his death to
Louis XIV. for 3,000 livres. In the sixteenth century it was
engraved by Persinius, and in the seventeenth by Edelinck and
several others; and a fine reproduction of the picture forms
the frontispiece of the English edition of the ' Cortegiano '
printed by Bowyer in 1787.
During the last year of Raphael's life, in the autumn of 1519,
Castiglione once more sat to him for his portrait. When the
Duke of Ferrara's ambassador called at Raphael's house and
asked to see him on urgent business, he was told that the
master could not receive him, as he was engaged in painting
Count Baldassare's portrait.^ It is doubtful whether Raphael
lived to finish this work, and certainly no trace of the original
remains in existence to-day. Beffa-Negrini, however, mentions
a second portrait by Raphael as being in the possession of the
Count's family, and in the eighteenth century a portrait of
Castiglione bearing the great master's name passed from his
descendants into the hands of Cardinal Valenti. This is evi-
dently the picture in the Corsini Gallery (see page 414), which
agrees exactly with the chronicler's description, and was prob-
ably executed from a sketch or painting by Raphael. The
Count is represented without a cap, and with his head turned
to the left, while his armorial bearings and his name and deeds
are inscribed in Latin on the panel. Another copy is preserved
among the portraits of illustrious citizens in the library of
Mantua; and yet a third, which in 1820 belonged to the
distinguished Mantuan scholar, Pasquale Codde, is said by
M. Gruyer to be now at Berlin.
1 Sandrart, ' Accademia Tedesca dell' Architettura, Scultura e Pittura/
Nurnberg, 1675.
2 Vol. II., p. 58.