DOI Artikel:
Fabiański, Marcin: The Madonna and Child in Frombork and her Artistic Sources
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20613#0115
copied at least seven Correggio paintings41. One of
those was a Madonna eon il Bambino in braccio,
which may well have been the Madonna del latte. The
Madonna del latte was catalogued in Cardinal Piętro
Aldobrandini’s Roman inventories in 1603 and 1626.
In 1652 it was listed as a famosissima Madonna del
Corregio in Gottifredo Periberti’s collection in Romę
and by the end of the 17th century the painting
already belonged to Guzman, whom we know to be
connected with Maratti42. Artists seemed to take
a vivid interest in the picture: Guercino (1591—1666)
drew a putto after this Child (Fig. 12), which has
passed unnoticed so far43, a free copy of the whole
painting was madę by Pier Francesco Mola
(1612—1666)44, and still other painted copies were
prepared by Domenico Gabbiani (1652—1726) in
1673 and Baciccia (1639—1709) in Genoa. In turn
graphic reproductions were madę by Nicolas Bazin
(1636—1710), Franęois Spierre (1639—1681), Teresa
del Pó (died 1716)45 and by Ludovico Mattiolli
(1662—1747; B.39). So it was not only van Dyck that
knew the Cinąuecento scene.
This history of the Correggio painting and its
copies allow one to surmise that Roman and Neapo-
litan artists, who c. 1700 madę pictures apparently
similar to van Dyck’s Madonna of the Rosary, did not
necessarily rely on this very paradigm, as we conjec-
tured earlier, but on its 16th century forerunners such
as the pictures by the much-appreciated Correggio.
Correggio’s Madonna del latte, kept in the collection
of Guzman (who was connected with Maratti) and
copied by Odazzi’s master Baciccia, was known well
enough for late Baroąue painters to work on just this
composition. The popularity of another possible high
Renaissance model, RaphaeFs Madonna di Foligno,
was ensured by prints and Maratti himself resorted to
this masterpiece in his altarpiece for the Cibo chapel
in Santa Maria del Popolo in Romę46, and Titian’s
Gozzi altarpiece in Ancona was copied by the same
master47. Therefore Maratti must have been well-
aware of all the Renaissance sources. Probably only
Odazzi and Campora resorted to van Dyck’s Madon-
na of the Rosary (Campora probably through Solime-
41 The copies are listed in an inventory published by K.
Noehls, La chiesa dei SS. Luca e Martina nelFopera di Piętro da
Cortona, Roma 1969, pp. 364—365. Mer z (as in n. 9, p. 193) has
rightly pointed out that „bei diesem nicht auf Cortona beschrankten
Phanomen einer ’Neo-Hochrenaissance ist die Bedeutung Rapha-
els und Correggios noch nicht zusammenfassend herausgearbeitet
worden”.
42 Cf. C. Gould, The Paintings of Correggio, Ithaca 1976, pp.
196—197; Baroąue III 1620-1700. An Exhibition in Aid of the
National Art-Collection Fund. 13th June to 15th August 1986,
Matthiesen Fine Art Ltd., New York 1986, p. 78.
12. Guercino, Putto. Windsor, Royal Library (from Mahoń)
na), whereas Baldi reworked rather the compositional
scheme of Cortona’s and Maratti’s pictures, improv-
ing the poses of the Madonna and Child, which in
turn had been inspired by the ąuoted high Renaissan-
ce sources. Indirect or direct knowledge of the Paler-
mo altarpiece may certainly have encouraged this
development.
The Frombork author instead modified the pose
of Mary elaborated by Baldi, possibly knowing the
Palermo Madonna of the Rosary, where Mary’s
outstretched hand is no longer lowered. The dis-
position and poses of the saints and a characteristic
pose of the Child appear to derive from the Baldesąue
Madonna in the church of Santa Maria del Pianto
and its sources, but in the case of the Child it is
43 Cf. D. Mahoń, II Guercino (Gioianni Francesco Barbieri,
1591-1666). Catalogo critico dei disegni, Bologna 1968; Idem and
N. Turner, The Drawings of Guercino in the Collection of Her
Majesty the Queen at Windsor Castle, Cambridge, New York and
Melbourne 1989, p. 20, cat. 35 (2891).
44 Baroąue III... (as in n. 42), pp. 76—78, no. 13.
45 Cf. A. Pi gier. Katalog der Galerie Alter Meister, Budapest
1967, p. 153; Gould, o. c. (as in n. 42), p. 198.
46 Cf. H. Dowley, Some Maratti’s Drawings at Dusseldorf
(Art Quarterly, 20, 1957), pp. 171—174.
47 See notę 36.
111
those was a Madonna eon il Bambino in braccio,
which may well have been the Madonna del latte. The
Madonna del latte was catalogued in Cardinal Piętro
Aldobrandini’s Roman inventories in 1603 and 1626.
In 1652 it was listed as a famosissima Madonna del
Corregio in Gottifredo Periberti’s collection in Romę
and by the end of the 17th century the painting
already belonged to Guzman, whom we know to be
connected with Maratti42. Artists seemed to take
a vivid interest in the picture: Guercino (1591—1666)
drew a putto after this Child (Fig. 12), which has
passed unnoticed so far43, a free copy of the whole
painting was madę by Pier Francesco Mola
(1612—1666)44, and still other painted copies were
prepared by Domenico Gabbiani (1652—1726) in
1673 and Baciccia (1639—1709) in Genoa. In turn
graphic reproductions were madę by Nicolas Bazin
(1636—1710), Franęois Spierre (1639—1681), Teresa
del Pó (died 1716)45 and by Ludovico Mattiolli
(1662—1747; B.39). So it was not only van Dyck that
knew the Cinąuecento scene.
This history of the Correggio painting and its
copies allow one to surmise that Roman and Neapo-
litan artists, who c. 1700 madę pictures apparently
similar to van Dyck’s Madonna of the Rosary, did not
necessarily rely on this very paradigm, as we conjec-
tured earlier, but on its 16th century forerunners such
as the pictures by the much-appreciated Correggio.
Correggio’s Madonna del latte, kept in the collection
of Guzman (who was connected with Maratti) and
copied by Odazzi’s master Baciccia, was known well
enough for late Baroąue painters to work on just this
composition. The popularity of another possible high
Renaissance model, RaphaeFs Madonna di Foligno,
was ensured by prints and Maratti himself resorted to
this masterpiece in his altarpiece for the Cibo chapel
in Santa Maria del Popolo in Romę46, and Titian’s
Gozzi altarpiece in Ancona was copied by the same
master47. Therefore Maratti must have been well-
aware of all the Renaissance sources. Probably only
Odazzi and Campora resorted to van Dyck’s Madon-
na of the Rosary (Campora probably through Solime-
41 The copies are listed in an inventory published by K.
Noehls, La chiesa dei SS. Luca e Martina nelFopera di Piętro da
Cortona, Roma 1969, pp. 364—365. Mer z (as in n. 9, p. 193) has
rightly pointed out that „bei diesem nicht auf Cortona beschrankten
Phanomen einer ’Neo-Hochrenaissance ist die Bedeutung Rapha-
els und Correggios noch nicht zusammenfassend herausgearbeitet
worden”.
42 Cf. C. Gould, The Paintings of Correggio, Ithaca 1976, pp.
196—197; Baroąue III 1620-1700. An Exhibition in Aid of the
National Art-Collection Fund. 13th June to 15th August 1986,
Matthiesen Fine Art Ltd., New York 1986, p. 78.
12. Guercino, Putto. Windsor, Royal Library (from Mahoń)
na), whereas Baldi reworked rather the compositional
scheme of Cortona’s and Maratti’s pictures, improv-
ing the poses of the Madonna and Child, which in
turn had been inspired by the ąuoted high Renaissan-
ce sources. Indirect or direct knowledge of the Paler-
mo altarpiece may certainly have encouraged this
development.
The Frombork author instead modified the pose
of Mary elaborated by Baldi, possibly knowing the
Palermo Madonna of the Rosary, where Mary’s
outstretched hand is no longer lowered. The dis-
position and poses of the saints and a characteristic
pose of the Child appear to derive from the Baldesąue
Madonna in the church of Santa Maria del Pianto
and its sources, but in the case of the Child it is
43 Cf. D. Mahoń, II Guercino (Gioianni Francesco Barbieri,
1591-1666). Catalogo critico dei disegni, Bologna 1968; Idem and
N. Turner, The Drawings of Guercino in the Collection of Her
Majesty the Queen at Windsor Castle, Cambridge, New York and
Melbourne 1989, p. 20, cat. 35 (2891).
44 Baroąue III... (as in n. 42), pp. 76—78, no. 13.
45 Cf. A. Pi gier. Katalog der Galerie Alter Meister, Budapest
1967, p. 153; Gould, o. c. (as in n. 42), p. 198.
46 Cf. H. Dowley, Some Maratti’s Drawings at Dusseldorf
(Art Quarterly, 20, 1957), pp. 171—174.
47 See notę 36.
111