DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.66024#0175
THE DEATH OF ZUCCHI 95
she regarded the dress as very picturesque. It was during this visit to Rome
that the Prince, who was afterwards Duke of Sussex, married (April 4, 1793)
Lady Augusta de Ameland, daughter of John (Murray) 4th Earl of Dunmore,
by whom he had two children, Colonel Sir Augustus d’Este and Lady Truro.
The marriage was followed by a second ceremony at St. George’s, Hanover
Square (December 4, 1793), but it was deemed a violation of the Royal Marriage
Act, and declared null and void by the Prerogative Court and dissolved in
August, 1794. Perhaps the portrait painted by Angelica was intended as a
present for the bride ?
For a merchant in Monaco, Signor Dall’ Armi, she painted a portrait of
his wife; for Count Brown of Livonia, a historical picture, representing Pyrrhus
as a child. For Princess Esterhazy, who had been born Princess Galitzine, she
painted her portrait, and mentions that the lady was dressed “ gracefully ” in
white. Apparently this was so satisfactory that the Dowager Princess Esterhazy
then sat to Angelica, and she also was represented in white. Then came two
ecclesiastical commissions, one from an abbot in Bologna, Abbot Grandi, a
picture of St. Joseph and the Infant Child, and another from the Abbot of
St. Biagius, who was also a prince, representing Our Lord with the Samaritan
woman at the well; and in this same year she painted a portrait of Magdalen
Volpato, the wife of Volpato the engraver, which she presented to her as a
mark of affection. It was engraved by Raphael Morghen, and in the same
year she painted another representing three young women, singing from an
open music book, but omits to mention who they were, or for whom the picture
was intended. She also painted Lady Knight’s head life-size, and gave it to her.
The only other picture of importance in the year’s record was painted for a
person whom she calls Mrs. Smith, the wife of Mr. Ceas. We have not been
able to identify this lady. The picture must have been a rather interesting
one, as the sitter was depicted in white veiling, with arms and shoulder bare,
loosening one of her veils before a looking-glass, which stood on a richly adorned
dressing-table, covered with various ornaments.
This year, 1795, was the last of those which Angelica deals with in detail.
The remaining portion of the document consists of odd leaves; it is not easy
to find out whether the references are duplicates of others which precede them,
or whether they actually refer to other pictures. The leaves are also full of
notes respecting the exchange of the day, the payments for certain pictures,
and the manner in which Angelica, through her agents or her bankers, received
the various sums due to her.
It was in this same year that Angelica suffered a great loss by the death
of her kind and faithful husband, Antonio Zucchi, to whom we refer in a
separate chapter. She began to have troubles at the same time with regard
to the attack upon Italy by the French, and to the fact that, in consequence,
the number of visitors to Rome was rapidly diminishing, so that it was difficult
to get orders, and even more so to obtain payment for them. In October
of that year she wrote in grave anxiety to her trustee and solicitor in England,
she regarded the dress as very picturesque. It was during this visit to Rome
that the Prince, who was afterwards Duke of Sussex, married (April 4, 1793)
Lady Augusta de Ameland, daughter of John (Murray) 4th Earl of Dunmore,
by whom he had two children, Colonel Sir Augustus d’Este and Lady Truro.
The marriage was followed by a second ceremony at St. George’s, Hanover
Square (December 4, 1793), but it was deemed a violation of the Royal Marriage
Act, and declared null and void by the Prerogative Court and dissolved in
August, 1794. Perhaps the portrait painted by Angelica was intended as a
present for the bride ?
For a merchant in Monaco, Signor Dall’ Armi, she painted a portrait of
his wife; for Count Brown of Livonia, a historical picture, representing Pyrrhus
as a child. For Princess Esterhazy, who had been born Princess Galitzine, she
painted her portrait, and mentions that the lady was dressed “ gracefully ” in
white. Apparently this was so satisfactory that the Dowager Princess Esterhazy
then sat to Angelica, and she also was represented in white. Then came two
ecclesiastical commissions, one from an abbot in Bologna, Abbot Grandi, a
picture of St. Joseph and the Infant Child, and another from the Abbot of
St. Biagius, who was also a prince, representing Our Lord with the Samaritan
woman at the well; and in this same year she painted a portrait of Magdalen
Volpato, the wife of Volpato the engraver, which she presented to her as a
mark of affection. It was engraved by Raphael Morghen, and in the same
year she painted another representing three young women, singing from an
open music book, but omits to mention who they were, or for whom the picture
was intended. She also painted Lady Knight’s head life-size, and gave it to her.
The only other picture of importance in the year’s record was painted for a
person whom she calls Mrs. Smith, the wife of Mr. Ceas. We have not been
able to identify this lady. The picture must have been a rather interesting
one, as the sitter was depicted in white veiling, with arms and shoulder bare,
loosening one of her veils before a looking-glass, which stood on a richly adorned
dressing-table, covered with various ornaments.
This year, 1795, was the last of those which Angelica deals with in detail.
The remaining portion of the document consists of odd leaves; it is not easy
to find out whether the references are duplicates of others which precede them,
or whether they actually refer to other pictures. The leaves are also full of
notes respecting the exchange of the day, the payments for certain pictures,
and the manner in which Angelica, through her agents or her bankers, received
the various sums due to her.
It was in this same year that Angelica suffered a great loss by the death
of her kind and faithful husband, Antonio Zucchi, to whom we refer in a
separate chapter. She began to have troubles at the same time with regard
to the attack upon Italy by the French, and to the fact that, in consequence,
the number of visitors to Rome was rapidly diminishing, so that it was difficult
to get orders, and even more so to obtain payment for them. In October
of that year she wrote in grave anxiety to her trustee and solicitor in England,