Notes
Notes Introduction 1. The picture is now in the Terra Museum of American Art in Chicago. On its history and interpretation, see William Kloss, Samuel F. B. Morse (New York: Harry N. Abrams, 1988), especially pp. 126–35. 2. Italian Landscape in Eighteenth-Century England: A Study Chiefly of the Influence of Claude Lorrain and Salvator Rosa on English Taste, 1700–1800 (New York: Oxford University Press, 1925). 3. Bandits in a Landscape: A Study of Romantic Painting from Caravaggio to Delacroix (London and New York: The Studio, 1937). 4. I base this surmise on the findings of the late W. T. Bandy, who discovered that the early Russian and Spanish translators of Poe used Baudelaire’s translations as their base text, not the English originals. See W. T. Bandy, “Were the Russians the First to Translate Poe?,” American Literature, XXXI (January 1960): pp. 479–80. 1. Crossing the Alps 1. Cited by Jacques Thuillier, “Textes du XVIIe siècle oubliés ou peu connus concernant les arts,” Dix-Septième Siècle, XXXV (1983): pp. 125–40 (131). As Guillebaud (1585–1667), a learned Feuillant, apparently never went to Italy, he must have heard of Rosa through a French artist who had made the trip or from Italian artists working in Paris. 2. I speculate that the picture was a gift from the French authorities to Sir Robert Walpole, the eminent politician and statesman, father of Horace Walpole, perhaps at a time—for example, in the period ca. 1725–1730—of rapprochement between France and England. The senior Walpole had a fine collection, housed mostly at his splendid estate, Houghton, in Norfolk. A modern authority on Horace Walpole states that there were four Rosas at Houghton (Martin Kallick, Horace Walpole [New York: Twayne, 1971], p. 67). The Walpole collection undoubtedly included The Prodigal Son (S 127); see J. H. Plumb, Sir Robert Walpole: the King’s Minister (London: The Cresset Press, 1960), p. 86, as well as Salerno’s 1975 catalogue. I have not been able to consult Horace Walpole’s Aedes Walpolianae (1747), which contains a description , and perhaps a history, of his father’s collection. 3. Le Comte de Cosnac (Gabriel-Jules), Les Richesses du palais Mazarin (Paris: Librairie Renouard, H. Loones, successeur, 1884), p. 338. 4. This picture would leave for England after a little more than a century (see the article by R. A. Cecil, “Apollo and the Sibyl of Cumae by Salvator Rosa,” Apollo, no. 816 [June 1965]: pp. 464–69). It had probably been inherited by Mazarin’s principal heirs, his niece Hortense Mancini and her husband, the Duc de Mazarin; at the time of the Julienne sale (1767), it was bid for by Catherine the Great but went to the Earl of Ashburnham, fetching the highest price in the first part of the sale. 5. In his recent Salvator Rosa. His Life and Times (New Haven and London: Yale University Press, 1995) p. 217, Jonathan Scott states that the French ambassador to the Vatican, Créquy, “bought one large painting and two smaller ones when he was in Rome and ordered another after his return to Paris,” but provides no specific titles or documentation. 6. Catalogue de livres d’estampes et de figures en taille douce (Paris: Frédéric Léonard, 1666), p. 31. 7. I cite the modern reprint (Geneva: Minkoff, 1972). 8. Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes (Trévoux: Impr. de SAS, 1725), IV, p. 178. I cite the modern reprint (Farnborough: Gregg Press, 1967). 9. This letter to Carrel (September 22, 1700) was published in October 1703, in the Nouvelles de la République des lettres—see “J. P. Bellori,” Archives de l’art français, I (1851), pp. 36–37. As for “l’ouvrage qui paraîtra bien tôt,” it may be his translation of Bellori’s Catalogue of Pictures in the Vatican—but, when he died in 1696, Bellori still had not sent Nicaise a copy of this text, published in Rome in 1695. It appears that Nicaise eventually obtained a copy of Bellori’s book and translated it but did not live to see this work into print—he died on October 20, 1701. A manuscript was reported to be in existence by the abbé Philibert Papillon in his Bibliothèque des auteurs de Bourgogne (Dijon, 1742—but Papillon is spoken of on the title page as “feu M. l’abbé Papillon”). See Archives...
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