By Alfred Moir
Desk of Contents
checklist of Illustrationspage xv
I. whilst, the place, How, and Why Copies after Caravaggio got here into Being, Who Made Them, and What occurred to Thempage 1
II. Copies as a way of Authentication web page 31
III. Copies as a Mark of flavor web page 39
IV. variations web page 47
V. Literary assets web page 53
VI. Concluding feedback web page 59
Addenda web page 65
textual content Notes web page 69
Appendix I. Caravaggio's Oeuvre and Its Copiespage 79
half A: current Autograph Paintingspage 83
half B: misplaced Paintingspage 103
half C: uncertain Attributionspage 116
half D: work no longer by way of Caravaggiopage 116
half E: Works no longer Consideredpage 120
Notes on Appendix Ipage 121
Appendix II. Numerical Computationspage 163
Appendix III. Scale of Originals; Numbers and Scale of Copiespage 165
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Extra info for Caravaggio and His Copyists (Monographs on Archaeology and Fine Arts)
60), and Calling of SS. Peter and Andrew (no. 61). WHEN, WHERE, HOW AND WHY COPIES AFTER CARAVAGGIO CAME INTO BEING, WHO MADE THEM, AND WHAT HAPPENED TO THEM 17 Sixteen copies can still be traced to the English and Spanish royal collections and to German imperial or princely collections, and about fifty can be located as having been in private collections before the nineteenth century (mainly in England, France, and Germany). This distribution would seem indicative of considerable nonclerical taste for Caravaggio during the seventeenth and eighteenth centuries, however much critics may have scorned him.
Thus, it seems quite possible that the copies made in Sicily were not so much made by visitors for souvenirs as they were made by local painters to be used for devotional purposes in local churches. Susinno's remarks concerning Rodriquez's copies, the number of copies of the Burial of St. Lucy in Syracuse and perhaps more importantly the fact that they are still there, would seem to confirm this idea, as would also the copies of the Ecce Homo (no. 34), which may have been on the island early in the seventeenth century.
Vs. 131 X 99 em. in the original), they both probably reveal an arbitrary expansion of the space, by means of which the copyists thought to "improve" on the originals by making them more spacious. 86 If so, they were exceptional revisions, for ordinarily it appears that copies were made consistently on the same or smaller scale than the original; copies larger than an existent original normally show that it has been cut down. 87 Obviously, reduction in a copy of the scale of a big original must have been a matter of convenience and perhaps thrift, and relatively rarely were replicas of very large originals made on the same grand scale.
Caravaggio and His Copyists (Monographs on Archaeology and Fine Arts) by Alfred Moir