Abstract
The present paper takes the cue from an anonymous letter sent in 1844 to the camerlengo Tommaso Riario Sforza to denounce the poor conservative conditions in which Veronese’s Rape of Europe, in the Pinacoteca Capitolina in Rome, was placed. Considered one of the gems of the Roman collections, as the contemporary sources attest, especially due to the scarcity of works by Venetian masters in Rome, the large canvas was important above all as a model for young artists to exercise on colouring. Following this complaint, the painting will be taken over by the under-inspector Filippo Agricola, who will make the design for a new frame and will entrust the restoration to Giovanni Regis.
Highlights
Roma mentre è ricca di oggetti di Belle Arti, e specialmente di marmi antichi, di opera di Raffaello della scuola fiorentina e Bolognese, è altrettanto povera di quadri della scuola Veneziana
The present paper takes the cue from an anonymous letter sent in
who will make the design for a new frame
Summary
Roma mentre è ricca di oggetti di Belle Arti, e specialmente di marmi antichi, di opera di Raffaello della scuola fiorentina e Bolognese, è altrettanto povera di quadri della scuola Veneziana.
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