SLIKAR FRANC KAVClC/CAUCIG IN NJEGOVE RISBE PO SLIKAH STARIH MOJSTROV K senija Rozm an, L jubljana UMETNIK FRANC KAVČIČ IN ŽIVLJENJSKI PODATKI O življenju in delu neoklasicističnega slik arja F ran ca K avčiča nism o povsem nepoučeni. Podatke o njem naštev a v rsta leksikonov in d ru ­ gih publikacij.1 Z atakne pa se že ob njegovi ro jstn i letnici in sm rt­ nem datum u. K ot d atu m sm rti je veljal 18. novem ber 1828. D rugače 1 Naštevam le nekatere med njimi: Hans Rudolph Füessli: Annalen der bildenden Künste für die österreich- schen Staaten. I. Th. Wien 1801, pp. 110—130; H (ans) H (einrich) Füssli: Allgemeines K ünstlerlexikon. II. Zürich 1806, pp. 179—180; Johann Georg Meusel: Teutsches K ünstlerlexikon. I. Lemgo 1808, pp. 134—135; Pietro Zani: Enciclopedia Metodica Critico-Ragionata delle Belle Arti. I. Vol. VI. Parm a 1820, p. 95; (Franz G räfer und Johann Jacob H einrich Czikann): Österreichische National-Encyclopädie. I. Wien 1835, p. 488; idem, 23. Bd. (Supplem ent), p. 392; G(eorg) K (aspar) Nagler: Neues allgemeines K ünst- ler-LeXicon. M ünchen 1835, pp. 435, 441—443; Charles Le Blanc: Manuel de Vamateur d’estampes. I. Paris 1854, p. 228; Carlo Morelli di Schönfeld: Istoria della Contea di Gorizia. III. Gorizia 1855, pp. 272—273; W urzbach Constant von: Biographisches Lexikon des Kaiserthum s Oesterreich. Wien 1857, pp. 312—314; Ivan Kukuljevic Sakcinski: Slovnik um jetnikah jugo- slavenskih. II. Zagreb 1858, pp. 148—154; Frant(išek) Lad(islav) Rieger: Slovnik naucny. II. V Praze 1862, p. 81; Štef(an) Širok, Slavni slovenski slikar France Kavčič. Zora. I. 1872, št. 12, pp. 177—179, št. 13, pp. 192—193; Francesco di Manzano: Cenni biograf ici dei letter ati ed artisti Friulani del secolo IV. al X IX . Udine 1885, pp. 55—56; Michael Bryan: Dictionary of Painters and Engravers. Biographical and Critical. I. London 1886, p. 253; Hans Tietze, Caucig Franz, v: Thieme-Becker. VI. Leipzig 1912, p. 197; E(m m anuel) Benezit: Dictionnaire Critique et Documentaire etc. I. Paris 1924, p. 897; St(eska V iktor), Caucig (Kavčič) Frančišek, — v: SB L 1925—1932, pp. 73, 83; Antonio Morassi, Gorizia nella storia dell’arte. v: Gorizia nella storia, nell’arte, nell’economia. Gorizia 1925, p. 30; Friedrich Noack: Das D eutschtum in Rom. II. Berlin—Leipzig 1927, p. 123; Viktor Steska: Slovenska um etnost, I. Slikarstvo. (Prevalje 1927), pp. 169—173; Antonio Morassi, L’arte nel Goriziano, v: Gorizia con le vallate dell’Isonzo e del Vipa.cco. Guida del Friuli. (Udine) 1930, pp. 200—201; Josip Regali, O nekaterih slikah Franceta Kavčiča (Cauciga) in nekaj o njegovi rodo­ vini. ZUZ XII. 1933, pp. 115—119; France Stele: M onumenta artis Slove- nicae. II. L jubljana 1938, pp. 17, 29, 30; Raieri Mario Cossär: Storia deli’ Arte e deli Artigianato in Gorizia. Pordenone 1948, pp. 74, 212, 309, 311—314, 332; France Stele: Slovenski slikarji. Ljubljana (1949), pp. 144—145; Dario de Tuoni, Slikar Franc Kaučič. Razgledi. IV. Trst 1949, pp. 445—460; Ugo je m islil sam o Ferd. Nik. S chm idtler, ki je postavil sm rtn i dan n a 17. novem ber.2 Po več kot sto letih je ta datum navedel in ga do­ končno popravil Heinz Schöny3 , in sicer po o h ra n je n i osm rtnici, v k a ­ teri n a z n an ja K avčičev nečak B ern ard R a ttm a n n sm rt svojega ujca. O sm rtnica navaja, da je Kavčič umrl dne 17. novembra 1828 ob pol d v an ajstih ponoči. H. Schöny je v navedenem delu im enoval tudi do­ k u m en tarn o izpričan poklic K avčičevega očeta — bil je krojač. Ta poklic je zapisan ob K avčičevi poroki z B arbaro H aitzinger leta 1803.4 Iz sm rtn e knjige izvemo, da je slikar um rl 72 let star, k ar je v n a ­ sp ro tju z ro jstn im letom 1762, ki se v strokovni lite ra tu ri n ajv ečk rat ponavlja. N ajbolj se je približal K avčičevi ro jstn i letnici Carl von Lützow5 , ki je navedel leto 1756. Do te letnice je n ajb rž prišel z od­ števanjem let. P rim arn i vir, tj. o riginalna k rstn a knjiga, pa sporoča, da je bil K saver A nton N ikolaj K avčič (Xaverius Antonius Nicolaus Caucig), sin A ndreja in K atarin e, rojen 4. decembra 1755.6 Iz vseh m nogoštevilnih tisk an ih virov, ki govore o Kavčiču, lahko raz­ berem o njegovo življenjsko pot, ki jo tu n a k ratk o obnavljam o. Vo­ dila ga je iz rodne G orice s priporočilom grofa G vidona Cobenzla na D unaj, k jer m u je bil m ecen Cobenzlov sin Filip. Z D u n aja je odšel G aletti-E ttore Camesasca: Enciclopedia della pittura Italiana. (1951), pp. 2439—2440; Guido Manzini, I disegni di Francesco Caucig nel Museo Pro­ vinciate dt Gorizia. Con un saggio bibliografico sul pittore. Firenze 1952, pp. 1 —7; österreichisches biographisches Lexikon. 1815—1950. Graz—Köln 1954, pp. 138—139; Luc Menaše: A vtoportret na Slovenskem . M oderna ga­ lerija. Ljubljana 1958, pp. 26, 75—76, 124; France Stele: Umetnost v Pri­ morju. Ljubljana 1960, pp. 161—167; Em ilijan Cevc: Slovenska umetnost. Ljubljana 1966, pp. 160, 165; Špelca čopič: Slovensko slikarstvo. Ljubljana 1966, pp. 72—74, 234—235 (lit. sestavila Melita Stele-M ožina); W alter Wag­ ner: Die Geschichte der Akadem ie der bildenden Künste in Wien. N. F. I. (Wien 1967), pp. 57, 62, 81, 91, 94; Heinz Schöny: W iener Künstler-Ahnen. 1 . Wien 1970, p. 136; Luc Menaše: Evropski um etnostno-zgodovinski lek­ sikon. Ljubljana 1971, stolpec 991; A rtisti Austriaci a Roma dal Barocco alla Secessione. Museo di Roma. Palazzo Braschi. 1972, brez pag., kat. št. 42—61 (besedilo in katalog: Jörg Garm s). 2 Ferd. Nik. Schmidtler, Vor einem Grabe. Lebensbild. Sonntagsblätter. No. 34. (Wien) 22. August 1847, p. 434. 3 Heinz Schöny: W iener K ünstler-Ahnen. 1. Wien 1970, p. 136. — Avtor mi je ljubeznivo odstopil kopijo te osmrtnice. — H. Schöny je v nav. delu iz­ ključil podatek iz sm rtne knjige župnije M aria Hilf na Dunaju, kjer je naveden kot datum sm rti 18. november. — Upoštevati moramo, da so bili sorodniki priče smrti, drugega dne pa so sm rt zapisali v protokol. 4 Poročna knjiga, Tom 40, fol. 64, Rz. 128, p. 64, arhiv župnije Schotten, Du­ naj; Traungsbuch vom 5ten October 1801 bis I7ten July 1809, p. 118, arhiv župnije Alser Vorstadt, Dunaj. 5 Carl von Lützow: Geschichte der kais. kön. Akademie der Bildenden K ün­ ste. Festschrift des neuen Akadem ie-G ebäudes. Wien 1877, p. 102. 6 IX. Liber baptizatorum, spectans Parochiam S. Hilarii Goritiae, a die 21ma Martii 1754, usque ad diem 31n'- am Decembris 1770, p. 28, arhiv stolne cer­ kve v Gorici. — D atum rojstva je nejasno zapisan, berem ga za 4. decem­ ber, m edtem ko je datum krsta popolnoma jasno napisan. Im enu Xaverius Antonius itn. je pozneje pripisano ime Franciscus. Ta pripis je ponovljen tudi v pozneje napisanem repertoriju imen krščencev, hranjenem v istem arhivu. Tudi pozneje so imena Frančiškov Ksaverijev vpisana le kot K saverij. Glede na razne poznejše arhivske vire, ki imajo zapisano K av­ čičevo starost, imeni staršev itn., ni dvoma, da gre za pravo rojstno let­ nico, za leto 1755, prej in pozneje pa v krstni knjigi ni več zapisano nobeno ime Franca Kavčiča. v Bologno, n ato v Rim, k jer je živel v letih 1781—1787.7 Od tod se je vrnil n a D unaj, že pred m arcem 1793 je bil predviden za naslednika H uberta M aurerja, p rofesorja n a d u n ajsk i akadem iji. Poslali so ga v M antovo in v Benetke, k jer je ostal do leta 1796 in k jer je živel s cesarsko štipendijo. V letih 1796—1798 je bil korektor elem entov historičnega slikarstva, 1799—1820 profesor historičnega slikarstva, 1820—1828 pa direktor n a d u n ajsk i slikarski in kiparski akadem iji. Leta 1808 je postal um etniški nadzornik d u n ajsk e porcelanske m an u ­ fakture. 1823 je postal častni član Accademie di San Luca v Rimu. K ot nam je danes znano, je prvi tisk an i vir o Kavčičevem delu poro­ čilo v rim skem časniku Giornale delle Belle Arti.8 Ta s hvalo poroča 0 oljni sliki, ki jo je naročil grof Filip Cobenzl. Kavčič je na njej upodobil S rečanje Jožefa II in papeža P ija VI. na D unaju. Slika je bila tam tu d i razstavljena. Poročila o K avčiču se že za njegovega živ­ ljen ja k a r vrste. V n jih so n a šte ta m noga um etnikova dela, ki jih danes ne poznam o več. N eznani poročevalec ga leta 1799 im enuje »ein Künstler vom vorzüglichen Talent«.9 , G oethe 1805 »Cauzig und Schöpf waren Männer von Talent die grosse Fertigkeit besassen; aber eben darum die wesentlichsten Theile ihrer Gemälde etwas vernach­ l ä s s i g t e n G. K. N agler 1835 »der geniale Cauzig«1 ' itn. č la n i B ratov­ ščine sv. Luka, m ed njim i zlasti Joseph S utter, pa ga p rek lin jajo z drugim i d unajskim i profesorji vred.1 2 Ti m ladi slikarji so z jezo in razočaranjem pokazali h rb et d u n ajsk i akadem iji in odšli v Rim. V sporu in razgovoru z n jim i je k ip ar Z auner om enil veliko število F ügerjevih skic iz R im a in tu d i Kavčič se je b ah al s svojo pridnostjo, ki m u ni dala, da bi posvečeval k ak ršen koli praznik. Sad te »bar­ barske pridnosti« so sto tin e risb in lav iran ih perorisb, ki jih lite ­ ra tu ra pavšalno n aštev a in zaokroža n a okoli 2000. Po tem ah se delijo n a anatom ske študije, n a štu d ije živali in rastlin, n a risbe po a n tič ­ nih plastikah, glavah in predm etih, n a risbe po delih sta rih slikarjev te r n a zgodovinske in m itološke prizore in na vedute. Večje zan im an je za Kavčičevo delo so v našem sto letju pokazali Vik­ to r S teska,1 3 A ntonio M orassi1 4 in Josip R egalli,1 5 ki se je posebej po­ 1 Stato deli’Anim e 1781, S. Andrea d. Fratte, Piazza di Spagna; Stato d’A ni- me 1783—1787, S. Andr. d. Fratte, Vic. S. Isidoro — oboje v Archivio del Vicariato, Rim; Friedrich Noack: Das D eutschtum in Rom. II. Berlin— Leipzig 1927, p. 123. 8 Nav. delo, št. 22, 2. 6. 1787, pp. 167—168, 422. 9 G. S. r, N achrichten eines K unstliebhabers von Wien 179ß, v: Meusel Johann Georg: Neue Miscelaneen artistischen Inhalts für K ünstler und Kunstliebhaber. Neuntes Stück. Leipzig 1799, p. 104. 1 0 Johann Wolfgang Goethe: W inckelmann und sein Jahrhundert. Tübingen 1805, p. 320. 1 1 G(eorg) K (aspar) Nagler: Neues allgemeines Künstler-Lexicon. I. Mün­ chen 1835, p. 435. 1 2 Ludwig Grote, Aus den Briefen von Josef S utter an Overbeck und die Lukasbrüder in den Jahren 1810—1815, — v: Zeitschrift für K unst­ geschichte. IV. Bd. Berlin—Leipzig 1935, pp. 128, 130. 1 3 S6t(eska V iktor), Caucig (Kavčič) Frančišek, SBL 1925, p. 73. 1 4 Antonio Morassi, Gorizia nella Storia dell’arte, v: Gorizia nella storia, nell’arte, nell’economia. Gorizia 1925, p. 30. 1 5 J (osip) Regali, O nekaterih slikah Franceta Kavčiča (Cauciga) in nekaj o njegovi rodovini. ZUZ XII, 1933, pp. 115—119. trudil, da je od ted aj še živečih K avčičevih neposrednih potom cev zbral podatke o slikarjevem slovenskem rodu; ta n aj bi po očetovi p lati izviral iz Volč p ri Tolm inu. Poleg teg a sta se zanj zanim ala D ario de T uoni1 6 , ki je dodal nekaj novih podatkov, in G uido M an- zini1 7 , ki je odkrito povedal, da av to rji ponavljajo sta re podatke, da pa o staja o d p rta v rsta v p rašan j o K avčičevem um etnostnem delu. F r. Stelž1 8 je zapisal, da je Kavčič »...'pomembna osebnost, katere pravo vrednost utegne »odkriti« kasnejši čas«. Jörg G arm s1 9 pa je iz njegovega opusa zbral nekaj risb iz rim skega časa, jih kataloško ob­ delal in jim priznal, da so »di solida qualitä e spesso non privi di In­ teresse am i talora dotati di un certo spirito.« K ot je bilo tre b a p rev eriti vsa s ta ra in novejša poročila o Kavčičevem življenju in delu, tak o se m i je zdelo potrebno n ad ro b n eje pregledati to lik o k rat om enjene K avčičeve risbe, za k atere je vedno rečeno, da jih je okoli 2000. Bolj zaokroženo oceno o pom enu slik arja K avčiča pa se bo m orda posrečilo n ap isati ob 150-letnici njegove sm rti leta 1978, ko je predvidena obširnejša razstav a v N arodni galeriji v L jub­ ljan i. Om enim n aj še, da je Kavčič končno štu d iral v Rimu, ko je tam ugašalo življenje vplivnega in slavljenega slik arja Pom pea B atonija, ko je bil živ spom in n a R ap h aela M engša, ko je v R im u še delal M engsov svak A nton de M aron, ko so se okrog Angelike K au ffm an n zbirali vplivni um etniki in lite rati, ko so bili W inckelm annovi n au k i živi in v veljavi, ko je J. L. D avid razstavil Prisego H oracijev, ko je tam u stv a rja l svoja zgodnja dela A ntonio Canova, s k aterim si je Kavčič tu d i pozneje dopisoval, itn . Med študijem v B en etk ah (1791 do 1796) ga je ta m k a jšn ja slik arsk a ak ad em ija im enovala za član a svo­ jega g rem ija2 0 , n a D u n aju pa je v dolgih letih (1797—1828) deloval pozitivno in negativno in vzgojil vrsto slikarjev te d a n je avstro-ogrske m o n arh ije; m ed njim i je bil tu d i slovenski slik ar M atevž Langus, s k aterim se je pogovarjal slovensko.2 1 Vsaj iz tre h vzrokov začenjam o b jav ljati n ajp re j K avčičeve risbe po slikah s ta rih m ojstrov: 1) m ed m aloštevilnim i K avčičevim i o bjavlje­ nim i deli so bile te risbe n ajre d k eje om enjene,2 2 2) čeprav so slikane v isti te h n ik i in z enakim i risarsk im i principi (risba s svinčnikom — 1 6 Dario de Tuoni, Slikar Franc Kaučič. Razgledi. IV. Trst 1949, pp. 445—460. 1 7 Guido Manzini, I disegni di Francesco Caucig nel Museo Provinciale di Gorizia. Con un saggio bibliografico sul pittore. Firenze 1952, pp. 3—7. 1 8 France Stele: Umetnost v Primorju. Ljubljana 1960, p. 167. 1 9 A rtisti Austriaci a Roma dal Barocco alla Secessione. Museo di Roma. Palazzo Braschi 1972, brez pag. (pred kat. št. 42) (katalog: Jörg Garms). 2 0 A kten 7796, fol. 97, Archiv d. Akad. d. Bild. Künste, Dunaj. 2 1 Ivan Kukuljevič Sakcinski, Matia Langus. Neven I, br. 6. Zagreb 5. 2. 1852, p. 88; Ivan Kukuljevič Sakcinski: Slovnik um jetnikah jugoslavenskih II. Zagreb 1858, p. 151. 2 2 Jörg Garms je na razstavi v Rimu leta 1972 jasneje načel to vprašanje in razstavil dve deli: Domenichinov Dianin lov in Igre puttov, neidentifici­ rano delo slikarja Cira Ferrija. Tu je tudi opomnil, da je Kavčič kopiral več del v Gallerii Borghese, da je pogosto kopiral Guercina, Domenichina, Garofala, Cav. d’Arpina, Ferrarija, Veroneseja in Tiziana. Pristavil je še, da njegove kopije pomenijo težavo, ker gre za manj znana dela ali na­ pačno imenovane avtorje. — Prim.: A rtisti Austriaci a Roma. Roma 1972, kat. 54, 55. lav ira n a perorisba), izd ajajo z njim i slikarski risarsk i k an o n konca 18. stoletja, zraven pa še črte, ki so bile značilne za K avčičev osebni stil, 3) sam a resnica, da so bile Kavčičeve risbe po s ta rih m o jstrih n a jm a n jk ra t om enjene, p a ne bi m ogla b iti dovolj u tem eljen vzrok, da se u stav ljam prav ob te h delih, če ne bi bila prepričana, da bodo prav te risbe le spregovorile kakšno besedo več k h isto ria tu slavnih in m an j slavnih del, ki jih je Kavčič prerisoval ob času b iv an ja v Rimu. Ne zaradi zapisov v stare jši lite ratu ri, m arveč zaradi zanesljive žup­ n ijske kontrole »duš« (Status animarum) vemo, da je K avčič živel v R im u leta 1781 n a Piazza di Spagna, leta 1783—1787 pa v Vicolo di S. Isidoro. Na vprašanje, ali je v tem času prerisoval um etn in e prav po originalih, še ne m orem o zanesljivo odgovoriti. Iz n ajrazličn ejših virov pa vemo, da so hodili um etniki v Rim k o p irat originale, ne pa njihovih kopij ali modelov, saj bi te lah k o prerisovali n a dom ačih akadem ijah. R azen teg a vemo iz predpisov Accadem ie di S. Luca, da so m orali štu d en tje te ustanove p rerisovati plastiko A ntinoa v K api- tolinskem m uzeju2 3 , če so se v tre tje m razredu hoteli potegovati za nagrade, štu d e n tje francoske slikarske akadem ije v R im u so m orali kopirati dela velikih m ojstrov n ep retrg an o in brez oddiha.2 4 T udi di­ rek to r F rancoske akadem ije v Rimu, C harles N atoire, je tak o j ob p ri­ hodu v Rim odhitel k o p irat dela D om enichina in R affaela. V V ati­ kanu, S. A ndreu della Valle, G allerii Borghese, v Palazzu Doria, Villi Ludovisi itn. so kopirale »m lade trope«, kot citira Je a n Locquin po zanesljivih virih.2 5 K tem u lahko dodam o, da se je tu d i K avčič lotil p reriso v an ja an tičn e plastike kapitolinskega A ntinoa,2 6 v endar brž­ kone po m odelu. Spričo številnih kopij po delih razn ih m ojstrov in a n tičn ih plastik, ki so nekoč bile ali so še v Rimu, m orem o le verjeti, da se je lotil štu d ija po pravilih, ki so bila v R im u splošno veljavna. Da je kopiral v G allerii Borghese, posebej om enja v njegovem živ­ ljen jep isu Iv an K ukuljevič Sakcinski,2 7 m edtem ko drugi av to rji tega posebej ne n av ajajo . D a je Kavčič izdelal m avčne odlitke po origi­ n alih v M antovi, p riča d enarno nakazilo iz le ta 1793.2 8 K avčič je bil n am reč prav zato poslan v M antovo, o čem er vedo povedati m nogi njegovi življenjepise!,2 9 in raču n za te odlitke te trd itv e p o trju je. Za njegove kopije po delih s ta rih m ojstrov sicer ni o h ra n je n ih računov, ki bi te tem e posebej om enjali, pač pa je n a razn ih raču n ih npr. govor o sto tih risbah, prin esen ih iz Rim a, itn .3 0 D esetine in desetine vedut z dodanim i štafažn im i figuram i pa n arav n o st tiho. izpoveduje, kako je slikal te m otive: peš, n a konju, v družbi, sam . 2 3 I pregi delle Belle A rti celebrati in Campidoglio pel solenne concorso tenuto dell’Insigne Accademia del Disegno in S. Luca li 2. Giugno 1783, Roma, p. VIII. 2 4 Jean Locquin: La Peinture d’Ilistoire en France de 1747 ä 1785. Paris 1912, p. 98. 2 5 o. c., pp. 99—100. 2 6 j&ntinoos, Akademie d. bild. Künste, Dunaj, inv. št. 1408 in 1414. 2 7 Slavnik um jetnikah jugoslavenskih. III. Zagreb 1858, p. 149, 2 , 1 A kten 1793, Fol. 24, Archiv d. Akademie d. bild. Künste, Dunaj. 2 a II. H. Füssli, K ukuljevič Sakcinski, W urzbach itn. 3 0 A kten 1798, Fol. 144, Archiv d. Akademie d. bild. Künste, Dunaj. 1 OZNANJENJE, sl. 1 svinčnik, lav iran a perorisba, bistr, 22 x 32,9 cm, sign.: ni, n a h rb tn i stra n i napis s svinčnikom : Federigo Barocio in z bistrom : Baroci N arodna galerija L jubljana, inv. št. G. 28 Foto: N arodna galerija, L jubljana, N. 3258 V načinu: Barocci(o) Federico (U rbino 1528 ali 1535 - U rbino 1612) Sl. 2 o. pl., 48 x 55 cm, sign.: ni G alleria Borghese, Rim, inv. 380 Slika je v in v e n ta rju iz leta 1693 im enovana, v endar brez avtorja, leta 1790 je om enjena kot B aroccijevo delo, v fidejkom isu iz leta 1833 pa postane »m anira po B arocciju«; Longhi jo šteje za delo m anierista. ki je bil pod B aroccijevim vplivom, k ar je obveljalo do d an a šn jih dni. Med B aroccijevim opusom ne najdem o identične ali vsaj tej bližnje slike. K avčič je k v ad ratn i fo rm at slike sprem enil v pravokotnega. Ob zgornjem robu slike je izpustil goloba — sv. Duha, spodaj je odrezal tla. V globino podaljšano ozadje je poenostavil z lav iran o senco. Lit.: Delia Pergola II, kat. in sl. 103; Harald Olsen: Federico Barocci. Kceben- havn 1962.2 2 ČAŠČENJE PASTIRJEV, sl. 3 svinčnik, lav iran a perorisba, bistr, 21,3 x 25,2 cm, sign.: ni, n a k arto n u v sredini napis: L eandro B assano Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 1013 Bassano Jacopo, Jacopo da Ponte (B assano 1516 B assano 1592) S1.4 o. pl„ 76 x 94 cm, sign.: ni G alleria Borghese, Rim, inv. 26 M anilli že leta 1650 citira sliko kot delo »starejšega B assana«, enako in v en tar iz leta 1693; A rslan jo im a n ajp re j za kopijo 18. stol. po neki izginuli sliki Jac. da P onteja. Longhi, De R inaldis in D elia Pergola izključujejo, da bi šlo za kopijo, in Arslan 1960 p ritrd i tej atribuciji. R eplika slike je v zbirki C attan eo v M ilanu. — A tribucije L eandru B assanu ne najdem o n ik jer razen pri Kavčiču. K om pozicijsko je K av­ čič posnel original, v endar je sprem enil vse obraze fig u r v svoje obrazne tipe, zlasti pri sv. Jožefu in p a stirju desno zadaj za oslom, k jer je n arav n o st posnem al obraze svojih fig u r n a vedutah. Na po­ slopju v sredini slike v ozadju je vrisal okna, ki jih danes n a originalu ni videti. P ri tem n asta n e v p rašan je ali je to slikarjev sam ovoljni dodatek ali je n a originalu m otiv izginil. Lit.: Delia Pergola I, kat. 175, sl. 174; Eduardo Arslan: I Bassano. I. Milano (1960), pp. 174, 171. 3 DAROVANJE V TEMPLJU, sl. 7 svinčnik, lav. perorisba, črn a kreda, bistr, 20,7 x 27 cm, sign.: ni, na k arto n u v sredini napis: Jacopo B assano Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 1027 Bassano Jacopo, Jacopo da Ponte (B assano 1516 — B assano 1592) Med deli Bassanov so zn an a tri Darovanja o templju: 1. Jacopo in Francesco da Ponte, Bassano, Museo Civico (sl.6), inv. 21, iz stolne cerkve, sign.: lac. s. a Pote (Bass, s et Frac. s.) filius facie, n t MDLXXVII. Po A rslanu gre v glavnem za delo sina F rancesca (A rslan II, si. 219); 2. Francesco da Ponte, N arodna galerija v Pragi (sl. 5), inv. DO 35, sign.: Franc.vs Bas.vs Fac. (replika je v m uzeju v R o u e n u ); 3. Leandro da Ponte, Rosa, župnijska cerkev, nekoč sign.: L eander B assan F aciebat, iz leta 1582 (A rslan II, sl. 283). Vsa tri dela so pokončnega form ata, Kavčičevo pa je podolžno. K av­ čičevi risbi sta najbližji deli Fr. B assana v Pragi in skupno delo Jacopa in sina F rancesca v m uzeju v B assanu. G re za kopijo nekega danes neznanega dela, ki m u je Kavčič m orda sprem enil fo rm at in posnel ]e osrednji del kom pozicije brez vrha, čeprav ponuja prim erjavo tudi slika iz Prage, k jer je D arovanje v tem p lju prav tak o zaključeno z bal­ dahinom nad Sim eonom in s pogledi n a del arh ite k tu rn eg a prostora. In prav n a praški sliki je največ sorodnosti s Kavčičevo risbo: drža starca Sim eona, n a m enzo položeni Jezus, p rt z vezenjem in resicam i, m lajši duhovnik desno od starc a te r svečnika n a m enzi (na Kavčičevi risbi drži svečo fig u ra na levi stran i starc a ). Jožefova drža je K avči­ čevi sicer sorodna, še sorodnejša pa je na sliki v B assanu. M arija v poklekujoči drži in glavi v profilu spom inja n a M arijo v B assanu. V B assanu pa ne najdem o prero k in je Ane, ki jo im a K avčičeva risba in prašk a slika. P rašk a slika nas opom ni tu d i n a m otiv na levi stran i kom pozicije, k jer se okrog živalske kletke m udi m oška fig u ra z gladko navzdol padajočim i lasm i, ki dajejo videz senene kopice; ta m otiv je v svojih delih večkrat ponovil F rancesco Bassano. T udi m otiv m atere z otrokom je znan s praške slike, le da tam m ati kleči n a desni stran i in pridržuje poklekujočega otroka, n a Kavčičevi risbi pa sedi n a levi stra n i in drži otroka v naročju. Na Kavčičevi risbi najdem o še en znan m otiv Jacopa B assana: ležečega psa in s h rb ta zajetega m ladeniča v »m inistrantski« halji. O bem a lahko najdem o vzporednico n a Jaco- povi signirani sliki Krst sv. Lucille v m uzeju v B assanu, k jer nam daje oporo za prim erjavo tu d i klečeča sv. Lucilla, ki spom ni na M arijo n a K avčičevi risbi. A tribuciji, ki jo je že Kavčič zapisal n a svojo risbo, ko je posnel delo Jacopa B assana, ne m orem n asp ro to v ati; ra je bi še dodala, da je m or­ da tu d i pri tej — danes v originalu neznani sliki — tak o kot pri sliki istega m otiva za stolnico v B assanu, danes h ra n je n i v Civico Museo v |3assanu, sodeloval tu d i sin Francesco. Lit.: Wendelin Boeheim, Urkunden und Regestens aus der k. k. Hofbliothek, — v; Jahrbuch der Kunsthistorischen Sammlungen, X, Wien 1889, p. 164, n. 51; Edoardo Arslan: I Bassano. I. Milano (1960), pp. 221, 222, 223, II. pl. 260. 4 MOL JEN JE DETETA, sl. 19 svinčnik, lav. perorisba. bistr, 31 x 21,8 cm, sign.: ni, n a k arto n u v sre­ dini n ap is: Angiolo B ronzino Akadem ie d. bild. K ünste. D unaj, inv. in foto št. 959 Bronzino, Agnolo di Cosimo di Mariano (Firenze 1503 — Firenze 1572) Slika iz zbirke E sterhazy je danes v Szepm üveszeti M üzeum v B udim ­ pešti, o. pl., 65,3 x 46,7 cm. Im ajo jo za Bronzinovo delo, ki ga V asari om enja leta 1568. Naročil jo je Filippo d ’A verardo Salviati in jo p o ­ stav ljajo v leta 1535—1540. Velika kopija je bila n ap rav ljen a za Sta M aria delle C arceri v P ratu . L eta 1554 je kom pozicijo vrezal Giorgio di G hisi M antovano. Delo je bilo m nogokrat kopirano in razm noženo kot grafika. Ne m orem o reči, ali je K avčič sliko posnel po originalu (kje, od kod je p rišla v E sterhäzyjevo zbirko), po kopiji v olju ali g ra­ fičnem listu. Lit.: A rthur K. Me. Comb: Agnolo Bronzino. His life and works. II Bronzino. Busto Arsizio (1960), p. Tab. 30; Edi Baccheschi: L’opera completa del Bron­ zino. Classici dell'arte 70, Milano 1973, kat. 26. 5 VENERA IN AMOR NA MORJU, si. 8 svinčnik, lav. perorisba, bistr, 25,2 x 20,7 cm, sign.: ni, n a k arto n u v sredini n apis: Luca Cam biaso Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 988 Cambiaso Luca (M oneglia 1527 — M ad rid 1585) sl. 9 o. pl., 106 x 99 cm G alleria Borghese, Rim, inv. 123 V in v e n ta rju G alerie B orghese iz le ta 1693 je slika p rip isan a Pom a- ranciu. Kavčič im a kot av to rja zapisanega Cam biasa, prav tak o tu d i galerijski in v en tar le ta 1790. Ta a trib u c ija je ostala do d an a šn jih dni. S orodna kom pozicija, v en d ar izvedena v risbi in v arian ti, je v Uffizih, inv. 13830. Lit.: Delia Pergola I, kat. sl. 128; Suida M anning B ertina & W illiam Suida: Luca Cambiaso, la vita e le opere. Milano; Ceschina (1958), p. 147, sl. 75, IL. 6 KRISTUS V EMAVSU, sl. 10 svinčnik, lav. perorisba, bistr, 20,6 x 31 cm, sign.: ni, n a h rb tn i stran i n ap is: M ichelangiolo in M ichel Angelo da Carvagio (!), n a k arto n u v sredini napis: M ichelangelo A kadem ie d. bild. K ünste, D unaj, inv. in foto št. 1034 Caravaggio, Michelangelo Merisi (C aravaggio 1573 — P orto d ’ Ercole 1610) o. pl., 139 X 195, ok. 1596—1598 N ational G allery, London D om nevajo, da m isli B aglione 1642. leta bržkone n a to sliko, ko govori o slik ah za C iriaca M attei »a cui il Caravaggio avea dipinto un S. Gio- van Battista e quando nostro Signore andö in Emaus . . .« Bellori om e­ n ja le ta 1672 isti m otiv m ed slikam i k ard in ala Scipiona B orgheseja. V tej zbirki je slika ostala do le ta 1798, ko je prešla v last lorda V ernona. Ta jo je leta 1839 daroval N ational G allery v Londonu. G alleria B rera v M ilanu h ra n i sliko istega ikonografskega m otiva, ki jo je naročil m arkiz P atrizij, kot poroča le ta 1672 Bellori. Bellori om e­ n ja K ristu sa z dvem a apostolom a, v ozadju g o stitelja s čepico in ženo, ki p rin aša jedi n a mizo. čep rav poznam o Kavčičeve risbe zunanjščine Ville P atrizij (Akadem ie d. bild. K ünste, inv. 1225, 1304, N arodna gale­ rija, inv. G 71) in so okoli Caravaggiove slike v Breri, ki naj bi izvi­ ra la iz zbirke P atrizij, še vedno n ek a te ra v p rašan ja odprta,3 1 gre v K avčičevi risbi za kopijo po sliki, ki je bila nekoč v G allerii B or­ ghese: n a Kavčičevi risbi in sliki iz G allerie B orghese se nam reč n a ­ tan čn o ujem ajo fig u raln a kom pozicija in vse nadrobnosti n a njej. M ikavnost C aravaggiovega chiaro-scura in n atu ralizm a p a je zabri­ sana. Tem no senco, ki p rih a ja z leve, je Kavčič podal v nedeljeni tem nejši lisi, senco za K ristusovo glavo je n aslikal le n a desni strani, ob nagrbančenem čelu s stola vstajajočega učenca se ni posebej po­ m udil, enako tu d i ne ob strganem rokavu istega apostola, ki ga je zaznam oval z dvem a črtam a, če ne bi poznali originala, ne bi vedeli, kaj n aj bi ti dve zviti č rti pom enili. M anj pozornosti pa je posvetil tu d i zvitem u in osvetljenem u delu bele apostolove h a lje ob robu mize n a desni stran i, ki m u je vzel žar svetlobe. — In n azad n je lahko ver­ jam em o, da je K avčič sliko posnel še v borgeški zbirki, tu d i zato ker priča o tem čas njegovega b iv an ja v Rimu. Iz R im a je odšel leta. 1787, ko je bila slika še v tej galeriji. Lit.: Renato G uttusa - Angelo Ottino della Chiesa: L’opera completa del Ca­ ravaggio. Classici dell’arte 6. Milano 1973,3 pp. 92, 101, kat. in sl. 37, XIX— XXII, kat. 68; X V .settim ana dei Musei Italiani. Roma. Palazzo Barberini, ottobre—novem bre 1972 (kat. Italo Faldi in Eduard Šafafik), pp 24, 26; Ilu- strated general catalogue. The National Gallery. London 1973, p. 99. Homan Poterton: The Supper at Emmaus, Caravaggio, “Painting in Focus”, N. 3, The National Gallery, London (1975) [brez pag.]. 7 SV. HIERONIM, sl. 11 svinčnik, lav. perorisba, bistr, 22,7 x 28,7 cm, sign.: ni, n a k arto n u v sredini napis: Spagnoleto, n a h rb tn i s tra n i lista Kavčičeva lav. pero­ risba po R affaelovi sliki Polaganje v grob N arodna galerija, L jubljana, inv. št. G 30 Foto: N arodna galerija, L jubljana, N. 3260 Caravaggio, Michelangelo Merisi (C aravaggio 1573 — P orto d’Ercole 1610) o. pl., 112 x 157 cm, ok. 1605/06 G alleria Borghese, Rim, inv. 56 Bellori om enja, da je C aravaggio naslikal to delo za k ard in ala Sci- piona B orgheseja. Za C aravaggiovo delo jo šte je ta tu d i M anilli in in v en tar iz leta 1693, m edtem ko jo in v en tar iz leta 1790, tak o kot Kavčič, im enuje Spagnolettovo delo (sc. Jusepe de R ibera, im. lo Spa^gnoletto). T ako je zapisana tu d i v fidejkom isnem seznam u leta 3 1 Acquisti 1970—1972. Galleria Nazionale d’arte antica. XV. settimana dei Musei Italiani. Roma, Palazzo Barberini. Ottobre—Novembre 1972, kat. 5, pp. 24, 26 (besedilo kat. št. 5 napisal Eduard A. Šafafik). 1833 in še n ap rej v našem stoletju, ko jo im ajo n ek a te ri za C aravag- giovo delo (L. V enturi, E. M odigliani, Voss, Longhi, De R inaldis, M a­ hon, Hinks, F ried län d er), drugi spet ne. Ob C aravaggiovi razstavi leta 1951 v M ilanu je bilo v p rašan je o Caravaggiovem av to rstv u spet načeto. Delo m u je še danes pripisano in ga p o stav ljajo v zad n ji čas slikarjevega b iv an ja v R im u leta 1605—1606. R iberovem u opusu so n e­ koč pripisovali tu d i sv. H ieronim a, ki je bil nekoč v Palazzo del Q uiri- n ale in je danes v V atikanu. T udi tega so m u odpisali in ga pripisali C aravaggiovem u krogu.3 2 K ot p ri risbi Kristusa v Emavsu tudi tu K avčiča ni zam ikal C ara- vaggiov n atu ralizem : n a Caravaggiovi sliki je upodobljen strg a n in zavihan h rb e t stare knjige, ležeče n a levem robu mize, Kavčič pa tega m otiva ni posnel, tem več je naslikal zrav n an in nepoškodovan knjižni h rb et. P rav tako ni posnel p o udarjeno štrleče ključnice sv. H ieronim a in poud arjen eg a svetlega in tem nega ozadja, ki ga je z lavuro omilil. Lit.: Delia Pergola II, kat. in sl. 115; Renato G uttuso-Angela Ottino della Chiesa: L ’opera completa del Caravaggio. Classici dell’arte 6, Milano (19733), kat. in sl. 62, Tab. XLV. 8 SALAMONOVA SODBA, sl. 12 svinčnik, lav. perorisba, bistr, 21,5 X 28,2 cm, sign.: ni, n a k arto n u v sredini n ap is: G uercino da Cento Akad. d. bild. K ünste, D unaj, inv. in foto št. 970 Neznani Caravaggist, Mojster Salamonove sodbe, XVII. stoletje, sl. 13 o. pl., 158 x 200 cm G alleria Borghese, Rim, inv. 33 G alerijski in v en tar iz le ta 1693 om enja sliko kot delo slik arja Gio- v an n ija L an fran ca, in v en tar iz leta 1700 pa im enuje kot av to rja G uercina. Kavčič je to atrib u cijo še zapisal (v letih 1781—1787), m ed­ tem ko in v en tar iz le ta 1790 im enuje že novo im e — P assignano (Do­ m enico). To je obveljalo tu d i v fidejkom isnem zapisku leta 1833 in pozneje, dokler ni Longhi predlagal atrib u cijo O raziju G entileschiju, pozneje francoskem u slik arju G uyu Francoisu, n ato V alentinu in končno N eznanem u caravaggistu z n atan čn ejšim poim enovanjem »M ojster Salam onove sodbe«. To zadnje im e neznanega slikarja, ki je bil p rište t francoskem u slikarskem u krogu caravaggiovske sm eri, je bilo p o trjen o tu d i n a razstavi v R im u 1973. leta z naslovom 1 Cara- vaggeschi Francesi. Kom pozicijo Salam onove sodbe je Kavčič posnel. K ot pri vseh svojih risb ah -k o p ijah pa ni posnel obraznih tipov: prim . tipično figuro m la­ deniča n a desni s tra n i slike, ki je s profilom , držo telesa in pričesko n arav n o st podpis M ojstra Salam onove sodbe, pri K avčiču pa gre za shem atičen obraz, ki se uvršča v njegov lasten re p erto ar obrazov, ne pa v rep erto ar m ojstra, ki ga posnem a. čep rav gre po eni s tra n i za original v olju, po drugi pa za kopijo v lav iran i risbi (n ap rav ljen o po originalu ali kakšni drugi predlogi), se s p rim erjavo enega in drugega dela vendarle kažejo značilnosti, 3 2 Guglielmo Briganti: II palazzo del Quirinale. (Roma 1962), p. 55. ki k arak terizirajo ne le Kavčiča, tem več tudi ted an ji rim ski slikarski krog. Ta je u stv arjal po p rincipih M engsove slikarske šole, W inkel- m annovih naukov in idealov neoklasicistične sm eri. Z am an iščem o n a slikarskih delih tega časa plastično naslikano zgrbančeno čelo z glo­ bokim i gubam i, h rap av e roke, plejado obraznih tipov, p osnetih s ceste ali bližnje okolice, in drobne n atu ra lističn e m otive iz vsakdanjega življenja. T ako tu d i n a Salom onovem obrazu niso posnete gube n a obrazu, n a rokah, n a nogah m ladeniča ob desnem robu slike, n ad alje n ista posneta skrem žen obraz n a tleh ležečega otroka in prostorska globina kom pozicije, ki jo u stv a rja ta tu d i svetloba in senca. Vse se je sprevrglo v relief, k jer vlada z ostrim i črtam i zajeta fig u raln a kom ­ pozicija. To pa je bilo končno eno izmed načel klasicistične risbe. — če še n ap rej prim erjam o original in K avčičevo risbo, ugotovimo, da Kavčič ni posnel rogljaste Salam onove krone, da n a prestolu ni n a ­ tan čn o zrisal naslikanega reliefa, tem več ga je le s petim i figuram i nakazal (v resnici jih je šest); n ad alje ni zrisal m otiva akantovega listja in neskončne valovnice n a spodnjih dveh profilih prestola, tr a ­ kov n a eksekutorjevih sandalah, trakov n a nogah desnega m lade­ niča itn. Kavčič v svojem delu ni ostal le pri risbi ikonografskega m otiva Salo­ m onove sodbe. V risbah je zapustil štu d ije za sam ostojno kom pozicijo Salom onove sodbe, ki je danes v N arodni galeriji v L jubljani. Med njegovim i štu d ijam i pa najdem o npr. obraz eksekutorja, visečega o tro ­ ka, ki ga eksekutor drži za noge, in vrsto drugih štu d ij,3 3 ki jih je pozneje uporabil za sam ostojno kom pozicijo njegove največje oljne slike, ki jo danes poznam o.3 4 Lit.: Delia Pergola II, kat. in sl. 119; I Caravaggeschi Francesi. Accademia di Francia. Villa Medici. Roma 1973/74 (uvod: Jacques Thuillier, kat.: Arnauld Brejon de Lavergnee & Jean-P ierre Guzin), pp. 4,42, 51—65, 116, 123, 226, 228, sl. 12. 9 KRISTUS V G LO R IJI S SVETNIKI, sl. 14 svinčnik, lav. perorisba, bistr, 28,8 x 30,5 cm, sign.: ni, n a k arto n u v sredini napis: C aracci Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 951 Carracci Annibale (Bologna 1560 — Rim 1609) Perorisbo Kristus v gloriji (Musče des B eaux Arts, Lille) (sl. 15) im ajo za študijo za zgornji del kom pozicije istoim enske oljne slike v galeriji v Palazzo P itti v Florenci (sl. 77). O ljna slika p red stav lja v v rhnjem delu K ristu sa v slavi s svetim P etrom in Janezom Evangelistom , v spodnjem delu pa n a levi M arijo M agdaleno in H erm enegilda, n a desni pa sv. E dvarda Angleškega in d o n ato rja O doarda F arn eseja. P red le­ tom 1698 je bila slika v zbirki F erd in an d a de’Medici. že H. T ietze je v letih 1905—1906 ugotovil razločke m ed perorisbo in oljno sliko: p u tta sta nekoliko sprem enjena, sv. Jan ez E vangelist in jgv. P eter g led ata v nebeško sfero, m edtem ko gleda Jan ez E vangelist n a oljni sliki n a zemljo. Najbolj tipičen razloček je v K ristusovem 3 3 Akademie d. bild. Künste, Dunaj, inv. št. 1213, 1370, 1429, 1439, 1454. 3 4 o. pl., 243 x 340 cm, sign.: ni. telesu, ki je n a risbi krepko, n a oljni sliki pa gre za telo nežnega m la­ deniča, itn. Voss om enja oljno sliko in jo im enuje značilno delo iz časa prehoda bolonjskega k rim skem u času. P ripisuje ji še navezanost n a Correggia v koloritu, v kom poziciji pa n aj bi jo in sp irirala rim ska m onum entalnost. G lede skice m isli, da še m an jk a skupina z d o n ato r­ jem . Poševna drža telesa n a oljni sliki skoraj ne pride do veljave, m edtem ko je n a risbi n a risa n a v m očnejši skrajšavi. Nobeden teh avtorjev ne om enja, da je risba z dveh stra n i spodrezana in da im a fo rm at skice pravzaprav obliko p endantiva. Dodali bi tu d i še n ek atere značilnosti, ki jih im a risba, v rh n ji del oljne slike pa ne: m ed sv. Pe­ trom in angelom levo od K ristu sa ni oblaka (n a oljni sliki je), K ristus kaže izpod h alje le levo stopalo (n a sliki tu d i desno) in del d rap erije n a desnem kolenu je drugače n ag u b an kot n a oljni sliki; Jan ezu E vangelistu se vidi le levo stopalo, n a sliki tu d i desno; Janezova h a lja je n a risbi bogateje n ag u b an a kot n a oljni sliki; pod oblakom izpod K ristu sa plava kerub, n a oljni sliki ga ni. Ko pa prim erjam o K av­ čičevo risbo in C arraccijevo perorisbo, ugotovimo, da je Kavčič kopiral vso kom pozicijo perorisbe z vsem i detajli, vključeno s spodaj segm ent­ no spodrezanim form atom upodobitve. K ot pri vseh drugih K avčičevih k opijah je tak o j vidna sprem em ba obraznih tipov, ki jih je K avčič prilagodil svojim obraznim tipom (iz podolgastih obrazov je naslikal k rajše in sploščene). — V prašanje je, ali je Kavčič kopiral to risbo ali še neko popolnejše delo — fresko, oljno skico? H. T ietze je p ri C arraccijevi risbi poudaril krepkost K ristusovega te ­ lesa, Voss p a večji scorzo kot n a oljni sliki. V prim erjav i s Kavčičevo risbo pa je opazen tu d i form at, ki ga K avčič ponovi in ki ne kaže n a študijo za oljno sliko pokončnega, pravokotnega form ata, tem več prej n a študijo stenske slike ali stensko sliko samo, ki se p rilag aja a rh ite k tu ri — oboku, »študij antike, Rafaelovih in Michelangelovih del mu je pokazal slabost njegove risbe in tako je postal kot zrel moj­ ster znova učenec«, om enja T ietze3 5 za čas, ko je A. C arracci prišel u stv a rja t v Rim. V prašanje je, ali je C arraccijeva perorisba res š tu ­ d ija za oljno sliko O doarda F arn eseja, ki je danes v Palazzo P itti. Ali ni A nnibale C arracci le ponovil znanega v rh n jeg a dela K ristu sa v sla­ vi, ga m onem entaliziral in pripravil za sam ostojno kompozicijo, ki je danes ne poznam o ali pa ni bila izvedena? Znova se vprašam o, kje je Kavčič slikal to risbo in po k aterem vzorcu: po še danes o h ran jen i C arraccijevi perorisbi, k ar se m i zdi n ajm an j verjetno, po neki večji štu d iji ali k arto n u ali po čem drugem ? Lit.: Hans Tietze, Annibale Carraccis Galerie im Palazzo Farnese und seine römische W erkstätte. Jahrbuch der Kunsthistorischen Sammlungen. Bd. 26, Wien 1906/07, pp. 63—65, sl. 1, 7; H erm ann Voss: Die Malerei des Barock in Rom. Berlin (1924), p. 498 m, sl. p. 178; Donald Posner: Annibale Carracci. Vol. 2. (London 1971), p. 45, sl. 103 b. 10 ROP EVROPE, sl. 20 svinčnik, la v .perorisba, bistr, 30,8 x 21,7cm, sign.: ni, 3 5 Hans Tietze, Annibale Carracis Galerie im Palazzo Farnese und seine römische W erkstätte. Jahrbuch der kunsthistorischen Sammlungen. Bd. 26, Wien 1906/07, p. 65. n a k arto n u v sredini n apis: d ’Arpino Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 963 Cesari Giuseppe, II Cavalier d’Arpino (A rpino 1568 — Rim 1640) o. les, 57 x 45 cm, sign.: ni, po 1.1602/03 G alleria Borghese, Rim, inv. 378 Provenienca slike ni znana, vendar gre bržkone za neposreden nakup. V galerijski zbirki je prvič im enovana leta 1650 (M anilli), in od ted aj n ap rej so jo vedno im eli za Cesari j evo delo. H. R öttgen jo uvršča m ed slikarjeva m itološko-erotična dela po letu 1602—1603. K avčičeva kopija posnem a original brez večjih sprem em b, le obrazi so spet sam o skicirani in so zgubili značilne črte C esarijevih tipov. Lit.: Delia Pergola II, kat. in sl. 88; H erw arth Röttgen: II Cavalier d’Arpino. Roma. Palazzo Venezia 1973, p. 112, si. 34. 11 SV. JANEZ KRSTNIK, sl. 17 svinčnik, lav. perorisba, bistr, 27,5 x 20.3 cm, sign.: ni, n a k arto n u v sredini napis: d ’Arpino Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 954 Cesari Giuseppe, II Cavalier d’Arpino (A rpino 1568 — Rim 1640) o. skril, 33 x 26 cm, sign.: ni, pred 1607 G alleria Borghese, Rim, inv. 229 Slika je bržkone prišla v zbirko z drugim i deli, ki jih je leta 1607 za­ plenil v d’A rpinovem ateljeju fiskal papeža P avla V. in ki so bila z brevom d an a zbirki k ard in ala Scipiona B orgheseja. M anilli im enuje leta 1650 sliko kot delo »Cavaliera G uidottija«. In v e n ta r iz leta 1693 sliko sam o opiše in pove, da im a številko 170, ki je še danes vidna. In v e n ta r iz leta 1872 jo im a za delo bolonjske šole itn. Longhi jo je leta 1928 pripisal C avalieru d ’A rpinu in della Pergola jo uvršča m ed dela pred letom 1607, ko je bila zaplenjena. K avčič je v času b iv an ja in k o p iran ja v Rim u (1781—1787) zapisal kot av to rja im e C avaliera d ’A rpina. Kaže, da je ta atrib u c ija že v n je ­ govem času veljala. Lit.: Della Pergola II, kat. in sl. 89. 12 ZAROKA SV. KATARINE, sl. 29 svinčnik, lav. perorisba, bistr, 26,3 x 21 cm, sign.: ni, n a k arto n u v sredini napis: il Correggio Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 968 Correggio, Antonio Allegri (Correggio ok. 1489 — Correggio 1534) N ajbolj znano Correggiovo delo s tem naslovom je prišlo iz parm ske zbirke F arn ese leta 1734 v Neapelj v m uzej Capodim onte. Corrado Ricci om enja, da je videl n ajm an j dvajset kopij v javnosti dostopnih g alerijah in m noge v zasebnih zbirkah, ki so im enovane kot originali. jJRicci n ad a lje om enja, da velja po atrib u c ija h n ek a te rih av to ritet kot original slika v lasti družine Fabrizi v Rimu. Za original im ajo tudi sliko v E rem itaži in G allerii B arberini. Sam pa misli, da je original slika v N eaplju. Ta sodba je obveljala do danes. — Ricci citira tudi grafike, ki so n astale po tem delu: leta 1620 jo je vrezal G. B. M ercati po kopiji v lasti Lelia G uidaccionija, m edtem ko je bila g rafik a Ne- ap eljčan a A ntonia Z aballija vrezana leta 1781 po originalu v N eaplju. T re tji prim erek — n ap rav il ga je M oette — rep ro d u cira neapeljsko kom pozicijo in citira napis, ki n aj bi bil n a h rb tn i s tra n i originala. K avčičeva risba posnem a originalno kompozicijo, n a jv e rje tn e je pa je bila n a re je n a po kak šn i kopiji v Rim u, m orda v G allerii B arberini, k jer je Kavčič kopiral, k ot se zdi, p lastike in slik arsk a dela. Lit.: Corrado Ricci: Correggio. (Roma 1929), pp. 36, 140, sl. XLI; Alberto Be- vilacqua — A (ugusta) G(hidiglia) Quintavalle: L’opera completa del Cor­ reggio. Classici dell’arte 41. Milano (1970), kat. in sl.40, XIII; Catalogue of Italian Paintings. Illustrations. Art Gallery and Museum Glasgow 1970, p. 46, si. 127. 13 SIBILA, Si. 21 svinčnik, lav. perorisba, bistr, 28,1 x 20,3 cm, sign.: ni, n a k arto n u v sredini napis: D om enichino Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 966 Domenichino, Domenico Zampieri (Bologna 1581 — Napoli 1641) sl. 22, o. pl., 123 x 94 cm, leta 1617 G alleria Borghese, Rim, inv. 55 Delo je kupil pri slik arju leta 1617 k ard in al Scipione B orghese za svojo zbirko. V raču n u izdelovalca okvirov in p o zlatarja je govor o D om enichinovi Šibili. T ako jo im a zapisano tu d i Bellori leta 1627, m edtem ko om enja M anilli leta 1650 Muzo, in v en tar leta 1700 sv. Ce­ cilijo, in v en tar iz leta 1790 pa Muziko. V W allace Collection v Lon­ donu je nekoliko sp rem en jen a replika, ki jo je leta 1848 kupil lord H ertford in je po provenienci m orda iz C asa R a tta v Bologni, k jer jo je videl slikar Reynolds, štu d ijo za sliko v G allerii B orghese h ra n i zbirka Von H adeln v F irencah. Po oljni sliki sta v 18. sto letju vrezala grafiki M arcucci in F o n tan a. Iz G allerie C apitoline v R im u je znana sorodna kom pozicija Šibile, v en d ar je ta brez in stru m en ta, n a levi s tra n i kom pozicije pa je n am esto listja vinske trte zavesa. K avčičeva risba posnem a original v G allerii Borghese. Kavčič tudi to pot ni posnel živih polodprtih ust, n atan čn eg a proporca obraza in pogleda navzgor; pri njem je Sibilin pogled topo ob rn jen v stran . Na n aram n em o g rin jalu tu d i ni posnel b ro k atn eg a vzorca. Lit.: Delia Pergola I, kat. 32, sl. 31; Evelina Borea: Domenichino. (Firenze 1965), kat. in sl. 60. 14 SMRT SV. FRANČIŠKA KSAVERIJA, sl. 23 svinčnik, lav. perorisba, bistr, 30,2 x 20,9 cm, sign.: ni, n a k arto n u v sredini napis: G aulli Akadem ie d. blld. K ünste, D unaj, inv. in foto št. 1002 Gaulli Giovanni Battista, im. Bacicio (G enova 1639 — Rim 1705) sl. 24, o. pl., 271 x 182 cm, leta 1676 S. A ndrea al Q uirinale, Rim Slika je d a tira n a z računom , izdanim 20. ju lija 1676. B. F a jro t je v re­ zal grafiko (prim erek v G ab in etto N azionale delle Stam pe, Rim, inv. N. 53.064), ki je ta m otiv razširila daleč po Evropi in L atinski Ame­ riki. Tudi ta risba izdaja, kakšen n am en je im el K avčič s številnim i ris­ bam i po s ta rih m o jstrih : z risbo in obrisi je želel obvladati kom po­ zicijo, in ob tej vaji je dal poudarek glavni figuri, tj. sv. F rančišku in skupini angelov n a oblakih, m edtem ko je pustil p rih ajajo če ljudi v ozadju nedokončno izrisane in p red stav ljen e brez oblačil, kot akte, vendar v pozah, kot jih im ajo n a originalni sliki. T udi se ni n ad ro b ­ neje pom udil pri ra stlin a h ob vrču, ki jih je zajel shem atično, n i po­ snel p atetičn eg a obraza um irajočega svetnika in živahni pogledi angelov so pod njegovim peresom in čopičem otrpnili. Lit.: Robert Enggass: The Painting of Baciccio Giovanni Battista Gaulli 1639—1709. Pennsylvania 1964, pp. 25—26, 141, si. 35; Giulio Giachi-Guglielmo M atthiae: S. Andrea al Quirinale. Le Chiese di Roma illustrate. N. 107. Roma (1969), pp. 51—52, si. 15. 15 LOT IN HČERI, si. 25 svinčnik, lav. perorisba, bistr, 20,8 x 26,1 cm, sign.: ni, n a k arto n u v sredini napis: G. H o n th o rst Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 994 Guerrieri Giovanni Francesco (Fossom brone 1589 — Pesaro 1659) o. pl., 143 x 165 cm, le ta 1617 G alleria Borghese, Rim, inv. 45 Slika je bila n arejen a kot sopraport za M arcantonia B orghese j a leta 1617 za sobo v Palazzo di Čam po Marzio. M anilli že ne ve več za p ra ­ vega av to rja in vnaša im e A rchita R iccija, in v en tar iz leta 1693 F ra n - ciabigia, in v en tar s konca 18. sto letja p a govori o anonim nem m oj­ stru. F. W. B. R am dohr in in v en tar iz le ta 1790 o m en jata kot av to rja G h erard a delle Notti. To im e obvelja v 19. stoletju, v 20. sto letju pa nastopijo razni drugi predlogi. A ndrea E m iliani spet om enja G uer- rierijevo avtorstvo. Delia P ergola m u po arh iv sk ih po d atk ih in p ri­ m erjav ah z drugim i deli 1959 vrne ime. K avčič je n a svojo risbo vne­ sel ime, ki je bilo ted aj v veljavi — G h erard o delle N otti — in kot om enja Delia Pergola: »...il nome che trionfa in questo momento per ogni opera notturna«. K ot pri risb ah po C aravaggiovih delih je tu d i tu K avčič zanem aril igro svetlobe in sence: steklenica z vinom je p ri K avčiču svetla po vsej površini ob stran i, p ri G uerrieru pa je zaznam ovan le m ajh en odblesk; isto velja za svetlobo n a Lotovi p re ­ križani desni nogi, ki je pri K avčiču bolj osvetljena kot n a originalu, ali za Lotov obraz, razgaljene prsi itn. N am esto ozkih obrazov h čera n astopijo okroglasti in k ratk i. K ot pri D om enichinovi Šibili se tu d i tu K avčič ni u stav ljal pri vzorcu n a d rap eriji leve hčerke. Lit.: A ndrea Emiliani: Giovan Francesco Guerrieri da Fossombrone. (Urbino 1958), p. 106 (uvod Rodolfo Pallucchini); Delia Pergola II, kat. in sl. 134. jJ6 SV. ROK, sl. 26 svinčnik, lav. perorisba, bistr, 18,3 x 29,7 cm, sign.: ni, n a k arto n u v sredini napis: Cavedoni Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 991 Guerrieri Ciovan Francesco (Fossom brone 1589 — Pesaro 1659) o. pi., 106 x 180 cm, sign.: ni, le ta 1617 G alleria Borghese, Rim, inv. 69 Sliko je kot so p rap o rt naslikal leta 1617 G u errieri za M arcantonia B orghese za palačo B orghese n a Čampo Marzio. T u je m o rala biti precej časa, v endar je M anilli ob popisu vile ne om enja. M ontelatici jo leta 1700 om enja k ot sliko v cen jen i m aniri. In v e n ta r iz leta 1790 jo citira kot delo bolonjske šole, fidejkom is iz leta 1833, P iancastelli in V enturijev katalog leta 1893 kot C arraccijevo delo itn. Tudi v 20. sto letju se v rste razn a im ena. G uerrierijevo avtorstvo sta zapisala leta 1958 E m iliani in leta 1959 Delia Pergola po arh iv sk ih virih in p rim erjav ah z drugim i slikarjevim i deli. Le Kavčič om enja kot av to rja im e slik arja G iacom a Cavedonija. — K avčičeva risba je posnetek originala, le da se n a njej um etn ik spet ni do konca u k v arjal z nadrobnostm i p ri tih o žitn ih p red m etih v le­ vem oglu slike in da je n ek a te re predm ete n atan čn o izrisal, m edtem ko se n a originalu sta p ljajo s tem nim ozadjem . Lit.: Andrea Emiliani: Giovan Francesco Guerrieri da Fossombrone. (Urbino 1958), p. 106 (uvod Rodolfo Pallucchini); Delia Pergola II, kat. in sl. 135. 17 EGIPTOVSKI JOŽEF IN PUTIFARKA, sl. 27 svinčnik, lav. perorisba, bistr, 21,8 x 32,3 cm, sign.: ni, n a k arto n u v sredini napis: G iovanni L anfranco Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 1026 Lanfranco Giovanni (P arm a 1582 — Rim 1647), sl. 28 o. pl., 101 x 157 cm G alleria Borghese, Rim, inv. 67 V vseh in v e n ta rjih G allerie B orghese od leta 1693 n ap rej je slika vne­ sena pod tem im enom . Kavčič je sliko dokaj n a tan č n o prerisal, le da je obraze shem atiziral. Na levi stra n i risbe pa vidim o svečnik, ki ga n a originalu danes ne opazimo. Ali je to Kavčičev sam ovoljni dodatek ali pa se pod sedanjim tem no rjav im ozadjem n a originalu ta d etajl še skriva? č e p rim erjam o izrisano nogo postelje in nogo svečnika, najdem o soroden n ačin slik an ja in oblikovanja pohištvenega kosa in svečnika. Ali se je Kavčič prilagodil n ačin u slik an ja predm etov n a originalni sliki In je dodal ta m otiv? Ali je bila vm es k akšna druga predloga? Ali n a originalni sliki v G allerii B orghese danes ne vidimo vsega, k ar je nekoč bilo vidno? Lit.: Delia Pergola I, kat. in sl. 88. 18 PERZEJ REŠI ANDROMEDO, sl. 18 svinčnik, lav. perorisba, bistr, 30,1 x 20,3 cm, sign.: ni, n a k arto n u v sredini napis: d ’Arpino A kadem ie d. bild. K ünste, D unaj, inv. in foto št. 1017 Manetti Rutilio (Siena 1571 — Siena 1639) o. pl., 177 x 120 cm G alleria Borghese, Rim, inv. 527 V galerijskem in v en tarju iz leta 1693 je slika p rip isan a A nnibale ju C arraciju. R am dohr jo je leta 1787 uvrstil m ed dela C avalier d ’A rpina in tak o tu d i galerijski in v en tar iz leta 1790, fidejkom is iz leta 1833 itn. Voss je le ta 1932 ugotovil M anettijevo avtorstvo po grafiki B ern a r­ din a C apitellija. Med bivanjem F ran ca K avčiča v R im u je veljala atrib u e ija d ’A rpinu, o čem er p riča tu d i R am dohr jeva publikacija iz leta 1787 in K avčičev napis n a k arto n sk i podlagi risbe. D’Arpinove v aria n te Perzeja, ki rešuje Androm edo, p red stav ljajo stoječo, n a sk a­ le prik len jen o Androm edo, p o k rajin o z m estom v ozadju in Perzeja, ki p rih a ja z neb a n a konju (prim erki v Bologni, n a D unaju, v New Y orku). Po m otivu ozadja, ki je brez obrežja z m estom v daljavi in z raztresenim i školjkam i pred skalovjem ob Androm edi, je M an etti- jevi Androm edi bližja A ndrom eda v M usče des B eaux A rts v Dijonu, delo C arla S aracenija, v endar je tu d i ta stoječa. Kavčič n a risbi ni n aslikal ladij n a obzorju in bru h ajo če sape m orske pošasti, A ndro­ m eda se n a Kavčičevi risbi ne ozira p atetičn o k rešitelju, ki p rih a ja z neba, tem več topo zre predse. N jen obraz ni tak o p refin jen kot pri M anettiju, tem več je sploščen in bolj okroglast. K ar zadeva grafiko B .C apitellija in Kavčičevo kopijo, lahko rečemo, da si je grafik dovolil več svobode kot K avčič: A ndrom edino levico je položil v naročje (n a originalu in p ri K avčiču je položena n a sk a­ lo ); n a grafiki p ad ajo Androm edi lasje v kosm u pred ušesom navzdol (n a originalu in K avčičevi risbi n e ); prva lad ja je brez jad er (na originalu im a ja d ra in enako p ri K av čiču ); P erzeja je grafik izpustil in oblake je oblikoval po svoje (Kavčič je P erzeja posnel in oblake v obrisih nakazal v sorodni obliki, kot jih je naslikal M an etti). Lit.: H erm ann Voss: L’opera giovanile di Rutilio Manetti, v: La vita A rti- stica. III. 2, 1932, pp. 57—62, 68, sl. p. 58 in 59; Delia Pergola II, kat. in sl. 52. — Anna Ottani: Carlo Saraceni. Milano, Spagnol 1968, kat. 11, sl. 39 in I.; H er­ w arth Röttgen: II Cavalier d’Arpino. Roma. Palazzo Venezia 1973, pp. 78—79, kat. 10, p. 110, kat. 32. 19 TR I GRACIJE, si. 31 svinčnik, lav. perorisba, bistr, 31,7 x 20,4 cm, sign.: ni, n a k arto n u v sredini napis: C avalier V anni A kadem ie d. bild. K ünste, D unaj, inv. in foto št. 930 Manetti Rutilio (Siena 1571 — S iena 1639) o. pl., 33 x 38 cm G alleria Borghese, Rim, inv. 527 Slika bržkone izvira iz sek v estriran ih slik C avaliera d ’A rpina. Bolj n a ta n č e n opis slike, ki dopušča sklep o n jej, je v in v e n ta rju iz leta 1693, ki jo pripisuje A nnibaleju C arracciju. Della Valle jo le ta 1786 om enja kot delo F rancesca V annija, in v en tar iz leta 1790 kot delo D om enichina, fidejkom is iz leta 1833 pa spet om enja im e F rancesca V annija. T udi drugi viri 18. sto letja citirajo kot av to rja slik arja V a­ n n ija, k ar je obveljalo do Vossove atrib u cije R u tiliju M anettiju. t K avčičeva atrib u c ija F rancescu V anniju soglaša z atrib u cijam i pred in v en tarjem iz le ta 1790 in soglaša s slikarjevim bivanjem v R im u v 80. letih 18. stoletja. Kavčič je kopiral le sred n ji del kom pozicije, m edtem ko je izpustil n a levi stra n i letečega am o rja in k rajin o v ozadju, n a desni pa spečega am orja. Posnel je drže teles in d etajle figuralne kom pozicije, ni pa ujel m ikavnosti s svetlobo osvetljenih krošenj dreves in ljubkosti drobnih obrazov, ki jih je shem atiziral zlasti ob očeh, in to s tem no lavuro. Tudi k rajin e z vitkim i debli d re­ ves, ki so vidne m ed levo in srednjo gracijo, ni ponovil, tem več jo je zapolnil z listjem košatega drevesa n a desni stran i. — To pa ni edini m otiv tre h gracij, ki ga je Kavčič prerisoval. V isti teh n ik i je posnel tudi sorodno stoječo skupino tre h gracij, v endar m u je pri tej risbi služila kot predloga an tič n a p lastik a (Akadem ie d. bild. K ünste, inv. 1771). Lit.: Herm ann Voss, L’opera giovanile di Rutilio Manetti. Vita artistica. III. 2. Roma 1932, pp. 57—68; Della Pergola II, kat. 51, sl. 50. 20 SV. JANEZ KRSTNIK, sl. 32 svinčnik, lav. perorisba, bistr, 33 x 22,3 cm, sign.: ni, na h rb tn i stra n i lista napis: Mengs Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 1030 Mengs Anton Raphael (U sti/A ussig 1728 — Rim 1779) A ntonio Nibby om enja leta 1832, da je bila v zbirki Ville Borghese — v sed an ji sobi X — . . . il famoso abbozzo del quadro rappresentante S. Giovanni Battista, che Mengs fece pel conte di Rivadaria e ehe fu mandato in Ispagna.t. š tu d ija je om en jen a še leta 1873, ker pa ni p ri­ padala fidejkom isni m asi, je bila m orda p ro d an a ali pa se je p o ra ­ zgubila m ed raznim i vejam i družine Borghese. Sorodna M engsova slika je v E rem itaži v L eningradu iz časa okoli leta 1774. K upljena n aj bi bila m ed leti 1774—1783 v B arceloni za K a­ ta rin o II. Ponz om enja kopijo za grofa de R ivadaria, pri čem er opo­ z a rja D. Honisch, da bi to bilo v n asp ro tju z Vossovo trditvijo, da sta obe sliki identični. — če p rim erjam o Kavčičevo risbo z leningrajsko sliko, opazim o razločke: K avčičeva risba im a n a desni s tra n i kom po­ zicije jagnje, len in g rajsk a ga nim a; pri len in g rajsk i sliki je n a levi s tra n i n aslikano drevo z rogovilo in ob n jem je p rislo n jen križ — pri K avčiču tega m otiva ni; pri Kavčičevem delu je zelo m alo razm ika m ed levo nogo in skalo v ozadju, p ri len in g rajsk i ga je več in vmes se vidi palica; prav v levem oglu zgoraj pri K avčiču ni listja, na len in g rajsk i sliki pa je. Slika pridige sv. Jan eza K rstn ik a za grofa R iv ad aria je danes n a n e­ znanem k raju . P rav tak o je brez sledu izginila štu d ija zanjo, ki je bila nekoč v G allerii Borghese. K avčičeva risba po delu v G allerii Borghese je vsaj približen dokum ent o njej, ki priča, da ikonografsko ni popolnom a id en tičn a z len in g rajsk im prim erkom . Lit.: Antonio Nibby: M onum enti scelti della Villa Borghese. Roma 1832, p. 145; Indicazione delle Pitture e Sculture esistenti nel piano superiore del Palazzo della Villa Borghese. Piano superiore. Roma 1873, p. 14 (seznam v G allerii Borghese); H erbert von Einem: Carl Ludwig Fernow. Eine Studie zum deutschen Klassizismus. Berlin 1935, Tab. VIII; Dieter Honisch: Anton Raphael Mengs und die Bildform des Frühklassizismus. Recklinghausen 1965, kat. 103, p. 94, kat. 343, p. 135; Luciana F errara Grassi, pismo dat. v Rimu 24. 6. 1974. 21 MUČENIŠTVO SV. BOŠTJANA, sl. 30 svinčnik, lav. perorisba, bistr, 28,1 x 21 cm, n a k arto n u v sredini napis: Federigo Zuccaro Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 939 Passignano Domenico, Domenico Cresti (Passignano? okoli 1560 — Firenze 1636) o. baker, 35 x 26 cm G alleria Borghese, Rim, inv. 341 Slika izvira po vsej v erjetn o sti iz zaplenjenih del v lasti slik arja Ca- valiera d ’A rpina leta 1607, v endar avtor ta k ra t ni bil im enovan. In ­ v en tar iz leta 1693 im enuje kot av to rja M artin ian ija, in v en tar iz leta 1700 jo pripisuje Zuccariju, a brez k rstn eg a im ena, po katerem bi lahko vedeli, ali je m išljen Federico (okoli 1540/43 — 1609) ali Taddeo (1529—1566). Z uccarija im en u jeta tudi in v en tar iz leta 1790 in fidej- kom is iz leta 1833. Pozneje so im enovali drugega avtorja, danes pa velja a trib u c ija D om enicu Passignanu. K ot smo videli že v več prim erih, se K avčičev zapis ujem a z a trib u - cijam i iz okoli leta 1790, le da po zaslugi K avčičevega n ap isa »Fe­ derigo« ni treb a več ugibati, katerega od obeh Z uccarijev so mislili. Dovolj m ajh en fo rm at slike (35 x 26 cm) in tudi n jen e siceršnje sli­ karske vrednote dajejo slutiti, da delo bržkone tudi nekoč ni zbujalo velike pozornosti in ni im elo tolikšnega pom ena, da bi bilo posneto v kopijah ali g rafičn ih listih, po k aterih bi ga slikar kopiral. Mislim, da je to ena izm ed slik, ki bi pričala, d a gre p ri K avčičevih risbah za prerisovanje po originalih v G allerii Borghese, k jer je kopiral najbrž vsevprek. Na originalu je desna fig u ra danes z okvirom zak rita in n a levi stran i iz istega vzroka ni v tolikšni m eri videti k rajin e in stopala leve kle­ čeče figure. H lačnici leve figure sta z risbo le nakazani in n ista do konca zrisani in lavirani. Kavčič je tu d i opustil krvne srage n a telesu m učenega in svetnikov obraz nim a trpečega izraza z odprtim i usti, kot ga im a n a originalu. N atu ralističn i m otivi tudi to pot niso našli odm eva v risbi neoklasicistično usm erjenega slikarja. Lit.: Delia Pergola II. kat. 58. sl. 59. 22 SV. DRUŽINA, sl. 37 svinčnik, lav. perorisba, bistr, 18,7 x 15,3 cm, n a k arto n u v sredini lista napis: Carlo Dolce Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 1021 Pomarancio (?), Roncalli Cristoforo (P o m aran ce/V o lterra 1552 — G e­ nova 1626) o. pl., 68 x 52 cm G alleria Borghese, Rim, inv. 365 Sliko m orda om enja in v en tar iz leta 1693, a brez av to rja. V fid ej- > kom isu leta 1833 je kot slikar im enovan Pom arancio. Voss ni bil teh misli, ni pa povedal, kdo bi lahko bil avtor. Longhi se je nagibal k misli, d a je delo vendarle Pom aranciovo. D elia Pergola ga je p re­ vidneje u v rstila m ed dela. slikana v Pom aranciovem načinu. Kavčičev zapis »Carlo Dolce« (sc. Carlo Dolci, F irence 1616 — Firence 1686) je odkril atribucijo, ki je v eljala ob koncu 18. sto letja in pred fidejkom isnim zapisnikom iz leta 1833. V prim erjav i z originalom M arijin a n ag lav n a tan čica ni tak o n a ­ tan čn o vidna kot n a K avčičevi risbi, ker se izgublja v tem norjavem ozadju. K avčič p a je črte naglavne ru te n a tan č n o zasledoval in jih poudaril v risbi z risarsko zavzetostjo. Obrazi so spet zgubili živahnost pogledov in Jezusova glava je dobila stereotipno »lasuljo«, ki je vla­ dala v njegovem rep erto arju . K ako se je zm an jšala m ikavnost p la­ stično obdelane Jezusove noge z n jenim i detajli, p riča n a Kavčičevi risbi n aslik an a tem n a lisa n a stegnu, ki n aj bi pom enila jam ico n a otroški nogi. K avčič si je dovolil tu d i poenostaviti profil police, n a k ateri stoji Jezus, s tem da profilov ni izpodrezal in da jim je zm an j­ šal vtis perspektivične poglobitve. Lit.: Delia Pergola II, kat. in sl. 65. 23 POKOL NEDOLŽNIH OTROK, sl. 33 svinčnik, lav. perorisba, bistr, 21,4 x 26,8 cm, sign.: ni, n a h rb tn i s tra n i lista napis s svinčnikom Pussino in Poussin N arodna galerija, L jubljana, inv. št. G 19 Foto: N arodna galerija, L jubljana, N. 3252 Poussin Nicolas (Les Andelys 1594 — Rim 1655) Z gotovostjo p ripisujejo danes Poussinu dve deli z m otivom pokola nedolžnih o trok: 1) oljno sliko v Musee Conde v C h an tilly ju (sl. 35), ki jo leta 1638 im enuje in v e n ta r zbirke m ark ija V incenza G iu stin i- a n ija v Rimu, za k atereg a jo je Poussin bržkone naslikal; 2) lavirano perorisbo v Musče des B eaux-A rts v Lillu (sl. 34), ki so jo im eli za študijo za sliko v C h an tilly ju (B lunt, I9602 , p. 149). T retjo Poussinovo upodobitev — oljno sliko Pokol nedolžnih otrok — om enjajo stari viri v Palazzo Altieri v Rim u. D anes je v zbirki M usče du P e tit P alais v P arizu (sl. 36) in jo uvrščajo m ed dela, ki so Poussinu p rip isan a (J. T huillier, 1974, p. 87, kat. B7). V prim erjav i s Kavčičevo risbo nas zan im ata oljni sliki v Chantillyju (sl. 35) in risba v Lillu (sl. 34). če prim erjam o oljno sliko v C h an tilly ju in dom nevno skico zanjo v Lillu, bi po kom poziciji, po številu figur in tu d i po d etajlih sodeč p ritrd ili, da gre za skico in za končno delo. Med obem a pa so že n a prvi pogled vendarle vidni tu d i razločki: tak o se n a sliki in skici raz­ lik u je ta lega otro k a n a tleh, n a k aterem stoji rabelj, in drža bežeče m atere; n a skici je videti dva otroka n a tle h ob desnem robu, ki ju na oljni sliki ne ugledam o, n a oljni sliki pa bežečo m a te r z otrokom , ki je ni n a skici, te r še eno m a te r z otrokom , vidno za k am n itn o ogra­ jo n a levi s tra n i kom pozicije, ki je n a oljni sliki dodana, n a skici pa je slikar ni naslikal, itn . — če p rim erjam o katerekoli skice za dela, ki so bila potem upodobljena v večjih fo rm atih in drugih teh n ik ah , vidimo, da se slik arji niso slepo držali svojih p rv o tn ih zamisli. O tem nas lahko pouči tu d i Poussinova skica za Salom onovo sodbo v čcole N ationale des B eaux A rts v P arizu in drug prim erek v Louvru, končan v olju leta 1649 za slik arja Pointela. T udi tu bi lahko n ašteli m noge razločke m ed obem a. — Poussinovo risbo Pokola nedolžnih otrok v Lillu in oljno sliko v C h antillyju bi po vsem tem lahko še vedno m irno šteli za osnutek in končno izvedbo, če ne bi zdaj poznali še Kavčičeve risbe po Poussinovem originalu; v endar po k aterem ? če prim erjam o Poussinovo oljno sliko v C h antillyju in Kavčičevo risbo, najdem o n a n jej n a tan č n o iste razločke, ki smo jih n ašteli ob prim erjavi Poussinove skice in oljne slike. Med Kavčičevo risbo in Poussinovim i deli o staja tak o le ena m ožnost prim erjave: p rim erja n je s Poussinovo risbo Pokola nedolžnih otrok v Lillu. Po številu in držah figur in po celotni kom poziciji soglaša Kavčičeva risba s Poussinovo, ne pa v n ačin u risarske tehnike. Poussin je v veliki m eri uporabljal šrafu re in lavure, K avčič pa v n ajv ečji m eri lavure (prim erjajm o senčenje piram ide, senčenje arh ite k tu re v ozadju in n a levi stran i, h alje fig u r itn .). K avčič je v ozadju bolj do nadrobnosti izrisal k a ­ pitele an tičn e stavbe in zoborez. — Po sed an jih izk u šn jah o K avči­ čevih k o p ijah lahko trdim o, da so obrazi figur spet prilagojeni tipu, ki ga je K avčič večno ponavljal. V prašujem o pa se, kje je Kavčič to delo prerisoval — v k ateri rim ski zbirki? M ar ni lillska risba skica za neko drugo, danes neznano Poussinovo sliko Pokola nedolžnih otrok? Po sed an ji vednosti ne bi m ogli reči, da je K avčič prerisoval risbe velikih m ojstrov. Tudi če bi to risbo prerisoval, kje n aj bi jo našel? če je bila po tej kom poziciji n ap rav ljen a druga, delo nekega drugega slikarja, kje je ta risba ali kopija? K avčičeva risba Pokola nedolžnih otrok kaže n a tan č n o isti slikarski n ačin lavirane perorisbe, ki se ga je Kavčič posluževal p ri vseh risb ah po delih razn ih m o j­ strov, in izdaja posnem anje nekega popolnejšega dela in ne risbe. Mislim, da nam prav to »popolnejše« Poussinovo delo — bržkone k ar oljna slika — danes m an jk a v verigi Poussinovih del. Med Poussinovo risbo v Lillu in m ed njegovo oljno sliko v C h antillyju je bilo nekoč še neko drugo delo — k atero in kje? V sekakor Pokol nedolžnih otrok v obliki, kot nam ga kaže Poussinova risba, ki je danes v Lillu, in kot nam ga kaže K avčičeva risba, sh ra n je n a v N arodni galeriji v L jub­ ljani. Lit.: W alter Friedländer: Nicolas Poussin. Die Entw icklung seiner K unst. M ünchen 1914, pp. 126—127, sl. p. 189; Antony Blunt: Musee du Louvre. Expo­ sition Nicolas Poussin. Paris I9602 , p. 149, si. in kat. 132; Ecalle M artine, Le »Massacre des innocents« du Petit Palais. Dossier d’un tableau, -v: Nicolas Poussin. Ouvrage publie sous la direction de Andre Chastel. Edition de Cen­ tre National de la recherche scientifique. Paris 1960, pp. 248—254; Luigi Sa­ lerno, The picture Gallery of Vincenzo Giustiniani. II. The Inventory. P art I. Burlington Magazine 1960, p. 101; Jacques Thuillier: L ’opera completa di Poussin. Classici dell’arte 72. Milano (1974), pp. 87, kat. 25, p. 105, kat. 162, p. 113, kat. B7. 24 SV. DRUŽINA S SV. JANEZOM KRSTNIKOM IN SV. ANO, sl. 40 svinčnik, lav. perorisba, bistr, 25,8 x 19,8 cm, n a k arto n u v sredini napis: Scipione G aetan i Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 961 k Pulzone Scipione, Scipione Gaetano (G aeta okoli 1550 — Rim 1597), sl. 39, o. pl., 135 X 105 cm, okoli 1590 G alleria Borghese, Rim, inv. 313 V in v e n ta rju iz le ta 1693 je slika p rip isan a Pulzoneju, n ato pa ni om e­ n je n a vse do fidejkom isnega spiska leta 1833. A vtorstva te slike niso sprem ljali posebni dvomi in je obveljalo do d an ašn jeg a dne. K avči­ čeva risba se z napisom »Scipione G eatani« vriva kot priča, da je to avtorstvo veljalo tu d i v času, ko jo je prerisoval in ko slike drugi viri v 18. sto letju ne om enjajo. Pri nobeni figuri Kavčič ni naslikal tan k ih nimbov. Na M arijinem obrazu ni dobrodušnega izraza in prav tak o tu d i n a Aninem ne. J e ­ zusov obraz je v prim eri z originalom top. Lit.: Federico Zeri: Pittura e Controriforma. L’arte senza tempo di Scipione Gaeta. Torino 1957, pp. 85, 110, sl. 76; Delia Pergola II, kat. in sl. 163. 25 MARIJA Z JEZUSOM, sl. 38 svinčnik, lav. perorisba, bistr, 26,4 x 18,3 cm, n a h rb tn i s tra n i napis s peresom in bistrom : Giulio Rom ano N arodna galerija, L jubljana, inv. št. G 18 Foto: N arodna galerija, L jubljana, N. 3251 K opija po Raffaellu Santiju (U rbino 1483 Rim 1520) o. les, 82 x 58 cm G alleria Borghese, Rim, inv. 358 L eta 1693 je slika v in v en tarju prip isan a M antegnu. V fidejkom isu iz leta 1833 je p rip isan a R affaellov! šoli. K avčičev napis n a risbi pa kaže, da je bila v Kavčičevem času p rip isan a R affaellovem u učencu G iuliu R om anu. Ikonografsko se n a slan ja n a R affaellovo M adonno della T orre (M ackintosh M adonna), ki jo je kopiral tu d i G ian B a tti­ sta Salvi, im. S assoferrato in čigar kopija prav tak o visi v G allerii B orghese (inv. 382). Poleg Sassoferratove kopije so znane tu d i še d ru ­ ge. Eno reg istrira jo v zbirki Albani. Tudi p ri tej risbi K avčič ni zrisal ta n k ih nim bov. Na M arijini desni ram i je preveč gub in čeznjo je n aslikal tančico, ki je n a oljni sliki ni videti, pač pa jo je delno zri­ sal npr. S assoferrato n a svoji kopiji. Spodnji del M arijinega rokava je z gubam i bližnji posnetek oljne slike, kot pa ga je n a svoji oljni kopiji posnel S assoferrato. Ta je gube svobodneje oblikoval. K avčič tu d i ni posnel Jezusovega zm rdnjenega obraza In je Jezusove prste nepopolno zrisal. Lit.: Delia Pergola II, kat. in sl. 175 (tudi kat. 174, sl. 173); Michele Prisco- Pierluigi de Vecchi: V opera completa di Raffaello. Classici dell’arte 6. Mi­ lano (1971)4 , p. 104, kat. 86; Luitpold Dussler: Raphael. A Critical Catalogue of his Pictures, W all-Paintings and Tapestries. London and New York (1971), p. 31. 26 MARIJA Z JEZUSOM IN JANEZOM KRSTNIKOM, si. 41 (M adonna A ldobrandini, M adonna G arvagh) svinčnik, lav. perorisba, bistr, 20 x 17,4 cm, n a k arto n u v sredini napis: R affaele(?) Sanzio di U rbino Akadem ie d. bild. K ünste, D unaj, Inv. in foto št. 1052 Raffaello Santi (U rbino 1483 — Rim 1520) o. les, 38 x 33 cm, okoli 1510 N ational G allery, London Iz lastn in e družine A ldobrandini je slika prešla v last zbirke Borg­ hese. V letih 1800—1801 jo je pridobil A lexander Day. P rinesli so jo v A nglijo in leta 1818 je prešla v last lorda G arvagha, n ato v last N ational G allery v Londonu. R am dohr leta 1787 om enja, da to delo izvira iz lasti princa A ldobran- d in ija in Lucrezie d ’Este (um rla 1598). M adonna A ldobrandini naj bi bila ena p eterih R affaellovih M adon, ki so om enjene v in v en tarju Lucrezie d’Este leta 1592, v endar brez n a ta n č n ih opisov. Od te h se najbolj približuje londonska, ki jo om enja M anilli v svojem opisu Ville Borghese (leta 1650, str. 112). če sprejm em o misel, da je Kavčič kopiral dela v galeriji B orghese po originalih, potem je sliko v času b iv an ja v Rim u m ed leti 1781—1787 še mogel posneti. Nobenega d e­ ta jla ni, ki bi razkrival, da se je Kavčič bistveno oddaljil od originala, razen sprem em b obrazov in skoraj reliefnega p o d ajan ja celotne kom ­ pozicije, kar gre n a raču n »kanona« slik an ja slikarjev, ki so se tedaj učili v Rimu. Lit.: Luitpold Dussler. Raphael. A Critical Catalogue of his Pictures, Wall- Paintings and Tapestries. London and New York (1971), pp. 26—27, si. 71; Michele Prisco-Pierluigi de Vecchi: L ’opera completa di Raffaello. Classici dell’arte 6. Milano (1971)4 , p. 105, kat. 87. Illustrated general catalogue, The National Gallery, London, 1973, p. 592. 27 MARIJA Z JEZUSOM, si. 43 svinčnik, lav. perorisba, bistr, 27,4 x 19,5 cm, na h rb tn i stra n i napis: Bronzino, n a k arto n u v sredini: Angiolo B ronzino A kadem ie d. bild. K ünste, D unaj, inv. in foto št. 957 Rimski mojster michelangelovske smeri o. les, 112 x 84 cm G alleria Borghese, Rim, inv. 393 Slika je im enovana leta 1626 v in v en tarju Olim pije Aldobrandini, 1693 je (spet zapisana in) p rip isan a A ndreu del S artu. In v e n ta r iz leta 1790 jo a trib u ira Bronzinu, P iancastelli 1891 prav tak o Bronzinu, pozneje so m isli deljene. Delia Pergola jo je u vrstila v rim ski slikarski krog. K avčič sl jo je zapisal kot Bronzinovo delo, k ar je v skladu s te ­ danjim m nenjem . K avčič je zrisal figuri, m arsikaj pa je spustil: M arijin pajčolan, ptiča n a polici, besedilo n a listih odprte knjige in trak o v a pod knjigo. Risba s svinčnikom n a steni levo zadaj, okrog M arijinega nim ba, na košari s sadjem , n a knjigi itn. kaže v skici zajeto glavno kom pozicijo in izpuščanje realističn ih motivov. Lit.: Delia Pergola II, kat. in sl. 144. 28 SV. DRUŽINA, sl. 44 svinčnik, lav. perorisba, bistr, 23,6 x 19,3 cm, n a k arto n u v sredini napis: G iorgio V asari A kadem ie d. bild. K ünste, D unaj, inv. in foto št. 931 Rimski mojster michelangelovske smeri, sreda 16. sto letja o. les, 118 x 90 cm G alleria Borghese, Rim, 392 Slika je navedena v fidejkom isu iz leta 1833 z im enom V enusti. A tri- bucijo sta sprejela V enturi in Longhi. D elia Pergola je sliko u vrstila m ed rim ska m an ierističn a dela, n a sta la po M ichelangelu. Im e sli­ k arja, a rh ite k ta itn. G iorgia V asarija kot av to rja teg a dela zasledim o le pri Kavčiču. Vse tri figure je K avčič n aslikal brez nim ba, gube n a zavesi n a desni s tra n i zgoraj je poenostavil in tu d i z risbo čopka n a blazini se ni dolgo ukvarjal. Lit.: Delia Pergola II, kat. in sl. 146. 29 MARIJA Z JEZUSOM, SV. JOŽEFOM IN JANEZOM KRSTNIKOM, sl. 42 svinčnik, lav. perorisba, bistr, 31,6 x 21 cm, n a h rb tn i s tra n i napis z bistrom : S ebastiano del Piom bo N arodna galerija, L jubljana, inv. G 39 Foto: N arodna galerija, L jubljana, N. 3265 Scarsellino, Ippolito Scarsella (F errara 1551 — F e rra ra 1620) o. les, 37 x 26 cm G alleria Borghese, Rim, inv. 222 Slika izvira iz dediščine Lucrezie d’ Este. Od tod je prešla k A ldobran- dinijem in z O lim pijo A ldobrandini k B orghesejem . In v e n ta r Lucrezie d ’Este im a le ta 1592 kot av to rja zapisanega M ondina Scarsella, V en­ tu ri p a je le ta 1934 sliko pripisal Ippolitu Scarsellu in enako Delia Pergola. — Le p ri K avčiču naletim o n a av to rja S eb astian a del Piom ba. Nimbi p ri posam ičnih fig u rah spet niso našli ponovitve, požara v ozad­ ju desno od drevesa n iti ne slutim o in prav tak o ne odbleskov n a oblačnem nebu. R isarsko ostro p a je n aslik an osel, ki je n a originalu kom ajda viden. Z adeti tu d i niso živahni obrazi in pogledi. Lit.: Delia Pergola I, kat. in sl. 113. 30 VENERA PR I KOPELI, sl. 49 svinčnik, lav. perorisba, bistr, 21,5 x 31,3 cm, n a k arto n u pod risbo n ap is: F ra S ebastiano del Piom bo Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 1047 Scarsellino, Ippolito Scarsella (F errara 1551 — F e rra ra 1620) o. pl., 43 x 57 cm G alleria Borghese, Rim, inv. 219 že v in v e n ta rju iz le ta 1693 je slika zapisana kot delo Scarsellina F e rra ra in tak o tu d i v fidejkom isu leta 1833. K avčič je sliko im el za delo S eb astian a del Piom ba in tak o so bržkone m islili tu d i drugi v njegovem času. K avčičeva risb a posnem a original, v endar brez m ikavnosti zarje na nebu in odbleskov v vodi, brez individualiziranih obrazov Itn. Lit.: Delia Pergola I, kat. in sl. 118. 31 MARIJA Z JEZUSOM, JANEZOM KRSTNIKOM IN SV. ANO, sl. 45 svinčnik, lav. perorisba, bistr, 23,4 x 19,8 cm, sign. n a k arto n u v sredini: P ierino del Vaga, n a h rb tn i stra n i v bistru : P ierino del V agha Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 993 Pierin del Vaga, Piero B uonaccorsi (Firenze 1501 - Rim 1547) o. pl., 139 X 112 cm G alleria Borghese, Rim, inv. 412 Slika je bila z gotovostjo v G allerii Borghese že le ta 1693, ko je bila vpisana v in v en tar in ko je bil im enovan tu d i n je n avtor P ierino del Vaga. K ot Del Vagovo delo jo c itira ta tu d i in v e n ta rja iz leta 1700 in 1790 in fidejkom is iz leta 1833. Le A. V enturi jo je leta 1893 pripisal D om enicu F ettiju , v endar je delo obveljalo kot del Vagova slika. Kavčič je n a risbi izpustil Jožefove k u štrav e lase in m u shem atiziral pogled, poleg teg a gleda Jožef n a risbi v gledalca, n a originalu pa desno navzdol. O pustil je tu d i drobno rastlin je, ki p o g an ja n a p ila­ stru za Jožefovo glavo in n a opečnatem zidu. K ot že n ek a jk rat, tu d i tu niso zrisani nim bi; Jezusov obraz je sp rem en jen v okroglastega. Lit.: Delia Pergola II, kat. in sl. 158. 32 ZAROKA SV. KATARINE SIENSKE, sl. 48 svinčnik, lav. perorisba, bistr, 21,2 x 17,9 cm, n a h rb tn i stra n i lista n ap is: incerto Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 1049 Vanni(?) Francesco (Siena 1563 — Siena 1610), sl. 47 o. pl., 89 X 67 cm G alleria Borghese, Rim, inv. 62 Opisi in v en tarjev 17. sto letja im ajo bržkone v m islih pričujočo sliko, nadrobneje pa jo om enja in v en tar iz le ta 1693, ki jo pripisuje A ndreu del S artu . K avčiču je bil slikar negotov »mcerčo«, m edtem ko fid ej­ kom is iz le ta 1833 poroča o F rancescu V anniju. Longhi se je 1928 bolj nagibal k misli, da gre m orda za V en tu ra Salim benija. Delia Pergola m isli, da gre za m ojstra, ki je blizu F rancescu V anniju, če n i to kar njegovo delo. Nismo zelo presenečeni, da K avčič npr. spet ni izrisal žark asteg a nim - ba okrog Jezusove glave, da ni zaznam oval K a ta rin in ih stigm , da je izpustil kačo, ki se vije iz keliha Jan eza K rstnika, in da je ublažil san jav e obraze sv. K atarin e, Jezusa in M arije. P reseneti n as pa, da je levo v ozadju naslikal nam esto glave sv. F ran čišk a starčevsko in b rad ato glavo, ki bi jo lahko im eli za glavo sv. Jožefa. To več kot svobodno sprem em bo težko pojasnim o, ker je v tak i obliki do zdaj n ik jer nism o srečali. R azlag za to sprem em bo bi moglo b iti več, a no­ bena n i dokazljiva. Ali je K avčič risal po neki sprem enjeni predlogi ali si je to ikonografsko sprem em bo sam dovolil? Lit.: Delia Pergola II, kat. in sl. 82. 33 VENERA, AMOR IN SATIR, sl. 46 svinčnik, lav. perorisba, bistr, 23,5 x 21,3 cm, n a k arto n u v sredini n ap is: Paolo V eronese Akadem ie d. bild. K ünste, D unaj, inv. in foto št. 933 K opija po Veroneseju, Paolo Caliari, im. Veronese (V erona 1528 B enetke 1588) o. pl., 115 x 110 cm G alleria Borghese, Rim, inv. 124 Slikar Van Dyck si je za to sliko zapisal, d a je Tizianovo delo. Tako jo naštev a tu d i M anilli leta 1650, m edtem ko jo in v en tar iz le ta 1693 in fidejkom is iz le ta 1833 p rip isu jeta Paolu V eroneseju. Da je a trib u - cija V eroneseju v eljala več kot sto let, p riča tu d i K avčičev napis pod risbo. M orelli je leta 1897 m islil, da gre za kopijo P arisa B ordoneja po Tizianovem originalu. V enturi je v svoji drugi sodbi leta 1933 m i­ slil n a Luca Cam biasa, Longhi pa jo je 1928 im el za delo, ki posnem a beneške klasike in do neke m ere tu d i P adovanina. Delia Pergola om enja značilno veronesejevsko kompozicijo, im postacijo figur in tu d i kolorit, m edtem ko so k arak teristik e kopista te oljne slike v zbirki B orghese zabrisane. E. T ietze-C onrat je le ta 1945 m islila, da gre m orda za roko D am iana Mazza. Kavčič je n a svoji risbi »pokvaril« V enerin veronesejevski obraz in živahen A m orjev pogled je n a risbi ostal top. Tudi ob d etajlih Vene­ rin ih uhanov in biserov se Kavčič ni preveč m udil; golobom a ni n a ­ slikal črn ih lis n a p erju ; m ed posodo n a polici in tulcem s puščicam i je n a originalu položen trak , ki ga tu zaznam ujejo le sledovi svinč­ nika. M egličasti oblaki v ozadju so p ri K avčiču dobili ostre obrise. Lit.: Delia Pergola I, kat. in sl. 244; A drian Gert: A nton van Dyck. Italie­ nisches Skizzenbuch. Wien 1940, sl. 114. SKLEP Kolikor danes poznam o Kavčičeve risbe po delih sta rih m ojstrov, izvi­ ra jo vse iz A kadem ie der bildenden K ü n ste n a D unaju, tudi tiste, ki jih zdaj h ra n i N arodna galerija v L jubljani. Te je le ta 1933 po n a k u ­ pu n a D u n aju podaril N arodni galeriji dr. F ran W indischer. Risbe so n alep ljen e n a k a rto n a sto podlago m odre barve in so oprem ljene z n a ­ pisi. T udi n a h rb tn ih stra n e h listov so ponekod napisi s svinčnikom ali peresom z bistrom . V m isli, da gre p ri vseh n ap isih za Kavčičeve originalne napise, n as p o trju je tudi dejstvo, da gre pri m arsik aterem listu za atrib u cijo slikarju, ki je veljal za av to rja u strezne Kavčičeve predloge le v času, ko se je K avčič šolal v Rimu, t. j. v letih 1781 do 1787 (prim . risbo št. 5, 7, 8, 11, 18, 19, 21, 30). O bjavljene risbe zajem ajo približno petino še neobdelanih K avčičevih risb po s ta rih m o jstrih . Med sedanjim i jih je k ar največ posnetih po delih iz G allerie B orghese v Rim u. Med njim i gre za originale, ki so še vedno v tej galeriji ali pa so jih pozneje iz te zbirke pridobili za druge g alerije (št. 6 in 26 in bržkone tu d i št. 4). N adalje gre za dela iz G allerie Borghese, za k aterim i je zgubljena vsakršna sled (M engsov sv. Jan ez K rstnik, št. 20). P ri tre h delih, ki so z veliko ver­ jetn o stjo p rip isan a Jacopu B assanu, A nnibaleju C arracciju in Nico- lasu Poussinu, nam niso znana n iti n ek d an ja n iti sed an ja n a h a ja ­ lišča (št. 3, 9, 23). Risba po Correggiovi sliki Zaroke sv. Katarine (štev. 12) pušča odprto vprašanje, k ateri prim erek naj bi K avčič p re­ risoval — original, eno od kopij ali grafik? — in kje n aj bi ga našel. — Gaullijeva Smrt sv. Frančiška Ksaverija (štev. 14) spom ni, da gre za sliko znane rim ske cerkve, in zdi se, da to ni edini prim erek posnetka slike tu d i iz cerkvenih prostorov. Iz slikarjevih risb po a n tičn ih kipih, reliefih in dru g ih p redm etih vemo, da je Kavčič prerisoval um etn in e iz pravzaprav vseh pom em bnih vil, palač in zbirk v R im u in okolici. Tam je posnem al tu d i vedute. Zdi se resnično nemogoče, da bi m orali im eti vso to m nožico gradiva za posnetke po predlogah. N eposredno prerisovanje izpričujejo tu d i Kavčičeva risba in m otivi, ki jih ni do­ končal, tem več pustil kakor napol dokončane (št. 14). Njegove risbe pa nam dajo tu d i vedeti, da je z njim i zajel glavne figure in p red ­ m ete, in sicer v njihovi m asi in z ostrim i obrisi, s katerim i je celo večkrat pretirav al. K ar so baročne oljne slike p o tap ljale v m egličaste oblake, v zarjo in tem no ozadje, to je K avčič n atan č n o izluščil in podal v obliki, ki je bila starim m ojstrom , zlasti C aravaggiu, Scarsel- lin iju in G u errieriju tu ja. N atu ralističn i in žanrski m otivi ga niso privlačevali, zato jih je izpuščal ali pa po svoje »olepšal« (št. 6, 7, 18, 21, 27). Z avihani robovi strg an e knjige sv. H ieronim a n a C aravaggiovi sliki so p ri K avčiču postali zravnani, strg an i rokavi so zaznam ovani s črto, ki bi jo lahko razložili tu d i kot gubo, nagubani obrazi so postali gladki itn. — Dovolj sam ovoljni so tu d i Kavčičevi obrazni tipi: k a r n ajv ečk rat so precej daleč od originalov, saj jim je sprem injal proporce in jim jem al m ik individualnosti. Pogledi so m rtvi, n eizra­ ziti in m ed seboj nepovezani. K ljub vsem u p a je v vseh te h obrazih viden slikarjev osebni stil. že k ar u n ifo rm iran o je slikal otroške obra­ ze, ženske in dekliške, starčevske in m ladeniške, in sicer tako, da jih najdem o tu d i n a njegovih k rajin sk ih slikah m ed štafažnim i figuram i, a ne redko tu d i n a risbah po an tič n ih p lastik ah in tu d i n a njegovih sam ostojnih o ljnih slikah, štev iln e vaje in p reriso v an ja m u niso n u ­ dila le priložnosti da zajam e kom pozicije, tem več so m u n arav n o st ponujale vrsto motivov, ki jih je pozneje vključil v svoje velike kom ­ pozicije v oljni tehniki. — P lastično m odelirane figure s ta rih m o j­ strov — m ed njim i še vrste im ena Bassano, Caravaggio, Carracci, Correggio, D am enichino, Gaulli, Mengs, Poussin, R affael — je splo­ ščil in k ar ploskovito upodobil. T udi tre tja dim enzija je zgubila n a veljavi: prostori so plitvi in brez zagonov v ozadje. Glede im enitnosti im en in večjih form atov orig in aln ih slik pa m enda ni vedno najbolj eklektično izbiral: risal je velike in m ale slike, dela slavnih in m anj slavnih m ojstrov, vsaj k ar zadeva G allerio Borghese. R isal je s svinčnikom , čez to pa z ostrim i peresnim i obrisi in lavuram i v b istru ali sepiji. žal sta nam znani le dve slikarjevi skicirki, ki za­ jem ata celo vrsto slikarjevih risb po p redm etih iz V atikanskega m u ­ zeja in M usea C apitolina. Ti skicirki pričata, da je iste predm ete n ajp rej zrisal s svinčnikom in jih s peresom in bistrom obrobil. Ne­ k atere te h p lastik ali u m etn in najdem o še e n k ra t zrisane in lavirane n a posam ičnih listih. Liste je obrobljal z debelejšim i in tan jšim i č rta ­ mi, jih n alep ljal n a k arto n a ste liste in jih v sredini oprem il z n ap i­ som — v endar ne dosledno. Jog G arm s3 5 je s polno upravičenostjo opomnil, da je Kavčič zapustil skoraj celo biblioteko risb po a n tičn ih p lastik ah , po delih s ta rih m oj­ strov in vrsto k ra jin in da bi te risbe lahko im eli k a r za pripravo objave corpusov, ki niso bili redkost v ta k ra tn e m času. Risbe so v n a j- večji m eri delane v zelo sorodnih fo rm atih in resnično kažejo nek sistem in urejenost. Bržkone pa so bile te risbe n am en jen e tu d i štu ­ dentom d u n ajsk e akadem ije, saj je v o h ran jen em arhivskem gradivu govor o pošiljki K avčičevih del iz R im a n a dunajsko slikarsko ak a ­ dem ijo. S kakšnim navdušenjem so m ladi u m etn ik i sprejeli te šablo- nizirane risbe, ki n aj bi jih rabile celo kot predloge za njihovo delo, vemo. Po o strih d eb a ta h s profesorji d u n ajsk e akadem ije je v rsta m ladih slikarjev zapustila šolo in odšla v Rim. E nem u d u n ajsk ih učencev — S u tte rju — p a je bilo v posebno zadoščenje, da je risbe po delih svojih profesorjev zažgal N ajsi Kavčičevo »barbarsko pridnost«, ki je zap u stila sto tin e risb, cenim o tak o ali drugače, bo bržkone le obveljalo: m arsik ate ra K av­ čičeva risb a po s ta rih m o jstrih bo pom agala izreči kakšno besedo več o h isto ra tu s ta rih slik; K avčičeve risbe razkrivajo neoklasicistični n a ­ čin sp rejem an ja s ta rih slik arsk ih vrednot, zlasti baročnega časa; ris­ be dokazujejo nepopustljivost in n eu tru d n o st v risarsk ih v ajah , ki so 3 6 Jörg Garms, Introduzione, — v: Artisti Austriaci a Roma dal barocco alla Secessione. Museo di Roma-Palazzo Braschi 1972 (brez pag.). Po večletnem zbiranju gradiva o slikarju Kavčiču, s katerim sem začela že leta 1968, sta mi v zadnjem času s finančnim i sredstvi nudila možnost za sistem atične j še delo Sklad Borisa Kidriča v Ljubljani in Ministero degli A ffari Esteri, Direzione generale per la cooperazione culturale, scientifica e tecnica v Rimu, za kar se obema naslovoma zahvaljujem . — Brez možnosti študija v Bibliotheci Hertziani v Rimu in brez nasvetov in pomoči številnih kolegov pa bi bilo moje delo znatno otežkočeno in bi ostalo m arsikaj še nerazrešeno. Dr. Eduardu A. Šafariku, ravnatelju gale­ rije Doria Pam philj v Rimu, dolgujem zahvalo za prvo vzpodbudo za objavo Kavčičevih risb po delih starih m ojstrov in za mnoge dragocene napotke. Brez širokosrčnega dovoljenja Akadem ie der bildenden Kunste, da smem že leta in leta pregledovati akadem ijski arhiv, grafično zbirko, fotografirati Kavčičeva dela in jih zdaj tudi objaviti, bi mi bil študij Kav­ čičevega opusa sploh nemogoč. Pri tem so mi ljubeznivo in potrpežljivo pomagali dr. Wanda Lhotsky, dr. W alter Cerny in direktorica + dr. Marga­ rethe Poch Kalous. Zahvalo dolgujem tudi gospej H ofrat dr. Evi Frodl K raft, Institut fü r österreichische K unstforschung des Bundesdenkm al­ amtes, Dunaj, prof. dr. H einzu Schönyju, Historisches M useum der Stadt Wien, Dunaj, ravnatelju Cav. Guidu Bradaschiu, Musei Provinciali, Go­ rica, Msgr. Justu Soranzu, Gorica, grofu dr. Guglielmu Coronini Cron- bergu, Gorica, dr. Gaetani Scano, Accademia Nazionale di San Luca, prof. Christophu W. Clairmontu, Princeton, N. J., prof. Hugh Honour ju, Cammigliano Santa Gemma, dr. Jörgu Garmsu, Österreichisches K ultur­ institut, Rim, ravnateljici Gallerie Borghese dr. Luciani Ferrara Grassi, Jacquesu K uhnm ünchu, Rim, prof. Olivieru Michelu, E cole franqaise de Rome, Rim, dr. Friedrichu Koblerju, München, dr. Elisabeth Schrötter, Rim, dr. Steffi in prof. dr. H erwarthu Röttgenu, Göttingen. Vedno so mi ljubeznivo svetovali tudi dr. Emilijan Cevc, prof. dr. Luc Menaše in prof. dr. Nace Šumi. zaznam ovale tu d i druge m ojstre ta k ra tn e g a časa; dokazujejo širok in teres in končno tu d i izobraženost, ki so jo prav te vaje nudile slikarjem s spoznavanjem rim ske in grške zgodovine, m itologije, a n ­ tične um etn o sti in um etnosti od časa renesanse n ap rej; in navsezad­ n je te risbe ne bodo pom agale zaokrožati le zgodovinske podobe u m et­ n in zn an ih m ojstrov, tem več tu d i h isto ria t s ta rih zbirk, posam ičnih a n tičn ih kipov, a n tičn ih in tu d i m lajših objektov in vedut v Rimu, v okolici Rima, B enetk, T rsta, Vipavske doline (?), D unaja, Salz­ burga in P assaua. Na oceno čakajo tu d i še Kavčičeve oljne slike in njegova vloga akadem skega u čitelja in um etniškega n adzornika d u ­ najske polcelanske m an u fak tu re. Akad. d. bild. Künste Arch. Seg. Vatic. Arslan Baglione Bellori Della Pergola I. Della Pergola II. Fidejkomis iz leta 1833 Inventar iz leta 1693 Inventar iz leta 1700 Inventar iz leta 1790 Inventar Lucrezia d’Este Inventar Olimpije Aldobrandini iz leta 1626 lav. perorisba Longhi Manilli M ontelatici Piancastelli Ramdohr Tietze Conrat E. V enturi A. 1893 Voss Akademie der bildenden Künste, D unaj/W ien Archivio Segreto Vaticano Edoardo Arslan: I Bassano. I., II. Milano (1960) Giovanni Baglione: Le vite de’pittori, scultori ed architetti. Dal Pontificato di Gregorio XIII. del 1572. In fino ai tem pi di Papa Urbano VIII nel 1642. Roma 1642 Giovanni Pietro Bellori: Vite de pittori, scultori ed architetti moderni. I.—III. Roma 1672 Paola della Pergola: Galleria Borghese. 1 dipinti I. Roma 1955 Paola della Pergola: Galleria Borghese. I dipinti II. Roma 1959 Fidecomesso Artistico nella Famiglia Borghese. Arch. Gali. Borghese Inventario di tu tti li Mobili che sono nell’Appartam ento Terreno che gode il Sig. r Precipe Rossano. Arch. Seg. Vaticano Fondo Borghese. Busta n .7504 Nota delli Quardi dell’Appartam ento terreno di S. E. il Sig. Pne Borghese. Arch. Gall. Borghese Catalogo della Quadreria Borghese nel Palazzo a Campo Marzio. Arch. Gall. Borghese (v Piancastellijevem prepisu) Inventario delle Robbe di S.A. S. la Duchessa. d ’Urbino. Arch. Seg. Vat., Fondo Borghese, Busta 7501 Inventario di Mobili e Suppellettili Aldobrandini 1626. Arch. Seg. Vat., Fondo Borghese, Vol. 6219 lavirana perorisba Roberto Longhi: Precisioni nelle Gallerie Italiane. I. R. G alleria Borghese. Roma 1928 Jacomo Manilli: Villa Borghese fuori di Porta Pinciana. Roma 1650 G. B. Montelatici: Villa Borghese fuori di Porta Pinciana. Roma 1700 Istituzione Fidecommissaria del Principe Francesco Borghese con le modifiche e sistemazioni posteriori. (Piancastelli). Arch. Gall. Borhese Friedrich W ilhelm Basilius (von) Ramdor. Über Mahlerei und Bildahuerarbeit fü r Liebhaber des Schönen in der K unst. I.—III. Leipzig 1787 Erika Tietze Conrat: Tee H olkham Venus in the M etropolitan Museum, — v: The A rt Bulletin XXVII, 1945 Adolfo Venturi: II Museo e la galleria Borghese. Roma 1893 H erm ann Voss: Die Malerei der Spätrenaissance in Rom und Florenz. Berlin 1920 PAINTER FRANC KAVČIČ/CAUCIG AND HIS DRAWINGS OF OLD MASTERPIECES By K senija Rozm an, L jubljana FRANC KAVČIČ — THE ARTIST AND HIS LIFE In fo rm atio n on life and works of th e neo-classicist p a in te r F ran c Kavčič (Caucig) is not entirely lacking. It can be found in a num ber of lexica and o th er publications.1 N evertheless, th e re are differences even about th e year of his b irth and on th e day of his death. It has 1 I am quoting some of them only: Hans Rudolph Fiiessli: Annalen der bildenden Künste für die österreichi­ schen Staaten. I. Th. Wien 1801, pp. 110—130; H (ans) H (einrich) Füssli: Allgemeines K ünstlerlexikon. II. Zürich 1806, pp. 679—180; Johann Georg Meusel: Teutsches K ünstlerlexikon. I. Lemgo 1808, pp. 134—135; Pietro Zani: Enciclopedia Metodica Critico-Ragionata delle Arti. I. Vol. VI. P ar­ ma 1820, p 95; (Franz G räfer und Johan Jacob Heinrich Czikann): Öster­ reichische National-Encyclopädie. I. Wien 1835, p. 488; idem, 23. Bd. (Sup­ plem ent), p. 392; G(eorg) K (aspar) Nagler: Neues allgemeines K ünstler- Lexicon. M ünchen 1835. pp. 435, 441—443; Charles Le Blanc: Manuel de l’amateur d’estampes. I. Paris 1854, p. 228; Carlo Morelli di Schönfeld: Isto- ria della Contea di Gorizia. III. Gorizia 1855, pp. 272—273; Constant von Wurzbach: Biographisches Lexikon des Kaiserthum s Österreich. Wien 1857, pp. 312—314; Ivan Kukuljevič Sakcinski: Slovnik um jetnikah jugoslaven- skih, II. Zagreb 1858, pp. 148—154; Frant(išek) Lad(islav) Rieger: Slovnik naucny. II. V Praze 1862, p. 81; Štef(an) Širok, Slavni slovenski slikar France Kavčič. Zora. 1.1872, št. 12, pp. 177—179, št. 13, pp. 192—193; F ran ­ cesco di Manzano: Cenni biografici dei letterati ed artisti Friulani del secolo IV. al XIX. Udine 1885, pp. 55—56; Michael Bryan: Dictionary o/ Painters and Engravers. Biographical and Critical. I. London 1886, p. 253; Hans Tietze, Caucig Franc, v: Thieme-Becker. VI. Leipzig 1912, p. 197; E(m m anuel) Benezit: Dictionnaire Critique et Documentaire etc. I. Paris 1924, p. 897; St(eska Viktor), Caucig (Kavčič) Frančišek, — in: Slovenski biografski leksikon, 1925—1932, pp. 73, 83; Antonio Morassi, Gorizia nella storia dell’arte, in: Gorizia nella storia, nell’arte, nell’economia. Gorizia 1925, p. 30; Friedrich Noack: Das D eutschtum in Rom. II. Berlin—Leipzig 1927, p. 123; Viktor Steska: Slovenska umetnost, I. Slikarstvo. (Prevalje 1927), pp. 169—173; Antonio Morassi, L’arte nel Goriziano, in: Gorizia con le vallate delVIsonzo e del Vipacco. Guida del Friuli. (Udine) 1930, pp. 200—201; Josip Regali, O nekaterih slikah Franceta Kavčiča (Cauciga) in nekaj o njegovi rodovini. ZU Z XII. 1933, pp. 115—119; France Stele: Mo- num enta artis Slovenicae, II. Ljubljana 1938, pp. 17, 29, 30; Rannieri Mario Cossar: Storia dell’Arte e deli’Artigianato in Gorizia. Pordenone 1948, pp. 74, 212, 309, 311—314, 332; France Stele: Slovenski slikarji. Ljubljana (1949), pp. 144—145; Dario de Tuoni, Slikar Franc Kavčič. Razgledi. IV. Trst 1949, pp. 445— 460; Ugo G aletti-Ettore Camesasca: Enciclopedia della pittura Italiana. (1951), pp. 2439—2440; Guido Manzini, I disegni di Fran­ cesco Caucig nel Museo Provinciale di Gorizia. Con un saggio bibliografico sul pittore. Firenze 1952, pp. 1—7; Österreichisches biographisches Lexikon, been generally accepted th a t he died on Novem ber 18, 1828, except for Ferd. Nik. S chm idtler who p u ts th is d ate to th e 17th.2 More th a n one h u n d red years later, Heinz Schöny3 confirm ed an d definitely cor­ rected th e d ate on th e stre n g th of th e o bituary notice in w hich B ern- h ard R attm an n , K avčič’s nephew, annouces th e decess of his m a te r­ n al uncle. A ccording to th is notice Kavčič died on the 17th day of No­ vember, 1828 a t h alf p ast eleven in th e n ig h t. In his work, Heinz Schöny gives docum ented proof of th e tra d e of K avčič’s fa th e r — he was a tay lo r — as noted in K avčič’s m arriag e licence of his w ed­ ding w ith B arb ara H aitzinger in 1803.“ T he d ea th reg ister offers th e in fo rm atio n th a t th e p ain te r died a t th e age of 72, w hich is co n trary to th e alleged year of b irth , 1762, repeatedly given in th e lite ratu re . S u b tractin g K avčič’s given age, C arl von Lützow5 m ost probably comes n earest to his b irth year — he p u ts it to 1756. T he p rim ary source, how erer, i. e. th e original b ap ­ tism al book (reg ister), discloses th a t K saver A nton Nikolaj K avčič (Xaverius Antonius Nicolaus Caucig), son of A ndrew and C atharine, was born on the 4th of December 1755.6 N um erous p rin ted sources on K avčič m ake possible a b rief re cap itu ­ latio n of his life-course. He le ft h is n ativ e G orica (G orizia) w ith a le tte r of recom m endation from C ount G uido Cobenzl to his son 1815—1950. Graz—Köln 1954, pp. 138— -139; Luc Menaše: Avtoportret na Slovenskem . M oderna galerija. Ljubljana 1958, pp. 26, 75—76, 124; France Stele: Umetnost v Primorju. L jubljana 1960, pp. 161—167; Em ilijan Cevc: Slovenska umetnost. Ljubljana 1966, pp. 160, 165; Špelca čopič: Slovensko slikarstvo. L jubljana 1966, pp. 72—74, 234—235 (literature by Melita Stele- Možina); W alter Wagner: Die Geschichte der Akadem ie der bildenden Künste in Wien. N. F. I. (Wien 1967), pp. 57, 62, 81, 91, 94; Heinz Schöny: W iener K ünstler-A hnen. I. Wien 1970, p. 136; Luc Menaše: Evropski um et­ nostnozgodovinski leksikon. Ljubljana 1971; A rtisti Austriaci a Roma dal Barocco alla Secessione. Museo di Roma. Palazzo Braschi. 1972, w ithout pag., cat. no. 42—61 (text and catalogue: Jörg Garm s). 2 Ferd. Nik. Schm idtler, Vor einem Grabe. Lebensbild. Sonntagsblätter. No. 34. (Wien) 22. August 1847, p. 434. 3 Heinz Schöny: W iener-K ünstler Ahnen. 1. Wien 1970, p. 136. — The author kindly gave me a copy of obituary. — H. Schöny has in the quoted work excluded data from the M ortuary book of Maria Hilf in Vienna w here 18th November is m entioned as the date of death. — We have to consider that the relatives witnessed the death, and only later next day was the death registered in protocol. 4 M atrimonial Book, Tom. 40, fol. 64, Rz. 128, p. 64, Archive of the Schotten parish, Vienna; Traungsbuch vom 5ten October 1801 bis 17ten July 1809, p. 118, Archive of the Alser V orstadt parish. Vienna. 5 Carl von Lützow: Geschichte der kais. kön. Akadem ie der Bildenden K ü n ­ ste. Festschrift des neuen Akademie Gebäudes. Wien 1877, p. 102. 6 IX. Liber baptizatorum, spectans Parochiam S. Hilarii Goritiae, a die 211 " 3 M artii 1754, usque ad diem 3 1mam Decembris 1770, p. 28, Archive of the Cathedral in Gorizia. — The day of birth is indistinctly recorded, I read it as 4 December, while the date of christening is w ritten clearly. To the name Xaverius Antonius etc was later added the name Franciscus. This postscript is repeated in the later w ritten R epertory of the names of the christened kept in the same archive. Names of all Francises Xaviers were recorded only as Xavier. Various archive data recording Kavcic’s age. names of his parents etc., leave no doubt that the year of birth — 1755 — is correct. The nam e of Franc Kavčič is found in the Christening book only on that date and never before or after. Philip in V ienna, in whom K avčič found a protector. From V ienna he w ent to Bologna an d proceeded to Rom e; he stayed th ere from 1781 to 1787,7 re tu rn in g ag ain to Vienna. E arlier th a n M arch 1793 he was selected to succeed H ubert M aurer, professor a t th e V ienna Aca­ demy. He was sen t to M antua an d Venice, w here he stayed u n til 1798, living on an Im perial g ran t. In th e years 1796—1798 he was C orrector of E lem ents of h isto rical painting, 1799—1820 Professor of H istorical P ain tin g an d 1820—1828 he served as D irector of th e V ienna Academy of P ain tin g and S culpture. In 1808 he was nam ed Inspector of Arts in th e V iennese P orcellain M anufacture. 1823 he become H onorary M em ber of th e R om an Accadem ia di San Luca. The first p rin ted source on K avčič’s work, to our p resen t knowledge, is a notice in th e R om an gazette Giornale delle Belle Arti.8 It praises an oil painting, com m issioned by Count Philip Cobenzl. K avčič’s pic­ tu re rep resen ts th e m eeting of Em peror Joseph II w ith Pope Pius VI in Vienna, w here it h as also been displayed. T here is a profusion of reports on Kavčič during his life-tim e, referrin g to num erous works of th e artist, of w hich to -d ay we do n o t know anything. An uknow n observer calls him in 1799 »ein Künstler von vorzüglichen Talent«’ 9 G oethe in 1805 considers th a t »Caucig und Schöpf waren Männer von Talent, die grosse Fertigkeit besassen, aber eben darum die wesent­ lichsten Theile ihrer Gemälde etwas vernachlässigten«;1 0 G. K. N agler ag ain in 1835: »Der geniale Caucig«n etc. M em bers of St. L uke’s Guild, on th e o th er hand, and especially Joseph S u tte r condem ned him w ith th e rest of th e V iennese professors.1 2 T hese young p ain ters tu rn ed th e ir back in anger and disap p o in tm en t to th e V ienna Academy and left for Rome. In contest and in his conversations w ith th em th e sculptor Z auner m entioned a considerable num ber of F iiger’s R om an sketches and K avčič him self boasted about his own diligence w hich according to him did n ot allow him to observe a single holyday. The fru it of th is »barbarian diligence« are h u ndreds of sketches and w ashed p en -an d - ink draw ing. T he works on K avčič give a sum m ary co u n t of cca 2000 units. They co n tain studies of anatom y, of fau n a an d flora, copies of an tiq u e sculpture, heads and arch itectu re, copies of old m asters, h i­ storic and m ythological scenes and landscapes. In our cen tu ry K av- 7 Stato dell’Anim e 1781, S. Andrea d. Fratte, Piazza di Spagna; Stato d’A ni- me 1783-87, S. Andr. d. Fratte, Vic. S. Isidoro — both in the Archivio del Vicariato, Rome; Friedrich Noack: Das D eutschtum in Rom. II. Berlin— Leipzig 1927, p. 123 8 Op. cit. No. 22, 2. 6. 1787, pp. 167—168, 422. 9 G. S. r, Nachrichten eines K unstliebhabers von Wien 1798, in: Meusel Jo ­ hann Georg: Neue Miscelaneen artistischen Inhalts für K ünstler und Kunstliebhaber. Neuntes Stück. Leipzig 1799, p. 104. 1 0 Johan Wolfgang Goethe: W inckelmann und sein Jahrhundert. Tübingen 1805, p. 320. 1 1 G(eorg) K (aspar) Nagler: Neues allgemeines K ünstler-Lexicon. I. M ün­ chen 1835, p. 435. 1 2 Ludwig Grote, Aus den Briefen von Josef Sutter an Overbeck und die Lukasbrüder in den Jahren 1810-15, — in: Zeitschrift für Kunstgeschichte. IV. Bd. Berlin—Leipzig 1935, pp. 128, 130. čič’s w ork a ttra c te d V iktor S teska,1 3 A ntonio M orassi,1 4 an d Josip R e­ gali,1 5 who m ade a special effo rt to collect from th e th e n still living K avčič’s d irect kin d ates on his Slovene extractio n , orig in atin g on his fa th e r’s side allegedly from Volče n ea r Tolm in; D ario de T uoni,1 6 who discovered new in fo rm atio n , G uido M anzini,1 7 who pointed out th a t au th o rs keep rep eatin g well know n facts, and leave a num ber of questions on K avcic’s a rtistic opus open. F ran ce Steife1 8 considered K avčič a » ... important personality, whose real value may be ’’disco­ vered” at a later time.«. Jörg G arm s1 9 selected from his opus sam ples of his R om an draw ings, catalogized th em an d conceded th a t th ey were »di solida qualitä e spesso non privi di interesse, anzi, talora dotati di un certo spirito«. Of course, all th e old an d m ore recen t reports on K avčič’s life and work h ad to be verified and I considered it equally necessary to give a detailed once-over to th e so o ften m entioned K avčič’s draw ings, th e perennialy given nu m b er of some two th o u san d . P erh ap s a b et­ te r rounded ap p raisal of K avčič’s im portance will be w ritten in 1978, w hen an extensive exhibit of his works is foreseen to rem em ber th e 150th an iv ersary of his d eath . Let me also m en tio n th a t a fte r all Kavčič studied in Rom e w hen th e in flu en tial an d honoured Pompeo B atto n i was passing away, w hen m em ory of R aphael M engs was still vivid, w hen M engs’ b ro th er-in -law , A nton de M aron, was still active, w hen Angelica K au ffm an n a ttra c te d im p o rtan t a rtists an d litte ra ti, w hen W inckelm ann’s teach in g carried w eight, w hen J. L. David showed his »Oath of the Horatii«, w hen A ntonio Canova, w ith whom K avčič kep t up correspondence chiseled th e re his early works, etc. D uring his studies in Venice (1791—1796), th e V enetian Academy of P ain ters m ade him a m em ber,2 0 in his long years in V ienna his in ­ fluence was b o th positive and negative, b u t he educated a num ber of p ain ters in th e old M onarchy, am ong o th ers th e Slovene M atevž Langus, w ith whom he spoke in Slovenian.2 1 T here are a t least th re e reasons, w hich prom pt m e to s ta rt w ith th e publication of K avčič’s draw ings of old m a ster’s p ain tin g s: 1. in th e few published w orks on K avčič th ese draw ings are only briefly m en ­ 1 3 St(eska Viktor), Caucig (Kavčič) Frančišek, SB L 1925, p. 73. 1 4 Antonio Morassi, Gorizia nella Storia dell’arte, in: Gorizia nella storia, nell’arte, nell’economia. Gorizia 1925, p. 30. 1 5 J(osip) Regali, O nekaterih slikah Franceta Kavčiča (Cauciga) in nekaj o njegovi rodovini. ZUZ XII, 1933, pp. 115—119. 1 6 Dario de Tuoni, Slikar Franc Kavčič, Razgledi. IV. Trst 1949, pp. 445— -460. 1 7 Guido Manzini, I disegni di Francesco Caucig nel Museo Provinciale di Gorizia. Con un saggio bibliografico sul pittore. Firenze 1952, pp. 3—7. 1 8 France Stele: Umetnost v Primorju. Ljubljana 1960, p. 167. 1 9 A rtisti Austriaci a Roma dal Barocco alla Secessione. Museo di Roma. Palazzo Braschi 1972, w ithout pag. /before cat. no. 42/ (catalogue: Jörg Garms). 2 0 A kten 1796, fol. 97, Archiv d. Akad. d. Bild. Künste, Vienna. 2 1 Ivan K ukuljevic Sakcinski, Matia Langus. Neven I, No. 6. Zagreb 5. 2. 1852, p. 88; Ivan K ukuljevič Sakcinski: Slovnik um jetnikah jugoslavenslcih II. Zagreb 1858, p. 151. tio n e d ;2 2 2. alth o u g h th ey are done in th e sam e technique and accor­ ding to th e sam e principles (pencil, w ashed in k -an d -p en ), th ey de­ m o n strate on th e one h an d th e a rtis t’s canon of th e late 1700’s and on th e o th er ch aracteristics of K avcic’s personal style; 3. th e fact itself, th a t K avcic’s draw ings of old m asters are th e least publicized would n o t be su fficien t to a ttra c t m y atten tio n , were I n ot convinced th a t exactly th ese draw ings will shed m ore lig h t on th e h istory of fam ous and less fam ous works, copied by Kavčič during his stay in Rome. In fo rm atio n th a t K avčič lived in Rom e in 1781 on Piazza di Spagna and 1783—1787 in Vicolo di S. Isidoro is due less to th e older lite ra ­ tu re and m ore to th e reliable p arochial control of »souls« (Status Animarum). T he question w h eth er a t th is tim e he actually m ade draw ings of th e originals can n o t be reliably answ ered. B ut we know from m any sources th a t a rtists were com ing to Rome to copy th e originals and n o t th e ir copies or m odels; these could be easily copied in th e academ ies a t home. Besides, we know from th e tran sc rip ts of th e Accadem ia di S. Luca th a t stu d en ts of th is in stitu te had to copy th e sculpture of A ntinous in th e Museo C apitolino;2 3 otherw ise they could n ot com pete for g ran ts in th e th ird class. S tudents of th e F ren ch Academ y in Rome were supposed to copy works of great m asters unceasingly.2 4 T he D irector of th e F rench Academ y in Rome, C harles N atoire, him self rushed im m ediatly a fte r arival in Rom e to copy works of D om enichino and R affael. In th e V atican, in S. Adrea della Valle, in G alleria Borghese, Palazzo Doria, Villa Ludovisi etc. hosts of th e »young crowd« kept copying, relates Je a n Locquin, quo­ ting reliable sources.2 5 We should add th a t Kavčič could n o t escape draw ing of th e antique sculpture of th e C apitoline A ntinous either, alth o u g h probably from a cast.“ C onsidering th e num erous copies of various m asters and of an tiq u e sculpture th a t used to exist and still do exist in Rome it is quite probable th a t Kavčič followed th e ge­ nerally valid rules for studies in Rome. Ivan K ukuljevič — S akcinski2 7 specifically m entions in Kavčič’s biography th a t he copied in th e G alleria B orghese; o th er au th o rs do n ot relate it. A paym ent check from 1793 proves th a t Kavčič did p laster casts of th e originals in 2 2 In the Rome exhibition in 1972 Jörg Garms went deeper in to this question and exhibited two works: Domenichino’s The Hunting of Diana and Put- toes at Play, unidentified work of the painter Ciro Ferri. On this occasion he rem arked also that Kavčič copied several works in the Galleria Bor­ ghese, that he frenquently copied Guercino, Domenichino, Garofalo, Cav. d’Arpino, Ferrari, Veronese and Titian. He added that his copies mean a drawback since it often concerns less known works or incorrectly labe­ led authors. — compare: A rtisti Austriaci a Roma. Rome 1972, cat. 54, 55. 2 3 I p regi delle Belle A rti celebrati in Campidoglio pel solenne concorso trenuto dell’Insigne Accademia del Disegno in S. Luca li 2. Giugno 1783, Roma, p. VIII. Jean Locquin: La Peinture d’Historie en France de 1747 d 1785. Paris 1912, p. 98. 2 5 o. c., pp. 99—100. 2 6 Antinoos, Akademie d. bild. Künste, Vienna, inv. št. 1408 in 1414. 2 1 Slovnik um jetnikah jugoslavenskih. III. Zagreb 1858, p. 149. M antua.2 8 M any of his biographers relate th a t th is was th e reason why he was sen t to M an tu a2 9 an d th e bill for th e casts confirm s th e assum ption. T here are no specified bills for his copies of old m asters’ b ro u g h t from Rom e etc.3 0 T ens of views silently disclose how he did th ese sketches: on foot, in th e sadle, in com pany, alone. DRAWINGS OF OLD MASTERPIECES 1 THE ANNUNCIATION, fig. 1 Pencil, pen and brow n w ash, 22 x 32,9 cm, n o t signed. Inscribed on th e back w ith pencil: Federigo Barocio, and w ith brow n ink: Baroci N arodna galerija, L jubljana, No. G. 28, photo No. 3258 In th e m an n er: Barocci(o) Federico (U rbino 1528 or 1535 — U rbino 1612), fig. 2 Oil on canvas, 48 x 55 cm, n ot signed G alleria Borghese, Rome, No. 380 T he pictu re is m entioned in th e 1693 Inventory, b u t no a u th o r is indicated, in 1790 it is a ttrib u te d to Barocci, in th e 1833 Fideicom - m issum : »in th e m an n er of Barocci«. Longhi ascribes it to a m a n ­ n erist u n d er th e influence of Barocci. T his la st a ttrib u tio n h as p re­ vailed till now. Among th e w orks of Barocci, id en tical or a t least sim ilar p ictu res to th is one can n o t be traced. K avčič altered a square shape of th e p a in ­ tin g in to a rectan g u lar one. T he dove — Holy S p irit is seen a t th e upper edge of th e picture, a t th e bottom th e a u th o r om itted th e ground. He sim plified th e background, expanded in to depth, w ith w ashed shadow. Lit.: Della Pergola II, cat. and fig. 103; Harald Olsen: Federico Barocci. Kobenhavn 1962.2 2 THE ADORATION OF THE SHEPHERDS, fig. 3 Pencil, pen an d brow n wash, 21,3 x 25,2 cm, n o t signed. Inscribed in th e cen ter of azure ca rto n ground: L eandro B assano Akadem ie d. bild. K ünste, Vienna, No. 1013, photo No. 1013 Bassano Jacopo, Jacopo da Ponte (B assano 1516 — B assano 1592), fig -4 Oil on canvas, 76 x 94 cm, n o t signed. G alleria Borghese, Rome, No. 26 Already in 1650 M anilly accords th e picture to th e opus of »the elder Bassano«, as does th e In v en to ry of 1693. A rslan th o u g h t of it a t first to be an 18th cen tu ry copy of a disappeared p ictu re of Jac. da Ponte. Longhi, De R inaldis and D ella Pergola are excluding th e possibility th a t it be regarded as a copy, and A rslan in 1960 confirm s th e p re­ 2 8 A kten 1793, Fol. 24, Archiv d. Akademie d. bild. Künste, Vienna. 2 9 H. F. Füssli, Kukuljevič Sakcinski, W urzbach etc. 3 0 A kten 1798, Fol. 144, Archiv d Akademie d. bild. Künste, Vienna. vious attrib u tio n . R eplica of th e p ain tin g is in th e collection C attaneo in M ilan. K avčič’s attrib u tio n to L eandro B assano is th e only one, no o th er can be traced. K avčič copied th e original in com position, but he altered all th e faces in to his own facial types. T his can be p articu lary noticed in St. Joseph an d th e shepherd on th e right, behind th e donkey, w hich is th e actu al replica of faces from K avčič’s views. He p u t th e windows in to th e building in th e cen ter of th e background; th e sam e can n o t be seen in th e original com position to-day. T he question rem ains w h eth er th is is th e p a in te r’s own ad d i­ tion or h as it disappeared from th e original com position? Lit.: Della Pergola I, cat. 175, fig. 174; Eduardo Arslan: I Bassano. I. Milano (1960), p. 174, 171. 3 THE PRESENTATION IN THE TEMPLE, fig. 7 Pencil, pen and brow n wash, 20,7 x 27 cm, n o t signed. Inscribed in th e cen ter of azure carto n ground: Jacopo B assano A kadem ie d. bild. K ünste, Vienna, No. 1027, photo No. 1027 Bassano Jacopo, Jacopo da Ponte (B assano 1516 — B assano 1592) Among B assanos’ works th re e com positions of th e Presentation in the Temple are know n: 1) Jacopo and Francesco da Ponte, Bassano, Museo Civico, No. 21 (fig. 6), from th e C athedral, signed lac. s. a Pon­ te (Bass, s et Frac. s) Jilius facient MDLXXVII. According to A rslan it is m ostly th e w ork of th e son Francesco (A rslan II, ill. 219); 2) Francesco da Ponte, N ational G allery, Prague, No. DO 35 (fig. 5), sig­ ned: Franc, vs. Bas. vs Fac (replica is in R ouen m useum ). 3) Leandro da Ponte, Rosa, p arish church, once signed: Leander Bassan Faciebat, from 1582 (A rslan II, fig. 283). T he fo rm at of all th re e w orks is upright, b u t K avčič’s is oblong. T he work of F r. B assano in P rague an d th e com m on work of Jacopo and his son F rancesco in th e m useum in B assano are closest to K av­ č ič i draw ing. It m ust be a copy of a now unknow n work in w hich Kavčič possibly altered th e fo rm at an d copied only th e cen tral p a rt of th e com position, o m itting th e upper p art, alth o u g h th e picture from P rague offers a com parison in w hich th e P rese n ta tio n in th e Tem ple is also closed by a canopy above Sim eon and by views on a p a rt of a rc h itectu ra l space. I t is w ith th e P rague com position th a t we find m ost affin ities: th e p osture of th e old m an Simeon, Jesus laid on th e table, tab leclo th w ith em broidery and fringes, th e younger p riest on th e rig h t of th e old m an, candlesticks on th e tab le (in K av­ č ič i draw ing th e figure on th e left of old m an holds th e candle). Jo sep h ’s bearin g is actually affin ed w ith th e K avčič’s one, b u t it is still closer to th e com position in Bassano. M adonna in a kneeling position an d th e heads seen in profile are rem iniscent of M adonna in B assano. T he prophetess Anne is n o t in th e com position in B a­ ssano, alth o u g h it is in K avčič’s draw ing and in th e P rague picture. On th e left of th e P rague com position is also a m o tif- a m an w ith stra ig h t long h a ir like a hay stack, detain in g him self n ea r an anim al cage- an o ften repeated m otif in th e works of Francesco B assano. T he scene of M other w ith Child is also know n from th e P rague pic­ ture, except th a t M other here kneels on th e rig h t side and holds th e kneeling child. In th e K avcic’s draw ing M other sits on th e left a n d holds th e Child in h er lap. A nother well know n scene of Jacopo B assano can be found in K avčič’s draw ing: a lying dog and a young m an seen from behind, in an »altar-boy« tunic. A parallel to both can be found in Jacopo’s signed p ictu re »The B aptism of St. Lucilla« in th e m useum in Bassano. An aid in com parison is also th e kneeling St. Lucilla rem iniscent of M adonna in th e K avcic’s draw ing. We can n o t co n trad ict K avcic’s attrib u tio n given in his draw ings a t th e tim e w hen he copied th e work of Jacopo Bassano. I would prefer to com plem ent it, th a t perh ap s also - in to-day unknow n works in original- his son Francesco helped him , as he had done in th e picture of th e sam e m otif for th e C ath ed ral in Bassano. Lit.: W endelin Boeheim, U rkunden und Regesten aus der k. k. Hofbibliothek, — in: Jahrbuch der Kunsthistorischen Samlungen, X, Wien 1889, p. 164, no. 51; Edoardo Arslan: I Bassano. I. Milano (1960), p. 221, 222, 223, II. pl. 260. 4 THE ADORATION OF CHRIST, fig. 19 Pencil, pen an d brow n wash, 31 x 21,8 cm, not signed. Inscribed in th e cen ter of azure carto n ground: Angiolo B ronzino Akadem ie d. bild. K ünste, V ienna, No. 959, photo No. 959 Bronzino, Agnolo di Cosimo di Mariano (Florence 1503 — Florence 1572) T he pictu re from E sterhäzy collection is to -d ay in Szepm üveszeti M uzeum in B udapest, oil on canvas, 65,3 x 46,7 cm. T rad itio n ally It is a ttrib u te d to Bronzino whom V asari m entions in 1568. T he picture was ordered by Filippo d ’A verardo S alviati an d h as been d ated in 1535—1540. A large copy was m ade for S ta M aria delle C arceri in P rato. In 1554 th e com position was engraved by G iorgio di G hisi M an- tovano. T he work was copied several tim es an d reproduced as a g ra­ phic work. We can n o t say w h eth er K avčič copied th e pictu re a fte r th e original (w here it cam e from to E sterhäzy collection?), a fte r a copy in oil, or a fte r a graphic im pression. Lit.: A rthur K. Me. Comb: Agnolo Bronzino. His life and works. Cambridge. M assachusetts 1928, p. 47, fig. 7; Emiliani Andrea: II Bronzino. Busto Arsizio (1960), p. Tab. 30; Edi Baccheschi: L ’opera completa del Bronzino. Classici dell’arte 70, Milano 1973, cat. 26. 5 VENUS AND AMOR AT SEA, fig. 8 Pencil, pen and brow n w ash, 25,2 x 20,7 cm, not signed. Inscribed in th e cen ter of azure ca rto n ground: Luca Cam biaso Akadem ie d. bild. K ünste, Vienna, No. 988. photo No. 988 Cambiaso Luca (M oneglia 1527 — M adrid 1585), fig. 9 Oil on canvas, 106 X 99 cm G alleria Borghese, Rome, No. 123 In th e 1693 Inven to ry of th e B orghese G allery th e pictu re Is a ttr i­ buted to Pom arancio. Kavčič recorded C am biaso as th e au th o r. G a­ llery’s Inven to ry of 1790 corresponds w ith it. T his a ttrib u tio n h ad not changed till nowadays. A sim ilar com position, alth o u g h executed in a draw ing an d in a variatio n , is in Uffizi, No. 13830. Lit.: Deila Pergola I, cat. and fig. 128; Suida M anning Bertina & William Suida: Luca Cambiaso, la vita e le opere. Milan: Ceschina (1958), p. 147, fig. 75, IL. 6 CHRIST IN EMMAUS, fig. 10 Pencil, pen and brown wash, 20,6 x 31 cm, n o t signed. Inscribed on th e back: M ichelangiolo and M ichel Angelo da C arvagio(l), in th e cen ter of azure carto n ground: M ichelangelo Akadem ie d. bild. K ünste, Vienna, No. 1034, photo No. 1034 Caravaggio, Michelangelo Merisi (C aravaggio 1573 — Porto d ’Ercole) Oil on canvas, 139 x 195 cm, about 1596—1598 N ational G allery, London I t Is assum ed th a t B aglione refers to th is pictu re in 1642 w hen he speaks of pictures for Ciriaco M attel »a cui il Caravaggio avea dipinto un S. Giovan Battista e quando nostro Signore andd in Emaus. . .« Bellori m entions th e sam e subject m a tte r in 1672 am ong pictures of th e card in al Scipio Borghese. T he picture rem ained in th is Collection till 1798 w hen it was acquired by Lord V ernon. He donated it in 1839 to th e N ational G allery in London. G alleria B rera in M ilan h as a pictu re of th e sam e iconographic su b ject-m atter, ordered by m arquis Patrizij, as reported by Bellori in 1672. He m entions C hrist w ith two apostles, in th e background a host w ith a cap and a wife bringing food on th e table. A lthough we are fam iliar w ith K avcic’s draw ings of th e exteriors of Villa P atrizj (A kadem ie d. bild. K ünste, No. 1225, 1304, N arodna galerija, L ju b ljan a No. G .71), and are w ith regard to th e C aravaggio’s picture in B rera, w hich is supposed to have orig in a­ ted from Collection P atrizj, still some questions unansw ered,3 1 K av- čič’s draw ing m u st be a copy a fte r th e pictu re th a t was once in G alle­ ria Borghese: his draw ing is a precise copy of figural com position and of details of th e p ictu re In G alleria Borghese. B ut th e a ttra c tio n of C aravaggio’s chiaro-scuro and n atu ralism is obliterated. D ark shadow p ro tru d in g from th e left is now presented in an unbroken d ark er stain, shadow behind th e C h rist’s head he p ain ted on th e rig h t side only, he paid no special a tte n tio n to th e frow ned forehead of th e pupil raising from th e chair, and n eith er did to th e to rn sleeve of th e sam e apostle — he m arked it w ith two contours only. If we were not fam iliar w ith th e original we w ouldn’t be in a position to know th e m eaning of these tw o contours. He was quick w ith th e folded and enlightened p a rt of th e w hite apostle’s robe a t th e rig h t side of th e tab le — to him he also took aw ay th e glow of light. The last evidence th a t K avčič h ad copied th e picture w hile it was still in B orghese collection is th e tim e of his stay in Rome. He left Rom e in 1787 w hen th e pictu re was still in th is gallery. Lit.: Renato Guttuso-Angelo Ottino della Chiesa: L’opera completa del Cara­ vaggio. Classici dell’arte 6. Milano 1971,3 p. 92, 101, cat. and fig. 37, XIX—XXII, cat. 68; XV. settimana dei Musei Italiani. Rome. Palazzo Barberini, ottobre- 3 1 Acquisti 1970—1972. Galleria Nazionale d'arte antica. X V . settimana dei Musei Italiani. Roma, Palazzo Barberini, Ottobre—Novembre 1972, cat. 5, pp. 24, 26 (text cat. no. 5 w ritten by Eduard A. Šafarik). nove, bre 1972 (cat Italo Faldi and Eduard Šafarik), p. 24, 26; Illustrated general catalogue. The National Gallery, London 1973, p. 99. 7 ST. JEROME, fig. 11 Pencil, pen an d brow n wash, 22,7 x 28,7, n o t signed. Inscribed in th e cen ter of azure ca rto n ground: Spagnoleto, on th e back K avčič’s pen and brow n w ash draw ing a fte r R affaelo’s p ain tin g T he E ntom bm ent. N arodna galerija, L jubljana, No. G. 30, photo No. 3260. Caravaggio, Michelangelo Merisi (C aravaggio 1573 — P orto d ’ Ercole 1610) Oil on cavans, 112 x157 cm, about 1605/1606 G alleria Borghese, Rome, No. 56 B ellori m entions th a t C aravaggio m ade th is p ain tin g fo r cardinal Scipione Borghese. Also M anilli and 1693 In v en to ry ascribe it to C ara­ vaggio, w hile 1790 Inventory, th e sam e as Kavčič, a ttrib u te s it to S pagnoletto (sc. Jusepe de R ibera called lo S pagnoletto). T hus is re ­ corded also in th e list of 1833 Fideicom m issum an d in th is century, w hile some ascribe it to C aravaggio (L. V enturi, E. M odigliani, Voss, Longhi, De R inaldis, M ahon, Hinks, F ried län d er) an d o th ers not. On th e occasion of exhibition of C aravaggio’s w orks in 1951 in M ilan th e question about th e au th o rsh ip was ag ain in itiated . T he w ork is still a ttrib u te d to him an d is placed in tim e of th e a rtis t’s stay in Rom e 1605/1606. Also St. Jerome th a t was once in Palazzo del Q uiri- nale an d is to -d ay in V atican, h ad been once a ttrib u te d to R ibero’s opus. This one too h as been now ascribed to C aravaggio’s circle.3 2 T his tim e ag ain K avčič was n o t in terested in C aravaggio’s n atu ralism (like in th e draw ing Christ in Emaus): in C aravaggio’s p ain tin g a to rn an d tu rn e d up cover of an old book lying on th e le ft edge of th e tab le is depicted. K avčič did n o t copy th is m o tif b u t h ad depicted even and undam aged book cover. He n e ith e r copied th e em phasized p ro tru d in g collar bone of St. Jerom e. T he em phasized d ark and lig h t background K avčič softened w ith wash. Lit.: Della Pergola II, cat. and fig. 115; Renato Guttuso-Angela Ottino della Chiesa: L ’opera completa del Caravaggio. Classici dell’arte 6, Milano (19733 ), cat. and fig. 62, Tab. XLV. 8 SOLOMON’S VERDICT, fig. 12 Pencil, pen an d brow n w ash, 21,5 x 28,2 cm, n o t signed. Inscribed in th e cen ter of azure carto n ground: G uercino da Cento Akad. d. bild. K ünste, V ienna, No. 970, photo No. 970 The unknown follower of Caravaggio, Master of the judgement of Solomon, 17th century, fig. 13 Oil on canvas, 158 x 200 cm G alleria Borghese, Rome, No. 33 T he In v en to ry of th e G allery from 1693 m entions th e pictu re as th e w ork of th e p a in te r G iovanni L anfranco, th e In v en to ry of 1700 m en ­ tions th e a u th o r G uercino. K avčič recorded th is a ttrib u tio n (in 3 2 Guglielmo Briganti: II palazzo del Quirinale. (Roma 1962), p. 55. 1781/1787), w hile th e In v en to ry of 1790 ascribes it to Passignano (Do­ m enico). The la tte r a ttrib u tio n prevails in th e 1833 Fideicom m issum and later, u n til Longhi proposes th e a ttrib u tio n to Orazio G entileschi, to a F ren ch p ain te r Guy Francois, th e n to V alentin and finally to an unknow n follower of C aravaggio w ith a m ore precise appellation “T he M aster of th e Solom on’s V erdict”. T his last nom enclature of th e unknow n au th o r, w hich was a ttrib u te d to a F ren ch group of C aravaggio’s followers, was confirm ed a t th e exibition in Rome in 1973 w ith th e title I Caravaggeschi Francesi. Kavčič copied a com position of Salom on’s V erdict. As h as been th e case w ith all his draw ings-copies, he again h ad n ot copied facial types: com pare th e typical figure of th e youth on th e right, whose posture and th e h airsty le are direct sig n atu re of th e M aster of The Solom on’s V erdict. In K avčič’s pictu re th e face is contoured only, it is ra th e r a face from th e rep erto ry of K avčič’s faces and n ot from th e rep erto ry of faces of th e p ain te r whom he copied. A lthough on one side we have an original in oil p ain tin g and on th e o th er side a copy in w ash (m ade a fte r original or some o th er version) th e re are ch a racteristical signs specific not only of K avčič b u t of a whole school a t th a t tim e. T hey followed th e principles of M engs’ p ain tin g school, W inckelm ann’s theories and ideals of neoclassicistic direction. In vain we search in works of th a t tim e a plasticly painted frow ned forehead w ith deep w rinkles, rough hands, variety of facial types orig in atin g in th e stree t or in th e neighborhood, and sm all n a tu ra listic scenes from everyday’s life. T hus also w rinkles on Solo­ m on’s face, on hands, on legs of th e youth on th e rig h t of th e com ­ position are n ot copied. N either is reproduced a frow ned face of th e child lying on th e floor, nor h as th e spacial d ep th of th e com position built also by lig h t an d shadow been im itated. He h ad converted every­ th in g in to relief dom inated by fig u ral com position cap tu red by sh arp contours. All th a t was in accordance w ith th e principles of classicistic draw ing. F u rth e r com parison of th e original and K avčič’s draw ing shows us th a t K avčič did n ’t reproduce th e pronged crown of Solomon, th a t he d id n ’t delineate precisely th e p a tte rn of a c an th u s leaves on th e th ro n e, th e laces on executioner’s sandals, th e laces on th e feet of th e youth on th e rig h t etc. K avčič h ad n o t lim ited him self in his Solomon’s Verdict to th e draw ing of iconographic m otif only. His draw ings are actually th e studies for an in d ep en d en t com position of Solom on’s V erdict w hich is to -d ay in th e posession of th e N arodna galerija, L jubljana. Among his studies we can find e. g. a face of th e executioner, a child held by th e executioner an d several others stu ­ dies,3 3 used la te r for an independent com position of th e largest oil p ain tin g know n to us to-day.3 4 Lit.: Della Pergola II, cat. and fig. 119; I Caravaggeschi Francesi. Accademia di Francia. Villa Medici. Rome 1973-74 (preface: Jacques Thuillier, cat.: A rnauld Brejon de Lavargnee & Jean-P ierre Guzin), p. 4, 42, 51—65, 116, 123, 226, 228, fig. 12. 3 3 Akademie d. bild. Künste, Vienna, no. 1213, 1370, 1429, 1439, 1454. 3 4 Oil on canvas, 243 x 340 cm, not signed. 9 CHRIST IN GLORY W ITH THE SAINTS, fig. 14 Pencil, pen and brow n wash, 28,8 x 30,5 cm, n o t signed. Inscribed in th e cen ter of azure carto n g ro u n d : C aracci Akadem ie d. bild. K ünste, V ienna, No. 951, photo No. 951 Carracci Annibale (Bologne 1560 — Rom e 1609) T he pen draw ing Christ in Glory (M usče des B eaux Arts, Lille), fig. 15 is supposed to be a study for th e upper p a rt of th e com position in oil w ith th e sam e title in G allery in Palazzo P itti in Florence. In its upper p a rt th e oil p ain tin g rep resen ts C hrist in glory w ith St. P eter an d St. Jo h n Evangelist, and in its lower p a rt on th e le ft M ary M agda­ lene an d H erm enogilde, on th e rig h t St. E dw ard of E ngland and th e donor Odoardo F arnese. B efore 1698 th e p ictu re was in th e collection of F erd in an d o de’Medici. In 1905/1906 H. Tietze already established differences betw een th e pen-draw ing an d th e oil p ain tin g : putti are slightly m odified, St. Jo h n Ev. an d St. P eter are looking up in th e heavenly sphere, while St. Jo h n Ev. in th e oil p ain tin g looks down upon earth . T he m ost typical difference is in th e C h rist’s body — th e draw ing shows a m uscular body w hile in th e oil p ain tin g it is th e body of a gentle youth etc. Voss quotes oil p ain tin g and calls it a ch arac te ristic work of th e tra n sitio n w ith Correggio in colour, w hile in com position he sees an in sp iratio n w ith R om an m onum entality. R egarding th e sketch he is of an opinion th a t th e group w ith th e donor is still m issing and th e looks are tu rn ed upw ards. T he sloping posture of th e body does not project in th e oil p ain tin g , w hile in th e draw ing it is delineated shortened. None of th e au th o rs m entions th a t th e draw ing is c u r­ tailed on b o th sides an d th a t th e fo rm at of th e sk etch is of a penda- tive shape. We can add some o th er ch aracteristics of th e draw ing w hich th e upper p a rt of th e oil p ain tin g h as n o t: betw een St. P eter and th e angel on th e le ft of C hrist th e re is no cloud (it Is in th e oil p ain tin g ), C h rist’s left foot is show ing from th e robe (in th e p ain tin g th e rig h t one is also), an d a p a rt of th e drap ery on th e left knee is folded otherw ise th a n in th e oil painting. St. Jo h n th e Ev. shows left foot only, in th e p ictu re also th e rig h t one; S t.J o h n ’s robe is m ore afflu en tly folded th a n in th e oil p ain tin g ; th e cherub flo ats u nder th e cloud u n d er C hrist, w hile in th e p ain tin g h e is n o t seen. B ut w hen we com pare K avčič’s draw ing w ith C arracci’s pen-draw ing we can establish th a t K avčič copied th e en tire com position of pen draw ing w ith all details including th e segm ental curtailing. As it is th e case w ith all o th er K avčič’s reproductions th e change of facial types is noticed im m ediately. K avčič m odified them in his own types (long faces he depicted sh o rter an d fla t). — T he question rem ains, did K avčič copy th is draw ing or some o th er m ore com plete w ork-frescoe oil or sketch? H. Tietze h ad em phasized th e stre n g th of C h rist’s body in C arracci’s draw ing, w hile Voss em phasized g reater scorzo th a n in th e oil p ain ­ ting. In com parison w ith K avčič’s draw ing th e fo rm at is also evident, w hich K avčič rep eats it and w hich doesn’t aim a t th e study for oil p ain tin g of u pright, oblong form at, b u t sooner a t th e study for a m ural p ain tin g or a wall p ain tin g itself, w hich can accom odate to th e a rch itectu re - th e vault. »The study of ancient art, Raffaelo and Michelangelo’ s works showed him weak sides of his drawing and thus as a mature master he becomes a pupil again«, quotes T ietze3 5 for tim e w hen A. C arracci cam e to create in Rome. T he question w h eth er C arracci’s pen draw ing is indeed a study fo r th e oil p ain tin g of Odoardo F arnese, to-d ay in Pallazzo P itti, rem ains to be answ ered. Did A nnibale C arracci only rep eat th e know n upper p a rt of th e C hrist in Glory, m onum entalize it and prepared it for an independent com ­ position no m ore know n to-day, or was it perh ap s never executed? Again we ask: w here did K avčič execute th is draw ing and w h at did he use for a m odel: C arracci’s pen draw ing, w hich in m y opinion is less probable, or som e larg er study or cartoon, or som ething else yet? Lit.: Hans Tietze, Annibale Carraccis Galerie im Palazzo Farnese und seine römische W erkstätte. Jahrbuch der Kunsthistorischen Sammlungen. Bd. 26, Vienna 1906/07, p. 6& — 65, fig. 1, 7; H erm ann Voss: Die Malerei des Barock in Rome, Berlin (1924), p.498, fig. p. 178; Donald Posner: Annibale Carracci. Vol. 2. (London 1971), p. 45, fig. 103 b. 10 THE RAPE OF EUROPA, fig. 20 Pencil, pen and brow n wash, 30,8 x 21,7 cm, n o t signed. Inscribed in th e cen ter of azure carto n ground: d ’A rpino Akadem ie d. bild. K ünste, Vienna, No. 963, photo No. 963 Cesari Guiseppe, II Cavalier d’Arpino (Arpino 1568 — Rome 1640), 0 11 on wood, 57 x 45 cm, n o t signed, a fte r 1602/03 G alleria Borghese, Rome, No. 378 The origin of th e pictu re is not known. It was m ost probably p u r­ chased directly. For th e first tim e it is m entioned in 1650 (M anilli) in th e G allery’s collection, and from th e n on it was always a ttrib u ted to Cesari. H. R öttgen places it am ong th e p a in te r’s m ythologic-erotic works executed a fte r 1602/03. Kavčič’s copy reproduces th e original w ith o u t any g reat m odifica­ tions. Only faces are again m erely sketched and have lost th e ch a- ra cteristical contours of C esari’s types. Lit.: Della Pergola II, cat. and fig. 88; H erw arth Röttgen: II Cavalier d’ A rpi­ no. Rome. Palazzo Venezia 1973, p. 112, fig. 34. 11 ST.JO H N THE BAPTIST, fig. 17 Pencil, pen and brown wash, 27,5 x 20,3 cm, n ot signed. Inscribed in th e cen ter of azure carto n ground: d’Arpino Akadem ie d. bild. K ünste, Vienna, No. 954, photo No. 954 Cesari Guiseppe, II Cavalier d’Arpino (Arpino 1568 — Rome 1640) Oil on schist, 33 x 26 cm, not signed before 1607 G alleria Borghese, Rome, No. 229 The picture probably cam e into collection to g eth er w ith o th er works th a t were confiscated in d ’A rpino’s workshop by th e fiscal of th e pope Paul V, an d w hich were w ith th e Pope’s le tte r (breve) given 3 5 Hans Tietze, Annibale Carracis Galerie im Palazzo Farnese und seine römische W erkstätte. Jahrbuch der kunsthistorischen Sammlungen. Bg. 26, Wien 1906-07, p. 65. to th e collection of card in al Scipio Borghese. M anilli in 1650 a ttr i­ butes th e pictu re to »Cavaliere G uidotti«. In v en to ry of 1693 th e pic­ tu re only describes an d m entions nu m b er 170, w hich is still visible to-day. 1872 In v en to ry ascribes it to th e opus of Bologne school. In 1928 Longhi ascribes it to C avalier d ’A rpino and della Pergola, ranges it am ong w orks executed before 1607, th e tim e of confiscation. D uring his stay in Rom e (1781—1787) K avčič recorded th e a u th o r C avalier d ’Arpino. We can assum e th a t th is a ttrib u tio n prevailed in his tim e. Lit.: Della Pergola II, cat. and fig. 89. 12 THE BETROTHAL OF ST. CATHERINE, fig. 29 Pencil, pen and brow n wash, 26,3 x 21 cm, not signed. Inscribed in th e cen ter of azure ca rto n ground: il Correggio Akadem ie d. bild. K ünste, V ienna, No. 968, photo No. 968 Correggio, Antonio Allegri (Correggio abou1 1489 — Correggio 1534) In 1734 th e best know n w ork of Correggio w ith th is title cam e from C ollection F arn ese in P arm a, in Naples, in th e m useum Capodim onte. Corrado Ricci quotes th a t he saw a t least tw en ty copies in public galleries and m any in p riv ate collections th a t w ere called originals; Ricci fu rth e r m entions th a t a fte r a ttrib u tio n s m ade by som e a u th o ­ rities, th e original is considered to be th e p ictu re in th e possession of th e F abrizi fam ily in Rome. T he p ictu re in th e E rem itage and in th e B arberini G allery is also considered to be an original. B ut in his opinion th e original is th e picture in Naples. His opinion prevailed till to-day. Ricci also cites an engraving m ade a fte r th a t w ork: in 1620 engraved by G. B. M ercati a fte r a copy in th e possession of Lelia G uidaccioni, while a copy of A ntonio Zaballi from Naples was in 1781 engraved a fte r th e original in Naples. T he th ird version m ade by M oette reproduces th e com position from Naples an d cites th e in scrip ­ tion th a t was supposed to be on th e back of th e original. K avčič’s draw ing reproduces th e original com position. He h ad p ro ­ bably m ade it a fte r som e copy in Rome, perh ap s in th e B arberini G allery w here he obviously used to copy plastics an d paintings. Lit.: Corrado Ricci: Correggio. (Rome 1929), p. 36, 140, fig. XLI; Alberto Bevilacqua- A (ugusta) G(hidiglia) Quintavalle: L ’opera completa del Cor­ reggio. Classici dell’arte 41. Milan (1970), cat. and fig. 40, XIII. 13 THE SYBIL, fig. 21 Pencil, pen an d brow n wash, 28,1 x 20,3 cm, n o t signed. Inscribed in th e cen ter of azure carto n ground: D om enichino Akadem ie d. bild. K ünste, Vienna, No. 966, photo No. 966 Domenichino, Domenico Zampieri (Bologne 1581 — N aples 1641), fig. 22 Oil on canvas, 123 x 94 cm, year 1617 G alleria Borghese, Rome, No. 55 T he work was purchased from th e a rtis t in 1617 by card in al Scipione Borghese for his collection. D om enichino’s Sybil is m entioned in th e bill of th e fram em ak er an d th e guilder. Bellori too h as a record of it in 1627, w hile M anilli m entions a Muse, th e Inventory of 1700 St. Cecily, th e Inventory of 1790 a Music. A somehow altered replica is in W allace Collection in London. It was bought in 1848 by lord H ertford and is p erh ap s originating from C asa R a tta in Bologne w here th e a rtis t R eynolds saw it. A study for th e p ain tin g is in th e Collection Von H adeln in Florence. M arcucci and F o n ta n a m ade engravings a fte r th e oil p ain tin g in 18th century. A ffined com position of a Sybil Is know n to be in th e G alleria C apitolina in Rome. However, th is Sybil doesn’t have an in stru m en t, and on th e left of th e com ­ position is a cu rta in in stead of vine leaves. K avčič’s draw ing is a copy of th e original in th e G alleria Borghese. T his tim e K avčič did n o t copy th e lively, p arte d lips, exact proportion of th e face an d u p tu rn ed look e ith er- in his draw ing th e Sybil ap a- th eticly looks sideways. H er shaw l n eith er h as th e brocade p attern . Lit.: Della Pergola I, cat. 32, fig. 31; Evelina Borea: Domenichino. (Florence 1965), cat. and fig. 60. 14 THE DEATH OF ST. FRANCIS XAVIER, fig. 23 Pencil, pen an d brow n wash, 30,2 x 20,9 cm, not signed. Inscribed in th e cen ter of azure carto n ground: G aulli Akadem ie d. bild. K ünste, Vienna, No. 1002, photo No. 1002 Gaulli Giovanni Battista, called Bacicio (G enova 1639 — Rome 1705), fig. 24 Oil on canvas, 271 x 182 cm, year 1676 S. A ndrea al Q uirinale, Rome The pictu re is d ated w ith a bill issued on 20 July 1676. B. F a ria t engraved it (a specim en ln G ab in etto N azionale delle Stam pe, Rome, No. 53.064) and th e im pressions h ad spread th is m otif over Europe and L atin America. T his draw ing also shows K avčič’s in ten tio n in copying old m asters: w ith draw ing an d contouring he w ished to learn th e com position and along w ith th is exercise to em phasize th e m ain figure, i. e. St. F ra n ­ cis and th e group of angels on th e clouds, w hile th e arriving group of people in th e background he le ft u n fin ish ed : th ey w ear no clothes th o u g h th ey are in th e sam e m otion as in th e original. He n eith er delayed him self w ith th e p lan ts n ex t to th e jug, h e m erely contoured them . He n e ith e r copied a p ath etic face of th e dying sain t and vivid looks of th e angels h ad benum bed u n d er his pen an d brush. Lit.: Robert Enggass: The Painting of Baciccio Giovanni Battista Gaulli 2639—1709. Pennsylvania 1964, p. 25—26, 141, fig. 35; Giulio Giachi-Guglielmo M atthiae: S. Andrea al Quirinale. Le Chiese di Roma illustrate. N. 107. Rome (1969), p. 51—52, fig. 15. 15 LOT AND HIS DAUGHTERS, fig. 25 Pencil, pen an d brow n wash, 20,8 x 26,1 cm, n o t signed. Inscribed in th e cen ter of azure carto n ground: G. H onthorst Akadem ie d. bild. K ünste, V ienna, No. 994, photo No. 994 Guerrieri Giovanni Francesco (Fossom brone 1589 — Pesaro 1659) Oil on canvas, 143 x 165 cm, year 1617 G alleria Borghese, Rome, No. 45 T he p ain tin g was m ade as a sopraport for M arcantonio B orghese in 1617, for th e room in Palazzo di Cam po Marzio. M anilli already doesn’t know th e real a u th o r an d delivers a nam e of A rchito Ricci, th e 1693 In v en to ry F ranciabigio, th e In v en to ry from th e end of 18th century speaks about an anonym ous m aster. F. W. B. R am dohr and th e 1790 In v en to ry m en tio n as th e a u th o r G herardo delle N otti. T his a ttr i­ b ution h ad prevailed in 19th cen tu ry while in 20th cen tu ry some others have been suggested. A ndrea E m iliani refers again to G u errieri as th e au th o r. Della Pergola re tu rn s it th e nam e basing it on archive d a ta and th e com parison w ith o th er works. Kavčič em ploys th e nam e th a t prevailed in his tim e- G herardo delle N otti- and as Della P er­ gola quotes: t> . ..il nome ehe trionfa in questo momento per ogni opera notturnas As was th e case w ith th e draw ings a fte r Caravaggio, K avčič here too h ad lost th e charm of lig h t and shadow m ade to play: th e bottle of vine is w ith K avčič illu m in ated all over, w ith G uerriero only a sm all reflection is m arked; L ot’s crossed rig h t leg is lig h te r w ith K avčič th a n in th e original; or Lot’s face, exposed chest etc. In stead of narrow faces of th e d au g h ters th e re are now round and sh o rt ones. As in th e case of D om enichino’s Sybil K avčič h ad n eith e r th is tim e rep eated th e p a tte rn on th e drap ery of th e left daughter. Lit.: Andrea Emiliani: Giovan Francesco Guerrieri da Fossombrone. (Urbino 1958), p. 106 (introduction by Rodolfo Pallucchini); Della Pergola II, cat. and fig. 134. 16 ST. ROCHUS, fig. 26 Pencil, pen an d brow n wash, 18,3 x 29,7 cm, n o t signed. Inscribed in th e cen ter of azure carto n ground: Cavedoni Akadem ie d. bild. K ünste, Vienna, No. 991, photo No. 991 Guerrieri Giovanni Francesco (Fossom brone 1589 — Pesaro 1689) Oil on canvas, 106 x 180 cm, n o t signed, year 1617 G alleria Borghese, Rome, No. 69 T he pictu re was m ade in 1617 by G uerrieri as a sopraport for M ar­ cantonio B orghese for th e Borghese palace on Cam po Marzio. It m ust h ad been here ra th e r a long tim e, still M anilli doesn’t m ention it in th e In v en to ry of th e Villa. In 1700 M ontelatici records it as a pictu re m ade in esteem ed m an n er. T he In v en to ry of 1790 cites it as a work of Bolognese school, th e Fideicom m issum of 1833, P iancasteJli and V enturi C atalogue of 1893 as C arracci’s work, etc. In 20th cen tu ry various nam es have ranged. G uerrieri as th e a u th o r is recorded by E m iliani in 1958, and by D ella Pergola in 1959 based on th e d a ta in archives and on com parison w ith o th er works of th e sam e au th o r. Only K avčič h ad recorded as th e a u th o r G iacom o Cavedoni. K avčič’s draw ing is a copy of th e original, though again he did not pay a tte n ­ tio n to details in still life objects in th e left corner of th e picture. Some objects he drew in d etail w hile In th e original th e sam e dissolve in to th e d ark background. Lit.: A ndrea Emiliani: Giovan Francesco Guerrieri da Fossombrone. (Urbino 1958), p. 106 (preface by Rodolfo Pallucchini); Della Pergola II, cat. and fig. 135. 17 JOSEPH AND POTIPHAR’S WIFE, fig. 27 Pencil, pen and brow n wash, 21,8 x 32,3 cm, n o t signed. Inscribed in th e cen ter of azure carto n ground: G iovanni L anfranco Akadem ie d. bild. K ünste, Vienna, No. 1026, photo No. 1026 Lanfranco Giovanni (P arm a 1582 — Rome 1647), fig. 28 Oil on canvas, 101 x 157 cm G alleria Borghese, Rome, No. 67 T he pictu re was registered u nder th a t nam e in all inventories of Borghese G allery from 1693 on. Kavčič h ad copied th e p ain tin g in detail, b u t th e faces he contoured only. On th e left side of th e d ra ­ wing we see a candlestick w hich is not seen in th e original to-day. Is th is K avčič’s own addition or is th is detail h idden u nder th e p re­ sen t dark brow n background? If we com pare th e leg of th e bed w ith th e one of th e candlestick we fin d a sim ilar style of p ain tin g and m odelling in both: fu rn itu re and candlestick. H ad K avčič adapted to th e m an n er of p ain tin g th e objects in th e original and h ad he added th is m otif him self? Was th e re p erh ap s an o th er p resen tatio n in betw een? Do we see to-day in th e original in Borghese G allery everything th a t was seen once? Lit.: Della Pergola I, cat. and fig. 88. 18 ANDROMEDA SAVED BY PERSEUS, fig. 18 Pencil, pen and brow n wash, 30,1 x 20,3 cm, n o t signed. Inscribed in th e cen ter of azure carto n ground: d’Arpino Akadem ie d. bild. K ünste, Vienna, No. 1017, photo No. 1017 Manetti Rutilio (Siena 1571 — S iena 1639) Oil on canvas, 177 x 120 cm G alleria Borghese, Rome, No. 527 In th e G allery’s 1693 Inventory th e p ictu re was a ttrib u te d to A nni­ bale C arraci. R am dohr places it in 1787, am ong th e works of C avalier d ’Arpino and th u s does also th e 1790 G allery’s Inventory, Fideicom is- sum of 1833 etc. In 1932 Voss establishes M an etti’s au th o rsh ip on th e basis of B ernardino C apitelli’s engraving. D uring th e stay of F ran c Kavčič in Rome it was a ttrib u te d to d ’Arpino. T he sam e was con­ firm ed by R am d o h r’s publication of 1787 and K avčič’s in scription on th e carto n ground of th e draw ing. D’A rpino’s versions of Perseus saving A ndrom eda are p resenting a stan d in g A ndrom eda chained on rocks, a landscape w ith a tow n in th e background and Perseus a rri­ ving on a horse from th e sky (versions in Bologne, V ienna and New Y ork). Judging by th e m otif of th e background w hich h as no shore, w ith a tow n in a d istance and shells scattered before A ndrom eda, th e A ndrom eda in Musče des B eaux A rts in Dijon, th e work of Carlo Saraceni, is closer to M an etti’s A ndrom eda, alth o u g h A ndrom eda here too is in stan d in g position. Kavčič did n o t draw ships in th e horizon and th e b last em erging from th e sea m o n ster he om itted. A ndrom eda is n o t p ath etically seeking w ith h er look th e rescuer com ing from th e sky. In stead she stares blu n tly in fro n t of her. H er face is not so fin e as it is in M an e tti’s pictu re; it is fla t and m ore rounded. R egarding both, C apitelli’s engraving an d K avčič’s copy we m ay say th a t th e a u th o r of th e grap h ic work allowed him self m ore freedom th a n did K avčič: he placed A ndrom eda’s left h an d on th e lap (in th e original an d in K avčič’s copy it lays on th e ro c k ); in th e en g ra­ ving A ndrom eda’s h a ir drop in one piece before h er ear (it is n ot so in th e original and in K avčič’s d ra w in g ); th e first ship h as no sails (it h as sails in th e original an d th e sam e is in K avčič’s d ra w in g ); Perseus does not ap p ear in th e engraving and th e a rtis t shaped th e clouds in h is own way (Kavčič contoured Perseus an d clouds sim i­ larly as h ad M an etti). Lit: H erm ann Voss: L’opera giovanile di Rutilio M anetti, in: La vita A rti- stica. III. 2, 1932, p. 57—62, 68, fig. p. 58 and 59; Della Pergola II, cat. and fig. 52. — - Anna Ottani: Carlo Saraceni. Milan, Spagnol 1968, cat. 11, fig. 39 and I.; H erw arth Röttgen: II Cavalier d’Arpino. Rome. Palazzo Venezia 1973, p. 78—79, cat. 10, p. 110, cat. 32. 19 THREE GRACES, fig. 31 Pencil, pen and brow n wash, 31,7 x 20,4 cm, not signed. Inscribed in th e cen ter of azure carto n ground: C avalier V anni Akadem ie d. bild. K ünste, Vienna, No. 930, photo No. 930 MANETTI Rutilio (Siena 1571 — Siena 1639) Oil on canvas, 33 x 38 cm. G alleria Borghese, Rome, No. 527 T he pictu re probably o riginates from th e confiscated pictures of Ca- valiero d ’Arpino. M ore precise description of th e p ictu re w hich allows conclusions, is in th e 1693 Inventory, a ttrib u te d to A nnibale Carracci. In 1786 D ella Valle th e a ttrib u tio n is m ade to F rancesco V anni, th e In v en to ry of 1790 ascribes it to D om enichino, th e Fideicom m issum of 1833 m entions ag ain th e nam e of F rancesco V anni. T his a ttrib u tio n prevailed till th e a ttrib u tio n to R utilio M an etti given by Voss. K avčič’s attrib u tio n to F rancesco V anni is in accordance w ith a ttr i­ butions prio r to 1790 In v en to ry and it corresponds w ith th e p a in te r’s stay in Rom e in th e eighties of 18th century. K avčič copied th e cen ­ tra l p a rt of th e com position only, w hile he om itted th e flying Amor on th e left an d th e landscape in th e background an d th e sleeping Amor on th e rig h t. He copied th e bearing of th e figures and th e de­ tails of th e figural com position. Still, he did not cap tu re th e a ttra c ­ tiveness of line faces. Especially around th e eyes he m erely contoured them , using dark wash. He did n o t copy th e landscape w ith its narrow tru n k s, visible betw een th e left and th e m iddle Grace, b u t filled th e em pty space w ith leaves of th e bushy tree on th e rig h t. — However, th is is n o t th e only m o tif of th e T hree G races th a t Kavčič copied. In th e sam e tech n iq u e h e copied a sim ilar stan d in g group of T hree Graces, b u t for a m odel he used an an tiq u e plastic. (Akadem ie d. bild. K ünste, No. 1771). Lit.: H erm ann Voss, L’opera niovanile di Rutilio Manetti. Vita artistica. III. 2. Rome 1932, p. 57—68; Della Pergola II, cit. 51, fig. 50. 20 ST. JOHN THE BAPTIST PREACHING, fig. 32 Pencil, pen and brown wash, 33 x 22,3 cm, not signed. Inscribed on th e back: Mengs. Akadem ie d. bild. K ünste, Vienna, No. 1030, photo No. 1030 Mengs Anton Raphael (U sti/A ussig 1728 — Rom e 1779) Antonio Nibby m entions in 1832 th a t it was in th e collection of Villa B orghese ■ — in th e p resen t room X — . . . il famoso abbozzo del quadro rappresentante S. Giovanni Battista, ehe Mengs fece pel conte di Rivadaria e che fu mandato in Ispagna.« The study is m entioned ag ain in 1873, b u t since it did n o t belong to th e fideicom m issum bulk it was perh ap s sold or lost am ong th e various b ran ch es of th e B or­ ghese fam ily. Sim ilar pictu re of M engs is in th e E rem itage in L eningrad, dated about 1774. Supposingly it was purchased betw een 1774 and 1783 in B arcelone for C ath erin e II. Ponz m entions a copy executed for Count de R ivadari, however, D. H onisch th in k s th a t th is m ay be in co n tra­ diction w ith Voss’s claim th a t both pictures are identical. — In com ­ parison of K avcic’s draw ing w ith th e pictu re in L eningrad th e d if­ ferences are noticable: th e draw ing h as a lam b on th e rig h t of th e com position w hile th e p ictu re in L eningrad does n o t have one. The pictu re in L eningrad h as a tree is depicted on th e left w ith forked b ran ch es and a cross leaning ag ain st it. T here is no such scene in K avčič’s draw ing. In K avčič’s w ork th e re is very little space betw een th e left leg and th e rock in th e background. In th e com position in Le­ nin g rad th ere is m ore space th ere and also a cane is visible in betw een. T here are no leaves in th e left corner of K avčič’s draw ing while th e sam e are in th e pictu re in L eningrad. T he w hereabouts of th e p ain tin g of St. Jo h n th e B ap tist P reaching m ade for Count R ivadari is not known. A study, once in possession of th e G alleria Borghese collection, was also lost w ith o u t trace. K avčič’s draw ing a fte r th e work in th e G alleria B orghese is a t least an approxim ate docum ent of it; icono- graphically it is not identical w ith th e version in L eningrad. Lit.: Antonio Nibby: M onumenti scelti della Villa Borghese. Rome 1832, p. 145; Indicazione delle Pitture e Sculture esistenti nel piano superiore del Palazzo della Villa Borghese. Piano superiore. Rome 1873, p. 14 (list in Gal­ leria Borghese); H erbert von Einem: Carl Ludwig Fernow. Eine Studie zum deutschen Klassizismus. Berlin 1935, Tab. VIII; Dieter Honisch: Anton Ra­ phael Mengs und die Bildform des Frühklassizismus. Recklinghausen 1965, cat. 103, p. 94, cat. 343, p. 135; Luciana Ferrara Grassi, letter dated in Rome 24 june 1974. 21 THE MARTYRDOM OF ST. SEBASTIAN, fig. 30 Pencil, pen and brow n wash, 28,1 x 21 cm, inscribed in toe cen ter of azure carto n ground: Federigo Zuccaro Akadem ie d. bild. K ünste, Vienna, No. 939, photo No. 939 Passignano Domenico, Domenico Cresti (Passignano? about 1560 — 1636 Florence) Oil on copper, 35 x 26 cm G alleria Borghese, Rome, No. 341 T he picture probably originates from th e 1607 confiscated works in possession of th e p a in te r Cavaliero d ’Arpino, alth o u g h th e au th o r was n o t m entioned th en . T he 1693 In v en to ry records th e a u th o r M arti- niani, th e 1700 In v en to ry ascribes th e work to Zuccari w ith o u t m en ­ tio n in g th e first nam e w hich could en lig h ten us w hich of Zuccaries: Federico (ab. 1540/43—1609) or Taddeo (1529—1566). Zuccari is also m entioned in th e 1790 Inven to ry and th e Fideicom m issum of 1833. L ater an o th er a u th o r was indicated b ut now th e w ork is attrib u te d to D om enico Passignani. In several cases we have seen th a t K avcic’s in scrip tio n corresponds w ith a ttrib u tio n s from about 1790. In th is p a rtic u la r case his in scrip ­ tio n »Federigo« solved th e question w hich of th e Zuccaries was m eant. Due to a sm all size of th e pictu re an d its a rtistic m erit we m ay an ticip ate th a t th e w ork was n ot of such value to be m ade in copies or graphic im pressions w hich would th e n serve for a p a in te r’s model. I th in k th a t th is is one of th e pictures w hich could confirm th e opinion th a t K avčič copied pell-m ell in G alleria Borghese. T he fram e is hiding to -d ay th e rig h t figure in th e original an d on th e left th e landscape and th e sole of th e left kneeling m an is not visible for th e sam e reason. The breeches of th e le ft figure are sketched only, n o t draw n com pletely and th ey are p ain ted w ith wash. K avčič also om itted blood spots on th e body of th e to rtu re d m an and th e s a in t’s face h as n o t th e su ffering expression w ith open m outh as it is seen in th e original. This tim e n e ith e r th e n a tu ra listic m otifs h ad found a response in th e draw ing of a neoclassicistically o rien­ ta te d p ain ter. Lit.: Della Pergola II, cat. 58, fig. 59. 22 THE HOLY FAMILY, fig. 37 Pencil, pen and brow n wash, 18,7 x 15.3 cm. Inscribed in th e cen ter of azure ca rto n ground: Carlo Dolce Akadem ie d. bild. K ünste, Vienna, No. 1021, photo No. 1021 Pomarancio (?), Roncalli Cristoforo (P om arance/V olterra 1552 — G e­ nova 1626) Oil on canvas, 69 x 52 cm G alleria Borghese, Rome, No. 365 T he 1693 Inventory p erh ap s m entions th e picture b u t gives no in d i­ catio n of th e au th o r. In th e 1833 Fideicom m issum P om arancio is recorded. Voss did n o t agree b u t n e ith e r he suggested any o th er au th o r. Longhi inclined to th e opinion th a t th e work belongs to Po­ m aran cio a fte r all. D ella Pergola cautiously placed it am ong works p ain ted in P om arancio’s m anner. K avčič’s in scrip tio n »Carlo Dolce« (sc. Carlo Dolci, Florence 1616 — Florence 1696) recalls a ttrib u tio n th a t prevailed a t th e end of 18th cen tu ry and before th e Fideicom m issum record of 1833. In com parison w ith th e original p ain tin g M ary’s head-veil is not visible as well as it is in K avčič’s draw ing, because it disappears in d ark brow n background. K avčič contoured th e scarf w ith preciseness and em phasized th e contours w ith an enthusiasm of a draw er. Again have th e faces lost th e vivacity of expression an d Jesu s’s head got a stereotyped Kavöic’s »wig«, used in his repertory. D ark stain on a thigh, m eaning a dim ple on Jesu s’s leg, shows how th e attractiv en ess of plasticly tre a te d child’s leg and its details were lost. Kavčič also sim plified th e profile of th e shelf on vhich Jesus stan d s — he did not lop off profiles and he lessened th e ir im pression of perspective depth. Lit.: Della Pergola II, cat. and fig. 65. 23 THE MASSACRE OF THE INNOCENTS, fig. 33 Pencil, pen an d brow n wash, 21,4 x 26,8 cm, not signed. On th e back inscribed w ith a pencil: Pussino and Poussin N arodna galerija, L jubljana, No. G. 19, photo No. 3252 Poussin Nicolas (Les Andelys 1594 — Rom e 1655) Two w orks w ith a m otif of th e Massacre of the Innocents are to-day a ttrib u ted to Poussin w ith some certain ty : 1. Oil p ain tin g in Musee Conde in C hantilly (fig. 35) w hich is m entioned in th e 1638 Inventory of th e m arquess Vincenzo G iu stin ian i Collection in Rome. It is su p ­ posed th a t Poussin executed th e p ain tin g for it; 2. Pen and wash draw ing in Musee des B eaux-A rts in Lille (fig. 34) w hich was sup­ posed to be a study for th e com position in C hantilly (B lunt, I9602 , p. 149). T he th ird Poussin’s p resen tatio n — oil p ain tin g of th e Mas­ sacre of the Innocents — is m entioned in old docum ents in Palazzo A ltieri in Rome. T o-day th e work is in th e collection Musče du P etit P alais in P aris (fig. 36). It h as been placed am ong works attrib u te d to Poussin (J. T huillier 1974, p. 87, cat. B7). In com parison w ith K av­ č ič i draw ing we are in terested in th e two oil p ain tin g s in Chantilly (fig. 35) and in th e draw ing in Lille (fig. 34). If we com pare th e oil p ain tin g in C hantilly w ith th e supposed sketch for it in Lille we would, judging by com position, num ber of figures and also by details, agree, th a t a sketch and a final work are in question. B etw een both, however, differences are im m ediately seen: posture of th e child on th e ground w ith th e executioner stan d in g on him, d iffe ren t postures of th e fleeing m o th er in th e picture and in th e sketch, two children on th e ground on right, w hich are not seen in th e oil p ain tin g ; fleeing m o th er w ith a child w hich does n ot ap p ear in th e sketch b u t it is in th e oil painting, an o th er m o th er w ith a child seen behind th e stone wall on left of th e com position, w hich is added to th e oil p ain tin g w hile it is n ot depicted in th e sketch, etc. If com paring any sketches for fu tu re works of bigger fo rm at and o th er techniques we see th a t a rtists did not follow th e ir conceptions directly. Poussin’s sketch for Solomon’s Verdict in th e Ecöle N ationale des B eaux A rts in P aris and an o th er version in Louvre, finished in oil in 1649 for th e p ain te r Pointele, can inform us of th a t. H ere too we can find m any differences betw een th e two. We could consider Poussin’s Massacre of the Innocents in Lille an d th e oil p ain tin g in C hantilly as a concept an d a fin al version, if K avčič’s draw ing a fte r Poussin’s original was n o t know n to us —• th e question rem ains th ough — a fte r w hich? If we com pare Poussin’s oil p ain tin g in C hantilly w ith K av­ č ič i draw ing we fin d exactly th e sam e differences as if we com pare Poussin’s sketches and oil paintings. F or co n fro n tatio n of K avcic’s draw ing and Poussin’s works rem ains only one com parison: P oussin’s draw ing of the Massacre of the Innocents in Lille an d Kavčič’s dra­ wing in Narodna galerija in Ljubljana. K avcic’s draw ing corresponds w ith P oussin’s in num ber and posture of figures an d in en tire com po­ sition. T he d ifference is only in th e technique of draw ing. Poussin used h atch in g and w ash a g reat deal, Kavčič used w ash m ostly (com ­ pare th e shading of pyram id, of a rch itectu re in th e background and on th e left, robes of th e figures etc.) In th e background K avčič’s draw ing and P oussin’s works rem ains only one com parison: Poussin’s draw ing was m ore precise in draw ing details of th e capitals of a n ­ cien t building and of th e frie z e . . . — Judging by our experience so fa r we can m a in ta in th a t faces of th e figures are ag ain ad ap ted to th e type th a t K avčič perpetually repeated. T he question is, however, w here did K avčič copy th is work — in w hich of th e R om an collec­ tions? Is n o t m aybe th e draw ing from Lille a sk etch for some other, to -d ay unknow n P oussin’s p ictu re of th e Massacre of the Innocents? K now ing as m uch as we do now we couldn’t say th a t K avčič copied draw ings of g reat m asters. Even if he did copy th is draw ing — w here should he fin d it? If th e re was a n o th e r one m ade a fte r th is com po­ sition, th e w ork of some o th er artist, w here is now th is copy or d ra ­ w ing? K avčič’s draw ing of the Massacre of the Innocents shows exactly th e sam e m an n er in using pencil, pen and w ash as he did use in all his draw ings m ade a fte r various m asters, an d it reveals m ore a m an n er of copying an accom plished w ork ra th e r th a n a draw ing. I observe th a t ju st th is »more accom plished« Poussin’s work — m ost probably an oil p ain tin g — is m issing in th e series of Poussin’s works. B etw een P oussin’s draw ing in Lille and h is oil p ain tin g in C hantilly th e re was once a n o th e r work. W hich one it can be and its w hereabouts rem ains to be answ ered. In any event it should be the Massacre of the Innocents in com position show n in Poussin’s draw ing in Lille, and as it is seen in K avčič’s draw ing in th e collection of th e N arodna galerija, L jubljana. Lit.: W alter Friedländer: Nicolas Poussin. Die Entwicklung seiner Kunst. München 1914, p. 126—127, fig. p. 189; Antony Blunt: Musee du Louvre. Expo­ sition Nicolas Poussin. Paris I9602 , p. 149, fig. and cat. 132; Ecalle M artine, Le »Massacre des innocents« du Petit Palais. Dossier d'un tableau, -in: Ni­ colas Poussin. Ouvrage publie sous la direction de Andre Chastel. Edition de Centre National de la recherche scientifique. Paris 1960, p. 248—254; Luigi Salerno, The Picture Gallery of Vincenzo Giustiniani. II. The Inventory. P art I. Burlington Magazine 1960, p. 101; Jacques Thuillier: L’ opera completa di Poussin. Classici dell’ arte 72. Milano (1974), p. 87, cat. 25, p. 105, cat. 162, p. 113, cat. B7. 24 THE HOLY FAMILY W ITH ST. JOHN THE BAPTIST AND ST. ANN, fig. 40 Pencil, pen an d brow n w ash, 25,8 x 19,8 cm. Inscribed in th e cen ter of azure carto n ground: Scipione G aetan i Akadem ie d. bild. K ünste, V ienna, No. 961, photo No. 961 Pulzone Scipione, Scipione Gaetano (G aeta about 1550 — Rome 1597), fig. 39 Oil on canvas, 135 X 105 cm, about 1590 G alleria Borghese, Rome, No. 313 In th e 1693 In v en to ry th e p ain tin g is a ttrib u te d to Pulzone. It is not m entioned la te r u n til th e Fideicom m issum of 1833. T he au th o rsh ip was never doubted and th e attrib u tio n prevailed till now. K avčič’s draw ing w ith his in scrip tio n is an o th er evidence th a t th is au th o rsh ip was a ttrib u te d also in tim e w hen he used to copy it — i. e. w hen o ther docum ents in 18th cen tu ry do n ot m ention it. Kavčič om itted in his draw ing all nim buses. T he benevolent expres­ sion on M ary’s an d A nn’s face is gone. Jesu s’s face is b lu n t in com ­ parison w ith th e original. Lit.: Federico Zeri: Pittura e Controriforma. L’arte senza tempo di Scipione Gaeta. Torino 1957, p. 85, 110, fig. 76; Della Pergola II, cat. and fig. 163. 25 VIRGIN W ITH CHILD, fig. 38 Pencil, pen an d brow n wash, 26 x 18,3 cm. Inscribed on th e back w ith pen an d w ash: Gilulio R om ano N arodna galerija, L jubljana, No. G. 18, photo No. 3251 Copy a fte r Raffaello Santi (U rbino 1483 — Rom e 1520) Oil on wood, 82 x 58 cm G alleria Borghese, Rome, No. 358 In 1693 In v en to ry th e picture is a ttrib u te d to M antegna. In th e Fidei- com m issum of 1833 it is a ttrib u te d to R afaello’s school. Considering K avčič’s in scrip tio n th e p ain tin g was a ttrib u te d to R affaello’s pupil Giulio Rom ano. Iconographicaly it rem inds of R affaello’s Madonna della Tore (Mackintosh Madonna) w hich was copied also by G ian B a ttista Salvi called Sassoferrato, an d whose copy is also in th e G alleria B orghese (No. 382). Besides S asso ferrato ’s copy o th ers are also know n. One is registered in th e Albani Collection. In th is d ra ­ wing too Kavčič om itted th in nim buses. Too m any folds are on V ir­ g in’s rig h t shoulder and th e a rtis t depicted a veil over it w hich is n ot seen in th e oil p ain tin g but is p artly draw n by S assoferrato in his copy. T he low er p a rt of th e V irgin’s sleeve is w ith its folds a clo­ ser copy of th e oil p ain tin g th a n S asso ferrato ’s. He m oulded th e folds m ore freely. Kavčič n e ith e r copied Jesu s’s expression nor did he draw his fingers com pletely. Lit.: Della Pergola II, cat. and fig. 175 (also cat. 174, fig. 173); Michele Prisco- Pierluigi de Vecchi: L’opera completa di Raffaello. Classici dell’arte 6. Milano (1971)4 , p. 104, cat. 86; Luitpold Dussler: Raphael. A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries. London and New York (1971), p. 31. 26 VIRGIN WITH JESUS AND ST. JOHN THE BAPTIST (M adona A ldobrandini, M adona G arvagh), fig. 41 Pencil, pen and brow n wash, 20 x 17,4 cm. Inscribed in th e cen ter of th e azure carto n ground: R affaele(?) Sanzio di U rbino Akadem ie d. bild. K ünste, Vienna, No. 1052, photo No. 1052 Raffaello Santi (U rbino 1483 — Rome 1520) Oil on wood, 38 x 33 cm, about 1510 N ational G allery, London From th e possession of th e A idobrandini Fam ily th e p ain tin g cam e in th e collection Borghese. D uring th e years 1800/01 it cam e in th e h an d s of A lexander Day. It was bro u g h t to E ngland and in 1818 cam e into possession of Lord G arvagh and th en in th e N ational G allery in London. In 1787 R am dohr records th a t th e work originates from th e posses­ sion of th e P rince A idobrandini and Lucrezia d’Este (died 1598). M adonna A idobrandini was supposed to be one of th e five R affaello’s M adonnas m entioned in th e In v en to ry of Lucrezia d ’Este in 1592, b ut no detailed description was given. Of those th e one in London is th e closest, w hich M anilli m entions in his description of Villa Borghese (in 1650, p. 112). If we accept th e supposition th a t K avčič copied ori­ ginals in G alleria B orghese th e n it is possible th a t he h ad copied th e pictu re w hile he was in Rome during 1781—1787. T here is no d etail w hich would dem o n strate th a t K avčič did n o t stick to th e ori­ ginal, except for changes in th e faces an d th e alm ost sculpturesque tre a tm e n t of th e en tire com position. T hat, however, can be ascribed to th e canon of p ain tin g a t th a t tim e in Rome. Lit.: Luitpold Dussler. Raphael. A Critical Catalogue of his Pictures, Wall- Paintings and Tapestries. London and New York (1971), p. 26—27, fig. 71; Michele Prisco-Pierluigi de Vecchi: L’opera completa di Raffaello. Classici dell’arte 6. Milano (1971)4 , p. 105, cat. 87. 27 VIRGIN WITH CHILD, fig. 43 Pencil, pen and brow n wash, 27,4 x 19,5 cm. Inscribed on th e back: Bronzino, on th e azure ca rto n ground: Angiolo B ronzino A kadem ie d. bild. K ünste, Vienna, No. 957, photo No. 957 Roman Master, follower of Michelangelo Oil on wood, 112 x 84 cm G alleria Borghese, Rome, No. 393 T he pictu re is m entioned in 1626 in th e In v en to ry of O lim pia Aido­ brandini, in 1693 (registered ag ain and) a ttrib u te d to A ndrea del Sarto. T he In v en to ry of 1790 a ttrib u te s it to Bronzino, la te r th e opi­ nions differ. Della Pergola ascribes it to th e R om an school of p ain ­ ters. K avčič recorded it as th e w ork of Bronzino, w h at is in accor­ dance w ith th e opinion prevailing a t th a t tim e. K avčič drew tw o figures and om itted several th in g s: V irgin’s veil, th e bird on th e shelf, th e w ritten te x t in th e open book an d th e ribbons u n d er th e book. T he draw ing w ith a pencil on th e back­ ground wall on th e left, aro u n d th e V irgin’s nim bus, on th e basket w ith fru it, on th e book etc. d em o n strates th e cap tu rin g of th e m ain com position in sketch and th e om ission of realistic m otifs. Lit.: Della Pergola II, cat. and fig. 144. 28 HOLY FAMILY, fig. 44 Pencil, pen and brow n wash, 23,6 x 19,3 cm. Inscribed in th e cen ter of th e azure carto n ground: Giorgio V asari Akadem ie d. bild. K ünste, Vienna, No. 931, photo No. 931 Roman Master, follower of Michelangelo, mid. of 16th century Oil on wood, 118 x 90 cm G alleria Borghese, Rome, No. 392 T he pictu re is recorded in 1833 Fideicom m issum w ith th e nam e Ve- nusti. T he attrib u tio n was accepted by V enturi and Longhi. Della Pergola placed th e pictu re am ong R om an works of th e m annerism period, executed a fte r M ichelangelo. T he nam e of th e p ain ter, a rc h i­ tect etc. G iorgio V asari as th e a u th o r of th is work can be found only w ith Kavčič. K avčič depicted all th ree figures w ithout th e nim buses, he sim plified folds on th e drapes above on th e right, and n eith er he paid m uch a tte n tio n to th e tu ft on th e cushion. Lit.: Della Pergola II, cat. and fig. 146. 29 VIRGIN W ITH JESUS, ST. JOSEPH AND ST. JOHN THE BAPTIST, fig. 42 Pencil, pen and brow n wash, 31,6 x 21 cm. Inscribed on th e back w ith w ash: S ebastiano del Piombo N arodna galerija, L jubljana, No. G. 39, photo N. 3265 Scarsellino, Ippolito Scarsella (F errara 1551 — F e rra ra 1620) Oil on wood, 37 x 26 cm G alleria Borghese, Rome No. 222 T he pictu re originates from th e bequest of Lucrezia d’Este. From here it cam e to A ldobrandinis’ and w ith O lim pia A ldobrandini to Borg­ hese fam ily. T he Inventory of Lucrezia d ’Este registered in 1592 as th e a u th o r M ondino Scarsella, V enturi attrib u te s th e picture in 1934 to Ippolito Scarsela and Della Pergola does th e sam e. T he nam e of S ebastiano del Piom bo as th e au th o r we m eet w ith Kavčič only. T he nim buses were again n ot copied, th e fire in th e background on th e rig h t of th e tree is not depicted, and th e reflection on th e cloudy sky was om itted. B ut he drew th e donkey w ith sh arp contours, a lt­ hough it is scarsely visible in th e original. Vivid faces and looks are not like in th e original either. Lit.: Della Pergola I, cat. and fig. 113. 30 VENUS AT BATH, fig. 49 Pencil, pen and brow n wash, 21,5 X 31,3 cm. Inscribed on th e azure carto n ground u n d er th e draw ing: F ra S ebastiano del Piom bo Akadem ie d. bild. K ünste, Vienna, No. 1047, photo No. 1047 SCARSELLINO, Ippolito Scarsella (F errara 1551 — F e rra ra 1620) Oil on canvas, 43 x 57 cm G alleria Borghese, Rome, No. 219 T he picture is registered already in 1693 In v en to ry as a work of S car- sellino F e rra ra and th e sam e is recorded in th e Fideicom m issum of 1833. K avčič th o u g h t it was th e work of S ebastiano del Piom bo and probably th is was th e opinion of everyone else in his tim e. K avčič’s draw ing is a copy of th e original, it only m isses th e a ttra c ­ tiveness of daw n an d reflections on w ater, faces are n o t individu­ alized etc. Lit.: Della Pergola I, cat. and fig. 118. 31 VIRGIN WITH JESUS, ST.JOHN THE BAPTIST AND ST. ANN, fig. 45 Pencil, pen an d brow n wash, 23,4 x 19,8 cm. Inscribed in th e cen ter of azure carto n ground: P ierino del Vaga, on th e back in w ash: P ierino del V agha A kadem ie d. bild. K ünste, Vienna, No. 993, photo No. 993 Pierin del Vaga, Piero Buonaccorsi (Florence 1501 — Rome 1547) Oil on canvas, 139 x 112 cm G alleria Borghese, Rome, No. 412 T he pictu re was w ith o u t doubt in G alleria B orghese already in 1693 w hen it was registered in th e In v en to ry and as th e a u th o r was nam ed P ierino del Vaga. Also th e Inven to ry of 1700, 1790 and th e Fideicom ­ m issum of 1833 a ttrib u te th e w ork to del Vaga. A. V enturi, though, a ttrib u te d it to Dom enico F e tti in 1893, b ut th e a ttrib u tio n to Del Vaga prevailed. Kavčič om itted in th e draw ing th e curly h a ir of St. Joseph, h e sk et­ ched his glance- in th e draw ing he views th e spectator, in th e original he looks down to th e rig h t. He also om itted tin y p lan ts grow ing upon th e pillar behind Jo sep h ’s head and up th e brick wall. As usual th e nim buses are om itted, Jesu s’s face is altered in a rouned one. Lit.: Della Pergola II, cat. and fig. 158. 32 THE MYSTICAL MARRIAGE OF ST. CATHERINE OF SIENNA, fig. 48 Pencil, pen an d brow n wash, 21,2 x 17,9 cm. Inscribed on th e back: incerto Akadem ie d. bild. K ünste, Vienna, No. 1049, photo No. 1049 Vanni (?) Francesco (Siena 1563 — Siena 1610), fig. 47 Oil on canvas, 89 x 67 cm G alleria Borghese, Rome, No. 62 D escriptions of th e 17th cen tu ry inventories are probably concerning th is picture. M ore in d etail it is m entioned in th e 1693 Inventory w hich a ttrib u te s it to A ndrea del Sarto. K avčič was not ce rtain of th e a u th o r »incerto« w hile th e Fideicom m issum of 1833 registers F rancesco V anni. Longhi inclined to th e opinion th a t th e a u th o r m ay be V enturo Salim beni (1928). D ella Pergola a ttrib u te d it to a m aster close to F rancesco V anni if it isn ’t his w ork a fte r all. It doesn’t surprise us, th a t K avčič ag ain did n o t draw nim bus around Jesu s’s head, th a t he did n o t in d icate th e attrib u tes, th a t he om itted th e snake reeling from th e chalice of St. Jo h n th e B aptist and th a t he softened visionary faces of St. C atherine, Jesus and Mary. However, we are surprised th a t he depicted a head of an old m an w ith a beard w hich could rep resen t a h ead of St. Joseph in stead of St. F ran cis’s head on th e le ft in th e background. I t would be diffi­ cult to explain th is selfw illed a lteratio n since till now we h ad not m et w ith such a case a t all. T here could be several explanations for such an a lteratio n th o u g h none of th em can be evidenced. The que­ stion is, did K avčič copy an altered copy or h ad he allowed iconogra- phic change him self? Lit.: Della Pergola II, cat. and fig. 82. 33 VENUS, AMOR AND SATYR, fig. 46 Pencil, pen an d brow n wash, 23,5 x 21,3 cm. Inscribed in th e cen ter of th e azure carto n ground: Paolo Veronese Akadem ie d. bild. K ünste, No. 933, photo No. 933 A cow after Veronese, Paolo Caliari called Veronese (Verona 1528 — Venice 1588) Oil on canvas, 115 x 110 cm G alleria Borghese, Rome, No. 124 Van Dyck registered th is w ork as a work of T itian. M anilli registered th e sam e in 1650, w hile th e 1693 Inven to ry an d th e Fideicom m issum of 1833 a ttrib u te it to Paolo Veronese. K avčič’s in scription gives evi­ dence th a t th is a ttrib u tio n was prevailing for over h u n d red years. In 1897 M orelli th o u g h t of th e copy of P aris B ordone a fte r T itian. V enturi in his second judgem ent in 1933 th o u g h t it was Luca Cam - biaso, Longhi th o u g h t it was a w ork copying V enetian classics, and P adovanini to som e ex ten t. D ella Pergola m entions typical Verone- sian com position, im position of figures an d also th e colouring, while ch aracteristics of th e one who copied th is oil p ain tin g in th e Collec­ tio n B orghese are obliterated. E. T ietze-C onrat in 1945 th o u g h t it m ight be th e w ork of D am iano Mazzo. K avčič in his draw ing »spoiled« th e V eronesian face of Venus, th e vivid look of Amor rem ained b lu n t in th e draw ing. K avčič n eith er paid m uch a tte n tio n to th e details of Venus’s earrings and pearls. T he doves are w ith o u t black streaks, betw een th e dish on th e shelf and th e quiver w ith arrow s is laid a ribbon in th e original, here it is only in d icated w ith a pencil. Foggy clouds in th e background are sharply contoured in th e draw ing. Lit.: Della Pergola I, cat. and fig. 244. Adrian Gert: Anton van Dyck, Italieni­ sches Skizzenbuch, Wien 1940, fig. 114. All of K avčič’s know n draw ings of old m a ster’s works come from th e A kadem ie der bildenden K ü n ste in V ienna, including those kept now by th e N arodna galerija in L ju b ljan a. They were bought in V ienna in 1933 by Dr. F ra n W indischer an d donated to th e N arodna galerija. T he draw ings are glued to blue carboard sheets and bear captions. Som etim es th ere are rem arks w ith pencil or pen in b istre on th e reverse of th e sheets. T he assum ption th a t all inscriptions are K av- čič’s own is corroborated by th e fact, th a t quite a few draw ings are a ttrib u te d according to th e notions, valid for specific w orks only a t th e tim e w hen Kavčič was studying in Rome, th a t is in th e years 1781—1787 (cf. sheets No. 5, 7, 8, 11, 18, 19, 21, 30). T he published draw ings encom pass approxim ately one fifth of K av­ č ič i n o t evaluated draw ings of old m asters. M ost of th e p resen t are copied from th e works in th e G alleria B orghese in Rome. Among th em th e re are originals, w hich are still in th is gallery, th o u g h some of th em were acquired la te r from th is collection for o th er galleries (Nos 6 and 26, and m ost probably No 4). F u rth er, th e re are works from th e G alleria Borghese, of w hich every trac e h as been lost (M engs’ St. John The Baptist, No. 20). Of th re e works, a ttrib u te d w ith g reat probability to Jacopo Bassano, A nnibale C arracci an d to Nico­ las Poussin, any know ledge of th e ir p ast or p resen t w hereabouts is lacking (Nos 3, 9, 23). T he draw ings a fte r Correggios p ain tin g Betro­ thal of S. Catherine’s (No. 12) leaves open th e question w h at and w here Kavčič copied — th e original, one of th e copies or of graphic sheets? G aulli’s Death of S. Francis Xavier (No. 14) p o in ts to a known R om an ch u rch and it seem s th a t th is is n o t th e only specim en copied in a church. K avčič’s draw ings of an tiq u e sculpture, reliefs an d o th er objects tell th a t he actually copied works of a rt in all am p o rtan t villas, palaces an d collections in Rom e and suburbs, w here he took up his landscapes. Indeed, it seem s im possible to consider everything from th e enorm ous q u an tity of m aterial to be copied from a model. Besides, it is evident frcm his draw ings, th a t he tran sp o sed th e m ain figures and objects and gave th e ir m ass a sharp, som etim es even exaggerated outline. Kavčič ex tracted w ith precision w h at th e b a ­ roque oils faded into foggy clouds, sh in in g glows an d dark back­ grounds and rendered it in a form alien to old m asters, especially Caravaggio, Scarsellino an d G uerrieri. N atu ralist subjects and genre did n o t a ttra c t him a t all. He left th em eith er out or »embellished« th em in his ta ste (Nos 6, 7, 18, 21, 27). E arm arked sheets of th e to rn -u p book of St. Jerom e in Caravaggios pictu re are sm oothed out w ith Kavčič, th e to rn sleeves are m arked by a line, w hich could be understood as a fold, w rinkled faces become sm ooth, etc. Kavčič allowes him self considerable lib erty w ith faces — as o ften as n o t th ey are fa r from th e original; he changes th e proportions an d disregards th e charm of individuality. T h eir looks are dead, blank and uncon­ nected. N evertheless, all th ese faces d em o n strate th e personal style of th e p ain ter. He p ain ted th e faces of children, wom en an d girls in a stan d ard ized form , found also in th e accessory figures of his lan d - scapes and o ften enough in his draw ings of antique sculpture and even in his original oils. N um erous exercises and copying did not only offer him th e op p o rtu n ity to outline th e com position, b u t also forced upon him a variety of subjects, w hich la te r on he used in his large oils. He flatten e d and presented accordingly th e plastic shapes of th e old m asters — e. g. Bassano, Caravaggio, C arracci, Correggio, Do- m enichino, G aulli, Mengs, Poussin, R affael. T he th ird dim ension is g ettin g lost — th e spaces are fla t and w ithout th ru s t into th e back­ ground. He was n o t p articu larly selective in his choice of prom inent nam es or dim ensions of th e originals: he drew copies of big and sm all p ain tin g s of g reater and lesser m asters in th e G alleria Borghese, a t least. He used pencil an d gave it a sh arp outline w ith pen, w ashed w ith bistre or sepia. U n fo rtu n ately we know only two of his sketch-books, con­ tain in g a series of his draw ing from th e V atican M useum and from M useo Capitolino. T he sketchbooks are proof of his tech n iq u e: pencil, ink and bistre. Some of th e draw ings of sculptures or p ain tin g s come up again on sep arate sheets. He bordered these sheets w ith th ick er or th in n e r lines, glued th em to cardboard and gave th em a caption in th e m iddle, th o u g h n o t consistently. Jörg G arm s3 6 is rig h t w hen he rem arks th a t Kavčič left alm ost a lib rary of draw ings of an tiq u e sculpture, p ain tin g s of old m asters and series of landscapes and th a t perh ap s th ese draw ings have been 3 5 Jörg Garms, Introduzione, — in: Artisti Austriaci a Roma dal barocco alia Secessione. Museo di Roma — Palazzo Braschi 1972 (without pag.). I began to collect the m aterial on Kavčič in 1968. In the recent period I received grants from the Sklad Boris Kidrič (Foundation Boris Kidrič) in L jubljana and from Ministero degli Affari Esteri, Direzione generale per la cooperazione culturale, scientifica e tecnica in Rome, w hich made a more system atical w ork possible. I am much obliged to both institutions. — W ith­ out having a possibility to study in the Bibliotheca Hertziana in Rome and w ithout suggestions and help of numerous friends my work would be more difficult and m any questions would have rem ained unsolved. I take this opportunity to thank Dr. Eduard A. Šafarik, director of the Gal­ leria Doria Pamphilj in Rome for his first encouragem ent to publish Kavčič’s draw ing after old m asters and for m any precious suggestions. The study of Kavčič’s opus would be impossible w ithout the kindness of Akademie der bildenden Künste which allowed me to study their archive, graphic collection, to photograph Kavčič’s works and to publish them now. In this I was assisted by Dr. Wanda Lhotsky, Dr. Walter Cerny and the Director Dr. Margarethe Poch Kalous. I am grateful also to Hofrat Dr. Eva Frodl Kraft, Institut für österreichische Kunstforschung des Bundesdenkmalamtes, Vienna, Prof. Dr. Heinz Schöny, Historisches Museum der Stadt Wien, Vien­ na. Prof. Dr. Christoph Clairmont, Princeton, N.J., Prof. Hugh Hanour, Ca- migliano Santa Gemma, Director Cav. Guido Bradaschia, Musei Provinciali, Gorizia, Msgr. Justo Soranzo, Gorizia, count Dr. Guglielmo Coronini Cron- berg, Gorizia, Dr. Gaetana Scano, Accademia Nazionale di San Luca, Dr. Jörg Garms, Österreichisches K ulturinstitut, Rome, Director of the Galleria Bor­ ghese Dr. Luciana Ferrara Grassi, Jacques Kuhnmünch, Roma, Prof. Olivier Michel, Ecole frangaise de Rome, Dr. Friedrich Kobler, Munich, Dr. Eli­ sabeth Schrötter, Rome, Dr. Steffi and Prof. Dr. Herwarth Röttgen, G öttin­ gen. I always received valuable assistance from Dr. Emilijan Cevc, Prof. Dr. Luc Menaše and Prof. Dr. Nace Sumi, Ljubljana. in ten d ed for publication in th e form of corpora, w hich a t th a t tim e were ra th e r popular. Actually, m ost of th e draw ings are of sim ilar size and p o in t to a system an d order. M ost probably th ey w ere in te n ­ ded for stu d en ts of th e Academ y in V ienna; docum ents, conserved in th e archives, relate to a d isp atch of K avcic’s works from Rom e to th e V iennese Academy. We know, how »enthusiasted« were th e young a rtists w ith th ese form alized draw ings, w hich should even serve as p a tte rn for th e ir own work. Following sh arp disputes w ith professors of th e Academy, a nu m b er of young p ain ters left V ienna and w ent to Rome. One of th e V iennese pupils — S u tte r — found satisfactio n in b u rn in g his own draw ings of professor’s works. K avčič’s » barbarian diligence«, w hich produced h u n d red s of drawings, m ay be assessed in d iffe ren t ways, b u t som ething will m ost probably rem ain valid: quite a few of his draw ings a fte r old m asters will help to clear up p a rts of th e h isto ry of th ese old p ain tin g s; K avcic’s draw ings disclose th e neo-classicistic u n d erstan d in g of old artistic values, especially of th e baroque period; th e draw ings are proof of th e unyielding assiduity in draw ing exercise, typical of th e o th er m a­ sters of th e period also; th ey w itness th e broad scope of in tere st and fin ally th e erudition, w hich th ese exercises bro u g h t to th e p ain ters acq u ain tin g th em w ith R om an an d G reek history, m ythology, antique a rt and a rt from th e R enaissance on; th ese draw ings will n ot only help to round up th e h isto ric im age of th e w orks of know n m asters, b u t also th e h istory of old collections, individual an tiq u e scluptures, an tiq u e and la te r a rch itectu re an d landscapes of Rome and suburbs, Venice, T rieste, Vipava Valley (?), V ienna, Salzburg and Passau. K avcic’s oils and his role as academ ic teac h er and In sp ecto r of A rts in th e V ienna P orcellain M an u factu re still have to be assessed. T ran slated by B arb ara O m ahen and Ja k a š tu la r Akad. d. bild. Künste Arch. Seg. Vatic. Arslan Baglione Bellori Della Pergola I. Della Pergola II. Fidecommissum Adm. 1833 Inventory 1693 Inventory 1700 Inventory 1790 Inventory of Lucrezia d’Este Inventory of Olympia Aldobrandini 1626 Longhi Manilli Montelatici Piancastelli Ramdohr Tietze Conrat E. Venturi A. 1893 Voss Akademie der bildenden Künste, Vienna/W ien Archivio Segreto Vaticano Edoardo Arslan: I Bassano. I., II. Milano (1960) Giovanni Baglione: Le vite de’ pittori, scultori ed architetti. Dal Pontijicato di Gregorio XIII. del 1572. In fino ai tempi di Papa Urbano VIII nel 1642. Roma 1642 Giovanni Pietro Bellori: Vite de pittori, scultori ed architetti moderni. I.—III. Roma 1672 Paola della Pergola: Galleria Borghese. I dipinti I. Roma 1955 Paola della Pergola: Galleria Borghese. I dipinti II. Roma 1959 Fidecomesso Artistico nella Famiglia Borghese. Arch. Gall. Borghese Inventario di tutti li Mobili che sono nelVAppartamento Terreno che gode il Sig. r Precipe Rossano. Arch. Seg. Vaticano Fondo Borghese. Busta Nota delli Quardi dell’ Appartamento terreno di S. E. il Sig. Pne Borghese. Arch. Gall. Borghese Catalogo della Quadreria Borghese nel Palazzo a Campo Marzio. Arch. Gall. Borghese (in Piancastelli’s transcription) Inventario delle Robbe di S.A. S. la Duchessa d’Urbino. Arch. Seg. Vat., Fondo Borghese, Busta 7501 Inventario di Mobili e Suppellettili Aldobrandini 1626. Arch. Seg. Vat., Fondo Borghese, Vol. 6219 Roberto Longhi: Precisioni nelle Gallerie Italiane. I. R. Galleria Borghese. Roma 1928 Jacomo Manilli: Villa Borghese fuori di Porta Pinciana. Roma 1650 G. B. Montelatici: Villa Borghese fuori di Porta Pinciana. Roma 1700 Istituzione Fidecommissaria del Principe Francesco Borghese con le modifiche e sistemazioni posteriori. (Piancastelli). Arch. Gall. Borhese Friedrich Wilhelm Basilius (von) Ramdor. Über Mahlerei und Bildahuerarbeit für Liebhaber des Schönen in der Kunst. I.—III. Leipzig 1787 Erika Tietze Conrat: Tee Holkham Venus in the Metropolitan Museum, — v: The Art Bulletin XXVII, 1945 Adolfo Venturi: II Museo e la galleria Borghese. Roma 1893 H erm ann Voss: Die Malerei der Spätrenaissance in Rom und Florenz. Berlin 1920 1 Franc Kavčič: Oznanjenje, v načinu Federica Baroccija 2 Način Federica Baroccija: Oznanjenje. G alleria Borghese, Rim 3 Franc Kavčič: čaščenje pastirjev, po Jacopu Bassanu 4 Jacopo Bassano: čaščenje pastirjev. G alleria Borghese, Rim 5 Francesco Bassano: Darovanje v tem plju. Narodni galerie, Praga 6 Jacopo in Francesco Bassano: Darovanje v tem plju. Museo Civico, Bassano 7 Franc Kavčič: Darovanje v tem plju, po Jacopu Bassanu ii(4 o 8 Franc Kavčič: Venera in Amor na morju, po Lucu Cambiasu 9 Luca Cambiaso: Venera in Amor na morju. G alleria Borghese, Rim V 10 Franc Kavčič: K ristus v Emavsu, po Michelangelu da Caravaggiu 11 Franc Kavčič: Sv. Hieronim, po Michelangelu da Caravaggiu 12 Franc Kavčič: Salomonova sodba, po m ojstru Salomonove sodbe 13 Mojster Salomonove sodbe: Salomonova sodba. G alleria Borghese, Rim 14 Franc Kavčič: K ristus v gloriji s svetnikoma, po A nnibaleju Carracciju 15 Annibale Carracci: Študija Kristusa s svetnikom a v gloriji. Musee des Beaux-A rts, Lille 16 Annibale Carracci: K ristus v gloriji s svetniki. Galleria Palatina, Palazzo Pitti, Firence 17 Franc Kavčič: Sv. Janez Krstnik, po Cav. d’Arpinu 18 Franc Kavčič: Perzej reši Andromedo, po R utiliju M anettiju 19 Franc Kavčič: M oljenje deteta, 20 Franc Kavčič: Rop Evrope, po Bronzinu po Cav. d’Arpinu o n u n 21 Franc Kavčič: Šibila, po Domenichinu 22 Domenichino: Šibila. Galleria Borghese, Rim 23 Franc Kavčič: 24 Giovanni Battista Gaulli: Sm rt sv. Frančiška K saverija Sm rt sv. Frančiška Ksaverija. S. A ndrea al Quirinale, Rim 25 Franc Kavčič: Lot in hčeri, po Giov. Francescu G uerrieriju 26 Franc Kavčič: Sv. Rok, po Giov. Francescu G uerrieriju 27 Franc Kavčič: Egiptovski Jožef in Putifarka, po G iovanniju Lanfrancu 28 Giovanni Lanjranco: Egiptovski Jožef in Putifarka. Galleria Borghese, Rim 30 Franc Kavčič: Mučeništvo sv. Boštjana, po Domenicu Passignanu 32 Franc Kavčič: Sv. Janez Krstnik, po Antonu Raphaelu Mengšu XIV 29 Franc Kavčič: Zaroka sv. K atarine, po Correggiu 31 Franc Kavčič: Tri gracije, po R utiliju M anettiju 33 Franc Kavčič: Pokol nedolžnih otrok, po Poussinu 34 Nicolas Poussin: Pokol nedolžnih otrok, lav. perorisba. Musee des Beaux-Arts, Lille 35 Nicolas Poussin: Pokol nedolžnih otrok. Musee Conde, Chantilly 36 Nicolas Poussin: Pokol nedolžnih otrok. Petit Palais, Pariz 37 Franc Kavčič: Sv. družina, po Pom aranciu (?) 38 Franc Kavčič: M arija z Jezusom, po kopiji Rafaelove slike i n ( t o n i . 39 Scipione Pulzone: Sv. družina 40 Franc Kavčič: Sv. družina z Janezom K rstnikom in sv. Ano. z Janezom K rstnikom in sv. Ano, Galleria Borghese, Rim po Scipionu Pulzoneju XVII 41 Franc Kavčič: M arija z Jezusom in Janezom Krstnikom (Madonna Aldobrandini), po Rafaelu 42 Franc Kavčič: M arija z Jezusom, sv. Jožefom in Janezom Krstnikom, po Scarsellinu 43 Franc Kavčič: M arija z Jezusom, po rimskem m ojstru michelangelovske smeri 44 Franc Kavčič: Sv. družina, po rimskem m ojstru michelangelovske smeri 45 Franc Kavčič: M arija z Jezusom, Janezom K rstnikom in sv. Ano, po Pierinu del Vagu 46 Franc Kavčič: Venera, Amor in satir, po kopiji Veronesejeve slike 47 Francesco Vanni (?): Zaroka sv. K atarine Sienske. G alleria Borghese, Rim 48 Franc Kavčič: Zaroka sv. K atarine Sienske, po Francescu Vanni ju (?) 49 Franc Kavčič: Venera pri kopeli, po Scarsellinu