Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0011
Margaret Dalivalle, Martin Kemp, R. B. Simon
Chapter 10 discusses the appraisal of paintings relating to Leonardo and his school in seventeenth-century England and the state of understanding and connoisseurship of the artist at that time. The chapter focuses on the paintings relating to Leonardo documented in the Caroline collection, tracking their description in inventories and lists between 1639 and c. 1666. This provides context for the descriptions of the two paintings of Christ as Salvator Mundi attributed to Leonardo in the seventeenth-century British Royal Collection. The chapter identifies, where possible, the specific locations of these paintings within the complex of Stuart royal palaces, with particular reference to the manor of Greenwich. Since Greenwich was in the jointure of Queen Henrietta Maria, we examine whether there is any evidence to support the theory that the painting was brought from France on the occasion of her marriage in 1625. It concludes with an analysis of an important sighting of a Salvator Mundi type, attributed to Leonardo, recorded in the collection of the Duke of Hamilton, c. 1638. This introduces the possibility of a third Salvator Mundi attributed to Leonardo at the Stuart courts.
第10章讨论了17世纪英国与列奥纳多和他的学校有关的绘画的评估，以及当时艺术家的理解和鉴赏力的状态。这一章的重点是卡罗琳收藏的与列奥纳多有关的画作，追踪了1639年至1666年之间的库存和清单中的描述。这为17世纪英国皇家收藏中莱昂纳多的两幅画《救世主》的描述提供了背景。在可能的情况下，本章确定了这些画作在斯图尔特皇家宫殿建筑群中的具体位置，并特别提到了格林威治庄园。由于格林威治是亨丽埃塔·玛丽亚王后的遗产，我们研究是否有证据支持这幅画是1625年她结婚时从法国带来的理论。报告最后分析了一幅重要的《救世主》(Salvator Mundi)版画，据信出自达·芬奇之手，记录在汉密尔顿公爵(Duke of Hamilton) 1638年的收藏中。这就引入了第三幅《救世主》在斯图亚特王朝被认为是达芬奇的可能性。
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Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0004
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 3 looks at the iconography of the image now called the Salvator Mundi, though this is not a name used at the time for images of Christ blessing and holding the globe of the world. Texts from the gospels of St Matthew and St John portray Christ as the benign comforter of the world’s inhabitants. The bands across Christ’s chest evoke the ‘yoke’ that the biblical Christ invites us to take up. The orb appears in Renaissance paintings in many guises, including metal spheres and terrestrial globes. The genre grew in popularity in the fifteenth century, not least in emulation of images by Jan van Eyck and Rogier van der Weyden. The stock frontal presentation of Christ related to a supposed eyewitness account and miraculous images made without human intervention. The direct stare is explained by Cusanus (Nicholas of Cusa) as expressing the ubiquitous nature of God’s gaze. There are also less common variants of the Salvator Mundi as a young Christ.
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Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0014
Margaret Dalivalle, Martin Kemp, Robert B. Simon
Chapter 13 examines the administration of the Commonwealth Sale and the identity and political activities of Capt. John Stone, leader of the Sixth Dividend, to whom a Salvator Mundi attributed to Leonardo da Vinci was disbursed on 23 October 1651. Stone, traditionally understood as a Royalist sympathizer, is unveiled as a member of Oliver Cromwell’s Council of State. The chapter reviews the fate of royal goods disbursed to Stone, their locations during the Interregnum, and the goods returned at the Restoration in 1660 from documentary evidence contained in a master inventory of goods disbursed to the Sixth Dividend between 1651–3 and Parliamentary papers. A ‘virtual inventory’ of goods belonging to the Sixth Dividend is provided in the Appendix.
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Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0006
Margaret Dalivalle, Martin Kemp, R. B. Simon
Chapter 5 reviews the visual evidence on the basis of the stripped picture before the infilling of lost areas of paint. Pentimenti are apparent, most conspicuously in the repositioning of the thumb of the blessing hand. Infrared reflectography reveals detailed changes in the drapery and a few spolveri which indicate the use of a cartoon and shows the use of Leonardo’s hand-print method to soften the modelling of flesh. The vortex curls and the understated anatomy of the hands are typical of Leonardo’s post-1500 style, as is the insistent blurring of the contours of the face. The interlace pattern of the textile bands is founded on an angular geometry of the Islamic kind and reflects Leonardo’s visit to Venice in 1500. The transparent orb is of rock crystal and is marked by gaps or ‘inclusions’, exhibiting optical effects of the kinds that fascinated him, not least the translucency of semi-precious minerals. The crystal orb refers in an innovative way to the crystalline sphere of the fixed stars, thus transforming Christ from the saviour of the world to the saviour of the cosmos. The other optical effect in the painting involves his notions of the working of the eye, with the hands shown more definitely than Christ’s face, akin to a ‘depth of field’ effect in photography. The optical softening of features also acts to render his emotional impact as suggestive and ineffable rather than overtly defined.
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Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0008
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 7 opens the third section of the book, which discusses the collecting and reception of Leonardo da Vinci in Stuart Britain. The chapter summarizes the key documentation, placing it in historical context. It focuses on the presence of two paintings of Christ, as Salvator Mundi, attributed to Leonardo da Vinci documented in the collection of King Charles I and Queen Henrietta Maria. It reviews the historical backdrop of seventeenth-century England, outlining the key documentation of the two paintings, and signals the central problems: how can we distinguish between these two paintings, and can they be identified? The chapter discusses the sale of the royal art collection, 1649–53, and its documentation, and introduces the individuals through whose hands the two paintings passed.
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