Colnaghi Foundation Journal 03 - Page 136

Due donne virili: Laura Martinozzi, Angelica Kauffman, and a rediscovered drawing by Andrea Lanzani
I am grateful to Alastair Laing, Nicholas Turner,
Martin Greenwood for their help during the course
of this research.
Ludovico Antonio Muratori, Delle antichità estensi,
2 vols. (Modena: Stamperia Ducale, 1717-1740),
II, p. 561.
The album was the subject of a general talk by the
present author at a conference in honour of Jennifer
Fletcher at the Courtauld Institute of Art, 11
November 2009.
See Simonetta Prosperi Valenti Rodino, “Il
collezionista della doppia numerazione. Un mistero
ancora da svelare nella Roma del tardo Seicento,”
Les Cahiers d’Histoire de l’Art 10 (2012): pp. 51-59. I
am indebted to Nicholas Turner for bringing this
reference to my attention.
The Perugino drawings were discussed by Francis
Russell, “An overlooked Perugino Drawing at
Saltram,” Apollo 141 (1995): pp. 12-14.
For further discussion see Wendy Wassyng Roworth,
ed., Angelica Kauffman. A Continental Artist in Georgian
England (London: Reaktion Books, 1992), pp. 21ff.
Johann Wolfgang von Goethe, Italienische Reise in Werk,
Hamburger Ausgabe, ed. Erich Trunz, 14 vols. (Munich:
Beck, 1981), XI, pp. 517- 518.
Genevieve Warwick, The Arts of Collecting (Cambridge:
Cambridge University Press, 2000), p. 17.
“To Miss Angelica for 10 vols. of Prints £80.0.0.”
National Trust Archive, Grosvenor Gardens.
National Trust archive, Grosvenor Gardens.
Ellis Waterhouse argued that the collection was sold to
pay off Horn in “Reynolds, Angelica Kauffman and
Lord Boringdon,” Apollo 123 (1985): p. 272.
A papal annulment was granted in 1778. See Wendy
Wassyng Roworth’s entry on Kauffman in the O.D.N.B.
For further biographical information on Laura
Martinozzi see: Mauro Bini, ed., Gli Estensi, II. La corte
di Modena (Modena: Il Bulino, 1999), in particular
“Laura Martinozzi, ‘La duchessa padrona’ ovvero ‘il
miglior duca di Modena’,” pp. 53-57, and Roberta
Iotti, “La politica dell’amore. Altri casi matrimoniale
in Casa d’Este,” pp. 147-181; and Sonia Cavicchioli,
ed., Laura Martinozzi d’Este, fille de France, dux Mutinae:
studi intorno a Laura Martinozzi reggente del Ducato di
Modena (1662-1674) (Modena: Il Bulino, 2009).
Francesco had initially proposed one of his daughters
as a bride for Louis XIV. Mazarin kept the two
portraits which had been sent to him and they were
later listed in his collection with other Este family
portraits. See Janet Southorn, Power and Display in the
Seventeenth Century. The Arts and their Patrons in Modena
and Ferrara (Cambridge: Cambridge University Press,
1988), p.32.
Southorn, Power and Display, p. 157.
Iotti in Cavicchioli, Laura Martinozzi d’Este, p. 53.
Iotti in Cavicchioli, Laura Martinozzi d’Este, pp. 54 ff.
I am hugely indebted to Martin Greenwood and
Padre Pedro Aliaga of San Carlino for their assistance
with this research.
See the chronology in Silvia Colombo and Marina
Dell’Omo, Andrea Lanzani 1641-1712. Protagonista del
barocchetto lombardo (Milan: Officina Libraria, 2007),
p. 194.
It should be noted that the anonymous reviewer of
this article does not believe that the drawing’s style
corresponds to that of Lanzani. However, Nicholas
Turner has accepted the attribution to the artist.
Due donne virili: Laura Martinozzi, Angelica Kauffman, and a rediscovered drawing by Andrea Lanzani


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