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The Ca’ Capello Layard and its art collection: a forgotten Anglo-Venetian treasure house of the late nineteenth-century
Roma (Rome: Casa Editrice L’Arte, 1906). See Luisa
Morozzi, “Da Lasinio a Sterbini: ‘primitivi’ in una
raccolta romana di secondo Ottocento,” Aei mnstos 2
(2006): pp. 908-916.
106. The last letter concerns a missing appointment to
visit the crypt of St. Peter in Rome. SNS: Carteggio:
E. Layard to A. Venturi, 11 April 1908. See also LLJ:
Rome, 11 April 1908.
107. See notes 31 and 90.
108. On the law no. 364/1909, see Roberto Balzani, Per le
antichità e le belle arti. La legge n. 364 del 20 giugno 1909 e
l’età giolittiana (Bologna: Il Mulino, 2003).
109. “Morelli stesso si unì al Layard per aiutarne
l’incremento, per rallegrarsi ogni qualvolta arrivavano
casse di bei quadri dall’Italia a Trafalgar Square, per
segnalare al Burton quadri in vendita pubblica, presso
privati”. Yet, to this strong criticism, Venturi bitterly
added: “In Italia era un continuo disfacimento delle
collezioni private, né contrastava all’esodo lo spirito
patriottico dei cultori dell’arte, pochi e incompresi da un
pubblico non educato a godere delle cose belle […] Ed
eran gli anni in cui la ricchezza del patrimonio artistico
italiano, per continuo esodo delle collezioni private,
veniva scemata, o si raccoglieva a Londra e a Berlino
nelle grandi collezioni di Stato, a Parigi nelle raccolte
private.” Venturi, “La Formazione,” pp. 458, 460.
110. Cesare A. Levi, Le collezioni veneziane d’arte e d’antichità dal
XIV secolo ai giorni nostri, 2 vols. (Venice: Ongania, 1900),
p. CCXLI. Melani published a photograph of a paliotto
in the Layard collection, see Alfredo Melani, “The
Layard collection in Venice,” The Studio. An illustrated
Magazine of Fine and Applied Art 57 (1913): p. 318.
111. A variety of articles and essays ensued. The Venetian
newspapers L’Adriatico and the Gazzetta di Venezia paid
almost daily attention to the matter, but also the
Corriere della Sera, Il Marzocco, Nuova Antologia, and Il
Giornale d’Italia. This growing apprehension on the
destiny of the Layard collection had filtered through
to English newspapers and magazines as well. The
Burlington Magazine concentrated on the legal problem
and donation policies of the National Gallery, whilst
The Times, the Morning Post and the Daily Telegraph
focused on the composition of the collection and its
importance. See Riva, “Un velenoso pasticcio.”
112. Venice, Archivio Notarile: Atti Carlo Candiani, vol.
296 (1913), rep. N. 29782: Last Will and Testament of
Lady Mary Enid Evelyn Guest Layard.
113. Christie’s, 11 June 1918.
114. Guglielmi, 11-20 December 1939.
115. Vendite all’asta di stampe antiche dalla raccolta di S. E. Sir
Henry Layard, Istituto di vendite giudiziarie, Venice,
15-16 March 1969.
116. The information is reported by Ellen Callmann,
Apollonio di Giovanni (Oxford: Clarendon Press, 1974),
n. 26. The picture has been traced until 1979 when it
was sold at Christie’s. Zeri erroneously retained that by
1880 the panel was already in the collection of Alfred
Moritz Mond (1868-1930), who was only twelve years
old by that time. It is more likely that the cassone was
purchased by his father, the well-known chemist and
industrialist Ludwig Mond, before passing into that
of his younger son, later Baron Melchett. The panel is
recorded in Christie’s sale catalogue 23 April 1936 (lot
75), when it was acquired by Lady Merton.
117. Austen H. Layard, “Annual Report of the Director
of the National Gallery to the Treasury for the year
1885,” The Quarterly Review 163 (1886): p. 407.
The Ca’ Capello Layard and its art collection: a forgotten Anglo-Venetian treasure house of the late nineteenth-century
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