Enfilade

The eighteenth century in the March issue of The Burlington . . .

The Burlington Magazine 164 (March 2022)

G. B. Piranesi, Catalogo delle Opere, State I, with manuscript additions, 1761, etching, 40 × 30 cm (Private collection).

A R T I C L E S

• Andrew Robison, “Piranesi’s Catalogo delle Opere,” pp. 230–45. When Piranesi moved to new quarters in Rome in 1761 he had space to store and sell his prints rather than entrust them to booksellers. This prompted him to publish an illustrated sales catalogue in the form of an etching and engraving, of which a number of copied inscribed to his friends and patrons survive. Revised twenty-nine times before Piranesi’s death in 1778, the catalogue provides important evidence about his understanding as well as the dating of his prints, series of prints and illustrated books.

• Giovan Battista Fidanza, “Carlo Maratti’s Additions to the Barberini Venus,” pp. 260–65. In 1999–2000 a restoration of the sixteenth-century mural in the Palazzo Barberini, Rome, known as the Barberini Venus, which was remodelled with additions by Carlo Maratti in 1693, removed tempera overpainting in the belief that it post-dated his changes. A newly discovered document in the Barberini archives both provides the fullest contemporary record of Maratti’s work on the mural and indicates that the tempera additions were painted by him.

R E V I E W S

• Isabelle Kent, Review of the Spanish Gallery, Bishop Auckland, pp. 276–83. In October 2021 the only museum in Britain devoted to Spanish art opened in Bishop Auckland, County Durham. Part of the Auckland Project, which uses art, faith and heritage to fuel long-term regeneration, the museum offers an impressive if idiosyncratic representation of Spain in the sixteenth and seventeenth century. [Paintings by Zurbarán were purchased by the Bishop of Durham, Richard Trevor in 1756.]

• Laura Moretti, Review of the newly opened galleries for the permanent collection at the Palazzo Maffei in Verona, pp. 290–92.

• Imogen Tedbury, Review of the exhibition Willem van de Velde and Son (Amsterdam: National Maritime Museum, 2021–22), pp. 293–95.

• Clare Hornsby, Review of the exhibition Grand Tour: Sogno d’Italia da Venezia a Pompei (Milan: Gallerie d’Italia, Piazza Scala, 2021–22), pp. 295-98.

• Carl-Johan Olsson, Review of the exhibition True to Nature: Open-Air Painting in Europe 1780–1870 (Paris: Fondation Custodia, 2021–22), pp. 298-300.

• María Cruz de Carlos Varona, Review of Beatriz Blasco Esquivias, Jonatan Jair López Muñoz, and Sergio Ramiro Ramírez, eds., Las mujeres y las artes: Mecenas, artistas, emprendedoras y coleccionistas (Abada Editores, 2021), pp. 316–17.

• Susanna Zanuso, Review of Aurora Laurenti, Intagli rococo: professionalità ed elaborazione del gusto negli interni del Palazzo Reale di Torino (Accademia University Press, Turin, 2020), pp. 318–20.