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Res. Katalogtext: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 43: 

FORMER INV. NOS.: 15 (M. 1796–97); 333 (F. 1798); 293 (M. 1804);
KM 249.

TECHNICAL NOTES: The support consists of a single piece of
coarse, sparsely woven, plain-weave (10 x 8 threads/cm2) linen
fabric. It is not lined, and is mounted with staples on a typical Martelli
strainer. The ground is thick and red, and covers the whole support.
The paint layer is cracked, and there are some paint losses and
a tendency to flaking. There are some retouches in the background.
Otherwise the painting is untouched. Documented restorations:
Before 1816; 1836: Restored by Heideken.

PROVENANCE: Martelli 1804.

BIBLIOGRAPHY: NM Cat. 1867, p. 2 (as Pietro da Cortona); Sander
1872–76, III, p. 120, no. 293 (as Pietro da Cortona); NM Cat. 1990, p.
416 (as anonymous, 16th century).

This painting is, by extension, a copy of Pietro
da Cortona’s painting in the Louvre. The
Louvre work was virtually forgotten until the
1990s, mainly owing to its abysmal condition.¹ It
was commissioned by Cortona’s patron Matteo
Sacchetti in 1644 as a gift for Cardinal Mazarin.
² Before the rediscovery of the Louvre painting,
the well-known painting in the Pinacoteca
Capitolina was considered the original.³ Today
the judgement on that work ranges from studio
replica to later copy.⁴ There is a pendant to the
Louvre painting, a Flora painted by Nicholas
Poussin, which remained in Sacchetti’s collection
and which is now in the Pinacoteca Capitolina⁵.

When the original was gifted to Mazarin,
Sacchetti could possibly have had the Capitoline
Bacchus painted as a substitute.

The composition of the Nationalmuseum
painting is the exact reverse of the original, suggesting
that it was executed after an engraving,
most likely one by Pietro Dell’Aquila.⁶ 
In Fredenheim’s catalogue, the painting is listed under
Pierre de Cortone; Copies.⁷ Despite its very poor
condition, with particularly conspicuous paint
losses, it is still evident that the overall quality of
its execution is quite high.
DP

1 Michel 1999, pp. 135, 151, notes 23–26, 243, 244, 253, 315,
323–333, 380–381, 580–581; Loire 2006, pp. 122–124.
2 Loire 2006, pp. 122–124.
3 Ibid.; Briganti 1962, pp. 165–166, cat. no. 9.
4 Loire 2006, pp. 122–124.
5 Ibid.; Briganti 1962, pp. 165–166, note 3, cat. no. 9.
6 Loire 2006, pp. 122–124.
7 NM Archives, Kongl. Museum, F:1, Catalogue du Cabinet
de Martelli (à Rome). [END]

Foto: Erik Cornelius / Nationalmuseum 2012

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