By Alfred Moir
Desk of Contents
record of Illustrationspage xv
I. while, the place, How, and Why Copies after Caravaggio got here into Being, Who Made Them, and What occurred to Thempage 1
II. Copies as a way of Authentication web page 31
III. Copies as a Mark of style web page 39
IV. versions web page 47
V. Literary resources web page 53
VI. Concluding comments web page 59
Addenda web page 65
textual content Notes web page 69
Appendix I. Caravaggio's Oeuvre and Its Copiespage 79
half A: current Autograph Paintingspage 83
half B: misplaced Paintingspage 103
half C: uncertain Attributionspage 116
half D: work no longer by way of Caravaggiopage 116
half E: Works now not Consideredpage 120
Notes on Appendix Ipage 121
Appendix II. Numerical Computationspage 163
Appendix III. Scale of Originals; Numbers and Scale of Copiespage 165
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Extra resources for Caravaggio and His Copyists (Monographs on Archaeology and Fine Arts)
Lucy (no. 43 ), are recorded in still-existent seventeenthcentury copies. Thus, the situation of the response to Caravaggio's oeuvre in Malta and Sicily seems analogous to that in Naples, except for even less documentation through copies of lost originals comparable to the Fainting Magdalen (no. 69) and the Crucifixion of St. Andrew (no. 73). The number of copies in Sicily of the Ecce Homo (nos. 34a-34c, 34e) and the lack of any elsewhere suggested to Longhi 77 that the original was once there, just as the path of the Fainting Magdalen might be traceable by the number of its copies from Naples (nos.
60b) with proportionately the most peripheral space, to the Riverdale (no. 60e) with less, the Hartveld (no. 60g; figure 45) with still less, the Odessa (no. 60a) with least, and to the Berlin version (no. 60c; figure 46), which is simply a fragment with an entire figure missing. In fact, the reduction is a complication; for the two largest copies, the Sannini and Hartveld versions, although equal in dimensions, are different in the extent of space around the figures. Otherwise the Sannini version, which of all the replicas allows the most space, would seem not only to reflect the whole composition of the lost original most exactly but also to establish the original dimensions.
This is not to say that all copies of these paintings were made as fakes. Once they had been made, however, they certainly could be put to quite different use from that originally intended. In one instance, that of the Holy Family with St. john the Baptist (no. 104), I believe the "original" itself was fraudulent; the copies, even the print (although I doubt it particularly), may, however, have been made in good faith as to the authenticity of their source. The first version of the Holy Family might be classified as an "imitation," that is, WHEN, WHERE, HOW AND WHY COPIES AFTER CARAV AGGIO CAME INTO BEING, WHO MADE THEM, AND WHAT HAPPENED TO THEM 19 as a painting original in conception, nearly equal in quality to that of Caravaggio's own oeuvre, and almost literally re-creating his style.