Glyptic Portraits of Eugène de Beauharnais: The Intaglios by Giovanni Beltrami and the Cameo by Antonio Berini Author(s): Gabriella Tassinari Reviewed work(s): Source: The Journal of the Walters Art Museum, Vol. 60/61 (2002/2003), pp. 43-64 Published by: The Walters Art Museum Stable URL: http://www.jstor.org/stable/20168617 . Accessed: 16/05/2012 16:07 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. The Walters Art Museum is collaborating with JSTOR to digitize, preserve and extend access to The Journal of the Walters Art Museum. http://www.jstor.org Glyptic Portraits of Eug?ne de Beauharnais: The Intaglios by Giovanni Beltrami and the Cameo by Antonio Berini TASSINARI GABRIELLA Among is a French the holdings of theWalters Art Museum a hallmark the years 1819-38) made from snuffbox (bearing an intaglio portrait of Viceroy of horn and decorated with Beauharnais de (1781-1824) by the celebrated Eug?ne blue Beltrami (1770-1854) engraver Giovanni of Cremona. Another intaglio by Beltrami, probably lost, but known from casts, ispractically identical; it bears an inscription referring to a in a battle led by Beauharnais during the glorious victory Russian retreat, on 23 October 1812 at Malo-Jaroslavets. Beltrami made numerous works for the viceroy. An analogous in half horizontally by a straight line or bar; in the upper is a "C," and in the lower one, a "P."The intaglio on the lid (perhaps to make was turned over for mounting a cameo with portraits of Beauharnais and his wife object is now in on a tortoiseshell mounted Amelia, snuffbox Augusta The cameo is theMus?e national du Chateau deMalmaison. a famous Roman signed by Antonio Berini (1770-1861), to engraver who moved Milan, where he workedfor the imperial contains vegetal motifs and curled enamel, which leaves. The gold border bears the hallmarks of Paris during is not identified, but the years 1819-38. The manufacturer a there is a hallmark in the shape of vertical lozenge divided section thus reversing surface the visible one), the smooth Beltrami s signature, which is complete and runs under the bust, with the letters "E" and "N" to the right and left of the profile, respectively. No information is available about the purchase of this snuffbox by Henry Walters.2 are numerous portraits family among others. Even though there on hardstones are known. no others Beauharnais, engraved of The two snuffboxes are apart of the widespread phenomenon as gifts by royally of snuffboxes bearing portraits, usually given and the nobility, and offer an important contribution to a deeper in knowledge of the production ofgemstones and snuffboxes thefirst half of the nineteenth century. THE IN THE SNUFFBOX WALTERS ART MUSEUM has among its holdings a The intaglio portrait of Viceroy Eug?ne 1781-21 February 1824) by de Beauharnais (3 September the famous Lombard engraver Giovanni Beltrami (Cremona, Walters Art Museum snuffbox with an 1770-1854). The round snuffbox (ace. no. 57.159) ismade center of the of horn; the lid is unattached (fig. l).1 In the a a a in lid is cornelian intaglio, mounted gold frame with blue enamel border, inserted into a hexagon also oudined in Fig. 1. Giovanni Beltrami, Viceroy Eug?ne snuffbox. Baltimore, Walters of the portrait intaglio with set in the center of the lid of a horn Cornelian de Beauharnais, Art Museum, ace. no. 57.159. TheJournal of theWaltersArtMuseum 60/61 (2002/2003) 43 PORTRAITS INTAGLIO DE OF EUGENE BY BELTRAMI BEAUHARNAIS de Beauharnais in intaglio portrays Viceroy Eug?ne into with hair tousled parting long locks combed profile, a over his forehead, long sideburns, round, somewhat large and slightly parted lips. The viceroy seems nose, mustache, The and somewhat stiffly enclosed (perhaps also due to the high collar) in his elegant military uniform with as the insignia of the Order of the an appliqu? identifiable Iron Crown. This is an image of Beauharnais in his "official" withdrawn guise. The "E" and "N" stand for "Eug?ne Napoleon." The fact that this is a portrait of the viceroy is confirmed on awhite ground in theMedagliere, by a cast of pink plaster the medals collection of the Civiche Raccolte Numismatiche contains a large number of Milan (fig. 2). This collection of casts made from intaglios and cameos, both ancient and and is is for the most part unpublished modern, which its holdings in the process of being catalogued.3 Among are three cases containing 127 impressions made by the most famous gemstone engraver of the second half of the Giovanni Pichler, and sixty-six book eighteenth century, form double boxes that originally contained 3,600 white in the famous Roman workshop scagliola impressions made of Tommaso Cades.4 cast of the portrait of Beauharnais5 is loose in box no. 63, one of the book form boxes. There is no information on the provenance of this box, or for boxes 61 and 62,6 all lack an explanatory list of the casts inside three of which the portrait Plaster cast of an intaglio with 2. Giovanni Beltrami, Fig. Civiche delle Beuaharnais. de of Viceroy Milan, Medagliere Eug?ne Raccolte Numismatiche. The sometime after the may have been made Cades collection now in purchase of the volumes of the since their numbers are a continuation of the Medagliere, them. These that sequence. In any case, many of the casts in boxes can be linked to engravers and 61-63, works in Lombardy. Indeed, the majority of the casts in boxes 62 and 63 are of works by Beltrami, many of them made for Count Giovanni Battista Sommariva, whom we We should also note intaglio for the sake of convenience. that casts of these two intaglios do not appear in the most famous collection of casts made byTommaso Cades, now in inRome, accompanied the Istituto Archeologico Germ?nico a manuscript, of a collection of 8,131 "Description by enamel casts owned in Rome by Tommaso Cades. often not mounted, shall discuss later. cast in the Medagliere provides evidence to the portrait in Baltimore. The intaglio quasi-identical differences are the lack of Beltramis signature and the to Beauharnais's presence of the inscriptions XXTVOTTOBRE to his right, and MA JEROSLAWETZ left, MDCCCXII in These refer to an important episode underneath. Beauharnais s career. casts of works by Beltrami, in largest collection of contains two theMuseo C?vico Ala Ponzo?e inCremona/ the second of white intaglio portrait of impressions one with the the Beauharnais, inscription XXIV OTTOBRE MDCCCXII MA JEROSLAWETZ. Thus, the situation in The the collection in Cremona is the same as that of the neither has a cast of the Baltimore Medagliere one that we shall call the "second" the but of only intaglio, inMilan: 44 DE BEAUHARNAIS Rose de Beauharnais was bom inParis on 3 September '1781 toViscount Alexandre de Beauharnais, an officer on 5 Thermidor in the royal army who was guillotined 1794 (23 July), and his Creole wife Marie Joseph Rose de later married de La Pagerie.8 His mother Tascher came the change of her first this marriage Napoleon. With name to Jos?phine and the rapid rise of her son Eug?ne C?cile and daughter (1783-1837). Eug?nie-Hortense with and handsome, melancholy, fascinating Young, blond, Eug?ne of an The EUG?NE blue eyes, he was courageous, affable, and well mannered, and a lover of art. The aristocratic Eug?ne represented a between the two societies perfect example of amalgamation France. that were coming together in post-Revolutionary to in the expedition He participated Egypt (May 1798? himself at the battle of October 1799) and distinguished the 1800). Upon proclamation of the empire Marengo (14 June Eug?ne de Beauharnais, Fig. 3. Portrait of Viceroy MN Museo 6678. From: Napoleon, Napole?nico, cat. 37. 2001, Mus?e Fesch, Ajaccio, (18May 1804), he was named grand officer of the Legion d'Honneur, colonel general of the Garda Hunters, and, on 1 Febraury 1805, at the age of just 24, prince and archchancellor of state, enjoying the title of Most Serene Highness. to govern Italy, Beauharnais 1804. He commanded the as coronation for troops king of Napoleons processional on 26 May 1805. On 7 June 1805, Italy inMilan Cathedral he was named viceroy (fig. 3). Eug?ne did not speak Italian, and had never exercised any civilian function or high military command, but he found himself responsible for a state with inhabitants. The instructions Napoleon almost four million Appointed entered Milan gave him circumspection, by Napoleon on 16March for governing,0 are evidence recommending of the emperors prudence esteem. and etching by Paolo Caronni, Milan, et l'Italie, 11 Les Bonaparte April-30 1810. Rome, September Eug?ne married Augusta Amelia Ludovika Georgia, 22May princess of Bavaria (Strasbourg, 21 June 1788-Munich, 1851 ), the eldest daughter ofMaximilian Josef, elector of Bavaria, on 13January 1806.On the occasion of themarriage, name Napoleon formally adopted Beauharnais, giving him the as heir to the kingdom, Eug?ne Napoleon and recognizing him no direct heirs. He also received the title as had Napoleon inMunich of France and of His Imperial Highness Eug?ne Napoleon was named lieutenant of His Imperial and Royal Majesty, in chief of the Italian army, prince of Venice, commander and governor of the Venetian states, until their union with the Kingdom of Italy (1May 1806). The couples journey toMilan was a triumphal one, as many Italians believed that this event marked a favorable 45 time for them. Augusta Amelia was immediately more popular and beloved than her husband because of her youth, beauty, manners, and the decorous customs she? on the court. a fervent Catholic?imposed new took his role with zeal. He made up Eug?ne up for his lack of experience by hard work. But good sense and honesty were not enough to compensate fully for the limitations of his weak, mild nature. He could do absolutely nothing without first consulting Napoleon, who reserved all decisions on foreign relations, finance, public works, and important nominations for himself. The emperor gave advice, instructions, and orders on how to govern and how to behave. did not miss any detail, however minor. For his Napoleon part, the viceroy reported to the emperor on everything? he carried out, and had others carry out, the emperors orders. to make his Eug?ne wanted kingdom great and keep the Italians happy; but he was in a difficult position, and his subjects, caught in the middle between Napoleon who would have liked the viceroy not to be a tool of the the viceroy preferred the French emperors will. Moreover, to the Italians, naming only his fellow countrymen to public office; as a result, he was surrounded by an atmosphere of hostility and suspicion. In any case, Milan did enjoy a period of brilliant social and cultural life and intense building activity.10 And the The great moment of Eugenes military life (commem in the second intaglio by Beltrami) came in 1812, when he obtained the command of the Italian, French, and Bavarian troops of the Fourth Corps of the army in orated Russia. The viceroys return from this Russian campaign is the subject of a poem by Fose?lo that sings the praises of the vicereine.12 Eug?ne behaved like a hero in the Moskowa on 7 September, in the retreat after the burning in the and distinguished himself brilliantly at counterattack Malo-Jaroslavets (alsowritten Malojaroslavetz, offensive of Moscow, and Malo-jaroslawetz13). This episode Malojaroslawetz, in light of its importance merits closer attention for s Beltrami second intaglio.14 On 23 October 1812, the viceroy, at the command of the advance guard of the great army moving southwest, had the Delzons division occupy the town of Malo-Jaroslavets, which was located in an ideal defensive position. The Russian general Koutousov called for a series of partial attacks against out by cold and hunger. Koutousov army, worn Napoleons wanted simply to bar the road to Kalouga and the access to its southern roads; therefore, he refused to commit the bulk to the of his troops and declined to send reinforcements to head of the Russian corps, who wanted occupy Malo Jaroslavets. On 24 October, fierce fighting broke out, as both sides knew that the bulk of the armies were drawing near viceroy did his utmost to elevate all of the Kingdom of Italy to the level of great nations. He traveled through the provinces often in the course of the year,11 inspecting fortifications and that this position of strength had to be taken. Eug?ne employed his last reserves, the Italian division commanded by General Pino. This was the crucial move that determined and arsenals, establishing schools, and ordering numerous monuments. public works and the restoration of the Italians' moment was also the commander in chief of the Italian Eug?ne was his Fifth after the Coalition, army, and, major activity as was to act in the military field. His first military viceroy states, but the Austrian army, occupy the former Venetian inflicted a resounding John of Austria, at Sacile, in Friuli, on 16 April 1809. won a number of victories over the Eug?ne led by Archduke defeat on them Subsequently, and it was recorded that he acquitted himself Austrians, son of well as a worthy Napoleon. At Raab (14 June), he won an important victory over the archduke, so important called it one of the most decisive days for that Napoleon the fate of France. was dissolved, to Jos?phine Napoleons marriage to the senate consent to to his the had proclaim When Eug?ne senate a emperor s new marriage, making speech to the inwhich he said that Napoleon was their father, members and they owed everything to him. Eug?ne and his wife on 2 to Marie-Louise attended Napoleons April wedding in the celebrations in Paris for the 1810 and participated son. In July 1811, he birth and baptism of Napoleons to reorganize the army according to the returned toMilan emperors 46 orders. town remained by Encouraged it was all over, the of glory. When in the hands of the French and Italians. this success and Koutousovs retreat, Napoleon regained his optimism about the campaign. himself for bravery, and the Eug?ne distinguished entire Fourth Corps was marked for glory. Proud of his son, so highly that the Journal de Napoleon praised his talents that VEmpire, the official organ of the press, proclaimed the viceroy had invigorated and inspired everyone with his student of the presence and had shown himself a worthy great captain from whom he had learned the art of war. of the Great Army, to avert disaster, withdrawing without engaging in significant battles and finally establishing a position atMantua. took command Subsequently, Eug?ne led the retreat, and attempted on 6 After Napoleons abdication 1814, the April crown of of the coalition offered the Eug?ne sovereigns a betrayal of it he refused the but offer, Italy, considering his adopted father. Melzi wrote to the viceroy to inform moment to reach a decision: the independence of of Italy was recognized by the treaties, and be an independent would king. The to come the new for Eug?ne had proclaim kingdom, and the Italians would him of the need the Kingdom His Highness trust and follow him. the viceroy to converse and exchange opinions, for part on art and related topics.18 In 1807, Eug?ne Bossi to make a copy of Leonardo da commissioned of the need to though he had been warned as Melzi advised him, and not to Italian," were so surround himself completely with the French, who with disliked by the Italians, and was later informed of the unfavorable turn local public opinion had taken, Eug?ne, irresolute, came to an agreement with the Austrians and begged the indulgence of the allied sovereigns. But Milan Vincis Even "become of Finance, Prina, was killed rebelled, and the Minister on 20 affected and indignant, Eug?ne April. Deeply at On his of the 32. 25 age power April, just relinquished and, on 28 April, he left Mantua, the Austrian divisions of the Congress of Vienna treaty, control of the duchy of Leuchtenberg and Eug?ne gained the principality of Eichst?tt, small territories in Bavaria. He was allowed to be called His Royal Highness and to transmit to his heirs the title ofMost Serene Highness. His the conclusion residences were Leuchtenberg Castle, Eichst?tt Casde, the immense and sumptuous Leuchtenberg Palace that he had built inMunich between 1817 and 1821 by the great neoclassical architect Leo von Klenze, and castles at and at Eugensberg. the Restoration, Eug?ne s position was not an During easy one, because he represented a potential danger for the Ismaning He had become a legend in France, and he collaborators and exiles. governments. was often a refuge for former Moreover, he had to maintain contact with Napoleon. His protracted idleness in his gilded exile and memories of his "heroic" past undermined his health. He died of an attack on 21 February 1824, at the age of 42, and was in great pomp in the crypt of Michaelskirche inconsolable widow spent the rest of her days to her husbands tending legacy, publishing documents, and ensuring prestigious marriages for her seven children.15 buried with Munich. Last Supper.19 Bossi s prolific activity resulted in a an oil painting (destroyed during World War II), and the book Del Cenacoh di Leonardo da Vinci, published cartoon, by the Stamperia Reale inMilan in 1810. Bossi recalls visits from Eug?ne and his wife to look at the copy of Leonardos fresco, and their satisfaction with his work.20 Another replica of a famous work, made in 1809 for Beauharnais and now in the Hermitage of his most in St. Petersburg, isCanovas Magdalene, and celebrated complex sculptures.21 to the art patron Giovanni Battista prestigious one entered Milan. With the most His She was buried alongside her husband. Delivered Sommariva collection its charm in 1808, the original was placed in his Paris to in a setting so effective and so advantageous that the statue was an enormous success.22 In his palace in Munich, Beauharnais installed his a of and remarkable collection library paintings, which he a to the public. In 1819, he bought for this palace plaster copy of the frieze of the Triumph of Alexander by Bertel Thorvaldsen.23 This was one of the sculptors most important commissions, received in 1812. The frieze was to decorate a room in the Quirinal Palace and represent opened arrival inRome in the guise of a parallel historical Napoleons event, the entrance of Alexander the Great into Babylonia. in Eug?ne also ordered replicas (which were in production 1820-22) of the four marble reliefs carved by Thorvaldsen for the fa?ade of the new palace of Christiansborg in Copen used allegorical hagen.24 In these medallions, Thorvaldsen to express the concepts of Fortitude, Justice, Health, figures For Beauharnais, too, the reliefs presumably andWisdom. the conveyed significance of virtues needed for governing. were not installed (aswas They planned) in the palace in and the year after his death, in 1825, his widow Munich, probably sold them to Count Franz Erwein von Sch?nborn (1776-1840), one of the leading German patrons.25 Augusta to execute her husband s Amelia also turned toThorvaldsen itwith the help of Pietro Tenerani; in 1830 inMichaelskirche inMunich.26 tomb. He made evidence survives of Beauharnaiss intense interest in art and his patronage. At Josephines death on Significant 29May 1814, Eug?ne inherited the Ch?teau de Malmaison, except for a certain number of objets dart assigned to his sister Hortense, sold to Tsar Alexander (who had placed or to the his under family protection), king of Bavaria. An expert collector, the viceroy devoted great attention to museums, especially the Brera inMilan, where he promoted the formation of a picture gallery open to the public that would house paintings from churches the Beauharnais and convents itwas inaugurated While alive, Eug?ne was the object of praise and flattery that was often exaggerated to the point of absurdity.27 He literature and iconography and figured in the Napoleonic in the official works intended to perpetuate the memory of important events of the emperors reign. Especially given their hyperbolic tone, Eugene may perhaps have feared thatNapoleon might be irritated by the level of exaltation directed towards the viceroy.28 Perhaps it is for this reason that he waited until fairly late to commission his own commemorative suppressed by Napoleon.16 Bossi (1777-1815), painter, theoretician, Giuseppe di Belle poet, collector, and secretary of the Accademia pieces from artists and did not live long enough to see the works finished, and why his memoirs were left unfinished. some historians were While excessively laudatory, others of frequent contacts vilified Eug?ne.29 In the years between the fall of the empire and Arti inMilan,17 writes in his Memoirs 47 remains to Paris in 1840,30 a beatific the return of Napoleons tone characterized most of theworks.31 But after Eugenes death, were error-ridden, like the well-known texts that appeared M?moires (1856-57), which accused him of by Marmont treason. Beauharnais's children won the lawsuits they brought for defamation, and documents were published to re-establish the truth that Eug?ne never betrayed Napoleon. Italian writers were generally more critical because of his dependence on Napoleon and his indecisiveness. A case in point is the novel by Giuseppe Rovani,32 published?it in after Italian unification, should be pointed out?right which Eug?ne swell-known marital infidelities become the concern of his government. The viceroy is presented major as a womanizer who takes revenge if his advances fail and suspends the woman's their promotions. relatives from their jobs or blocks In any case, it has been observed33 that this stereotype of Eug?ne as the typical French dandy imposed itself on in general waver the majority of Italian historians, who between the two extremes of an idyllic view of the French presence Italian in Italy and of France as a curb to the progress of autonomy. Italian and foreign scholars no longer conclude, the thesis of Eug?ne as a traitor, but they sometimes and blame him for exaggerate his defects and weakness To maintain or by by choice temperament?with acting?whether much moderation. too from the most to scenes invented intaglios by the engraver himself. Large works are frequent, as was the custom with many engravers of the time, as are replicas of the same subject. The the portrait of Beauharnais fits intaglio with famous ancient perfecdy into Beltrami's production, which is rich in portraits of important contemporary personages.36 Furthermore, the stone used is cornelian; it has rightly been observed37 or transparent stones used by that the translucent Beltrami, such as topaz, rock crystal, aquamarine, various kinds of agate, and cornelian, gave a see-through effect that enhances the incised figure. Portraits are among the earliest commissions Beltrami's reputation, including representations that made of persons and his wife. like Napoleon very close to Beauharnais, Beltrami made three portraits of Emperor Francis I: one forM?rchese Persichelli of Cremona, a cameo ordered by the empress in 1825, and another cameo, now in the Kunsthistorisches inVienna.38 The Museum this third cameo is important of making Beltrami's method execution of for a better understanding of Finished between portraits. 1835 and 1840, it was ordered by the widowed empress, it and gave it to the M?nzwho was pleased with und on 14 1840. Beltrami thus made the Antikenkabinett April a bust portrait working from another model, posthumous Schaller. The by the Austrian sculptor Johann Nepomuk a portrait of commission for the second cameo with Francis Iwas awarded in 1825 personally by the empress, to Beltrami's studio in Cremona and attentively examined his many works. She wanted the cameo with the likeness of her husband to accompany another she wore around her neck, a portrait of her father, the king of Bavaria, in 1815. Also, Archduke Charles, engraved by Beltrami Francis Is son, visited Beltrami's studio in Cremona with who went GIOVANNI BELTRAMI Beltrami He was (Cremona, considered 1770-1854) one was a noted of Cremona's glories Giovanni engraver.34 and thus was admired and celebrated by his contemporaries, especially by his enthusiastic fellow citizens. of intaglios and cameos by Beltrami have survived compared to the remarkable quantity mentioned A small number his wife As Sophia of Bavaria in 1825 (6May). in only a few cases is there sufficient to illuminate patrons and the complex gemstone 300. The originals of his copious by earlier writers?around even the Museo in have large part been lost; production C?vico Ala Ponzo?e of Cremona only holds a few intaglios, cite almost completely work for Beauharnais, the gift of Fortunato Turina in 1908, such as Angelica and Medoro, Wealth Conquered by Love, The Head of Niobe, and Rinaldo andArmida?5 To this rather small number of The Kingdom we can add another here: the portrait surviving originals, of the viceroy Eug?ne de Beauharnais at theWalters. by the collections of to imitate stone) made casts (plaster scagliola designed the Roman of Cades and Paoletti and by by workshops Beltrami's work is documented in the Museo Civico Ala Ponzo?e of the larger collection Cremona. Beltrami's repertory is rich and varied: from and religious subjects to the works of Canova, mythological 48 relationship engravers,39 all the written between it seems information prestigious appropriate to evidence of Beltrami's some obvious repetition. despite Beltrami's biographer, writes, Meneghelli, of Italy had already arisen, and Prince with refined taste, had viewed some Eug?ne, gifted of our artist's efforts with a favorable eye. In a very from him a necklace of short time, he commissioned sixteen cameos of scenes from the tale of Cupid and Psyche. And an engraver draftsman as he knew of gemstones skill as that to his exquisite was united valor as a and a fertile imagination, the prince that everything had to be the work of his specified hand, and that the ideas and designs be his.... [Beltrami] assigned the outlines to the court painter, the celebrated Appiani, and having obtained full approval for this, he successfully brought the enterprise to its desired conclusion. And the work was already on its journey towards its contemplated destination when the courier was attacked, and the became the booty of the rapacious hands that had stolen everything. Prince Eug?ne was saddened by the mishap, but nobly paid Beltrami necklace a generous hand, as though he had received the cameos, and ordered that another for his work with necklace perfectly identical to the first occupy the a generous ingenuity of the talented artist. Such act redoubled his fervor and care, and the new in the opinion of the artist himself, greatly surpassed the first in elegance and It supremely pleased everyone who exquisiteness. composition, to Princess saw it; and the Viceroy made a gift of it Amelia of Bavaria, his wife, who appreciated it very much, and prized it as a precious work.40 The a applause of Court brought valuable commissions to our artist, beyond those he received from Prince numerous portraits, to which he Eug?ne himself for added with great pleasure one ordered from him for the august Mother, Empress Jos?phine.. ..41 Lancetti, another biographer,42 conversely, attributes the commission of the sixteen cornelians to Empress Jos?phine, to be made into a necklace and other jewels. When the stones were stolen by the robbers, Beltrami replicated the on stones sent him by the empress. Lancetti also reports myth that Beauharnais kept Beltrami "busy almost exclusively for him for a long time."43Cantii, also, writing about various artists,mentions the portrait engraved by Beltrami forNapoleon and the tale of Psyche for Jos?phine, and recalls generally "other works for Eug?ne, and the courtiers in imitation."44 gives us another brief indication, fully aware of the honor paid him by the commissions arriving from Beltrami illustrious and powerful personages, 15March 1832) to an unidentified influential person residing inMilan: in a letter (Cremona, count, probably an that I indicate the works made for distinguished personages just as I too would like, on the principle that the world usually attaches great importance to them and proclaims great or litde merit in the artists the quality of the ones who gave the commissions. Thus since I, in this circumstance, would like to burn some incense to public opinion, Iwish to beg you to point out the many works in accordance with for the Prince Viceroy, the many portraits carved in stone for the King of Bavaria, the things made for Napoleon and others ofthat time. made But since the remembrance of such things is not fitting, shall limit ourselves to my Petrarch in cornelian our purchased by H. M. Sovereign [in 1815]....45 we of the king of Bavaria, who was Eugene's is in accord with a note about Bavaria by The mention father-in-law, Grasselli, "... for whose Royal Court Beltrami had executed various other works in different periods."46 are contained in a important indications manuscript ofMarch 1834 concerning Beltrami, containing information "from his own lips."47This manuscript was sent to the philosopher, art critic, journalist, and writer to who wanted Defendente Sacchi, give information about But the most the artist and published same year:48 it in the spring ofthat own invention, some engravings of his Having made [Beltrami] went toMilan, and the Crown Treasurer a great art Jover and M. Hennin, coin distinguished seen them these liked collector, having very things, much and promised Beltrami to present them to the liked prince, which he did, and since His Highness were on occasion and that he them, they purchased, own ordered his portrait, which Beltrami engraved on cornelian with great success. He did other in both relief and carved into the stone, portraits and other things for that Court. Since the Prince to have a necklace made wished his wife.. for the princess from Beltrami sixteen .he commissioned on yellow cornelian, called "blond," and engravings he chose to represent the tale of Cupid and Psyche, which except for the central piece that was larger, all the others were composed by Beltrami, and for to copy this piece the engraver was sent toMantua in Palazzo del T?. theWedding by Giulio Romano The series of stones was engraved in six months, but all this effort was ill-destined, because itwas sent by post, as the Court had requested; the courier was attacked and of stripped everything, and said necklace was stolen as well. As the Prince wanted the work, he ordered a second made on the same theme, and the designs were done by Beltrami which In a the court painter, liked very much. Appiani, short time, the second necklace was made, richly fastened with rubies and diamonds by the jeweler Montefiori. Beltrami undertook a small intaglio, which the Prince desired himself, and itwas meant Darius, a work to have for a ring for to represent the Tent of that the valient engravers of southern intaglio received the Italy declined to do. This approval of His Highness and those who have an of art. Besides the manifold works understanding done for this court, Beltrami made numerous works for the court of France and that of Bavaria.... 49 The works that Beltrami remembers with satisfaction are the the engravings for the following. Among above-mentioned court, a cornelian representing Europa sitting in her horse-drawn chariot, followed an by major deities, and Eagle flying above her, crowns above laurel Europa herself; the bearing com reproductions from paintings, and original positions;56 these qualities also explain his appointment by portraits, asminiature portraitist of the viceroy's court. As for Beltrami, he was mainly assigned the task of the pictures in Sommariva's collection. His reproducing Beauharnais indicated Tent of Darius, which isworthy of observation because of its small size, since all the are illustrated in the most minute detail, figures and the nature of each figure iswell to which and charm of miniatures, uniqueness, Gigola restored prestige, explain the generosity, familiarity, and preference Sommariva showed Gigola, who made for him novelty, even in in his faithful reproduction, the tiniest details, of pictures with complex scenes and numerous an inscrip figures. Often, Beltrami's works bear tion with the painter's name, the year of the painting, the author of the intaglio, its date of execution, and sometimes skill is demonstrated explained. Unfortunately, despite the frequent references to the activity are not carried out by Beltrami for Beauharnais, they of the works he corroborated by actual documentation executed the city, Cremona, and the patron and/or owner of the at least were work. These intaglios, which number forty, made between 1810 and about 1825. Battista Sommariva out that the rightly points was a not of paintings representation frequent practice success obtained and that the among gemstone engravers with the miniaturization of Sommariva's pictures attracted for the viceroy. On the other hand, we have a great deal of information, as well as a significant number of works (represented by casts), about pieces made by Beltrami for Count Giovanni 1760-Milan, (Sant'Angelo Lodigiano, one most controversial and of the 1826),49 outstanding in the first two patrons and art collectors in Lombardy A decades of the nineteenth century. lawyer of obscure origins, ambitious and unscrupulous, Sommariva capitalized to on the campaigns political upheaval of Napoleon's become administrator of Milan (1800-2). Having become Sommariva this but very wealthy, by point unpopular, new acquired and protector social prestige internationally as the patron of the best artists of the time, motivated by a sincere passion but also by the conviction that works of an excellent investment. His splendid collections in his Paris houses and his villa (now called Villa Carlotta, on Lake Como) were well known and a at Tremezzo art were required tourists. make works travels stop for art lovers, scholars, men Sommariva of letters, and numerous employed to engravers cameos that reproduced the best-loved intaglios and on his in his collections, carrying these with him so as never to be separated from them.50 Thus, this opportunity towork for the court encouraged some Roman engravers tomove toMilan, such asAntonio Berini and Giacomo Pichler (1778-1815), Giovanni's son.51 Sommariva's exceptional and precious gem Unfortunately, is almost completely dispersed, and surviving collection are quite rare, for example, those in the Civiche originals in in the Castello Sforzesco Raccolte d'Arte Applicata in large Milan;52 knowledge of the collection is dependent Liberotti part upon the Cades, Paoletti, and Giovanni in collections of casts in Rome.53 Count Sommariva, competition with for given merit Gigola 50 the viceroy launching (Brescia, 1769-Milan is for splendor,54 inMilan, the career of Giambattista [orTremezzo], 184l).55The Pirzio Biroli Stefanelli57 of this type for Beltrami, such as the reproduction of paintings for the princely family of Soresina and the brothers Bartolomeo Vidoni and Ferdinando other commissions Turina, wealthy entrepreneurs in the province of Cremona58 who were art patrons and owners of paintings whose were subjects engraved by Beltrami. Beltrami's most admired and celebrated are intaglios of paintings, due to his prodigious skill in overcoming in translating between media, technical difficulties the to reproduce, and the of the he chose complexity subjects formal perfection of his finished product. Examples are his The Tent of Darius59 from a famous painting masterpiece by Charles Lebrun, of 1661, now inVersailles; Leonardo's Last Supper,60 Romeo and Juliets Last Kiss from the famous painting by Francesco Hayez;61 2nd Jupiter Crowned by the Hours (or Olympus) from the painting by Andrea Appiani, now in the Brera, which took him three years to complete.62 were most praised for the highly esteemed works to sculpt numerous astonishing skillwith which he managed His tiny figures in such a small space. Beltrami deeply loved his town, Cremona, where he to move to Paris, even had his studio, and never wanted to come, Count Sommariva though strongly urged him nor even toMilan, where Sommariva had a fine prepared for him. In Cremona, not only prestigious patrons, like the Soresina Vidoni and Turina brothers mentioned house above, but also more modest personages and various families owned stones engraved by Beltrami. In addition illustrious men, to the series engraved with portraits of and modern, another group by ancient shows his skill as a portraitist. This is the series of metal medallions representing famous personages of the of Beltrami, now in the Museo past or contemporaries Beltrami seem to picture of the viceroy, the events he relates do not on rumors. a In serious be based isolated clash fact, between the French and Italian divisions is recorded, with the Medagliere of the of Milan, and various other public and private collections.63 They are plaques worked only on one side, with a thick frame of dark wood, a press, between 1822 and 1830 in made without using to the division of an at undestroyed warehouse regards which the troops had arrived almost simultaneously. Eug?ne took the side of the French, and a violent quarrel Cremona who and Giacinto Zambruni, by Beltrami was the smelter. Beltrami is not perhaps unique inmaking both medals and engravings; other famous artists practiced General Pino listed his faults, rebuking him for the preference he showed to the French and for the sufferings of the Italians who were not recompensed. Eug?ne accused Pino as Benedetto Pistrucci,64 Giuseppe techniques, such and Nicola Cerbara,65 and Giuseppe Girometti.66 He also on his or cameos, a produced plaquettes based intaglios to has be studied.67 that just recently begun production The Museo Civico Ala Ponzo?e in Cremona has a hinged cast matrix Tent of Darius of Beltrami's and a metal made from it, referred to in the museum inventory of Ala Ponzo?e Civico Civiche Raccolte of Cremona, Numismatiche both as "galvanoplastie."68 Some of Beltrami's written evidence survive. An of his art does of 16 April unpublished manuscript A Turina Arti esimio entitled Bartolomeo della Belle 1834, amatore eproteggitore questipochi cenni in segno di gratitudine booklet offre Vlncisore Beltrami,63 gives the nine works made for Turina in theMuseo Civico Ala Ponzo?e an of analytic description are now of which (some of Cremona), examining their iconographical and literary sources and mentioning the difficulties he faced in making them (thus implicitly highlighting his own skill). Given that the two the portrait of intaglios with are almost in all identical, totally probability he them at the same time. The inscription commemo Beauharnais made battle enables us to anchor rating Beauharnais's victorious the intaglio to this historical moment. The fact that the so precise fits into the pattern, already inscription is above, of many of Beltrami's casts. Thus, we can a assign precise date to his works. The intaglio Beauharnais's portrait and inscription can be dated noted soldiers from Rovani70 writes to the that the Italian the Russian to create a distinctly insubordination. and General another Pino Pino, argument tried but the viceroy would commission, their enmity continued.72 with giving the rise to prince, to resign his military not let him, although The upheaval after the Russian campaign and perhaps also the period of discontent among the Italians limits the the second intaglio can be dated. It should be pointed out that the battle ofMalo-Jaroslavets is indeed one of the most illustrious in the viceroy's career, but it is also remembered as a glory of the Italian army. time frame within which The question remains open as towhich intaglio Beltrami first. There are a couple of plausible hypotheses. Beltrami could first have made the intaglio with the letters made E and N and his signature and then the other specifying the battle, perhaps when Eug?ne was still in Russia and the news of the victory had reached home. On the other hand, this victory could have been the occasion for an "official" and then he could have made a replica later. commission, are In either case, the two portraits particularly are documented interesting. Very few of Beltrami's portraits are can there few works that be dated with and casts, by certainty during the period when Beauharnais was viceroy. As to the presence of the casts of one of the two portraits of Beauharnais on the Lombard "market" (and its already mentioned absence on the Roman market), it should that casts made from Beltrami's works were in Lombardy possessed and various people circulation, entire collections of them. Another question?still to the Italian soldiers by Eug?ne when they were in competition with the French, the malice with which he prevented General Pinos Italian division from distinguishing and the other controversies with Pino. themselves, set out him In be noted done Rovani rancor.71 often returning campaign changed their favorable opinion of the viceroy, earlier praised for his sacrifices, constancy, and the fact that he remained alone to protect the retreat, into hatred. Rovani details injustices Although serious with after the battle (the viceroy returned to period immediately Milan on 18May 1813). In his novel, Giuseppe broke out between negative in why only the cast of the second intaglio on the market. appeared Finally, it is quite probable that the second intaglio was lost. Beauharnais's possessions were widely dispersed: are in the Swedish many royal collections (through the some are in Bavaria; others, marriage of the eldest daughter); unanswered?is in the possession of his Austrian descendants; still others have gone from auction to auction; and the Malmaison has received or purchased some pieces. At any rate, this intaglio is not present in the extensive museum of the Staatliche M?nzsammlung glyptic inMunich.73 51 Berini, agate carneo with portraits of Viceroy Eug?ne Fig. 4. Antonio Mus?e shell snuffbox. Malmaison, national du ch?teau, MM.40.47.6118. THE CAMEO BY ANTONIO a cameo on a five-layered agate, with Eug?ne de Beauharnais and his wife, profile portraits of signed by Antonio Berini and set in a gold border of three-lobed leaves. The snuffbox's hallmark is a rabbit head. It is French and dates to 1819 or later; the cameo is dated to 1811-12. Besides the obvious similarity due to its subject, there cameo and Beltrami s are close intaglio. analogies between the Beauharnais looks to the right, has the same hairstyle, long and wears his officers uniform sideburns, and mustache, with the insignia of the Iron Crown. The bust is cut off at the same point, showing his shoulder and a large part of his chest. Augusta Amelia is largely hidden by her husband, but her lovely profile is visible, as are her hair, on which an large diadem, and her low-cut dress revealing her bosom. of ample portion Antonio Berini (Rome, 1770-Milan?, 1861)75stands out as the other great engraver, in Beltrami, working alongside rests a this period. A between student of Giovanni 1802 and Pichler, 180476 and moved Berini left to Milan, where he spent his long and very active career. His subjects are taken from the rich repertory of motifs used by the engravers of his time, well known and appreciated art world, by the public. Perfecdy placed in the Milanese as one of the most he was famous, respected, and praised illustrious and famous artists, as his contemporaries 52 Amelia, set in the center of the lid of a tortoise BERINI A nother portrait of Eug?ne appears on a rectangular snuffbox -/"Vof black tortoiseshell, now in the Mus?e national du center of its lid is Ch?teau de Malmaison (fig. 4).74 In the Rome and Augusta de Beauharnais testify. that Berini and Sacchi reports enthusiastically the greatest engravers, capable of making cameos as few ancients and none of the moderns were;77 only praising Beltrami's works, mentions Meneghelli, Pistrucci and Berini among the famous engravers;78 and Defendente Beltrami were is labeled "gem of the engravers of gems" in the his portrait by Giuseppe engraved lithograph with in 1846.79 Characteristics Cornienti of Berini s intaglios Berini in the written texts and documented and cameos?praised we can examine the today (and also in part by the by pieces one at Malmaison)?are their large size; flowing lines; to detail and to the attention often modeling, high quality; in quite high relief; and the skillful use of the layers of stone to create color effects. In theMedagliere of the Civiche Raccolte Numismatiche are casts of cameos and intaglios eight plaster seven represent a classic from Berinis Milanese period; of Milan gallery of Illustrious Men (the frequent theme of engravers),80 while the eighth is a cast made from an intaglio with a now in the I (1796-1855), portrait of Tsar Nicholas in in the the Cades collection Moreover, Hermitage.81 there are nineteen impressions from works by Medagliere, than the eight in the Cades Berini, significandy more in in the Istituto Archeologico Germ?nico collection from There is, however, no impression made Berini s cameo with the portraits of Beauharnais and his Rome. wife in the Cades two collections collection inMilan. in Rome or in either of the Aside from this cameo, we have no other information detailing the relationship between Berini and Beauharnais. Generally speaking, it is difficult to reconstruct Berinis even sources career, emphasize his prolific and though well-received production. It is known that Berini worked for the imperial family; a cameo portrait of Napoleon, which was probably a gift inMilan as king of Italy, is the subject for his coronation of an interesting anecdote that establishes a definite (but not the first) date when Berini was in the city, 1805.82 one Two cameos survive with a portrait of Napoleon, in the British Museum,83 and the other in the Cabinet et Antiques M?dailles of the Biblioth?que Nationale des in very beautiful cameo with the portrait of Jos?phine is in Vienna at the Kunsthistorisches Paris.84 Another Empress Museum.85 Count Giovanni Batdsta Sommariva also engaged to create an idealized portrait of him: a cameo now on in in the the Civiche Raccolte d'Arte Applicata, display Berini Sforzesco inMilan.86 A shell cameo, commissioned Sommariva and reproducing a self-portrait by Thorvaldsen, by which was in the counts possession around 1818,87 has Castello since been lost. information on the artist available today comes to Sommariva's gem from Berini s substantial contribution The the group of intaglios and cameos for the count has virtually disappeared and is not documented even by the Cades, Paoletti, and Liberotti collections of casts.Nonetheless, on the basis of the information we do have, we can state that an important category of Berinis activity consists of portraits and heads of sacred or collection.88 Unfortunately, Berini made pagan figures as well as of historical personages.89 The cameo of Beauharnais and his wife, too, confirms Berini s fame as a portraitist, as well as the fact that he had prestigious proposed evidence patrons inMilan. A date of 1811-12 has been for the cameo.90 This date can be accepted on the of Eugenes mustache, which he shaved off in 1806 and grew back in around 1811-12.91 Portrait of Viceroy Fig. 5. Jean Urbain Guerin, Eug?ne de Beauharnais, Mus?e national du 1804-5 medallion, (?). Malmaison, oil-painted ch?teau. From: Eug?ne de Beauharnais honneur etfid?lit?, Mus?e national et Bois Pr?au, des Ch?teaux 14 September de Malmaison 1999-3 2000, January Malmaison et honneur et Bois Pr?au, de Beauharnais, From: Eugene des Ch?teaux Mus?e national fid?lit?, 14 September 1999-3 January 2000,74, Fig. 7. Franz Xaver L?sch, Portrait of Viceroy Eug?ne ca. 1824. Malmaison, Mus?e du national bronze, de Beauharnais Eug?ne de Malmaison r 74, fig. 44. Portrait of Viceroy Fig. 6. Joseph Chinard, Eug?ne terracotta. Malmaison, Mus?e national du ch?teau. Beauharnais 4- et Bois honneur Pr?au, et fid?lit?, Mus?e 14 September fig. 45. de Beauharnais, ch?teau. national 1999-3 de de From: des Ch?teaux January 2000, 133-34, fig. 141b. 53 ENGRAVED On GEMSTONE DE EUGENE PORTRAITS OF BEAUHARNAIS information, no portraits of on hardstones are known, Beauharnais engraved other than the ones examined here.92 It should be noted, the basis of current however, that, in general, a study of gemstone portraits several difficulties.93 The majority of these pieces presents are in private hands, and very few have been published. In addition, portraits are often not included in the best-known collection of casts, the Cades collection. Finally, famous like Giovanni and Nathalien (1734-91) not the did include (1739-1816) portraits they in the definitive series of their made of contemporaries works published as impressions for sale.94And yet, portraits engravers Marchant Pichler are an important category, as is obvious, of the commissions received by engravers.95 two The of Beauharnais portraits by engraved Beltrami and the one made by Berini give us an image of the viceroy in his public, "official," authoritative role?an image that is, without doubt, somewhat cold and impersonal. Both engravers might have captured Beauharnaiss from actual sittings. Berini lived inMilan. Although is no information about Beltrami smovements, image there as already the viceroy often traveled throughout the kingdom. is evidence of visits also to Cremona, for example, in June 1808, when he received local authorities and noted, There of the troops.96 One included a sitting with Beltrami. reviewed these visits might have Alternatively, considering the somewhat standardized of the have viceroy, both engravers might depiction such as worked directly from or been inspired by models medals, prints, drawings, or busts.97 As for Beltrami, the remains question open as to whether, when reproducing Sommarivas paintings, he copied directly from the have traveled to the count s collections) therefore, (and, originals or used, as seems more likely, already existing miniatures Count of them.98 an analysis of the attempting here iconography some to it is of Beauharnaiss portraits,97 important give indications of the context into which the glyptic portraits Without as already being examined here take their place. First, noted, Eug?ne was eulogized and his likeness painted and most famous artists sculpted by the during his lifetime; or full-length, in official As a rule, they confirm his fame as a handsome man. Giambattista Gigola, for example, thus, portraits of him?busts numerous. military dress?are or portraits at the viceroyal court, who seem to have been a passive conformist to the a painter of miniature does not left us various portraiture, and their children.100 Eug?ne, Augusta Amelia, rules of academic 54 images of among the high-quality portraits of Eug?ne, Noteworthy to and similar the glyptic portraits in the characteristic of the the hair combed forward, and long nose, profile is the sideburns, well-known, splendid drawing signed by Andrea Appiani, now of the Museo Correr e Disegni Stampe in Venice.101 Refined, elegant, and close to court portraiture, it is nonetheless imbued with a in the Gabinetto subtle hint of poetry. vast production, which varies gready in artistic Among the is often and quality stereotypical and conventional because models, there are some works note for to the gems examined here. worthy of being closest One example is an oil-painted medallion by Jean-Urbain derived from well-established a profile portrait of a of Eug?ne wearing brigadier general of the and the of the Legion of Honor102 imperial guard insignia terracotta A medallion of by Joseph Chinard, (fig. 5). which other specimens exist103 (fig. 6), is so similar that it seems to be a copy. Another example is a print showing with his face turned in three-quarters Eug?ne frontally, Guerin, datable to 1804-5, the uniform with different from our gemstone portraits profile.104 Although in its presentation of the bust, cut off right below the neck, a bronze medal by Franz Xaver L?sch, dated to the time of the princes death105 (fig. 7), is identical in the line of the profile, the nose, slighdy drooping mustache, long side burns, and long locks of hair combed over the forehead. based on encrusted in glass?are sulphides?cameos this medal; one in a botde, possibly by Baccarat, and the other, a plaquette by Baccarat.106A crystal cameo in every way Two similar to the preceding one decorates a wallet given by to his sister Hortense, dated in the early 1820s.107 Eug?ne out It should be pointed that when the Napoleonic epic became legend, taking on a popular and almost religious aura, was absorbed into it. Thus, before and Eug?ne especially after his death, pictures, statues, prints, medals, engravings, plates, boxes, clocks, etc., portrayed him and the major events of his life: the Terror, the battles of Raab and the the retreat, the last Italian campaign, his residence Moskva, in Munich, and also, of course, Malo-Jaroslavets. These are as most to works for the date, part difficult they are often examples of popular art accompanying have little to do with the actual facts.108 texts that In his posthumous portraits, Eug?ne ismost frequendy in a full, romantic-looking shown in uniform, wrapped to his In like cloak, Napoleon. general, his figure is limited head and shoulders, and rarely does he appear with other characters or symbolic objects. If shown full-length, he is often depicted in combat, with his hand on his saber or rifle; if on horseback, he is usually in the position of a general at the head of his troops. Two themes are frequent: the viceroy decorating his soldiers, perhaps derived from images of and his traits of humanity. Napoleon, Fig. with the image of Viceroy gilt paper, and glass box Mus?e national du ch?teau. From: de Beauharnais. Malmaison, 8. Cardboard, Eug?ne de honneur etfid?lit?, Mus?e national des Ch?teaux Eug?ne de Beauharnais et Bois Pr?au, 14 142a. Malmaison 1999-3 2000,134, January fig. September WITH SNUFFBOXES DE EUG?NE CONTEXT In THE BEAUHARNAIS OF SNUFFBOX PORTRAIT IN THE OF BROADER PORTRAITS order to place the two snuffboxes with the portrait of the a at the viceroy into context, we must look for moment of snuffboxes bearing portraits, noting only phenomenon some essential aspects that are useful to the work at hand.109 In society during the eighteenth century, known as "le si?clede la tabati?re' (century of the snuffbox), the custom of inhaling tobacco was wildly popular. The practice slowly declined during the course of the nineteenth century, more or less after 1830. Thus, in the eighteenth century, snuffboxes were widespread every level of throughout European an fashion society, becoming indispensable owners. and mark of the social status of their accessory Snuffboxes were made in awide range of materials, shapes, and sizes, and were decorated with a boundless variety of an essential subjects. Their extensive circulation made them of messages, both public and therefore, recorded, communicated, Snuffboxes, private. events. Snuffboxes became of and disseminated images fashionable gifts as a sign of friendship, admiration, esteem, and gratitude, and also away of handing out favors. vehicle for the transmission French word bo?te (box) meant a snuffbox, a or sweet box, or any of numerous types of cases and candy containers. The boundaries between the two categories of in the box and snuffbox became so blurred that, while The Fig. 9. Cardboard, paper, de Beauharnais. Eug?ne and Malmaison, the image of Viceroy glass box with Mus?e national du ch?teau. From: de honneur etfid?lit?, Mus?e national des Ch?teaux Eug?ne de Beauharnais et Bois Pr?au, 14 142b. Malmaison 1999^3 2000,134, January September fig. terms "portrait box" and early eighteenth century the "gold box" or "snuffbox" were used precisely to indicate different interchangeable. objects, by 1770, they had become the reign of Louis XIV, the bo?te-?-portrait and the or in miniature tabati?re-?-portrait with portraits painted on gemstones set into the inside or outside of the engraved During box or on both surfaces became widespread.110 Snuffboxes could hold the portrait of one person (as in the case of Beltramis or several members of the same family (as with intaglio) cameo), usually images of royalty or nobility. Given their honorific nature, they were made of precious materials, the number and size of which usually gold and diamonds, varied according to the importance of the piece. The height Berinis of the portrait boxes was adapted to that of snuffboxes so that the same object could be used for both purposes. own Sovereigns would distribute snuffboxes with their as royal gifts. portraits to the diplomats of various nations in all the The practice became customary European courts, to the point that the term "diplomatic snuffboxes" was Snuffboxes were coined. sometimes foreign ambassadors to the cost of a diplomatic equivalent that official snuffboxes were legal tender, and receive a sum would considered an snuffbox. essential It is known element of out boxes life; he lavishly handed diplomatic Napoleons encircled by diamonds. with his portrait or monogram Tsar Alexander I (1801-25), who was very close to Eug?ne, both in his custom of immortalizing emulated Napoleon 55 important example, shown in figures 8-11, is of cardboard and gold paper, decorated with the bust of the prince.116 To sum up, snuffboxes with portraits are numerous, a range of ways of and framing the composing revealing Another the box made In this sense, the two snuffboxes with Eugenes norm. In terms of the portraits do not diverge from the type of frame and structure, however, I have not found precise comparisons for the snuffbox in Baltimore. There portraits. are a great number of snuffboxes that are much elaborate and richly decorated in comparison with more that at the whose aspect is simple and sober. Among one in struc to overall closest this and/or specimens shape ture is the painted and enameled oval medallion with the theWalters, de Daillon du Lude, duchess of mounted on the lid Petitot, Roquelaure, probably by of a round Parisian snuffbox made of black tortoiseshell; bust of Charlotte-Marie made Fig. gilt paper, and glass box with the image of Viceroy Mus?e national du ch?teau. From: de Beauharnais. Malmaison, 10. Cardboard, Eug?ne honneur Eug?ne de Beauharnais et Bois Pr?au, de Malmaison et fid?lit?, Mus?e 14 September national 1999-3 des Ch?teaux January 2000, fig. 142c. 134-35, his image, above all in miniature portraits, often showing him as a young man inmilitary uniform, set in the center surrounded by a frame of of a snuffbox lid frequently or a laurel wreath, in and in his lavishness diamonds as giving these boxes gifts.111 custom The of giving bo?tes-?-portrait the upper among aristocracy.112 widespread is little information There about Beauharnaiss was also attitude of snuffboxes, but it is sufficient towards the phenomenon for maintaining that the viceroy was well aware of the value of snuffboxes as means for granting royal favors and a objects in wide circulation that could play significant role in the spread of iconographies. Eug?ne did have Gigola make numerous copies in ivory of his portrait painted by on snuffboxes to Appiani, which he then had mounted as was so pleased give to his friends and supporters. The viceroy that he immediately with the portrait made by Gigola a one to be made, not by copying commissioned full-length met with painting, but from life. The portrait in of his that wife, for favor, and, everyone's particular, itwas destined.113 whom Appianis Satisfied with Leonardo da Vinci, copy of The Last Supper by and the artist s activity in general, the Bossis viceroy and his wife rewarded him with beautiful and valuable boxes and snuffboxes.114 Moreover, Eug?ne would repay the works sent to him by sending in turn a valuable gift, usually with 56 precious a gold snuffbox with stones.115 his portrait, decorated is an embossed gold rectangle with framing the medallion cut corners, decorated with flowers and leaves and edged with a thin line of blue enamel.117 Another portrait by appears on the lid of a round Parisian snuffbox of lacquered gold with a tortoiseshell border, a miniature of Madame de S?vign?, whose initials appear on the bottom of the box (1765-66).118 Another Parisian piece Petitot made is a beautiful (ca. by Gabriel-Raoul Morel in 1809-13), rectangular shape and made of gold, with a thin enamel frame around a female vegetal scrolls and snuffbox made in their simplicity profile engraved in agate.119Analogous are an oval ivory snuffbox with a miniature portrait of an unidentified Paris and a from sitter, (1775-81),120 one of a IV gold with miniature of King George rectangular (1821), bearing the hallmark C. J. B. and made in London in 1817.121 As to the snuffbox with Berini s cameo, there, too, not similar been found. Among precise comparisons have some made of tortoiseshell boxes, it isworth mentioning and gold.122 The manufacture of snuffboxes is closely bound to the cameos and intaglios, whether glyptic arts; frequently, ancient or modern and sometimes signed, were mounted on the lids of snuffboxes. And, too, sometimes "pastes" reproducing works by famous engravers like Giovanni Pichler123 were used instead of real stones. just a few examples (especially among the of this there is the period), pieces signed by engravers I by famous cameo of the triumph of Tsar Alexander To cite lid of a gold snuffbox embossed with floral arabesques and edged in enamel.124 is A cameo by Nicola Morelli with a bust of Minerva Benedetto mounted made Pistrucci on the on the lid of an oval snuffbox with by Johann Christin that Gaspare Capparoni gold inlay of Dresden.125 A piece from a drawing, a portrait Neuber made of Marshal decorate also be Berthier, ordered by his brother the general, to a snuffbox intended as a should gift for Napoleon noted.126 The British Museum two type: Diskourides, has various intaglios, bearing from the famous the snuffboxes false collection of this of signature of Stanislas Poniatowski, with a group of divinities on the lid and Hercules and Atlas on the base of an oval gold snuffbox;127 an cameo with a combat scene, set in a unsigned gold on frame the lid of a rectangular box of tortoiseshell and gold (first quarter of the nineteenth century)128 and another cameo with a nanny-goat in an embossed gold unsigned on an the with lid of an octagonal frame enamel border, tortoiseshell and gold box by Adrien-Jean Maximilien of 1789.129 Similarities with theWalters' Vachette, piece cameo with the bust of can be seen in an unsigned shell the Great, dated to the early nineteenth century, set in a a rectangular plaquette of embossed gold with Alexander scroll motif, on a French snuffbox of tortoiseshell and silver gilt, bearing Mathias Rogers hallmark (ca. 1809-38).13<) As a rule, a snuffbox could be made by one or several such as the goldsmith, the miniaturist, the ceramicist, etc. Although workshops grew up throughout new models, Europe, working independently and creating was contact and frequent and intense, exchange among them and the various influences intermingled. But France, and Paris in particular, played a central, dominant role. Unrivalled for technical excellence, the French production was so in such demand that the French taste greatly admired and craftsmen, decisively guided the other European craftsmen. And both the snuffboxes being examined here are French. As to the materials used in the two snuffboxes? horn and tortoiseshell?boxes made of horn and ivory are as early as 1636, in a text entitled mentioned "La Tabaccheide."131 Its author, Francesco Zucchi, considered horn to be the most desirable material for snuffboxes. The early and lasting popularity of horn, tortoiseshell, and ivory is certainly due in part to their availability and low cost. Horn could be obtained from local butchers. The major characteristic common to all three materials is their malleability. They could easily be shaped, adapted to amatrix, and pressed, making them ideal for impressioned decorations. to Therefore, experimentation: they lent themselves well tortoiseshell was the material used to try out engine turning, or decoration, for the first time, around machine-engraved 1750 in Paris and London. For easier working, horn and tortoiseshell could be softened more rapidly by immersing them in boiling water to which a few drops of olive oil were 11. Cardboard, the image of Viceroy gilt paper, and glass box with de Beauharnais. Malmaison, Mus?e national du ch?teau. From: honneur Eug?ne de Beauharnais et Bois Pr?au, de Malmaison 135, fig. national 1999-3 des Ch?teaux January 2000, I42d. small holes or hollows. Boxes made tortoiseshell were produced into the nineteenth well scenes et fid?lit?, Mus?e 14 September and floral and of pressed horn and in England and on the continent century. Genre geometric motifs and hunting In abound. was limited almost exclusively England, the horn industry to London, where presumably all of these boxes were made. Tortoiseshell and ivory were widely used in the and centuries, also as frames early nineteenth eighteenth or other miniatures for portraits (horn was rarely used in In France, during the Revolution and in the after the the of it, years immediately goldsmiths' disbanding of taste made gold guild and the general democratization this manner). boxes and tortoiseshell usually boxes became round, with inappropriate, These are popular. Wooden boxes became unattached lids. from the judging known examples, only after the Revolution, and the fashion lasted until shortly after the Restoration, with portraits common, events.132 subjects often alluding to contemporary It should be emphasized that, as a rule, boxes made of horn, tortoiseshell, ivory, and wood were not signed; it is the characteristics of difficult, therefore, to distinguish and any specific manufacture as there was a style common all of Europe until about 1740. It has already been noted that theWalters' to snuffbox bears Parisian added. Tortoiseshell Fig. Eug?ne was i.e., with technique, the most part gold, decorated usually using the piqu? thin sheets of other materials, for silver, and mother-of-pearl, set into trademarks of the years 1819-38, and that at Malmaison dates to 1819 or later. In both cases, therefore, the stone was inserted into a the hallmark of the snuffbox snuffbox made during a laterperiod.133On the basis of current 57 information, and in the absence of a direct comparison, it is not to date possible at the moment precisely the two snuff boxes. They fit perfectly, however, into the overall picture of snuffbox production in the early nineteenth century. taste was for round, oval, and rectangular shapes, simplified, regular oudines, and classical decorations. Portrait snuffboxes from the period 1810-15 are often with rounded the lids are embossed sides; oblong We know that neoclassical a leaf motif, with and decorations feature engine-turned motifs. From 1815 to 1825, snuffboxes of gold-edged geometric a with lid decorated with an embossed tortoiseshell, gold a central medallion portrait, are common.134 plaquette with If one or both of the snuffboxes with Eug?ne Beauharnaiss after his death, they portrait were made should be linked to the group of works that testify to the favorable opinion of the viceroy that prevailed between the fall of the empire and the return of Napoleons body to in 1840. France No matter what their specific date may be, what these do is that there is still exquisite pieces clearly demonstrate much research to be done on the arts of this diverse glyptic and rich artistic and cultural period. 2. On the gems left by rest of his collection, Henry Walters, along with the to the in some of Baltimore and the of famous pieces 1931, city passage to the from the later collections, Bessborough put up for Marlborough see D. K. Hill, sale, some of which were purchased "The by Walters, Classical Collection and itsGrowth," Apollo, 153 (1974), 352-59; D. K. Hill, "From Venuti D. 100-3; (1975), to Walters," and Winckelmann "Henry Walters Scarisbrick, 162 Apollo, the Marlborough and Gems," The Journal of theWaltersArt Gallery, 39 (1981), 49-58; G. "Der Platz-Horster, The Journal Museum," 3. A first mention des Gnaios Granat in der Walters Art '?lgiesser the Art Walters 11-21. of Gallery, 51 (1993), of the Milanese "Le collezioni Gualdoni, note di Milano: il per of casts collection e cammei di caichi di gemme catalogo," di Studi Rassegna Archeologico e del C?vico GabinettoNumism?tico di Milano, 37-38 (1986), 87-93. has now been A portion of the casts of the works Pichler by Giovanni "La collezione di impronte di in G. Tassinari, published intagli e cammei di Giovanni Pichler nel Medagliere delle Civiche Raccolte Numismatiche C?vico Museo 67-68 di Milano: i ritratti," Rassegna e del C?vico Gabinetto Numism?tico Archeologico di Studi 4. For information of the Cades Gualdoni, e cammei the purchase concerning "Le collezioni di caichi di gemme 88 n. 6,92. Milano," of his OnTommaso see Z. Giunta casts, Cades Di collection, di Medagliere and the enterprise in Dizionario Biogr?fico (1772-1840) Roccagiovine, degli Italiani, 16 (Rome, 1973), 72, with bibliography. NOTES 6. to express my to theWalters Art Museum deepest appreciation to me to accepting my proposal study the snuffbox and authorizing it. For all the information the snuffbox, I am publish concerning indebted toWilliam R. Johnston Director and Senior Curator (Associate I wish for of and to Art). For authorization EighteenthNineteenth-Century publish the cast by Giovanni Beltrami, now in the in fervent Milan, my Medagliere thanks go to Ermanno A. Arslan of the Civiche Raccolte (Director et Bois Pr?au, Versailles, for other portraits Special thanks presendy information of Eug?ne to Rodolfo of concerning de Beauharnais Martini, I thank of Milan). Conservator J?r?mie des Ch?teaux the Mus?e the absence made Conservator Benoit, de Ch?teaux at Malmaison of the Staatliche M?nzsammlung 1. Snuffbox thanks to my for the indication friend Aldo Merlassino. measurements: 2 3/i6 in. (5.5 cm.), blue enamel diameter 15/i6 x 13/i6 in. (3.3 x 3 cm.). measurements: 13/i6x H/i6 in. Intaglio able to examine I (2.1 x 1.7 cm.). As Iwas not personally the snuffbox, am indebted toWilliam R. Johnston, Associate Director and Curator of Eighteenthand Art, for all the information Nineteenth-Century it. concerning border 58 of casts of Beltramis group essentially example, Giambattista di unpublished. in F.Mazzocca, di works in the Cremona gemme cammei it is del museum some of them have in print, appeared e troubadour neue miniature Neoclassico ed., Only exhibition Gigola, e caichi cm.); 88 n. 6, 92. catalogue, Milan, Museo Poldi is for di Pezzoli (25October 1978-14 January 1979) (Florence, 1978), 58-59, fig. 17, "An 84, fig. 43; G. Tassinari, Beltrami and Some Intaglio by Giovanni on the Connection Considerations between and Gems in Plaquettes and D. is not inMunich, in the intaglio by Beltrami, which museums to Fabrizio Slavazzi collection. Heartfelt thanks large glyptic of the section of the Department at the of Antiquities archaeology of Milan for this as and University manuscript reading offering, always, valuable suggestions. thanks also to Susan Scott for the translation Many Finally, 7. The collezioni di Milano," of the second of the article. "Le Gualdoni, Medagliere Eighteenth Century-Early toNeo-classicism: Essays Dedicated and Berini. by Beltrami of the Civiche Raccolte inMunich by 1 Vs x width 7/s in. (2.8 x 2.3 length on which band iswritten "n. 19." gold de in Milan, for his ready in and generosity willingness me time, information, and advice. I am toMarina Volont?, giving grateful of the Conservator collections of the Museo Civico Ala archeological Ponzo?e in Cremona, for her kind and active collaboration during my collection of casts. I thank analyses of the museums Ingrid Szeiklies about a the Late de Malmaison Numismatiche Weber see del 5. Cast measurements: national del diMilano, (2001), 87-136. surrounded e Numismatiche Archeologiche Conservator of the Mus?e formerly in M. appears del Medagliere del C?vico Museo BAR Plantzos, 8. For an exhaustive connected with Nineteenth to Gertrud International treatment of see Derni?re him, Century," Seidmann, Series, 793 (1999), in Classicism eds. M. 203, Henig figs. 3, 6. de Beauharnais and the people de l'Arm?e campagne franco-italienne 1813 et 1814, par le chevalier S. J. Eug?ne sous les ordres dEug?ne Beauharnais t?moin oculaire (Paris, 1817); M?moires sur la cour du Prince et Eug?ne sur le d'Italie la domination de Napol?on Royaume pendant Bonaparte par un attach? a la cour du Vice-Roi d'Italie (Paris, 1824); G. fran?ais Galler?a militare. Vite dei marescialli, Lombroso, generali ed ammiragli e Francesi, Italiani, Polacchi, Tedeschi, Russi, Prussiani Spagnoli che hanno comandatoin capogli esercitie lefloue dal 1794 al 1815 (Milan, 1841), 507-34; Storia 253-73; (Milan, C. Cantu, e descrizione Grande di Milano Illustrazione e Pav?a del Lombardo e low contorni V?neto, vol. 1. (Milan, 1858), del Regno d'Italia, I-IX IIprincipe Eugenio. Memorie F. Cusani, a nostri Storia di Milano dall'origine giorni, C. Cantu, 1865); V-VI, VII, 1-277 (Milan, 1867; 1873); Arthur-L?vy,Napol?on et de Beauharnais de (Paris, 1926); M. Vox, Correspondance Six centslettres detravail(1806-1810)'(Paris, Napol?on. 1948), 113-14, no. 181, 218, no. 294, 325, no. 500 and passim; M. Roberti, Milano di uno stato moderno 1796?1814,1 capitale napole?nica. Laformazione Eug?ne (Milan, 1946-47), 164-65 and passim, II, passim; ?. Franceschini, in Dictionnaire "Milano E. Rota, 5 (Paris, 1951), 1090-93; Fran?aise, in Storia di Milano, XII (Milan, 1959), 2-350 de Biographie napole?nica," O. Aubry, 1961), (especially 204-350); (Montrouge, Napol?on A. Dictionnaire de l'Empereur Palluel, (Cond?-sur-Escaut, and passim; F. De Bernardy, Eug?ne de Beauharnais 435-40 1973); C. Capra, (Turin, 1978), di Beauharnais in Italia 1796?1815 napole?nica E. Il vicer? Eugenio and 167-68 160, Tessadri, passim; R. Bl?mus, (Milan, 1982); Eug?ne de Beauharnais Antichi Stati.Regno It?lico (1805-1814) et Bois-Pr?au, de Malmaison in (Rome, It?lico," national des Ch?teaux 14 September 1999-3 January 2000; ex. cat., Mus?e 11 Fesch, Ajaccio, A. Pillepich,Milan capitale April-30 September2001,21-29,125,135; 1800-1814 napol?onienne E. Colle, Milano neoclassica F. Mazzocca, (Paris, 2001); A. Morandotti, (Milan, 2001); C. Capra, F. Delia Peruta, F. e la ex. cat., Italiana (1802-1805), Napoleone Repubblica 11 November di via Besana-Milan, 2002-28 February 2003; Mazzocca, Rotonda G. Tassinari, per Pi? et l'Italie, Les Bonaparte Napoleon, "Il progetto di una l'istituzione dell'incisore Battista Dorelli Scuola (1806)," di gemme Giovanni di cammei d'incisione Studi 12 (2002), For ease of with further bibliography. forthcoming, I have referred to these texts without inserting exposition, throughout, notes. specific It should finally be mentioned, of course, that Eug?ne de Beauharnais Monzesi, in the vast bibliography appears 9. See most on and his historical Napoleon Le memorie di Giuseppe Bossi, 20-23. 20. Nicodemi, Le memorie di Giuseppe Bossi, et fid?lit?, honneur 145-46. of the extraordinary artistic and cultural climate of in this Milan reference to the glyptic arts, as the period, with particular for the project (a Roman background prepared by the engraver Dorelli to Milan) for the establishment of a cameo transplanted engraving to the see Tassinari, "II progetto school and addressed himself, viceroy Battista Dorelli," with dell'incisore di gemme Giovanni bibliography. e in Arte for example, his numerous movements in A. Comandini, illustrata, 12. U. I (Milan, 1900-1). Le Grazie, Fose?lo, first version was enlarged second hymn, by the insertion 11. 233-312. Note of lines on Eugene's that the valor. 14. On prin?pe Cusani, the episode, see Lombroso, Galleria militare, 77 521-24; Cant?, on the batde); to Eugenio, VII, 73-77 (Eugene's report Napoleon nei Cento Storia di Milano, Lltalia VI, 382-84; Comandini, et I, 596; Arthur-L?vy, 196; L. Napol?on Eugene de Beauharnais, et de Histoire du Consulat La de Russie, l'Empire, Catastrophe XII (Paris, 1949), 226-30 (with a meticulous analysis of the tactics); in Russia (Milan, Rota, Milano napole?nica, 293; N. Nicolson, Napoleone Anni, Madelin, 1987), 174-78; Eug?ne de Beauharnais honneur etfid?lit?, 94-96, no. 78 (pictureby Albrecht Adam, 1815). 15. For an examination see most facturing, of Beauharnais the establishment commissions, Battista of his children recendy, Eug?ne de Beauharnais 16. For an examination see Tassinari, or and their prestigious marriages, honneur etfid?lit?, 31-33,122-25. s policy of incentives for manu of art schools, and his Milanese development "II progetto dell' incisore di gemme Giovanni Dorelli." Bossi's multifaceted activity, see S. Samek Ludovici, Biogr?ficodegli Italiani, 13 (Rome, 1971), 314-19. inDizionario bibliography). italiano dell'arte neoclassica francese," della pol?tica e altri saggi (Florence, 113; F. 1978), o il mecenate. Sommariva II "cabinet" borghese in Itinerari. di Parigi, la galler?a rom?ntica di Tremezzo," neoclassico alia Storia Contributi (Florence, dell'Arte in memoria 160-61, 1981), 173-75, di Maria 282, 292, no. II Luisa Ferrari, 18 and passim; had a Pavanello, Romanelli, eds., Antonio Canova, 254. The Magdalene vast influence on artists and was imitated and See, widely reinterpreted. for example, E Mazzocca, Francesco Hayez. cat. no. 93, 173-74, 59, 1994), ragionato Catalogo cat. no. 188. The 84, 231-32, (Milan, glyptic see G. extraordinary popularity; a Milano nei primo dure e coUezionisti Berini e Giovanni Battista Sommariva," arts also reveal an echo of the statues in pi?tre il caso di Antonio "Incisori Tassinari, Ottocento: in Continuit? della tradizione seminar, Castello Ottocento, On the frieze incise nei Settecento classica. Le gemme 26 September 1998, forthcoming. the various and e di Udine, see H. patrons, in Bertel Thorvaldsen. for other workshop made by Thorvaldsen's und seine "Thorvaldsen replicas Robeis, zu seinem Werk Untersuchungen Thorvaldsen. Skulpturen, Modelle, Gem?lde aus Thorvaldsens ed. Bozzetti, Handzeichnungen, Sammlungen, G. Bott (5.2-3.4.1977), B. "11 II, (Cologne, 63; 1977), Jornaes, patriarca Uno del bassorilievo.' in Bertel dei rilievi," sguardo al Thorvaldsen Auftraggeber," und zur Kunst Thorvaldsen seiner Zeit. Bertel scultore d??ese 1770?1844 ex. cat., Rome, S. Susinno, a Roma, Galleria B. eds. E. Di Majo, d'Arte Moderna, Nazionale 31 October 1989-28 January 1990 (Rome, 1989), 45-46; Di Majo, 156 n. 22 [B. Susinno, eds., Bertel Thorvaldsen 1770-1844, e le collezioni "Lo studio Cavaceppi J0rnaes]; C. Gasparri, O. Ghiandoni, e Storia dell'arte, Rivista dell'Istituto Nazionale Torlonia," d'Archeobgia Jornaes, 16, III series (1993), 145-47, figs. 164-70 most famous replica of the frieze (essentialbibliography). is the one made for Count for a very high price, which he ordered in 1818 for his villa of Tremezzo, it is still, in the main where reception room. The frieze, which was not finished until 1828, two years after Giovanni Battista Sommariva, as one of the most death, is always mentioned prestigious in the villa. Besides the cited above, see F.Mazzocca, bibliography o il "G. B. Sommariva F. 187-88; 150-51, borghese mecenate," Villa Carlotta F. Mazzocca, Mazzocca, 30-32; (Milan, 1983), Sommarivas works e "Thorvaldsen 24. On in Bertel lombardi," (essential Thorvaldsen bibliography). see B. Jornaes, "Thorvaldsen's Christiansborg, in Bertel Thorvaldsen. Untersuchungen cat. no. 17, 80, cat. nos. 31-33, 82, cat. no. 47; the four reliefs for 'Klassische Periode zu seinem Werk, Di Majo, cat. nos. recent i committenti 120-24 1770-1844, 1803-1819," I, 78, eds., Bertel Thorvaldsen Jornaes, Susinno, 8-9, figs. bibliography). 1770-1844,143-44, [E. Di Majo-S. Susinno] (essential For an in the analysis of the diffusion glyptic 8, 8a, 9, 9a and arts of the bas relief (correspondingtoWisdom) with themyth of Prometheus creating man, "Un bassorilievo nella 17. On 53, 58, 60, 63, 70. linguaggio "G. B. Mazzocca, The the general difficulty of transcribing "hard" Russian 13. Considering it is easy to understand why Beltrami distorts it a bit. names, (essential "Un mecenate 22. See F. Haskell, Jornaes, Lltalia nei Cento Anni del Sec?loXIX (1801-1900) giorno per giorno for Beauharnais) (replica made period. 10. For an overview 11. See, 1925), Canova Pavanello, 1976), (Milan, L'opera completa di Antonio 101, no. 87; G. Pavanello, G. Romanelli, eds., Antonio Canova (Venice, no. nos. 80-81 terracotta bozzetti), 254-55, 163-65, 1992), (clay and no. 126 di Palazzo Bianco), 125 (original, Genoa, Museo 256-57, 23. de Beauharnais recendy, Eug?ne (Busto Arsizio, 21. G. (Milan, 1997), 13-37; Eug?ne ex. cat., Mus?e et fid?lit?, honneur Bossi 19. Nicodemi, 1969), (Paris, di Giuseppe e L'et? rivoluzionaria L'honneur ? tout vent (Paris, 1993); Napoleon, (1781-1824). basso del tuo cuore. Lettere d'amore a Giuseppina, ed. L. Scaraffia al Regno "Dalla Repubblica 1994); C. Capra, Cisalpina de Beauharnais passim; Le memorie 18. G. Nicodemi, 35, 37, 80, 87-88. to whom Minerva del Thorvaldsen: dell'Ottocento glittica Romana Instituti Danici, 23 e gives intelligence, e Prometeo. Minerva la collezione (1996), 148-76, see G. Tassinari, La sua presenza Poniatowski," with Analecta further bibliography. 59 25. On this commission 'Klassische' see Jornaes, from Beauharnais, 80, 82, cat. nos. 31,2; Periode," "Thorvaldsen's 32, 2; 33, 2; 47, 2. On von of the reliefs, see K. Bott, Ein Kunstsammler purchase von Sch?nborn des 19. Jahrhunderts. Franz Erwein (1776-1840) zu Sch?nborn's Beginn relative discussions of this monument, between Thorvaldsen relations, see J. B. Hartmann, a Roma ed eretto eseguito Roma. Documenti [E. Di Majo-B. 27. "La nascita a Monaco (Rome, eds., Bertel Thorvaldsen Susinno, Jornaes-S. See the many Eugenio in their resulting di un monumento off breaking neoclassico a in Thorvaldsen di Baviera," 1770-1844, Amelia: Napoleone di Francia per le nozze e della principessa Epitalamio vicer? d'Italia nozze di SAI. il Principe Eugenio di Francia, per lefaustissime Napoleone vicer? d'Italia con S.AR laprincipessa Augusta Amalia di Baviera (Milan, Divertissement 1806). See also Dupaty, pour le jour de naissance de son le vice Roi Altesse d'Italie (Milan, Another 1807). Imperial example nei Cento Anni, Lltalia I, 375: on 19 August, appears in Comandini, two sonnets were one of in 77Corriere d?lie Dame inMilan, published in honor of which was by Urbano who had Lampredi Appiani, painted a out to her eldest the picture with Augusta Amelia pointing daughter fort of Raab, which her father had captured. 28. Thus, for example, the viceroy ordered the removal from circulation I. of a text?"Storia della campagna di S. A di Eugenio Napoleone was so as to border Francia contro l'esercito austr?aco"?that adulatory on the ridiculous. wrote ? he was totally devoted Eugenio, 29. As VI, an of this text, in a letter to Napoleon, Eug?ne to appear about him, for permit publications to the service of the emperor (Cantu, Il principe propos never that he would 32-33). see O. Aubry, Napol?on chose to draw erroneously 1961): the (Montrouge, an of Empire portrait exemplary was mediocre to be in who soul and had talent, proven Eug?ne, ungrateful and had forgotten what he owed Napoleon, who had showered him with tides and grants. XTX sec?lo nei territorio in Studi V?rese," di alcune e scatole tabacchiere di Carlo Mastorgio, ed. P. Baj a (Gavirate 247-55. [V?rese], 2002), 31. For an examination whose lombardo: in memoria of these texts, both is still in debate, authorship see Italian and foreign, de Beauharnais Eug?ne some of anni. Romanzo c?clico (Milan, 1859-64), See V cremonese Lancetti, 60 1820), e la sua "Cremona (Cremona, ?ber Biehler, 1859; reprint, Gemmenkunde in Geschichte der technischen 343; J.Meyer, ed., Allgemeines 602; L. Forrer, Biographical 1885), (Leipzig, I (London, 1902), 69; G. K. Nagler, Neues 1875), cremonese dell'incisore Neoclassico 3-6; Mazzocca, cornice "Una Giovanni Beltrami lavoro 8 (1930), Padova, e troubadour, passim; A. Gonz?lez-Palacios, su Giovanni in // Beltrami)," in Italia fira classicismi e barocco. Roma (e una neoclassica (a.1821)," and F. bis zur nota Tempio del gusto. Le Arti decorative eURegnodelle due Sicilie, I (Milan, 1984), 201, pi. XXII, figs. 368-70; R. Valeriani, "Di Giovanni Beltrami, cremonese," glittografo Antolog?a di BelleArti, 35-38 (1988-90), 23-29; K. G. Saur,AllgemeinesK?nstler Lexikon,VIII (Munich-Leipzig, 1994), 552; L. Pirzio Biroli Stefanelli, in The III (London, 1996), 687; D. Dictionary of Art, ed. J. Turner, "The Last Gems: Italian Neoclassical Gem Engravings and Their Lewis, in Impressions," Engraved Gems: Survivals and Revivals, ed. C. Malcolm in the History Studies for Advanced of Art, 54, Center Study in the Visual Arts, 1997), Papers XXXII Symposium (Washington, una L. Pirzio Biroli Stefanelli, "Avea ilM?rchese Sommariva 297-300; Brown, sua favorita idea...' Comunali "Giovanni e collezioni, Origine "Carlo Tassinari, d?lia Giuseppe seconda meta (2003, 35. Valeriani, ed. V Bollettino Beltrami," Guazzoni by Giovanni incisore Grassi, "An Intaglio Tassinari, milanese di Giovanni dei 11, n.s. L. Bandera 111-31; (1997), Gregori, in Cremona Museo C?vico Ala Ponzo?e, La Beltrami," Pinacoteca. 113-14; II. Le incisioni di Roma, del XVIII (Cremona Beltrami," in pi?tre sec?lo," 1997), G. 191-204; dure e orefice Storico Archivio forthcoming). "Di Giovanni Beltrami, glittografo cremonese," 23-26, figs. 2-5. woman two children? of a "private" portrait?a with in a Pirzio Biroli Stefanelli, private collection; intaglio Sommariva una sua favorita idea...' II," 126-27, 6. fig. 36. An example is a rock crystal "Avea ilM?rchese 37. Ibid. F. Eichler and E. Kris, Die (Vienna, 1927), 221, Kameen im Kunsthistorischen Museum no. 634. pl. 79, this topic in general, see P Zazoff and H. Zazoff, Gemmensammler Von einer noblen Passion zur und Gemmenforscher. (Munich, Wissenschaft 39. On ossia dizionario 1983); G. Seidmann, in TheDictionary ofArt, XII, 261-65; L. Pirzio storico d?lie Biograf?a e chiare epersone per titolo memorabili spettanti alla famiglie qualsivoglia II (Milan, 1820), citt? di Cremona dai tempipi? remotifino all'et? nostra, I citt? di Cremona, L. Manini, Memorie storiche della 153-56; (Cremona, III ofMedallists, T. "Glyptik," (Stuttgart, books passim. 33. Eug?ne de Beauharnais honneur etfid?lit?, 40. 34. I V?neto I (Linz, 1904), 403-4; U. Thieme allgemeines K?nstler-Lexikon, von der Antike Lexikon der Bildenden K?nstler Becker, Allgemeines III (Leipzig, "Un finissimo 1909), 278; L. Rizzoli, Gegenwart, 38. Cento 581-83; 81; H. Rollett, 1860), F. Robolotti, n.d.); del Lombardo 523, 520, 1974), K?nstler-Lexikon, Wien 14-17, cr?atrice dell'arte L'amicizia 1839); honneur etfid?lit?, 37-40. 32. G. Rovani, (Cremona, in IUustrazione Lombardo event in relation to 30. For an analysis of this internationally important a snuffbox see at St-H?l?ne, the of tomb opening Napoleon's showing e G. Tassinari, "Un aspetto del collezionismo di art! minori' del XVIII (Padua, di ed. B. Bucher, K?nste, Musei example, Second Beltrami Bellini Dictionary Augusta Sacchi (Milan, cui l'insigne glittica per leggiadri glittici capolavori professore Gio. Beltrami di Cremona fece grazioso dono a Bernardo Bellini, ad Anton e a Giovanni Enrico Mortara Germani in caro pegno d'amicizia, song by provincia," Amalia di Baviera (Bologna, 1806);G. Gherardini, Epitalamio (Milan, 1806);G. Paradisi,Epitalamio di Ercole edi Ebe (Milan, 1806); Cantata 1832 Giovanni Indicatore Beltrami," glitografo scelti articoli tolti dai piu accreditati giornali ecc. intorno alle scienze inglesi, fisiche, a?aktteratura, tre Bornato, and Eug?ne del principe nei di peri?dica Giovanni glittografo (Vienna, of Prince for the wedding D. 34-35; 1827), in Lombardia alle bellearti,April-May (1834), 247-52; A. Meneghelli, Dello insigne Bernardo Di Majo, Jornaes, cat. nos. 57-61 192-96, (Milan, "II Sacchi, tedeschi,francesi, 11-44; 1959), Susinno]. compositions G. Biamonti, Augusta with and Tenerani, inediti italiani, bozzetti, and drawings, and on the serious conflict that arose of attribution, 101; D. 1833), ossia Raccolta (Weimar, 1994), 158, no. 342 (essentialbibliography). 26. For an examination scultori ed architetti cremonesi pittori, e I'industria and G. Sacchi, Le Arti 218 n. 124; G. Grasselli, Abecedario Biogr?fico dei Biroli Stefanelli, XVIII e XIX Kunstgeschichte, see, for example, "Collezionisti sec?lo. 2 (1996), G. e incisori Alcune 183-97. Seidmann, in pi?tre considerazioni," Among "Nathalien the more Marchant, dure a Roma Zeitschrift specific nei f?r studies, Gem-Engraver 1739-1816," TheWalpole Society, 53 (1987), 1-105; L. Pirzio Biroli Antonio "Giovanni Stefanelli, Bonaparte nelle collezioni Roma, n.s. (1988), 2, romani di collezione nella docum?ntate Comunali Roma, 9, Paoletti," Patron: famiglia di Comunali G. The incisori di "An 4th of Duke in Gems: Survivals Engraved tra I'incisore di pi?tre dure Ilcarteggio Engravers," G. Tassinari, Giovanni Pichler,PadreGiuseppeDu Fey ed ilPrincipeAlbericoBarbiano di Belgiojoso collezionisti d'Est? zar Nicola dello I 66 Kunstgeschichte, 40. The (Milan, a Milano collection (2003), in pi?tre dure e "I ritratti G. Tassinari, "Incisori Tassinari, 2000); nei primo su incisi Ottocento"; e intagli cammei," Zeitschrift fur Civico Ala Ponzo?e of Cremona holds and Psyche; it is not possible to determine if they pertain to the first or second commission. " 41. Era gi? surto ilRegno d'Italia, e ilPrincipe Eugenio, dotato difinissimo del nostro gusto, avea veduto con occhio di compiacenza qualche saggio artista. Non ando guari che gli allogb una collana di sedici camei, il cui tema esser dovea la storia di Psiche. E perch? sapeva che allapiu squisita several casts of the tale of Cupid e molta perizia glittografica accoppiava moho valore nei disegnare, fecondit? cos? volle che tutto usasse dalla sua mano, e suoifossero i nella invenzione, i contorni i di Corte, pensieri, alpittore disegni. (...) [Beltrami] assoggetto il celebreAppiani; e avutane unapienissima approvazione, condussefelicemente E gi? al desiderato fine l'impresa. l'op?ra viaggiava per la contemplata e la collana ma il corriere venne destinazione; pure fu preda di aggredito, tutto aveano involato. Increbbe al Principe Eugenio quelle mani rapaci che ma a mano il Beltrami, come se avesse ricevuto nobile retribu? ilsinistro; larga i camei, e ordinb che un'altra collana dell'intutto eguale occupasse l'ingegno e le cure; e la artista. Un atto cos? generoso addoppib ilfervore e voto del medesimo in composizione squisitezza, pel ekganza su la sommamente a prima la vinse. Piacque artefice, di gran lunga quanti la videro; e il Vice-Re nefece un dono alia Principessa Amalia di Baviera dell'abile nuova e l'ebbe in conto di un lavoro .Gli prezioso Sposa, che assai l'aggrad?, una Corte procurarono nostro artista delle ordinazioni in al di applausi sua di molti oltre quelle che s'ebbe dallo stesso Principe Eugenio associa con molto ritratti, piacere quello che per l'augusta Madre, quali venne ordinato Dello (...)." Meneghelli, l'Imp?ratrice Giuseppina, gli buon dato, ai insigne glittografo 42. Lancetti, 43. ". ..iltenne Giovanni Biograf?a Beltrami, cremonese, 9-10. lungo tempo occupato quasi esclusivamente per se." Ibid., however, he does mention 47. 155. that he worked for Beauharnais. ":.. .indicassi i molti ritratti ilprincipe Vice Re, per il Re di Baviera scolpiti eseguitiper in pietra: siccome la Ma le cose fatte per Nap.ne ed altri di quel tempo: ricordanza di cose simili non sta bene cosi ci limiteremo al mi? Petrarca in il nostro Sovrano S. M. [nei 1815]." A. Maestri, acquistato da Lettere in?dite di incisori in pi?tre fine alla Campori neU'autografoteca Biblioteca Estense (Modena, 12-13. 1908), Corniola 12 November 1807, the Bavarian royal in the University of Pavia Library 7). e si porto aMilano, incisioni di suo genio [Beltrami] ".. .fatte akune amatore vedute queste cose dal Tesoriere della Corona M Hennin, grande delle arti come distinto numism?tico assai glipiacquero epromise al Beltrami come e a Sua Altezza vennero di presentarle al principe, piaciute fece, 48. e in tal circostanza acquistate in corniola incise ordinb ilproprio ritratto che il Beltrami ritratti si in rilievo ehe in cavo esegui, Corte. Amando il Principe di far eseguire una collana con buon successo: altri cose per quella sua commise al Beltrami la sedici per sposa... principessa comi?le di color giallo, dette bionde, e ne volle rappresentata in incisioni di lafavola mezzo che era il tutte le pi? grande, ilpezzo di venne mandato altrefurono di composizione del Beltrami, eper ildetto pezzo a di Giulio Romano nei Palazzo del l'incisore aMantova copiare leNozze e Psiche, Amore che tranne incisa quella serie di pi?tre, ma fu malaugurata in spedizione col mezzo della posta, dietro ordine f?tica, poich? Corte, aggresso il corriere e spogliato d'ogni cosa, la detta collana ando a ruba. Desiderando il Principe la detta opera, una seconda ne ordinb venne T?. In sei mesi messa stesso tanta della pure sullo e ne assai i dal Beltrami piacquero disegni che furono fatti in Corte: di breve anche la seconda collana tempo all'Appiani pittore quella con rubini e diamanti venne dal venne eseguita, che gioielliere Montefiori riccamente legata. II Beltrami s'impegnb in un il piccolo intaglio, che Principe desiderava di avere per un anello suo proprio e vi dovea essere la figurata soggetto lavoro che venne Tenda di Dario, ricusato da valorosi incisori del mezzo e di coloro che giorno d'Italia: detto intaglio ebbe l'approvazione di Sua Altezza hanno intelligenza dell'arte. Oltre imolteplici lavori eseguiti per quella Corte, il Beltrami fece opere diverse per la Corte di Francia eper di Baviera. quella son? le si sovviene con ...Le opere di cui il Beltrami soddisfazione, una corniola rappresentante seguenti. Fra le incisioni della nominata Corte, suo carro tirato da cavalli e seduta il sopra seguita dalle Deit? l'Europa e un corone di che le sta sopra in atto di vol?, portando maggiori, Aquila la indicata Tenda di Dario allow sopra l'Europa medesima; che per la sua essere di osservazione, essendo spiegate tutte lefigure degna e ben carattere di ciascuna D. spiegato il figura." "U Giovanni the here transcribed Beltrami"; passages glittografo on pages 249-51. a few Sacchi's article presents only slight piccolezza pub nei pi? minuti Sacchi, dettagli differences from the manuscript. 49. For an analysis of Sommariva's life and various aspects of his patronage, see Haskell, Un mecenate italiano dell'arte neoclassica 103-22; francese, F. Haskell, "More 691-95; (1972), Paragone, 273 di Studi The Burlington Magazine, 835 e Sommariva Gregori, l'Appiani," "G. B. Sommariva o il borghese 55-59; Mazzocca, Villa Carhtta, G. Lise, "Antonio Mazzocca, about M. (1972), 145-293; mecenate," Berini come io pure le opere eseguite per distinti personaggi attaccarvi che molta il mondo suole amereiper importanza quel principio e dichiarare poco o molto m?rito in quegli artisti in ragione della qualit? di chi hanno date commissioni; vokndo io dunque in questa circostanza tributare di incens? all'opinione dovrei pregarla indicare i molti lavori unafumata 45. I; on inMilan. "dallo stesso suo labbro." Manuscript (Autografi, linguistic 154-55. "...altri Beltrami; couple appear e per imitazione i cortigiani" lavori Eugenio, // Cant?, out that H. Gebhart, principe Eugenio, V, 363. It should be pointed two lines to Gemmen und Kameen 190, only devotes (Berlin, 1925), 44. nei Cento Anni, arrived edaltre forthcoming. in the Museo Lltalia dei Musei Seidmann, lavori in pi? ".. .per la quai Real Corte il Beltrami epoche diversi altri See Abecedario 35. Comandini, Grasselli, eseguiti." Biogr?fico, aveva il "Avea Stefanelli, I." Opere Bollettino 104-16; (1995), as Collector 263-79; Biroli idea...' n.s. Eighteenth-Century and the London Marlborough and Revivals, Pirzio sua favorita 46. della dei Musei Bollettino L. 55-70; Sommariva...una M?rchese ritratti Santarelli: comunali," Sommariva," "Il conte incisore di pi?tre dure e il Rassegna legato Sommariva-Seilli?re," e di Notizie, e i Thorvaldsen 13 (1986), 477-96; Mazzocca, committenti bmbardi, 113-28 (essential bibliography). in Notizia delle opere dell'incisore 50. See, among others, P. E. Visconti, in coni Cav. dure Girometti ed 12-13; (Rome, 1833), pi?tre Giuseppe o il 164 n. 80 and G. B. Sommariva Mazzocca, borghese mecenate, Pirzio Biroli Stefanelli, "Avea ilM?rchese Sommariva...una 221-22; sua favorita 51. On una idea...' Giacomo celebre I," 105-6. Pichler, famiglia di see most incisori "Lettere di recently, G. Tassinari, i Pichler," in Acme. di pi?tre dure: Annali della Facolt? di Lettere e Filosof?adell'Universit?degli Studi di Milano, forthcoming, with preceding bibliography. 61 52. For an analysis see most of Sommarivas of the vicissitudes "Incisori Tassinari, recendy, dure di pi?tre glyptic collection, e collezionisti a 68. nei primo Ottocento." Milano in the Paoletti 53. For the documentation see L. Pirzio for Sommariva, di impronte. Nota collezione Biroli of the works collection preliminare e la sua del catalogo," alia pubblicazione BollettinodeiMusei Comunali di Roma, 35-37 (1978-80), 13;L. Pirzio Biroli e Clemente incisori Pestrini "Camillo pi?tre dure in tenero," 44-49; (1988-90), Antolog?a di Belle Arti, 35-38 sua favorita Sommariva...una '"Avea ilM?rchese Stefanelli, Stefanelli, professori Pirzio Biroli I"; Pirzio idea...' in Biroli sua favorita idea...' in Giovanni Liberotti's II." For the casts from Gem Neoclassical e Il principe I am 73. o il borghese 74. 185. mecenate," 55. an For examination of Gigola's di Cremona (Ms. 352). 16, 191. VIII, Il principe Canta, Eug?ne, di Milano, 241; 287-88; Cusani, 371; VI, to Szeiklies-Weber grateful Ingrid inMunich for this indication. Inv. MM.40.47.6118. by M. Published et fid?lit?, honneur Beauharnais Comandini, Storia diMilano, of the Staatliche in Eugene Duchamp, de 107. see Mazzocca, life and work, 75. On e troubadour. Neoclassico Eugenio, Civico 371. M?nzsammlung 297-300. Engravings," book anni, Storia 82; Cusani, VII, Eugenio, nei Cento Anni, Lltalia I, 566. VI, gem collection "The Last Gems: Italian 8. fig. sur la cour du Prince 71. M?moires 191-204. Beltrami," is in the Archivio Cento 70. Rovani, 72. Cantii, una Sommariva 195, 204, by Giovanni Sommarivas see Lewis, collection, "G. B. Sommariva 54. Mazzocca, ilM?rchese "Avea Stefanelli, Ibid., 69. The manuscript made "Pietro Paoletti Stefanelli, "An Intaglio 67. Tassinari, Antonio see Biehler, Berini, ?ber 82; Rollett, Gemmenkunde, K?nstler-Lexikon,III,622 (H.Rollett); Glyptik,342-43; Meyer, Allgemeines 56. On the relationship international prestigious Neoclassico Sommariva between e troubadour, 19, 22-23, o il borghese mecenate," Sommariva 57. Pirzio Biroli and Gigola, who obtained seeMazzocca, through the count, "G. B. 238 and passim; Mazzocca, commissions "Avea ilM?rchese Stefanelli, 184-86. 151-52, una sua favorita Sommariva 1983), (Soresina, V. Guazzoni, 201-17; ed. V. Guazzoni e tra Ottocento artistici Aspetti 59. Most Another 61. 197, with Beltrami, "Giovanni glittografo Beltrami," by purchased 155. 113, fig. the Empress cremonese, Biograf?a recendy, Tassinari, "An Intaglio by Giovanni 196. Beltrami," e rari, W Apolloni recendy, Raccolta di oggetti antichi insoliti no. 40. See the praise of the critic Defendente Sacchi Dello 20). insigne glittografo Giovanni Beltrami, (Meneghelli, 63. 1993), "Di Giovanni See Valeriani, 28-29; Beltrami, A. Turricchia, R. Martini, cremonese," glittografo delle Medaglie Catalogo V. Secoli XVIII-XIX. di Milano. Raccolte Numismatiche delle Civiche 3. Stati italiani (Milan, 1999), 82-84, figs. 2005-11; Tassinari, "An (1815-1860) Giovanni 194, with more complete bibliographical Beltrami," Intaglio by on is a wax profile of Napoleon references. Particularly glass interesting a black in 1824 as the model for in Cremona made against background, a medallion. See G. Corte Europea e Sovrana. Una Luigia Donna ex. cat., Palazzo Ducale, Colorno, inMaria P. Bernini, a Parma 1815?1847, 10May-26 July 1992 (Parma, 1992), 9, no. 27. 64. On Benedetto see L. Pirzio Pistrucci, Pistrucci, Biroli Stefanelli, di Numism?tica Bollettino the Cerbaras, see S. De Caro Balbi, degli Italiani, 23 (Rome, 1979), 676-79 66. On Giuseppe Girometti, see most / modelli in cera di I?II monograph, in Dizionario Biogr?fico (essentialbibliography). recendy, L. Pirzio Biroli Stefanelli, inDizionario Biogr?ficodegli Italiani, 56 (Rome, 2001), 599-601; G. Tassinari, Tassinari, 62 in K. G. Saur, Allgemeines "I ritratti dello zar Nicola K?nstler I," with a document inMilan certainly Lexikon preceding (Munich-Leipzig); bibliography. aMilano in Rivista. and G. Sacchi, Sacchi, Pericolo bibliography. (Fondi autografi, file no. 90), signed by Berini, since 1804. See Tassinari, D. nei primo Ottocento"; further that the engraver was zar Nicola I." evidence alio studio di Pompeo Marchesi, "I ritratti dello e I'industria Le Arti d'un provinciale inMiscellanea in Lombardia nei aMilano e seconda visita di Lettere edArti (Pavia, 1830), 369. 78. Meneghelli, Dello 79. Tassinari, "Incisori Ottocento," the works 80. See 3, with fig. of Giuseppe 82. Most Milano Beltrami, 7. aMilano in pi?tre dure e collezionisti nei primo some notes on information and biographical Cornienti. "I ritratti dello zar Nicola I." in pi?tre dure e collezionisti "Incisori recently, Tassinari, 4 -10; Tassinari, "I ritratti dello nei primo Ottocento," figs. I," with preceding bibliography. 83. C. Gere Gift Work Giovanni insigne glittografo ibid., figs. 4-10. 81. Tassinari, Nicola (Rome, 1989),with complete bibliography. 65. On Petrarca," Museo I," with 76. In theArchivio di Stato di Milano 77. Respectively 1832, 102; D. references. bibliographical Tassinari, I found 62. Most (Rome, ritratti di Francesco in pi?tre dure e collezionisti "I ritratti dello zar Nicola "Incisori Giovanni 23, fig. 1; Bandera Gregori, was "Tent of Darius" 60. Most Ibid., "Di Valeriani, see Lancetti, Josephine; (Munich-Leipzig con quattro Cartoncino Saur, Allgemeines K?nstler Lexikon, DC G. Tassinari, "Antonio Berini (1770-1861). Notiziario dei Musei Civici di Pavia, 2 (2001), 187-91; Tassinari, recently, cremonese," (1916), 52-56; in K. G. G. Wiedmann, 1994), 440-41; 220-45. Novecento, 115. in Casalbuttano, "ITurina," I, 451; preziose: Antonio Berini," Emporium, XLIV, 259 477-96; 58. See A. Bellardi Cotella, Neues I, 74-75; Dictionary, Nagler, allgemeines F. Barberio, incisore di pi?tre "Un grande Biographical Incisori di gemme e cammei, 47?48; Righetti, Bulgari, Argentieri, gemmari e in Dizionario S. Meloni, 9 orafi, I, 146-47; Biogr?fico degli Italiani, incisore di pi?tre dure," 102-3; Lise, "Antonio Berini 1967), (Rome, 125-26. idea...'II," Forrer, K?nstler-Lexikon, et al., The Art of theJeweller: to the British Museum: (London, 1984), a zar a of theHull Grundy Catalogue Gems and Goldsmith's Engraved Jewellery, 132, no. 876, pi. 38. 84. Babelon, Le Cabinet desM?dailles etAntiques de la Biblioth?que et les 197, no. 937a; I, Les Antiques 1924), objets d'art(Paris, de M. Avisseau-Broustet, de la collection pierres grav?es du "Historique aux XVIIIe et XIXe cabinet de France si?cles," Zeitschrift f?r Nationale, Kunstgeschichte, 2 (1996), 226-27 (both texts are without illustrations). im Kunsthistorischen and Kris, Die Kameen 85. Eichler Museum 96. See Comandini, Wien, no. 619. pl. 78, 217, 86. Most nei primo Ottocento," fig. 87. For an examination of the cameo 1, with complete preceding and the questions the question of identifying the models for the portraits, from or which see the engravers took their inspiration they copied, "I ritratti dello zar Nicola I." Tassinari, which bibliography. connected with it, see ibid. 98. See most of the sometimes aspects see ibid. and Berini, two cameos 89. See, for example, portrait of Alexander rocky relationship one with in the British Museum, the Great and the other de Beauharnais between of an unknown a 31 March 1956- Medagliere Hannibal nos. 1957, 605 552, in pieces, Raccolte Unpublished of the Civiche references (both the Cades without in collection Numismatiche of Milan, the show a consul (no. 986), portrait of numerous and Cicero heads by Berini appear (no. 987). Furthermore, in the sale in Paris: collection catalogue of the Sommariva Catalogue de (no. 971), la Galerie du Comte a (no. 975), Ptolemy honneur 194. Beltrami," see analysis of the images of Beauharnais, et fid?lit?. Eugene e troubadour, 203, no. 101 100. See, for Neoclassico example, Mazzocca, in his of and dressed (official portrait robes, Eug?ne, standing viceregal signed and dated 1805); 29, fig. 14 (portraitof JosephineBeauharnais male et al., The Art 121, 132, nos. 877-78, of theJeweller, pl. 40; figure: Gere two one with Pericles and and the other with a bust of pieces, Aspasia now in of Pennsylvania Museum: C. Hadrian, University Philadelphia, ex. cat., C. Vermeide, Gems the Sommerville Collection, Engraved from The University Museum 30 November Pennsylvania, Philadelphia, illustrations). "An Intaglio by Giovanni recendy, Tassinari, 99. For an exhaustive the various Sommariva I, 306. 97. On aMilano in pi?tre dure e collezionisti "Incisori recendy, Tassinari, 88. On nei Cento Anni, Lltalia de Sommariva, la collection de tableaux comprenant de l'?cole d'Italie, celle des peintres de l'?cole fran?aise, quelques tableaux et de ma?tres r?union de pierres les belle ?coles; plus grands d'apr?s diff?rentes et modernes; en marbre statuaire, dont groupes etfigures grav?es, antiques un des chefs-d'oeuvre de Canova; m?dailles antiques, miniatures et mont?es en m?daillon de curiosit?, by Charles Paillet diff?rentes objets to see For other references 42-49. Berini, (Paris, 1839), portraits by a Milano in pi?tre dure e collezionisti "Incisori nei primo Tassinari, 30 Leuchtenberg); 215 Josephine); of Augusta Amelia five children; without (portrait (the viceroys with her daughter illustration). 101. See, among the various l'et? di Canova 1780-1830, of this Venezia nel publications drawing, ex. cat., Venice, Ala Museo Napole?nica, no. 339; Dai October-December Correr, 1978, 252, Dogi agli ex. cat., Venice, tra Storia eMito, Imperatori. La fine della Repubblica Palazzo Ducale, Museo 14 September-8 December 1997 Correr, (Milan, 102. 103. 112, no. 2. 1997), de Beauharnais Eug?ne honneur et fid?lit?, 74, fig. 44. a marble also made bust, of 1806, fig. 45. Chinard terrracotta one Beauharnais full face, in military showing and in court clothes, respectively; ibid., 90, fig. 70,103-4, fig. 89a. Ibid., 74-75, and a small uniform 104. Comandini, Vitalia nei Cento Anni, I, 313. laMod?lame, 90. M. 91. "I ritratti dello Tassinari, Ottocento"; in Eug?ne Duchamp, zar Nicola de Beauharnais I." et fid?lit?, honneur 107. that there were other portraits is supported not only the of documents mentioned above, but also by the project by analysis to establish a school of cameo by the engraver engraving presented Dorelli. We notice that in the calculation of the stones to be furnished likelihood an to the students, See Tassinari, eighteen "IIprogetto 93. See Tassinari, are reserved dell'incisore "I ritratti dello to portraits of the viceroy's family. di gemme Giovanni Battista Dorelli." zar Nicola I." the formation of Pichlers // carteggio tra series, see Tassinari, a I'incisore di pi?tre dure Giovanni Pichler, 18-20. Portraits represented as testified substantial and highly appreciated part of Pichlers activity, in the collection and the numerous of casts by his biographers portraits now of his works in the of Civiche the Raccolte Medagliere 94. On inMilan. Numismatiche G. Ducato Tassinari, Pichlers Milanese di Milano. portraits II Giuseppe are in published d'Asburgo-Lorena (1765-1790). Giovanni Pichler: ritrattidellafamiglia imp?rialee della nobilt? ne?e impronte di intagli e di cammei (Milano del Centro Cult?rale Numism?tico Quaderni lombarda Iconogr?fica. fase. 2), (Milan, e cammei "Nathalien analysis Marchant, of the reasons 95. On portraits their History Zucker Lectures, of Maine, 2000); di Giovanni 1993), in Pichler." 1990, On Marchants see G. eds. M. of Cameo 108. On this topic, Lltalia Comandini, boxes with gold see ibid., and passim. 35-36 nei Cento Anni, As an see example, two I, 347-48: painted porcelain in the of Giovanni manufactory made decorations, Baroni delle Nove (1811) and offered to the viceregal couple by the viceroy of the district of Bassano. One bears the portrait of Eug?ne with his troops, and the other, the portrait of the death Augusta Amelia, with at in the of Desoix The case of each one bears a Marengo background. to dedication Eug?ne and Augusta Amelia, respectively. 109. Far from an exhaustive analysis of the complex to offer I have chosen merely portraits, for the two snuffboxes into their placing here approaching of snuffboxes with phenomenon some information general context. larger are some The following en or et en or ?maill? des XVIIIe texts on etXIXe the subject: Bo?tes et tabati?res d'une collection si?cles, provenant raffigurata. de Vienne, C. Dreyfus, Tabati?resdes CollectionsduMus?e du Louvre (Paris, 1930); di impronte di intagli see Seidmann, work, an M. Klar, public sale in Amsterdam, "Berliner Golddosen 2 December aus Friderizianischer Snuffboxes?a Link with "Comment America," identifier Antiques, le vernis Martin," "Portrait Cameos: in Context, H. Demoriane, (January 1962), 42-49; sous toutes leurs faces," Connaissance Aspects The Benjamin (Oxford-Houlton, zar Nicola I." 1926; H. Nocq Zeit," and Pantheon, 9 (1932), 60-62; H. Berry-Hill and S. Berry-Hill, Antique Gold Boxes. Their Lore and Their Lure (New York, 1953); I. Finlay, "Scottish Seidmann, and M.Vickers (New York, eldest daughter. viceroys in Cameos "I ritratti dello Incrustation 107. Eug?ne de Beauharnais honneur etfid?lit?, 68, no. 32. It ismentioned is found that this profile Paris, on two glass again, signed Deprez, and bronze pendants, and in a biscuit version on a marble paperweight to Queen and a hair bracelet that of Sweden, the Josephine belonged Jullian, Henig Tassinari, The Art Sulphides. 1968), 78, fig. 66; 92, fig. 94, first on the right. Milanese, also 15, 20, containing Gem-Engraver," that may have led him to make this selection. general, and Function," 84-102; "La collezione Tassinari, 106. P. Jokelson, here Ibid., 90. 92. The 105.Eugene de Beauharnais honneur etfid?lit?, 133-34, fig. 14 lb. 112-23; H. Tait, "An Anonymous Loan 65 (1954), 394-96; Connaissance "Les tabati?res P. des Arts Louis XV vues des Arts (December 1962), to the British Museum. 2: 63 Gold Eighteenth-century L. Ginori 216-25; 33 (Milan, C. Le Corbeiller, 90-96; delle Porcellane di Doccia 1963), 51-53, Snowman, G. from Eighteenth IIMuseo Liverani, (London, 1967), of Paris. the Eighteenth Century (The James A. de Rothschild Collection at Waddesdon Victoria Manor) and Albert Museum (London, XVIIIe S. Grandjean, 1979); 1981), R 1977); tabacchiere, 33 scatole, French Silver Boxes bo?tes et ?tuis des 1981); gioielli, e tabacchiere, Scatole tavolette, smalti astucci, (Milan, I Nuovi L. De 1981-91); Mauri, di dello 110. On snuffboxes "I ritratti "arti minori"; Tassinari, see 13. On 228-29, 125. O. M. of the Engraved Dalton, Catalogue in the British Museum Periods (London, de pierres grav?es wax model, see Pistrucci's fig. in cera di Benedetto Imodelli Stefanelli, de la collection "Historique de France," Pirzio Biroli Pistrucci, 82, no. 18. Gems of the Post-Classical 12, no. 71. 1915), 126. L. Pirzio Biroli Stefanelli, scultore "Gaspare Capparoni, in gemme," Xenia, 2 (1981), 94. et al., The Art 128. Ibid., 132, no. 873. 129. Ibid., 131, no. 872. 130. Grandjean, of the Jeweller, Gold Boxes, portraits, Berry-Hill, Antique and American and passim; Le Corbeiller, Snuffboxes, European Scatole e tabacchiere, 49-53; and passim; Branchetti, 30-31 18-19, I." "I ritratti dello zar Nicola Tassinari, Catalogue 131. For an analysis and no. 124-25, 836. tortoiseshell, 132. On European no. 348. in horn, snuffboxes, ivory, including Le Small Boxes, 43-45; All Kinds of and American 83-87; Branchetti, Snuffboxes, of the boxes, European e tabacchiere, 46-47, 49-56 des tabati?res, 242, see Bedford, Corbeiller, Scatole with 70. Pichler, 124. See Avisseau-Broustet, du cabinet 127. Gere e Galanterie. 139 (1992), 40-45; Oggetti di lusso dipiacere Antiquariato, e Ottocento, ex. cat., Nazionale in Museo Settecento Naples, Europa fia "Duca di Martina," della Cer?mica 1997-26 25 October 1998; April Un aspetto del collezionismo zar Nicola I." dure Giovanni 1984, (Milan, (Novara, 1985), 62-79; Oreficeria del Settecento reprint); D. Mascetti, della di Collezione (Lugano Capolavori Thyssen-Bornemisza Oreficeria "Tra 700 e 800: nei nome del tabacco," Milan, 1989); L. De Maria, Tassinari, one of the most Barbiano di Belgiojoso d'Est? (1725-1813), time. A letter of 1778 speaks of some prominent figures of his "pastes" to that would have decorated of works by Pichler snuffboxes belonging tra l'incisore di in Paris. See Tassinari, II made carteggio pi?tre Belgiojoso, XII in U. J.Winter, tabacchiere (Paris, (Milan, Boxes. Gold E. Delieb, des tabati?res, Smalti, Branchetti, dell'Antiquariato Ventagli, (London, J.Winter, Lightbown, M. G. 64-74; Quaderni C. Truman, Catalogue du Louvre etXDCe si?cles du Mus?e Krempel, 1975); (London, is one of the that elements snuffboxes concerning interesting the November the examination of (21 emerged correspondence Pichler and Prince Alberico 1772-6 March 1782) between Giovanni 123. This passim, pi. XLI; K. Snowman, A Catalogue of theJ. Ortiz-Pati?o Gold Boxes and Miniatures 1974); K. Snowman, of (Milan, Gold Boxes Century (1963), and American European 1730?1830 (London, 1966); K. Snuffboxes. Gold Boxes (London, 1966); of Europe Century Eighteenth Collection 154 J. J. Bedford, All Kinds of Small "Tabacchiere di Doccia," Lisci, L. Ginori 1964); (1965), Connoisseur, di Doccia XXD?, XXXIX-XL; pis. XXIV-XXVII, Boxes (London, Pantheon, The Boxes," Lisci, Laporcellana wooden 64. boxes, and American snuffboxes, including 88-90. Snuffboxes, see Le Corbeiller, the "plaques" made by John Obrisset (1691, first record of some of in of life), who portraits specialized English monarchs, were sometimes into which were copied from medallions, incorporated and American of a later date. See Le Corbeiller, snuffboxes European 133. Thus, his 111. made snuffboxes with his portrait, the numerous Among in St. (Snowman, Century Petersburg Eighteenth two Imention Boxes Gold of Europe,fig. 657; Berry-Hill,Antique Gold Boxes, 189,191, fig. 201) and three gold Vienna the first ones, from Paris the (1763-64), second from (1816) (respectively, Le (1816), the third from London Fine Snuffboxes, fig. 112, fig. 241; European Silver, Objects of Vertu and Russian Works of Art, New York, Christie's, no. 80B). 27, 1992, 36-37, Tuesday, October and American Corbeiller, 112. See, for example, Giovanni Pichler, 71. Tassinari, e troubadour, Neoclassico 113. Mazzocca, 114. Nicodemi, Le memorie 115. Tessadri, // vicer? Eugenio, 116. Eug?ne di Giuseppe de Beauharnais 117. Grandjean, 118. Snowman, 119. Museum Eighteenth Kunst fiir 203, no. dure 101. Bossi, 67, 70, 72, 74, 76. 310. et fid?lit?, \34r-/55, des tabati?res, 263, no. 391. honneur Catalogue tra l'incisore di pi?tre // carteggio Boxes ofEurope, Century Gold und Gewerbe-Hamburg, figs. l42a-d. 46, figs. 333-34. Handbuch 1980, 168, no. 357. 120. Le Corbeiller, 121. Berry-Hill, 122. For Antique example, figs. 228,291. 64 European and American Gold Boxes, Le Corbeiller, Snuffboxes, fig. 662. 100, fig. 71. European and American Snuffboxes, Boxes 85; Snowman, Century Gold of Europe, Eighteenth Snuffboxes, can be seen in An example of a miniature later 430. portrait applied fig. no. 80D. Fine Silver, Objects of Vertu, 36-37, 134. See Le Corbeiller, PHOTOGRAPHS: Milan, European and American Snuffboxes, 31. Art Museum; 1, Baltimore, Walters fig. fig. 2, Mus?e delle Civiche Raccolte Numismatiche; fig. 3, Medagliere des Mus?es Fesch, Ajaccio; fig. 4, Paris, R?union Mus?e national du ch?teau. Malmaison, Nationaux; fig. 5-11,