- Museum number
- Series: Four figures from the Palazzo Tinghi
Plate 1: Diana reclining with her dog, after Pordenone
- Production date
Height: 145 millimetres
Width: 206 millimetres
- Curator's comments
- The first of a series of four (B.20-23) that shows in reverse the figures painted by Pordenone c.1532/4 above the windows on the piano nobile of the Palazzo Tinghi in Udine. Bartsch suggested that the dedicatee might be the Earl of Arundel.
The following text is from Michael Bury, 'The Print in Italy 1550-1620', BM 2001, cat.132-5.
Three of the series are related to figures that are still dimly visible above of the piano nobile windows of the Palazzo Tinghi in Udine, painted by Pordenone c.1532-34. According to Cohen a figure of Mars (the fourth figure) would have occupied the equivalent space above the central window, a space that has since been obliterated. Cohen commented on the general accuracy of Fialetti's etchings (Cohen, 1996, II, p.681) although he notes they are in reverse, that they exaggerate the horizontality and that they introduce walls and clouds that were not present in the original. Cohen argued that Pordenone's intention had been to present these figures in monochrome, as if they were pieces of sculpture. If he is correct, then Fialetti has effectively transformed them into living forms.
Pordenone who had died in 1539 had a high reputation. This façade was evidently a famous one; it was for example described at length in the second edition of Vasari's Lives in 1568 (Vasari-Milanesi V, pp.112-13). For the most part the Venetian printmakers, unlike their Roman contemporaries, concentrated on the work of living artists. It is possible that an interest in making these prints was stimulated not only by an appreciation of the inventive brilliance of the originals, but also by the sense of their vulnerability and impermanence because of their exposure to the elements on the exterior of a building. The introduction of the decaying walls behind three of the four figures may be a witty comment on this.
The date cannot be established. Fialetti came from Bologna and was recorded as matriculated in the Arte dei Pittori of Venice from 1604 to 1612 (Favaro, p.151). A Fialetti recorded in 1596 in Cicogna's list of the Stampatori e Librai of Venice, published by Horatio Brown (1891, p.404) may or may not be the same person.
- Not on display
- Exhibition history
2001/2 Sep-Jan, BM, P&D, The Print in Italy 1550-1620
2002 Feb-Mar, New York, Miriam & Ira D Wallach AG, The Print in Italy
2002/3 Sep-Jan, Ottawa, NG of Canada, The Print in Italy 1550-1620
2003 Feb-Apr, Edinburgh, NG of Scotland, The Print in Italy 1550-1620
- Acquisition date
- Prints and Drawings
- Registration number