PAOLO VERONESE (PaoloCaliari)
1528-1588
49 Martyrdom of Saint Justina
Pen and gray ink, gray wash, and white gouache height-
ening on blue paper, squared in black chalk; H: 47 cm
(i8^2in.); W: 24 cm (9^7 /ioin.)
8y.GA.9 2 (SEE PLATE 3 )
MARKS AND INSCRIPTIONS: At bottom center edge,
collection mark of William, second duke of Devonshire
(L. 718); at bottom right corner, collection mark of P. H.
Lankrink (L. 2090).
PROVENANCE: P. H. Lankrink, London; William, sec-
ond duke of Devonshire, Chatsworth; by descent to the
current duke (sale, Christie's, London, July 6, 1987,
lots).
EXHIBITIONS: Old Master Drawings from Chatsworth,
National Gallery of Art, Washington, D.C., and other
institutions, 1962-63, no. 72 (catalogue by A. E. Pop-
ham); Between Renaissance and Baroque: European Art
1520-1600, City Art Gallery, Manchester, March-April
1965, no. 392; Old Master Drawings from Chatsworth,
Royal Academy of Arts, London, 1969, no. 72 (cata-
logue by A. E. Popham); Disegni veronesi del cinquecento,
San Giorgio Maggiore, Venice, 1971, no. 65 (catalogue
by T. Mullaly); Old Master Drawings from Chatsworth,
National Museum of Western Art, Tokyo, 1975, no. 72
(catalogue by A. E. Popham); Old Master Drawings from
Chatsworth, Israel Museum, Jerusalem, 1977, no. 6 (cat-
alogue by A. E. Popham); Treasures from Chatsworth,
National Gallery of Art, Washington, D.C., and other
institutions, 1979-80, no. 67 (catalogue by A. Blunt);
The Genius of Venice 1500-1600, Royal Academy of Arts,
London, November 1983-March 1984, no. 078 (cata-
logue entry by D. Scrase); Paolo Veronese: Disegni e di-
pinti, Fondazione Giorgio Cini, Venice, March-July
1988, no. 19 (catalogue by W. R. Rearick).
BIBLIOGRAPHY: H. Tietze and E. Tietze-Conrat, The
Drawings of the Venetian Painters in the i$th and i6th Cen-
turies (New York, 1944), p. 342, no. 2056; M. Geiger and
M. Guillaume, Dessins de la collection His de La Salle (Di-
jon, 1974), p. 63, under no. 48; T. Pignatti, Veronese (Ven-
ice, 1976), vol. i, p. 137, under no. 182; R. Cocke, "Ve-
ronese's Independent Chiaroscuro Drawings," Master
Drawings 15, no. 3 (Autumn 1977), pp. 259; 263, n. 10;
D. DeGrazia Bohlin, Prints and Related Drawings by the
Carraca Family (Washington, D.C., 1979), p. 204, under
no. 105; F. Trevisani, in A. de Nicolô Salmazo and F. G.
Trolese, eds., IBenedettini a Padova e nel territoriopadovano
attraverso i secoli (Padua, 1980), pp. 450-51, under no.
450 ; R. Cocke, Veronese's Drawings: A Catalogue Raisonné
(London, 1984), p. 178, no. 75; R. Pallucchini, Veronese
(Milan, 1984), pp. 99, 120; H. Coutts, "Review of Ve-
ronese's Drawings," Master Drawings 23-24, no. 3 (Au-
tumn 1986), p. 401; idem, "Veronese in Venice and Wash-
ington," Master Drawings 27, no. 3 (Autumn 1989), p.
229.THIS HIGHLY FINISHED DRAWING WAS MADE IN PREP-
aration for the altarpiece painted by Veronese (with as-
sistance) for the church of Santa Justina, Padua, in 1574-
75. Although the drawing shows the composition at a
developed stage and squared for transfer, it was changed
in a number of details in the painting. The alterations in-
clude the further elaboration of the heavenly scene, the
replacement of the Baptist with John the Evangelist, the
addition of a view of the Santo in the distance, and a va-
riety of changes among the foreground figures. Never-
theless the principal elements and expressive character of
the scene were clearly established in the drawing.
It was suggested by Tietze and Tietze-Conrat (1944)
and others that this was the modello for the altarpiece
mentioned by C. Ridolfi^1 as having been in the chamber
of the abbot of Santa Justina, but this has frequently been
doubted. It appears more likely that Ridolfi's reference
was to the painting of the same subject now in the Museo
Ci vico, Padua.i. Le mamviglie dell'arte... (Venice, 1648), p. 304.126 ITALIAN SCHOOL • VERONESE