Dietrich / TheGiovanniMorelliBibliographyRaisonné

The Giovanni Morelli Monograph

The Giovanni Morelli Bibliography Raisonné

The extremly heterogeneous bibliography of Giovanni Morelli, which reflects the intellectual biography of a long-time searching individual, organizes best, if not being organized merely chronologically, but divided into its various topical fields.

1) GIOVANNI MORELLI AND (COMPARATIVE) ANATOMY

1837 [Morelli 1837]: De Regione Inguinali. Dissertatio Anatomica [doctoral dissertation on the groin (›Leistengegend‹), supervised by Ignaz Döllinger, Munich; a brief critical mentioning is to be found in G. Valentin, Repertorium für Anatomie und Physiologie, vol. 3, 1838, p. 16 (»Kritische Behandlung des Gegenstandes.«)

[further projects in comparative anatomy, namely on the anatomy of certain animals (echinoderms; »Saurier (Eidechsen)«), are mentioned in the sources,(1) but apparently have not been carried out]

[a text that erroneously has been attributed to Giovanni Morelli (see: Agosti/Manca/Panzeri 1993, vol. 2, p. 314-316), a text in which Georges Cuvier is called »die Zierde unserer Zeit« (›the ornament of our time‹), is in fact (as can be ascertained here by comparism) by Morelli’s teacher, professor Ignaz Döllinger, and was only copied by Morelli; the Bavarian king Maximilian I. who is hailed in this text (and also in the copy) was also long deceased at Morelli’s time]

[in 1844 Morelli’s friend Bonaventura Genelli is being informed that Morelli is not really dedicated anymore to his scientific studies, and on how it came]

2) GIOVANNI MORELLI AS A MAN OF LETTERS: HIS LITERARY WRITINGS AND HIS LITERARY AMBITION

a) LITERARY WRITINGS BY GIOVANNI MORELLI (compare chapters Interlude II and Visual Apprenticeship I)

1836 [Morelli 1836]: Balvi magnus[:] Das ist[:] kritische Beleuchtung des balvischen Missale, Munich 1836

[in an 1836 letter to his teacher Gotthilf Heinrich von Schubert Morelli speaks also of a novella](2)

1837: a play named Kilian vom Teich oder Das mephistophelische Genie finds mentioning in the sources

1839 [Morelli 1839]: (under the name of Nicolaus Schäffer, the ficticious editor, and the name of Traugott Gotthilf Schneck, the ficticious author) Das Miasma diabolicum, Strasbourg 1839 [re-edited, with the Balvi magnus, in 1991 by Jaynie Anderson: [Anderson/Morelli 1991a]: Giovanni Morelli, Balvi magnus und Das Miasma diabolicum, Würzburg 1991]

1839: an ›epic poem‹ named Die Schlacht auf dem Lechfeld finds mentioning in the sources (as does again »Kilian vom Teich«); the Schlacht Morelli’s friend Bonaventura Genelli is, as sources of 1840 tell us, allowed to keep

1839: Morelli sends his satirical play Kunstkenner to his friend Bonaventura Genelli; it is also being read by artist Carl Adolph Mende

1840: Morelli produces a lengthy, and probably literary description of Paolo Veronese’s The Wedding at Cana in the Louvre (probably not extant)

1842: Morelli tells his friend Niccolò Antinori that he has invented a play named Gli Artisti that he is going to pen down

1844: an essay by Morelli on Ariosto and Cervantes finds mentioning in the sources

1845: Morelli, probably at the end of the year, reads his comedy Il nemico delle donne to a circle of friends

1846: he is also planning to have another play represented at Milan; in September he allows his fatherly friend Johann Georg Veit Engelhardt to read his comedy Premura soverchia nuoce o il vero prova d’amore

1847: his friend Genelli refers to Morelli’s ambitious plan to adapt the Story of Ill-Advised Curiosity from the Don Quixote, and to turn it into of a play

1851: Morelli is, as he tells Genelli, busily writing (political) comedies; at the end of the year, as he tells Antinori, he is planning to finish a recently sketched out comedy, and after that his comedy Pino di Lenno; another comedy he has already figured out in his head

1852: a play named I Tradimenti finds mentioning in the sources; Genelli asks if Morelli had asked Alessandro Manzoni to read his plays

1854: at Turin Morelli has three comedies with him; he is reworking a political comedy

1856: I Tradimenti, Premura soverchia nuoce, and a play named Il Roccocò find mentioning in the sources; but probably in 1857/58 Morelli is giving up his literary ambition, and especially his ambition to become a playwright and to provide Italy with a new (and at times: political) comedy

b) GIOVANNI MORELLI INSPIRING OR SUPERVISING LITERARY WRITINGS OR TRANSLATIONS BY OTHERS

1851: under Morelli’s guidance his friend Niccolò Antinori translates Goethe’s Egmont into Italian

1852: Morelli instructs Antinori as to the preface to the translation (and not to forget to name the reasons why the play is not a good play)

1853: the translation, dedicated to Morelli, is being published (Florence 1853)

1887: probably Morelli 1880 (see below) does inspire Henriette Hertz, later benefactress of the Bibliotheca Hertziana, to embark on writing a novella on Pinturicchio (the manuscript is kept by the Archiv der Max-Planck-Gesellschaft, Berlin-Dahlem)

1890: Carlo Placci attempts to portrait the millieu of the Morellians satirically in a novel called Un furto (of which Morelli does know)

1892: Un furto being published

[further (posthumous) inspirations:]

1910: Paul Bourget, La Dame qui a perdu son peintre, Paris 1910

1912: Frank Jewett Mather, Jr., The del Puente Giorgione, in: ibid., The Collectors. Being Cases mostly under the Ninth and Tenth Commandments, New York 1912, pp. 27–54

[French art historian Daniel Arasse (1944-2003) who apparently, before becoming an art historian, had plans to direct detective films with a detective named Jean Morelli, meant as a homage to Giovanni Morelli, does not carry out his plans (and does become an art historian instead); see Maak 2003]

3) GIOVANNI MORELLI AS A JOURNALIST (›MORELLIAN MIMICRY I‹) AND AS A POLITICAL LOBBYIST

a) CULTURAL JOURNALISM

1839 [Engelhardt/Morelli 1839]: (with Veit Engelhardt, and handed in by Engelhardt) Handzeichnungen von Genelli. Von einem Dilettanten, in: Kunst-Blatt No. 46 (June 6), p. 181-182

[in 1842 Genelli hears that Morelli is translating ›speeches‹ by Schelling, by Schleiermacher, and in addition to that, ›this and that‹ by Goethe (namely Eckermann/Goethe)]

[an 1844 article on the Arnaldo da Brescia (1840) by Giovanni Battista Niccolini in the Allgemeine Zeitung was written by Alfred von Reumont and had erroneously been attributed to Morelli (compare Altgeld 1984, p. 240, note 44)]

1845 [Morelli 1845]: Sopra la relazione tra l’arti belle e la natura [Morelli’s translation of Schelling’s Rede über das Verhältnis der bildenden Künste zur Natur of 1807], in: Lo Spettatore industriale, Milan, p. 285-320 (also containing comments by Morelli and an introduction that refers to principles of translation) (also published separately)

1845 [Engelhardt/Morelli 1845a]: (with Veit Engelhardt) Italienische Briefe I, in: Beilage to Allgemeine Zeitung No. 253, and in Beilage to No. 254, September 10 and September 11, pp. 2017-2019 and pp. 2025-2027 [on Alessandro Manzoni, Gino Capponi and Giovanni Battista Niccolini]

1845 [Engelhardt/Morelli 1845b]: (with Veit Engelhardt): Italienische Briefe II, in: Außerordentliche Beilage to Allgemeine Zeitung No. 320, November 16, pp. 101-102

1846 [Engelhardt/Morelli 1846a]: (with Veit Engelhardt): Italienische Briefe III, in: Beilage to Allgemeine Zeitung No. 282, October 9, pp. 2249-2250 [on Bergamo]

1846 [Engelhardt/Morelli 1846b]: (with Veit Engelhardt): Italienische Briefe IV, in: Beilage to Allgemeine Zeitung No. 287, October 14, pp. 2289-2290

1846 [Engelhardt/Morelli 1846c]: (with Veit Engelhardt): Italienische Briefe V, in: Beilage to Allgemeine Zeitung No. 288, October 15, pp. 2297-2298

1846 [Engelhardt/Morelli 1846d]: (with Veit Engelhardt): Italienische Briefe VI, in: Beilage to Allgemeine Zeitung No. 298, October 25, pp. 2379-2380

1846 [Engelhardt/Morelli 1846e]: (with Veit Engelhardt): Italienische Briefe VII, in: Beilage to Allgemeine Zeitung No. 328, November 24, pp. 2617-2618

[a translation of a lecture by Schelling on Dante, published in 1858 within the collected works of Giovanni Battista Niccolini, has, as it appears, erroneously been attributed to Morelli; see Locatelli 2009, p. 29, note 71]

1871 [Morelli 1871]: Morelli publishes an unsigned article, in relation to the sale of the Madonna Connestabile by Raphael to Russia, in La Perseveranza of 1 May and on page one (see Agosti 1985, note 10 on pp. 51-53)

b) POLITICAL JOURNALISM

[an 1846 article in the Allgemeine Zeitung, probably by Alfred von Reumont (on the ›gegenwärtigen politischen Verhältnisse in Italien‹), has erroneously been attributed to Morelli](3)

1847 [Morelli 1847]: a (probably enthusiastic) article on the new Pope Pius IX in the Allgemeine Zeitung, that Morelli himself will later recall, has not yet been identified (but Genelli speaks, that is: knows of Morelli’s enthusiasm (see Bonaventura Genelli to GM, 27 October 1846; and compare also Morelli 1848))

[an 1847 article in the Allgemeine Zeitung on the ›politische Programm der Nationalpartei in Italien‹ has erroneously been attributed to Morelli]

1848 [Morelli 1848]: Worte eines Lombarden an die Deutschen [anonymous brochure, printed in about 300 copies, and written and published by Morelli, who, in writing, probably drew also on letters by his friend Giovanni Frizzoni; other sources are quoted in the brochure], Frankfurt a.M. 1848

1856: a (probably polemicizing) article that finds mentioning in the sources remains probably unpublished (see Kultzen 1989, p. 379)

*

4) GIOVANNI MORELLI AS A POLITICIAN

1862 [Morelli 1862]: Giovanni Morelli, as the representative of Bergamo, speaks in the Italian parliament, on occasion of the transfer of the Pinacoteca di Torino from the Palazzo Madama into the Palazzo dei Musei (published within the Atti del Parlamento Italiano, ed. by G. Giuseppe and T. Paolo, Rome 1882)

1870 [Morelli 1870]: in the Gazzetta di Bergamo of November 13, on page one, Morelli explains his withdrawal from politics (see Anderson 1999a, p. 14f.)

*

5) GIOVANNI MORELLI AS A CONNOISSEUR OF ART

a) PUBLISHED CONNOISSEURIAL WRITINGS BY GIOVANNI MORELLI

[see also under 3a), above, namely Engelhardt/Morelli 1839]

[in 1861 Giovanni Morelli and Giovanni Battista Cavalcaselle cooperate in providing a catalogue of works of art in the Marche and in Umbria (published in 1896; see below) (two notebooks kept by Morelli on the trip with Cavalcaselle have been edited by Jaynie Anderson: see Anderson 2000)]

1874 [Morelli 1874-1876]: (under the name of Iwan Lermolieff) Die Galerien Roms. Ein kritischer Versuch, in: Zeitschrift für bildende Kunst 9 (1874), pp. 1-11, 73-81, 171-178, 249-253

1875 [Morelli 1874-1876]: (under the name of Iwan Lermolieff) Die Galerien Roms. Ein kritischer Versuch, in: Zeitschrift für bildende Kunst 10 (1875), pp. 97-106, 206-211, 264-273, 329-334

1876 [Morelli 1874-1876]: (under the name of Iwan Lermolieff) Die Galerien Roms. Ein kritischer Versuch, in: Zeitschrift für bildende Kunst 11 (1876), pp. 132-137, 168-173

1878 [Richter/Morelli 1878]: (published by and under the name of Jean Paul Richter), Über Sebastiano del Piombo und Giulio Romano von Iwan Lermolieff, in: Kunstchronik No. 35 (13 June 1878), columns 553–556

1880 [Morelli 1880]: (under the name of Ivan Lermolieff) Die Werke italienischer Meister in den Galerien von München, Dresden und Berlin. Ein kritischer Versuch, Lipsia 1880

1881 [Morelli 1881]: (under the name of Ivan Lermolieff) Perugino oder Raffael? Einige Worte d. Abwehr [›anti-Lippmann-article‹; compare Lippmann 1881], in: Zeitschrift für bildende Kunst 16 (1881), pp. 243-252, 273-282

1882 [Morelli 1882]: (under the name of Ivan Lermolieff) Raphaels Jugendentwicklung [›anti-Springer-article‹], in: Repertorium für Kunstwissenschaft 5 (1882), pp. 147-178

[as early as in 1882 Morelli revises the preface to the Italian edition of Morelli 1880 (published only in 1886); the translation has already been done]

1883 [Morelli 1883]: English translation of Morelli 1880, provided by Louise M. Schwab who has to take into consideration many addenda by the author and many revisions (the satirical preface of Morelli 1880 is being left away)

1886 [Morelli 1886]: Italian translation of Morelli 1880, Bologna 1886 (Morelli has re-written the preface; compare GM to Jean Paul Richter, 27 December 1882, also on this translation in general)

1887 [Morelli 1887]: (under the name of Ivan Lermolieff) Noch einmal das venezianische Skizzenbuch [›anti-Müntz-article‹], in: Zeitschrift für bildende Kunst 21 (1887), pp. 111-118, 143-155

1890 [Morelli 1890]: (under the name of Ivan Lermolieff) Kunstkritische Studien über italienische Malerei. Die Galerien Borghese und Doria Panfili in Rom, Lipsia 1890

1891 [Morelli 1891]: (under the name of Ivan Lermolieff) Kunstkritische Studien über italienische Malerei. Die Galerien zu München und Dresden, Lipsia 1891

1892 [Morelli 1892]: English translation of Morelli 1890, provided by Constance Jocelyn Ffoulkes who had cooperated directly with Morelli

1893 [Morelli 1893a]: (posthumously under the name of Ivan Lermolieff) Kunstkritische Studien über italienische Malerei. Die Galerie zu Berlin, Lipsia 1893 [including the three essays on Raphael by Giovanni Morelli and a biographical essay by Gustavo Frizzoni on Morelli; this volume has remained untranslated]

1893 [Morelli 1893b]: English translation of Morelli 1891, provided by Constance Jocelyn Ffoulkes

1896 [Cavalcaselle/Morelli]: Catalogo delle opere d’arte nelle Marche e nell’Umbria, di G. B. Cavalcaselle e Gio. Morelli, in: Le Gallerie nazionali italiane. Notizie e documenti 2 (1896), pp. 191-348 [dated »1861/62«]

1897 [Morelli 1897]: Italian translation of Morelli 1890 [respectively Morelli 1892], including a revised biographical essay by Gustavo Frizzoni on Giovanni Morelli [Frizzoni 1897]

1991 [Anderson/Morelli 1991b]: Giovanni Morelli, Della pittura italiana. Studii storico-critici: le gallerie Borghese e Doria-Pamphili in Roma, new edition of Morelli 1897, edited by Jaynie Anderson (including also a lengthy biographical essay and a comment to the edition by the editor), Milan 1991 [a French edition was published in 1994]

b) UNPUBLISHED WRITINGS AND PROJECTS

1860: it is the novelist and poet Alessandro Manzoni who suggests to Morelli to write a guide to the Pinacoteca di Brera

1861: Morelli is officially commissioned to write a Brera guide, which, however, will be never accomplished

1865: Morelli is asked to return materials as to the Brera guide project back to the Brera

1874: Morelli accepts the (double) commission to compile a general inventory of works of art, sited in the provinces of Bergamo, Brescia, Cremona, Verona and Mantua, and, in addition to that, a catalogue of those works of art in private hands, but worth buying and to be incorporated into stately possession (compare Rovetta 2006)

1876: according to his ›favourite enemy‹ Wilhelm von Bode, Giovanni Morelli provided (probably after Capponi had died) a »Katalog« of the Capponi collection (see: Bode [1997], vol. 1, p. 154, and vol. 1, p. 154); compare also Capponi 1875 (for sections on art, according to Frizzoni 1893, p. XXXIX, provided or influenced by Morelli)

c. 1882: Morelli, writing as Lermolieff, sends some remarks on Leonardo drawings that have to be associated with the project of the Sforza monument to his pupil Jean Paul Richter (the document is kept by the Bibliotheca Hertziana, Rome)

1884: Morelli and his pupil Jean Paul Richter think about a study exclusively being dedicated to old master drawings

1884: Morelli thinks about a full history of Italian painting as an alternative to Crowe/Cavalcaselle

1885: Morelli begins to write his two-part satirical piece ›Kunstkenner und Kunsthistoriker‹; Austen Henry Layard proposes to Morelli a rewriting of his, Morelli’s, critical studies (Morelli declines)

1886: in the summer Morelli works on ›Kunstkenner und Kunsthistoriker‹; he occasionally feels that the piece is much too ›caustic‹

1887: assorted friends of Morelli get to know his satirical piece which is probably only extant in fragments that have been worked into, and thus have become part of Morelli 1890

1888: Henry Austen Layard advises Morelli rather not to publish his satirical piece; Morelli and his pupil Jean Paul Richter discuss the possible publishing of a »Handzeichnungswerk« (a volume dedicated exclusively to old master drawings)

1889: it is also thought about a »Formenatlas« (›atlas of forms‹), meant as a supplement to the ›Critical Studies‹

[no date]: Giovanni Morelli is said to have envisionned a catalogue of his own art collection (Giovanni Morelli 1987, p. 9)

[no date]: ›gallery guide‹ to the collection of Federico Frizzoni; see Anderson 1999b

c) GIOVANNI MORELLI INSPIRING, SUPERVISING AND DIRECTLY INFLUENCING CONNOISSEURIAL WRITINGS OF OTHERS (›MORELLIAN MIMICKRY II‹): AN ASSORTMENT

[in 1880 Marco Minghetti, being directly advised by Morelli, speaks about Raphael and his pupils (see GM to Jean Paul Richter, 30 March 1880)]

[in 1882 Marco Minghetti plans to speak, at Urbino in March 1883, on Raphael (see GM to Jean Paul Richter, 27 December 1882)]

1883 [Jean Paul Richter (ed.) 1883]: Jean Paul Richter (ed.), The Literary Works of Leonardo da Vinci, 2 vol., London 1883

1883 [Jean Paul Richter 1883]: Jean Paul Richter, Italian Art in the National Gallery, London 1883

[in 1884 Jean Paul Richter, guided by Morelli, embarks on the carrying out of a comprehensive study of the Veronese school of painting which, however, will remain unfinished; Morellian attributions Richter is also able to incorporate into many Baedeker guidebooks to which he is contributing throughout his life; for details see Seybold 2014a]

[in 1884 retired Austen Henry Layard begins his revision of Kugler (published in 1887)]

1885 [Minghetti 1885]: Marco Minghetti, Raffaello, Bologna 1885 (German translation, provided by Sigmund Müntz, being published in 1887)

1885 [Jean Paul Richter 1885]: Jean Paul Richter, Der angebliche Leonardo da Vinci in der Berliner Gemäldegalerie, [›anti-Bode-article‹] in: Kunstchronik No. 43 and No. 44 (10 and 24 September 1885), columns 709–712 and 729–733

1886 [Frizzoni 1886]: Gustavo Frizzoni, Collezione di quaranta disegni scelti dalla raccolta del senatore Giovanni Morelli, Naples/Milan/Pisa 1886

1887 [Kugler/Layard 1887]: Austen Henry Layard (ed.), The Italian Schools of Painting, 2 vol., London 1887 [partial new edition of the ›Handbuch der Geschichte der Malerei‹ by Franz Kugler]

1887 [Jean Paul Richter 1887]: Jean Paul Richter, Recent criticism on Raphael, in: The Nineteenth Century 22 (September 1887), pp. 343–360

[in 1887 Morelli mentions that Emilio Visconti-Venosta is going to carry out a study on the Lombardic School; the subject has been ›given‹ to Visconti-Venosta by Morelli]

1888 [Ffoulkes 1888]: Constance Jocelyn Ffoulkes, Handbook of the Italian Schools in the Dresden Gallery, London 1888

1888 [Frizzoni 1888]: Gustavo Frizzoni, La quinta edizione del ›Cicerone‹ di Burckhardt, in: Archivio storico dell’arte 1 (1888), pp. 289-300

1888 [Jean Paul Richter 1888]: Jean Paul Richter, Die Dresdener Gemäldegalerie und die moderne Kunstwissenschaft, in: Unsere Zeit. Deutsche Revue der Gegenwart [Neue Folge] 24 (1888), pp. 345–360

1895 [Berenson 1895]: Bernard Berenson, Lorenzo Lotto. An essay in constructive art criticism, New York 1895 [compare Morelli 1890, pp. 390ff. – and particularly p. 394 – for the probable inspirational source]

d) CONNOISSEURIAL ›OPINIONS‹ UTTERED BY GIOVANNI MORELLI OR ›DEPOSITED‹ AT VARIOUS PLACES IN EUROPE (PUBLISHED BY OTHERS OR NOT)

1887: Christ Church, Oxford; see Baker 2001 (opinions were noted by the librarian of the college library)

1889: on occasion of a visit at Dresden Morelli noted opinions as to drawings (now in the Kupferstichkabinett) »sulle montature blu dei disegni« (see Anderson 1991a, p. 562; these opinions are, according to Anderson, still extant)

[no date; probably 1889]: Vienna, Albertina; see Wickhoff 1891-1892, p. CCXIV (on occasion of one or several visits Morelli wrote down opinions on cardboards)

1891/92 [Habich/Morelli 1891-1893]: E. Habich, Handzeichnungen italienischer Meister in photographischen Aufnahmen von Braun & Co. in Dornach, in: Kunstchronik [Neue Folge] 3 (1891/92), columns 289-294, 373-378, 441-445, 487-490, 505-508, 524-528, 543-547, 571-574, 590-593

1892/93 [Habich/Morelli 1891-1893]: E. Habich, Handzeichnungen italienischer Meister in photographischen Aufnahmen von Braun & Co. in Dornach, in: Kunstchronik [Neue Folge] 4 (1892/93), columns 53-56, 84-90, 156-162, 207-210, 237-240 [the opinions were uttered in 1886]

1894 [Frizzoni/Morelli 1894]: Gustavo Frizzoni, Appunti del senatore Giovanni Morelli a proposito della Galleria del Prado e dell’arte spagnuola, in: Archivio storico dell’arte VII (1894), pp. 1-4

1896 [Frizzoni/Morelli 1896]: Gustavo Frizzoni, Lorenzo Lotto pittore. A proposito di una nuova pubblicazione, in: Archivio storico dell’arte [New Series] 2 (1896), pp. 1-24 [giving also Morelli’s opinion as to the painting by Lotto once owned by him; compare Anderson 2014, p. 29 and 36, note 58]

[no date]: Raccolta Vinciana, Milan: see Peters 2009, p. 66f., note 85, and Fumagalli 2005 (on the back of 154 photographs after works by Leonardo da Vinci and other (Lombardic) Renaissance masters Morelli had noted opinions; a transcription of that notes is kept by the Raccolta Vinciana, Milan, and was published by Fumagalli in 2005; Giovanni Morelli had given his collection of photographs (and other working materials) to his friend and colleague Emilio Visconti-Venosta who in 1905 was still in possession of what Morelli had left him; the whereabouts of that core collection, however, are presently unknown)

***

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ANNOTATIONS:

1) See Eulner/Hoepke (eds.) 1979, p. 27, and Frizzoni 1893, p. XXXIV. (back)

2) See GM to Gotthilf Heinrich von Schubert, 20 August 1836, Universitätsbibliothek Erlangen-Nürnberg. (back)

3) This de-attribution, and also the following one, do rest on the fact that, although articles were published unsigned by the Allgemeine Zeitung, all articles and authors have been indexed (see Fischer (ed.) 2002-2005), on basis of the editors’ copy of the newspaper (of Morelli, as author, the editors knew probably nothing, regarding the Engelhardt/Morelli contributions probably as contributions by Engelhardt alone). The dates of all contributions formerly attributed to Morelli can be checked against the dates of all contributions that Engelhardt actually could hand in to the newspaper, which results in the de-attributions, since Morelli had no other intermediary and was not in the position to publish articles under his own name. (back)

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Go To:

THE GIOVANNI MORELLI MONOGRAPH | HOME

THE GIOVANNI MORELLI MONOGRAPH | Spending a September with Morelli at Lake Como

THE GIOVANNI MORELLI MONOGRAPH | A Biographical Sketch

THE GIOVANNI MORELLI MONOGRAPH | Visual Apprenticeship: The Giovanni Morelli Visual Biography

THE GIOVANNI MORELLI MONOGRAPH | Connoisseurial Practices: The Giovanni Morelli Study

THE GIOVANNI MORELLI MONOGRAPH | The Giovanni Morelli Bibliography Raisonné

THE GIOVANNI MORELLI MONOGRAPH | General Bibliography

A note to the Bibliography Raisonné

At least three plays by Giovanni Morelli, according to Jaynie Anderson (see Anderson 1991a, p. 528; titles given here are: I tradimenti, Il Roccocò and Troppa premura nuoce ossia La prova d’amore), seem to be extant in the Zavaritt collection at Gorle (near Bergamo), and it would be very desirable, although the art connoisseur-to-be gave (more or less) up his literary ambition in about 1857/58, to provide the public with an edition/translation of these literary works. At least the biographical and intellectual context of these plays is given here (above) and in the present The Giovanni Morelli Monograph.


Index

THE GIOVANNI MORELLI VISUAL BIOGRAPHY:

THE GIOVANNI MORELLI VISUAL BIOGRAPHY | Visual Apprenticeship I

THE GIOVANNI MORELLI VISUAL BIOGRAPHY | Interlude I

THE GIOVANNI MORELLI VISUAL BIOGRAPHY | Visual Apprenticeship II

THE GIOVANNI MORELLI VISUAL BIOGRAPHY | Interlude II

THE GIOVANNI MORELLI VISUAL BIOGRAPHY | Visual Apprenticeship III

THE GIOVANNI MORELLI STUDY:

THE GIOVANNI MORELLI STUDY | Cabinet I: Introduction

THE GIOVANNI MORELLI STUDY | Cabinet II: Questions and Answers

THE GIOVANNI MORELLI STUDY | Cabinet III: Expertises by Morelli

THE GIOVANNI MORELLI STUDY | Cabinet IV: Mouse Mutants and Disney Cartoons

THE GIOVANNI MORELLI STUDY | Cabinet V: Digital Lermolieff

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