The roundel with Virtue and Abundance
is a detached fresco from the ceiling of the Gallery in the Palazzo Valle-Marchesini-Sala in Vicenza. Grisaille images of four liberal arts—Metaphysics
), and Grammar
)—from the same room, are also currently at the MMA. Enea Arnaldi’s 1779 guidebook of the sights of Vicenza describes in the palace of Count Giorgio Marchesini: "the Gallery . . . painted in fresco by Girolamo Colonna for what concerns the architecture, and by Giovan Battista Tiepolo for the figures . . . there is furthermore a room with groups in painted bronze, with four overdoors". The fresco has been wrongly believed to have come from a villa on the Brenta canal (Morassi 1962), or a villa near Vicenza (Pallucchini 1968), or Villa Valier Bembo, known as La Chitarra (Precerutti Garberi 1968, Zeri and Gardner 1973). Following a restoration campaign in Palazzo Valle-Marchesini-Sala between 1983–86, traces of the detached frescoes were found in the Gallery, firmly establishing the provenance of the painting and linking it to the description in Arnaldi’s guidebook.
The frescoes in Palazzo Valle-Marchesini-Sala were commissioned in 1760 by Giorgio Marchesini (Chignola 2004). Giovanni Battista Tiepolo painted the figures, possibly with the assistance of his son Giovanni Domenico, and of Francesco Zugno. Girolamo Mengozzi Colonna, instead, produced the trompe l’oeil architectural background. The main Gallery was decorated with an Ionic colonnade, which included figures in grisaille: the four MMA liberal arts, Mars with a Greyhound
, Venus and Cupid
(private collection, Turin), a Head
, usually described as of Bacchus, but probably of Flora (previously in the collection of Héli de Talleyrand at the Pavillion Colombe, Saint-Brice-sous-Forêt; sold at Christie’s, Paris, November 26, 2005, no. 349, and now in a private collection, Venice), and possibly also the Two Allegorical Figures with an Obelisk
(John & Mable Ringling Museum of Art, Sarasota). Virtue and Abundance
was at the center of the ceiling. The paintings were removed from the Gallery before 1909, but most of the architectural setting by Mengozzi Colonna survives in the room.
The painting simulates a sculptural relief, with two figures. On the left is the winged allegory of Virtue, holding a lance in her left hand, and with a sun on her breast. The same figure appears in other works by Tiepolo, such as the Glorification of the Barbaro Family
). On the right is Abundance with a cornucopia. She may also be identified as Fortuna, and the image could be related to the Latin motto: "Virtute duce, comite Fortuna" (With Virtue in command, Fortune follows). Giorgio Marchesini was a well-known Mason, and his palace was used as a Masonic temple in the late 1730s. It has been suggested (Menegozzo 1990) that the entire cycle of frescoes by Tiepolo at Palazzo Marchesini may have a Masonic significance.
Another four detached frescoes of Virtues
) and four overdoors with the Continents
) are said to come from other rooms in the same palace.
Xavier F. Salomon 2011
Enea Arnaldi. Descrizione delle architetture, pitture, e scolture di Vicenza. repr., 1982. Vicenza, 1779, part 2, p. 72, praises the frescoed decoration of the gallery of the palazzo belonging to Giorgio Marchesini, stating that the architecture was painted by Girolamo Mengozzi and the figures by Giovanni Battista Tiepolo.
Pompeo Molmenti. G. B. Tiepolo: la sua vita e le sue opere. Milan, , p. 95, notes that the frescoes in the palazzo Marchesini have been detached from the walls and sold to foreigners.
Eduard Sack. Giambattista und Domenico Tiepolo: Ihr Leben und Ihre Werke. Hamburg, 1910, vol. 2, p. 181, notes that the frescoes mentioned by Arnaldi [see Ref. 1779] in the palazzo Marchesini have been removed and sold.
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 95.
R. Cevese in Guida di Vicenza. 2nd ed. Vicenza, 1956, p. 208, mentions the frescoes by Tiepolo and Mengozzi that formerly decorated a room of the palazzo Marchesini.
Antonio Morassi. A Complete Catalogue of the Paintings of G. B. Tiepolo. London, 1962, pp. 33, 65, fig. 406, calls it "Allegory of Truth and Abundance" and suggests that it was an overdoor; tentatively dates the entire group of frescoes about 1750–60 and attributes all of them to Giovanni Domenico, possibly with the help of assistants for the purely decorative parts, working from designs by Giovanni Battista and under his direction; states that they are said to come from a villa on the Brenta but that there is no information on their exact provenance; includes the frescoes formerly in the palazzo Marchesini as a separate entry and states that their present whereabouts are unknown.
Anna Pallucchini in L'opera completa di Giambattista Tiepolo. Milan, 1968, p. 136, as Abundance and Truth; lists the entire group under works of various attribution, noting that Morassi [see Ref. 1962] attributes only the designs to Giovanni Battista; lists the frescoes formerly in the palazzo Marchesini separately, under insufficiently documented works.
Mercedes Precerutti Garberi. Affreschi settecenteschi delle ville venete. Milan, 1968, pp. 141–42, pl. 89 [English ed., "Frescoes from Venetian Villas," London, 1971, pp. 127–28, pl. 89], as Allegory of Truth and Abundance; discusses Tiozzo's [see Ref. 1968] suggestion that the frescoes come from the villa Valier; notes differences in handling and quality in the various frescoes, finding evidence of Giovanni Battista's direct intervention in 43.85.12–16 and attributing these five works to Giovanni Battista and Giovanni Domenico; finds the style close to Giovanni Battista's mature works of 1754–57.
Clauco Benito Tiozzo. Gli affreschi delle ville del Brenta. Padua, 1968, p. 86, suggests that the frescoes may come from the villa Valier alla Chitarra.
Adriano Mariuz. Giandomenico Tiepolo. Venice, , p. 128, as Allegory of Truth and Abundance; attributes 43.85.12–16 to Giovanni Battista and dates the entire group of frescoes about 1757–60.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 197, 491, 608, as by Giovanni Battista Tiepolo; tentatively identify the subject as an allegory of Truth and Abundance.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 63–65, pl. 69, note that the figure of Abundance can also be identified as Fortune and call this work almost certainly the center of a ceiling; find the style of the frescoes close to Giovanni Battista's of the 1750s, and attribute them to pupils or assistants, possibly after a design by the master.
Maria Santifaller. "Le soprapporte dei Tiepolo nel palazzo Canossa di Verona." Arte veneta 28 (1974), pp. 283–84 n. 15, notes that the figure of Virtue also appears in an overdoor in the palazzo Canossa, Verona, by Giovanni Domenico after a design by Giovanni Battista.
George Knox. Giambattista and Domenico Tiepolo: A Study and Catalogue Raisonné of the Chalk Drawings. Oxford, 1980, vol. 1, p. 309, no. P.170, includes the series in a checklist of paintings by Giovanni Domenico Tiepolo.
Mauro Cova in Palazzo dei Conti Valle: annotazioni per un tesoro ritrovato. Vicenza, 1986, pp. 22–23, 26–27, 31 nn. 1–4, fig. 25, following a restoration of the palazzo dei Conti Valle [palazzo Marchesini], identifies 43.85.12–16 as the frescoes mentioned by Arnaldi [see Ref. 1779] in the gallery of the palazzo, noting that the outlines of the compositions are clearly visible in the plaster remaining on the walls; erroneously implies that the frescoes were removed sometime between the two world wars; attributes the figures to Giovanni Battista; dates the entire decorative cycle about 1743 and compares it with monochromes by Tiepolo in the cappella sagredo in San Francesco della Vigna, Venice.
Vittorio Sgarbi in Palazzo dei Conti Valle: annotazioni per un tesoro ritrovato. Vicenza, 1986, pp. 7–9, dates the frescoes between 1747 and 1750.
Vittorio Veller in Palazzo dei Conti Valle: annotazioni per un tesoro ritrovato. Vicenza, 1986, p. 16.
Mauro Cova. "Vicenza: Palazzo Valle-Marchesini-Sala, scoperta e restauro di un ciclo di affreschi (G.B. Tiepolo - G. Mengozzi-Colonna)." Arte veneta 41 (1987), pp. 258–59, mistakenly states that the frescoes were detached from the walls in the 1920s.
Franco Barbieri. Vicenza, città di palazzi. Milan, 1987, pp. 115–16.
Mauro Cova in I Tiepolo e il Settecento vicentino. Exh. cat., Basilica palladiana, Vicenza. Milan, 1990, pp. 35–37, no. 1.3.1e, attributes 43.85.12–16 to Giovanni Battista Tiepolo and collaborators and dates them 1744–47; states that photographs reveal that the gallery of the palazzo contained two additional frescoes (Mars with a greyhound, Venus and Cupid), also detached from the walls and now lost; suggests that the iconography of the gallery could be related to Masonic themes, noting that the palazzo was the site of the first Masonic temple in 1735–38.
Rita Menegozzo. Nobili e Tiepolo a Vicenza. Vicenza, 1990, pp. 73, 77–78, 80–84, 86, in addition to the Mars and Venus [see Ref. Cova 1990], tentatively identifies two more frescoes from the gallery: two allegorical figures with an obelisk (John & Mable Ringling Museum of Art, Sarasota) and a bacchic head (Talleyrand collection, Paris); gives the subject matter a Masonic interpretation.
Massimo Gemin and Filippo Pedrocco. Giambattista Tiepolo: i dipinti, opera completa. Venice, 1993, pp. 370–71, no. 319, ill., list Mars, Venus, the two figures with an obelisk, and the head of Bacchus, together with 43.85.12–16, as having decorated the gallery of the palazzo Marchesini, and describe the placement of each work; attribute them to Giovanni Battista with some help from assistants, perhaps including Giovanni Domenico or Francesco Zugno; concur with Cova's (1990) dating of 1744–47.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 89, ill.
Keith Christiansen. "The Ca' Dolfin Tiepolos." Metropolitan Museum of Art Bulletin 55 (Spring 1998), pp. 18–19, fig. 22, notes that it "was intended to read as a sculpted medallion set into the ceiling".
Filippo Pedrocco. Giambattista Tiepolo. Milan, 2002, pp. 263–64, no. 180/9, ill.
Ismaele Chignola. "Gli affreschi di Tiepolo a palazzo Valle Marchesini: nuovi elementi per una datazione." Arte veneta 61 (2004), pp. 233, 239 n. 3, dates the palazzo Marchesini frescoes to 1760.
Virginia Brilliant. Italian, Spanish, and French Paintings in the Ringling Museum of Art. New York, 2017, pp. 310–11 n. 6, under no. I.183.