Caravaggio. Félix Witting
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Berlin, Gemäldegalerie, catalogue n° 369–1815 from the Giustiniani Collection. – Dijon, museum, catalogue n° 646.
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Only example in Berlin, Gemäldegalerie, n° 381, this is the catalogue: „Wie durch gleichzeitige Berichte bestätigt wird, hat Caravaggio in Nr. 369 und 381 die irdische und die himmlische Liebe darstellen wollen.“ (“As contemporary reports confirm, Caravaggio wanted to represent earthly and heavenly love in n° 369 and 381”)
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Musée des Offices, n° 1031; Phot. Alinari.
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J. Buckhardt,
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Catalogue n° 408, toile
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Baglione,
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See Baglione,
Baglione,
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J. Buckardt,
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Witting,
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J. Burckhardt,
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Cat. n° 365; toile, H: 2,32 m × L: 1,83 m. – Compare with Hirth-Murther, Cicerone der Königliche Gemäldegalerie Berlin, p. 111; Gesellschaft (Photographic Association), Berlin
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Catalogue n° 32; according to Eisenmann,
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Baglione, op.cit., ch. 1; Louvre, catalogue n° 1121.
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Compare with Eisenmann,
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Baglione 1. c. – Catalogue of the pictures in the National Gallery, 1894, n° 172.
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Innsbruck, Ferdinandeum cat. 565. – The image in Notre Dame de Bruges can be found on a pillar in the central nave, to the right of the crossing. – Bellori also mentions three variations of the Emmaus painting (1. c.); according to him, one featuring five figures was painted for the Marchese Patrizj, the second was made for Cardinal Scipione Borghese in Rome, and the third was painted in Zagarolo, near Palestrina, for Count Mazio Colonna.
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J. Burckhardt,
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See below, p. 4. The two small decorative pieces in the Kestnermuseum in Hanover (n° 61, 62) were probably made in collaboration with Prosperino.
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See Baglione 1. c.; cf. Mariano Vasi 1. c. p. 5.
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Buckhardt,