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« The Malmesbury Judgement of Paris: the Full Picture: Updated Research Report 1. | Main | Claude in Oxford »

12/21/2011

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H Niyazi

Many thanks for the update David. Anyone interested in the fullest picture will want to have as much information to sort through as possible. It has never been a question of weighting one factor over another, but simply that a more likely attribution will have more points of comparison beyond "thematic"

Kemp/Cotte did it for La Bella Principessa, and the group that looked at Salvator Mundi used the same technique. As a humble reporter, I'm a small fish in a much larger ocean of people interested in Raphael.. none of whom have registered a blip of concern publicly on this piece. Meyer zur Capellen commented on the Frankfurt Julius II within days of its public announcement, which made news globally.

Beyond our esoteric corners of the net, there has been no response to this piece - you would think a new Raphael would deserve such a response? We are both fond of James Beck's book on the 'Pinks' - even he stressed the need for consensus, as long as it was transparently reported.

GC could produce findings of a ground and pigment analysis that may at least be consistent with materials used in Raphael's workshop in Rome (and known extant pieces). Even these would not guarantee an attribution on their own.

Quite simply, it's *never* all about the science, it's about the *combination* of factors, and whether other qualified persons agree. This absence of cumulative factors, and the lack of critical response is a cause for concern, surely?

As points of comparison, the Fornarina and Madonna della Sedia have been put through much scrutiny as Raphael pieces for centuries. Perhaps a more viable analogy would be Giorgione's Judith, long given to Raphael on stylistic grounds.

Kind Regards
H

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