25

34

Cicogna 1842 (see note 7), p. 363.
35

Bembo speaks specifically of a »copietta« = small copy: See Lisa Goldenberg Stoppato, Pulzone e i
Medici. Regesto di documenti, in: exh. cat. Scipione Pulzone 2013 (see note 2).
36

Goldenberg Stoppato 2013 (see note 35), 20.6.1586, pp. 128-129.
37

Marco Barbaro, Arbori de ’patritii veneti, Facsimile in Biblioteca Correr Venice; van Kessel (see
note 31) has reconstructed the name of Bembo’s wife on the basis of a manuscript held in the Biblioteca
 Marciana in Venice.
38

Goldenberg Stoppato 2013 (see note 35), 8.6.1586, pp. 122-123.
39

Nicolò Contarini, Delle historie Veneziane et altre à loro annesse cominciando dall’anno 1597,
Manuscript in Venice, Biblioteca Marciana, Mss It. VII 176 (8619), fol. 248v, 249r.
40

Cicogna 1842 (see note 7), pp. 563-564; Contarini (see note 39), fol. 248v, 249r.
41

Langedijk 1981 (see note 20), p. 321; see also Lisa Goldenberg Stoppato, Pulzone e I Medici. La
committenza di Francesco I de’ Medici e Bianca Cappello (1584-1586), in: exh. cat. Scipione
Pulzone 2013 (see note 2), pp. 103-109.
42

»[…] and I say about Gaetano, who gave me when I left the attached reminder, which I give to Your
Highness, though, that he wanted to have that lapis lazoli, as you will see. And because I would not
want anything to hinder the favour, which I receive from you, in having Your portrait painted by
such a great artist, I come to tell you what I have been asked to do. In order that, if I cannot see your
Highness, I can at least see your genuine portrait, which is the first favour that I asked You for at the
Poggio«, cf. Goldenberg Stoppato 2013 (see note 35), 5.11.1585, 121.
43

Dern 2004 (see note 21), p. 60, has related this letter to the painting commissioned for Bembo for
the first time.
44

»No. 155 the portrait of Bianca Cappello Grand Duchess of Florence, 2 ½ hand-breadths high 2
wide by Scipione Gaetani’ in: Rosella Lauber, Artifices celebratos nominare. Riflessioni sulle opere
di Tiziano nel collezionismo veneziano, in: Venezia Cinquecento 36 (2008), pp. 231-292, 284; »141
A Picture of Bianca Capella Great Duchess of Tuscany p 2 ½ & 2 of Scipione Galtano’ in: Ellis K.
Waterhouse, Paintings from Venice for Seventeenth-Century England: Some Records of a Forgotten
Transaction, in: Italian Studies VII (1952), pp. 1-23, 18.
45

The original frame that Bembo had made has been lost. Van Kessel 2011 (see note 31), pp. 224-232.
46

Inventarium [...], in: Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses,
vol. I, part II, 1883, LXXIX-CLXXVII W [66.56 x 56.16 cm].
47

Ferdinand A. Storffer, Neu eingerichtetes Inventarium, vol. III, 1733 (KHM Gemäldegalerie): Nr. 7:
»The wife of Bartholomew Spranger, painted by himself«.
48

The 1772 Inventory (Manuscript KHM Gemäldegalerie) mentions the painting in the: »Gallerie, 5.
Cabinet Nr. 850 Die Frau des Spranghers (Spranger’s wife)«; Christian v. Mechel, Verzeichnis der
Gemälde der Kaiserlichen Königlichen Bildergallerie in Wien, Vienna 1783, No. 11, p. 267; Eduard
Engerth, Gemälde. Beschreibendes Verzeichniss, vol. III, Deutsche Schulen, Vienna 1886, p. 231;
August Schäffer, Gustav Glück, Die Gemäldegalerie. Alte Meister, Vienna 1907, No. 1498.
49

Günther Heinz,  Studien zur Porträtmalerei an den Höfen der österreichischen Erblande, in: Jahrbuch
 der Kunsthistorischen Sammlungen in Wien 59 (1963), pp. 99-224, 224.
50

The analyses were carried out by Katharina Uhlir (KHM Scientific Laboratory) using the museum’s
own „PART II“ instrument, developed in connection with FWF project no. L430-N19.
51

Friedrich Kenner, Die Porträtsammlung des Erzherzogs Ferdinand von Tirol. Die Italienische Bildnisse.
 Die Medici von Florenz, in: Jahrbuch der Kunsthistorischen Sammlungen des allerhöchsten
Kaiserhauses  XVIII (1897), pp. 135-261, 135.