St. Helena and the Emperor Constantine Presented to the Holy Trinity by the Virgin Mary
- Date
- 1741–42
- Material
- Oil on canvas
- made in
- Rome, Lazio region, Italy, Europe
- Classification
- Paintings
- Collection
- European Art to 1800
- Current Location
- On View, Gallery 204
- Dimensions
- 137 1/8 x 56 3/4 in. (348.3 x 144.1 cm)
- Credit Line
- Museum Purchase
- Rights
- Public Domain
- Object Number
- 31:1963
NOTES
This sketch for a church ceiling is organized into three main groups of figures to make it comprehensible to viewers standing on the floor below. At the top, Jesus Christ, the central figure of Christianity, holds a flag and kneels in front of a cross, symbol of his death. In the middle section, Christ’s mother the Virgin Mary, garbed in bright blue, looks up at Jesus as she beckons to St. Helena, kneeling at the left. The saint presents her own son, the emperor Constantine. In the lowest grouping, St. Michael the archangel vanquishes a group of heretics and topples Lucifer from his throne.
The artist presented this very finished sketch to Pope Benedict XIV (1675–1758) for approval before painting the ceiling of the Church of the Holy Cross in Jerusalem, where his work can still be seen today. The painting and a newly-designed façade were part of the pope’s effort to refurbish the Roman basilica he served before ascending to the papacy.
The artist presented this very finished sketch to Pope Benedict XIV (1675–1758) for approval before painting the ceiling of the Church of the Holy Cross in Jerusalem, where his work can still be seen today. The painting and a newly-designed façade were part of the pope’s effort to refurbish the Roman basilica he served before ascending to the papacy.
Provenance
Cardinal Silvio Valenti Gonzaga (1690-1756), Rome, Italy [1]
by 1860 -
Inman Collection, USA [2]
by 1880 - still in 1881
Mrs. William Tilden, New York, NY [3]
by 1915 - 1963
Albert S. Ludlow (1844-1919), Waukesha, WI; Frederich H. Ludlow, Milwaukee, WI, by inheritance [4]
1963 -
Saint Louis Art Museum, purchased from Frederich H. Ludlow [5]
Notes:
This painting was previously attributed to Giovanni Battista Tiepolo (1669-1770).
[1] The Getty Provenance Index lists Cardinal Gonzaga as a possible owner of the work. Gonzaga was an avid art collector with more than 40,000 objects in his collection, and he was a close associate to Pope Benedict XIV. According to a 1986 article, the Cardinal suggested to the Pope the restoration of numerous churches and monuments, including Santa Croce in Gerusalemme [Cormio, Stefania. "Il cardinale Silvio Valenti Gonzaga, promotore e protettore delle scienze e delle belle arti." "Bollettino d'arte." Vol. 35-36 (June-April 1986), pgs. 49-66]. A few years after Cardinal Gonzaga's death in 1756, an auction was held in Amsterdam where many of his art treasures were sold to various buyers. However, after reviewing published accounts of his inventory, and the archival papers available at the Getty Provenance Index, the painting has not appeared. The Cardinal's name probably became associated with the Museum's picture because of a letter from Matthiesen Fine Art Limited, which states that two other modelli from Santa Croce's vault, "Moses Striking the Rock" and "Moses and the Brazen Serpent" (National Gallery, London), belonged to Cardinal Gonzaga's collection [letter dated April 11, 1983, SLAM document files]. Although Cardinal Gonzaga's ownership of this painting cannot be wholly proved at this time, Gonzaga owned other works by Giaquinto, and therefore it is possible that he owned the Museum's painting as well.
[2] According to a 1915 article, the American painter, Henry Inman (1801-1846), brought the picture to the United States from Florence in 1860 ["A Remarkable Tiepolo." American Art News. Vol. 13. No. 18 (February 6, 1915)]. This information conflicts with Inman's life dates of 1801-1846, and there seems to be no evidence to support a trip to Florence to purchase the painting. However, in 1844 Inman and his daughter traveled to England and Scotland to alleviate some of his health problems. Although Inman could have bought the painting at some point during this trip, it is highly improbable. It is more likely that his son John O'Brien Inman, who was also an artist, bought the painting during his sojourn to Italy from 1866-1878 [National Gallery of Art; Wilkinson, Carolyn B. "John O'Brien Inman." "Magazine Antiques" (November 1998)]. It is also possible that the reference to Henry Inman refers to another person altogether who happened to share the same name.
[3] According to the catalogue for a loan exhibition at the Metropolitan Museum of Art from October 1880 - March 1881, this painting was in the collection of Mrs. William Tilden ["Loan Collection of Paintings in the West and East Galleries." New York: Metropolitan Museum of Art, 1881, cat. no. 307]. Mrs. Tilden could be the wife of William Tilden Blodgett (1823-1875) who was an active member of the Metropolitan Museum's Board of Trustees. In 1871 Blodgett played a crucial role in the acquisition of 174 Dutch and Flemish paintings that later became the nucleus of the Metropolitan's Museum collection.
[4] Albert S. Ludlow owned the painting in 1915, according to a 1915 article (see note [2]). Albert Ludlow's ownership is confirmed by a handwritten letter dated May 8, 1967, from Albert's grandson, John Ludlow [SLAM document files].
[5] A letter dated June 17, 1963 from Frederich H. Ludlow, Albert's son and executor of his estate, confirms the purchase of the painting by the Saint Louis Art Museum [SLAM document files]. Minutes of the Administrative Board of Control and Associate Members of the Board of Control of the City Art Museum, June 14, 1963.
by 1860 -
Inman Collection, USA [2]
by 1880 - still in 1881
Mrs. William Tilden, New York, NY [3]
by 1915 - 1963
Albert S. Ludlow (1844-1919), Waukesha, WI; Frederich H. Ludlow, Milwaukee, WI, by inheritance [4]
1963 -
Saint Louis Art Museum, purchased from Frederich H. Ludlow [5]
Notes:
This painting was previously attributed to Giovanni Battista Tiepolo (1669-1770).
[1] The Getty Provenance Index lists Cardinal Gonzaga as a possible owner of the work. Gonzaga was an avid art collector with more than 40,000 objects in his collection, and he was a close associate to Pope Benedict XIV. According to a 1986 article, the Cardinal suggested to the Pope the restoration of numerous churches and monuments, including Santa Croce in Gerusalemme [Cormio, Stefania. "Il cardinale Silvio Valenti Gonzaga, promotore e protettore delle scienze e delle belle arti." "Bollettino d'arte." Vol. 35-36 (June-April 1986), pgs. 49-66]. A few years after Cardinal Gonzaga's death in 1756, an auction was held in Amsterdam where many of his art treasures were sold to various buyers. However, after reviewing published accounts of his inventory, and the archival papers available at the Getty Provenance Index, the painting has not appeared. The Cardinal's name probably became associated with the Museum's picture because of a letter from Matthiesen Fine Art Limited, which states that two other modelli from Santa Croce's vault, "Moses Striking the Rock" and "Moses and the Brazen Serpent" (National Gallery, London), belonged to Cardinal Gonzaga's collection [letter dated April 11, 1983, SLAM document files]. Although Cardinal Gonzaga's ownership of this painting cannot be wholly proved at this time, Gonzaga owned other works by Giaquinto, and therefore it is possible that he owned the Museum's painting as well.
[2] According to a 1915 article, the American painter, Henry Inman (1801-1846), brought the picture to the United States from Florence in 1860 ["A Remarkable Tiepolo." American Art News. Vol. 13. No. 18 (February 6, 1915)]. This information conflicts with Inman's life dates of 1801-1846, and there seems to be no evidence to support a trip to Florence to purchase the painting. However, in 1844 Inman and his daughter traveled to England and Scotland to alleviate some of his health problems. Although Inman could have bought the painting at some point during this trip, it is highly improbable. It is more likely that his son John O'Brien Inman, who was also an artist, bought the painting during his sojourn to Italy from 1866-1878 [National Gallery of Art; Wilkinson, Carolyn B. "John O'Brien Inman." "Magazine Antiques" (November 1998)]. It is also possible that the reference to Henry Inman refers to another person altogether who happened to share the same name.
[3] According to the catalogue for a loan exhibition at the Metropolitan Museum of Art from October 1880 - March 1881, this painting was in the collection of Mrs. William Tilden ["Loan Collection of Paintings in the West and East Galleries." New York: Metropolitan Museum of Art, 1881, cat. no. 307]. Mrs. Tilden could be the wife of William Tilden Blodgett (1823-1875) who was an active member of the Metropolitan Museum's Board of Trustees. In 1871 Blodgett played a crucial role in the acquisition of 174 Dutch and Flemish paintings that later became the nucleus of the Metropolitan's Museum collection.
[4] Albert S. Ludlow owned the painting in 1915, according to a 1915 article (see note [2]). Albert Ludlow's ownership is confirmed by a handwritten letter dated May 8, 1967, from Albert's grandson, John Ludlow [SLAM document files].
[5] A letter dated June 17, 1963 from Frederich H. Ludlow, Albert's son and executor of his estate, confirms the purchase of the painting by the Saint Louis Art Museum [SLAM document files]. Minutes of the Administrative Board of Control and Associate Members of the Board of Control of the City Art Museum, June 14, 1963.
We regularly update records, which may be incomplete. If you have additional information, please contact us at provenance@slam.org.