Overview
Ranuccio Farnese was 11 years old when Titian began to paint his portrait. Adult responsibility came to Ranuccio when he was still a child, as Titian brilliantly conveyed through the cloak of office, too large and heavy, sliding off the boy’s small shoulders.
When this painting was commissioned, Ranuccio had been sent to Venice by his grandfather, Pope Paul III, to become prior of an important property belonging to the Knights of Malta. A member of the powerful and aristocratic Farnese family, Ranuccio went on to an illustrious ecclesiastical career. He was made archbishop of Naples at the age of 14; by the time he was 19, he was patriarch of Constantinople and archbishop of Ravenna. He became archbishop of Milan in 1564, shortly before dying when he was only 35 years old.
Portraits by Titian were in great demand, distinguished as they were for their remarkable insight into character and their brilliant technique. Here, he limited his palette to black, white, and rose and enlivened the surface with light: the dull gleam rippling over the sleeves of the velvet cloak, the pattern flickering across the slashed doublet, and the changing reflections on the satin Maltese Cross.
Titian may have been motivated to approach this painting with particular care in the hope of securing papal patronage and work with the wealthy and influential Farneses. With the success of Ranuccio’s depiction, Titian was soon invited to paint a portrait of Paul III. His initial contacts with the papal family were followed by numerous additional Farnese commissions.
Entry
Ranuccio Farnese (1530–1565) was the grandson of Pope Paul III (reigned 1534–1549); the third son of Pierluigi Farnese, duke of Castro (1503–1547); and the younger brother of Cardinal Alessandro Farnese (1520–1589).
The fullest contemporary information about the circumstances of the commission is provided by a letter from Leoni in Padua to Cardinal Alessandro in Rome, dated September 22, 1542. Leoni wrote that the bishop of Brescia was about to return to Rome, bringing with him the completed portrait; that the bishop commissioned it as a gift for the boy’s mother (Gerolama Orsini, duchess of Castro); and that it demonstrates Titian’s extraordinary skill as a portraitist, especially since it was executed partly in the presence of the sitter and partly in his absence.
As is revealed by a letter from the painter’s friend Pietro Aretino to the sculptor Leone Leoni in July 1539,
The priorship of San Giovanni di Malta was the first in a succession of ecclesiastical offices and benefices conferred on Ranuccio. In 1544 he was made archbishop of Naples; in 1545 he became cardinal of Santa Lucia in Selci (a title later exchanged for that of Sant’Angelo); in 1549 he was made patriarch of Constantinople and archbishop of Ravenna; and in 1564, shortly before his premature death, he became archbishop of Milan.
After being sent to Rome at the end of 1542, the portrait was presumably hung with other family portraits in the Palazzo Farnese. As pointed out by Francis Kelly, it was used by
When the picture resurfaced in the Cook collection toward the end of the 19th century, John Charles Robinson accepted the signature as genuine, and because of the Neapolitan provenance, he accurately conjectured that the sitter was a member of the Farnese family.
Following John Pope-Hennessy,
Peter Humfrey
March 21, 2019
Inscription
center right: TITIANVS / .f.
Provenance
Farnese family, Parma, by 1644;[1] Farnese family, Palazzo del Giardino, Parma, by 1680;[2] Farnese family, Palazzo della Pilotta, Parma, by 1708;[3] by inheritance 1734 to the Bourbon collection, Naples;[4] Bourbon collection, Palazzo di Capodimonte, Naples, by 1765;[5] Bourbon collection, Palazzo Francavilla, Naples, by 1802;[6] Bourbon collection, Palazzo degli Studi, Naples, by 1816.[7] brought from Naples to London by Sir George Donaldson [1845-1925], London;[8] sold May 1880 to Sir John Charles Robinson [1824-1913], London; sold to Sir Francis Cook, 1st bt. [1817-1901], Doughty House, Richmond, Surrey, by 1885;[9] by inheritance to his son, Sir Frederick Lucas Cook, 2nd bt. [1844-1920], Doughty House; by inheritance to his son, Sir Herbert Frederick Cook, 3rd bt. [1868-1939], Doughty House; by inheritance to his son, Sir Francis Ferdinand Maurice Cook, 4th bt. [1907-1978], Doughty House, and Cothay Manor, Somerset; sold June or July 1947 to (Gualtiero Volterra, London) for (Count Alessandro Contini Bonacossi, Florence);[10] sold July 1948 to the Samuel H. Kress Foundation, New York;[11] gift 1952 to NGA.
Associated Names
Contini Bonacossi, Alessandro, CountCook, 1st bt., Francis, Sir
Cook, 2nd bt., Frederick Lucas, Sir
Cook, 3rd bt., Herbert Frederick, Sir
Cook, 4th bt., Francis Ferdinand Maurice, Sir
Donaldson, George, Sir
Kress Foundation, Samuel H.
Robinson, John Charles, Sir
Volterra, Gualtiero
Exhibition History
- 1976
- Zapadnoevropeiskaia i Amerikanskaia zhivopis is muzeev ssha [West European and American Painting from the Museums of USA], State Hermitage Museum, Leningrad; State Pushkin Museum, Moscow; State Museums, Kiev and Minsk, 1976, unpaginated and unnumbered catalogue.
- 1983
- The Genius of Venice 1500-1600, Royal Academy of Arts, London, 1983-1984, no. 121, repro.
- 1990
- Tiziano [NGA title: Titian: Prince of Painters], Palazzo Ducale, Venice; National Gallery of Art, Washington, 1990-1991, no. 33, repro.
- 1994
- A Gift to America: Masterpieces of European Painting from the Samuel H. Kress Collection, four venues, 1994-1995, no. 2, repro. (shown only at first two venues: North Carolina Museum of Art, Raleigh, and Museum of Fine Arts, Houston).
- 1995
- I Farnese: Arte e Collezionismo, Palazzo Ducale di Colorno, Parma; Haus der Kunst, Munich; Galleria Nazionale di Capodimonte, Naples, 1995-1996, no. 26, repro. (shown only in Munich and Naples).
- 2003
- Titian, The National Gallery, London; Museo Nacional del Prado, Madrid, 2003, no. 25 (English catalogue), no. 22 (Spanish catalogue), repros.
- 2009
- Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, Museum of Fine Arts, Boston; Musée du Louvre, Paris, 2009-2010, no. 42 (English catalogue), no. 43 (French catalogue), repros.
- 2013
- Tiziano, Scuderie del Quirinale, Rome, 2013, no. 22, repro.
- 2015
- Loan for display with permanent collection, Wadsworth Atheneum Museum of Art, Hartford, 2015.
Technical Summary
The plainly woven, medium-weight support, which was last lined during conservation treatment in 1948–1950, is covered with an exceptionally thin layer of white ground. The paint is applied in thin, opaque layers throughout, with some low, textured brushwork in the white collar and in the highlights of the sword hilt and belt. Dark, shadowed areas of the face are modeled wet into wet with the flesh paint of the surface and are not, as might be assumed, areas of dark-colored ground left exposed. Examination of the painting with infrared did not reveal any underdrawing, nor did the x-radiographs indicate any major pentimenti, but both infrared reflectography (Vidicon)
Close examination of the signature with a binocular microscope did not reveal any cause to question its authenticity. The paint surface suffers from moderate general abrasion, particularly in the face, and elsewhere throughout the composition, the paint is abraded down to the tops of the dark-colored threads of the fabric support. Records indicate that the painting was lined by Stephen Pichetto in 1948 and cleaned and restored by Mario Modestini in 1949–1950.
Peter Humfrey and Joanna Dunn based on the examination report by Paula De Cristofaro
March 21, 2019
Bibliography
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- 1936
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- 1944
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- 1950
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- 1951
- King, Marian. Portfolio Number 3. National Gallery of Art, Washington, 1951: no. 3, color repro.
- 1951
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- 1953
- Pallucchini, Rodolfo. Tiziano. Lezioni di storia dell’arte. 2 vols. Bologna, 1953-1954: 1:209, 212; 2:11, 16.
- 1955
- Dell’Acqua, Gian Alberto. Tiziano. Milan, 1955: 123.
- 1957
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- 1959
- Kress 1957, 191, repro.
- 1959
- Morassi, Antonio. “Titian.” In Encyclopedia of World Art. 17+ vols. London, 1959+: 14(1967):col. 143.
- 1959
- Shapley, Fern Rusk. Early Italian Painting in the National Gallery of Art. Washington, D.C., 1959 (Booklet Number Three in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): pl. 75.
- 1960
- Fragnito, Gigliola. “Ranuccio Franese.” In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 82+ vols. Rome, 1960+: 45(1995):150.
- 1960
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- 1961
- Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 120, repro. pl. 113, 115.
- 1962
- Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 32, color repro.
- 1962
- Neugass, Fritz. "Die Auflösung der Sammlung Kress." Die Weltkunst 32 (1 January, 1962): 4.
- 1962
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- 1963
- Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 307, repro.
- 1964
- Morassi, Antonio. Titian. Greenwich, CT, 1964: 38.
- 1965
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 130.
- 1966
- Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:178-179, color repro.
- 1966
- Pope-Hennessy, John. The Portrait in the Renaissance. London and New York, 1966: 279-280, 326.
- 1967
- Fabbro, Celso. “Tiziano, i Farnese e l’abbazia di San Pietro in Colle nel Cenedese.” Archivio Storico di Belluno, Feltre e Cadore 38 (1967): 3.
- 1968
- Ballarin, Alessandro. “Pittura veneziana nei Musei di Budapest, Dresda, Praga e Varsavia.” Arte Veneta 22 (1968): 247.
- 1968
- National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 116, repro.
- 1968
- Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 182-183, fig. 428-429.
- 1969
- Matteoli, Anna. “La ritrattistica del Bronzino nel ‘Limbo.’” Commentari 20, no. 4 (1969): 303-304.
- 1969
- Pallucchini, Rodolfo. Tiziano. 2 vols. Florence, 1969: 1:99, 107, 277.
- 1969
- Valcanover, Francesco. L’opera completa di Tiziano. Milan, 1969: 112-113.
- 1969
- Wethey, Harold. The Paintings of Titian. 3 vols. London, 1969-1975: 2(1971):28, 98-99.
- 1972
- Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 203, 513, 647.
- 1975
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 346, repro.
- 1976
- Gallego, Julian. “El retrato en Tiziano.” Goya 135 (1976): 171.
- 1976
- Krsek, Ivo. Tizian. Prague, 1976: 65.
- 1976
- Pozza, Neri. Tiziano. Milan, 1976: 251.
- 1976
- Rizzati, Maria Luisa. Tiziano. Milan, 1976: 93.
- 1977
- Pallucchini, Rodolfo. Profilo di Tiziano. Florence, 1977: 39.
- 1978
- Rosand, David. Titian. New York, 1978: 114.
- 1979
- Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:483-485; 2:pl. 344.
- 1980
- Meller, Peter. “Il lessico ritrattistico di Tiziano.” In Tiziano e Venezia: Convegno internazionale di studi (1976). Vicenza, 1980: 332.
- 1980
- Pallucchini, Rodolfo. “Tiziano e la problematica del Manierismo.” In Tiziano e Venezia: Convegno internazionale di studi (1976). Vicenza, 1980: 401.
- 1983
- Martineau, Jane, and Charles Hope. The Genius of Venice, 1500-1600. Exh. cat. Royal Academy of Arts, London, 1983: 225.
- 1983
- Ramsden, E. H. “Come, take this lute”: A Quest for Identities in Italian Renaissance Portraiture. Salisbury, 1983: 64, 193.
- 1984
- Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 206, no. 248, color repro.
- 1985
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 396, repro.
- 1986
- Gemäldegalerie Berlin: Gesamtverzeichnis der Gemälde. London, 1986: 75.
- 1987
- Bertini, Giuseppe. La Galleria del Duca di Parma. Storia di una Collezione. Bologna, 1987: 41, 57, 62, 89.
- 1987
- Wethey, Harold E. Titian and His Drawings, with Reference to Giorgione and Some Close Contemporaries. Princeton, 1987: 83 n.80, 98 n.80.
- 1989
- Freedman, Luba. “Titian’s Portrait of Clarissa Strozzi: The State Portrait of a Child.” Jahrbuch der Berliner Museen 39 (1989): 177.
- 1990
- Campbell, Lorne. Renaissance Portraits: European Portrait-Painting in the 14th, 15th, and 16th Centuries. New Haven, 1990: 178-179, 181, color fig. 194,195.
- 1990
- Titian, Prince of Painters. Exh. cat. Palazzo Ducale, Venice; National Gallery of Art, Washington. Venice, 1990: 244.
- 1990
- Zapperi, Roberto. Tiziano, Paolo III e i suoi nipoti: Nepotismo e ritratto di stato. Turin, 1990: 27.
- 1991
- Zapperi, Roberto. “Tiziano e i Farnese: Aspetti economici del rapporto di committenza.” Bolletino d’arte 76 (1991): 39.
- 1992
- National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 101, repro.
- 1992
- Robertson, Clare. Il Gran Cardinale: Alessandro Farnese, Patron of the Arts. New Haven and London, 1992: 69-70.
- 1993
- Oberhuber, Konrad. “La mostra di Tiziano a Venezia.” Arte Veneta 44 (1993): 79.
- 1994
- Jaffe, Michael. "On Some Portraits Painted by Van Dyck in Italy, Mainly in Genoa." Studies in the History of Art 46 (1994): 141-142.
- 1994
- Jestaz, Bertrand, ed. L’Inventaire du Palais et des Propriétés Farnèse à Rome en 1644, Vol. 3, Pt. 3: Le Palais Farnèse. Rome, 1994: 171.
- 1995
- Fornari Schianchi, Lucia, and Nicola Spinosa, eds. I Farnese: Arte e collezionismo. Exh. cat. Palazzo Ducale, Colorno; Galleria Nazionale di Capodimonte, Naples; Haus der Kunst, Munich. Milan, 1995: 203-206.
- 1995
- Tuohy, Thomas. “The Farnese: What a Family.” Apollo 142, no. 403 (September 1995): 64.
- 1998
- Kaminsky, Marion. Titian. Cologne, 1998: 76-77.
- 1999
- Cole, Bruce. Titian and Venetian Painting, 1450-1590. Boulder, 1999: 110-112.
- 1999
- Valcanover, Francesco. Tiziano: I suoi pennelli sempre partorirono espressioni di vita. Florence, 1999: 43, 267.
- 2001
- Pedrocco, Filippo. Titian: The Complete Paintings. New York, 2001: 50, 179.
- 2003
- Falomir, Miguel, ed. Tiziano. Exh. cat. Museo Nacional del Prado, Madrid, 2003: 192, 370-371.
- 2003
- Fletcher, Jennifer. “Titian as a Painter of Portraits.” In Titian. Edited by David Jaffé. Exh. cat. The National Gallery, London, 2003: 39-40.
- 2003
- Jaffé, David, ed. Titian. Exh. cat. The National Gallery, London, 2003: 136.
- 2004
- Danziger, Elon. "The Cook Collection: Its Founder and Its Inheritors." The Burlington Magazine 146, no. 1216 (July 2004): 457.
- 2004
- Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 102-103, no. 78, color repro.
- 2006
- Fletcher, Jennifer. “‘La sembianza vera.’ I ritratti di Tiziano.” In Tiziano e il ritratto di corte da Raffaello ai Carracci. Edited by Nicola Spinosa. Exh. cat. Museo Nazionale di Capodimonte, Naples, 2006: 40.
- 2006
- Wolf, Norbert. Tizian. Munich, 2006: 67.
- 2006
- Zapperi, Roberto. “Tiziano e i Farnese.” In Tiziano e il ritratto di corte da Raffaello ai Carracci. Edited by Nicola Spinosa. Exh. cat. Museo Nazionale di Capodimonte, Naples, 2006: 51.
- 2007
- Humfrey, Peter. Titian. London, 2007: 138.
- 2007
- Humfrey, Peter. Titian: The Complete Paintings. Ghent and New York, 2007: 187.
- 2007
- Romani, Vittoria. Tiziano e il tardo rinascimento a Venezia: Jacopo Bassano, Jacopo Tintoretto, Paolo Veronese. Florence, 2007: 114, 135.
- 2008
- Fletcher, Jennifer. “El retrato renacentista: Funciones, usos y exhibición.” In El retrato del Renacimiento. Edited by Miguel Falomir. Exh cat. Museo del Nacional Prado, Madrid, 2008: 76.
- 2009
- Ilchman, Frederick, et al. Titian, Tintoretto, Veronese: Rivals in Renaissance Venice. Exh. cat. Museum of Fine Arts, Boston; Musée du Louvre, Paris. Boston, 2009: 216-219.
- 2009
- Ilchman, Frederick, et al. Titien, Tintoret, Véronèse: Rivalités à Venise. Exh. cat., Musée du Louvre, Paris, 2009: 276.
- 2011
- Biferali, Frabrizio. Tiziano: Il genio e il potere. Rome, 2011: 161.
- 2012
- Gentili, Augusto. Tiziano. Milan, 2012: 210-212.
- 2012
- Hale, Sheila. Titian: His Life. London, 2012: 437.
- 2013
- Avery-Quash, Susanna. “Titian at the National Gallery, London: An Unchanging Reputation?” In The Reception of Titian in Britain: From Reynolds to Ruskin. Edited by Peter Humfrey. Turnhout, 2013: 224.
- 2013
- Marinelli, Sergio. “Pietro Bembo nella storia della pittura.” In Pietro Bembo e le arti. Edited by Guido Beltramini, Howard Burns, and Davide Gasparotto. Venice, 2013: 476-477.
- 2013
- Smith, Zadie. "Man vs. Corpse." New York Review of Books 60, no. 19 (December 5, 2013): 16, color fig.
- 2013
- Villa, Giovanni C.F., ed. Tiziano. Exh. cat., Scuderie del Quirinale, Rome. Milan, 2013: 178-181.
- 2014
- Bouvrande, Isabelle. Le Coloris Vénitien à la Renaissance. Autour de Titien. Paris, 2014: 167-169.
- 2015
- Lacourture, Fabien. “’You Will Be a Man, My Son’: Signs of Masculinity and Virility in Italian Renaissance Paintings of Boys.” In The Early Modern Child in Art and History. Edited by Matthew Knox Averett. The Body, Gender and Culture 18. Oxford and New York, 2015: 108-110, fig. 6.5.
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