Memorials of Galileo Galilei, 1564-1642 : Portraits and paintings, medals and medallions, busts and statues, monuments and mural inscriptions / by J.J. Fahie ; with 20 portraits and 42 other illustrations.

  • John Joseph Fahie
Date:
1929
Catalogue details

Licence: In copyright

Credit: Memorials of Galileo Galilei, 1564-1642 : Portraits and paintings, medals and medallions, busts and statues, monuments and mural inscriptions / by J.J. Fahie ; with 20 portraits and 42 other illustrations. Source: Wellcome Collection.

    88/248 (page 46)
    Mrs. R. L. Poole refers to the picture in her “ Catalogue of Portraits in the Possession of the University, Colleges, City, and County, of Oxford ” (Vol. I, p. 41) as follows: — “ Galileo “Half length, slightly to L; face deeply lined; grey hair, moustache, and beard; square white collar, white cuffs, dark dress; his R hand grasps end of telescope; inscribed to L Galilaeo Galilaei; Canvas 30 in. by 25 in. (210). “A version of the portrait of which another was engraved by Pietro Bottellini [sic], marked Passignano dipinse. II quadro originale essiste nella Galleria di S. A. Principe Poniatowski.1 “This portrait was sent expressly from Italy and given to the University in April 1661 by Vincenzio Viviani, who at the age of eighteen, in 1639, came to live with Galileo, and remained with him till the end, ‘the last disciple and biographer of the master.’ He erected the first public monument to him in 1693, and left by will money and directions for raising the tomb in Santa Croce, Florence. Viviani d. 1703.“ Reproductions. (1) In the British Museum (Print Room) there is a small oval print, 3^ in. by 3 in.; it shows Galileo wearing a cloak edged with fur and slashed about the sleeves after the fashion of an LLD.’s gown. It is inscribed “J. Baker: From the Picture in the Public Library, Oxford.” Truly, the tag is necessary, so little resemblance is there to the Bodleian portrait. (2) In Mrs. Poole’s “Catalogue” above quoted. (3) In Wells’ “Outline of History,” 1920, Part 17. (4) In Singer’s “ History and Method of Science,” Oxford, 1921, Vol. II, p. 206 (Paper by }. J. Fahie). 1 This is a mistake. Passignano died in 1638, and could not have painted a version of Sustermans’ work of 1640, of which the Bodleian picture is a replica. The portrait engraved by Bettelini and marked “ Passignano dipinse,” is a totally different picture (see p. 24 supra).