Leseprobe

53 place in a prominent group of worldly, Venetian do- nor-like auxiliary figures evoking a social context of clients, friends and lovers of the man from Cadore. 11 As if to confirm the triumph of Roman instantiated disegno over Venetian colore , these paintings seem to turn towards Raphael’s “Sistine Madonna” that, as a result of the classicist reception and early-romantic admiration, had developed into one of the main works in the gallery and was hung in a correspond- ingly prominent position immediately next to the large, syncretistic works of Annibale Carracci, as well as Correggio’s popular “Mary Magdalene”. 12 When the Inner Gallery was reorganized according to art-historical principles of chronology and artistic ge- ography in 1831/32, Titian’s “Aretino” was finally removed from this pseudo-iconological presenta- tional context and hung together with its counterpart – Veronese’s “Barbaro” – in the room reserved for Venetian art. 13 As early as in 1856 – the year after the inauguration of the new Semper Gallery – doubts arose about the traditional identification of the portrayed person; this can be seen as a symptom of the development of the picture gallery from a regal, representative collection to a public museum as a place of art-historical debate. Ill. 3 Digital reconstruction of the hanging of Titian’s “Portrait of the Pigment Merchant Alvise dalla Scala” in the Inner Gallery of the Dresden Picture Gallery in 1825 (Visualized with Gallery Creator)