|Title||The Ordeal of Tuccia|
|Collection||Culture and Sport Glasgow (Museums): Kelvingrove Museum|
|Artist|| Attributed to studio of Tintoretto, Jacopo (Italian painter, 1519-1594)
Previously attributed to Schiavone, Andrea (Italian painter, printmaker, and draftsman, ca. 1500-1563, born in Dalmatia)
Previously attributed to Sustris, Lambert (Italian and Dutch painter, born ca. 1515-after 1560)
Previously attributed to Tintoretto, Jacopo (Italian painter, 1519-1594)
|Date Earliest||probably about 1540|
|Date Latest||about 1555|
|Description||Tuccia, a priestess of the temple of Vesta, accused of being unchaste, established her innocence by carrying water from the Tiber in a basin pierced with holes. She is shown hurrying, the basin in her hands, towards a group of priests waiting in front of a ruin. In the background an abbreviated view of the Castel Sant'Angelo and a bridge spanning a river stand for ancient Rome and the Tiber. The subject of the picture suggests that, though on canvas, it may originally have been a so-called cassone painting, used for the decoration of a dowry chest.|
|Current Accession Number||189|
|Subject||landscape; figure; mythology (Ordeal of Tuccia)|
|Measurements||47.6 x 103.2 cm cm (estimate)|
|Material||oil on canvas|
|Acquisition Details||Bequeathed by Archibald McLellan 1855.|
|Provenance||Alethea, Countess of Arundel, Amsterdam, before 1654 (probably).|
|Principal Exhibitions||Exhibition of Italian Art: 1200-1900, Royal Academy, London, 1930, cat. no. 336; McLellan Centenary Exhibition, Corporation of the City of Glasgow, Glasgow Art Gallery, 1954, cat. no. 51, as Schiavone; The Age of Titian: Venetian Renaissance Art from Scottish Collections, National Galleries of Scotland, Edinburgh, 2004, cat. no. 51 as 'Workshop of Jacopo Tintoretto'.|
|Publications||The McLellan Gallery: Catalogue of Pictures Bequeathed to the People of Glasgow by the late Archibald McLellan, Glasgow, 1855, 'Centre Room: Italian and German Schools', no. 104, p. 12, as 'The Daughter of Herodias going for the Head of St John the Baptist', by Andrea Schiavone; Waagen, G. F., Galleries and Cabinets of Art in Great Britain ... Forming a Supplemental Volume to the Treasures of Art in Great Britain, London, 1857, p. 460, no. 104, as Andrea Schiavone; Cox, M. L., 'Inventory of the pictures in the collection of Alethea, Countess of Arundel, at the time of her death in Amsterdam in 1654', Burlington Magazine, vol. 19, 1911, p. 283; Lord Bainiel and K. Clark, (ed.) in consultation with Modigliani, E., A Commemorative Catalogue of the Exhibition of Italian Art, Galleries of the Royal Academy, Burlington House, London, 1930, p. 153, no. 445, as Schiavone; Constable, W. G., 'Dipinti di raccolte inglesi alla mostra d'arte italiana a Londra', Dedalo, vol. 10, 1929-30, p. 752, between Tintoretto and Veronese; Berenson, B., Italian Pictures of the Renaissance, Oxford, 1932, p. 560; Pallucchini, R., La giovinezza del Tintoretto, Milan, 1950, pp. 96, 157, note 61; Berenson, B., Italian Pictures of the Renaissance: Venetian School, London, 1957, vol. 1, p. 173; Catalogue of Italian Paintings: Illustrations, Glasgow Art Gallery and Museums, 1970, p. 96 (ill., as Jacopo Tintoretto); Bernari, C. and P. de Vecchi, Tintoretto, Milan, 1970, p. 89, no. 37, as Tintoretto, 1545; Palluccini, R. and P. Rossi, Tintoretto: le opere sacre e profane, Venice, 1982, no. 98, pp. 147, ill. 125, as Tintoretto (the painting in the collection of the Countess of Arundel, 1654); Echols, R., 'Tintoretto, §Christ at the Sea of Galilee§, and the Unknown Later Career of Lambert Sustris', Venezia Cinquecento, vol. 4, no. 12, 1996, pp. 132, 135 (ill.), attributed to Lambert Sustris; Humfrey, P., cat. entry, Humfrey, P. and others, The Age of Titian: Venetian Renaissance Art from Scottish Collections, Edinburgh, National Galleries of Scotland, 2004, p. 154, no. 51, as workshop of Jacopo Tintoretto.|
Previously interpreted as Salome Carrying the Head of St John the Baptist, or, due to the lack of the head, as Salome Going to Receive the Head of St John the Baptist. The subject was first correctly identified as the story of the Vestal Tuccia at the time of the exhibition of Italian art at the Royal Academy in 1930. The traditional attribution to Andrea Schiavone was first doubted by Constable, on the occasion of the same exhibition.
On frame Royal Academy 'Italian Art'; label (artist: Schiavone); 1954 notice of restoration on back.
The present work belongs to a group of smaller paintings with scenes from the Old Testament that are usually described as cassone panels, and which were believed to be by Schiavone until the 1920s. Today the most famous of these small works, a painting in the Kunsthistorisches Museum at Vienna, is believed to be an early work of Tintoretto.
|Rights Owner||Culture and Sport Glasgow (Museums)|
|Author||Dr Heiner Krellig|