The “Three Graces” and “Knight’s Dream”, painted by renaissance artist Rafael (Raffaello Sanzio) in the form of a diptych likely to be placed in the front of a chest, were commissioned by the family on the feast of the confirmation of Scipione di Tommaso of Borghese (1493-1563). A gift as an exhortation to face and to rightfully choose a path towards a successful life. The two tablets of equal measures (17.6 x 17.8 cm) were painted in 1504 during Rafael ’s stay in Florence and are the only non-religious works done by him before 1508.
The iconographic theme of the “Dream” is extracted from “Punica, Book 15”, the poetic version of Silius Italicus rediscovered by Bracciolini in 1417, which moralizing and philosophical character is accurately representative of the cultural context of the early ‘500. Two females figures, one with a sword and a book and the other with beautiful flowers appeared in, at the time a young condottiere, Scipio Africanus’ dream. On the left Minerva, a symbol of the impervious path which leads to the knowledge of virtue, and to the right, symbolized by Venus, the easiest way to the dangerous pleasures of life. Book, sword and flowers are a respectively symbols for Wisdom, Power, Beauty.
The theme of “gratitude” was transmitted from Hesiod (Theogony, 905) and inspired Rafael to reinterpret it during the renaissance. A theme that Seneca described, in “de Beneficis”, as the perfect allegory of the gift in its three phases: Giving, Receiving, Reciprocating. In this sense it is the most widespread allegory representing the grace, beauty and amiability.
The two works, accompanying himself, are mentioned in documents from the beginning and increasingly also in subsequent inventories of the collection, which is constantly being extended in the famous Villa Borghese in Rome. In 1693 ‘The Three Graces’ are marked with the number 68 and ‘The Sogno’ with the number 69. In 1791, the two allegories are still united in the collection and together with other two works are offered for sale.
The “Dream”, bought by W.Ottley and brought to England seven years after the painting of Rafael ‘s “Three Graces” as recorded in the inventory of 1798 of Villa Borghese, is purchased by the French Henri Reboul and remained in his property in Paris before being bought in 1822 by a London-based art dealer of Woodburn. Once itself in England, the “Three Graces”‘ was bought by “Sir” Thomas Lawrence, who also held “The Dream” and was then acquired by Lord Ward until 1885 as it reached Lord Dudley’s collection. Sold for 25 ‘ 000 Sterlings, it will join the art collection of the Duke of Aumale and will finally remain in Chantilly after his return from exile.
Short chronic of Rafael ‘s allegories ‘The Three Graces’ and ‘The Knight’s Dream’ (short names: ‘3G’ and ‘D’.)
1504
‘3G’ and ‘D’ are part of the art group of Rafael from which the famous Borghese collection originates and develops. The two paintings are first mentioned in chronicles of 1633 (2).
1650
‘3G’ and ‘D’ are noted in the document library that moves to Rome in the Villa Borghese (1) where it is continuously expanded. ‘3G’ with ‘D’ are recorded in Inventories from 1682 (2). Reaches Scipione Caffarelli Borghese (1614-1694) who had a great reputation as an art collector and patron, Cardinal and nephew of Pope Paul V Borghese
1693
‘3G’ and ‘D’ are marked with the numbers 68 and 69 and enrolled in the inventory of the collection (2).
1791
‘3G’ and ‘D’ still inventoried together, are part of the works of art for planned sales. ‘D’ is bought by W.Y. Ottley, engraver, drawings collector and art dealer, and was brought to England. Ottley again in Italy from 1793 to 1800, still makes purchases from Borghese and also in the collections Colonna and Corsini (6).
1798
‘3G’, 7 years separated by ‘D’ are still documented in the inventory of the Borghese collection (2).
1800
‘3G’ are bought by French Henri Reboul, general finance officer, who brings them to Paris (4). For study in Italy by artists J.L. David and J.B.J. Wicar that together make more than 800 drawings and copies of works of great masters. Among the many drawings by Rafael and schoolchildren who copied, there is no sketch or study that deals with the theme of grace..
1802
J.B.J. Wicar and D.V. Denon, are in Italy commissioned by Bonaparte to select works for the Musee Napoleon.
1811
‘D’ is sold by Ottley to 9970 F (8). Goes through the different collections and now in the National Gallery in London (6).
1816
S. Woodburn, London art dealer, is also active in Paris in the trade of prints and drawings by great masters. By purchasing large collections (p.e. Paignon Dijonval) meets the requirements of works of art by well-known British collectors (6).
1822
Woodburn buys ‘3G’ to 4000 F (5) after the Lady Reboul had searched in vain through Denon, former director of the Louvre, to sell the “3G” at the Museum. (Ch.Ponsonailhe in Compte-rendu of Soc. Des Beaux Arts, Paris 1897).
1825
‘3G’ are sold by the painter Thomas Lawrence Woodburn (6), which among other things is in possession of the largest collection in Europe of large original drawings and famous artists (3). Because at that time also “D” was in the collection of “Sir” T. Lawrence, so it was that after 25 years the two allegories of Rafael found themselves briefly reunited.
1831
‘3G’ returns to Woodburn, bought in liquidating the assets of Sir Lawrence following his death.
1832
‘3G’ are now at Lord Ward, Earl of Dudley, whose collection passes in the hands of his son Lord Dudley.
1833
‘3G’ are examined by Passavant, studious of art by Rafael, who visited in London the Collection of Lord Dudley (4).
1856
‘3G’ are examined from the historian G.F. Waagen at the art dealer Munro in London (7).
1857
‘3G’ are displayed at the exhibition “Art Treasures of the United Kingdom collected at Manchester” (3).
1868
‘3G’ still in the possession of Lord Dudley, are on display in the “Nationals exhibition of works of art” in Leeds (3).
1885
‘3G’ after the death of Dudley are purchased by the Duc d’Aumale to his collection in the castle Condé in Chantilly (3). The Duc d’Aumal (Henri d’Orleans, 5. son of Louis-Philippe) meets in Chantilly with its great collection of works of art, partly implemented also in exile. Already in 1884 he decided to leave the castle and the collection of art to the ”Institut de France”, with the condition and prohibition that inheritance is transferred nor lent.
1897
With the death of the Duke, the Rafael ‘s ‘3G’ and many other works of art can be admired only in the Musée Condé.
Lit.: (1) Mannilli; (2) G. Barberini; (3) Arch. Musée Condé; (4) M. Passavant; (5) R.Wiecker); (6) F. Lugt; (7) G.F. Waagen; (8) Benezit.