Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 95. (Budapest, 2001)

DOBOS, ZSUZSANNA: Two hitherto unknown paintings by Flaminio Torri

and inclination to paraphrase, imitate and reproduce not only in his copies but also in his original compositions. Similarly to most of his works, the Budapest Rebekah at the Well also abounds in borrowings from the great predecessors. The tight structure and the post-Mannerist positioning of the figures show reminiscences of Cavedone's art.

23 The poses of Rebekah and Eliezer must have been inspired by Cantarini's drawing exploring the same subject matter (Rio de Janeiro, Biblioteca Nacional),

24 and with all probability the figures of the two girls balancing water-jugs on their heads were inspired by the master from Pesaro as well. The figures recalling Raphael's The Incendia del Borgo but ultimately deriving from antique prototypes appear in a drawing depicting the Birth of the Virgin (London, Victoria and Albert Museum)

25 as well as on a sheet from the Album Home (fig. 79).

26 Both Eliezer and Rebekah have their models in the oeuvre of Reni and Cantarini. Eliezer is a more rustic heir of Cantarini's Reading St Jerome (Urbino, Galleria Nazionale délie Marche),

27 while Rebekah is a more robust, vulgar sister of Reni's angelic, turbaned female figures. Similarly to his great ideal, Torri also produced a considerable graphic output, of which only a small part has been published so far. As Malvasia assessed him, "Disegnö mirabilmente e i suoi segni non furono cosi rotti come quei del Pesarese [Cantarini] ma più interi, seguiti e sicuri."

28 In the material published to date there are two drawings, which can be related to the Budapest painting. A sheet representing A Mother and Child in the Biblioteca Nacional, Rio de Janeiro, is doubtlessly the preliminary study to the right hand side detail of the picture (fig. 80).

29 The profile of the girl carrying a water-jug on her head on the left appears in a pencil drawing representing eyes, branches and three female faces (Milan, Collection Morelli).

30 Due to the organic development of Bolognese painting and to the relaying role of the artists, not only the sources but also the influence of the painting are worth examining. In connection with this, the Torri-Pasinelli attributional debate going on in the literature is also worth tackling. Torri's Rebekah at the Well must have been a highly esteemed and popular picture in the artistic circles of Bologna, which can be proved by a recently surfaced, old copy of it

31 and by its impact on the art of Pasinelli, a disciple of both Cantarini and Torri. In 23 The composition shows a surprising similarity with two drawings by Cavedone: The Incredulity of St Thomas (Bologna, Luna Guidazzoli collection) and Lot and his Daughters (Bologna, Malvasia collection). See Negro, E., - Roio, N., Giacomo Cavedone 1577 - 1660, Modena 1994, 176-177. 24 Red chalk, 186 x 269 mm. inv. 28,3; CIL See Ambrosini Massari, A. M., - Morselli, R., Disegni italiani della Biblioteca Nazionale di Rio de Janeiro. La collezione Costa e Silva, Milan 1995, 133-135. 25 Reproduced: Baroncini, C, Lorenzo Pasinelli, Faenza 1993, 202, fig. XlXb. 26 Cellini, M., Disegni di Simon de Pesaro. L'Album Home, Milan 1996, pi. 35. 27 Reproduced: Emiliani, A., et ed., Simone Cantarini detto il Pesarese 1612 - 1648, exh. cat., Bologna, Pinacoteca Nazionale 1997-1998, 116, n. 1.24. 28 Malvasia op.cit. (note 5) 383. 29 Red chalk, 189 x 173 mm, inv. 44,7. See Ambrosini Massari - Morselli, op. cit. (note 24) 154-155, fig. 100. The drawing has recently been attributed to Lorenzo Pasinelli by A. Mazza. See A. Emiliani et al., op. cit. (note 27) 375. 30 Bora, G., Giovanni Morelli. Collezionista di disegni, exh. cat., Milan, Castello Sforzesco, 1994— 1995,189-190. 31 Christie's, Rome, 23 May and 4 June 1996, n. 465, oil, canvas, 113 x 60 cm, auctioned as the work of Francesco Ruschi.