Shakespeare's Freedom

Abstract

Raphael's Sistine Madonna over the course of the nineteenth century "from sacred to profane cult image, " as it successfully usurps Correggio's La Notte for the place of honour in the Dresden picture gallery.Angela Windholz reconstructs a nineteenth-century monument to the salvific effects of Raphael in her study "'Savior, Prince of Color': The Collection of Raphael Copies in the Orangery in Potsdam (1858)." In the final essay of the collection, Inge Reist takes the reader up to the early years of the twentieth century, when the chief prize for American captains of industry in their acquisition of culture for the New World was the largely elusive Raphael Madonna.The editors' claim for the essays in Sacred Possessions-that they demonstrate how "the collecting of religious art in Italy and the collecting of Italian religious art elsewhere constituted a special case within the larger study of collecting"-can be substantiated only by a much larger comparative study, a field for which this book prepares the ground.More to the point is the expansive list of questions posed by Feigenbaum and Ebert-Schifferer in their introduction.Rather than assert a single thematic or theoretical centre, Sacred Possessions is a witness to the complex diversity in the use, possession, and perception of Italian religious art within European and American cultures of collecting during the long early modern period.

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