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Venice and the Origins of the Art-Historical Tradition of Display of the Modern Museum

The transformation of the cabinet of curiosities or Wunderkammer, in which the objects were linked only in that they had been gathered eclectically by the same idiosyncratic collector, and the art gallery into the modern museum began its slow process in the eighteenth century. It took most of the century for collectors to develop ways of grouping paintings, statues and antiquities by national schools and art-historical periods. The period-room mode of organization, that is a series of rooms arranged chronologically by stylistic period, though not always arranged chronologically within each room, was the first notable format to emerge from this gestation period Nikolaus Pevsner refers to it as the »principle of the future«. Germain Bazin and Niels von Holst have described the invention of art history, and the role it plays in structuring the modern museum experience, as a product of the Enlightenment. The rise of historicism, manifested primarily by the study of art history in Winckelmann’s pioneering History of Ancient Art of 1764 , certainly contributed much to the new culture of art display in the later eighteenth century. Roger de Piles’s Abrégé de la Vie des Peintres of 1699 , deliberately arranged chronologically according to schools rather than artists, and the Recueil Crozat of 1729 /42 , a compendium of engravings of Italian paintings and drawings arranged by »forming different classes or schools«, seem, however, to have played an important role in shaping the earliest collections organized in their display by school and chronology. In his recent book, Inventing the Louvre: Art, Politics and the Origins of the Modern Museum in Eighteenth-Century Paris (1994), Andrew McClellan attempted to trace the genealogy of the new art-historical culture of display, applied on a vast scale in the Louvre at the very end of the eighteenth century. Nevertheless, he identified no earlier example of the implementation of the system of school and chronology in its display than the Düsseldorf Gallery of 1756 . This paper focuses on earlier examples of the application of this system to art galleries’ installations and explores the prominent role that Venice seems to have played between 1720 and 1750 in the origins of these novel museological ideas, manifested first and foremost in the collection of the Franciscan friar, philosopher and architectural theorist Padre Carlo Lodoli (169