Copy letter from Charles Ruland to Joseph Spithöver in Rome thanking him for his letter of 25 April and listing the pictures the Prince Consort wishes to have photographed in Rome.

Ruland thanks Spithöver for his letter of 25 April and compliments him and his friend on their efficiency in sending such precise details of the Raphael pictures and drawings in the Vatican. He asks for the negatives of the pictures which the Prince wishes photographed to be made as soon as possible, regardless of whether the authenticity of any of them is in doubt, so long as they have been attributed to Raphael, and the Prince wants all those mentioned by Passavant. Ruland lists those in the Vatican and those in Rome; Spithöver's letter mentioned only architectural subjects, and Ruland asks whether this means there is no hope of obtaining the others.

(List)
In the Vatican: The resurrection (Passavant II.5) - but Graffonara's print for his Quadri della Sala Borgia, Rome 1820, would suffice instead of a photograph; the tapestry described in Pass. II, 270 No. 213;
With the art dealer Baseggio: the sacrifice of Cain and Abel (Pass. II p.16 & III p.158); Adam & Eve in paradise (Pass. III.158)
In Rome: In San Giovanni in Laterano (sacristy), cartoon for the Madonna d'Alba (Pass. II. 130); in the Academia San Luca: boy with the coat of arms of Pope Julius II (Pass. II. 138); in the Villa Pamphili: Noah building the Ark (drawing, Pass. II. 213 and 490); in the Palazzo Doria: portraits of Bartolo and Baldo (Naragero and Beazzano, Pass. II. 292); in the Palazzo Doria: (Fra Bartolomeo) Copy of a Rest on the Flight (Pass. II. 397); property of Signor Petrucci: Madonna giving a goldfinch to the Christ-child (Pass. II. 409); in the Quirinale: the apostles Peter and Paul (Pass. II. 418); in St Eugenio Rasponi: two cherubs (Pass. II. 420); in the Palazzo Borghese: portrait of Cardinal Borgia ? (Pass. II. 429) and of Cesare Borgia (Pass. II. 433); property of the painter Werner: portrait of Giovanni della Casa (Pass. III. 179); porch of Santa Maria in Dominca; Palazzo Coltrolini (Palazzo Vidoni); Casa Berti; Villa Madrina: fountain of the Turtles.
As for the works [by Raphael] in the province [of Rome], Ruland asks for all those on the list he sent earlier to be photographed if possible, whether authentic or not. The choir stalls of San Pietro in Perugia can be ignored, as the Prince has the engravings published in Rome. If it seems feasible, the Prince agrees with Spithöver's friend's suggestion that a drawing, perhaps a calque, should be made of any pictures which are too dark or hung too high.
Regarding the dispatch of the photographs, Ruland suggests that the completed numbers should be carefully packed in waxed cloth and sent via the Messageries Impériales; the packet could perhaps also be put inside a solid wooden box. Ruland will have the cost paid through the Court banker in Rome.

Related Material: For related correspondence, see VIC/ADDA10/85/293.