Letter from Baron de Triqueti to Charles Ruland giving details of drawings from his collection chosen by Dr. Ernst Becker to be photographed for the Prince Consort

In response to a letter from Ruland, Triqueti states that when Dr. Becker came to see his collection he chose not only the five drawings which Passavant thought were probably by Raphael, and which came from the collection of Triqueti's wife's grandfather, the sculptor Thomas Banks, but also four others, which Triqueti goes on to describe. They are: 1. The head of the Virgin in black chalk, of which he does not know the provenance, but which some attribute to Raphael 2. A fine drawing [apparently another head] which Triqueti does not think is by Raphael, on paper with a red wash 3. The continence of Scipio, in bistre; a very beautiful drawing, part of which has been badly retraced in ink, but Triqueti thinks it is by Raphael 4. A study for an Ecce Homo or St Sebastian, in silver point, which Triqueti considers the purest in his collection and the most likely to be attributable to Raphael. He acquired it from Mayor, an English dealer. Triqueti goes on to state that a friend of his in Paris, an acknowledged connoisseur named M. de Lasalle, owns a superb collection of drawings including five by Raphael which he bought at the sale of the King of Holland's collection. They are: 1. Drapery forming the base of a seated figure 2. An old man's head in profile 3. A Virgin with the Christ child on her knee 4. Various sketches for a Christ child on the Virgin's knee 5. A seated figure in ecclesiastical robes which Triqueti thinks comes from the upper part of the 'Dispute du St Sacrement'. Triqueti adds that Passavant knew these drawings, and both he and Reiset consider them fine examples of Raphael's work. He is sure M. de Lasalle would be glad to have them photographed for the Prince Consort, but he is away from Paris. However, they have already been photographed for Passavant, and Triqueti has a set of prints which he will take to Bingham to see if they can be copied for the Prince. Triqueti then recounts that a head of St Elizabeth belonging to M. Piot, which he thinks was shown to the Prince last year, was recently offered to the Louvre. The Director consulted various experts including Triqueti, who decided it was by Raphael, whereupon the Director showed it to the Emperor. But Court advisers placed such a derisory value on it that it had to be returned to its owner, although he had wanted too high a price. Triqueti laments the lack of interest in Raphael at the French Court, and congratulates Ruland on serving an enlightened Prince, thanks to whom posterity will be able to see the works of 'the first of painters'. In the Louvre, by contrast, the finest pictures are allowed to go to rack and ruin. He is distressed at the recent treatment of 'St Michael conquering the demon' by the restorers, who have partly destroyed it. Triqueti adds a postscript saying that Bingham does not think his [Triqueti's] photographs of Lasalle's drawings can be reproduced; he therefore sends his own set for the Prince. The art collection of King William II of the Netherlands, who died in 1849, was sold in 1850.