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Luigi Salerno research papers, 1948-1996

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Finding aid for the Luigi Salerno research papers, 1948-1996
Series III. Research files, 1950-1992, undated 11.6 linear feet (26 boxes)
The research files cover artists and topics, as well as project files related to exhibitions, major publications and positions of employment. Research areas with a particularly strong concentration of materials include: Caravaggio, Guercino, Salvator Rosa, still-life painting, vedute and landscape painting. The wide-ranging nature of Salerno's scholarly interests is well documented, albeit in less depth, in the final subseries on other artists and topics.
Materials in this series include correspondence, extensive handwritten and typescript notes, a large number of offprints, extracts and articles, and numerous images including black-and-white photographs, color photographs, transparencies, black-and-white negatives and photomechanical reproductions of works of art, as well as publication drafts, proofs, essays and checklists.
The series is arranged in seven subseries: Series III.A. Caravaggio, 1954-1992, bulk 1970-1985, undated; Series III.B. Guercino, 1952, 1980-1991, undated; Series III.C. Still-life painting, 1956-1990, bulk 1980-1990, undated; Series III.D. Rosa, Salvator, 1950-1991, undated; Series III.E. Landscapes and vedute, 1967-1991, undated; Series III.F. Il Settecento a Roma, exhibition, 1957-1959, undated; Series III.G. Other artists and topics, 1950-1975, undated.
In contrast to the photograph archive described in Series IV, whose organization is made evident by Salerno's clearly labeled enclosures, Salerno's research files were not filed in strict order, making their arrangement challenging. Whenever possible, the files were maintained in the order in which they were received. In other instances, files found in notable disarray have been arranged by artist, topic, publication or exhibition in line with the loose organizational schema utilized by Salerno.
Series III.A. Caravaggio, 1954-1992, bulk 1970-1985, undated
The subseries includes numerous images and extensive notes regarding Caravaggio and his followers. Also included are articles, offprints and clippings related to the artist, a number of galleys from Benedict Nicolson's posthumously published volume The International Caravaggesque Movement, exhibition object checklists, draft essays by Salerno and others, technical examinations, conference remarks and correspondence. The bulk of the correspondence is from Denis Mahon.
In 1965 Salerno was invited to Pennsylvania State University to teach a graduate seminar on Caravaggio during the fall term. The file on this seminar includes correspondence from students, bibliographies, notes and several sketches.
In the 1970s Salerno and Denis Mahon were heavily involved in the rediscovery of two works acquired by American museums. The first of these, Martha and Mary Magdalene (also known as the Conversion of the Magdalene or the Alzaga Caravaggio), was acquired by the Detroit Institute of Arts in 1973. Files on the Detroit Magdalene include photographs of the work, an undated examination of the painting by Giovanni Corradini and drafts, in Italian, of Salerno's 1974 article entitled "The Art-Historical Implications of the Detroit 'Magdalen'," which appeared in The Burlington Magazine. The file also contains a technical examination of the painting by James L. Greaves and Meryl Johnson.
The second painting was the Cleveland Museum of Art's The Cruxifixion of Saint Andrew. Files regarding the St. Andrew include numerous photographs, negatives and transparencies of the work, press releases from the museum regarding the acquisition and a photocopied, annotated draft of the footnotes for Ann Tzeutschler Lurie's article on the painting. The file also includes a galley of Lurie's article, 1977 newspaper clippings from "El Pais" regarding the painting's export from Spain, a copy of a questionnaire filled out by conservator Jan Dik and a photocopied statement of facts regarding the painting's sale.
In 1974 Salerno was invited to speak at the Convegno internazionale di studi caravaggeschi in Bergamo and this subseries includes his remarks. It also includes research material and correspondence from Denis Mahon and Mia Cinotti related to Salerno's 1984 Apollo article "Caravaggio: A Reassessment." In addition, the papers contain material on the 1985 Metropolitan Museum of Art exhibition The Age of Caravaggio.
Box Folder
5 7 Pennsylvania State University seminar
Includes 1965 correspondence with Mahon regarding a version of David with the Head of Goliath, and correspondence with students.
Caravaggio and related artists
Box Folder
5 8 Papers
Box Folder
56 9 Negative
Box Folder
5 9-11 Notes
Articles, offprints and readings
Box Folder
5 12-15 Papers
Box Folder
56 9 Color photograph
Box Folder
5 16 Exhibition catalog In the Light of Caravaggio (Trafalgar Galleries, 1976)
5 17 Galley and images
Includes Bulletin of the Metropolitan Museum of Art, October 1953.
5-6 Images
Includes a note from Giuseppe Pio fu Michele and a draft letter from the committee organizing the 1956-1957 exhibition Il Seicento europeo: realismo, classicismo, barocco.
Followers of Caravaggio
Box Folder
6 2-5 Papers
Box Folder
56 9 Transparency
Box Folder
6 6-7 Convegno internazionale di studi caravaggeschi, 1974
File relates to the activities held on the 400th anniversary of the birth of Caravaggio and to Salerno's essay "Caravaggio e la cultura nel suo tempo," in Novità sul Caravaggio. Atti del Convegno internazionale di studi caravaggeschi di Bergamo. Includes drafts of Salerno's remarks, correspondence regarding the conference, conference programs and receipts and reimbursements.
Martha and Mary Magdalene, Detroit Institute of Arts
Box Folder
6 8-15 Papers
Box Folder
56 9 Transparency
Other Alzaga painting
After establishing contact with Salerno in relation to the Detroit Magdalen, it appears that Martin de Alzaga may have sent images of another painting in the family collections seeking advice. This painting is not by Caravaggio, however, Salerno filed these materials with those regarding the Detroit painting.
Box Folder
6 16 Papers
Box Folder
56 10 Radiographs and transparencies
The Crucifixion of Saint Andrew, Cleveland Museum of Art
6-7 Papers
Box Folder
56 11 Negatives and transparencies
Box Folder
7 6-10 "Caravaggio: A Reassessment"
In a June 1984 article published in Apollo titled Caravaggio: A Reassessment Salerno reviews Mia Cinotti and G. A. Dell'Acqua's work on the artist which appeared in I Pittori bergamaschi dal XIII al XIX secolo. In his review Salerno assesses the publication in juxtaposition to a book by Howard Hibbard released in the same year and discusses the painting Boy Paring a Bitter Fruit in detail.
7 11-13 The Age of Caravaggio (Metropolitan Museum of Art, 1985)
Includes preliminary object checklists, correspondence, and photocopies of catalog entries mailed to Salerno by Mina Gregori.
7 14 Clippings and articles
Oversize-Box Folder
61* 1 Radiographs
Contains four radiographs, 30 x 40 cm. The radiographs were housed in an envelope labeled, "Caravaggio," addressed to Salerno from the Cassa di risparmio di Roma: Laboratorio scientifico di ricerche fisiche.
Series III.B. Guercino, 1952, 1980-1991, undated
This subseries contains material Salerno amassed while researching the monograph I dipinti del Guercino, which he published in conjunction with Denis Mahon in 1988. The files include a number of photographs of works attributed to Guercino, annotated indices from the 1988 book, photocopies of articles and essays on the artist, Mahon's 1981 Apollo articles on Guercino, drafts of a letter regarding La Sibilla Frigia, correspondence and invoices related to the conservation of the Santa Barbara, extensive hand-written and typed notes, many on works included in the catalogue raisonné. Notes on particular paintings are written and annotated by both Mahon and Salerno.
The subseries also includes correspondence, scattered throughout the research files. Correspondents include: Prisco Bagni, Creighton Gilbert, Laurence B. Kanter, D. Stephen Pepper, Karin Rådström and Ksenija Rozman. A significant portion of the correspondence is actually addressed to, or written by, Mahon, rather than Salerno. Additional materials include, preliminary lists of works to be included in the catalog and their corresponding catalog numbers, notes from the Vatican archives and a summary description of Semiramis Receiving Word of the Revolt of Babylon, Museum of Fine Arts, Boston.
Finally, the subseries includes a number of photographic permissions, invoices and receipts related to the illustrations reproduced in the 1988 volume. The folders of permissions are interspersed with additional correspondence which is not related to the Guercino monograph, but appears to have been filed in this location because it was received by Salerno contemporaneously. Some of the letters request attribution advice while others grant permission for reproductions of works attributed to Salvator Rosa and other artists. Typically, only a single letter is present from the correspondents listed below. Correspondents in this section include: Andrzej S. Ciechanowiecki of the Heim Gallery, John Hand of the National Gallery of Art (U.S.), Richard Herner of P. & D. Colnaghi & Co., David Kolch of the Art Institute of Chicago, T.D. Llewellyn of Sotheby's, Ann Tzeutschler Lurie of the Cleveland Museum of Art, Lynn Federle Orr of the Fine Arts Museums of San Francisco, Wolfgang Prohaska of the Kunsthistoriches Museum Wien, Pierre Rosenberg of the Musée du Louvre and William H. Wilson of the John and Mable Ringling Museum of Art.
7-8 Black-and-white photographs
Box Folder
56 12 Color photograph and transparencies
Box Folder
8 2 Indices, bibliography, reviews and other materials
Correspondence, notes and images
Box Folder
8 3-10 Papers
Box Folder
56 13 Color photographs and transparencies
Box Folder
8 11 Prints
Papers and images
Box Folder
8 12-14 Papers
Box Folder
56 14 Color photographs, negative and transparencies
Box Folder
9 1 Atlas, Museo Bardini
Includes correspondence and remarks from Mahon, Joyce Plesters of the National Gallery (Great Britain) and Raffaella Rossi Manaresi of the Centro "Cesare Gnudi" per la conservazione delle sculture all'aperto.
The Toilet of Venus, private collection, California
Includes 1986 correspondence with the painting's owner.
Box Folder
9 2-3 Papers
Box Folder
56 15 Transparency
Transparency is actually a version of La Maddalena che contempla i chiodi della Passione.
Box Folder
9 4-6 Photographic permissions
Series III.C. Still-life painting, 1956-1990, bulk 1980-1990, undated
In 1984, Ugo Bozzi Editore published Salerno's work La natura morta italiana. The publication of this monograph resulted in a surge of correspondence with accompanying photographs, requesting attribution advice. The influx of new information on the subject prompted Salerno to write a second volume Nuovi studi su la natura morta italiana, which appeared in 1989.
In the course of researching these volumes Salerno amassed a huge number of images of still-life paintings or natura morta. The subseries primarily consists of black-and-white photographs, but also includes photomechanical reproductions of paintings affixed to large sheets of cardstock, possibly gleaned from auction catalogs. Frequently the cardstock is labeled and organized by the artist's last name. Other photographic images in the subseries do not appear to be in a particular order. Many, but not all, of the artists represented are those featured in Salerno's 1984 work. Additional images of still life painters may be found in the photograph series, organized by artist name.
Papers include notes on particular artists, extracts, an exhibition catalog and correspondence from individuals and institutions seeking Salerno's aid in attributing paintings or congratulating him on his publications. Some of the correspondence is not related to still-life painting and appears to have been filed with this material because it was received by Salerno during the time period when he was active in this research area.
Papers and images
Box Folder
9 7-12 Papers
Box Folder
56 16 Color photographs, negatives and transparencies
Box Folder
9 13 Nuovi studi su la natura morta italiana - Review
Includes several drafts of a letter from Salerno to author Alessandro Morandotti of the Giornale dell'Arte, for errors published in a September 1990 review of the volume.
9-11 Black-and-white photographs
56-57 Color photographs, negatives and transparencies
Box Folder
11 6 Arcimboldi, Giuseppe and followers
Bocchi, Ulisse
Contains images of still life paintings sent by Bocchi to Salerno. See also Series I. Correspondence, Bocchi, Ulisse file.
Box Folder
11 7 Black-and-white photographs
Box Folder
57 8 Color photographs
Box Folder
11 8 Muratori, Alfredo
Contains images of still life paintings sent by Muratori to Salerno.
Series III.D. Rosa, Salvator, 1950-1991, undated
Salerno authored two monographs on Salvator Rosa, one in 1963 and another in 1975. The subseries consists primarily of images of works attributed to Rosa. Papers include research notes on Rosa, letters from Ronald Kutcha of the Santa Barbara Museum of Art, exhibition catalogs from the Leger Galleries and the Central Art Gallery, Northampton, correspondence and a contract from Rizzoli Editore, letters from the Matthiesen Gallery regarding the Raising of Lazarus, notes on Baldinucci and brief notes on other landscape painters of the seventeenth century.
L'opera completa di Salvator Rosa
Includes photographs of the works reproduced in the volume, which are marked with illustration numbers on the verso. See also Series I. Correspondence, Rizzoli file.
Box Folder
11 9-13 Black-and-white photographs
Box Folder
57 9 Negatives and transparencies
Box Folder
12 1-4 Works on paper
Contains black-and-white photographs of drawings, sketches, watercolors and prints of works attributed to Rosa.
12 5-6 Papers
Image files are occasionally interspersed with correspondence or notes.
12-13 Black-and-white photographs
Also includes a large number of photocopies from the Witt Library.
Box Folder
57 10-12 Color photographs, negatives and transparencies
Box Folder
13 2 Correspondence and notes
13 9 Notes on Salvator Rosa and other painters
Witchcraft scenes
Contains images. Salerno published "Four Witchcraft Scenes by Salvator Rosa" in The Bulletin of the Cleveland Museum of Art, 1978.
Box Folder
13 10 Black-and-white photographs
Box Folder
57 13 Color photographs and transparencies
Papers and images
13-14 Papers
Box Folder
57 14 Color photographs and transparency
14 2 Offprint of "Due opere tarde di Salvator Rosa"
Grabski (IRSA)
Includes drafts of Salerno's article "Due momenti singolari di Salvator Rosa," in Italian and English, and a portion of a corrected essay entitled "Il trattamento della notte nella pittura di paesaggio italiana." The article on Rosa had been rejected by Apollo before being accepted by Artibus et Historiae. See also Series I. Correspondence, IRSA Verlag file.
Box Folder
14 3 Papers
Box Folder
57 15 Color photographs
Series III.E. Landscapes and vedute, 1967-1991, undated
A significant portion of the subseries relates to the planning of an unrealized 1971 show Paesaggio e veduta a Roma dal Seicento all'Ottocento. Materials related to the exhibition include annotated object checklists, notes, loan forms, institutional correspondence approving and rejecting loans and correspondence from the municipal government of Rome, as well as personal correspondence with Denis Mahon, Helen Mullaly and Terence Mullaly. The file also includes an object checklist from the Victoria and Albert Museum's 1968 exhibition Englishmen in Italy. "Post exhibition" material contains several drafts of an outline of complaints addressed to the mayor of Rome regarding the show's cancellation and a version signed by Andrea Busiri Vici, Salerno and Giuliano Briganti.
Repurposing his research from this aborted exhibition, Salerno published a three-volume, bilingual edition on Roman landscape painting entitled Pittori di paesaggio del Seicento a Roma, or, Landscape Painters of the 17th Century in Rome (1977-1980). Salerno's last major publication I pittori di vedute in Italia: (1580-1830), appeared in 1991. Although Salerno published separate works on landscape painting and view painting, images and notes regarding artists are frequently intermingled. This subseries includes many black-and-white photographs and photomechanical images of landscapes, view paintings and prints. It also contains notes on individual artists.
Images of various landscape and vedute artists include painters such as: Francesco Albotto, Nicolaas Pietersz Berchem, Canaletto, Gaspard Dughet, Adam Elsheimer, Jean-François Millet, Thomas Patch, Cornelius van Poelenburgh, Adam Pynacker, Salvator Rosa, Herman Saftleven, Willem Schellinks, Israël Silvestre and Thomas Wyck. Notes on individual artists include: Robert Adam, Paolo Anesi, Bernardo Bellotto, Nicolas-Didier Boguet, Charles-Louis Clérisseau, Alexander Cozens, John Robert Cozens, Louis Ducros, Philothée-François Duflos, Jean-Honoré Fragonard, Pier Leone Ghezzi, Hans de Jode, Antonio Joli, Joseph Anton Koch, Hendrik Frans van Lint, Andrea Locatelli, Adrien Manglard, William Marlow, Hubert Robert, Carle Vernet and Claude-Joseph Vernet.
Paesaggio e veduta a Roma dal Seicento all'Ottocento, exhibition
Box Folder
14 4 Checklists and loan forms
14 5-6 Post exhibition
14 7 Notes
Various artists - Images
Box Folder
14 8 Photomechanical prints
Majority of images are taken from auction catalogs, however, file also includes a few black-and-white photographs.
14 9 Black-and-white photographs
Box Folder
57 16 Color photograph and transparency
Marine painters and others
Box Folder
14 10 Papers and images
Box Folder
57 17 Color photograph
Box Folder
14 11 Notes
File also includes an extract on Giambattista Bassi and a few images of figural works.
14-15 Black-and-white photographs
Box Folder
57 18 Transparency
Pittori di paesaggio del Seicento a Roma - Appendix
Includes correspondence from Clovis Whitfield, Daan Cevat, the Germanisches Nationalmuseum and the Toledo Museum of Art, as well as black-and-white photographs, illustration proofs and annotated text proofs for several of the entries. Materials on vedute, which are divided into the categories of foreign artists (artisti stranieri) and Italian painters (pittori italiani), are organized alphabetically by the artist's last name and consist of images, usually one or two per artist, publications and brief notes. Some of the images are the same as those published in the 1991 volume. Illustration proofs are photomechanical, AM halftones in blue ink. Also includes one letter from Benedict Nicolson, which is entirely unrelated and concerns his publication on Caravaggesque pictures.
Box Folder
15 4-6 Papers and proofs
Box Folder
57 19 Transparencies
Various photographs (landscapes, vedute and attributions)
Images are primarily organized by artist name.
Box Folder
15 7-11 Black-and-white photographs
Box Folder
57 20 Color photographs and transparency
Vedute - Foreign artists
Organized alphabetically by artist's last name. See page 383 in I pittori di vedute in Italia (1580-1830), for the "Artisti Stranieri - Indice."
15-16 Papers and images
Box Folder
57 21 Transparencies
Box Folder
16 4 Vedute - Miscellaneous artists
Vedute - Foreign artists and Italian painters
Salerno divided artists published in his monograph on view painting into these two categories. File includes artists represented in I pittori di vedute in Italia (1580-1830).
Box Folder
16 5-7 Papers and images
Box Folder
57 22 Transparencies
Box Folder
16 8 Research on view painting, the Grand Tour and other topics
Includes notes from the Vicariato.
16 9 Research notes on Manglard, Adrien and several others
16-17 Italian Landscape Painting, exhibition
Includes 1986-1988 correspondence from Lynn Federle Orr, curator at the Fine Arts Museums of San Francisco. Orr was planning a show and sent Salerno a list of artists which she intended to include to ask for his comments. Much of the file consists of photocopies of works of art by these artists. The show was unrealized.
Series III.F. Il Settecento a Roma, exhibition, 1957-1959, undated
Salerno served on the organizing committee of the exhibition Il Settecento a Roma, which took place in 1959. He also contributed entries to the catalog Il Settecento a Roma: Mostra promossa dall'Associazione amici dei musei di Roma, realizzata sotto gli auspici del Ministero della pubblica istruzione e del Comune di Roma: 19 marzo-31 maggio 1959, published by De Luca editore. This subseries contains materials related to the planning of the show. Papers include object checklists, research notes, offprints, correspondence and comments from other exhibition committee members on works being considered for inclusion, in particular, the opinions of Brinsley Ford, Corrado Maltese and Ellis Kirkham Waterhouse appear. Materials on eighteenth century and related artists contain images and notes organized alphabetically by artist last name, typically with one or two photographs and one page of notes enclosed in a paper wrapper. Some, but not all, of these artists appear in the exhibition catalog. It seems that Salerno continued adding to these files in the decades following the show, as they also include a few of the neoclassical artists featured in the 1972 exhibition The Age of Neo-Classicism.
Box Folder
17 2 Offprints
Includes two unrelated 1972 letters from Edward Morris, Keeper of Foreign Art, at the Walker Art Gallery in Liverpool.
17 3, 5 Various images
Images may also related to Salerno's work with the Soprintendenza.
17 4 Image checklists and other materials
17 6-8 Papers
Includes a few black-and-white photographs.
17-18 Eighteenth century and related artists
Artists organized alphabetically by last name.
Series III.G. Other artists and topics, 1950-1975, undated
This subseries includes research materials on other artists and topics in which Salerno was interested. Many of the files contain only a single essay draft, photocopy, reprint or offprint. Files on Lanfranco, the Soprintendenza ai monumenti del Lazio, the Carracci family and Gaspard Dughet are among the more substantial.
Early in his career, Salerno published several articles on Lanfranco. Materials related to Lanfranco include extensive research notes, essays, article drafts, images, offprints and correspondence, primarily from Mahon.
Files related to the Soprintendenza primarily contain black-and-white photographs of sites before and after restoration. The bulk of the files contain between two and 15 images. Many of the photographs document damage to buildings prior to treatment, including cracking, flaking and loss. Some illustrate preliminary in-fill treatments or samples of cleaned or treated areas, while others document the final results of restoration work. The majority of the photographs in this section were found in envelopes and folders labeled by Salerno with abbreviated site names. These original containers have been retained. Some of the images in these files may have been gathered in relation to an exhibition of work undertaken by the soprintendenze in Rome and Lazio and a small number are reproduced in the exhibition catalog Tutela e valorizzazione del patrimonio artistico di Roma e del Lazio: Mostra documentaria dell'attività di tutela, restauro, sistemazione museografica e incremento patrimoniale svolta dal 1. gennaio 1963 al 30 marzo 1964 dalle Soprintendenze e dagli Instituti di Roma dipendenti dalla Direzione generale delle antichità e belle arti: Roma, Palazzo Venezia: 12-19 aprile 1964. A few of the files also include Salerno's hand-written notes, sketched floor plans, restoration proposals, typed site summaries, clippings and other research materials.
Materials concerning Gaspard Dughet include a significant number of images of works attributed to the artist, a draft of Salerno's essay "La cronologia di Gaspard Dughet" and extensive research notes and checklists of works attributed to Dughet.
Additional information on other artists and topics that received less coverage are described in greater detail at the file level. Miscellaneous materials which could not be identified are filed at the end of the subseries. It seems that these papers and images may have been gathered by Salerno with the intention of filing them with other related materials; however, they remained unfiled.
Box Folder
18 15 Research on collecting and the rococo style
18 16 "Daniel Webb Plagiario di Raffaelo Mengs"
This essay was published in 1951 in the periodical English Miscellany. File includes research notes and a draft.
18 17 "Il Vasari in Inghilterra"
This essay was published in 1952 in a compilation of conference proceedings entitled Studi vasariani: Atti del convegno internazionale per il IV. centenario della prima edizione delle "Vite" del Vasari. Firenze, Palazzo Strozzi, 16-19 settembre 1950.
18 18 Notes on cross-cultural exchange between Italy and foreign countries
Lanfranco, Giovanni
Box Folder
19 1 "L'opera romana di Giovanni Lanfranco"
Includes an essay, a few black-and-white photographs and other reprints.
19 2-3, 5 Images
19 4 Lanfranco and related artists
19 6 Papers
19 7 Brandi, Giacinto
Contains papers related to the artist.
19 8-9 Lanfranco and Sisto Badalocchio
19 10 "La giovinezza di Giovanni Lanfranco"
Includes a 1951 letter from Mahon in which he offers suggestions on Salerno's article. The article in question is likely a 1952 publication on "The Early Work of Giovanni Lanfranco," however no drafts of the article are in the file.
19 11, 13 Photographs
19 12 Publications from Schleier
Box Folder
20 1 "Il profeta Isaia di Raffaello e il putto della Accademia di S. Luca" and other materials
Contains an offprint of Salerno's article, an extract and an auction catalog.
20 2 "A Study of Some Frescoes in the Villa Lante Bagnaia: Cavaliere d'Arpino, Tassi, Gentileschi and their Assistants"
Contains a copy, wanting first page, of Salerno's 1960 Connoisseur article and a 5 lire note. See also Series IV. Photographs, Bagnaia, Villa Lante file.
20 3 Galleria Ruffo
Contains brief notes and a photocopied 1916 essay from Bollettino d'arte regarding the Ruffo collection.
20 4 "The Picture Gallery of Vincenzo Giustiniani"
Contains a reprint.
20 5 "Arte, scienza e collezioni nel manierismo"
Contains images from the essay Salerno contributed to a 1963 publication edited by Alessandro Marabottini, entitled Scritti di storia dell'arte in onore di Mario Salmi.
20 6-7 Museums (Pallavicini, Colonna, Barberini)
File includes what appears to be a review of the 1966 exhibition catalog Il mobile e l'artigianato romano del '600 e '700, which was held at the Palazzo ducale di Zagarolo under the auspices of the Associazione artistica culturale G. Pallavicini. File also contains notes on a publication by Evelina Borea and photographs of different palazzi, frescoes undergoing restoration and neoclassical furniture.
20 8 "La Calcografia nazionale"
Contains a 1969 extract from Musei e gallerie d'Italia on the Calcografia, authored by Salerno.
20 9 "Il dissenso nella pittura: Intorno a Filippo Napoletano, Caroselli, Salvator Rosa e altri"
20 10 Exportation and thefts of works of art
Contains clippings related to art exportation and art thefts, which may be related to Salerno's work for the Ufficio esportazione.
Soprintendenza ai monumenti del Lazio
File titles devised by Luigi Salerno. In some instances, additional information has been provided for the purposes of disambiguation.
Box Folder
20 11 Palazzo di Zagarolo
20 12-13 Palazzo Farnese di Caprarola
20 14 Santa Maria della Quercia, Viterbo
20 15 Oratorio di Santa Caterina, Viterbo
Box Folder
21 1 Valmontone
21 2-3 Trevi nel Lazio
21 4 Trevignano
21 5 Roccasecca dei Volsci
21 6 Subiaco
21 7 Poli
21 8 Pofi
21 9-11 Palazzo Barberini, Palestrina
21 12 Palazzo del Drago, Bolsena
21 13 Santa Cristina, Bolsena
21 14 Capradosso, Rieti
21 15 San Lorenzo a Cave
21 16 Santa Maria della Filetta, Amatrice, Rieti
21 17 Corchiano, Viterbo
21 18 Farfa Badia
21 19 Grottaferrata
21 20 Magliano Romano
21 21 Montefiascone, San Flaviano
San Marcello
Box Folder
21 22 Black-and-white photographs
Box Folder
57 23 Transparencies
Box Folder
21 23 San Giovanni Decollato
21 24 Palazzo Spada
21 25 San Stefano del Cacco
21 26 Roma
Contains black-and-white images of assorted sites including Castel Sant'Angelo, Palazzo Mattei, Palazzo Spada, San Pietro in Montorio and others.
Box Folder
21 27-28 Black-and-white photographs
Box Folder
57 24 Color photograph
Box Folder
22 1 Images of Viterbo, Rome and others
Via Giulia
In 1973, Salerno co-authored a monograph with Luigi Spezzaferro and Manfredo Tafuri entitled Via Giulia: una utopia urbanistica del 500. File contains images of buildings featured in the volume such as the Palazzo Spada, San Giovanni dei Fiorentini and the Oratorio del Gonfalone. Some of the photographs, however, do not appear to relate to this street.
Box Folder
22 2 Images and other locations
22 3 Images and notes
22 4 Photographic permissions
22 5-9 L'Accademia nazionale di San Luca
Salerno contributed an essay to a 1974 volume on the Accademia entitled "L'Ambiente di Palazzo Carpegna." The file includes extensive research notes, a bibliography and correspondence from the Accademia.
Carracci family
Materials on the Carracci family include black-and-white photographs, checklists of works and research notes. A typescript note and a draft bear the titles "I Carracci" and "De i Caraccioli da Bologna," respectively.
Box Folder
22 10-11 Carraccis and Bartolomeo Passarotti
22 12 Carracci and his followers
22 13 Essays and notes
Box Folder
23 1 Images
23 2-3 Carracci, Annibale
Dughet, Gaspard
Box Folder
23 4 "La cronologia di Gaspard Dughet"
23 5 Etchings
23 6 Notes
Box Folder
23 7-12 Black-and-white photographs
Box Folder
57 25 Transparency
Box Folder
23 13 Frescoes
Box Folder
24 1 Palazzo Colonna
A number of the images are labelled Palazzo Colonna on the verso, however, some may be from other sites.
24 2 Images of prints and other works
Colonna Inventory
Contains photographic prints of the Colonna inventory and negatives from which the prints were derived.
Box Folder
24 3-4 Black-and-white photographs
Box Folder
57 26 Negatives
Box Folder
24 5-7 Gentileschi, Orazio and Artemisia Gentileschi
Includes Longhi's 1916 article on the Gentileschis and a number of black-and-white photographs of works attributed to the artists.
Battle scenes
Primarily consists of images grouped by artist last name.
24-25 Images and notes
Box Folder
57 27 Color photographs and transparencies
Box Folder
25 3 History of collecting, mannerism and other materials
25 4 Notes and correspondence on various topics
25 5 Notes on English literature and the history of collecting
25 6 Archives - L'Accademia nazionale di San Luca
Miscellaneous materials include: correspondence from dealers, restoration photographs (similar to those found in the Soprintendenza files), materials on the Palazzo Doria Pamphilj and Palazzo Spada, images of works attributed to Guercino, Polidoro da Caravaggio, Caravaggesque copies and a 1987 letter from Ferdinando Arisi addressed to one of the Busiri-Vicis of Ugo Bozzi Editore, expressing interest in collaborating with Salerno on a work on battle scene painters. Also includes a letter from Clovis Whitfield.
25-26 Images and papers
Box Folder
57 28-33 Color photographs, negatives and transparencies
Although Salerno labeled this file "Introduction" there is no apparent artist, topic or theme uniting the majority of these materials. The last folder is an exception, being comprised almost entirely of images of view paintings.
Box Folder
26 9 Images
Box Folder
58 1 Color photographs, slide and transparencies
Box Folder
26 10 Photograph requests
26 11 Images - Vedute
26 12 Images ( Storia dell'arte, 6)
Images are a mixture of religious, mythological and historical works, portraiture, nocturnal landscapes, landscapes, trompe l'œil, battle scenes and view paintings. As most of these bear the annotation, "Storia dell'arte, vol. 6" on their verso, the research file may be related to Salerno's essay entitled "Immobilismo politico e accademia," in Storia dell'arte italiana: Dal Cinquecento all'Ottocento: Cinquecento e Seicento (Giulio Einaudi editore, 1981).

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