File:Antonio Vivaldi - Dorilla in Tempe - title page of the libretto, Venice 1726.png.
File:Antonio Vivaldi - Dorilla in Tempe - italian title page of the libretto, Prague 1732.png.
File:Antonio Vivaldi - Dorilla in Tempe - german title page of the libretto, Prague 1732.png.
User:Ww2censor/Recent philatelic uploads/2023 March 27-31.
The proposition that the painting actually depicts Antonio Vivaldi has been questioned by some sources (e.g. Whatever the case, it is not out of place to observe that, contrary to the belief of many modern illustrators, Vivaldi's wigs were never coloured red." Michael Talbot, The Vivaldi Compendium (2011), p. (Two years later, in the anno santo of 1725, Innocent XIII was to ban the wearing of wigs by priests.) There is disagreement over whether the hint of red showing in front of the centre of the composer's wig in the painting is a sly reference to his famous hair-colour or simply an unpainted part of the canvas. (The fashionable, though slightly informal, dress and self-confident attitude of the composer resemble very closely those of Telemann in the well-known engraving by Georg Lichtensteger.) Ghezzi's sketch likewise shows Vivaldi in a non-clerical black stock as opposed to the white clerical stock and still wearing a wig. It is striking how the engraving and the painting 'secularize' Vivaldi: they contain no hint of his identity as a priest. English: "An anonymous portrait in oils in the Museo Internazionale e Biblioteca della Musica di Bologna is generally believed to be of Vivaldi and may be linked to the Morellon La Cave engraving, which appears to be a modified mirror reflection of it.
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