Constance Jocelyn Ffoulkes (1858–1950), a disciple of Giovanni Morelli (1816–91), participated in the critical exchanges that modernized European art history at the turn of the twentieth century. In producing the first comprehensive study of Italian painter Vincenzo Foppa (ca. 1427–1515), Ffoulkes also underwrote important methodological innovations in the practice of connoisseurship, notably the development of a philological method that blended documentary evidence with direct visual examination. This article investigates Ffoulkes’ interest in the use and function of photographic reproductions of archival documents and her allegiance to the “historical standpoint” championed by professional journals such as Repertorium für Kunstwissenschaft and Rassegna d’arte, to which she contributed. Emphasizing the boundaries that Ffoulkes was obliged to negotiate to secure a foothold within the male profession of art history, this article tracks the evolution of her research methods relative to the international network that enabled and recognized her expertise in the connoisseurship of Italian art.

中文翻译：

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Constance Jocelyn Ffoulkes 和科学鉴赏的现代化

乔瓦尼·莫雷利（Giovanni Morelli，1816-91 年）的弟子康斯坦斯·乔斯林·福尔克斯（Constance Jocelyn Ffoulkes，1858-1950 年）参与了二十世纪之交使欧洲艺术史现代化的重要交流。在制作意大利画家文森佐·福帕（Vincenzo Foppa，约 1427-1515 年）的第一部综合研究作品时，福尔克斯还在鉴赏实践中进行了重要的方法论创新，尤其是将文献证据与直接目视检查相结合的语言学方法的发展。本文调查了 Ffoulkes 对档案文件摄影复制品的使用和功能的兴趣，以及她对诸如 Repertorium für Kunstwissenschaft 和 Rassegna d'arte 等专业期刊所倡导的“历史立场”的忠诚，她为此做出了贡献。