This essay focuses on the theoretical contribution of Marco Boschini - however fueled by his daily involvement in the art trade - within the art collecting of his own time, especially that of the modern masters. In particular, it will consider the observations of the seventh and eighth “vento” (wind) of the Carta del navegar pitoresco (1660). In these specific “venti”, Boschini describes on the one hand an overview of the most prestigious painting galleries of Venice, those in his opinion caracterised by the coexistence of old and modern masters, and on the other hand an ideal gallery consisting exclusively of works by the living painters. This represents the most innovative side of Boschini’s work, one that reflects his critical positions and professional relationships so that in his personal modern gallery were excluded important contributors to the art scene of those years.
