What we have now is not so much a Casanovanic situation (that double-wencher had a definitely monochromatic pencil — in keeping with the memoirs of his dingy era) as a much earlier canvas, of the Venetian (sensu largo) school, reproduced (in ‘Forbidden Masterpieces’) expertly enough to stand the scrutiny of a borders vue d’oiseau (418).
In his notes to Kirichenko Russia translation of ADA, Nikolai Mel'nikov identifies the Casanova allusion as Casanova account of his dallliance with the two