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7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
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ITALIAN
MASTER
DRAWING
From
The
British
Royal Collection
7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
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7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
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ITALIAN
MASTER DRAWINGS
From
The
British
Royal
Collection
7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
4/156
Giovanni
Bellini
(cat.
7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
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ITALIAN
MASTER
DRAWINGS
Leonardo
to
Canaletto
From
The British
Royal
Collection
JANE
ROBERTS
Curator
of
the
Room
The
Royal
Library,
Windsor
Castle
COLLINS
HARVILL
8
Grafton
Street,
London
Wl
1987
National
Gallery
ofArt,
Washington
The Fine
Arts
Museums
ofSan
Francisco
The
Art
Institute of
Chicago
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Front cover illustration:
Figure
in
Masquerade
Costume
by
Leonardo da Vinci (cat.
14)
Back
cover
illustration:
The corner
of
the Ducal
Palace
looking towards S.
Giorgio
Maggiore by
Canaletto
(cat.
58)
EXHIBITION CALENDAR
National
Gallery of Art, Washington: 10May-26July 1987
The
Fine
Arts Museums of San Francisco: 8 August-25 October
1987
The Art
Institute
of Chicago: 10 November
1987-26
January 1988
This exhibition is supported
by
an indemnity from the Federal Council
on
the Arts
and the
Humanities
Portions of this
catalogue
were
first
published in Master Drawings
in the Royal Collection,
the catalogue of the
exhibition
at
The
Queen's Gallery,
Buckingham Palace
from April
1986
William
Collins
Sons and
Co.
Ltd
London
Glasgow
Sydney
Auckland
Toronto
Johannesburg
First
published
by Collins Harvill
1987
)
Her
Majesty
Queen Elizabeth
II
1986,
1987
All rights
reserved
ISBN
00 272338 7
Illustrations
originated
by
Gilchrist
Bros
Ltd, Leeds
Photoset
in Linotron
Meridien
by
Rowland
Phototypesetting
Ltd,
Bury
St
Edmunds,
Suffolk
Printed
and
bound
in
Great
Britain
by
William
Collins
Sons
and
Co.
Ltd,
Glasgow
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CONTENTS
Foreword
7
Preface
9
Acknowledgements
10
Introduction
1
List
of Works Referred
to
in
Abbreviated
Form
20
CATALOGUE
21
An Appendix
concerning Watermarks
143
Index
of
Artists
149
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FOREWORD
British
Royal
Collection includes superlative
works of
in numerous
areas,
but
is
perhaps
most widely known
its
old
master drawings. The thirty thousand old
master
modern
drawings,
housed in the
Royal
Library
at
Castle, have been
gathered
by many monarchs
more than
three
centuries.
The
collection
is
especi-
famous
for its Italian drawings. These
include
an
group
of
six
hundred
Leonardos
and
concen-
of the work of
other great
draughtsmen as
well
as
sheets chosen
according
to
the changing
tastes
and
of the Royal Family.
Over
the
years,
skilful and
advisers
to
the
Crown have
assisted with
the
of
individual
drawings and
entire collections.
We
have long dreamt
of showing a
survey
exhibition
from
the
extraordinary
treasures across the cen-
in the
Windsor
collection,
one which
would
reveal
beautiful
works
by many different
artists
to be
found
Talks between Andrew
Robison,
Curator of Prints
Drawings
at the National Gallery of
Art, and
Jane
Curator
of
the
Room
a't
Windsor
Castle,
years
ago,
and
were
joined
and
enthusiastically
upported
by
Oliver Everett,
the
Librarian
at
Windsor.
Mrs
oberts's
1986-1987
exhibition
of
Master Drawings in
the Royal Collection, at the Queen's Gallery in
London,
provided the
final occasion to
bring
our plans f
Agreeing
that
the
Italian
old master
drawings w
strongest
and most
comprehensive
component
Royal
Collection, Dr Robison and Mrs
Roberts
cho
one works
to
show
a
selection from
the
finest s
Windsor.
This exhibition,
opening with intense and
studies
of
the
Florentine
and
Venetian
Renai
ranging
through great examples of
Mannerism
Baroque,
concludes
with representatives from Wi
marvellous groups of
Piazzetta and
Canaletto.
not
a
pedantic survey,
it nonetheless
includes
the
great
masters
of
Italian
draughtsmanship, w
shown
in works of power
and
superlative quality.
For
her gracious
generosity in
lending
such a
ordinary selection
of
works we are most of all ind
Her
Majesty
Queen Elizabeth II.
We
deeply
apprec
collegial
friendship and
help
from Mrs Roberts
Everett, as
well
as
Julia
Baxter, Exhibitions Offic
have
been
wonderful
in
supporting
the
exhibitio
arranging
the
details
of
the
loan. Mrs
Roberts
kindly revised
her
Master Drawings
catalogue to ac
date
the
drawings
shown for the first
time in
Amer
J.
CARTER
BROWN
Director
National
Gallery
of
Art
IAN
McKIBBIN
WHITE
Director
The Fine Arts
Museums
of
San
Francisco
JAMES
N.
WOOD
Director
The
Art
Institute
of
Chicago
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PREFACE
This catalogue,
and
the
exhibition
which it accompanies,
has
developed
out
of the selection of
Master
Drawings
in
the
Royal
Collection
which
was
shown
at
The
Queen's
Gallery,
Buckingham
Palace,
from
April 1986.
Just
under
a
hun-
dred and fifty
items
were
included
in
that
exhibition,
which covered
for
the first time the
full chronological
range of drawings
(together with
some miniatures
and
illuminated manuscripts) represented
in
the
Royal
Collection.
For
the purpose of
a
travelling exhibition it was decided
to
limit
the
number of
drawings,
to
omit works which
presented
a
potential
conservation
hazard
(such as the
magnificent
composite sheet illuminated
by
Clovio), and
to
confine
the
selection
to
works
by
Italian artists of the
fifteenth
to
eighteenth
centuries. The
present catalogue
thus
contains
many of the
greatest drawings
of the
School
for which the
Royal
Collection
is
most
renowned. It does
not,
however,
include
works
by
artists
such
as
Holbein,
Poussin
and
Claude
for whom
the Royal
holdings
are
equally
important.
But
by
concentrating
on
the
Italian
drawings,
a
rather
more
uniform historical thread
can
be
traced
through
the
sequence of works.
When
an
exhibition
of
Italian Drawings
was
first
discus-
sed,
Her
Majesty had
already agreed that the
Royal Lib-
rary's
Leonardo:
Nature
Studies exhibition
should
be
shown
in
Madrid
and
Barcelona
in
1987-8.
As
that
exhibition
includes
some of Leonardo's
plant and
landscape
studies
that
had
also been
included in The Queen's
Gallery selec-
tion,
their place
has
been taken in the
present
exhibition
by two other
Leonardo drawings
(Nos.
14
and
1
the
Royal Library's extraordinary
holdings
of the w
this
artist.
Another small group
of drawings
(in
Raphael's
studies of
the
Massacre
of
the
Innocents
Poetry)
had
been promised
to the Pierpont
Morgan
for
their exhibition of drawings
by
Raphael and
his
planned
to
open in
the
Autumn
of 1 987.
Replaceme
these
omissions
have
therefore
been
found
and
supplementary
drawings have been
added,
so
t
present selection
includes
ten drawings
not
pre
shown
at The Queen's
Gallery
(Nos.
8, 14, 16, 18,
32,47,
50
and
60).
The Royal Library
at
Windsor
Castle
is
very
gla
co-operating
again
for
the
present
exhibition
w
National Gallery of
Art,
Washington
and with t
Arts Museums,
San
Francisco. Previous exhibit
drawings
from Windsor
at
both
these
gallerie
proved
most
successful.
We are
also
very glad
exhibition of drawings from the Royal
Collection
seen
in
Chicago
for
the
first
time
and
we
are deli
be involved
with the
Art Institute of
Chicago
purpose.
Particular thanks and credit for the genesis and
d
ment of the
present
exhibition are due
to
Jane
R
Curator of the
Room, Windsor Castle,
Andrew
Robison,
Curator of Drawings,
the
Nation
lery
of Art,
Washington.
OLIVER
EV
The
Librarian,
Windso
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ACKNOWLEDGEMENTS
The
foundation
to
any
study of the
Windsor
drawings
was
laid
in the
great
series
of catalogues of the collection
published
by
the Phaidon
Press
over
the last
half century.
All the titles
relating
to
the Italian
drawings
in this series
are included in the List
of
Works
Referred
to
in Abbreviated
Form
on
page 20. My debt to
the scholarship
of the General
Editor and authors of these catalogues
must
be
abun-
dantly
clear.
Work
on
the
watermarks
section of the
Master Drawings
catalogue was undertaken
by a
former
member of
the
Room
staff, Olivia Winterton
(nee Hughes-Onslow),
who assisted me with
great
patience
and
forbearance
at all
stages
in the
planning of that exhibition.
She
also under-
took
a
detailed
study
of
the
so-called
Lanier star
marks,
and my
discussion
of these
on
page
1
5 is largely
dependent
on
her
work. My
other colleagues
at Windsor, and
in the
Lord
Chamberlain's
Office in
London,
have
provided con-
tinuous
support
during
the
preparatory
work
on
both
exhibitions.
Without
them the
present catalogue
could
not
have
been
written.
Other
colleagues
and
friends who have
assisted in
various
ways
include the following:
Noel Annesley,
Charles Avery,
Giulia
Bartrum,
Diane
De Grazia,
Olive
Fortey,
Christopher
Gatiss,
John
Gere, Rupert
Hodge,
George
Knox,
Francois
Mace
de Lepinay,
Constance
Messenger,
Francis
Russell,
Nicholas
Savage, Nicholas
Turner
and
Linda
Wolk.
As
usual
we
are
indebted
to the
staff of
A.
C. Cooper,
and
to
our own
photographic
staff
at
Windsor,
for
providing
the
photographic
material on
which
the
illustrations
in
the
present
catalogue
are based.
All
items
in the
Royal
Collection
and
documents
in
the
Royal
Archives
are
reproduced
by
Gracious Permission
of
Her
Majesty
Elizabeth
II.
Comparative
illustrations
for
the
relevant
catalogue
entries,
together
with
permission
to
reproduce,
have
been
supplied by
the following:
Bologna, A. Villan
Laboratori
Fotografica
(35,45
and
46: reproduce
permission of the Soprintendenza
per
i Beni A
Storici per
le Provincie
di
Bologna,
Ferrara,
Forli
na); Edinburgh,
National
Gallery
of Scotland
(5
duced by
kind
permission
of
the
Duke
of Suth
Florence,
Archivi
Alinari
(
1
and
5);
Forli, Giorgio
(41:
reproduced
by
kind
permission
of
the
Istitut
ali
ed
Artistici
della Citta
di Forli);
London,
Museum
(25,
26 and 27:
reproduced
by courte
Trustees);
London,
Courtauld
Institute
of Art
(17
shire Collection, Chatsworth, reproduced
by
pe
of
the Trustees
of the
Chatsworth
Settlement)
Soprintendenza, Laboratorio Fotoradiografico
(
York, David Tunick
Inc.
(53);
New
York,
Metr
Museum of
Art
(10);
Ottawa, National Gallery o
(57);
Paris, Reunion
des
Musees Nationaux
(11
Rome, Biblioteca
Hertziana
(17);
Rome, Istituto
per
il
Catalogo e
la
Documentazione
(31);
Rome
Nazionale
di
Castel
S.
Angelo
(30);
Rome,
Mon
Musei
e
Gallerie Pontificie
(18,
24 and
39);
Ro
verenda
Fabbrica
di
S.
Pietro in
Vaticano
(40);
Va
University of British
Columbia,
Professor Geor
(52
and
53);
Venice, Gallerie dell' Accademia
28:
reproduced
by
permission
of the
Soprinte
Vienna, Graphische
Sammlung
Albertina
(31,
53);
Washington, National Gallery of Art
(9
Where
no location is
cited,
the
illustration
is
ta
the Royal Collection.
Finally,
I must
once again thank my family
continuing
patience
and
constant
support
duri
developed
into
weeks
of
last-minute
work.
JANE R
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INTRODUCTION
This
catalogue includes a selection
of 61
of the principal
Italian
drawings
in
the
Royal
Collection.
At the
outset
it
must
be
said that
this selection, like
the Collection
itself,
contains no
well-balanced
chronological
series
represent-
ing all
the highways
(and
some of
the
byways)
of
the
history
of Italian art.
For unlike
the
great
national
museums and
art galleries,
where curators
have a public
duty
to
acquire
a
broad
range
of
all
that
was and
is
the
best,
the
British monarchs,
by
whom
and
for whom
the Royal
Collection
was
formed, have
acquired
what
it
pleased
them
(and
their
advisers and
donors)
to acquire,
no
more
and no less.
However,
the interest
in Italian
art demons-
trated
by the Royal
collectors in
the seventeenth and
eighteenth
centuries
means
that
the history
and
develop-
ment
of Italian
draughtsmanship
can
be
fully illustrated
from
the
Windsor
Print Room,
using the
unparalleled
holdings
of
drawings
by
Leonardo
and
other
early
mas-
ters,
by the
great
artists
of the
seventeenth century, and by
the
masters of the
eighteenth-century
Venetian
school. A
comprehensive
picture
can
thus,
I
believe,
be
given,
in
spite
of the
absence of
significant works
by
artists
such
as
Titian,
Veronese,
Guardi
and
Tiepolo.
Before
any
drawing
in
the Royal Collection is
included
in
an
exhibition,
it
is
remounted
and (where possible and
necessary)
lifted
from
its
old
backing
paper,
cleaned
and
restored.
For
the
present
exhibitions,
these operations
have
been
carried
out
by Michael
Warnes
and
his
draw-
ings
conservation
department
at
Windsor.
The
conser-
vation
work has
sometimes resulted in
unexpected
discoveries.
Thus
additional drawings
and inscriptions
have
been
revealed
on
the versos of Nos.
30,
36
and 44,
all
of
which
are naturally
of
relevance
in
any
discussion
of
the main
(recto)
drawings.
The
lifting
process
has
also greatly facilitated
a
study of
the
watermarks.
Tracings
of these marks,
with
brief
com-
mentary,
are
included
as an Appendix
to this catalogue.
The value
of
watermark
examination
for the art historian
was
demonstrated
during
the
selection
process for the
Master
Drawings
exhibition.
Our first
list
had
included
the
study
of a
dromedary
attributed
to
Pisanello
(P&W
26).
In
his
Introduction
to
the catalogue
of the earlier
Italian
drawings
at
Windsor,
the
eminent scholar A. E. Popham
had
written:
Chronologically
the series begins rather
whimsically with the drawing
of a camel
by
Pi
which
must date
from
before
1450
(P&W,
p.
9)
ever,
the watermark
found
on this
sheet (a three
ladder within
a
shield,
topped by
a
six-pointed star
type found on paper in
use
in Italy (especially
Tu
during
the third
decade of the sixteenth century,
before
(cf. Briquet
5926).
Far from
being the mo
Pisanello)
used
by
Pinturicchio
for
the
backgroun
fresco
at
Spello
(c.
1500/01),
the
Windsor drome
therefore presumably
a
copy
after
the
drawing
(or
drawing)
used
by
Pinturicchio.
Examination
of the
mark has shown that
it
is extremely unlikely that P
himself
was
involved
in the
Windsor
drawing,
directly or indirectly.
Function and
purpose
The
drawings in this
exhibition
were executed
diverse
times
and
places,
and were
used
for
a
wide
of purposes.
In some cases
they
may
have been life
subsequently used
in finished works of
art,
but
not
specifically intended for such
a
purpose. Ghirla
study
of the
head of
an old
woman
(No.
1
)
and Leo
drawing of
arms and
hands (No.
10)
are cases in poi
old woman
was
doubtless
drawn
(and
studied
in
de
Ghirlandaio with the prospect
of
the
cycle
of
pain
the
Cappella
Tornabuoni,
Florence,
in
mind,
but
time of
the
painting
her
form
and
features
had bee
adjusted.
Likewise,
the
arms and
hands
in
No.
1
carefully
copied
from
a
model for
use
in
a
female
p
But
how
accurately
they
were
transferred
to
pan
probably
never be
known. Leonardo's heads
of S
and
St
James
(Nos. 11 and
12),
Raphael's
studies
Farnesina
and
the Stanza
della
Segnatura
(Nos.
17 a
and
Perino's
Saints
for
S.
Marcello al
Corso
(No.
all
instances
of
the
artists working
up
studies
from
for
later
use in
a
finished
painting. The
same is
the ca
Tintoretto's
back
view
of
a
man (No.
35),
Domenic
St
Jerome (No.
39),
Maratta's St
Francis
of
Sales (
and
Guercino's
St
Francis
of
Assisi (No.
45).
Pa
figure
studies,
on
both
sides
of
the
sheet
(No.
5
1
),
the
appearance
of being copied from the life,
an
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incorporated
fairly
accurately
as
incidental
detail in
his
great
ceremonial
paintings.
In
other
instances the
drawings are the
compositional
studies
for
a
finished painting,
which may
or
may
not
have
survived.
No.
1
5
shows
Leonardo
working
out the
appropriate
arrangement of
figures
for
a
Virgin
and
Child
composition.
In
other
cases
a
more advanced
stage
in the
preparatory
work
is
shown.
Vivarini's altarpiece
design
(No.
7)
is a rare
survival
indicating the unified architectu-
ral
setting
involved
in many
Renaissance
altarpieces:
it
incorporates
both the
Active architecture
in
the
painting
and
the
real
architecture
of the
frame.
Chronologically the
last example of
a
compositional drawing
in the exhibition
is Sebastiano Ricci's
drawing
of the Adoration
of
the
Magi
(No.
56).
In
addition
to
its
preparatory role for paintings, natu-
rally the drawing
medium is
also
used
in preparation
for
engravings,
works in sculpture or
architecture, and
small-
scale
decorative
objects.
Salviati's drawing
(No.
29)
was
evidently
made
as
the
final
design
for
the
frontispiece
for
Labacco's Architettura.
The precise raison
d'etre of
Franco's
drawing of a
man (No.
34)
is unknown,
but
it
may
have
been
made
specifically
in
connection with
Franco's
of the
Flagellation, rather than
for (or
of) a (lost) painted
altarpiece.
It
so
happens
that no designs directly relating
to
architecture,
sculpture
or
decorative
objects
are
included
within
this
selection.
The Italian
figure
drawings
in
the
Royal
Collection are among
the
greatest
of
their
kind, and
it
therefore
seemed sensible
to concentrate on them.
However,
the
fragmentary
architectural
study
in
the cor-
ner
of
Leonardo's
St James
the
Greater (No.
12)
might
serve
as
a
reminder
of
this
type
of
drawing.
Three
of
the
ex-
hibited
items
could
loosely
be classed
as costume
designs ,
although
they
are
both
less
and
more
than
this.
Leonardo's
Masquerade
Figure
(No.
13)
was
produced at
the
start
of
the sixteenth
century,
while
Stefano
della
Bella's
elegant
and
sometimes
fantastic creations
(Nos.
49
and
50)
were
drawn
just
over
a
hundred
years
later.
Michelangelo's
presentation
drawings
(e.g., Nos.
20
and
21)
occupy
a
special
place
in
the history
of draughts-
manship
for
many
reasons,
but
notably
because they were
considered
(by
the
artist)
of
sufficient
quality
to present
to
his
especial
friends,
in
the
same
way
as
another artist
might
have
given
a
painting
or
a
piece
of
sculpture. In
his
letter
of
thanks
for
two
such
gifts,
Tommaso
de'
Cavalieri
informed
Michelangelo
that he
was
spending
at
least
two
hours
each
day
in
contemplating
the drawings.
A
further
reference
to the
serious
appreciation
of
drawings
at this
early
date
occurs
in
a letter
of
c.
1538-41
from
Vittoria
Colonna
to
Michelangelo,
in
which
she
describes
one of
the
artist's
drawings
of
Christ
on
the
Cross
in the
following
words:
It
is
not
possible
to
see
an
image
better
made,
more
alive
and
more
finished
and
certainly I could
never
explain
how
subtly
and
marvellously
wrought
it
is. ... I
have
looked
at
it
carefully
in the
light,
with
the
glass,
and
with the
mirror and
I have never seen
a
more
thing (BM
Michelangelo
200)
.
Michelangelo's older contemporary, Leonar
himself produced
presentation drawings of
a
rath
ent
type
a
decade or more
before.
He
had
given
a
of
Neptune and the tritons to
his
friend
Antonio Se
to
the latter's depature
for
Rome in
1
504. That dr
lost,
but
its
appearance
is known
through
the
pre
study at
Windsor
(RL
12570r). Leonardo's
extra
series of Deluge drawings (including
No.
16)
m
have
been
intended
as
independent
works of art
own right,
although their
immediate
purpose
known. Other later examples of
finished
drawing
ing
what
could loosely be
termed
landscape
works
by
Guercino
(No.
44)
and
Canaletto (Nos.
The concept of
the
drawing
as a
work of art
in
right
has
endured in the field
of portraiture u
present
day. In
this selection the tradition
can b
through the self-portraits
of Annibale Carra
Bernini
(Nos.
37
and
38)
to
the
much-repeated
an
popular heads of Piazzetta
(Nos.
52-55).
The tradition
of
collecting
drawings
The appreciation
of drawings
as
objects worthy
of
tion and
acquisition thus
dates back to
the
Italian
ance, and
to
the
very
earliest
items in
this
ex
Because
of
their
preparatory nature, most
d
perished
in
the
studios
in
which
they were ma
should
not
therefore ask why
there
are now
-
for
-
so
few
fifteenth-
and
sixteenth-century
drawing
many
paintings
and
other
works
of art of that
wonder
why
there are
so
many. The
circumstan
drawing's survival are only rarely
documented.
stance, we know that
at
the time of
Leonardo's
1519,
most of
his
drawings and
papers were
with
h
they were bequeathed
to
his
favourite
pupil F
Melzi
and
thereafter
were
acquired
by
the
sculpt
peo Leoni.
The volume containing the
Leonardo
d
which are now
at
Windsor was purchased fro
by the
great
English
collector,
Thomas
Howard,
Arundel, and
was
transported
by
him
to
Engla
AandB).
Artists must always have been
among
the
chie
tors of drawings,
both by
inheritance
from
their
and by
design. Giulio Clovio
(1498-1578)
is k
have
been an assiduous collector of
works
by
Mi
gelo and
may once have owned his
drawing
of
t
rection
in
the
present exhibition
(No.
23).
Man
Italian
seventeenth-century drawings
at
Winds
once
owned
by Carlo Maratta
(1625-1713)
wh
ceeded in
building
up
one of
the
finest
colle
drawings
by artists
of
Seicento Rome that
have
e
made
(BM,
p.
9).
Maratta's
collection depend
7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
15/156
largely on
that
formed
by
Domenichino's
pupil and
heir,
Francesco
Raspantino,
which
included
a
vast
group
of
drawings by
Domenichino
(e.g.
No.
39),
in
addition
to
around 550
drawings
by
members
of the
Carracci
family.
It
would
be
surprising if the 200 drawings
by Maratta
himself (including
Nos.
40
and
41),
and
the
group of
studies
by
his
master
Sacchi,
had
not
entered the
Royal
Collection by the
same
route. The
Maratta
collection
was
purchased
by
the Albani Pope,
Clement XI in
1703,
and
thus
entered
the
Royal
Collection
in 1762 with
other
drawings from
the
Albani
family.
Another notable
collection
was formed
by Sir Peter
Lely
(161
8-80)
,
the
greatest
portraitist of the
Restoration
years
in England. Lely
may
have
acted as
intermediary
in finally
securing both
the
Leonardo and
the
Holbein drawings
for
the
Crown. Among
the
artists
particularly well-
represented in his
collection was
Parmigianino,
and
it
may
be no coincidence
that
four
small
volumes of
drawings
by
this artist are
also
included in the
early
eighteenth-
century
inventory
of
the
Royal
Collection
(the
Kensing-
ton Inventory:
see
below
and
Fig.
C).
The
outer
bindings
of
three
volumes survive
at
Windsor today (Figs.
A
and
B
)
.
One of these was
inscribed
and
dated by
the engraver
A
The three Parmigianino
notebooks
B
Two
of the Parmigianino
notebooks opened
to
reveal the sheets
of
coated paper
4&t
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.
UMf;
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6.
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ft
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both
by
his
uncle,
the
better
known
Richard
Gibson
(c.
1605-90),
and by
Lely,
part
of whose
collection
he
purchased.
He
is
said
to
have
died
of
lethargy
in
1702
(H.
Walpole,
Anecdotes,
III,
2nd.
edn.
1765,
p.
68;
see
also
F.
Watson,
On
the
early
history
of
collecting
in
England ,
Burl.
Mag.,
LXXXV,
1944,
p.
224).
The
Gibson
hand has
also
been
identified
on a
group
of
independent
drawings at
Windsor,
including
Nos. 5
and
2
1
in
the present
exhibition
(see
Fig. E)
.
The
mark
of
another
artist,
Jonathan
Richard-
son
(
1
665-
1
745
)
,
appears on a
number of
drawings
in the
eghA,\10
J^-
lincA
I
E
Inscription in
the
Gibson
hand
on
the verso
of
No.
5
Collection.
According to
his son,
Richardson
bought
extensively
from Gibson's
widow,
but
only
after the
Duke
of Devonshire
had made
his own
selection
from the
drawings.
During
the eighteenth
century,
Paul Sandby
formed
a
fine collection of old
master and modern drawings, many
of which later
passed
into the
collection
of Sir
Thomas
Lawrence.
The
page
of figure
studies
by
Pannini (No.
51)
was
formerly
in
Lawrence's collection,
and
was presum-
ably
therefore
a late
nineteenth-century
addition to
the
Royal
Collection.
The
history
of
the
Royal
Collection
The
history of
the
formation
of the Royal
Collection is
a
long
and
complicated
one,
which
has
already
been
re-
counted
in
some
detail
elsewhere
(BM,
pp.
1-18).
The
introductions
to the
individual
volumes in
the
series of
catalogues
of
the
Collection
(formerly
published
by
the
Phaidon
Press)
likewise
include
full
discussions on
the
provenance
of the
drawings
in
each
category. Briefly,
the
first
major
groups
of
drawings to
enter
the Collection
were
those
for
which
it is
most
famous,
by
Holbein
and by
Leonardo.
Holbein's
great
booke ,
in which
each
of the
eighty-one
Holbein
drawings
now
at Windsor
was
formerly
mounted,
first
entered
the
Royal
Collection
very
soon
after
the
artist's
death in
1543.
However,
it subse-
quently
departed
into
the
collections
of the
Lords
Arun-
del,
Lumley,
Pembroke
and
Arundel
(again),
with
a brief
intermission
in
the
libraries
of
Prince
Henry
and of King
Charles
I,
before
finally
settling
in
the Royal
Collection
shortly
before
1676.
The binding
of
the
volume
containing
the
six hundred
or
so
drawings
by
Leonardo
(including
Nos.
10-16)
has
survived
in
the
Royal
Library,
empty
except
for a
few
blank
pages
and
stumps
(Figs.
F
and
G). The
Leonardo
drawings
were
also
a
seventeenth-century
acquisition,
*
gfc
;
ftPfoP
frLEQ&ARD'C
.DAjvINCI>RE:
DA*POMFEC
*le'Oni*
F
The
Leoni
binding
which
formerly contained
all
the
six h
drawings
by
Leonardo in
the
Royal Collection
although
the
exact
date
of entry
to
the
Collection
less
securely documented.
There are
references
ings
by
Leonardo in the
hands
of
the
King
of
E
before 1640, but
what were
presumably th
drawings were later referred to and
engraved
collection
of
Thomas
Howard, Earl of
Arundel
(
14).
However, we
know that
in
1690
Queen
showed
the volume of Leonardo
(and of
Holbein
ings to
her
secretary,
the Dutch
statesman
and c
Constantin Huygens,
and
the drawings
have bee
Collection ever since.
During
the
reign of King George
II (and probabl
before 1735) the
drawings in the Royal
Collection
were at that time
chiefly
kept
in
a bureau
in Ken
Palace, were listed in
an inventory now in the
Library
(B.M.
Add. 20101,
ff. 28
and
29;
Fig.
C.
D
hereafter
as
the
Kensington
Inventory). In additi
drawings
by Holbein
and
Leonardo
a
number
works
by
Italian
masters
of the
sixteenth and seve
centuries
were
mentioned
(including
four
books
ings
by
Parmigianino:
see
under No.
27),
toget
prints
by
Diirer
and
Hollar,
several
volumes of
d
by
defferent
hands ,
and
Prince Charle's Boo
7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
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G
The
Leoni
binding,
showing
the original
guard
papers
few
Drawings .
The last
entry leads
us to refer
to
the
few
entries
in
Van der
Doort's
inventory
(dated
1637-9)
of
Charles
I's
collection
which
relate to
drawings
(see
BM,
p. 2),
and
in
particular
to the book Conteyning
sev'all
ccons
and
postures
invented
by
Michaell
Angello
Bono-
rotto ,
which
bore Prince
Charles's
arms on its front cover
and
which
is
probably
therefore
identifiable
with Prince
Charle's
Book
in
the
Kensington Inventory.
The
only
one
of Van
der
Doort's
references
to drawings
that
can
ositively
be
identified
in the
present Collection is the
group
of French
sixteenth-century portraits,
to
which
BF
2
and
BF
9-19
once
belonged.
These
were
doubtless
preserved
because they
were kept
in a
relatively in-
conspicuous
album
on
the shelves
or
in
the
cupboards
of
a
library
or
closet.
Other
drawings,
framed
and
therefore
listed
with
the
paintings, or discovered
by
the
assessors
in
the
small
trunk ,
were
included
in
the
valuations
of King
Charles
I's
property made
in
1649-51,
and
were
subsequently
disposed
of.
Among
these
were
a
few
somewhat
enigmatic
items, such as
1
.
The
drawings
of
a Candlestick,
don
by van
Melly ,
and
376.
Tobyas
&
y
e
Angell
in
Water Colo.
r
done
by
the
Kings
Neece ,
valued
at
2s and
2s
6d
respectively
{I&V,
pp.
151,247).
It
might
be
expected
that
collectors' marks could
pro-
vide
another
source
of
evidence
for the early
history
of
the Royal Collection of drawings.
Many
of the
Italian drawings at Windsor
bear
one of
the
star
associated
with
Nicholas Lanier
(1588-1666).
confusion
surrounds the
Lanier collector's
mark
Lugt
cites
as
having
two main
forms:
a
large
pointed
star (Lugt
2885),
and a
smaller
five-poin
(Lugt
2886).
Examples of
both
these
types
exist
the
Royal
Collection,
but are not represented
on
the
drawings
selected
for this exhibition.
Instead,
bears the
much rarer six-pointed
star,
which
has
h
been left
unrecognized.
The
significance
of
the different star marks
has
matter
of
discussion
(and controversy) since
the
eenth
century.
Richardson,
Vertue and
Walpole
agreement
in
assigning
a
small
star
to
drawings
co
by
Lanier for
the Earl of Arundel, and a large
drawings
collected by Lanier for King Charles
I. Ho
they
did
not agree
when
discussing
the
number o
on the
particular stars. Examples of
the small
five-
star mark
are
to
be found
in relatively
large
number
majority
of the
older drawings
collections
in
E
(Christ
Church,
the
Ashmolean,
Chatsworth,
a
British Museum).
The
large
eight-pointed
st
appears
in a
number of
the
above collections,
proportionally
less common. If the
traditional
signi
of
this
mark (as
having been
applied
to those
dr
7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
18/156
collected
by
Lanier for
King
Charles
I)
is
correct,
then this
wide
distribution
may be
explained
by
the
dispersal of
the
King's
property
during
the
Commonwealth
period.
However,
the
lack of
any
documentation
determining
what
drawings
left
the
Royal
Collection
at
that time
and
what
remained
means
that
it
is
still
impossible
to
argue
conclusively
for either
one of
the two Lanier
stars apper-
taining
specifically to
the King.
The
six-pointed
star re-
mains an
enigma. It
should
be
mentioned
here that the
two
modern
Royal
collector's
marks
applied to
many of
the
drawings
in this
exhibition
bear
no relationship
to
the
date
of
acquisition
of the drawing
concerned. They
were
merely
an
attempt
by
the
Librarian
of
the
day
to
mark
the
more
important drawings
in
the
Collection
with
some
sign
of
ownership.
By
choosing the monograms
of
King Ed-
ward VII
and King George V,
during whose reigns no
important
old master drawings entered
the
Collection,
they have
only
served
to
confuse
the issue.
To these
miscellaneous
and
sometimes
conflicting
pieces of
information
about
the
Stuart
drawings collection
should
be
added
the
following
one,
found
in the
inven-
tory of King
George Ill's
collection made
around
1800
yJt-
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it
'
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and a
further
group
of
that
artist's
drawings
which
entered
the
Collection at
this
time
doubtless
came
from
this
source.
The
Albani
family
collection
included
the
fourteen
volumes
of
drawings
by
Carlo
Fontana
containing
his
designs
for
projects
commissioned by
members
of
that
family.
It
also
contained
most
of the
other
volumes
of
Italian
architectural
drawings
still
in the
Collection,
from
one
of
which
Salviati's
frontispiece
design
(No.
29)
was
evidently
removed.
In
addition,
many
miscellaneous
purchases
were
made
both
in
Italy
and
in
England
by
King
George
Ill's
Librarian,
the
antiquarian
Richard
Dalton,
although
scarcity
of
documentation
means that
it
is
seldom
possible to be
sure
exactly
what these
purchases
involved.
They
almost
cer-
tainly
included
the
group
of
presentation
drawings by
Michelangelo
referred to
above,
which had
formerly be-
longed
to
Cardinal
Alessandro
Farnese,
and
which had
passed
by
descent
through
the
Farnese
family.
The
large
group
of
drawings
by
Guercino
in
the
Collection (includ-
ing
Nos.
43-45)
was
purchased
by
Dalton
from the
Gen-
nari
family in
1763
and a
series
of studies by
Sassoferrato
(presumably
including
No.
42)
was
acquired at
around the
same
time.
The
foregoing
might suggest
that
(with the
notable
exception
of
the
drawings
by
Holbein and
Poussin) the
Royal
Collection was
exclusively
devoted to
works
by
Italian
artists. But
in
Inventory
A a large
number
of
drawings by
Flemish,
Dutch,
German and
French
masters are
listed,
including
works
by
Rubens,
Avercamp
and
Cornells
Visscher.
These survive in
the
Collection
today, but
are
necessarily
excluded
from the
present
exhibition.
Because
of
the
number
of drawings involved,
and
the
fact that the most
important purchases were made
by
agents in
Italy,
it
is
extremely
unlikely
that the magni-
ficent
additions
to
the Royal Collection in
the
later eight-
eenth century
can be
taken individually
to
reflect the
personal taste
of the
monarch concerned.
King
George
III
was seriously
interested in the arts and
doubtless
consi-
dered it a
duty
as well as a
pleasure
to
acquire
fine
pieces
for
his
collection. But he
was
probably
more
personally
concerned with
his
natural
historical
drawings
(by
artists
such
as Merian and Catesby) and his topographical
collec-
tion (which
is
now
in the
British Museum)
than
with
drawings
by
old masters. During his reign
the
Royal
Library,
in
which the drawings have
traditionally
been
and continue
to be
kept,
was
situated
at
Buckingham
House (later
Palace)
in London. The King is known
to have
been
a frequent visitor
to
the Library,
but
is
not
documented as
having
paid particular
attention
to
his
volumes of drawings. Nevertheless,
the first
series
of
reproductions of drawings
in
the
Royal
Collection
were
published
at
this
time, with
royal permission, and
in-
cluded
engravings after Nos. 22 and
29
in
this
exhibition.
King
George's
son and
successor, King
George
IV,
had
a
more
passionate
(and
extravagant)
interest
although
his chief
acquisitions
involved
objects
on
larger
scale
than
mere
drawings.
Even
so,
large
n
of
drawings
and
watercolours
with
a
military
or
th
subject
matter
were
added
to
the
Collection
dur
reign,
including
an
important
group of
works
by
and
other
contemporary
(or
slightly earlier)
artists.
In
her
Journal
entry
for 4
September
1838,
Victoria
noted:
Lord
Melbourne
rode
out
at V2
past 3
with Mu
Cumberland Lodge
to
see
the
prints,
and came
ho
past
6.
He said
it
was a
most splendid
collection.
Ther
books
of
Domenichino's
Original
Drawings,
s
Raphael's,
some
beautiful Michael
Angelos,
Lord
M.
sketches;
some
of
Albert
Durer's;
a
book
of Ho
drawings ... I
said
I
had
seen in the
afternoon a
beautiful
sketches by
Guido, and one
of
Domenic
Lord
M.
said they were
kept
in 2
rooms,
in cases;
th
were
every
sort
of
print,
and
most
valuable,
and
th
impossible
to
look
at
them
all.
We
spoke of all this f
time, and of the
use
Lord M.
said
these
original d
would
be to
artists.
Later in the
reign,
following her marriage
and
the
of
the collection of prints and drawings
to
Windso
the
Queen
recorded many
happy
evenings
spen
Room,
sorting portrait
miniatures,
enamel
gravings, arranging
the Prince's
Raphael Collec
making
up albums of
contemporary
drawings an
acquired
by the
royal
couple.
On 18 August 18
looked
at
some
beautiful
original
drawings
by the
which belong
to
my
collection.
They
are
great
t
and
there are
5 volumes
of them
which we had
n
before.
Three
years
later,
on
25
July
1844,
we
alone
together
and
then
looked
at some of our e
and
at
the
exquisite
original
drawings
by
Ho
However,
in
spite
of the
great
and
active
intere
shared
by
Queen
Victoria
and
Prince
Albert,
no im
old
master
drawings
were
added
to
the
Collectio
the
early
years
of
the
reign.
Instead they
concentr
the
commissioning
and
purchasing
of
works
b
masters,
recording
the
features
of family,
friends,
houses,
places
visited,
or
recording
ceremonies
taken
place.
During
the
years
leading
up to Prince
death
the
collection
of drawings
and
engravi
ordered
and
arranged
(with
the active
participati
Queen
and
Prince
Albert)
in
the newly
equipp
Room
at
Windsor.
The
system
introduced
at
tha
largely
that
which
survives
today.
In
the
later
part
of
Queen
Victoria's
reign,
while
Holmes
was
Librarian
(1870-1906),
a
number o
tant
and
enlightened
purchases
were
made.
Seve
old
master
drawings
which
otherwise
had no
association
with
the
Collection
were
acquired.
T
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group
of
drawings
at Windsor
bearing the
marks
of Paul
Sandby and
of Sir Thomas
Lawrence
(e.g.,
No.
51)
were
purchased
at this
time.
During
the reign of King
Edward
VII two series of
portrait
drawings were
commissioned from
William
Strang,
and other
drawings
were acquired
as the result of
presentations.
Queen
Alexandra,
Queen Mary and
Her
Majesty
Queen
Elizabeth
The
Queen
Mother
have
all
made generous
gifts
of
drawings
to
the Collection. These,
together
with
the
drawings in the Coronation and Jubilee
gifts
presented to Her
Majesty
by
the Royal Academy,
have
allowed the
range of
the
Collection
to
exten
present
day. Her
Majesty
has
continued
to
acquir
ings and
watercolours which are directly
relevan
existing
holdings,
and
in this way additional wo
West, Wilkie, Stothard,
Nash and in particular Pau
by
have entered the Collection
in
recent
years.
every
item
in
the Royal Collection
is
there for
som
historical
reason.
If
the
artistic
quality
of
some
of
t
recent additions is sometimes
not
as great as
th
considerable
acquisitions of
previous
centuries,
the
vance
to the Collection is undiminished.
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LIST
OF
WORKS
REFERRED
TO
IN
ABBREVIATED
FORM
Note:
Catalogues
specifically
concerned
with drawings
in the
Royal
Collection are denoted by
a
crown
alongside
the
abbreviation.
Ames-Lewis F. Ames-Lewis
and J.
&
Wright
Wright,
Drawing in
the
Italian
Renaissance
Workshop
(exh.
cat.),
London,
1983
Bartsch A.
Bartsch, Le
Peintre
Graveur.
Vienna,
1803-21
Bathoe/
A catalogue
of
the
Venue
Pictures
ek
belonging to
King James the
Second .
. .
[and] in the Closet
of
the
late Queen Caroline.
London, 1758
$d BCS A. Blunt, The Drawings
of
G.
B. Castiglione and
Stefano
della
Bella
in
the
Collection
of
Her
Majesty
The
Queen
at
Windsor
Castle.
London,
1954
PC
K. T.
Parker.
The
Drawings
of
Antor.io
Canaletto
in
the
Collection
of
His
Majesty
The
King
at
Windsor
Castle.
London,
1948:
reprinted,
with
an
Appendix
by C.
Miller,
New
York,
1985
Popham
A. E. Popham
1967
Drawings.
.
British Museu
Working
in Pa
Sixteenth
Cent
London, 196
Popham
A. E. Popham
1971
of
the
Drawing
Parmigianino,
Haven
and L
Popham &
A. E.
Popha
Pouncey P. Pouncey,
Drawings
. .
British
Museu
1950
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CATALOGUE
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1
DOMENICO
GHIRLANDAIO
(C.
1449-94)
Head
of
an
Old
Woman
Metalpoint
heightened
with
white on
paper
coated
with a
salmon
pink
preparation. 231
x
184
mm.
verso:
inscribed
in pen and
brown ink, lower left:
di
Michelanoilo
bonaroti.
A
detailed life
study,
in
which the
advantages of
a
coloured
coating
to the
paper are
used to
the
full. The head and face
were first
sketched
in with metalpoint. The same instru-
ment
was
also
used for the
initial
modelling,
both in
broadly
spaced
hatching lines
and
in
a
dense network of
closely
spaced
parallel
lines (for
the
facial features). White
highlighting
was
then applied in areas, the short
flecks
following
the form,
and the
outer
edge
of
the headdress
was emphasized with
a continuous and unusually
free
line
of white
paint.
Berenson
identified
this
as a preliminary
study for
a
figure
in
the left-hand group of
the fresco
of
the Birth
of
the
Virgin,
one of the important
series of
paintings
executed
by
Ghirlandaio
in
the chancel
(or Cappella
Tornabuoni)
of
the church of
S.
Maria
Novella,
Florence,
between
1485
and
1490. Many of the
figures
represented in th
coes
are
evidently
portrait
likenesses,
and it
is
that several
represent members
of
the Tornabuon
The
cartoon for
another
of the
heads
in
this
fr
Chatsworth (No. 885r;
see
Ames-Lewis
&
Wright
the verso of the Chatsworth
sheet is
a full-length
another
figure in the same group.
Whereas
both r
verso of
the
Chatsworth
sheet
are
very close
to
t
as finally
painted,
the
present
drawing differs
i
respects
from
the painted
head
for which it
was (
ably)
preparatory.
The
form
of
the headdress
h
adapted and, even
more
important, the
direction
of light
has been altered.
The
preliminary
compo
study for the fresco,
in the
British
Museum (P
Pouncey
69;
Ames-Lewis
&
Wright
56),
show
number
of
changes
both in the
placing
and
in the
of
figures
were made
before
work
on
the
actual
was begun.
At the
time
of
Ghirlandaio's
work
in the
Tornabuoni,
the
young
Michelangelo
(to whom t
was
once
optimistically
attributed)
was
workin
master's
studio. It
is
generally
considered,
howev
Michelangelo's
earliest
drawings
were
in pen
rather
than
metalpoint.
Provenance:
presumably
King
George
III (Inve
pp.
16-17:
Diversi
Maestri
Antichi,
or
p.
19:
Teste
Maestri:
these
two
categories,
the
contents
of wh
rarely
specified,
probably
contained
the
bulk of t
Italian
drawings
at
Windsor).
(P&W9;
RL
12804)
DOMENICO
GHIRLANDAIO,
Birth
of
the Virgin
(detail;
Florence,
Cappella Tornabuoni,
S.
Maria
Novella)
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FRA
ANGELICO
(1387-1455)
or
BENOZZO
GOZZOLI
(c.
1421-1497)
Head
of
a
cleric
Metalpoint and
brown
wash,
heightened
with
white, on
paper
coated
with an
ochre
preparation. 189
x
173
mm.
verso: Mother and
child
and
St
Lawrence, and
figure
with
clasped hands.
Pen
and brown
ink and
wash.
The
head
on the recto,
which does
not
seem to be
related
to
any
surviving
painted
work,
has
all the
appearance of a
study
from
life.
It incorporates a
delicacy
combined with a
strength
of
modelling
that is usually
taken
to
distinguish
the
painted works of
Fra
Angelico
from those
of his chief
assistant,
Benozzo
Gozzoli,
and
the
drawing was attri-
buted to Fra
Angelico
by
Berenson. In
the
absence of
comparable
drawings
by
the
older master,
later scholars
(including Popham) favoured an
attribution
to Gozzoli.
Pope-Hennessy,
however,
considered
that
Angelico's
authorship of the
recto
cannot
be
ruled
out
(J.
Pope-
Hennessy, Fra Angelico,
London,
1952,
p.
189).
Another
drawing at
Windsor (P&W 11
recto),
also
attributed
to
Gozzoli
by
Popham,
is in
a
rather
different
technique,
with
bolder application of white highlights and the head
set
less
securely
on
the neck
and
shoulders.
The
attribution
of
this
drawing has been
confused
by the
figures on the verso of this
sheet,
which are connected
to
two scenes from the
cycle
of
frescoes
representing
the
lives
of
Saints
Stephen
and Lawrence
in the chapel
of
Nicholas V
in
the
Vatican.
These
frescoes,
which
were
painted
between
the
year
of
that
Pope's
accession
(1447)
and
1449,
were
commissioned
from
Fra
Angelico
but
were
executed with
the help of various
assistants
(including
Gozzoli), to
whom
independent
payments were
made.
In
both
the relevant frescoes
(St
Lawrence
distributing
alms
and
St
Lawrence
before
Decius),
Gozzoli's
responsibility
was
con-
siderable.
As, however,
the verso
drawings
must
be
stu-
dies of
rather
than for
the paintings,
this
argument
helps
little
in
the
attribution
of
the
much
finer
study on
the
recto.
Provenance:
see
under
No. 1.
(P&W
10*;
RL
12812)
CAT.
2
verso
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LUCA
SIGNORELLI (c.
1441-1523)
Hercules
and
Antaeus
Black
chalk. The
lower
quarter of the
sheet has
several
irregular
lines
of
pin
pricks,
totally unrelated
to the
present
drawing.
282
x
162 mm.
Watermark:
related
to
Briquet
3899
(Venice, 1498).
The struggle
between
the
Greek hero
Hercules
and
the
giant
Antaeus
was frequently depicted by Renaissance
artists.
According
to
classical myth,
Antaeus,
a
son
of
the
goddess
Earth,
was
strengthened
by
contact with
the
ground and therefore
arose mightier following
a
fall.
Hercules,
perceiving
this,
lifted
him
up in the
air and
crushed him to
death. In Cristoforo
Landino's
De vera
nobilitate,
written
c.
1475,
a neo-Platonic
interpretation
of
the
story
is given.
Antaeus,
the
son of the
earth, cannot
be
destroyed
as
long
as he
maintains
contact
with
earthly
desires.
Hercules,
in lifting
him
from
the
ground,
separates
him from those material preoccupations which
interfere
with
the
attainment
of
divine
things.
For it is
only when
we are
cut
off from our physical
possessions that we
can
attain
spiritual rewards
(Bober & Rubinstein,
p.
173).
Various sculpted depictions of
the scene
by ancient
Roman artists
were
known
in
the Renaissance.
Both
ancient and
modern
artists recognized
the
possibilities it
presented for
the
portrayal
of
the naked human
figure
in
action.
The large-scale
marble
group
of
Hercules
and
Antaeus
now
in the courtyard of
the
Pitti
Palace, Florence,
was
already known
in
the
Renaissance,
but was
almost
certainly
in
Rome
rather
than
Florence
(Bober
&
Rubin-
stein,
No.
137,
p.
173).
That
group,
in
its unrestored
state,
was copied (in
reverse)
by
a follower
of
Mantegna
in
another
drawing
at Windsor
(P&W
17;
Ames-Lewis
&
Wright
43).
Antonio
Pollaiuolo's
bronze of
Hercules
and
Antaeus
(in
the Bargello) and
his painting
(in
the
Uffizi),
both
dating
from
the
1470s,
were
doubtless known
to
Signorelli
when
making
this
drawing.
A
number
of
en-
gravings
of the
subject have
survived
from
the
fifteenth
century
of
which one,
by
an
artist from
the
school
of
Mantegna
(Bartsch
XIII,
p.
202, No.
1;
erroneously
attri-
buted
to
Pollaiuolo),
is
loosely connected
to the
present
study.
Hercules'
attributes
have by
now
been added
to
the
standing figure.
The attributes
are also
included
in
Man-
tegna's
depiction of
Hercules and
Antaeus
on
the
vault
of
the
Camera
degli
Sposi, Mantua
(by
1474), to
which
the
engraving
is also
clearly
related.
In
spite
of
these
connec-
tions,
in No.
3
Signorelli
appears
to
have
studied
two
living
models
of whom
the
figure
nearest
us (for
Antaeus)
is
shown
partly
supported
by a
block.
In
a finished
work
both
his
legs
would
be
shown
unsupported.
The bold
lines
of
the
drawing
led
early
cataloguers
(and
later
Passavant)
to attribute
it
to
Raphael.
The
head
on
the
right is
indeed
more
reminiscent
of
the
work
of
a m
the
High
Renaissance
(such as Rosso
or
Pontormo)
c.
1490,
when
this
drawing
was
probably
prod
dates
therefore
from
Signorelli's middle
years,
described as a
time
of
cultivation ...
of
a
monumental
style, focused on
the
nude
figure,
closely
bound up
-
partly
as a
cause
and
par
consequence
-
with
the
young
Michelangelo's esp
a
grand
style
(G.
Kury,
The
Early
Works
ofLuca
S
New
York
and
London,
1978,
p.
351).
Provenance:
King
George III
(Inventory
A,
p.
5 1
:
d'Urbino e
Scuola,
No. 38. Wrestlers, or Hercu
Antaeus ).
(P&W
29*;
RL
12805)
SCHOOL
OF
MANTEGNA,
Hercules
and
Antaeus
(engraving;
Ba
p.
202.
No.
1)
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Baccio
della
Porta,
called
FRA
Bartolommeo
(1472-1517)
Virgin
and
Child
with
kneeling
angels
Pen
and
brown
ink. 164
x
224
mm.
verso:
Virgin
and
Child
with the
infant
St John the
Baptist
and
Angels.
Pen and
brown
ink,
heightened
with white.
No
painting
is
known
to
relate directly to
the
compositions
on either the recto
or
the verso of this
sheet,
nor to
similar
drawings
by
the
artist
in
the Uffizi
and the British
Museum. Fra
Bartolommeo
appears
to
have
been working
through
possible
representations of
the
theme of the
Virgin
and Child,
which were much in
demand
for
altar-
pieces and
devotional
paintings. In the present instance
one
of
the
kneeling
angels supports
an
open book,
which
the
Virgin is
apparently reading
to
the
Christ
Child. On the
verso
one
of the kneeling angels holds
the
standing figure
of
the
Infant
John
the
Baptist,
as
he
approaches
the
Virgin
and Child.
A
roundel
in the Samuel H.
Kress
Collection,
formerly attributed
to Fra
Bartolommeo's
follower and
collaborator
Mariotto
Albertinelli (1474-1515)
b
considered an autograph
work
by
Fra
Bartolom
related
to
the drawing series.
The
style
of this
study
is typical of
Fra
Barto
with
its
very
fine
and
dense
crosshatching
and th
like,
almost gothic,
terminations
of the folds.
Thi
ing,
and others of
its
type,
have
been dated
to
decade of the
sixteenth
century,
before
the
artist'
Venetian visit.
Provenance: King George
III
(Inventory
A,
p.
47:
Angelo,
Fra
Bartolommeo.
And: del Sarto,
p.
3 1 .
Virg
Jesus
S:
1
John
and Angels
Adoring.
The
other
sid
Mary
Jesus
&
two
Angels
Adoring,
&
a
sketch
of a
iP&W 1
13 verso;
RL 12782
verso)
CAT. 4 verso
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Baccio
della
Porta,
called
Fra
Bartolommeo
(1472-1517)
Seated
man
in
a
turban
Metalpoint,
heightened
with
white,
on
paper
coated
with
a
pale
blue
preparation.
261
x
180 mm
(irregular).
verso:
A
profile
(black
chalk);
detailed
study
of drapery,
and
(inverted) study
of
a
seated
man.
Metalpoint
on
paper
coated
with a
lilac
preparation.
Inscribed
(by
Gibson),
lower
centre,
on
two
conjoined
fragments
of
white
paper
together
measuring
1
1
x
79
mm: 6 3
Leonardo
da
Vinci.
The
drawings
on both
the recto
and the
verso
of this
sheet
are
connected
with
the
figures in
the upper
(celestial)
regions
of the
fresco of
the
Last
Judgement
commissioned
of
Fra
Bartolommeo
by
Gerozzo
Dini
for the
Church
of S.
Maria
Nuova,
Florence,
in
1498.
Following
Fra
Bartolom-
meo's
temporary
retirement
from the
active
world
in
1500,
by
which date
the
upper
part
of
the fresco
had
apparently
been completed,
the
painting
was continued
by
his
partner,
Mariotto
Albertinelli.
The
fresco,
much
damaged,
survives in the
Museo
di
S.
Marco.
The figure
in the
present
drawing
has
been related
to
that
at
far
right
of
the
fresco.
The painted
figure,
however,
lacks
a
turban
and
is seated at
a rather
different angle.
Similar exotic headgear appears in other preparatory
studies
for
the
Last Judgement
(e.g.,
a
drawing in Rotter-
dam),
but
the artist evidently abandoned the idea when
he
came
to
paint
the fresco. A newly
identified
study
for
the
same figure at
the
British Museum
is
closer
to
the
finished
painting
(Turner
31).
The London
drawing
is
similar
in
technique to
No.
5,
but uses a
buff rather than
a
blue
prepared
ground.
Another
study
in
the same collection
for
the figure
of
God
the
Father in the
Last
Judgement is
drawn
in
distemper on
tinted
linen (Turner
28).
A
preliminary
pen and ink study
for the same figure as No. 5 is also
at
the
British
Museum
(Turner
30).
Comparison
with
the (in-
verted)
seated
figure on the
verso
of
No.
5
suggests
that the
latter
may
be
a
very tentative
study
for
the same
figure.
The drapery study
also on
the verso
was presumably
made
for
the
same
commission, and
is
probably
the
result
of
soaking
fabric in liquid
clay
and arranging it (when
still
wet)
in
an
appropriate
way
on
a
lay
figure.
This
technique,
much
used by
late fifteenth-century Florentine
artists,
was described
by
Vasari
in his
Life
of
Leonardo.
Recent suggestions that
No.
5
should
be
attributed
to
Albertinelli
are
unconvincing.
Provenance: Gibson; then
as
for
No.
1.
(P&W
108*;
RL
12825)
CAT.
5 verso
FRA
BARTOLOMMEO,
The Last
Judgement (detail;
Florence,
S.
Marco)
7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
33/156
7/25/2019 Italian Master Drawings, Leonardo to Canaletto (Art Ebook).pdf
34/156
Giovanni
Bellini
(c.
1431-1516)
Head
of
a
bearded old
man
Drawn
in black