On, Around, and After A New Drawing by Raphael

On, around, and after a New Drawing by Raphael
Author(s): Paul Joannides

Source: Master Drawings, Vol. 43, No. 3, Sixteenth-Century Florentine Drawings (Fall, 2005), pp.
356-371
Published by: Master Drawings Association
Stable URL: http://www.jstor.org/stable/20444417
Accessed: 12-08-2015 21:12 UTC
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On,
and after a New
around,
Drawing
by
Raphael
PAUL JOANNIDES
Egerton(1800-1857),later1st
In 1836LordFrancis
Samuel
Woodburn
acquiredfrom
EarlofEllesmere,
attrib
(1780-1853) for3800 theeightydrawings
uted toGiulioRomano (1492/99-1546)previous
ly owned by Sir Thomas Lawrence
of hismasterRaphael who died in 1520. It

the influence
ofBaccio Bandinelli' pair of stuc
is also veryreminiscent
co colossi in theGarden of theVillaMadama, Rome. They
are dated byJamesHolderbaum... not longafter1520.5
(1769-1830).1
This drawing (Fig. 1) was purchased by one of

published
Theywere listedin1898,in theprivately
of drawingsthenactive,
of theEllesmerecollectionatBridgewater themost acute collectors
catalogue
House, but itwas only half a century later that they Mathias Polakovits(1921-1987),whose stamp it
Frenchdrawings
were bequeathed
receivedcriticalstudyfromFrederickHartt.He bears.Polakovits's
sheets,
sixteen at his death to the Ecole Nationale Superieure des
acceptedjustunderhalf-thirty-nine
the handlist of auto
Beaux-Arts, Paris, but his Italian drawingswere grad
graph drawings in his still fundamentalmonograph
ually dispersed.6Figure 1 reappeared on theNewYork
of which
he illustrated-in
the Ellesmere drawings
on Giulio Romano.2 When
private
collectioninLugano.7
by Giulio were sold in 1972, itwas acknowledged

thatHartt was largelycorrect, that the collection was
less homogeneous
The drawing is obviously of high quality. It is

carefully elaborated, but not pedantic, the line is
presum
thanWoodburn-and
artmarket in 1998, again as by Giulio, and isnow in a
that several
decisive and firm, the construction of form rugged
drawings were studio works or copies.3 But not all
and vibrant:particularly fine are the rendering of the
the reattributionsmade at the sale were demotions.
with the swellingcontourspowerfully

leftthigh,
ably Lawrence-had
assumed, and
The autograph sheetswere enriched by two mag
evoking density and strength,and the relaxed ener
nificent additions, a River God and a St. Michael,
gy of the arms and wrists.The attribution toGiulio
Ellesmere's
and has not been publicly doubted-although its
Carraccisequence,4
from
recovered
absencefrom
Hartt'shandlistimpliesrejection-but
the "Giulios" were fine sheets by
hiding among
Perino
del Vaga
(1501-1547),
Francesco
Salviati
attracted the attention of any scholar concerned
(1510-1563), and Girolamo da Carpi (c.1501-1556).

Lot 4 of the 1972
neither has it been publicly affirmed.8 It has not
sale was a drawing fully with thework of Giulio Romano,
nor was itmen
tioned in either the catalogue of the comprehensive
attributed to Giulio and described as follows:
survey exhibition mounted at Palazzo delTe in 1989

A
STANDING
MUSCULAR
MALE
NUDE
or that devoted
to Giulio's
drawings at Hunter
This drawingwould seem to be an earlywork before College, New York, in 1999. The
under
Giulio's departureto
Mantua, showinghim strongly
strong and memorable
omission of so
a figuredrawing might seem
356
strange,until one recalls that disregard is frequently
artistichabit or the product of a particular stylistic
moment:itisinvolved
andwith
withplasticemphasis,
the fateofmatter in thewrong place.
In lightof our presentknowledge,much
the creation of the sculpturaland the sculpturesque."8
expanded since 1972, it is clear that the drawing is
The "hard" stylefinds itsapogee in the pen drawings
not by Giulio, c.1520: ithas none of the fast-running
for theParnassus,inwhich Raphael, deliberatelyplay
linearity that characterizes the pen handling of even
ing against the harmonic interlinkingof the adjacent
his earliestdrawings;thecontoursare tighter,

the
than
modelingmore robustand three-dimensional
Disputa, staged a gathering of animated statues-fig
Giulio's figurestudies ever are, evenwhen he copied
And in a drawingmade short

models are sculptural."9
his master's pen drawings.9 Figure 1 is clearly by

Raphael
(1483-1520)
and datable 1507-8, toward
the end of his Florentine period.10There are numer
ures whose mode
is that of sculpture and whose
ly after the Parnassus studies,but in theirmanner, the

magnificent study in the National Gallery of Art,
(Fig. 5),2? for the two prophets in
Washington, DC
ous linkswith other drawings by him from that
the leftupper level of theChigi Chapel
in S.Maria
time.The junction of torso and hips expressed as a
della Pace, Rome,
sequence of S-shaped lines is precisely thatof nude
apart from itsslightlylongerbeard, identical to thatof
studies such as the GesturingNude Man
Figure1.
the verso of a double-sided

Museum,
(Fig. 2), on
sheet in the British
London;1` the hatching on the thighs is
directly comparable to that found in the Two Nude

Men on the recto of the same sheet (Fig. 3), aswell
as to that in theHerculesKilling theHydra (see Fig. 6).
Expressive
the head of the seated figure is,
anatomy
was
particularly
Florentine preoccupation during the early

Cinquecento,
and Raphael
studies of the male
naturally made many
nude during his sojourn in
Florence.
As a categorytheyareoutnumbered-by
The manner of defining rib cage and breast is that
about 25%-only
of Hercules Killing theNemean Lion in the Royal
and Holy Families. Some would
by his drawings forMadonnas

have been simple
Library at
Windsor Castle (see Fig. 7).12A drawing of
exercises to furtherhis command of anatomy and
evidentlydifferent-but
unknown-purpose,the
physical expression, but others would
St. Blaise Holding theInstruments

ofHis Martyrdom in
madewithmorepreciseobjectives.The
battlepieces
theMuseo
being prepared for the Palazzo
Horne,
Florence
(Fig. 4),13 of around
1508,showscloselycomparabletricks
of handling, Florence
down to the particular formulation of the knuckles,
aswell as equivalent rigor.
by Leonardo
da Vinci
have been
della Signoria
(1452-1519)
Michelangelo, both of which Raphael
in
and
copied, fired
his imagination and eagerness to tryhimself at dra
A sinilar breadth and severity is common to a
matic and magniloquent projects demanding
number of pen drawingsmade by Raphael at the end
anatomical skills.His ambitions are revealed by his
of his time in Florence and during his firstyears in
numerous drawings of battles, some of which were
Rome. Among
others, it is seen in his copy, in the
no doubt made for fresco schemes, either aborted or
BritishMuseum
(see Fig. 10),14of the statueof David
lost, for palaces in Citta di Castello and/or Perugia
by Michelangelo
(1475-1564),
in his variant, in the
rather than Florence, where, save for theDei
altar
ofMichelangelo's
Virgin
andChild piece ("Madonna del Baldacchino," now Florence,
Albertina,Vienna,15
withSt.Johnthe
Baptist(Pitti
Tondo) -mployed for Palazzo Pitti),his commissions
were restricted
to
the simulated reliefof Charity in the predella of the portable
paintings.2'
The heroicandbellicoseaspects
Entombment
(Rome,GalleriaBorghese),and in his of Raphael's pre-Roman work have been little
study,in theMusee Fabre,Montpellier,16 for theman
but they
investigated,
were of greatsignificance
to
leaning forwardat the right side of theDisputa in the
him and they bore a rich crop once he arrived in
Stanza della Segnatura in the Vatican.17 That
themetropolis.
the
"hard" stylesuch drawings exhibit coexistswith oth
Other
studies of single nudes, and no doubt
erspracticed
byRaphael concurrently
demonstratesthose of nudes
itsselection forparticularpurposes. It isnot simply an
made
in small groups,would also have been
for specific projects. Although
there are no
357
Here
attributed to
RAPHAEL
Hereules
-
358
Lugano, Private
Collection
Figture 2
RAPHAEL
Gesturing Nude
Man
Londoo, Britisli
~~~~~~~M,{*CCTJ;1
survivingpaintings to prove it,it seems likely that two
an autograph
variant of
the latter is in the
Oxford, the
Ashmolean.2' Hercules Killing theCentaur (a subject
Group of Four Soldiers and the classicizing Dancing
Raphael had already treated threeor four years pre-
RAPHAEL
in preparation for decorative
viously) is representedon a second large sheet in the
TwoNudeMen
drawings in the Ashmolean Museum,

Fauns, were made
And it isclear too thatFigure

schemes of some kind.22
BritishMuseum
1 ismuch more than a study piece. Itsdegree of fin
one furthercombat: his Hercules KillingAntaeus-
of itspenwork,itscut
severity
ish,theexceptional
arguefor
plasticity
and emphatic
ting-wire
contour,
which isknown only froma chiaroscurowoodcut by
(Fig. 8).25Raphael depicted at least
British
LO'idoit,
Muiseii
Ugo da Carpi (fl.c.1502-32) and an engraving (Fig.9)
Raimondi(c.1470/72-1527/34)-is
byMarcantonio
topresent usually
completeand informative
it issufficiently
c.
werepublished),
dated 1517(whentheprints
itsbeing made at an advanced stage of some project;
to a patron. And
the subject is unambiguous
for, but the group's ratherstiffdesign argues that itorigi
thepowerfuil
physique
arelacking,
although
attributes
nated at the same time as the other three.'
and mature virilityof this"muscularmale" are not in
What might have been Raphael's aim in creat
is thatofHerculesas
His characterization
doubt.32
ing theHercules illustrated in Figure 1 and the quar
Raphael
portrayed him c. 1507-8
in three well
tet of struggles?The
single figure is complete
in
to thepresent
so sinilarstylistically
knowndrawings
itself,not engaged
one as to be cognates.The purpose of thesedrawings,
linked to the narratives, is not part of them. He
illustratingthreeof Hercules'
satisfactorilyelucidated. On
Windsor
labors, has never been

the recto of a sheet at
isHerculesKilling theHydra (Fig. 6),while the
verso shows HerculesKilling theNemean Lion (Fig. 7);
in action, and, while
clearly
embodies in his resolute repose those physical and

moral
qualities demonstrated
in action
in the
then,
would be inapposition
labors:thenarratives,
to, rather than in continuitywith, the single figure,
359
Figure 4
RAPHAEL
St. Blaise Holding
the Instrumentsof
His Martyrdom
Florence,Museo
Horne
more
appropriate as designs for sculpture than
painting and the obvious inference is that the sin

gle figure is a project for a statuewhile
the narra
A relation between them

tivesprepare high reliefs.V
could have taken several forms but themost prob
able is that the reliefswere intended to decorate the
four-sided pedestal
of
a freestanding statue.28
most
were known in antiquity,29
Figuredpedestals
famously that supportingPheidias's Athena,
Figure5
described by Pliny and Pausanius.The

and this concatenation suggests a substantial com
George and Judith by Donatello
statues of St.
(1386/87-1466)
RAPHAEL
mission.Raphael frequently
imitatedsculpturein
TwoProphets
had
hispaintings
and ifthesedrawings
weremadewith
although furllnarrative bases are not demonstrably
Washington,
DC,
painting in view, then a fresco scheme in grisaille,
current so early as 1508, Hercules'
National
of with a standing
Gallery
Herculesaccompanied
by scenesof
Art
his labors,ismore likelythana sequenceof panels.
But
the rough handling and large format of the
revived the practice
in different ways and

labors would
have presented a compelling invitation.3"Raphael

studied Donatello
closely, and he,with his extraor
dinary visual and cultural intellect, is themost like
drawings counts against such a role.Both Figure 1
lyof all his contemporaries to have appreciated the
and thefourdevelopednarrative
compositions
are
potential of the historiated pedestal.3' Raphael
360
had
andmetalworkdur
designedinnovative
sculpture
to do so again,
period and was
ing his Umbrian
copy of Raphael's copy of theDavid, and at the right

a copy afterRaphael's Hercules,which
suggests that
with
in Rome.32
While collaboration
extensively,
sculptors
duringhisFlorentine
sojournisvirginter
both original drawings (Figs. 1 and 10) were togeth
ritory for research, there can be httle doubt that it
addition to providing external support in favor of
er when
theAmbrosiana
occurred.33 In this instance he might have taken
the attribution of the Hercules toRaphael,
over a project fromLeonardo, who made a note, in
hnks Raphael-and
1508, about a series of Labors of Hercules for Pier

and who, in contemporary draw
Francesco Ginori
in
copy was made. But
thispage
interpretation of
Raphael's
to one of theirmost promi
Michelangelo-directly
nent younger contemporaries, for it is one of a
ings,planned a multi-viewpoint,freestandinggroup
of sheets in theAmbrosiana divided between
Hercules, which may or may not have been con
autograph drawings by Baccio Bandinelli and draw
nectedwith theLabors.34
ings by one or other of his numerous pupils, who
Hercules was, of course, a centraliy important
inFlorentine
andpar
virtutis
exemplum
iconography
stay in Florence.35
ticularly topical during Raphael's

or not he
Whether
Leonardo, he would
inherited a project
from
surelyhave known of his plans,
as well as Soderini's intention to provide the David

in the Piazza
Hercules
a companion
della Signoria with
and Antaeus
to be
also
carved
by
paid serious attention
Michelangelo. That Raphael
while in Florence to thework of both Michelangelo

and Leonardo
is not fresh news.36 In particular,
concentrated on themarble David-more
Raphael
assiduouslyreproducedtheirmaster'smodels.39
Figure 12 isno doubt a student facsimile aftera now
lost page by Baccio, who would
side by
so than any other sixteenth-century artist
except Baccio Bandinelli (1493-1560). He

from the rear in theBritishMuseum
studied it
drawing (Fig.
10), and, no doubt, from other angles in drawings
the handling
Ambrosiana drawing reflectsthatof Raphael,

themirror of Bandinelli. The
his
of
the
it is in
linework of a second
copy of the David study,which passed through the

Paris artmarket some years ago (Fig. 13),41demon
strates that it too was made
from Bandinelli's lost
intermediary
Museum
rather
thanRaphael'sBritish
original.
thanany of his contemporaries,

intently
indeed,
more
side.40Although
have made
two drawings were
"original" copy when Raphael's
Given Bandinelli's equivocal reputation and skill

at making enemies, he tends to be seen somewhat
apart, his lifeand works not closely integratedwith
studies of other High Renaissance
artists.But
the
young Baccio was active and alert, precocious and
thatdo not survive. Several of Raphael's Florentine
rampantly ambitious. He worked
drawings are variants of the David. The best known
GiovanniFrancescoRustici (1474-1554),through
of them, theAshmolean Spear Bearer (Fig. 11),3 was
whom he met Leonardo, who advised him to study
in the studio of
employed,appropriately
enough,for a simulatedDonatello.42
Bandinellitooknotice,and numerous
statuette, by
his
friend Domenico
Alfani
drawings by or afterhim of Donatello's
andChildbetweenstatues are known. He

(1479/80-1549/57)in his Virgin
Sts. Gregory and Nicholas of Bari of 1518
(Perugia,
and
the
present:
reliefsand
was an avid studentof the past

drawings
after Leonardo,
dell'Umbria). Raphael, in his Michelangelo,Giotto (1267/75-1337),

Masaccio
Hercules,
cleverlyexploitedaspectsof theDavid's (1401-1428),Desiderio da Settignano(1429/32
Galieria Nazionale
pose-the
widely separated legs, the outward gaze,
and the raised leftforearm-but
to convey achieve
ment ratherthananticipation.
A
relation between
Raphael's
drawing of
can be demonstrated in an unexpectedly
immediate
way. A
Ambrosiana, Milan
sheet
in
the Biblioteca
(Fig.12),38 carries at the left a
(1472-1517),
among
not forgetting
others,have been identified,
the
antique; but much more
Herculesand his fascination

with Michelangelo's
David
1464), and Fra Bartolommeo
remains to be uncovered
aboutBandinelli's
copies.Furthermore,
evenifonly
a short-term or indirect protege of Leonardo, the
adolescent Bandinelli would have had an avenue to
Raphael, and although no documentary or anecdot
al testimony
survives
of directrelations
between
361
them in Florence--Bandinelli
about fifteenwhen Raphael
would
too was finallyto provemore congenial to him than
have been
thatofMichelangelo.44
departed forRome
him
precocious
astonishingly
contactisnotunlikely:
self,Raphael was sympathetic to precocity in others.
His artistic generosity iswell known and does not
Apart from theAmbrosiana page-or,

drawings by Raphael
In thisregard,
the tough,even
requirereiteration.
brutal drawing styleof theLabors ofHercules,inwhich
rather,its
now lostprototype-nocopiesbyBandinelliafter
have yet been securely identi
a famous study of Figlting Men by

of c. 1510 in the Ashmolean,"' made
fied.4`But
Raphael
marble
appropriately
enough-for the simulated
carrieson
ofAthens,
relief
belowApollo in theSchool
isof particular
significance.While,
ingthanhitherto,
of a figureincontestably
itsverso(Fig.14) sketches
in the final analysis, their rough-hewn handling of
ofMichelangelo's
drawings, related to one employed by Bandinelli in his design
theimpact
pen registers
engraving
ambitious
multi-figured
Raphael's response was not imitativebut creative.43 forthestrikingly
Raphael employed a broader pen and coarser hatch
His "heroic" pen drawings,of course,miss the delica
of theMassacre of theInnocents(Fig. 15), his response
cy and vulnerability that vitalize Michelangelo's
to a famous image by Raphael. Bandinelli's design
unambiguous, for the print, cut for him by one

but theyare emotionally
grandeur,
more directlyconumunicative,
more immanentlyengravers,Marco Dente da Ravenna
classical-and more Leonardesque. Itwas Raphael's
drawings
of
Whether the
ing his secondRoman sojourn.
approach to antiquity Ashmolean's sketches are by Raphael, an attribution
Figqure6
RAPHAEL
Hercules Killing the
Hydra (recto)
Witidsor Castle,
Royal Library (@)
?
Her Majesty Q,een

Elizabetit II)
F(gutre 7
RAPHAEL
'9
fame
throughout Europe, isgenerally placed c. 1520, dur
thatinspired
Bandinelli's
pen
Michelangelohimself,
draftsmanship,and Raphael's
(d. 1527), and
which, according to Vasari, spread Baccio's
rather than those of
this kind,
of Raphael's
. t
_HerculesKilingthe
Nernean Lion
~~~~~(verso)
Witidsor Castle,
Royal Library ((O?
Her Majesty Quieent
kt; N:
[
i
Elizabethi II)
362
amongthem
of theartist-myself
thatstudents
and Daphne.48 Baccio might have made his copy at

this time.A thirdoption is that the original of Figure
have tended to resist,or by one of his pupils, ismoot.

But
thatBandinelli knew this figure-and
this sheet of drawings-there
perhaps
12 was made
between
1519
and 1522, during
probably,
seriesof
Bandinelli's
secondresidence-or,
can be no doubt.
Given that a precise chronology of Bandinelli's
residences-in Rome.
In my view, thiswould be a
drawings is still far from secure, it is an open ques
yeta powerful
littlelateforthedrawingstylistically;
tion whether
circumstantial case can be made
for it, since pro
tracted contact between Baccio
and Raphael
the lost original of theAmbrosiana

by him in Florence, shortly after
sheet was made
Raphael had penned his own two drawings, or later. Rome

During his firstvisit toRome
doubt met Raphael-or
in 1514, Bandinelli no
then thatBandinelli-working
Baldassare Turini da Pescia (1486-1543), who
had
of introduction
on Baccio'sbehalf
receiveda letter
from Lorenzo
de' Medici,
couched
in terms so
pressing thatBaldassare would have been unwise to
Veneziano;
c. 1490-1536)
(Agostino
took a breather from his
in 1515 to engrave Bandinelli's
work forRaphael
Ashmolean
on hisMassacre of the
to focus on,
the
sheet, and itwas then thathe modeled
the two large stucco statues of heroic male nudes

that stand guard in the garden of Raphael's grandest
secular architectural project, the Villa Madama,
which were so presciently invoked in the 1972 sale
do less than his best for the young sculptor.47One
resultwas thatAgostino dei Musi
to know, or
Innocents-came
met him again-through
in
at that time is certain.49Itwould have been
catalogue. The
precise date of their execution
is
uncertain, but even if completed after Raphael's

death, theywould
have been planned within his
Raphael theentrepreneur
andApollo lifetime,
and itwas surely
of Cleopatra
highly
Raphaelesquedesigns
Figu re 9
Figure 8
N
*
,g<C
//
~-'/~->)
MARCANTONIO
~~~~RAPHAEL
RIOD
Hercules K(ilhng the

)
(after
1 Ceritau
RAPHAEL)
~~~~~~entaur
British
London,
Museum
->*
-
1lacul
Hercules Killing
Antaeu
'
D
British
iLondon,
14~~~~1
_ K.
"'A
363
who chose-or
at least approved-the
sculptor.5" It
would have been only natural forRaphael
to show
Bandinellian earlierunexecutedsculptural
project
of his own to indicate the vigorous heroes that he
wanted
as guards.5' Or Bandinelli might himself
have taken the initiative in styling his figures in a

manner that reflectedRaphael's own ideas of sculp
turalstrength.52
The discoveryof any new drawing by Raphael
is
of interest,
and in thepresent case this is augmented by
the link it establishesbetween Raphael and his impor
tantyounger contemporaryBandinelli.53But the sheet
has still
more to offer.
On
the laid-down versobut clear
lyvisible against the light-as noted in the salesof 1972

and 1998-is
an ink inscriptioninwhat seems to be a
hand: GironimoCiada Ui. Ciarla is

seventeenth-century
a significant
name foranyone concerned with Raphael:
itwas the familyname of hismother,Magia, who died
when he was eight.
While
relationsbetween Raphael
and his father'ssecond wife were cool, thosewith his

own mother's family remained excellent. In lettersof
1508 and 1514 to hismaternal uncle Simone Ciarla, he
The Ciarla fam
addressedhim as"carissimo
quantopatre."54
ily-which included, in the latersixteenthcentury,two
Figure 10
RAPHAEL
Copy of
Nichelangelo's
Dav4d
London, British
Museum
Figure II
RAPHAEL
*.
'
Spear Bearer
Oxford, Ashmolean
Museum
364
'
;.n
71
Figure 13
Figure 12
UNIDENTIFIED
DRAUGHTSMAN
UNIDENTIFIED
DRAUGHTSMAN
(after BACCIO
(afterBACCIO
BANDINELLI
after
RAPHAEL)
BANDINELLI
after
RAPHAEL)
Copy
Copy after
Michelangelo's David
after
Michelangelo's
David and Raphael's
Location Unknown
Hercules
Milan, Biblioteca
della Ambrosiana
in laborator,
TimoteoViti (1469-1523),who owned
tohavesurvived
important
majolicapainters-seems
Urbino well into theseventeenthcentury,ifnotbeyond.
A Girnimo
many drawings by Raphael
Ciarla has yet to be traced,but it is a fair gifts) and who
(presumably received as
copied others.56So far as one can
presumption thathe was born and lived inUrbino, after
with Raphael
judge,Timoteo's finalcollaboration
would seemto indi

therefore,
The inscription,
1602.5;
was on the frescodecoration of theChigi Chapel
cate thatthe sheetwas in thepossessionof somemem
S. Maria
ber of Raphael's famrily.
attributed the prophets on the upper level to him
Among Raphael's
whelming majority
surviving drawings, an over

is datable before the end of
work on the Stanza della Segnatura (completed in
in
della Pace, carried out c. 1511-12.Vasari
and said thatTimoteo's collection included

Raphael's cartoons for the sibyls. It is unlikely to be
chance
thatmost of the Raphaels
thatTimoteo
Contactbetween
afterthis. ownedantedatethatcommission.
diminish
drastically
1511).Theirnumbers
Why
later sheets are so few-the
explanation is thatRaphael
least plausible
ceased to draw-may
never be explained satisfactorilyand is, in any case,

an issue thatneed not be addressed here.A more rel
evant question iswhy somany drawings should sur
vive from the earlier and, to contemporaries, less sig
nificant part of Raphael's
career? One
obvious
answer isprovided by his friend and occasional col
the two artistswould have become more tenuous in

following years.By 1513 Raphael was recruitinghis
own Roman
Marchigian
studio and had ceased to employ the

and Umbrian
artistson whom
he had
previously
reliedas theneed arose.
byTimoteoVitiathisdeath
The collectionleft
began to be dispersed during the sixteenth century.
Vasari claimed thathe acquired drawings fromViti's
365
son. It is likely that several sheets by Raphael
and
included in the inventory as Raphael
(no. 48),
othersdepartedthen.Theresiduepassedeventually though it is in facta studyby Sebastiano del Piombo

to theAntaldi family,and at some point in the sev
(c.1485-1547)forhispainting
ofChrist
Carrying
the
enteenth century the famous initialswere applied to
sheets thought to be by Raphael, Timoteo,
Girolamo Genga
(1476-1551). The
and
collection was
Cross in the Prado,Madrid.
After1700 the
Viti-Antaldicollection
was dis
persed in two blocs. The
firstwas purchased by
PierreCrozat (1665-1740)duringhis Italiantripof

1714, the second by Samuel Woodburn
in 1823, and
ithas been suggested thatan isolated sheetmay have

left c. 1800.5"Yet however great the losses before
1714,itseemsdoubtful
whetherViti's
holdings
were
ever sufficient to account for the large number of
drawings by the young Raphael-comprising
ly all of those held by theMusee
near
des Beaux-Arts at
Lille and many of those in theAshmolean-that

came onto the market in Italy at the end of the
eighteenth
century.
As iswell known, the common source of the
drawings by Raphael
at Lille and the greater part of
those inOxford was the painter and collectorJean

BaptisteWicar
(1762-1834),
but a remarkable fea
tureof what was for a short time his vast collection

of Raphael
drawings is thatmost have no traceable
prior provenance."" Some bear numbers, but none a

collector'smark."' And so faras can be judged with
out a systematic survey,there survive relatively few
early copies of these drawings,which suggests that
they were preserved in a collection-or
collec
tions-less accessible than that of theViti-Antaldi.

They did not, for example, attract the attention of
the "Calligraphic forger."
Where Wicar
obtained his Raphael
remainsmysterious.R.W
article on
drawings
Scheller, in his remarkable
the theft of Wicar's
Raphaels, which
appeared in thisjournal in 1973, concluded that the

groupings of drawings inWicar's possession were so
inventoried toward the end of the century, and it
included some fiftydrawings by Raphael.5
similar to those in theViti-Antaldi collection that
However, since uninventoried drawings bearing the
He hypothesized that it too might have come from
Figures
Standing
various initialsappear quite frequently,it seems that

further, probably piecemeal, dispersals occurred
drawings came from thissource,why should he have
Asliioleat
0.^;ftrdl,
i
between
theapptocation of the initialsand the com
acquired only drawings not bearing the R V mark
MuSeelulli
pilation of the inventory.

Moreover, the inventory is
and not recorded in theViti-Antaldi inventory,and
not invariablyaccurate: a drawing of a Head ofChrist
why should the entire remainder of marked and
Fi,selre
14then
ItAPHAEL or
assistant
with
the initials R
JV [Rafaello Urbino], which
appeared on theNewTYork artmarket in 2OO4,58 is
there
musthaveexisteda Doppelganger
collection.'(
theViti-Antaldi. But this seems unlikely. IfWicar's
inventoried drawings have been left for

Woodburn
toacquirein 1823?There is likewise

no indication
366
that
Woodburn purchasedfurther
unmarked,
unin Almost thewhole of thefollowing lots of this divine
ventoried
Raphaels fromtheMarquessAntaldi.
Artisthavebeen(p?)reserved
inhisfamily
untilthelate
Although Jean-Baptiste
Wicar no doubt Revolutions,when theyfound theirway into themar
obtained drawings by Raphael frommore than one
ket,andwerepurchased
by their
present
at
proprietor,
source, the homogeneity of most that he owned,
Rome."4
and the fact that somany fall into subgroups-"the
Fig,ire 15
MARCO
DENTE
DA
RAVENNA
(after
BACCIO
BANDINELLI)
Massacre of the
Innocents
Engraving
Londotn, Britisl
Mluselumii
green sketchbook"for example-suggests that

therewas one main source and that the great bulk
Howevermuch thisaccount fromthe 1804

Ottley sale may omit-for
example, Ottley's own
of them had remained together since the early six
acquisition of some of theRaphael
teenth century.Drawings by Raphael were certain
were purloined from

Wicar by Antonio Fedi
ly owned
by Marchigian
and Umbrian
families
(1771-1843)-there
other than theViti-Antaldi.

The Perugian-based be
Connestabile
owned
the famousMadonna
roundel
drawings that
is no reason to assume it to
entirely false. It may indeed record the main
source whence
so many Raphaels
emerged onto
now in theHermitage, St. Petersburg, and seem to
themarket-the
have had a few drawings by Raphael, but there isno
the Chiarla
hintthattheypossessedlargenumbers.6
and, directly or indirectly, by Ottley
The
inscription on the verso of the present
collection of the descendents of
family-to
be purchased byWicar
and then
Lawrence.
sheetsuggestsanother,richerwell, one thatwas

closer to the spring, namely Raphael's own mater
PaulJoannides isProfessor
ofArtHistory at theUniversity
nal family.This would
ofCambridge.
dovetail with
a statement
made byWilliamYoungOttley (1771-1836) inhis

1804
sale catalogue, in which
Raphael
drawings on offer:
he wrote of the
Author's note:
This articleisdedicatedtoFrancoiseViatte.
367
Notes:
1.
In 1835 Woodburn
in
displayed twenty-five "Giulios"
of selections from the Lawrence col
his fifth exhibition

lection; his choice
contained
and
studio drawings
autograph works.
copies
2.
Frederick Hartt,
Giulio
in the so-called
Fischel
grouped
by Oskar
"Large
Florentine Sketchbook"
and while, as argued by Philip
and John Gere
in the
(Italian Drawings
Pouncey
a surprising number of
at the expense of major
Romano,
2 vols., New
Department ofPrints and Drawings in theBritish Museum:

and His
Circle, London,
1962, p. 13), it is
Raphael
that these drawings formed a sketchbook
improbable
proper, Fischel's ensemble remains coherent.
Haven,
1958.
3.
Sale, London,
Sotheby's,
1972. The
5 December
schol
11.
arly sale catalogue, compiled by Julien Stock, contains

to Hartt, theWoodburn
concordances
exhibition, and
the Bridgewater
4.
House
run of ex-Lawrence
second
12.
catalogue.
also acquired by Egerton

This was dispersed at auction
at Sotheby's, London,
13.
ed. by Douglas
6.
Fraser, Howard
Hibbard,
and Milton
a red chalk study by Raphael,

unrecog
Polakovits
acquired it,which was sold at
repr.,
Museum
Sotheby's, 28 January 1998, lot 5 (with

same
the
commentary as in 1972), repr. I am
virtually
most grateful to the present owner for allowing me to
taken by
collection
inventory of Lawrence's
in 1830 (typescripts in the print rooms of
Woodburn
Museum
and the British Museum)
the Ashmolean
records, on p. 95, "Case
12, Drawer
16.
Inv. no. 3184. Pen

and black
point,
for example,
the copy in the Schlossmuseum,
(inv. no. KK 8047; see Paul Joannides, Raphael
des Beaux-Arts,
and His Age: Drawings from theMus?e
17.
In his
Lille/Raphael
Arts de Lille, exh. cat., Cleveland
Lille, Mus?e
des Beaux-Arts,
after Raphael's
539;
see Paul
Berkeley
The
Adam
dimensions
du Mus?e
Museum
2002-3,
in the Ashmolean
Joannides,
and Los Angeles,
of Pouncey
(Master Drawings,
of Art
18.
The
Drawings
of Raphael,
1983, no. 132v, repr.).
1962, Konrad
1, no. 3, 1963, pp. 44-53,
19.
Fischel
runden, l?sst mehr an Stein als an
of Figure 1 is also similar to the Laokoon

(inv. no. 12760; see Joannides
inspired study atWindsor
in the
1983, no. 241, repr.) for the head of Homer
The
head
more
20.
although
faded.
Inv. no.
1991.217.4.
that much-displayed
Pen
and brown
drawing
The
3856r;
is
ink, brown wash,
heightened with white, over black chalk, squared

lus and red chalk; 262 x 200 mm; see Joannides
no. 297, repr.
21.
Charity
remarked of Raphael's
copy of David
8
vol. 4
vols.,
Berlin,
1913?41,
(Raphaels Zeichnungen,
[1922], p. 201, pi. 187): "Das Wohlgef?hl, mit dem die
As Oskar
Strichlagen die Glieder

Fleisch denken!'
and
p. 168, fig. 46b),

(inv. no. P II,
and Gere
p. 46) observed the close relation of theVienna

to the British Museum
Hercules.
des Beaux
of the sheet and the slight staining vis

suggest a link with the drawings
ible at lower center
review
Oberhuber
See,
et son temps:Dessins
ink, over lead
1983, no. 142, repr.
and brown ink, over traces of lead

chalk; 360 x 235 mm; see Joannides
Parnassus,
Weimar
see Joannides
1983, no. 225, repr.
1835 exhibition.
Woodburn's
10.
point; 380 x 250 mm;
1: Two, Hercules
a
(having) destroyed the Hydra and study of figure, free
pen." The first is no doubt Hartt 1958, no. 238, fig. 380
(lot 52 in the 1972 sale); the second is probably the
was
in
here. Neither
included
discussed
drawing
9.
Inv. no. 245. Pen and two shades of brown
at length.
The
traces of black
15.
of
Sale, New York,
study this drawing

8.
lot 26,
ink, over
see Joannides 1983, no. 266, repr.

andWainwright
grateful to Drs. Nardinocchi
Inv. no. Pp. 1-68. Pen and brown ink, over traces of
black chalk underdrawing; 393 x 219 mm; see Joannides
1983, no. 97, repr.
included
They
nized when
and brown
14.
J.
1967, pp. 93-97.
London,
Sotheby's, New York, 29 January 1997,

itwas acquired by theMetropolitan
when
Art (inv.no. 1997.153).
7.
Inv. no. 5882. Pen

I am most
Birth Date
reference is to James Holderbaum,"The
in
of Baccio Bandinelli,"
and a Destroyed
Early Work
to
in
Art
the
Presented
History of
Rudolph Wittkower,
Essays
ink, over stylus underdraw

1983, no. 189, repr.
see Joannides
for the photograph.
The
Lewine,
x 272 mm;
chalk; 250 x 155 mm;
11
July 1972.
5.
Inv.no. 12758. Pen and brown

ing; 390
sheets, by the Carracci,

en bloc fromWoodburn.
was
Inv. no. Pp. 1-75. Pen and brown ink, over traces of
black chalk underdrawing; 269 x 172 mm; see Joannides
1983, no. 187v,repr.
in sty
1983,
famous
inv. no,
Siege of Perugia (Paris, Louvre,
see Joannides 1983, no. 93, repr.), now identified
Siege of Perugia," Burlington

by Tom Henry
("Raphael's
as an episode
146, no. 1220,2004, pp. 745-48)
Magazine,
from the history of S. Ercolano, obviously responds to a
Perugian commission.
368
22.
Inv. nos. P, II 523 and 525, respectively. Both pen

ink; 271 x 216 mm and 232 x 185 mm;
brown
24.
see
1983, nos. 88 and 135, both repr.
Joannides
23.
of the Piazza della Signoria," R?misches Jahrbuchf?r Kunst

geschichte, 20, 1983, pp. 377-415. She ascribes the inven
tion of the narrative pedestal to Baccio Bandinelli
(p.
innovation was to bring the narrative
407):"Bandinelli's
and
The
stiffness of the garment

der suggests a lion skin.
slung over the right shoul
Hercules and theLion was
The Ashmolean's
the collection of Antonio Tronsarelli

1601, no. A102
resources which
inventoried in
to c. 1530, when
(b. 1520s, d. 1601) in

theWindsor
version
(it cannot have been
Andrea Doria
Roman
Collector
of
the Late
Sixteenth
32.
Century,"
140, no. 1145, 1998, pp. 537-50. A
BurlingtonMagazine,
slight sketch ofHercules and Cerberus, not known in a more
as unsat
study and perhaps set aside by Raphael
(inv. no. P II, 463 as
isfactory, is also in the Ashmolean
Peruzzi; reattributed to Raphael
by Nicholas Turner; see
Inv. no. 1895-9-15-631.
26.
27.
see
Pen
and brown
ideas.
sheet of c. 1503 in the Uffizi (inv. no. 1476 E;

Raphael's
see Joannides 1983, no. 53,
repr.) contains on its recto a
series discussed
here.
previously unknown sheet of c. 1504 that appeared

on the art market in 2004 (sale, London,
Sotheby's, 8
July 2004, lot 23, repr.) contains a design probably for a
censer on its verso. In Rome,
of course, Raphael
ink; 400 x 244
1983, no. 188, repr.
the bronze
designed
in S.Maria
for Agostino
Chigi's
(forwhich he again pro
roundels
della Pace
format of the contemporary sequence of pen stud

ies of the seizure and maltreatment of prisoners?which
are
to the
surprisingly brutal for those accustomed
"Raphael of the Dear Madonnas"?also
suggests sculp
ture. Hardly mere exercises, they too were presumably
1935;
The
1509 in the Sz?pm?v?szeti M?zeum,

(inv. no.
Budapest
see Joannides 1983, no. 215, repr.), and that of c.
1511 for a fountain in the Uffizi (inv. no. 1474 E; see
in view of some aborted or lost commission.
1983, no. 294, repr.). It has often been

that some of Raphael's
later paintings suggest
three-dimensional
and
Leonardo
Sellaio
preparation
Joannides
remarked
I suggested that the Hercules

narratives may have been
intended for reliefs on the pedestal of a statue before
aware of Figure
1 (see Paul Joannides,
becoming
that three marble
reliefs
similar
drawings, although unrelated

Raphael's
the Bargello, Florence, as anonymous
reported
in
size
Lion
(inv. no. 276S).Their
function
Haven
33.
34.
for example, A. Kosmopolou,

The Iconography of
Sculpted Statue Bases in theArchaic and Classical Periods,
See Kathleen Weil-Garris,"On

David, Bandinelli's
Hercules
Pedestals: Michelangelo's
and the Sculpture
and Cacus,
750-51.
an
see Paul
A
example,
Joannides, "Raphael:
of Madonnas,"
146, no.
Burlington Magazine,
1220, 2004, pp. 749-52.
For
See Carmen
C. Bambach,
Museum
"A Leonardo
of Art:
Studies
Drawing for the

for a Statue of
Apollo, n.s., 153, no. 469, 2001, pp. 16-23

(with earlier bibliog.), and her entries in Carmen C.
ed., Leonardo da Vinci: Master Draftsman, exh.
Bambach,
base of the statue of the InfantHercules

Strangling the
d?lia Porta (fl. 1534-77)
in the
Serpents by Guglielmo
Museo Nazionale
di Capodimonte,
(inv. no. AM
Naples
reliefs of his adult labors.
2003, vol. 1, pp. 270-71,
Hercules,"
2002.
is embossed with
and London,
Metropolitan
The
10526),
thatRaphael
had made a
by Pietro d'Ancona
in marble
Sorority
See,
Madison, Wisconsin,
1516
to be carved
(fl.fifteenth century). For a reconsideration of this issue

and of the controversial Putto on a Dolphin, see John
inEarly Modern Sources, 2 vols., New
Shearman, Raphael
to
is conjectural.
in November
clay model
in design, are in
early sixteenth
century: Hercules Killing theDragon Guarding theGarden

of the Hesperides
(inv. no. 274S); Hercules Kitting the
Centaur (inv. no. 275S); and Hercules Killing theNemean
31.
of Raphael's
chapel
duced hard-edged
drawings) and the marbles of Jonah
and Isaiah for S. Maria
del Pop?lo.
Several surviving
were
to prepare
drawings by Raphael
obviously made
or lost: the group of c.
sculptures either unexecuted
noting
30.
planning the statue of

the innovation no doubt
and tighter than in the Hercules
and His
Michelangelo
Influence: Drawings from Windsor
Castle, exh. cat.,Washington,
DC, National
Gallery of
Art, and elsewhere, 1996-98, no. 29, repr.). It isworth
29.
was
but
The
the much more supple Aeneas and Anchises of

Compare
1517 in theAlbertina
(inv. no. 4881; see Joannides 1983,
no. 367, repr.).
made
28.
Joannides
itself
It is noteworthy that, in planning

designs formetalwork.
a shallow relief in bronze,
pen style is sharper
Raphael's
John Gere and Nicholas Turner, Drawings byRaphael from...

1983,
English Collections, exh. cat., London, British Museum,
no. 64, repr.).
mm;
the reliefmode
distinctly Pollaiuolesque
study of Hercules Fighting the
Centaurs, no doubt for a bronze roundel; on the verso is
a sketch for an
bronze statuette
equally Pollaiuolesque
as
as two small
of David with theHead
well
Goliath,
of
developed
25.
Bandinelli
as
Neptune,
reflectsBandinelli's knowledge
since had
the drawing been double-sided, itwould have

been noted); seeMatteo Lafranconi,"Antonio Tronsarelli: A
he identified with
to the design of the statue support. Thus he invented for

the Renaissance
the historiated pedestal." She dates this
cat., New York, Metropolitan

nos. 101?2, both repr.
35.
See
Museum
of Art, 2003,
D. Ettlinger, "Hercules
Florentinus,"
des
Kunsthistorischen Institutes inFlorenz, 16,
Mitteilungen
1972, pp. 119-42.
Leopold
369
36.
This
project, planned for and by Michelangelo,

persist
ently eluded him; it was
temporarily substituted by
s stucco Hercules of 1515 and
Bandinelli
permanently by
the same sculptor's Hercules and Cacus, completed
in
see Paul
Connected
Joannides, "Two Drawings
Hercules
and
Antaeus"
Master
Michelangelo's
1534;
with
44.
Inv. no. P
II, 522. Pen
see Joannides
45.
38.
Inv. no. F 269
inf., 109
See Roger
Pen
(as Bandinelli).
and brown
46.
Bandinelli
Courtauld
(unpublished
of London,
University
Bandinelli
108
269
himself. He
(his no. 242)
(Roma
Palazzo
considers
inv. no. F 269
inf., no.
a copy of a lost drawing

by
this sheet was attributed to Marcantonio
Bandinelli;
Raimondi
Draughtsman
Institute of Art,
1982), nos. 239 (inv. no. F 269

(inv. no. F 269 inf., 104-5), and 241
are given
to
inf., 106-7), which
240
inf., 102-3),
(inv. no. F
as a
Baccio
dissertation,
Ward,
to be
Baccio
between
inv. no. F 269
is untenable,
40.
47.
48.
49.
13 November
50.
2000, under no. NZ416.1
42.
am most
advice
would
have
seconded
Raphael.
43.
How
documentation
first pointed out ("A Drawing

by Raphael Mistakenly
Attributed to Bandinelli," Master Drawings, 2, no. 4, 1964,
pp. 398-400,
esp. p. 399), a copy of a lost drawing by
in theMetropolitan Museum
of Art, New York
Raphael,
shows that he knew Michelangelo's
(inv. no. 1887.12.69),
Male Nude Seen from Behind, now in theAlbertina (inv.no.
118; seeVeronika Birke and Janine Kert?sz, Die italienischen
Zeichnungen
der Albertina, 4 vols., Vienna,
1991-96, vol. 1, no. 118r, repr.).
Cologne,
and
related
to
this episode
is
(2004).
See J.D. Heikamp,"In

margine alla Vita di Baccio Bandinelli
n.s. 11,17,no. 191/11,1966, pp. 51-61,
diVasari," Paraje,
in
triumphal entry into Florence
1515), and ifhe isHercules, as this suggests, his companion
might be Theseus.
It has
often been
reconsidered
noted
that toward 1520 Raphael
some of the issues that he had addressed in
his late Florentine
of Michelangelo's
graphic work Raphael
could have seen ishard to guess, but as Konrad Oberhuber
much
Weimar,
new
created for Leo X's
51.
by
No
2004, p. 903).
van Heemskerck
(1498-1574), which shows the
two figures in the background, the right-hand one seems
to bear a shouldered club (like the stucco Hercules Baccio
grateful toRaphael
been
193 and 317-1,
Maerten
1986, lot 179
for the photograph.
Leonardo's
at theMedici
Sources, Philadelphia,
esp. p. 52, where the figures are dated 1519-20. He

sug
gests that theymay originally have held spears, like the fig
ure inRaphael's drawing (see Fig. 11),which would imply
that they are simply guards; but in a drawing of the terrace
of the Villa Madama
(Berlin, Kupferstichkabinett)
by
and bearing an old inscription

(as by Baccio Bandinelli
with his name); see Raphael Rosenberg,
Beschreibungen
und Nachzeichnungen der SkulpturenMichelangelos, Berlin,
Rosenberg
and Art
Illustrated Bartsch, vol. 26, nos.
See The
included byWaldman
1989, pp. 19-25.

Drouot,
of Early Modern
abitava ch?me me" (seeWaldman
juxtaposition
gains further resonance from
see
interest inMichelangelo's
David, for which
Anna Forlani Tempesti, "II David di Michelangelo
nella
tradizione gr?fica Bandinelliana," Antichita Viva, 28, nos.
Sale, Paris, H?tel
Baccio Bandinelli
quanto a mold terminide la scholtura e pitura, molto honfidai

ne' rar?simoI[n]giegnio di Lionardo da Vinci, che I' Belvedere
and his engraver. Ward

does not cite
inf., 109 in his dissertation, nor, so far as I
(www. italnet.nd. edu /ambrosiana).
Louis Waldman,
Venus
respectively. The former is inspired by Raphael's
and Cupid, the latter by his Massacre
Innocents.
the
of
at this
Bandinelli was evidently lodged in the Belvedere
time, and renewed his acquaintance with Leonardo: "Ma
his own
41.
(1964, pp.
II, 552. Red

chalk, over stylus underdrawing
black
chalk,
(recto);
pen and brown ink, touches of red
chalk (verso); 379 x 281 mm; see Joannides 1983, no.
Corpus
2004, p. 28.
Bandinelli's
2-3,
Oberhuber
Inv. no. P
Court: A
itdoes evoke the links
am aware, has any other scholar mentioned

it. I hap
on it in a Gernsheim
to
It
chance
photograph.
pened
s online database of
does not feature in the Ambrosiana
drawings
by Konrad
233, repr.
and Achim Gnann

by Konrad Oberhuber
et lo stile classico di Raffaello, exh. cat., Mantua,
del Te, 1999, no. 132, repr.), and although, inmy
view, this attribution
recognized
398-400).
ink; 415 x 269 mm.

39.
double-sided
sheet of studies of the male
Raphael's
nude in the Albertina
(inv. no. 117; see Joannides 1983,
no. 183,
until its true
repr.) was given to Bandinelli
author was
1983, no. 87, repr.
(1922), p. 201: "...den jungen

in seinenAnf?ngen sehr nahegekom
also Washington
and elsewhere
no. 29.
1996-98,
ink; 268 x 190 mm;
and brown
vol. 4
1913-41,
Bandinelli, derRaphael
men sein soll_"
See
Drawings, 41, no. 2, 2002, pp. 105-16.

37.
Fischel
and early Roman
work.
52. When
Bandinelli portrayed Hercules again, in theHercules

and Cacus group that he began in 1526, he turned rather
to the example
of Leonardo
Bush,
(see Virginia
"Bandinelli's Hercules and Cacus and Florentine Traditions,"
in Studies in Italian Art and Architecture, 15th through 18th

Centuries, ed. by Henry A. Mill?n, Rome,
Cambridge,
Mass.,
and London,
1980, pp. 163-206, pp. 185-86).

certainly knew some of Leonardo's Hercules
a
(inv.no.
designs, for page by him in the British Museum
other
contains, among
1946-7-13-232)
drawings, a study
Bandinelli
370
that now
of a pair of powerful male legs braced wide apart that looks

to be after a lost drawing by Leonardo, such as those at
Windsor
(inv.nos. 12630-31; see Kenneth Clark and Carlo
no. 22, howev

inventory.Viti-Antaldi
likely, as Parker noted, to be the copy, now in
see
the British Museum
1931-12-12-2;
(inv. no.
Pedretti, Leonardo da Vinci Drawings in theCollection ofHer

atWindsor Castle, 3 vols., London, 1968,
theViti-Antaldi
er, ismore
Majesty The Queen

vol. 2, p. 2.).
53.
Pouncey and Gere 1962, no. 43), of the recto of anoth

er sheet in the Ashmolean
(inv. no. P II, 538; see
no.
list
1983,
186,
Joannides
repr.). No. 22 inWicar's
A pioneering
and Raphael
consideration of Bandinelli
is inM. G. Ciardi Dupr?, "Per la cronologia dei disegni
di Baccio Bandinelli fino al 1540," Commentari, 17, no.
1, 1966, pp. 146-70;
111, and
Baccio
see alsoWard
for pertinent
170?71
Bandinelli
(1493-1560):
to no. 24 in the Viti-Antaldi

corresponds
the drawings
sold to
among
inventory, which was
in
Crozat and which was presumably acquired byWicar
France or from a French source, finally to rejoin its
probably
1982, pp. 104, 107,

comments,
and
idem,
Drawings from British

Fitzwilliam Museum,
Collections, exh. cat., Cambridge,

1988, no. 21, repr.A succinct, perceptive,
comparison
styles is provided
Bandinelli's
and elsewhere, 2004-5,
180-84.
See Shearman
55.
The
56.
Forlani Tempesti, "La collezione

attuale e
tracce per la sua storia," in Anna Forlani Tempesti and
Grazia Calegari, Da Raffaello a Rossini: La collezione
60.
family tree in Shearman 2003, vol. 1, p. 51, termi

in 1602.
nates, like his collection as a whole,
Antaldi,
2001,
disegni
pp.
ritrovati, exh.
xxxix-xlviii.
cat., Pesaro,
Of
course,
Palazzo
Pietro
Pinturicchio
Bernardino
(c. 1450-1523),
(c.
Domenico
Berto
di Giovanni
Alfani,
1452-1513),
(fl.
and Eusebio
da San Giorgio
1488-1529),
(1465/70
no
after 1539), among others, certainly knew?and
57.
A Critical Account of the

by J. C. Robinson,
byMichel Angelo and Raffaello in theUniversity
the cartoons
Galleries, Oxford, Oxford, 1870, pp. 343-52;
for the sibyls are not present.
62.
59.
See R. W
s, 22 January 2004,
lot 12, repr.
Serieller, "The Case of the Stolen Raphael

Master
Drawings, 9, no. 2, 1973, pp. 119-37.
Drawings,"
He singles out one of the sheets that
said he had
Wicar
lost as coming directly from theViti-Antaldi Collection,
de Caylus
(1692
as a Collector
See Paul Joannides, "Jean-Baptiste Wicar
of Drawings,"
in Cleveland
and Lille 2002-3, pp. 34-45.
See Serieller
(Scheller
of John Gere,
of Drawings,"
Collector
pp. 44-53,
1973, p. 127).
1973, p. 124; as he noted,
view
thiswas
also the
as a
Young
Ottley
BritishMuseum Quarterly, 1953,
"William
esp. pp. 46-47.
63.
See Jacob Bean, Inventaire general des dessins des mus?es de

italiens de la
province. Bayonne, Mus?e Bonnat: Les Dessins
collectionBonnat, Paris, 1960, nos. 99, 141, and 142.
64.
in the preface to the catalogue of

Slightly modified
Ottley s 1814 sale:"... his drawings before the public, are
too well known, to require any proof of their original
Published
Sale, New York, Christie
etched by the Comte

s possession.
in Crozat
from Blanchard
drawings by Raphael.
Drawings
58.
II, 538 was
specified that no. 14 in his list, the Holy Family

with Sts. Elizabeth, Zacharias
and the Young John the
for Domenco
Alfani, came
Baptist, drawn by Raphael
Perugino
doubt possessed?some
sheet of the tak
61. Wicar
See Anna
Antaldi.
double-sided
of the
ing of prisoners), by a different route. Neither
a
no.
Crozat
Ashmolean
bears
but
inv.
number,
drawings
1765) while
54.
(inv. no. P II, 538; the famous ex
ex-Crozat
Viti?Antaldi,
no. 15, repr.
2003, vol. 1, pp. 112-18,
inOxford
companion
of
and Raphael's
pen
by
Achim Gnann, The Era ofMichelangelo: Masterpieces from
the Albertina, exh. cat., Venice,
Peggy Guggenheim
Collection,
(inv. no. P II, 537; see

no. 185, repr.), which he identified with
list and, coincidentally, with no. 22 in
in the Ashmolean
Joannides 1983,
no. 22 inWicar's
ity.They were
obtained, with the exception of two or

the revolutionary troubles in Italy by their
present proprietor, who then sojourned in that country,
and there is strong reason to believe that, till that peri
three, during
od, they had been preserved in the same state inwhich

they had been left at the death of Raffaele."
371

On, Around, and After A New Drawing by Raphael

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On, Around, and After A New Drawing by Raphael

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On, around, and after a New Drawing by Raphael

Author(s): Paul Joannides

and after a New

of hismasterRaphael who died in 1520. It

This drawing (Fig. 1) was purchased by one of

Beaux-Arts, Paris, but his Italian drawingswere grad

graph drawings in his still fundamentalmonograph

ually dispersed.6Figure 1 reappeared on theNewYork

the Ellesmere drawings

on Giulio Romano.2 When

by Giulio were sold in 1972, itwas acknowledged

The drawing is obviously of high quality. It is

artmarket in 1998, again as by Giulio, and isnow in a

decisive and firm, the construction of form rugged

drawings were studio works or copies.3 But not all

and vibrant:particularly fine are the rendering of the

the reattributionsmade at the sale were demotions.

with the swellingcontourspowerfully

The autograph sheetswere enriched by two mag

evoking density and strength,and the relaxed ener

nificent additions, a River God and a St. Michael,

gy of the arms and wrists.The attribution toGiulio

attracted the attention of any scholar concerned

(1510-1563), and Girolamo da Carpi (c.1501-1556).

neither has it been publicly affirmed.8 It has not

sale was a drawing fully with thework of Giulio Romano,

nor was itmen

tioned in either the catalogue of the comprehensive

attributed to Giulio and described as follows:

survey exhibition mounted at Palazzo delTe in 1989

strong and memorable

a figuredrawing might seem

strange,until one recalls that disregard is frequently

artistichabit or the product of a particular stylistic

the fateofmatter in thewrong place.

In lightof our presentknowledge,much

the creation of the sculpturaland the sculpturesque."8

expanded since 1972, it is clear that the drawing is

The "hard" stylefinds itsapogee in the pen drawings

not by Giulio, c.1520: ithas none of the fast-running

for theParnassus,inwhich Raphael, deliberatelyplay

linearity that characterizes the pen handling of even

ing against the harmonic interlinkingof the adjacent

his earliestdrawings;thecontoursare tighter,

Disputa, staged a gathering of animated statues-fig

Giulio's figurestudies ever are, evenwhen he copied

And in a drawingmade short

his master's pen drawings.9 Figure 1 is clearly by

and datable 1507-8, toward

the end of his Florentine period.10There are numer

ures whose mode

is that of sculpture and whose

ly after the Parnassus studies,but in theirmanner, the

ous linkswith other drawings by him from that

the leftupper level of theChigi Chapel

time.The junction of torso and hips expressed as a

della Pace, Rome,

sequence of S-shaped lines is precisely thatof nude

apart from itsslightlylongerbeard, identical to thatof

studies such as the GesturingNude Man

the verso of a double-sided

sheet in the British

London;1` the hatching on the thighs is