Ha S Speckaert As a Draughtsman and a Teacher

©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte

EVA. JA 'A IROKA

HA S SPECKAERT AS A DRAUGHTSMAN AND A TEACHER

Han peckaen (c. 1540 - c. 15 77), be t known a a care rhat he may no t have died a young a \ 'an draug ht man, carn e from Bru el and likely pen t Mander ugge red.6> Hi tudie are mo tly partly or more than a decade in I taly (ca. 1562 - ca. 1577), par hi ghly fini hed fi gurai compo ition . ofren wirh la nci- ticularly in Ro me. li peckaert' graphic awvre i not cape , for engra,·ing , painting , ra pe trie , and ea )' to evaluate, becau e he naturally ab orbed multi relief cu lpture. Ba ed o n the known corpu of work , ple arti ti c currents around him. From ome one hu11- peckaen · -ryli tic development can be rraced in dred and ixry drawing attributed to him, approxi two maj or tage within a fruitful and relatively long mate!y one third can be con idered auù1enùc and Ù1e oj ourn in Italr- re t are copie and fai el attributed drawing .2> Jany peckaert' career likely began in the earlr 1560' of the drawing in cribed with hi name are actua ll · in the Veneto, in the work hop of J acopo Ba ano, copie .3> T he 'Cmcifixion' in Munich i ù1e onl auto where he a imiJ ated the working habit of h i ma ter graph work by Speckaert with uch an in c ripti o n. ~ > and, in turn, may well have influenced the Veneti an . one of the authe ntic drawing are dateci, and onl ' ma ter' palette. While in Venice, peckaert al o mu t rwo are cio ely related to known painùng , ù1e 'Brazen have met Federico Zuccaro, to whom hi own work i erpenr· in Bueno Aire and J ael and i era' in Rot often mi artributed. and hi life-time friend, Corneli terdam. 5> Con . In Ù1 e later 1560' , peckaert' Venetian oj ourn Speckaert wa a t a lenr~d draughr man of surpri - wa followed by a tran fer t:o Ro me, po ibly with a ing kill and ver arili ty. The broad tyli tic range of brief rop in Emilia.ì> In thi pha e. hi ryle pro ' peckaert's drawing record hi growth and indi- gre ed from a earching penman hip to a more ele-

fu\N I'ECKAERT: G.\IUS F.\BRJ IL' LL U:\t: RETt:RX l H E TRE. L' RE O F I'YRRHL' .

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©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte

2- BR UXELLES, MUSÉE DES BEA X- ARTS, CABI ET DES DESSIN S HANS S PEC KAE RT~ THE AN UNCIAT!O

gant Parmigianinesque style as refl ected in the courtly studies which were assiduously copied by Northern art of Mirola and Bertoj a. Once in Rome, a rich blend and l talian artists, some of which also served Aegidius of Michelangelesque sculptural style suffused with Sadeler for his series illustrating six images from the Raphaelesque sweetness in the works of the Zuccari, 'Life of the Virgin', engraved in 1593 after Speck Siciolante da Sermoneta, and Giulio Clovio began to aert's death.9l mark Speckaert's drawings. Here, the most influential Sp eckaert's pe nmanship is char acterized by spi ingle personality would probably have been Speck dery thin outlines, selectively highlighted by a heav aert's friend and compatriot Cornelis Cort (1533- ier contour line. This characteristic is already evi 1577).8> By the early 1570's, Speckaert's maturing dent in one of his earlier drawings, 'Gaius Fabricius penmanship combined ali of the above quali ties in a Luscinus Returns the Treasure of Pyrrhus' in fluid manner. T hereafter, he continued to produce Stuttgan (fig . l ), in which the local energetic hatch-

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SPTIUTVS SANCTVS SVPERVENIET IN TE :ET VIR.TVS .ALTISSIMI OBV.MBRAIIIT Tl!II QVAPROPTER ET QVOD NASCETVR SANCTVM , VOCABITVR. J"lLIVS DEI • LVC:: . I · ;-Juf~r/<•fi·

3 - DAR.\!STADT, HESSISCHES L'\1 DES~I U EUM .!EG IDI U ADELER Aflt:.R HANS PECKAERT. TI! E AN CIATION, E GRA\'lNC (photo courlesy of Hessisches LandesmtLSI!Wil Dannstadt)

ing is al o typical. In hi late drawing , the hatdting paper and to accent hi campo ition with white practicall di appear , and trategicalJy placed wa h heightening. IO) e enhance the volumetric propert of the image . Five drawing in the Rijk mu eum in Aro terdam T he 'Annunciation' in Bru el (jìg. 2), one of three were published by Daco a the youthfu l work of extant drawing engraved by adeler (jìg. 3), erve Speckaert ti li under the influence of Peter de Kempe a an example of his late tyle, where the bru h mel t neer. Their figurai group link the author to orthern the ~u r face in a painterly mode quite different from training, but the hilly land cape ugge t a definite ~h a t m peckaert' early work . Both of the studie ltalian experience. H owever, fo ll owing hi ItaJ ian ~n tuttgart and Bru el are executed in a yellow- sojourn and hi activity in eville, pain, where he i 1 h-brown ink and light-brown wa h, a technique documented from 1537 to 1562, De Kempeneer common far the arti t, who al o liked to u e tinted returned to Bru el when peckaert wa en roule to or

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-1- .\MSTERDA \1. RIJKS:'>Il: EU~ ! , RIJKSPREXTEJ\"K.\81:\ET HA.'\ PEC KAERT: J O H CA EXHO RTS 11-rE PEOPLE T O BE FAJ11-JFCL T O GOD

already in Italy.''l leverthele s the large ketche , in which ù1e bru h el'•e a an appropriate tool, one nat urali linked with tudie for tape trie , are indeed peckaert' and the are tylistically linked with hi ini tial period in the Veneto region. \Vhile the rudy for Joshua Exhorts ù1e People to be Faithful to God· (fig. 4) appear far removed from peckaert' elegant design for the 'Annunciation', it does contain ome of tho e elements of the ani t' vocabulary till p re ent in hi later reuvre. One uch peculiari!)· i the depiction of ab rracted and, at time , awkwardly drawn feet. The e, in some work , are connected to a forest of leg and thin angular draperie "·hich fili in the middle ground of the compo ition in a d1 -rhmic pattern.t2l 'Abrabam and l aac', a high! · refined and fini hed drawing in Budape t datable in the late 1560's, depicts Ù1e elegantly triding Abraham wiù1 imilar awkwardly dra\\·n feet. 13> Early dra' ings like the group in Arn terdam are rare and can often be recognized only with upporting materia!. 1\m engraving , 'Saint Peter' (fig. 5) and ' aint Augu tine' bearing the addre of Harmen Muller, were publi hed in the late 1580' . 1-l l 'Saint Peter' contrast highly with the more mature tyle of two aint , particularly tbat of ' aint Roch·, engraved b · Cort in 1577 hortly before hi ancl Speckaert's death .n> Although fir t published ome rwenl)' fìve 5 - STLITGART. 51::-\AT G.\LERI E, GRAPIII CHE A\I~ILL' '\ C years after it conception, the de ign of the toc\...1• fig A FTER 1-l.\N PECKAERT: Al:'\T PETER, El'iGR\\1.'\C ure o[' aint Peter· with hi broad feet belong to the

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formative tage of peckaert' career from which onl ' fmanced by the Dominjcan n un in 155 1, but ti li not rwo imilarly ryled drawing are kno,m.l6> begun a decade later.1 9I peckaert' Venetian ojourn and hi friend hip with A mi identilied print in the Briti h ~fu eum, the Cort, whorn peckaert portrared, i no"· hard to di - 'Crucifi ion·, pre erve peckaert' dran1atic compo i pute. A con iderable group of drawing demon trate tion, which furù1er link h_i tudie from hi \'enetian peckaert' predì po itio n toward the medium of period.20> T he prim, a combined etching and a mez greeni h-blue coloured paper, dramatic wa he . whire zotint, capture the originai technique, ùnt of a draw heiO' htening, and a generai tyle tha t poinr to thi ing on timed paper, uch a in the Am terdam rudy area. \\'bile he may parrially have learned thi tech fo r a 'Ba u le of tude Men' executed on blue paper nique from chiaro wro print of arti t like Verone e, a with pen, brown ink, brown and grey wa h, and number of peckaen· tudie al o contain a \ enetian heightened with white. The background battle cene motif of hung drapery and other compo itional ele in ù1e London print find clear parallel in Ù1e Am - mem which would have been diflìcult to gain olel · terdam drawing. The 'Entombment in the \ 'ictoria from tud ing prints.l7l and Albert Mu eum, ryli tically do el • related tO the T he ~Iuni c h 'Crucifi xion', quared for tran fer, i a print in the Briu h fu eum, wa likely conceived fora tud compo itionally linked to a paintin(J' igned b ' erie from the 'Life of hri t' and i kno"'n fro m Jacopo Ba ano, depo ited originall y in the church of copie in Berlin and Brno.2 1> an Paolo in 1562 and onl · more recenti tran ferred peckaert mu r have followed Con tO Rome horùy ro the .Mu eo CiYico in Tre,·i o. The Munjch rudy i a after hi compao·ior fini hed working for Titian by ù1 e tdi ticall · more mature ver ion of the Tre,·i o ·cruci early 1567. I n drawing like an 'As embi · of God · (fig. fi~ i on' , of a painting which Speckaerr ma · have com 6), peckaert appeat· to have a imilared a ne' tyle, pleted after hi arriYal in Rome, but which i no longer that of the courtly art of Parma, where he may bave extant.1 l Alù1ough the tyle an d the palette of the Tre briefl · pau ed during hi j ourne outhwat·d .221 Here, vi o ' rucifixion· ha long been a ubject of cholarly he could ha,·e een the crowded compo ition filled query, no truly ati factory answer have been found. with tender bodie crmmed with mali head and In reali()·, it wa Han peckaert who completed the harp profìle . The e drawing are fìlled with painting under J acopo' ~pervi ion and likel with vigourou parallel and ero hatching which bave lirùe reference to hi pattern book . H e thu a si ted hi e mpha i on rhe taccato wa he that im·ade peck ma ter in delivering a work which already had been aert' tudie after hi arriva) in Rome.23l

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i- FORMERLY AM TERDAM, SOTHEBY' PECKAERT: (fJiwto courtesy of Sotheb)"s)

T he fi·escoes in the Stanza dei Giudizi in Villa Far under the influence of the Zuccari brother , and his nese, built for Cardinal Alessandro in Caprarola and figures started to well to Michelangelesque propor completed between 1568 and 1571 under the direc tions as in the study for an 'Unidentified Scene' (fig. tion of Bertoj a, are uneven in quali ty.24l Since Bertoj a 7).26) T he rippling washes in this drawing are only par was recalled by bis patron, Cardinal Farnese, to work tially present in the contemporary study with the 'Bat in the Oratory of Gonfalone in Rome during this peri tle of ude Men' in which the effemi nate male bodies od, tbe work in the Stan za must bave unfolded with of tl1e earlier Oxford or Paris drawings are also trans the help of his assistan ts. The style of the &·esco formed by bulging musculature.27) depicting 'God Bl es ing tbe Tempie of Solomon and In Rome Speckaert knew Cornelis Cort. This gifted his People' in the Stanza dei Giudizi bears a remark engraver, whose technique influenced at least two able likeness to ome of Speckaert's drawings, such as great personalitie , Agostino Carracci in the south and 'Susanna Before the Elders' in the Louvre, exhibiting Hed rick Goltzius in the nor th, produced a sizeable the same elongated fi gures accented by sharp profiles, corpus of some one hundred and fifty prints. 2B) A angularly cut draperies, and fl eshy calve .25) Although number of these are neither signed by the engraver by the e nd of the 1560' Speckaert was an accom nor credit the inventar. Con's print of the 'Resurrec plished draughtsman, his expertise in fi·e co painting tion' after Speckaert, dated 1569, has been erroneous may stili have been limited at this time and thu his ly connected with Clovio.29l It refl ect a design similar contribution to the decorations in the Villa Farnese to that in the 'Resurrection' (fig. 8), a drawing by difficult to recogni ze. .J oseph H ein tz after Speckaert, recently o n the mar Nothing is known about Speckaert' arriva i or activ ket. 30) T he date on Cort's print appear to match a ity in Rome, when his style began to mature, mostly natura! stage of development in Speckaert's graphic

138 ©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte a> uvre when the rocky figure stili fit a pauern of experimemation. The Budape L group of drawing by peckaen con tain everal highly fini hed heet in which the female figure i tudied with great care and rotundity. To date, we lack an engraving which wouJd upport thi a pect of peckaert" t:yle and in which women were tudied exclu ively. Con· engraving of the 'Birth of the Virgin· AJthough the tyle of ù1e Tibaldi. He mu t bave learned Con' innovative tech Leni ngrad copy invoke the nan1e of Han von Aachen, nique directly from the Flemish engraver and not who lived with anrvoort., Von Aachen' author hip can from the con iderably le talemed Domenico. Ago ti not be confirmed with certainty. no' name on the counterproof of the fir t state of

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Venice, and Rome in the 15 70' en•ed as an example for hi younger COLI ins. BLit generally little i known aboLit the movemem of yoLing arti t acro the penin ula dLiring the econd half of the century. Often, the arti tic ceuvre mLI t serve a their presumed itinerary. Aegidiu Sadeler, wbo ftrst joined h i Linci e J an in Frankfurt in 1587, travelled in 1593 with J an and Raphael to Italy.42>AegidiLI eventually enled in Prague in 1597, where he lived temporarily in the house of two RLidolfine arti t , Hans von Aachen who pent thineen year in Ital · (1574-'87) and BartholomaLis Spranger who arri ved in 1565 and spenta decade there.H> Spranger's two painting , execLited in the late 1590's, were in pired by two of Speckaert"s campo i tion engraved by Sadeler. The 'Adoration of the fagi' in London, lational Gallery, is loosely ba ed on adel er' print. Spranger' 'Three Mary at the Tomb' directly lifts the figurai motif from Sadeler's isita tion' .44l on Aachen, "·ho e famou painting of the ' ativity' painted for the high al tar of Il Ge ù wa car ried from antvoon' haLl e to the cburch, knew Speckaert' work weJJ.45l The extent of on Aachen's direct u·aining with Speckaert is Llndetermined ince Von Aachen arrived in Rome only shortly before Speckaert's paraly is in Aprii 1575. Von Aachen' early drawings, however, closely fo llow the p.hy iognomy of Speckaert's figLires, which he could haYe studied in Santvoort's hou e. Von Aachen·s 'VenLI and Adoni · (fig. Il) in Paris clearly pays homage to Speckaert's de ign in Perret's prim 'Joseph and Potiphar's Wife' (fig. 12). The mu cular Adoni also finds hi conter parts in \'on Aachen's 'Romulus and Remus'.46> 9 - KJ:'\GST0:-1 (0:-<"f.-\RIO), PRI\"ATE COLLECllO:"' The acti,·ity of another 1 orthern artist, Hendrick de COIU\EUS CORT AFTER 1-l-\.\1 SPECKAERT: Clerck, connect indirectly witl1 the Roman cene in THE BIRTH OF THE \"IRGI:"'. L'\GRAVI:-IG the 15 70' .471 Following his Italian ojourn, Hendrick was recommended by Rudolf II, the Holy Roman Emperor to Brus el , to the court of his younger brother Albrecht, the Regent of the etherlands. Mar garet of Parma, the wife of Ottavio Farnese and tbe Cort's engraving after Speckaert's 'Birth of the rrgin', Regem of the Tetherlands in 1559-1 567 and dated 1568 (jìg. 9), and his copy after Cort"s de ign of 1580-1582, was the fir t CO LI in of Rudolf' father. Speckaert's 'Saint Roch' contribute to this connec France co de \1archi, her agent in Bru sels, was instru tion.40J mental in ending Flemish arrists to Parma, where her Mah·asia belie,·ed that in Ago tino's prints of 'Saint hLisband was engaged in building and decorating his Roch' and 'Saint Seba tian' the engraver copied rwo new palace.4 l Hendrick may have traveUed a similar paintings b Francesco Francia in the church of San route through Parma to Rome, like pranger did Giu eppe fuori Porta Saragozza in Bologna. T hese before him, and must have been among the :'\orthern prints which were compieteci only three year after er who assembled in antvoort' house. De Clerck's Cort' 'Saint Roch', were more likely based on Spec copy of the 'Brazen Serpent' in the Albertina, erro kaert's designs, either the paintings in San Giuseppe neoLI ly attributed tbere to Speckaert, and another or related studie which Agostino could have seen at cop in Base! dateci 1609, belong to numeroLis images Cort' work hop. Although Ago tino had difficulties in related to Speckaert' an wi th which they are often con capturing the elegant fare hortening of Cort' 'Saint fused4 9) The 'Resurrected Christ' in Braunschweig, Roch' and tbe omewhat awkward figure of 'Saint cio ely related to the group of drawing di cussed Sebastian' ha similar problem , Speckaert' aLithor above, stili bears Speckaert's name in the collection, ship of the designs is hard to deny.4'> and it copie a hitherto undiscoYered originai by Following their initial training, many arti t expand Speckaert. The Braun ch,reig stud , unlike H eintz' ed their experience b , travelling to various artistic 'Resurrection' ifi.g. 8). contain figures rippled by dim cenu·e . Lodovico Carracci' vi its in Parma, Florence, ple and indentation of mu culature a well as other

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PECKAERT: CERES, \ 'E:-:U ANO BACCH

detail pecifically peculiar to De Clerck, which may 1995), cited belo"· as SlROK..\, 1995. For peckaen, ee K. \:.\,'1 ha\'e mi led :Vlatthias Greuter to erroneousl credit De MAXDER, H et Schilderboek (Haarlem 1604 and Am terdam C lerck for ù1e de ign.50) 1616-16 1 ), German ed. b · H. Florke (Leipzig 1906), H. p. The addre of ù1e Haarlem publi her Herman 234. in the appendix to the !ife of A. de Weerdt; E. Lu.orRE, Hans Speckaert, in Biographie ationale ... de Belgique, . \ do l~ z. an d Speckaert' drawing in the collecùon of XXII I (Bru el 1921-1924), col. 3 13; and . THIBIE. F. the Antwerp an dealer Herman de eyt enre a the B ECKER, H ans Speckaen, in Allgemeines Kiinstlerlexikon, e,·idence of the di seminati on of peckaert' ceu vre XXXI, Leipzig 1937, p. 349. -n1e follo"·ing entrie are cited northward ; however, his own movements acros the in an abbreviated fo1·m in the note below: E. ALE:>.Il ' ER, continent are almo t unrecorded.51 > peckaert' friend Hans Speckaerl, in Stiidel-!ahrbuch, 7-8. 1932, pp. Cort Yi ited \ enice at lea t twice and also worked in 163-17 1; \\'. TECHo w , The 'Triu.mph of David' by Hans Florence but Va n Mander's brief reference to Speck Speeckaert, in Oberlin College fournal, 18-19. 1960-1962, aen ·s \'Ì it to Florence yield , at this point of tudy, no pp. 11 0-1 14; T GERSZI, Nètlierlandish Drawings in the fr ui t.52l Hmrever, con idering that until recenti)' Budapest Museum: ixteenth CenturJ Drawings, .2 vols: , peckaert' dj tinct arù tic per onali ty was completely Am terdam 1971; . BÉGuiN, Pow· peçkaerl, in Album Aml corum /. G. van Ce/der, "trecht 1973: \\". KLOEK, T Ger. zi, em eloped in fog, hi great talent and influence can 1 ethà landish Drawings in the Budapest Museum: Sixteenth now be confirmed.53) H i work link the art of tho e Centmy Drawings, in Simiolus, 7, l974, . o. 2. pp. 106-10 ; 'orthern arù t in ltal , who ub equently migrated to 1• DA o, Un éf.è-ve de Peter de Kempeneer: Hans peckaerl, important . orthern court in Vienna, Prague, and in Prospettiva, 57-60, 19 9-1990 (Scritti in ricordo di Gio Bnr el , with ù1e Late \!laniera style in FLander and vanni "Previtali, Il), pp. 0-8 ; E. DE WILDE, De Boodschap the on et of orthern Baroque art.54 l As uch, 1577 aan Maria door Han Speckaerl. in Bulle/in des Musées des the pre umed date of peckaert' deaù1, become al o beaux-mt de Belgique, 3 -!0. 19 9-1991, . o. 1-3, pp. a n,m n-al link with the birù1 of Peter Paul Rubens, ù1e 259-263; j . jACOBY, Zu einem Gemiilde von Hans von great ·on hern arù t, intellectual, and tatesman.55l Aachen im Herwg Anlon Ulrich-Musewn, in Tiederdeutsche Bein·age zw· Kunstgeschiclzte, 30. l 991, pp. 67-96; j. GILTAJJ, Een tt)'lnemend fraey schildrij von H ans peckae1t, in Vonn g_even aan veelzijd1gheid: opstellen aangeboden aan Wim . l Thi paperi ba ed on my unpubli hed Ph.O. di erta Crouwel te gelegenlieid Beuningen, Rouerdam 1993, pp . t.J on .\'orlhem Artisl in /tal)' ca. 1565-1585: Hans peck H-25; a nd Fiamminghi a R oma 1508- 1608 (exh. cat.), aert ns a Draughlsman a11Cl a Teacher (Princeton Cniver ir , Bruxelle 1995, pp. 327- 340.

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( r ..... l J ·. \) !· .c ,, - l ~ 1.: '- , .' l .--...... --.- - - \ -- ) .

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IX - HA.'> V0:-1 AACHEN: VENt: AXD ADOI\1

2) The talk given in February 1995, at the conference in see GERSZJ , 1971 , I, pp. 7 - l, ~o . 225-234, Il, illu .). Bmssels, ha bean reYi ed to t·eflect ù1is author's nine-monù1 KLOEK. 1974, pp. l 06-1O views almost the entire group a sojourn in Rome in 1995. I wi h to Ù1ank particularly Dr . copies. Thi author tudied the group carefully and con 1 icole Daco Crif6 and Giovanna apori for their generou firmed Ù1at Ù1e fine t nuances of peckaen ' draughtsman- advice during ilii period. This paper aim to supplement hip, including the numerou local u·ace of black chalk only partiall the known materia! on Ù1e arri t and hi circle which sen'ed a an underdrawing, are invisible boù1 in Ger an d doe no t deal wiÙ1 me que rio n of copie after peckaen, szi' cata1ogue and mu eum photograph . In ali of the e a ubject discussed by Wouter Kloek in mi volume. A system illustration , peckaert" ensiti,·e draught man hip i atic stylistic and chronological anaJ is of Speckaert's ceuvre t·educed lO a uniformly dark Li ne and the dra,,·ing appear a wiù1 a catalogue i being pn:pared fot· a ubmission to Ma ter copie . Ali dt-awi ng , with the exception of 'The Annuncia Drawings. The auilior i al. o working on problem concern tion' an d 'The Fugitive ' (recto an d veTSO, . ·o. 1916-34), are ing Ù1e activity of ~orthern arti ts in !tal ' wiiliin the broader highly fini hed autograph drawing by peckaert, some hi tory of their tran -Alpine journey . dyna tic patronage, intended to be engraved; ee JROKA, I 995, pp. 19-21, K o. and the hi tory of collecting to be pre ented in a eparate 25, os. Al -A 17 an d F 15. For 'Ceres, Ve nus, and Bacchus', a anicl e. drawing frum this group styli ticall · close to a print by Con , ee lo. 3 l below. 3) The traditionaJJy accepted 'Triumph of David', Oberlin College, Ohio, Allen Memoria] An lu eum l o. 61.23; pen, 4) Staatliche Graphi che ammlung, o. 634 ; pen, bistre and wa h, 220 x 360 mm, in cribed •H. piecl1aen•, i brown ink and wash, squared with red chaJk; the inscription, a copy; ee STECH0\1', 1960-1962, pp. 11 0-1 H , illus. Addi ex.ecuted in a greyi h ink and ixteenù1 century hand read : tiona1 copies of Ù1e 'Triumph' are in Budapest, Mu eum of «Han pickard fecit Rome• . ee Munich, taatliche Fine Arts l o. 1466; Princeton Univer ity, Mu eum of An Graphi che Sammlung, 'iederliindische Zeichnungen des ·o. 75-89; and Rome. Private Collection; Ù1e last drawing 16. J ahrhunderts in der staallichen graphischen Sammlung wa kindly brought to my attention by Dr. Giovanna apori. Miinchen (exh. cat.), :\1Gl1Chen 1989-1990, p. 79, 1 o. 63 For Ù1e copy in Budape t, ee GERSZJ , 197 1, p. 82, 'o. 235, and fig. 65 and SlROKA, 1995, cat. A33. not iUus. An unpubli h ed ver io n of the 'Triumph of David', 5) 1u eo acional de Bella Arte , 1 o. 2895 and Muse Albertina, Graphi che Sammlung, II. Garnirur, lo. "25 i um Boyman van-Beuningen, o. inv. unknown (despite Ù1e clo e t to and likely Ù1e originai. An engraving related to p~r i te_nt ~arch); ee BÉGt:JX. 1973, p. ~l , Ko. 3 , fig. 12; the group i in a-ibed · Ioan Spicca inven• (fonnerly Berlin, F!ammznglu a Roma, 1995, 1\o. l 4, tllu ., and JROKA, Kupferstichkabinett, now de troyed). For Ù1e abo,·e, ee I 995. cats. P4 an d P l for me paiming . The drawing are in SrRoKA, 1995, cats. C22, C6, C3 l, A43. and El6. DGsseldorf, Kun unu eum (1 o. 4809; pen, bmwn ink and T he lat-ge t group of drawing b Speckaert i in Budape t wa h, heightened wiili white on greeni h-grey paper, 278 x 1o. 1372, 1367, 1371 , 1369, 136 , 1370, 1373, and 1374: 443 mm) and Braun chweig, Herzog Anton ulrich-Museum

142 ©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte

H.; ltrr ~~ 1:-- -«u• .n..-.. fl.. Nf.. r(o!J"h ·!(#"' ~ ·· ~ . 12- L0:\00:\, BRm H M U EUM, DEP.-\R'ThtE::-.rr OF PRI 'fS NO DRAWI C PIETER PERRET AFTER HA.'\ PECK..\ERl : JO EPH A1'-=D POllPHAR' \l'IFE, L\;GRA\1.'\G

(, o. UMZ343; pen, brown ink and wa h over trace of pen during hi ojourn in Rome in 1574-1577, two much cited ct ee Fiamminghi a Roma, 1995, ·o. l 7, colour illu ., document refer w peckaert' involvement with the Gn f.-\IJ, 1993, p. 22, fig. 7, 'o. 22, and IROK..\, 1995, cal . painter ' guild in Rome and hi paraly i («Die 3 [Aprili ] - A2 1 and A . Cuidam j ohanni peccart, Bruxellen i, nunc paralitico. antea excellenti imo pictori .. ). For the e documems. ee G. ) . h) .\ly tyli tic analy i i ba ed on d1apte1· III of my di er H ooGEWERFF. ederlandsche childers in flaliif in de XVi• latlon; a re1·i ed y lematic analysi of peckaen' graphic Eeuw, trecht 1912- 19 13, 3 voi ., II, pp. 31, 6 15, 6 16. ceu, re of thi chapter, ba ed o n newl di covered da led VALE. TI. ER ( 1932. pp. 163-164) cited H oogewerfT" fir t enhrra1·ing and painting , i being prepared; ee o. 2 above. document in which peckaert and hi Flemi h compatriot \ few source illuminate the life of peckaert. In addition antvoon were fined b)' the guild of t. Luke for working in lo the account of Van Mander, who mu t have mel peckaert an w1named church in Rome withoul having paid ù1eir due .

Valeminer also poimed out ù1at Sam..-oort, wbo paid bi debt • 13) :\o. 1370; ee GERSZI, 197 1, p. 7 . :-lo. 225, illus .. and in 15 77 an d 15 7 , di ed in Rome in 1600. Tbe lasr restamem SIROK.-\. 1995, cat. Al 5. of Comeli Cort lisLS se,·eral drawings by peckaen; ee J C. !-!) A. \'O:\ \\'URZBACII. Niederliindisches Kiin tler-Lexi J. BI ERE:\' DE HA~. L'anwre gravé de Comelis Cmt: Graveur con. \\ ien-Leipzig 1906-1911. IV. p. 6-!5 list ,-ols · ai m 710llandais 1533- 1578, 's Gravenbage 1948, p. 227. Augu tine'. J. P. FILEDT KoK, injan Harmens:. Muller a a 7) ee below for ù1e di eu sion and reference LO me 'Cru printmaker, l-II I. in Print Quarterly, voi. 11-12. 1994- cifìxion· in Tt-evi o, igned by J Bas ano. but largel · exeeut 1995, e p. vol. 12, pp. 2+-25. ' aint Peter· ( turrgan, ed br Speckaert. A large group of dra\dngs te tifr to peck Grapbiscbe Sammlung No. 27 l ) is the only print thi aen· Venetian ojoum; see SlROK..\, 1995. pp. Il ff. Al o ee aumor could ee; both prinrs hare a common in cription: below and 1 o. 22 fora possible connecrion witb tbe hou e of «j oannes Speken inuen l Harmen Muller exc. .. in the mar Farnese. gin; ee SlROKA, 1995. cars. El3-El-1. 8) See ·M. SEUl'CK, Cornelis C01t "accomplished plale-cut 15) Con died horùr before 17 March 157 . the date ter from Hoorn in H olland" (exh . car.), Rouerdam 1994, when Ù1e inYentory of hi e tale wa drawn; according to \ 'an wiù1 bibliography. Surprisingly litùe is kno,,·n about Cort's fander, peckaert died ca. 1577. ee below for · aint Lau personal life and bis role as a leader of an importanr work- J·ence' an d · a in t Rocb'. Tbe de ign of' ain t La\ITence' pre hop. Tbe aumor is eunenùy working rowards illuminating cede ù1at of'Saint Roch' by a con ider-able period oftime: it mis imponant question; ee also No. 2. i not known how quickly were peckaen· drawing 9) Sadeler was in Rome in 1593 and could bave received engraved by Cort. peckaert' rudies, li ted in the la t re ta ment of Cort, were engraved by Aegidius adeler only ome tbe drawing from antvoort (T~IIEME-B EC K.ER , XXIX, p. 299). For adeler, ee P. SÉ "ÉCHAL, Les Graveurs des écoles twemy rears later; for tbi group, see BIEREX DE HA-\."\, 19-! p. 227 and o. 9 above. du ord à l~nise (1585-1620 ): Les Sadele1; enlremise el enlreprise (Ph.D. diss., 3 voi ., Pari 1987); D. LI~I OUZE, 16) 'Ciimbing Ylen' (Amsterdam, Private Collectiow pen, Aegiaiu Sadeler (Pb.D. di s., Princeton niversity 1990). bmwn ink and bro\\'11 wasb , beightened witb white; ee For the prints, ee IROKA, 1995, cats. El-E6. Speckaert's SlROK..\, 1995, car. A3) and · aintjerome', a study connected de igns for ù1e prinrs are based on Giulio CIO\·io's 'Fame e wim the 'Crucifixion' in Tre,·iso, di eu sed in ?'-lo. 19 below. Book of Hours' and me foll owing compo itions were used: Tbe Annunciation'

often reu e the ame motif: the kneeling .\lagdalen in 'The thank G. Degueldt·e in the city archive of Antwerp fot· her Emombmem· appear al o in Con· 'Bi nh of the \'irgin' ifig. as istance. 9). ·ceres, \ e nus, and Bacchu · ifìg. l 0), and Perret' j o ·eph 30) Pen. bt'O\\'n ink and wa h. heightened wiù1 white over an d Potiphar· · \\'ife· ifig. 12): thi i a prani e ,,·hich he Lrace of charcoal. -132 x 279 mm; in cribed by the ani t: would have leamed in the hop of J acopo Ba ano. For the "Jo eph Heinz noh [nack?] Speeckhaert / ... Roma -l• [or .-\m tet·dam drawing, ee 1\o. 27 beJm,·. 87{:), the ·econd line i cut]; . ew Y01·k, otheb •' auction 22) Oxford. hri t hurch . . o. O1 -115 ; ee BYA.\1 1L-\\1", catalogue, 9 J anuary 1996, lot 1-18 illu . The author ù1a.nks 1976, L p. 325. 'o. 1333. SlRO"-.\. 1995, caL A34. For the Far Thoma DaCosta Kaufmann for bringiog the dra,,·ing to her ne e patronage, ee B.\\'. MEIJER, Panna e Bru.telle: Commit attemioo and t·eading the inscription, and cou chaefTet· tenw e collezionismo famesiani alle due corti (exhib. cat.), for his as i Lance. The dt-awing fits with Heimz· tudies exe Bologna-Panna 19 : CH. RIEBESE.LL, Die ammlung des Kar cuted io mid-15 o· during hi fir t Roman vi it when he dinal Alessandro Fame e: Ein ·studio' (ur Kii.nstler und re ided in the hou e .9r :\.mhon i antvoon; see J. ZDn1 ER, Gelelute, \\'einh eim 1989: D. DE GRAZIA .Senoia, J\l!irola and ] o eplz H eiulz der Altere: Zeichnungen und Dokumenle t h e Fa me e Cowt. Bologna 1991: C. ROBERTSO~. 'Il Gran Car (.\li.inchen 19 8), cat . A l 0- A. 30 fot· o me studie from dinale'. Alessandm Farn ese Patron ofthe Arts, . ew Ha,·en and Heintz' Roman sojourn mo t of which, however, do no t co p London 1992, and L. f ORNARI HIA~ CH I , :-J. 1'1:\0SA, l Far drawings and pp. 2 , 132, 367, 369, and 37-J. for the refer nese. A1te e Colle::.ionismo (ex..h. cat., Parma- apoli- .\1unich), ence to Sant,·oon' hou e. H einrz·s copy of a painùng by .\tlilan o 1995. Polidoro, sol d by otheby's, London o n 3 J ul 1995, !or 97, i.s 23) l11e staccato washe are peculiar to ù1e graphic ty le of one of everal known copies by Heintz after Polidoro; ee Bertoia in late 1560' : !or example, see DE GRAZIA, 1991. fig. où1ebr's auction catalogue, 9 J anuary 1996, lo t 148 for ù1e 167. reference. A number of H eintz' drawing after painting date from his Venetian period; The Depo ition' in Li,·er 24) See DE GR.\ZIA, 1991, pp. 75- 77. Speckaert's acti,·ity in pool. \ \'a lker Art Gallery, i m ·. 5109 (Fo1·eign Catalogue. Parma is based only on stylistic e,·idence and in ù1e positive Paintings, Drawings, Watercolours, Tapesll)', cztlptw-e, il amicipation of a future proof: for example, ù1e auù1or's ini vel; ceramic , Li,·et·pool 1977, vol. 2, p. 27 . 1977, p. 278) tial conjecrure that a p t·im by Con "·a Speckaen·s invemion may be added to Ù1e knmm stttdie after Tintoretto ( ee ZIM i now confi rmed by a newly di co,·ered drawing; ee . o. 30 \fER, ibidem, cats. A3 7 !f. an d G ERSZI, 1991, cited in 'o. 39 below. below, fig . 15-16). A related painting in Edinburgh, ation 25) ee DE GR.\ZL\ ( 1991, CJ>Iour p!. o n P.· 52) for the fre - al Gallery i a cut version of the arched composition in the co. and BÉGL'I:\ (1973, p. 13, fi g. 13) and SlRO"-.\ (1995, cat. Li,·erpool drawing of 'l11e Deposition'; ee H . M.AC.-\..'\DR.E\\', A38) for the drawing, which ha a vat·iam/copy in the LOU\Te D. H OWARD, J . DICK, j. PLESTERS, Tinloretto's 'Deposition of (:\o. 20.-1 68; SIRO"-.\, 1995, cat. C25). The author wi he to Christ' in the ational Galle1y of Scotland, in The Burling thank Dr. Gim·anna Sapori for bringing the fre co to her ton Magazine, CXXVII, 19 5, p . 500 ff., with full illu . The auention. d t-awing J ael and Si era' (Copenhagen, The Royal Mu eum 26) Am tet·dam, où1eby' aie, 2-J..-1 . 19 3. 1\o. -1 , colour of Fine Arts, Tu ty ke tegn. Iag. l, 38, pen and brmm ink, illu . p. 17 and SlROK.\, 1995, cat. A2. 209 x 280 mm) inscr·ibed •Jo Peniz,. may al o be a cop ' by H eintz after Speckaert ( ZI.\I~ I ER , ibidem, p. 54). A copy of 27) Am terdam, Rijksmu eum o. 1978:38. See 11. peckaert' ' Death of Adonis' in Florence is by the ame CIL\PELHOUL-\..'=. 1 ederlandse teekeningen omstreeks 1600 l han d as the Copenhagen sheet (Cflizi ·o. 761 1S , pen, ,\'etherlandish Drawing circa 1600, Am ·terdam 1987, III, brown ink and grey wa h over black chalk, 2 15 x 281 mm; :-Jo. 8-1, illus. on p . 139 and SlRO"-.\, 1995, cat. A l . T he dra\\· see GERSZI, 1971, p . 80, o. 3). Forboth drawing and relat ing is st:y li tically related to the painting 'The Com·ersion of ed work, ee SlROK.\, 1995, cats. :\ , Al2, C5, C9. C12. C1..J.. 'iaint Pau!" (Pari , LomTe, ·o. RF 1987-I; see . BÉGCI:\, in C23, and P..J. . Revue du Louvre, 37, 1987, Chronique des amis du Louvre (jun- Oct 19 7), p. 1. , illus. 3 1) See BI ERE:\ DE H A\J'\, 19..J.8, :-.1 o. 19-Ill, an d The Illuslraled Barlsch, 52, · ew York 19 6, p. 26, :-.l o . 19. 28) ee . o. 8 abo\'e. .\1atthias Greuter· print of Spranget··s de ign of the a me 29) ee The llluslraled Ba1tsch, 52, · ew York 19 6, p. I I..J., subject acknmdedge Speckaert' ; ee Fiamminghi a Roma, 95-I: Cherubino ..\!berti ' ' Re urrection· (not in Bart eh), 1995, cat. 202, illus. The compact Raphaele que figures in copies Cort's prim in re,·er e. For the !auer, ee D. DE GR.\ZL\, Speckaert' compo ition match panicularly the econd of Print and Related Drawings b)' the Carrocci Family: A Cata two frescoes depicting T he Birth of the \'irgi.n' Siciolante da logue rai onné (exh. cat.), \\'ashington 1979, p . 50-1, fig. m. Sermoneta executed in Rome: the fit·st in the Fugger Chapel De Grazia lists an engraving labelled a · Girolamo Olgiati? in ama .\1aria dell'Anima in the 1550's and the econd in ( orneli Cort?• "·hich i al o ba ed on peckaert' invention. an Tomma o dei enci in 1565; ee B. F. DA\'10 O!', Some )ee also DE GR.-\ZL\, 1979. p. 4 17. cat. R52, iiJu .; ù1e author EarlJ IVorks by Girolamo Siciolanle da Sermoneta, in The J..nows thi ,,·ork only from ù1is image. A.nothet· print by !\!arti Art Bullelin, XL\ 1 11 , March 1966, p. 64, . J . fREEDBERG, no Rota, li ted as being aftet· Federico Zuccaro ( ee The Jllus Painling in 1taly 1500 lo 1600, Harmond worth 1971 , fig. tmted Bmtsch, 33. ew York l 979, p. 20, 12), may also record 2 17, and J . Ht::\rER, The Drawings and Draught manslllp ">peckaen· im·emion. 1\,•o 'Re urrection · were li ted in the o( Girolamo Siciolante da Sermoneta, in Nla ler Drawings, inventory of the Antwerp dealer Hem1an de 1 eyt, dt-awn on XXVI, 198 . l , figs. l..J.-17. Fot· ·cet·es, Venu , an d Bacchu ·', l :J.-22 October 16-12, as «1\,•ee Veny eni en van ~ peeckaen ee GERSZI. 1971, p . 80 illu . an d SlRO"-~ . 1995, ca L Al 3. A geteekent d'een 761 ende d'andet· · 666• : see Antwe1pse copr of thi drawing ,,·as in Gu6n. In ti tulO Jovellano an d i 1\.unslinvenlarissen uil de zevenliende eeuw, ed. b E. Dt:\'ER now destmyed; ee A. E. PÉREZ ANCHEZ, Catalogo de La col ( ,~ R . \'ol. 5: 16-12-16-19. (Fontes Hi toriae A1ti Heerlandicae: Lecci6n de dibujo del /nstituto J ovellanos de G1J6n. Madt·id Bro nnen voor de kunstgeschiedenis van de Nederlanden, l. 1967, p . 130, pl. 2-! and SlROK.\, 1995, cat. Cl6. For com Bmxelle 1991), ·o. 1212 o n pp. 12 !f. T he author wishe to par i on, ee also 'The Death of Adoni ' and 'Diana and

Actaeon' in GF.RSZI , 1971 , pp. 79-80 illu . and StRoK..\, 1995. activit)" in Emilia and the art of lirola and Benoja: my cats. Al2, Al4, and C5 and Cl-l fm· copie . warme t gratitude to Dr. Claudio u·inati f01· h i a i tance in being able to ee mi painting. A coprtvariam of the Patrizi 32) :\lew prims afie1· Speckaert's de igns are being iclenti painting was old b ' Ch1·i tie' , Yl onaco, 3 Dee. 19 (lot 37. fi ed br this author in her forthcoming artide; ee J o. 2 illu .); the auÙ1or thank Dr. \\'outer Kl oek for thi kind ref above. erence. ee the 'Brazen Serpent" (Ba el, Kun tmu eum. 33) See l\ o. 6 above for the fre co actiYit ·. The clrawing i in cribed " biegan A 1607 Aug purg f,.) in: \ ". \LE:\TI:-IER, in Paris, École cles Beaux-Arts o. M2537; pen, bmwn ink 1932, p. 171 , illu ., and StROK.i., 1995, ca t. f . and wash with water colour over the LO mb to simulate pink 37) Thi important ubject merits_a full independem marble for the tomb and a light green background, 368 x srud ·: mo t recemly, ee G. .\l'ORI , Dz Hendnck de Clerck 191 mm; ee StROK.-\, 1995, cat. A36. Knopp and Han marm e di alcune difficoltà nello studio dei nordici in Italia, in (see :\lo. 34 below) point our the 'Laocoon' mo tif in the Bollellino d'Arte, CX)..'\IIII, 1993, 78, e p . pp. -l- . For drawinu; Speckaen often quote him elf or refer to other 0 De Clerck. ee particularly \\'. L-\L'REY El\ ' unpublished ources (see also J o. 21 above). The young Prince Karl Ph.D. di ., Hendrick de Clerck, zijn leven en zijn werk, Fried1·ich was the grandson of the Emperor Ferdinand I, Bruxelle 1975 and al o hi conu·ibution in thi volume. who e daughter ~ ary of Au tria m arri ed the Duke \\'illiam V antvoort' hou e mar ha\·e been a ta\·ern ; for tra\·eller the Rich. To date, the author has been unable to identify any and immigrant in Rome, see J. DEL ~tEA U, Vie économique trace of Speckaen 's activity in Ù1e churche of Rome, many et sociale de Rome dans la seconde moitié du XVIi"'' siècle, of which lost the original decoraùons. 2 vols., Paris 195 7 an d 1959, pp. 135 ff. a nel tROK..\, 1995, 34) The two mas ive studies for 'The T1·iumph of Church' chapter l. in Budapest seem to be naturally linked to the celebration 3 ) antvoon's d ra,,·ing was auctioned ermneou ly a for the Holy Year in 1575 and tapestry designs ordered by an Speckaen on 18 .M arch 1987 (Paris, Drouot, Galerie Bn.mo influential art patron. These highly finished pen drawing Bayser, No. 134; pen, bro"·n ink and wa h, 280 x 420 mm). over light traces of black chalk repre ent the ultimate blend The other copy is in the Hermitage, ·o. 18952, the ame of 'orthern and Southem Manjera style. The two mo t obvi medium. For the originai in Diis elclorf and the related ous patrons would have been Pope Gregm)" Xfll and Cardj painting in Bueno Aire , ee Fiamminghi a Roma, 1995, nal Alessandro Farnese, Ù1e patron of II Gesù, a newly bui lt :\o.187and 19 1 illu .andStROK..\, 1995, cats.A2l , C4,Cl7, church which was consecrated during the Holy Year; the C28. ancl Pl . f01· the srudies in Base) ancl Vienna (the !auer Budapest designs may ,-elate to this function. Altemati,·el , by de Clerck, related to the ubject of 'Brazen erpem· and the drawings may have been intended to be engraved. See copying Speckaert), ee StROKA, 1995, cats. FS ancl F53 and GF.RSZI, 1971, p. 81, illus. The first of the two tu dies has a ·o. 36 above. reduced copy in London, British Museum, No. pp. 3-209. See al so J. SCH)tmu:-;, Geschichte der deutschen atio 39) See DE GRAZIA, 1979, pp. 3 1 rr. and :\o . -l0-l9, pp. nalkirche in Rom: S. Maria dell'Anima, Freiburg i. Br., 13 lf. Ago tino' half fi gure female ai m are al o dated too 1906, and]. LOHK tNGER, S. Maria dell'Anima, die deulsche late; see ibidem, :\o . 50-53. pranger' similar erie , Nationalkirche in Rom: Bau- wul Kunstgeschichtliche Mit known from four pane) paiming dated by Kaufmann ca. teilungen aus dem An:hiv de1· Anima, Roma 1909. See G. L. 1583- 1585 (TI·t. DACOSTA KAcntA..'\:>1, Tlze School ofP rague: ~ASETrt Zk'l:>~tt\I, Il monumento sepolcrale del Principe di Painting al the Courl of R udolf Il, Chicago and Lonclon Cleves in Santa MaTia dell'Anima, in Commentari, n.s. 24, 1988, :\o . 20.30-20.33), appear LO be .-\ go tino' ource. 1973, pp. 328- 335 for the tomb of Prince Karl and i\'IISMA N, S. M aria dell'Anima: Die Deulsche Nalionalkù-che in Rom, Miinchengladbach 1979, be clatable LO h i Roma n year in the earl y 1570's. By the figs. 14-16 and pp. 38-42 and 53-54 for the tombs. early 15 O' , Ago tino and Annibale "·ere working together and by 158-!, alreadr fini hed the fre co decorations in 35) Cardinal Andrea wa the son of the Archduke Ferdj Palazzo Fava in Bologna. Agostino· fm·mati,·e rear "·ould nand and Philipine Welser. He died, like rus relative Prince merit from a re-evaluaùon, po sibly in connection to Denr Karl Friedrich, following a joumey to 1aples in the Holy Calvaert, who mar ha,·e been part of the infonnal chool of Year 1600; fo r the drawing, see . o. 3-l above. In the Pari drawing in Samsoort" hou e and who left Rome d UJ·ing drawing, the intended function of boili known stuclies re1at 15 74. H e establi h ed bi o,,·n academy of drawing some ed to Ù1e Santa Maria dell'Anima tombs is darified by the eight years p1·ior to the Accademia degli Incamminati in addiùon of a sarcophagus, presumably by the scul ptm~ Gillis which the principle rested in the study of prints and other van de Vliete. These drawings were likelr in the possession graphic materia!. For the Ca_rracci acaderny, ee CH . of Anilionis Santvoorr who inherited Corr's graphic works in DEMPS EY, in The rlge of Correggw and Carraca (exh. cat.), 1578; in 1585, Santvoon became ù1e godfather ofVan de Wa hingwn 1986, pp. 234-236. Vliete's child . Whether Con's workshop was dose to 40) See t\o. 3 1 above for Cort's p1·im: ù1e counterproof i Santvoort's house near tbe Trevi fountain i not known. For in Amsterdam and Vienna. A prim wiili the addres of Anto Cort's testament, see DE HAA.'i , 1948, p. 227. nio Salamanca, in Kingston (Ont.), Private Collection con 36) See DACO, 1990, pp. 86-87, fi gs. 14-15 for the fre co tains the iniùal .. s .. and number «43• in bi tre in the lower copying Speckaert's 'Diana and Acteon' in ù1e Patrizi collec margin; the initial ca n 1·efer to a number of name , including ùon in Rome and SrnoKA, 1995, cat. P3. The Patr izi paintin g tho e of alamanca, Samvoort, Sadele1·, and p1·anger. See seems styli stically connected with Speckaerr·s pre umed DE GRAZtA, 1979, cats. 17 an d l for the h i LOry of Ago tino'

·saint Roch' and · aint Seba tian'. Presumably Malva ia 4 7) ee o. 37 above for .\PORI, 1993 and SIROK.\, 1995, based hi opinion on the third tate of Agostino·s prim after· pp. 211 ff. Con' ·saint Roch' which a ign the compo ition to Francia. 48) DE GRAZIA, 1991 , p. 19. Con's prim of 'Saint Roch' is al o known from a copy by J. adeler correctl crediting Speckaen as the im·emor; 49) ee 1\'o. 36 above. J oh a nn w ho wa born in 1550 in Brussel , may well h ave 50) Herzog Anton Glrich-Mu eum o. Z 67; ee owned the print menùoned above (the initial .. s ~ matche Fiamminghi a Roma, 1995, Ko. 56 illus., Hou.srriN, f\; p. the caligraphy on adeler' prints ,,·here it appears a •S 169, o. l for Greuter's print and SIROK..\, 1995, cat. Fl2. fec•). For Cort's engravings of'Saint Roch' and 'Saint Sebas Peculiar to De Clerck is the hair style, a type never found in tian', ee BI ERE:\ DE l;JAA , 1948, :-.Jo. 138 and 146 and Speckaen's drawings. De Clerk's figure are topped with a SlROKA, 1995, cats. E7 an d E8. 1\vo other designs of sajm by mop of curly hair and e,·en his oldier· plumes are curled Speckaen which were engraved reproduce 'Saint Peter' and witl1 a healthy ,·igour. The early drawing of Hendrick de 'Saint Augustine' with the address of Harrnen Muller·; ee Clerck require a thorough review in order to eparate the . o. H abm·e and SlROK..\, 1995, cats. El3-14. authenùc works from copie . The Braun chweig drawing 41 ) Agostino's engravings contain a land cape in the back bears the generai penmanship of De Clerck, but may well be ground, not pre em in Con's print of "Saint Roch', and the a copy by omeone in his circle. The mode!, howe,•er, is by quesùon arises whether Ago ùno invemed the landscape or peckaert and is a ,·ar·iant related to his drm,ing eli eu ed he copied them frorn the painting . Since the painùngs are above; see 1\'o. 29 above. Another drawing attributed to lost, it is difficult to prove that they were mi identified by Speckaert, but in fact by De Clerck, is in Pari , In titut "éer Mah•asia; howe,·er, the landscape rype i present in Speck landais, Ko. 2335 ('Diana and Actaeon' in Dre den, Kupfer aert"s early drawings, like tho e in Amsterdam (see -o. Il sùchkabinett, . o. C 1980-413 i an early sevemeenth-centu above) and his late works, like the Budape t 'Triumphs' ( ee ry copy of the Paris drawing); see SlROKA, 1995, cats. f 19 an d 1\'o. 34 abm·e). F45. Thi composiùon is Venetian in origin, Tiùan's 'Disco\· ery of Calisto' being a likely ource. It i thematically related 42) See LIMOt.:ZE, 1990, pp. 86 ff. for her anal si of to a group of compo iùons by Speckaert and rnay well be a Aegidius' journey across ltaly. copy of a variant; see SrROK..\, 1995, cats. Al4, C24, and P3. 43) Of the two, Spranger could have known Speckaert 51) The Brazen Serpent' in Ba el, Kupferstichkabinett from his arrivai in ltaly. ·o specific works by Spranger are bears the addres of Augsburg and date 1609; 'Diana and known to have been quoted in S'peckaert's anwre. One of Acteon', a study in Dre den, Kupfersùchkabinett contains a Spranger·s earl ie t known dra,,·ing , 'Saint Dominic', very rubbed inscripùon with pranger's name and the date engraved by Con in 1573, pays a clear tribute to Speckaen; 1621 ; for these see os. 38 an d 50 above. The name of Her see TH. DACOSTA K-\t:FMASN, Drawings from the Holy man Adolf z., the publisher of the adeler erie after Speck Roman Empire 1540-1680: A Selection ]rom Norlh Amen aert, appears in the founh state. See SIROK..\, 1995, cat . can Collections (exh. cat.), Princeton 1982-1983, p. El-E6. For Herman de l eyt, ee o. 29 above. 138-139, N o. 48, illus. Sally ~1 etzler's dissertaùon a t Prince 52) Van Mander must ha,·e bean well aware of Speckaert's ton Lruversity on Spranger's graphic anwre will hopefully importance already when the biographer vi ited Rome; his shed new light on his ead y drawings. remarkably dry reference LO rus compatriOl may be due to per 44) See K-\t:r1-L-\.'\l'\, 1988, 1os. 20.51 an d 20.65. The lat sonal dilferences an d professional jealousy. For Van Mander-'s ter connection was already made by ALE:\TI:\ER, 1932, p. parùal interpretaùon of facts, see j . :VI - LLER, Concordia Pra 167. The motif of three Marys originates from ù1e chapel in gensis: Karel van Manders Kunsttheorie ùn Schilder-Boek, Caprarola, painted by Federico, shortly after his broù1er's Miinchen 1993. For Con in Florence, see SELI 'CK, 1994, deaù1 in September 1566 and Spranger would have known i t p. 213. well. 53) See ZJM~IER, 1988, pp. 54-55, o. 170 for· his observa 45) Yerbal communicaùon by Dr. G. Sapori. Monographic ùo n of Speckaert as: «eine immer tiefer im ·ebel venink study on Von Aachen is sùH lacking. E. Ft.:CiKOVA, Uméni a ende Figuro. umelci na dvoi'e Rudolfa 11.: Vztahy k Italii, in Umeni, 34, 54) T he role of the informai school of drawing at 1986, . o. 2, pp. 119-128, dea! with related problems; see Santvoon's house, sùll understood only in its formative al so SAPORI, 1993, passim. Jacob y's 1991 arride is most thor stage, belongs to a broader seminai study of the origin of ough on Von Aachen and Speckaen; see esp. pp. 71 ff. for acadernies in the sixteenth century. his evaluation of thair graphic styles. 55) While the Italian years of Rubens' teacher Otto van 46) Louvre, ·o. 2 1071 (see jACOBY, 1991, fig. 3). This Veen remain largely unexplored, his interests in copying ù1e drawing is stylistically closely related to 'The Good Samari works of great Renaissance masters and anùquity do link tan' by Von Aachen in the Louvre, o. 21079 (VALE:\TI:\ER, him with the acùviùes in Santvoort' house. 1\m of ix paint 1932, fig. 132), which is inspired by Speckaert's 'Death of ings by Van Veen in Schleissheim, Konigliche Gemaldega Adonis' (Budapest, Yluseum of Fine Arts; see GERSZl, 1971 , lerie ( os. 807-812, o il on pane!, 76 x l 06 cm each), are pp. 79- 80, illus.). For 'Romulus and Remus', one of three inspired by Speckaert"s Budapest 'Triumphs of the Church'; drawings fro rn Von Aachen's Roman period (Schwerin, see the 1914 catalogue of the gallery, p. 245 an dj. ~1 0 LLER Kupferstichkabineu, os. 1507 Hz, 1508 Hz, and 1509Hz) HoFSTEDE, Otto van Veen, der lehrer des P. P. Ruo~ns, Phil. see E. Ft:CiKOvA, Quae pmestat iuvenis vix potuere viri: Diss., Freiburg 1959, pp. 218, 240, cat. 43. Thi connection H~ns _von A~chens Selbstbildnis in Koln, in Wa~l-raf was first made by GERSZI (1971, p. 81), who sugge t a com R zcha1 tz fa/n, 33, 197 1, p. 120, o. 27-29, fig. 8 1, l :Lo mon source for both Speckaen's and Van Veen's compo i Handzeiclmungen aus fonJJalu-hund erten (exh. ca t.), Schw rions; her dating ofthe panels, c. 16 15-1620, seem too late. erin, 1992-1993, 1os. 13-14, and E. Ft:CfKovA., Rudolfinsk

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are known . For \ "an \ "een· paintings, ee A. \'oGL. Der \ een, ee M LJ LLER H OFSTEDE" catalogue of Rubens, exh. cal., Bilderzyklus "Der Triwnph der Kirche" von O/lo van 11!en, Wien 1977. pp. 25 ff. For \ im \ 'een in the hou e of Cardinal in Schriften aus dem lnstitut fiir Kunstge chichte der l./ni ~ l ad n.l llO in Rome, ee ibidem , p. 26. :\o. 73, p. 33. :\o. 2 ; versitiit J\.Jiinchen, ,·ol. 19, 19 7 and h. CRIB:\"ER. !IL Th e during the arti r· ,.i it at the Rudolfine court in P1-ague. hi I h wnph of the Eu eh a risi: Tape tries Designed by Rubens. role would bave been comparable to that of\'on ,\achen and Ann Arbor 19 2: neirher auù10r make the imponam con Ruben in ILaly. For Ruben ' Italian ojourn and training, nection berween peckaen, \ 'an \'een, and Ruben . For \ àn including copying work of art, ee ibidem, pp. 38-!9.

Hans Speckaert di egnatore e maestro

Dei circa centosessanta disegni attribuiti a Speckant, g rosso modo un leno può e ere considerato originale e autenti co, mentre nel caso degli altri due terzi i tratta di copie o di disegni falsamente ascritti all'mtista di Bruxelle . Una note vole quantità di copie multiple tratte dagli originali noti di Speckaerl confenna la ua importanza come modello mtistico da eguire e come maestro all'interno della comunità di arti ti nordici pre enti a Roma a partire dagli anni '60 del secolo XVI. Entm la massa di disegni falsamente attribuiti a Speckaert i po ono tracciare dei raggruppamenti in cui individuare delle di tinte personalità mtistiche. Sebbene alcuni tra questi disegni possono non essere copie dirette da modelli di Speckaert, essi tuttavia mostrano un chiaro collegamento con esso. Dopo aver puntualizzato in bre-ve la personalità e l'evoluzione grafica di Speckae1t attraverso una scelta di di egni sicuramente autentici, inclusa l'Jlnnunciazione' acquisita di recente dai Alusées des Beaux- Arts de Belgique a Bruxelle , il contributo si concentm sull'mti la in rappo1to all'attività volta nella dimora mmana di Antlwnis Santvoorl, in cui deve e sere e istita una sorta di infonnale "accademia del disegno". Gli artisti che ruolano intorno ad essa sono, tra gli alt1·i, Bartholomeus Spranger; Hans von 1"1achen e Hendrick de Clerck, di egni dei quali vengono discussi in questa sede. Un altro problema riesaminato è quello del rappo1to tra Speckae1t e gli incisori, in pmticolare con Comelis Cort, ma anche in relazione ad Agostino Carmcci.

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