XVI CENTURY ITALIAN DRAWINGS

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XVI CENTURY ITALIAN DRAWINGS FROM THE ROBERT LEHMAN COLLECTION

CATALOGUE BY GEORGE SZABO

THE METROPOLITAN MUSEUM OF ART NEW YORK 1979 Cover: Taddeo Zuccari, No.38

© 1979 by The Metropolitan Museum of Art >Ç ISBN 0-87099-196-5

> INTRODUGTION

The sixty-four drawings in this exhibition represent the entire collection of sixteenth-century Italian draw­ ings in the Robert Lehman Collection of The Metropol­ itan Museum of Art, shown as a group as part of our continuing effort to make available all the drawings in the collection. Although almost every important artis­ tic center is represented here, the drawings by Lom­ bard, Venetian, Florentine, and Roman artists are especially noteworthy. Among the highlights of the exhibition are such well-known sheets as Romanino's Concert Champêtre (No. 7), Taddeo Zuccari's Martyrdom of St. Paul (No. 38), and Primaticcio's Two Nymphs Carrying a Third (No. 25). Several of the exhibited drawings are connected with firmly attributed or signed works: Bronzino's Seated Male Nude (No. 24), for example, is a study for a painting signed by the artist in the Museum of Fine Arts, Budapest; and Barocci's Dead Christ (No. 49) is a study for his famous Deposition in Perugia, painted 1567-69. However, many of the drawings still pose problems for scholars and connoisseurs, such as the poetic early Venetian landscape (No. 26), variously attributed to Giorgione, Piero di Cosimo, and Montagna. Also noteworthy are the drawings that served as designs or cartoons for frescoes and stuccoes, such as Giovanni da Udine's wall decorations with grotesques, and Polidoro da Caravaggio's several studies for gri­ saille frescoes in Rome. An interesting group of draw­ ings was done from life; Baccio Bandinelli's Seated Man Der /aimingfrom a Book (No. 18), Annibale Carracci's drawing of his nephew (No. 52), and the nude studies by Domenico Tintoretto are the best examples. This catalogue illustrates and briefly describes all sixty-four drawings. In addition, it includes the versos of nine of the drawings, many of which have never been reproduced before. The attributions are primar­ ily those traditionally assigned to the drawings while in Robert Lehman's possession; however, the results of recent scholarship are also taken into account. Essen­ tial scholarly information is supplied in the individual entries, and a list of abbreviations for a selected bibli­ ography appears at the end of the catalogue. Many of these drawings are exhibited in original sixteenth- or seventeenth-century Italian frames. These frames are works of art in their own right, many having been crafted in the same artistic centers as the drawings they protect. The various objects exhibited — including Italian majolica, furniture, and textiles—are

21 related to the drawings, their iconography, or their artists; all are from the Robert Lehman Collection. The exhibition was organized and the catalogue pre­ pared with the help of the staff of the Robert Lehman Collection. The design of the catalogue and posters is by Doris Halle, Graphic Designer, the Department of Design. Mountings of the drawings were prepared by the Department of Paper Conservation.

George Szabo Curator The Robert Lehman Collection PIETRO DI CRISTOFORO VANNUCCI, PIETRO PERUGINO; Castel della Pieve, Rome, Perugia, Fontignano, ca. 1450-1523 1. Head of a Man Black chalk on paper; 22.5 x 15 cm. Parti) reinforced in ink In a later hand. Unpublished. Bernard Berenson has suggested that the (hawing might be a study for a figure in a Crucifixion scene (handwritten notes, Robert Lehman Collection Archives). RAFFAELLINO DEL GARBO; Florence, ca. 1466-1524 2. Head of a Girl Silverpoint, heightened with white, on pinkish prepared paper; diam. 14.8 cm. BIBLIOGRAPHY: Oppenheimer sale, no. 84; O. Kurz, "Giorgio Vasari's 'Libro de' Disegni,'" Old Master Drawings 12 (1937-38):34; Berenson, no. 767; L. Ragghiarti Collobi. Il Libro de'Disegni del Votati, Florence, 1974, p. 99, fig. 273. This once very delicate drawing has suffered extensively during the last four cen­ turies. Its inclusion in a long line of distinguished collections, starting with Giorgio Vasari's Libro in the sixteenth century, attests to its original beauty. t*

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RAFFAELLINO DEL GARBO 3. The Virgin and St. foli n Pen and ink with wash on paper; 17.7 x 14 cm. Inscribed at lower center: And. del Castagni/. Vertical dividing line in center; pricked for transfer. BIBLIOGRAPHY: Grassi sale, no. 77. The finish and size of this drawing and the fine pricking suggest that it might have been a design for embroidery. Despite the inscribed name of Castagno and the former attribution to a follower of Filippino Lippi, it might be the work of Raffael- lino del Garbo, who is reported by Vasari as making such designs. GIULIANO DI PIERO DI SIMONE, CALLED GIULIANO BUGIARDINI; Florence, Bologna, 1475-1554 4. St. fohn the Baptist Black chalk, heightened with white paint, on paper; 42 x 11.8 cm. Handwritten notation on verso: ¡ingiardini li.B. Unpublished. Berenson attributed this drawing to Bugiardini on its verso, as well as in his hand­ written remarks (Robert Lehman Collection Archives). GIOVANNI ANTONIO BAZZI, CALLED SODOMA; Vercelli, Siena, 1477-1549 5A. .SV. Sebastian Pen and ink with wash on paper; 2(>.."> x 18.5 cm. On the verso: No. 5B. Unpublished. The drawing is attributed to Sodoma on the strength of certain affinities it has with his painting of St. Sebastian (Uffizi, Florence). This celebrated picture was commissioned as a processional banner by the Confraternity of St. Sebastian in Siena, 1525. -

SODOMA 5B. Three Studies Pen and ink on paper; 26.5 x 18.5 cm. Verso of No. 5A. Unpublished. These studies, a standing Figure with a lance, a grimacing head, and ornamental detail, could be by a different hand than the St. Sebastian on the recto. GIOVANNI FRANCESCO CAROTO; Verona, 1480-1555 6. Man and Woman in Adoration Point of brush, heightened with white paint, on blue paper; 20 x 27.4 cm. Inscribed at lower right in a sixteenth-centurv hand: Francesco Caroto; on verso: Fra" Caroto. Pricked for transfer. BIBLIOGRAPHY: Grassi saie. no. 60. The right side of the drawing is cut off, indicating that it was once part of a larger composition. Steps of a dais or throne and parts of drapery are visible, suggesting the whole might have represented an Adoration scene, such as the artist's drawing in the Rasini Collection, Milan (M. T Franco Fiorio, dovari Francesco Caroto, Verona, 1971, fig. 50). GIROLAMO ROMANI, CALLED IL ROMANINO; Brescia, ca. 1485-1559/61 7. Concert Champêtre Penane! brown ink with wash, over black chalk, with traces of red chalk, on paper; 29.3 x 11 cm. Inscribed at lower right: Gitrrgione. BIBLIOGRAPHY: Grassi sale. no. 107: Pans. no. 124; Bean and Stampile, no. 54. This elaborate and poetic drawing is the largest of Romanino's three drawings of musical groups with a faun. These drawings are usually associated with Romanino's frescoes that decorate the loggia of the Castello di Buon Consiglio al lient (1531/32). Although there is no direct connection between them, the same approximate date may be assigned to the drawing. K,

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DOMENICO BECCAFUMI; Siena, Pisa, Rome, 1486-1551 8A. TWO Episodes from the Life of Esther? Pen and ink over black chalk, on paper; 22 x 14.7 cm. The lower half numbered 2. On the verso: No. 8B. BIBLIOGRAPHY: R. de Lipharl Rathshoff, "Un libro di Schizzi di Domenico Beccatami," Rivista d'Arte l7(1935):58-70. This sheet was part of a sketchbook that the artist used before his return from Rome to Siena m 1512. "This group of drawings is the only extant work by the master before that date" (I). Sanminiatelli, "The Beginnings of Domenico Becca- fumi," Burlington Magazine 94 [1957]:405). -P

DOMENICO BECCAFUMI 8B. Three Studies Pen and ink over black chalk, on paper; 22 x 14.7 cm. Verso of No. 8A. I 'npublished. The three unidentified scenes are arranged in strips, the upper numbered 6, the middle 5, and the lower 9. w • ÄF

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GIOVANNI NANNI, CALLED GIOVANNI DA UDINE; Udine, Venice, Rome, 1487-1564 9. Design fin- a Wall Decoration Pen and brown ink on paper; 27.3 x 22.6 cm. Inscribed in Italian with names of various colors, probabl) In the artist. BIBLIOGRAPHY: Szabo, no. 10. Judging from its style and the colors indicated on it, this drawing is a preliminary design for a wall (letoration either in fresco or stucco. Between 1520 and 1526, da Udine collaborated with Giulio Romano on stuccoes and frescoes representing grotesque and mvthological scenes in various parts of the Villa Madama, Rome. rX-vX,SNÈs. • -y S,-.

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TIZIANO VECELLIO, CALLED TITIAN; Venice, 1487-1576 IO. Landscape with Seated Ligure Pen and ink on paper; IS. r> • 23.8cm. BIBLIOGRAPHY: D.von Hadeln. "Two Drawings b> ridan," Art in America I5(l927):l27-I3l' Cincinnati, no. 214; Szabo, no. 8. Detlev von Hadeln described this drawing as a "quick and temperamental study from nature In I iti.m. Bui even he emphasized thai there are a great number ol similar landscape compositions In such pupils and imitators ofthe artist as Domenico Campagnola. Reteñí scholarship favors the attribution to a follower of I itian. BONIFAZIO DI PELATI, CALLED BONIFAZIO VERONESE; Verona, Venice, 1487-1553 11. Christ and His Disciples at Linmaus Pen and ink, point of brush, with yellowish white wash, on bini- paper; 25.7 x 29.8 cm. Inscribed at lower center: Bonifacio. BIBLIOGRAPHY: Oppenheimer sale, no. 36; J. Schonbrunner and J. Meder, Handzeichnungen alter Meister OMS dir Albertina und anderen Sammlungen, Vienna, 189(5-1908, no. 1367; 'Hetze and I iet/e-Conrat, p. 117. no. 382. According to the Tietzes, this drawing is probably a modello for a painting, possibly the one in the Brera, Milan. DEFENDENTE FERRARI; Chivasso, Ferrara, Turin, ca. 1490-ca. 1535 12. Madonna and Child with 'lieo Saints Penaud ink on paper; 31.7 « 24.8cm. A strip of paper with the figure of the younger saini was added by the aitisi. Unpublished. POLIDORO CALDARA, CALLED POLIDORO DA CARAVAGGIO; Caravaggio, Rome, Naples, Messina, 1492-1543? 13. Frieze o/Classical Ligures and Horsemen Pen and ink with wasli on paper; 19.7 X 38.1 cm. BIBLIOGRAPHY: Szabo, no. 5. The groups of military figures and the two horsemen resemble Roman triumphal monuments. Caravaggio probably used this and similar drawings for the frescoes he painted on the façades of various buildings in Rome, for which he was quite well known (R. Kultzen, "Bemerkungen zu einer Fassadenmalerei Polidoros da Caravaggio an der Piazza Madama in Rom," Miseellanae Bibliothecae Hertzianae. Munich, 1961, pp. 207-212). ,J JP M / 7 j^H

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POLIDORO DA CARAVAGGIO 14. Three Horsemen Pen and ink with wash on paper; 17.5 x 27.7 cm. Inscribed at lower right: POLIDORUSE. Unpublished. The center horseman, carrying a pelta-shaped shield decorated with the image of another horseman, is very similar to the figure in No. 13. POLIDORO DA CARAVAGGIO 15 A. Mythological Scene Pen and ink with wash, heightened with white paint, on blue paper; 28.6 > 10.7 cm. Inscribed in ink in center: 91 Leghi, n": rento duiotto; at upper right: Chereo ut verso [?]. On the verso: No. lf>n. Unpublished. The four figures, three classically robed and one winged, probably represent a stil unidentified mythological scene. ' •*.-..',

POLIDORO DA CARAVAGGIO 15B. Roman Emperor (?) Receiving Homage Pen and brown ink with wash, heightened with while paint, on blue paper; 28.6 x 10.7 cm. Verso of No. 15A. Unpublished. This still unidentified scene, like No. 13. is represented in the manner of Roman triumphal monuments. POLIDORO DA CARAVAGGIO 16. l'Ite Abduction of Helen of Troy Pen and ink with wash, heightened with white paint, on paper; 30.3 x 38.4 cm. BIBLIOGRAPHY: Catalogue of sale, Parke-Bernet, New York, 12 May 1900, no. 73. /

BAR IOLOMMEO BANDINELLE CALLED BACCIO BANDINELLE Florence, Rome, 1493-1500 17. Standing Apostle Pen and brown ink on paper; 38 • l.">.

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BACCIO BANDINELLI 18. A Seated Man Declaiming ¡rom a Book Pen and brown ink on paper; 31.1 x 19.5 cm. BIBLIOGRAPHY: Skippe sale, no. 10B. An excellent example of Bandinelli's drawing from life. ATTRIBUTED TO JACOPO CARUCCI, CALLED PON EORMO; Florence, 1494-1557 19. Portrait of a Young Lady Silverpoint and red chalk, on gray prepared paper; 17.2 x 13 cm. BIBLIOGRAPHY: A. G. B. Russell sale, Sotheby's, London, Ma\ 1928, Drawings by Old Masters, „<>. 150; Paris, no. 120; Cincinnati, no. 217; Berenson, no. 23701)*; J. C. Rearick, The Drawings oj Pontor- mo II, Cambridge, Mass., p. 399. The costume of this sensitively executed drawing indicates a date about 1515. Ehe attribution to Pontormo is not generally accepted; Berenson considers it from the school of Pontormo, while others ascribe it to Lorenzo di Credi or to Rosso. w — i...i,„..<.J-^a>'»

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ANTONIO ALLEGRI, CALLED CORREGGIO; Correggio, Mantua, Parma, ca. 1494-1534 20. Study of a Reclining Nude Red chalk on paper; 7.1 x 10.8cm. BIBLIOGRAPHY: Albright Art Gallery, Master Drawings, exhibition catalogue, Búllalo, 1935, no. 25. % .?

GIOVANNI BATTISTA FRANCO, (ALLEI) SEMOLEI; Venice, Rome, Moi enee, Urbino, ca. 1498-1561 21. Skull and Neckhoìies of a Skeleton Pen and ink on paper; 10 < 6.9 cm. t npublished. ^fm^'àaA,.

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DOMENICO CAMPAGNOLA; Padua, Venice, 1500-1581 22. Landscape icitli a Rock and Buildings Pen and brown ink on paper; 17.3 x 11.8 cm. BIBLIOGRAPHY: Skippe sale, no. 47. This drawing has been described as a "fine early example of Campagnola" (Skippe sale, p. 38), It is comparable to the artist's signed landscape drawing in the British Museum. tàW \ i

DOMENICO CAMPAGNOLA 23. Landscape -with Satyr Pen and brown ink on paper; 26 2 x 20 8 cm u.t,., •>,,..i u ••/••, ., • RiRi inriiAPHv. wir u cl Lv. « Watermark: anchor in arde (similar to Briquet 587). %%¡£?m9™: ¡27 ***GaBery' NCW ***• (-'"t»>» ** "I F™ Centuries; PnL and This lively sheet demonstrates the artists later style. Behind the satyr and the man and woman leading a mule, the landscape is dominated by a building in the nor I - fhëcenfui Watermark ,S COmmon °n Ita,ian PaPers from the first decades of AGNIOLO DI COSIMO DI MARIANO, CALLED AGNOLO BRONZINO; Monticelli, Florence, 1503-1572 24. Seated Male Nude Black chalk on paper; 36.8 x 20.3 cm. BIBLIOGRAPHY: Rehlinger sale, no. 85; Seiferheld Gallery, New York, Master Drawings, 1961, no. 2: K. Van Schaack, Master Drawings in Private Collections, New York, 1962, no. 6. The former attribution to Pontormo was convincingly changed to Bronzino by Eric Van Schaack, who recognized that both figures are studies for the young shepherd in Bronzino's small signed painting of the Adoration of the Shepherds in the Museum of Fine Arts, Budapest (A. Emiliani, Il Bronzino, Busto Arsizio, 1960, pi. 30). FRANCESCO PRIMATICCIO; Bologna, Mantua, Fontainebleau, Paris, 1504-1570 25. Two Nymphs Carrying a Third Pen and ink with wash, over traces of silverpoint, on buff prepared paper; 24 x 28 cm. Cui off on left side. BIBLIOGRAPHY: Paris, no. 121; Cincinnati, no. 219; H. Zerner, The School of Fontainebleau; Etch­ ings and Engravings, trans, by Stanley Baron, New York, 1970, no. 81; Szaho, no. 14. On the left, the hoof and calf of a satyr are still visible. In its original state, the drawing corresponded to a reversed engraving of the same scene by the French master L. D., dated 1547. A pendant drawing with the same date, in the Hermit­ age, Leningrad, shows a satyr carried by two others to a recumbent woman. It is also cut ofL but engraved in full by L. D. The source for both designs is apparently an illumination by Bernardo Parentino in a manuscript dated 1474 (M. Salmi, "Aspetti della cultura figurativa di Padova e di Ferrari nella miniatura del primo rinascimento," Arte Veneta 8[1954]:133-134). It was proposed that Primaticcio made the two designs for stucco decorations in the rooms of the so-called Apparte­ ment des Bains at Fontainebleau before 1547. t m

VENETIAN ARTIST; first decade 16th century 26. St. Jerome in a Landscape Pen and brown ink on paper; 17.8 x 21.3 cm. BIBLIOGRAPHY: Grassi sale, no. 147; R. L. Douglas, Piero di Cosimo, Chicago, 1946, p. 128; Pans, no. 112; Cincinnati, no. 201; Berenson, no. 1859J*; L. Puppi, Bartolomeo Montagna, Venice, 1962, p. 148; Bean and Stampile, no. 4; Pignatti, no. 7. Since this beautiful sheet is one of the earliest examples of Italian landscape draw­ ing, its attribution presents a variety of problems. For a long time it was considered the work of Giovanni Bellini (ca. 1431-1516) and later that of Piero di Cosimo (1462-1521). Recently however, because of the airy Venetian character ot the land­ scape and the background buildings in the northern style, it was connected to the art of Bartolomeo Montagna (1453/54-1523) and that of Giorgione (1476-1510). I M

VENETIAN ARTIST; first decades 16th century 27\. Studies for a Flagellation of Christ Silverpoint and point of brush, heightened with while, on gray prepared paper; 27.9 x 17.8 (in Inscribed at lower left in a nineteenth-century hand: Egalement du Yus,, deux superbes dessins du Maître. On the verso: No. 27n. BIBLIOGRAPHY: Oppenheimer sale. no. 119. Both sides distinctly demonstrate this artist's dependency on the oeuvre of Mantegna. VENETIAN ARTIST; First decades 16th century 27B. Studies for a Resurrection of Christ: Soldiers Looking Upward SUverpotnl and point of brush, heightened with white, on gray prepared paper; 527. 9 x 17.8 cm. Inscribed ai uppeippe r center: 670. Verso of No. 27A. BIBLIOGRAPHY: Oppenheimer sale, no. 119. 1 r V '

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VENETIAN ARTIST; first quarter 16th century 28A. Shepherd Sleeping or Resting under a Lire Pen and ink, traces of black chalk, on paper; 25.3 - 20.2 cm. Partial watermark: tail and daws of an eagle. Inscribed at lower left in a sixteenth-centur) hand: torzón. On the verso: No. 28a. BIBLIOGRAPHY: Grassi sale, no. 87. Following the inscription, this drawing was attributed to the school of Giorgione. Recumbent sleeping women are quite common in Venetian art; they represent various symbolical and allegorical ideas. There are very few such male figures known. The meaning of this melancholic shepherd is still unexplained. r i

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VENETIAN ARTIST; first quarter 16th century 28B. Studies for Ornamental Designs Pen and ink on paper: 25.3 « 20.2 cm. Inscribed a. upper left: 20. Verso of No. 28A. Unpublished.

lar goldsmith's work. VENETIAN ARTIST; first quarter 16th centin \ 29. Seated Lady Pen and ink on paper; 23.2 x 18.1 cm. BIBLIOGRAPHY: Cincinnati, no. 218. This once attractive drawing, nou badi) damaged, has been attributed to Pordenone. ê

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NORTH ITALIAN/VENETIAN ARTIST; first quarter 16th century 30. Orpheus Red chalk on paper; 23.5 • 16.1 cm. Inscribed at lower middle in a later hand: Rafael. Unpublished. . , , ,-• The main parts of this drawing are completely finished, while the unfinished lig­ ure of Orpheus is only vaguely sketched. The slight resemblance to Raphael s style is reflet ted in the scveiiteenlh-t enturv inscription. m 7

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NORTH I PALIAN ARTIST; first half 16th century 31. Lions Attacking a Steer and a Horse; Hunters and Dogs Pen and ink. point of brush, on paper; 22.5 • 17.2 cm. Unpublished. Representations of lions attacking hoi ses or steers are quite common in f ifteenth- and sixteenth-century Italian art (B. Degenhart and A. Schmitt "Ft cello-Wieder­ herstellung einer Zeichnung," Albertina Studi,;, 1 [1963]: 101-117). Most were based on the colossal Greco-Roman marble group on the Capitol in Rome since the four­ teenth century. In this drawing, its influence appears especially in the figures of the lion and horse in the lower center. ft r.

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NORTH ITALIAN ARTIST; possibly Venice, first half 16th century 32. The Return of''the Prodigal Son Pen and ink on paper; 17.2 x 21.1 cm. Watermark: orb with cross on top (»muarto Briquet WJ>/, 3001). Inscribed in ink on verso in a seventeenth-century hand: Moronea l nolo Veronese. Unpublished. ËB I

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NORTH ITALIAN ARTIST; first half 16th century 33. St. Stephen and Other Saints among Clouds Black and red chalk, on yellowish paper; 15 x SO cm. Squared for transfer. BIBLIOGRAPHY: Oppenheimer sale, no. 36A; Szabo, no. 11. Both the composition and the squaring suggest that this drawing is a preparatory sketch for a wall painting. t',

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FLORENTINE ARTIST; first half I6th century 34. The Virgin in Adoration Pen and ink with red chalk on paper; 21 - 18.5 cm. Inscribed in ink al lower righi: AM. Unpublished. DANIELE RICCIARELLI, GALLED DANIELE DA VOLI ERRA; Volterra, Siena, Rome, ca. 1509- 1566 35A. Jupiter and Io Pen and brown ink with wash, on paper: 23.5 - 17.8 cm. Squared with chalk for transfer. On (In­ verso: No. 35B. Unpublished. This lively drawing represents the mythological story from Book I of Ovid's Meta­ morphoses. Jupiter seduced Io. daughter of fnachus, under the cover of clouds and foggy mist, then turned the girl into a beautiful white tow in order to deceive the suspicious Juno. WM

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S5B. Study of a Male Figure Stabbing Himself number ? Pen and ink, smudges ol red paint, on paper; 23.5 x 17.8 ( m. I t n triais, and letter G. Verso oi No. 35À. PhAcharaOerof the drawing, «»„.pared to the recto, indicates that i, is not bv the hand of Daniele da Volterra. w

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JACOPO ROBUSTI, CALLED TINTORETTO; Venice, 1518-1594 36. Study for a Portrait of a Doge Black and white chalk, on grayish buff paper; 29.3 • 19 cm. Ins« ribedal lower left: 189. BIBLIOGRAPHY: Orassi sale, no. 136. JACOPO TINTORETTO 37A. Reclining Male Figure Charcoal on blue paper; 16.7 x 32 cm. Inscribed at lower right in a nineteenth-century hand: C. Tintoretto. Squared with charcoal. On the verso: No. 37K. BIBLIOGRAPHY: Pignatti, no. 20. The powerful, reclining figure is compared by Terisio Pignatti to similar Tin- toretto compositions, datable 1562-64; he concludes that the style of the drawing "with its continuous serpentine line is characteristic of Tintoretto s^ork otthat period." The outstanding qualities of the drawing were appreciated by Sir Joshua Reynolds, to whose collection it once belonged. JACOPO TINTORETTO 37B. Figure of Christ for a Crucifixion Black chalk, heightened with white paint, on blue paper; 32 x 16.7 cm. Verso of No. 37 A. Unpublished. The lines of the drawing are more summary and interrupted than those of the recto, therefore possibly of a later date. TADDEO ZUCCARI; Sant'Angelo in Vado, Caprarola, Rome, 1529-1566 38. Martyrdom of St. Paul Pen and brown ink with brown wash, heightened with white, traces oi black chalk on,pape., 49.4 x 36.8 cm. Inscribed in ink on verso in a seventeenth-century hand: Taddeo /.ucean J.f. BIBUOGRAPHY: Bean and Stampile, no. 135; l A. (lete. TaddeoZuccaro; His Development Studied in his Drawings. Chicago. 1969, no. 147, pl. 82; Szabo, no. 12. This brilliant large drawing was identified as a study for the fresco in the center oi the vault of the Fragipani Chapel in S. Marcello al Corso Rome. Zuccar»decorated this chapel betweeii 1557 and 1566 with scenes from the life of St. Paul JI he out­ standing qualities of the drawing were recognized very early; it was in the collec­ tion of Sir Peter Lelv (1618-80). G5^ ^

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LUCA CAMBIASO; Moneglia, Genoa, Madrid, 1527-1585 39. Hercules Fighting the Caledonian Boar Pen and brown ink on paper; 33.8 x 24.2 cm. Watermark; pomegranate on a half-moon (not in Briquet). Inscribed in ink at lower left: /." Cangiagi; in ink on verso in an eighteenth-century hand: No. 18 Corraci. Unpublished. This spirited drawing is most likely from the late 1560s, when Cambiasti decorated the Palace of Antonio Doria (now Pallazzo della Prefettura) with frescoes depicting the labors of Hercules. A similar drawing of Hercules and Antaeus in a private col­ lection was connected to these frescoes (B. Suida Manning and VV. Suida, .ileaLf" Cambiasi), la vita e le opere. Milan, 1958, pp. 74-75, fig. 10). LUCACAMBIASO 40. Venus and Cupid Pen and brown ink on paper; 30.5 x 21 cm. Unpublished. About 1570, Cambiaso painted several compositions representing Venus and Cupid; the best known of these is in the Art Institute of Chicago. Another showing Venus blindfolding Cupid was in a private collection in Vienna (Suida Manning and Suida, Luca Cambiaso, fig. 77). This light and playful drawing, and another in the Louvre, are most likely related to the latter painting. LUCACAMBIASO 4L Madonna and Child with a Young Saint and Donor Pen and brown ink on paper; 22.5 x 19.2 cm. All four sides cut off. Inscribed at lower left: Cuugiasioj. Unpublished. Formerly described as representing the Holy Family; however, the figure at the left seems to be a portrait of a donor rather than St. Joseph. Since the sides of the drawing are cut off, it might have been part of a larger composition for an altar- piece, executed about 1570. \ ¿ X i \ t V A ^ t« --' < vS' t/> / -^" V^f^c.-^j is

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LUCA CAMBIASO 42. The Holy Family with the Young St. John the Baptist Pen and brown ink with wash, on paper; 25.5 x 21.5 cm. Inscribed at lower left: Cangiasi,. Unpublished. The angular treatment of drapery indicates that the drawing was made 1570-80. LUCA CAMBIASO 43. St. Matthew Pen and brown ink with wash, on paper; 23.8 x 16.2 cm. Inscribed at lower left: Candiagw /. Squared with red chalk. Unpublished. The red chalk squaring indicates that this drawing might be a design for a fresco. The simple but powerful lines suggest a date about 1580. LUCA CAMBIASO 44. l'bc Four Evangelists Disputing Pen and brown ink on paper; 14 x 29.1 cm. Unpublished. The Four Evangelists are shown with their attributes: St. Mark with an open book on his knees, seated on a lion; St. Luke with his ox; St. John with his eagle; and finally, St. Matthew accompanied by his angel. This late drawing might be from Cambiaso's Spanish years, 1583-85. LUCA CAMBIASO 45. Fame Pen and brown ink on paper; 33.5 x 24.5 cm. Unpublished. The figure of Fame or Fama, with two trumpets, is supported by three putti. A very similar figure in a drawing in a private collection is connected with Cambiaso's painting The Return of the Victorious Armada to the Port of Messina, in the Royal Palace of El Escorial, one of six compositions depicting the Battle of Lepanto, painted 1583-85 (Finch College Museum of Art, Luca Cambiaso: Draw­ ings, exhibition catalogue bv R. Manning, New York, 1967, no. 71). I

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PAOLO CALIARI, CALLED PAOLO VERONESE; Verona, Venice, ca. 1530-1588 46. fiVW of a Bearded Man Black chalk, on laded bine paper; 26 x 19.9 c in. Inscribed in ink at lower left in a later hand: Hi Paul,, Veronese; at lower right: 10. BIBLIOGRAPHY: Albright Art Gallery, Master Drawings, exhibition catalogue, Buffalo, 1935, no. 30; 1 'iet/eand I iet/e-(',oni at, p. 319. no. A 2125. The Tietzes have remarked that "while the type of the profile seems to fit, tir at least not to contradict Veronese's art, the penmanship is definitely not his." PAOLO VERONESE 47. Study fora Massacre of the Innocents Black and white chalk, on brownish red prepared paper; 38.8 x 37.5 cm. On the verso, traces of a black chalk drawing of unidentifiable subject Unpublished. \ •i 5&

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ATTRIBUTED TO PAOLO VERONESE; Verona, Venice, ca. 1530-1588 48. Battle of Horsemen and Foot Soldiers Pen and brown ink on paper; 20.8 x 31.6 cm. BIBLIOGRAPHY: Oppenheimer sale, no. 36B. FEDERICO BAROCCI; Urbino, Rome, Perugia, ca. 1535-1612 49. Study of the Dead Christ; Study of Fach Leg Red chalk on paper; 17 x 27 cm. Erased inscription at upper middle. On the verso: traces of fig­ ures; inscribed in ink: Ventura Salimbem. BIBLIOGRAPHY: H. Olsen, Federico Barocci, Copenhagen. 1962.D. 153; pi. 24; Yale Ari: Ga lery, The Craphir Art of Federico Baroni: Seleeted Drawings and Prints, exh.b.t.on catalogue by E. P. Pittsburg and L S. Richards, New Haven, 1978, no. 21. A study for the figure of Christ in Barocci's Deposition of Christ, painted for the Cathedral of San Lorenzo in Perugia, 1567-69. This work is unusual in Barocci's oeuvre, as it is executed entirely in red chalk. ;Yb k

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FLORENTINE OR ROMAN ARTIST; mid-16th century 50A. Studies of a M a lis Leg; Head of a Horse Pen and ink with wash on paper; 33 x 24 cm. Pen trials contemporary with the drawing. Later inscriptions, accountings, and numbers in darker ink, ine hiding the date 1676. On the verso: No. 50B. Unpublished. Berenson suggested that the drawing is by a follower of Michelangelo (handwrit­ ten notes, Robert Lehman Collection Archives). Recently the name of Bartolomeo Passarotti (1529-92) was proposed, as he was strongly influenced by Michelangelo in Rome. FLOREN EINE OR ROMAN ARTIST; mid-16th century 50B. Study of a Man's Left Shoulder and Other Figures Red and black chalk on paper; 24 x 33 cm. Numbered at center left: 93. Verso of No. 50 \. Unpublished. ANNIBALE CARRACCI; Bologna, Rome, 1560-1609 51. Lamentation of Christ Red chalk on paper; 2 1.2 x 23 cm. Inscribed in ink at lower righi: Carnei. BIBLIOGRAPHY: Orassi sale, no. 26. Formerly attributed to Lodovico Carracci (1555-1619), cousin of the artist. The Carraca brothers, Annibale and Agostino, maintained a large workshop that included other family members, making it difficult to define exactly their individ­ ual styles and characters. ANNIBALE CARRACCI 52. Antonio Carrocci at his Fasel Pen and brown ink, with bluish wash, on paper; 26.8 x 20.8 cm. BIBLIOGRAPHY: Grassi sale, no. 37. Antonio Carracci (d. 1618) was the son of Agostino Carracci and a nephew of Annibale. He too belonged to the family workshop. This drawing was reproduced in 1735 in Pond and Knapton's Series of Aquatints after Old Masters Drawings. ATTRIBUTED TO ANNIBALE CARRACCI; Bologna, Rome, 1560-1609 53. Venus and Cupid? Black chalk on tan prepared paper; 30.1 x 21.3 cm. Watermark: lion with upcurved tail (Briquet 10503). Inscribed in ink at lower left in a sixteenth-century hand: ennui. On the verso: faint figure ol a bird in black chalk. t npiiblished. The same watermark appears on paper made in Verona about 1575. DOMENICO ROBUSTI, CALLED TINTORETTO; Venice, 1560-1635 54. Study of o Reclining Nude Black and white chalk, on grayish blue paper; 19.8 x 26.3 cm. lorn and repaired. Inscribed in ink at'lower right in an eighteenth-century hand: Tinto . BIB1IOGRAPHY: Orassi sale, no. 134; I ietze and Tietze-Conrat, p. 267, no. 1535; Pans, no. 129. Formerly attributed to Jacopo Tintoretto, this study is now firmly believed to be drawn by his son Domenico. This and the following seven nude studies from nature date from the end of the sixteenth century and were frequently utilized in his paintings. DOMENICO TINTORETTO 55. Study of a Reclining Nude Black chalk, heightened with white, on grayish blue paper; 19.5 x 28.8 cm. Inscribed in ink at lower right: Tint BIBLIOGRAPHY: (.tassi sale. no. 134;Tietzeand Tietze-Conrat, p. 267,no: 1535; Paris, no. 129; Cincinnati, no. 220. DOMENICO TINTORETTO 56. Study of a Reclining Nude Black chalk, heightened with white, on grayish blue paper; 19.5 x 28.6 cm. Inscribed in ink at lower left: Tini BIBLIOGRAPHY: Grassi sale. no. 134; Tiet/e and I letze-Conrat, p. 267, no. 1535; Pans, no. 129; Cincinnati, no. 223. ¿J*

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DOMENICO TINTORETTO 57. .S7Í/C/V o/ a Reclining Nude Black and white chalk, on grayish blue paper; 19.9 x 28.5 cm. Inscribed in ink al lower left: Tint. BIBLIOGRAPHY: Orassi sale, no. 13 1; Smith College Museum of Art, Italian Drawings 1330-1780, exhibition catalogue, Northhampton, Mass., 1941, no. 28; Tietze and Tietze-Conrat, p. 267, no. 1535; Paris, no. 129. DOMENICO TINTORETTO 58. Study of a Reclining Nude Black andI white chalk, on grayish blue paper; 19 • 26.9cm. Cui and repaired on left side. Inscribed in ink at lower righi: Tinto. BIBLIOGRAPHY: Grassi sale, no. 134; Tietze and Tietze-Conrat, p. 267, no. 1535. V 0

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DOMENICO TINTORETTO 59. Study of a Reclining Nude Black and while chalk, on grayish blue paper; 28.7 x 19.6 cm. BIBLIOGRAPHY: Grassi sale, no. 134; Tietzeand Tietze-Conrat, p. 267. no. 1535. DOMENICO TINTORETTO 60. Study of a Reclining Nude Black and u lute c halk. on grayish blue paper; 28. 119 cm. BIBLIOGRAPHY: Grassi sale, no. 134; Tietzeand Tietze-Conrat, p. 267. no. 1535. > A . _ < • )

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61. Study of a Sitting Nude Black and white c balk, on grayish blue paper; 18.5 x 27.7 cm. BIBLIOGRAPHY: Grassi sale. no. 13 1; Tietzeand rietze-Conrat, p. 267. no; 1535. ./ V

FEDERICO ZUCCARI; Sant'Angelo in Vado, Rome, Ancona, 1540/41-1609 62. A Swiss Guard Pen and ink on paper; 23.3 x 13.4 cm. Inscribed on the late eighteenth-century mat: Eed""/.u,ean. Unpublished. Federico was the younger brother of Taddeo Zuccari, and already an acclaimed fresco painter at the age of eighteen. This drawing, judging from the squaring, is also a study for a fresco (see No. 38); however, it is from Federico's mature period. I;

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FLORENTINE ARTIST; second half I6th century 63. Virgin and Child with the Young St. John the Baptist Pen and ink on paper; 21.4 < 15.6cm. Unpublished. X-X

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VENETIAN ARTIST; second half 16th century 64A. Kitchen Scene Penane! ink on paper; 33.3 x 23.4 cm. Inscribed on the side of the raised fireplace: I.VCA NEBIT- TANIE FECIT. On the verso: No. 64B. Unpublished. Berenson attributed this drawing to the school of Bassano (handwritten notes, Robert Lehman Collection Archives). The inscription on the fireplace seems to be a later addition, and the name of Luca Nebittanie is not known in Bassano. V

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ITALIAN ARTIST; second half 16th century 64B. Ecce Homo; Sketches of a Profile and a Human Figure Pen and ink on paper; 33.3 • 23.4cm. Inscribed: IVDEO. Verso of No. 64A. Unpublished. Seemingly a copy alter an cai liei Ecce Homo composition, the drawing is not by the artist of the recto.

WORKS ABBREVIATED

Bean and Stampile Drawings from New York Collections, I: The Italian Renais­ sance, exhibition catalogue by Jacob Bean and Felice Stampile, New York, 1965 Berenson Bernard Berenson, I Disegni dei pittori fiorentini, 3 vols., Milan, 1961 Cincinnati Cincinnati Museum Association, The Lehman Collection, Nexv York, exhibition catalogue, 1959 Crassi sale Catalogue of Important Drawings by Old Masters mainly of the Italian School from the G. L. Collection...sold 13 May 1924, Sotheby's, London, 1924 Paris Paris, Musée de l'Orangerie, Exposition de la collection Lehman de New York, exhibition catalogue, 1957 Oppenheimer sale Catalogue of the...Collection of Old Master Drawings, formed by...Henry Oppenheimer...J'uly 10,13-14,1936, Christie's, London, 1936 Pignatti International Exhibitions Foundation, Venetian Drawings from American Collections, a Loan Exhibition, exhibition catalogue by Terisio Pignatti, [National Gallery of Art, Washington, D.C.,] 1974/75 Reitlinger sale Catalogue of the Reitlinger Collection, Part I...sold December 9, 1953, Sotheby's, London, 1953 Skippe sale Catalogue of the Well-known Collection of Old Master Draw­ ings... principally of the Italian School formed... by J oh n Skippe ...soldNovember20-21, 1958, Sotheby's, London, 1958 Szabo Tokyo, The National Museum of Western Art, Renais­ sance Decorative Arts from 'The Robert Lehman Collection of The Metropolitan Museum of Art, New i'ork, exhibition cata­ logue by George Szabo, 1977 Tietze and Tietze-Conrat 1 [ans Tietze and Erika Tietze-Conrat, The Drawings of the Venetian Painters in the 15th and 16th Centuries, New York, 1944 Published by The Metropolit.m Museum of Art Bradford 1). Kelleher, Publisher John P. O'Neill. Editor in Chid Rosaline- Wassci man. Editor Doi is I.. 1 lalle. Designer