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Sixteenth-Century Italian Drawings in New York Collections

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Sixteenth-Century Italian Drawings in New York Collections derive from Beccafumrs example. 1 In 1544, angels, while two saints kneel in adoration in Marco Pirro moved to Rome, where he col­ a lush, expansive landscape below. The pose laborated with Perino del Vaga in the Sala and expression of the young, beardless Saint Paolina of Castel Sant'Angelo (see no. 66). He Lawrence in the altarpiece who gracefully later worked with Perino's disciples Daniele da raises his left hand to his breast and gazes Volterra and Pellegrino Tibaldi (see no. 12) in heavenward, is particularly close to that of the the Rovere Chapel in the Trinita dei Monti in kneeling saint at the left of the drawing. Given the early 1550s. 2 Salviati, Michelangelo, and these similarities, it is conceivable that this im­ Taddeo Zuccaro were among the other artists pressive modello bears some relation to the active in Rome in the middle of the sixteenth Gesu Vecchio altarpiece, which may be the century whose influence shaped Marco Pirro's painting referred to in the inscription. It is also style as a painter and a draftsman. The artist's possible that the Morgan Library drawing was attempt at synthesizing the graceful artifice of executed for a now-lost and otherwise un­ Perino with the exaggerated, muscular heroics documented altarpiece and its composition of Daniele and Tibaldi is evident in such later adapted for the Naples painting. works as the Resurrection in the Oratorio del The Virgin and Child in a drawing by Gonfalone, whose decorations by the leading Marco Pirro in the Musee du Louvre, datable painters of the day comprise one of the most around 1550, are close in type to the same fig­ important pictorial cycles carried out in Rome ures in the Morgan Library sheet, which is a in the second half of the century. fine example of the artist's graceful and ele­ In the mid-1550s, Marco Pirro moved to gant draftsmanship. 6 Naples where he remained until 1567 or 1568, LWS returning intermittently to Rome after that date. His work in Naples consists almost ex­ I. See Domenico Beccafumi e il suo tempo, exh. cat., clusively of large-scale altarpieces in a late Pinacoteca Nazionale di Siena and elsewhere in Siena maniera style, a number of which survive in (Milan, 1990 ), nos. 78-8o; on Marco Pino in general, see the essay by Roberto Bartalini in the same catalogue, 3 situ. This detailed study of two kneeling pp. 384-9!. bishop saints and a donor adoring the Virgin 2. Geraldine Albers and Philippe Morel, "Pellegrino and Child is a study for one such work. An Tibaldi e Marco Pino alla Trinita dei Monti," Bollettino inscription at the lower edge of the sheet, pos­ d'arte, ser. 6, 73 (March-April 1988), pp. 69-92. The two artists executed the vault frescoes after the "cartoni" sibly by Padre Resta, 4 records that Marco Pirro of Daniele da Volterra, according to Giovanni Baglione, executed a painting of this subject in 1575. Le vite de' pittori scultori et architetti. Dal Pontificato di There is no known extant work that conforms Gregorio XIII fino a tutto quello d'Urbino VIII (Rome, 1649; precisely to the design of the Morgan Library reprint, Sala Bolognese, 1986), p. 31. sheet, but the composition exhibits a number 3. See Evelina Borea, "Grazia e furia in Marco Pino," Paragone, no. 151 (July 1962), pp. 24-52; and Giovanni of suggestive parallels with a painting ascribed Previtali, La pittura del cinquecento a Napoli e nel Vicereame to the artist from the church of Gesu Vecchio, (Turin, 1978), pp. 53-60, pls. 73-79. Naples, representing the Madonna and Child 4. Written communication from john Cere in the in glory adored by Saints Lawrence and Nich­ curatorial files, Pierpont Morgan Library. A second olas of Bari.s In both drawing and painting, inscription recounts the various artists with whom Marco Pino collaborated, concluding with Lomazzo's the Virgin and Child appear in the upper unfounded assertion that he was a disciple of zone, floating on clouds and surrounded by Michelangelo. no Siena .
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