Originalveroffentlichung in: Burlington Magazine 137, Mai 1995, S, 300-306 ALESSANDRO NOVA The drawings of Girolamo Romanino. Part IT 11. Pyramus and Thisbe, by Girolamo Romanino. Pen and brown ink, 14 by 16.6 cm. (Louvre, Paris). 3 PREPARATORY drawings by Romanino for surviving paint­ Palazzo Martinengo in the via delle Cossere in Brescia, a ings he executed during the last thirty years of his career are palace once owned by Leonardo III Martinengo delle Palle 1 not numerous, but some of his late sheets provide important who died in 1536. Panazza listed this cycle among Romani­ 1 evidence about various lost works. no's lost works, and all subsequent scholars have taken this to After completing his frescoes for Cardinal Clesio at Trent, be the case. Yet, while three of the lunettes have lost all trace Romanino returned to Brescia in 1532. It remains contro­ of their frescoes, one contains three barely visible heads, and versial exactly which paintings can be dated to the early the central lunette retains the image of a woman holding a 1530s, but it is possible that a drawing now in the Louvre stick with which she apparently threatens two unidentified 1 (Fig. 11) belongs to these years. The spirited style of this figures. It is impossible to establish whether any of these sketch in pen and brown ink is similar to that of the drawings lunettes did indeed contain a fresco of Pyramus and Thisbe, executed during his Trentine period, and the theme of Pyra­ but the surviving fragment was probably executed around mus and Thisbe - first identified by Creighton Gilbert — was 1532-34, a perfectly acceptable date for the drawing in the 6 often represented by early sixteenth-century German artists, Louvre. something which strengthens the drawing's connexion with Fortunately, the next two drawings - one depicting a friar Romanino's years in Trent and makes a dating between 1530 perhaps discussing theology in front of a tribunal, and the 2 and 1535 more plausible. Yet the chronology can perhaps be other a friar preaching in a square (Figs. 12 and 13) - bring us made even more precise. As Cathy Cook has pointed out, the back to firmer ground, even if the greatest connoisseur of sources record only one Ovidian cycle painted by Romanino, Italian renaissance drawings to date attributed them to 7 the frescoes once decorating five lunettes in the loggia of the Lorenzo Lotto. The first scholar to link them with Romanino ' Part I of this article appeared in the March issue, pp. 159-68. 161, and F. LECHI: EM dimore bresciane in cinque secoli di sloria. Ill, Brescia [1974], pp. 1 Paris, louvre, inv. no. 5648 redo: pen and brown ink; 14.0 by 16.6 cm. 210-11. 'See c. GILBERT: 'Una monografia sul Romanino', Arte veneta, XVI [1962], p. 201. 'G. PANAZZA: Affieschi di Girolamo Romanino, Milan [1965], p. 75. 'See c. COOK: 'A New Secular Fresco Cycle by Girolamo Romanino', Arte lombarda, "A. NOVA: Girolamo Romanino, Turin [ 1994], pp. 284-85. no. 68/69 [ 1984], p. 138. Francesco Paglia is the only source to mention these fres­ Bassano del Grappa, Museo Civico, inv. Riva 88 and 89: brush and sepia ink coes (see F. PAGLIA: // Giardino delta Pittura [c. 1660-1713], ed. c. BOSELLI, Brescia on dark paper; 16.8 by 25.6 cm each. They were published for the first time in [1967],p.263). H. TIETZE and E. TIETZE GONRAT: 'Contributi critici alio studio organico dei disegni 'See c. PASERO: Francia Spagna Impero a Brescia 1509-1516, Brescia [ 1958], p. 356, note veneziani del '500', Critka d'arte, II [1937], pp. 84-85, who assigned them to Lotto. This attribution was upheld in p. POUNGEY: Ij>lto disegnatore, Vicenza [1965], p. 10. 300 THE DRAWINGS OF GIROLAMO ROMANINO 12. Dispute of St Dominic, by Girolamo Romanino. Brush and brown ink, 16.8 by 25.6 cm. (Musco Civico, Bassano del Grappa). 13. Si Dominic preaching, by Girolamo Romanino. Brush and brown ink, 16.8 by 25.6 cm. (Museo Civico, Bassano del Grappa). it, being dismissed by the friars who were not happy with was Roberto Longhi." They may well represent the dispute. his work. Unfortunately, the sources do not reveal when this and preaching of St Dominic, and, this being the case, they happened, but the two drawings must be dated to around are probably connected with a now lost fresco cycle in the 1534-35 because their heterodox style belongs to the most cloister of S. Domenico, Brescia, where Ridolfi records eccentric period of Romanino's career: indeed, they are Romanino as having painted scenes of the life of this saint.1' closely related to the truly bizarre frescoes at Malpaga, and The cycle was destroyed during the nineteenth century, but a they are also close in style to his extraordinary cycles in Val- document informs us that it was commissioned before 1534:10 camonica (Pisogne, Breno, Bienno). This type of painting was on 5th January that year, Fra Anastasio de Farfengo acting in probably little appreciated in Brescia at this late date. As the name of the prior of the convent, appointed a proxy to Ridolfi states: Romanino 'began to fresco a cycle of the life of come to an agreement with Romanino - then probably not St Dominic, but since he painted - as he usually did - many in Brescia - who had failed to honour an earlier contract bizarre things, those friars did not like his work; moreover, drawn up by the notary Galeazzo Meloni. It seems that the since those Fathers did not understand much about art, they arguments of the proxy were effective, for the artist began did not wish him to continue the work'." work on the cycle; but we also know that he never finished Venise, exh.cat., Grand Palais, Paris [1993], p. 397. "His opinion was recorded by A. BANTI and A. BOSOHETTO: Lorenzo Lotto, Florence 'c. RIDOLFI: Le meraiiglie dell'arte, Venice [1648], p. 253 (ed. D. VON HADELN, I, Berlin [ 1953], p. 117, and the attribution is accepted by: M. L. FERRARI: // Romanino, Milan [196 l]i pi. 32; o. PANAZZA with the collaboration of A. DAMIANI and B. PASSAMA.NI: [1914], p. 269). "'See c. BOSELLI: Regesto artistico dei notai roganti in Brescia daU'anno I MO aU'anno 1560, Mostra'di Girolamo Romanino, exh.cat., Duomo Vecchio, Brescia [1965], p. 228; Brescia [1977], II, p. 83. PANAZZA, op.at. at note 5 above, p. 69; H A. PETERS: 'Bemcrkungen zu obentahems- 11 RIDOLFI, loc.cit. at note 9 above. chen Zeichnungen des XV. und XVI. Jahrhunderts', Wallrqf-Richartz-Jahrbucn, XXVII [1965], p. 164; and A. BALLARIN: in It siicle de Titien. L'&ge d'or de la peinlure a 301 THE DRAWINGS OF GIROLAMO ROMANINC 15. A seatedman, by Girolamo Romanino. Pen i ith brush and brown ink, 28.5 bv 20.5 cm. (Kunstmuseum, Diisseldorf). 14. The martyrdom of St George, by Girolamo Romanino. 1540 Tempera (finished in oil), 453 by 245 cm. (S. Giorgio in Braida, Verona). Approximately five years later, in 1540, Romanino was invited by Leone Bugatto, minister general of the Canons of 5>. Giorgio in Alga, to paint the organ shutters of S. Giorgio in Braida in Verona.12 One of the two inside shutters repre• sents St George tortured with a hooked wheel (Fig. 14) and a preparatory drawing for the figure of the judge watching the martyrdom is now in Diisseldorf (Fig. 15).« By a curious coin• cidence Romanino's two surviving preparatory drawings for organ shutters are now both in the Kunstmuseum in Dussel- dorl and we can easily compare them. The compositional sketch for the shutters at Asola of 1524-25 (reproduced as ngi 1 in the first part of this article) is very slightly larger and was certainly executed before Romanino started work on the ^^TnotTnr 'Z^tJEr-^* -d «* there are other, b fP' 122^2^- 1,1 addition to Romanino's canvases oTo datd MO .nd""'", ^ BrCSC'a " Church: a" * Moret- senti™ S, 1 1 ' ^ a,tar-PKC<- Pa""ed hy Francesco CaroleTin 1545 renre- S in^rZ" eT 5 h0ll0WCTS (thC °rSOline °— inoS&rl Sm h^T?5 m°naStery mUSt haW been Bresda". a"d planum S^^^S^l Z "1 ~ ^ to was minister eenera i„ IMn J u ]1 * 'ha'the Brescian Uo"c B"S*<- 16. Tuv naked men (recto of Fig. 15), by Girolamo Romani Pen and brown ink, 28.5 by 20.5 cm. (Kunstmuseum, Diisseldorf time in PETERS, opl at note 8 above 16* O V T **,he HrSt are drawn ,n pen and brown ink ?' ^ °" ^ TW° "** C*16) 302 THE DRAWINGS OF GIROLAMO ROMA NIN O THE DRAWINGS OF GIROLAMO ROMANINO m. I 20. To* ^ ^ Girolamo Roman.no. Pen and brown ink, 23.5 by 16.7 cm. (Louvre, Paris). canvas. The later sketch was probably made while the paint• ing was in progress, perhaps because Romanino found it nec• and, she related it to the Mucins Scaevok in the British Muse• essary to adjust this part of the composition, and it should be um (rig 18) as well as to the Scene from Roman(?) history in the regarded as a sort of'auxiliary' drawing. Ashmolean (Fig 19).- The subject of the Uffizi drawing was The last drawing by Romanino which can be precisely correctly identffied by Roberto Longhi as the Siege ofSagun- dated is in the Uffizi (Fig. 17). The sixteenth-century inscrip• tom, the important episode in Roman history to which the tion at the lower centre, 'Sagmtom obsessorrC was in the past inscnpuon refers.- The Spanish city was an ally of Rome, misread as 'Sergornson', a non-existent artist to whom the and its surrender to Hannibal after a long siege precipitated sheet was attributed.- Around the turn of this century Romanin H ^ As R°gCT has P™*d out J/asquale xNenno Ferri, then director of the Gabinetto dei burn T k"8, repreSented the m°ment * which the citizens Disegni, ascribed it on the mount to the Lombard school of 2 ,r m the square, as the Carthaginian the sixteenth century.