- Museum number
- Series: Paradigmata Graphices Variorum Artificum
Five male figures, nude or partly nude, in different attitudes and of different scales; the figures are described below in the following order: top row left, top row centre, followed by the bottom row from left to right; (a) male nude, bowed over his right bent knee, turning away from the spectator; (b) male nude, lying face downward and forward, only the upper part of the body is shown; (c) labouring slave, holding a piece of wood at right with both hands, facing right; (d) male nude seen from the back and turned away from the spectator, kneeling on his right knee and holding both hands before his face; (e) male nude, the upper part of the body turned away from the spectator, one arm raised ;after Carracci, Michelangelo and Raphael
- Production date
- 1672-1689 (c.)
Height: 145 millimetres
Width: 234 millimetres
- Curator's comments
- These examples were chosen after different drawings and arranged according De Bisschop's own ideas. The figures are described below in the following order: top row left, top row centre, followed by the bottom row from left to right.
(a) This figure is similar to the youth in the bottom left corner of Annibale Carracci's fresco 'Romulus marking the boundaries of Rome' in the Palazzo Magnani in Bologna, and, to a lesser extent to Annibale's drawing of a 'Kneeling Youth with Books' in the Uffizi (inv. no. 12 413 F).
(b) This is probably a detail of the lost 'Deluge' by Pontormo and Bronzino in the choir of the S. Lorenzo in Florence. The inscription of Michelangelo's name might be intended for this figure, as other parts of the same fresco reproduces by De Bisschop in plates 12 (1850,0810.765) and 13 (1896,0528.766) are also inscribed with his name.
(c) De Bisschop's etching is a reduced reproduction in reverse of a drawing by Annibale Carracci called 'Galley Slave labouring at the Oar' in red chalk, inscribed "Annibale Carracci", now in the Claude Aubry collection in Paris.
(d) Close to this figure is the inscription "Rafael". In the Rutgers collection however, De Bisschop's model was regarded as a Domenichino drawing. Neither this, nor any intermediary drawing by de Bisschop has been traced.
(e) Van Gelder states that this is in all likelihood a detail, reproduced in reverse, from Pontormo's 'Ascension of Souls', formerly on the rear wall on either side of the window in the choir of S. Lorenzo in Florence.
No intermediary drawings by De Bisschop have come to light. The image was rotated 90º to right to fit page.
For comment on this edition and other volumes in the British Museum see 1850,0810.652.
- Not on display
- Acquisition date
- Prints and Drawings
- Registration number