- Museum number
Study of a standing youth in armour, holding a lance and study of a head with a helmet to right
Black chalk, heightened with white (partly oxidised), on blue paper, squared for transfer in black chalk
- Production date
- 1543-1547 (circa)
Height: 395 millimetres
Width: 174 millimetres
- Curator's comments
- The drawing has an old attribution to Giorgione ('Giorgione buono') and was sold as such in the 1860 Woodburn-Lawrence sale. In May 1950 it was transferred by A.E. Popham to Pordenone (Attributed to). In December 2000 it was moved to Bernardino Gatti because it relates to two figures in the 'Crucifixion' in the Civiche Collezioni d'Arte del Comune di Parma (exhibited in Cremona, 'I Campi', 1985, no. 1.13.1, pp. 149-50). The pose of the standing soldier holding a lance in the right background of the work faithfully follows that of the figure studied on the left. The only differences between painting and drawing are in minor details of costume (he wears boots), and in the description of the soldier's face, an area only roughly sketched in the drawing, which is given a more individual character by the addition of the beard. The main aim of the drawing appears to have been to work out the lighting reflected in the polished and curved surfaces of the armour, the highlights studied here through use of white heightening. The design of the helmet studied in the smaller study differs quite substantially from the one shown in the painting, the latter having no plume and a mask rather than an acanthus design at the front. A drapery study in the Uffizi is related to the same work (inv. 13240; M. Di Giampaolo, 'Disegni di Bernardino Gatti', "Antologia di Belle Arti", I, 4, 977, no. 27, p. 336).
The 'Crucifixion' was almost certainly painted for the church of Sant'Anna in Piacenza, before being removed by Francesco Farnese in 1715 and substituted by a copy. It was most likely painted in the period 1543-7 during the artist's first period in the city. Popham's attribution to Pordenone for the present drawing was an acute one because he was the formative influence on Gatti during this period.
Lit.: H. Chapman, 'A.E. Popham's Catalogue of Parmese Drawings in the British Museum: some changes and additions over thirty-five years' in L. Fornari Schianchi (ed.), 'Parmigianino e il manierismo europeo', Milan, 2002, p. 245
- Not on display
- Acquisition date
- Prints and Drawings
- Registration number