drawing;
sketch-book
- Museum number
- 1862,0712.411
- Description
-
Aspertini album (so-called London II):
Folio 18 recto (drawing numbered 35): Two elaborate capitals, an architrave, and a standing man holding out his hand
Folio 18 verso (drawing numbered 36): Three elaborate capitals and two candelabra
Recto and verso: black chalk with brown wash, traces of white wash
- Production date
- 1530-1540
- Dimensions
-
Height: 219 millimetres
-
Width: 159 millimetres
- $Inscriptions
-
- Curator's comments
- For comment on the album to which this sheet belongs, see 1862,0712.394
f. 18 recto (no. 35)
Bober catalogues this drawing as an opening with the previous sheet (1957, pp. 82-3). The column capital at the top left of the sheet is, according to Bober (1957, p. 82, e), based on a drawing in the Uffizi (Inv. 2058A r; see www.census.de, ID 20798 ) which records half of a pilaster capital from the Arch of Septimius Severus (cf. www.census.de, ID 15549). There are other drawings which record full column capitals from the same arch, as for example one in the Codex Coner by Bernardo della Volpaia of 1520-25 (f. 116r), but they tend to faithfully maintain the volutes in their Ionic shape, unlike this by Aspertini, who prefers to transform the volutes into foliate ornaments. One should also note that Aspertini reduces the height of the capital by drawing only one order of foliage instead of two.
According to Bober the other capital it's maybe a free invention or copied from a Renaissance creation, as there doesn't seem to be a specific source for the elaborate entablature on the right. The type of decoration on the capital, with antithetic horse-protomes, is reminiscent of the much earlier monochrome pilaster decorations that frame the stories of the life of Saint Augustin, frescoed by Aspertini in the homonymous chapel in the church of San Frediano in Lucca (cf. the one under the lunette with the 'Deposition of Christ', M. Faietti-D. Scaglietti Kelescian, 'Amico Aspertini', Modena 1995, p. 142). See also the recto of the following page, where the capital at the right hand side is also reminiscent of the monochrome in Lucca under the lunette with the 'Approval of Saint Augustin's Rule' (Faietti-Scaglietti, cit).
The arm of the inn keeper figure on the left is found on the preceding drawing (1862,0712.410 verso). The figure type is similar to those found on the background of 1862,0712.410 recto and this is an example where Aspertini combines classical motives with more contemporary figures like the one seen from behind and bending down on the left foreground (see also 1862,0712.409v, 410 and 413v).
Lit.: P.P. Bober, 'Drawings after the Antique by Amico Aspertini. Sketchbooks in the British Museum', London 1957
f. 18 verso (no. 36)
Three capitals and two candelabra of Renaissance invention. Aspertini's interest in decorative architectural elements and structures can be seen in some painted panels found in the church of San Girolamo della Certosa in Bologna (see R. Martorelli, in 'Amico Aspertini. Artista bizzarro nell'età di Dürer e Raffaello', exhibition catalogue Bologna 2008/09, pp. 236-7).
Lit.: P.P. Bober, 'Drawings after the Antique by Amico Aspertini. Sketchbooks in the British Museum', London 1957, p. 83.
- Location
- Not on display
- Acquisition date
- 1862
- Department
- Prints and Drawings
- Registration number
- 1862,0712.411