- Museum number
Aspertini album (so-called London II):
Folio 23 recto (drawing numbered 45): Interior of a temple with 'Lucina Rege Proserpina' on the architrave, two female figures in the foreground
Folio 23 verso (drawing numbered 46): A corpse lying on a slab under a baldacchino, other figures in the foreground
Recto: black chalk with brown wash, traces of whithe heightening
Verso: black chalk with brown wash
- Production date
Height: 219 millimetres
Width: 159 millimetres
- Curator's comments
- For comment on the album to which this sheet belongs, see 1862,0712.394
f. 23 recto (no. 45)
Faietti notes that the architectural backgrounds on this sheet and on the recto of the following (1862,0712.417r) might find a precedent in the lost frieze with "prospettive" mentioned by Vasari as part of the fresco cycle of San Giacomo in Bologna. This taste for the ephemeral constructions had been spread by the preparation of the coronation of Charles V (see Faietti-Scaglietti 1995, pp. 82-3 and cat. dip. 48, pp. 193-5). Also, 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. 84; M. Faietti-D. Scaglietti Kelescian , 'Amico Aspertini', Modena 1995
f. 23 verso (no. 46)
Bober notes that the semi-nude figure seen from the back on the left is copied from the scene of 'Amors and Nymphs' frescoed by Peruzzi in the Sala delle Prospettive in the Palazzo della Farnesina in Rome. She also points out to the figure on the right, another version of the reclining River God found on 1862,0712.414, with his arm changed to a beckoning gesture, is after the figure in Peruzzi's Apollo and Daphne in the same salone.
In the background, a figure is lying on a slab under an open baldacchino composed of stylobate, four columns and a pedimental roof. To the right, a figure of Hercules and the hydra, inscribed 'paligron' (?) and 'PVLICA' (cf. Bober 1957, p. 84). Aspertini's interest in Hercules is represented throughout his career, as it can be seen in many of his drawings: Faietti-Scaglietti 1995, catt. dis. 26, 75-6, 102; Wolfegg Codex, f. 41v-42; London I, 1898,1123.3.18, 19 and 21, 43 left and 47 left; London II, the present drawing and f. 1862,0712.410v). Aspertini painted a cycle of Hercules Labours in the castle of count Francesco Isolani in Minerbio (Faietti-Scaglietti cit., cat. dip. 49, pp. 196-203; see also ff. 1862,0712.396-400 for other drawings in this album possibly connected to that cycle). As Faietti points out (cit., p. 198) the representation of Hercules in London II are not faithful to a particular model, as it could be said in the case of London I.
Lit.: P.P. Bober, 'Drawings after the Antique by Amico Aspertini. Sketchbooks in the British Museum', London 1957; M. Faietti-D. Scaglietti Kelescian , 'Amico Aspertini', Modena 1995
- Not on display
- Acquisition date
- Prints and Drawings
- Registration number