- Museum number
Aspertini album (so-called London II):
Folio 24 recto (drawing numbered 47): Three figures before a stepped archway with a town behind
Folio 24 verso (drawing numbered 48): Four studies, with a landscape, mother and child, a group of figures around a male nude, and a cornice
Recto and 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 18620712.394
f. 24 recto (no 47)
See entry for 1862,0712.416 recto.
A similar archway appears in the 'Adoration of the shepherds in the Uffizi', (cf. Faietti-Scaglietti 1995, cat. dip. 40, pp. 177-9 and exh. Cat. Bologna 2008-09, no. 62, p. 214). Also, as in the painting, a classical torso appears on this drawing. But if the one in the painting can be identified as the Torso Gaddi in the Uffizi (see Faietti-Scaglietti cit., pp. 74-5, n 56), this is not necessarily the case with the one on this sheet, which is instead closer to an untraced male torso recorded by Heemskerck in the cortile of Casa Maffei in Rome circa 1532-1537 (cf. Heemskerck Berlin, Album I, f. 3v). A similar one, but in reverse, appears on f. 1862,0712.405 verso on the left (see entry for an image of Heemskerck drawing). The two towers at the end of the archway are the symbolic image of Bologna (the Torri Garisenda and degli Asinelli), as they appear in Aspertini's painting of the 'Entrance of St Petronio in Bologna' (Faietti-Scalgietti 1995, cat. dip. 45, pp. 186-91). Bober (1957, p. 84) observes that two of the three figures are variant of those found in the inner cover of London I (1898,1123.3.1)
Lit.: P.P. Bober, 'Drawings after the Antique by Amico Aspertini. Sketchbooks in the British Museum', London 1957; M. Faietti-D. Scaglietti, 'Amico Aspertini', Modena 1995, pp. 54, 71, fig. 57; R. D'Amico in "Amico Aspertini, artista bizzarro nell'età di Dürer e Raffaello", exhibition catalogue Bologna 2008-09, under no. 62, p. 214.
f. 24 verso (no 48)
Some of the figures on the right have rather marked features, especially the old bearded mad in the middle and the nude sitting on the stone, both looking very wide eyed towards the woman and child on the left, the former pointing at them, the latter clenching his fist in anger. The apparent narrative has not yet been identified.
Lit.: P.P. Bober, 'Drawings after the Antique by Amico Aspertini. Sketchbooks in the British Museum', London 1957, p. 84
- Not on display
- Acquisition date
- Prints and Drawings
- Registration number