- Museum number
St Cecilia lying with her face downwards, after the statue by Stefano Maderno in S.Cecilia in Trastevere, Rome, against a background of a Gothic city and a strapwork ornamental frieze along the top. c. 1601
- Production date
Height: 170 millimetres
Width: 320 millimetres
- Curator's comments
- The following information comes from Tobias Kaempf, October 2003.
This is the only recorded impression of this print. It has traditionally been called Italian, since it is after Maderno's statue of 1599. But the background and style show that the print is Netherlandish, and it was probably made in Antwerp very soon after the statue was carved. The immediate fame of the statue ensured that copies soon travelled around Europe.
The bibliography for the print is N. von Holst, 'Die Caecilienstatue des Maderna, ihre Entstehung und ihre antiken Vorbilder', Zeitschrift für Kunstgeschichte, IV, 1935, pp. 35-46, especially pp. 41- 44. The print was first mentioned by I. A. F. Orbaan, 'Rome onder Clemens VIII', The Hague 1920, p. 231, but not illustrated. It is also discussed and illustrated in an article by Maryvelma Smith O'Neil, 'Stefano Maderno's Saint Cecilia: A Seventeenth Century Roman Sculpture Remeasured', Antologia di Belle Arti, XXV/ XXVI, 1985, pp. 9-21, especially pp. 15-16. According to Holst (1935, p.41, note 27), there was another example of the print in Albi, which was published in 1893, but is now lost. Kaempf has traced the two painted copies Holst mentions in the same footnote. One is now lost again (it was photographed in Lulworth Manor, Great Britain), but the other one is in the deposits of the Alte Pinakothek, Munich.
The origin of all these pieces seems to have been a print invented by Francesco Vanni, engraved by Cornelis Galle and published by a Dionisius de' Cavalerijs in Rome in 1601, an example of which is in the BM (there are other examples of it in Milan, Carpentras and Vienna). Kaempf has not been able to find any information about this Dionigi de' Cavalieri, who might be related to the famous publisher Giambattista de' Cavalieri. Galle, on the other hand, is very well known and could have easily functioned as a mediator between Rome and the North. Vanni worked with Pieter de Jode before 1600, too, especially during de Jode's stay in Italy. Adrian Collaert copied Vanni's print in Brussels as early as 1603.
- Not on display
- Acquisition date
- Prints and Drawings
- Registration number