- Museum number
Study for a Christ in a Flagellation; three-quarter length, his head resting on his right shoulder
Verso: View of a Palace
Pen and brown ink
- Production date
Height: 382 millimetres
Width: 205 millimetres
- Curator's comments
- Watermark: a cross.
Nicholas Turner first suggested that this was by one of the Carracci rather than Rondani (his pencil inscription on the mount: 'Annibale Carracci'). Catherine Loisel has recently linked it and another red chalk drawing in the BM (T,12.14) to a lost composition of the 'Deposition' by Lodovico, the composition of which is prepared in a drawing in the Uffizi, Florence (14282 F; Loisel fig. 21). The connection is tenuous, not least because the figure in the BM is more like a study for Christ at the column as his hands are behind his back and not crucified. The drawing certainly fits better with academy Carracci drawing from the 1580s and for this reason it has been moved to Attributed to Lodovico.
Mary Vaccaro kindly pointed out (email 22/07/2013) that A.E. Popham's scepticism of Resta's identification of the building drawn on the verso was misplaced as does indeed show the old palace, or "Paltium Vetus", of Nicolo da Correggio, built in 1490. The drawing show the palace with architectural modifications that were made to the palace when it was converted into a theatre in the second half of the 17th century.
Lit.: J.C. Robinson, 'Descriptive Catalogue of Drawings by the Old Masters, forming the Collection of John Malcolm of Poltalloch, Esq.', London, 1876, no. 295 (as Correggio); A.E. Popham, 'Correggio's Drawings', London, 1957, no. A 68; A.E. Popham, 'Italian Drawings in the BM, artists working in Parma', London, 1967, I, no. 26, II, pls 22 and 23 B; C. Loisel, 'Musée du Louvre, Cabinet des Dessins, Inventaire Général des Dessins Italiens, VII, Ludovico, Agostino, Annibale Carracci', Paris, 2004, p. 26, fig. 23 (recto) and p. 78, fig. 122 (as Lodovico)
The attribution to Correggio under which the drawing appeared in the Lawrence Gallery and in the Malcolm Catalogue was rejected by Sidney Colvin in his 1895 'Guide': "in feeling and use of material it is evidently derived from Correggio: but the distorted drawing of the figure seems removed alike from the manner of Correggio himself and from that of his imitators of the school of Bologna." Subsequently (I believe in the 1920's) someone with the initial 'P' suggested on the mount the very convincing attribution to Rondani. The somewhat caricatured head seems to me entirely characteristic of this artist as he shows himself in the frescoes of the Centoni Chapel in Parma Cathedral, while the angle of the head is comparable with that of St. Jerome in his altar-piece in the Parma Gallery (Popham, 'Correggio', fig. 43).
I stated in my 'Correggio' that the drawing on the verso was probably later and by another hand. I do not now think that this is necessarily the case.
Literature: Lawrence Gallery, no. 92; J.C.R. 295 ; B.M. Guide, 1895, no. 171; Popham, Correggio, Cat. A 68.
- Not on display
- Acquisition date
- Prints and Drawings
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