- Museum number
An antique sacrifice, with bull, sheep and pig, below a triumphal procession
Pen and brown ink, over black chalk, on two sheet conjoined
Verso: The sleeping Ariadne and a relief from the Arch of Constantine
Pen and brown ink, over black chalk, on two sheets conjoined
- Production date
- 1490-1552 (circa)
Height: 254 millimetres
Width: 423 millimetres
- Curator's comments
- The two drawings on the recto are copies respectively after the so-called Suovetaurilia Procession relief in the Louvre (Bober and Rubinstein no. 190) and a Bacchic sarcophagus in the Villa Medici, Rome (idem, no. 76). The verso is a copy after the sleeping Ariadne which was then in the Maffei collection; the sculpture was then sold to Julius II in 1512 and placed in the Belvedere in the Vatican (idem, no. 79). As Faietti notes, the drawing demonstrates that Aspertini was given access to Roman private collections. Bober and Rubinstein record that the Louvre relief belonged at this date to Cardinal Domenico Grimani and the Bacchus relief to the art dealer Giovanni Ciampolini. The scene of a coronation on the right is based on one of the Antonine reliefs celebrating Marcus Aurelius included in the Arch of Constantine (Bober and Rubinstein illustrate the Perrier print of this composition as fig. 182e-i).
The subject of Suovetaurilia represented on the recto is found again, within Aspertini's oeuvre, in ff. 30v-31 of the codex Wolfegg (Schweikhart 1986, pp. 76-7, 104-6) and in one of Aspertini's British Museum albums (London I, ff. 1v and 9; 1898,1123.3.2 left hand page and 1898,1123.3.9 right hand page). As per the Ariadne on the verso, this is also found again in London I, fol. 16v (1898,1123.3.17 left hand page).
This is one of three (counting the present one as a single work) Aspertini drawings that came from a 1903 Gutekunst sale of the collection of Heyl zu Herrnsheim: 1905,1110.3 and 4. These studies after the Antique are relatively early work post-dating Aspertini's first trip to Rome in 1496. Other drawings by the same source are in Berlin, Rome and Princeton (Faietti and Scaglietti Kelescian, nos. 9, 26 and 27)
Lit.: P.P. Bober, 'Drawings after the Antique by Amico Aspertini', London, 1957, p.46, fig.4 (recto), p.36, fig.47 (verso); P. Bober and R. Rubinstein, 'Renaissance Artists and Antique Sculpture', Oxford and New York 1986, under nos 76 (Bacchus) and 79 (Ariadne); G. Schweikhart, 'Der Wolfegg Codex. Zeichnungen nach der Antike von Amico Aspertini', London, 1986; M. Koshikawa, in exhib. cat., Tokyo, National Museum of Western Art, 'High Renaissance in the Vatican: the age of Julius II and Leo X', 1993, no 57; M. Faietti and A. Nesselrath, 'Un codex avec grotesques, monstres, at ornements du jeune Amico Aspertini', "Revue de L'Art", 1995, 107, p. 80, footnote 167; M. Faietti and D. Scaglietti Kelescian, 'Amico Aspertini', Modena, 1995, no. 24, pp. 239-40 (with previous literature); P. Bober and R. Rubinstein, 'Renaissance Artists and Antique Sculpture', 2nd ed., London and Turnhout, 2010, under nos 76 (Bacchus), 79 (Ariadne) and 190 (Suovetaurilia), fig. 190a (recto).
- Not on display
- Exhibition history
1993 Sept-Nov, National Museum, Tokyo, 'Renaissance in Vatican' no. 57
- Acquisition date
- Prints and Drawings
- Registration number