- Museum number
A bearded man leaning against a wall, with a separate study of his left leg on a larger scale; whole-length looking to front, a book in his left hand, his right arm extended
Black chalk, on pale grey prepared paper
- Production date
- 1548 (circa)
Height: 374 millimetres
Width: 230 millimetres
- Curator's comments
- Lit.: A.E. Popham, 'Catalogue of Drawings in the Collection formed by Sir Thomas Phillipps, Bart., F.R.S., now in the possession of his Grandson, T. Fitzroy Phillipps Fenwick of Thirlestaine House, Cheltenham', I, London, 1935, p. 113, no. 1, pl. LIII; J.A. Gere and P. Pouncey, 'Italian drawings in the BM, Artists working in Rome', London, 1983, no. 76
Gere & Pouncey 1983
Popham accepted the attribution in the Fenwick catalogue, but without adding that the drawing is a study for the Apostle leaning against the pillar in the l. foreground of the 'Assumption of the Virgin' on the altar wall of the Della Rovere Chapel (the 3rd on the r.) in SS. Trinità dei Monti. In the fresco as we now see it the foreground figures are truncated, the one in question being cut off at waist-level; but Vasari (vii, pp. 60f.) emphasises that "perchè il luogo non era capace di tante figure, ed egli [Daniele] desiderava di fare in ciò nuova invenzione, finse che l'altare di quella capella fusse il sepolcro, ed intorno misse gli Apostoli, facendo loro posare i piedi in sul piano della capella, dove comincia l'altare". This statement is confirmed by the evidence of engravings (see Levie, 'Daniele', p. 101, note 25: one engraving repr. Mez, 'Bollettino', p. 470: the other, according to Levie, is by E. Lingée, said by Thieme-Becker to have been born c. 1753). These show that the composition originally extended down to the floor on either side of the altar with both foreground figures shown full length, and that the figure in the l. foreground corresponded exactly with 1946,0713.114.
If Bonnard (p. 39) is to be trusted, the decoration of the chapel would have been begun not earlier than 18 August 1548, when, according to him, its patronage was assigned to Lucrezia della Rovere; at her death it was not completed, since her heirs, on 19 January 1553, commissioned a valuation of the work already done (see Bertolotti, 'Lombardi', ii, p. 293).
An old copy, also in black chalk, is in the Louvre (2804), and a study, in exactly the same technique as 1946,0713.114, for one of the two likewise truncated figures on the r. of the composition, was identified by Popham when in the Skippe Collection (Christie, 1958, 20 November, lot 83). A study for the entire composition, showing the figures at the sides full-length, is in the Uffizi (l5091F: Barolsky, 'Daniele', 1979, pl. 56).
Literature: Popham, Fenwick, p. 113, no. 1; Levie, Daniele, pp. 101, n. 26, and 189; Barolsky, Daniele, 1979, p.86 (giving wrong inv. no.).
- Not on display
- Exhibition history
1964, BM, 'Michelangelo', no. 112
1977 May-Jun, St. Petersburg, Hermitage, 'Italian Renaissance', no. 16
1977 Jul-Aug, Moscow, Pushkin Mus, 'Italian Renaissance', no. 16
1997 Sep-Nov, Saarbrucken, Saarland Museum, 'Drawings from Tuscany'
2003/4 Sep-Jan, Florence, Casa Buonarroti, Daniele da Volterra amico di Michelangelo
2009 May-Sep, Ottawa, NG of Canada, From Raphael to the Carracci
- Acquisition date
- Prints and Drawings
- Registration number