- Museum number
St Bartholomew; standing holding an open book, looking up to left, his left leg slightly raised on a step
Pen and brown ink, with brown wash, on light grey-brown prepared paper
- Production date
Height: 236 millimetres
Width: 120 millimetres
- Curator's comments
- The drawing is a copy after a squared study by Federico Zuccaro in the l'École nationale supérieure des Beaux-Arts (M. 2965) which is preparatory for the figure in his altarpiece of the 'Virgin and Child with St Peter and St Bartholomew' in the Farratino chapel in the cathedral of Amelia in Umbria (the painting is illustrated on p. 17 of the Brugerolles and Guillet catalogue). This work was probably painted in 1559 when the two brothers were working in nearby Orvieto.
Lit.: J.A. Gere and P. Pouncey, 'Italian drawings in the BM, Artists working in Rome', London, 1983, no. 344; E. Brugerolles and D. Guillet, in exhib. cat, Paris École Nationale Supérieure des Beaux-Arts and Ajaccio, Musée Fesch, 'Di,segn,o: dessins de Taddeo et Federico Zuccari dans les collections de l'École nationale supérieure des Beaux-Arts', 2007, under no. 3
Gere & Pouncey 1983
Juan Gui is presumably to be identified with the "J° Gui" whose signature, followed by "Romo" (? 'Romano') and the date 1608, was discovered, according to Thieme-Becker, on an altarpiece of the 'Lamentation', previously attributed to Alonso Cano, in the church of St Martin in Seville.
In the absence of further information about this artist we cannot comment on the attribution. The drawing seems to have no connection with any attributable to Romolo Cincinnato (cf. e.g. Angulo-Pérez Sanchez, 'Corpus of Spanish Drawings', pls. xxxix-xl). Much of Cincinnato's career was spent in Spain, and the combination of the two attributions suggests that the drawing may have passed through one or more Spanish collections.
In any case, we see the drawing as Roman and of the third quarter of the sixteenth century. We were at one time inclined to define its style in terms of Muziano, but it now seems to us closer to Taddeo Zuccaro, in such features as the hands and drapery, the lighting of the figure and the areas of regular hatching in the shadow. The formal pose owes something to the figures of Prophets with which he sometimes flanked the entrance to chapels (e.g. those on the pilasters of the Frangipani Chapel in S. Marcello, and on either side of the chancel arch in S. Eligio degli Orefici). The motif may have been derived from Muziano if his activity in the Gabrielli Chapel in S. Maria sopra Minerva, on the entrance arch of which are two similar prophets in chiaroscuro, can be dated as early as c. 1555.
An identical figure occurs in the r. foreground of a drawing at Chatsworth (371), which is either a study for, or a copy after, an altarpiece of the Virgin and Child enthroned with standing figures of St Peter and St Bartholomew below. The traditional attribution to Francesco Vanni is certainly incorrect, but the drawing, which is in pen and ink outline, is so schematic and characterless as to make it difficult to suggest a convincing alternative. It might, for the sake of argument, be by one of the more obscure Marchigian followers of Barocci.
A squared study of the same figure, corresponding exactly with 1950,0211.15, was lot 442 in Sotheby's sale in Florence on 14 Nov. 1978. So far as it can be judged from the small reproduction in the sale catalogue, it seems much superior in quality to 1950,0211.15 and might even prove to be by Taddeo himself.
- Not on display
- Acquisition date
- Acquisition notes
- Gere & Pouncey 1983
Recorded as having been in Claude Lucas's sale, Christie, 1949, 9 Dec, but not certainly identifiable in sale catalogue: it may be the 'Prophet' which was one of the 5 drawings in lot 56, bt Colnaghi, £12-12-0
- Prints and Drawings
- Registration number