拍品專文
An early study for the upper part of a drawing of The Angel warning Saint Joseph to fly into Egypt in the Kunsthalle, Hamburg, dated by John Gere to the early 1550s, op. cit., 1969, no. 86, pl. 78.
The composition of the Hamburg drawing bears a strong resemblance to that of a picture by Girolamo Muziano in Santa Caterina della Ruota, Rome, datable to circa 1550-5, Gere, op. cit., 1966, p. 396, fig. 1. Carlo Ridolfi mentions in Le Maravigli dell'Arte that, upon Muziano's arrival in Rome, 'e divenuto amico di Tadeo Zuccaro disegnò con esso lui per qualche tempo le statue antiche e le più insigni Pitture', Vita di Girolamo Mutiano Pittore, Rome, ed. 1965, I, p. 280. John Gere, noting that the resemblance between the compositions of the Hamburg drawing and Muziano's picture was 'too close to be coincidental', suggested that Zuccaro may have provided a design for Muziano's first important commission, op. cit., 1966, p. 418. Indeed the Hamburg drawing, with its composition delineated by border lines, looks very much like a modello. The importance of this commission was stressed thirty years later by Muziano who described this picture as the only work from his early period worth a mention.
The positions of some of the angels on the present drawing are very similar to those on the Hamburg sheet: the one on the left pointing down to Joseph and the other on the right looking down to the Madonna, are left unchanged in the latter drawing. The two angels near the right border are also present in the Hamburg composition, though older in appearance. The only important change Zuccaro introduced between the two sheets is the reversal of the central angel: instead of swooping dramatically downward, as in the Krautheimer drawing, the angel is shown parallel to the angel looking down at the Madonna in the Hamburg drawing. Although Muziano faithfully used the lower part of Zuccaro's modello for his altarpiece, he did not follow the upper section. He did, however, adopt the downward movement of the angel in the present drawing in his altarpiece, as Richard Krautheimer first noted.
Two more drawings related to that composition are in the Kunsthalle, Bremen, and in the Uffizi, Gere, op. cit., nos. 11 and 61.
The composition of the Hamburg drawing bears a strong resemblance to that of a picture by Girolamo Muziano in Santa Caterina della Ruota, Rome, datable to circa 1550-5, Gere, op. cit., 1966, p. 396, fig. 1. Carlo Ridolfi mentions in Le Maravigli dell'Arte that, upon Muziano's arrival in Rome, 'e divenuto amico di Tadeo Zuccaro disegnò con esso lui per qualche tempo le statue antiche e le più insigni Pitture', Vita di Girolamo Mutiano Pittore, Rome, ed. 1965, I, p. 280. John Gere, noting that the resemblance between the compositions of the Hamburg drawing and Muziano's picture was 'too close to be coincidental', suggested that Zuccaro may have provided a design for Muziano's first important commission, op. cit., 1966, p. 418. Indeed the Hamburg drawing, with its composition delineated by border lines, looks very much like a modello. The importance of this commission was stressed thirty years later by Muziano who described this picture as the only work from his early period worth a mention.
The positions of some of the angels on the present drawing are very similar to those on the Hamburg sheet: the one on the left pointing down to Joseph and the other on the right looking down to the Madonna, are left unchanged in the latter drawing. The two angels near the right border are also present in the Hamburg composition, though older in appearance. The only important change Zuccaro introduced between the two sheets is the reversal of the central angel: instead of swooping dramatically downward, as in the Krautheimer drawing, the angel is shown parallel to the angel looking down at the Madonna in the Hamburg drawing. Although Muziano faithfully used the lower part of Zuccaro's modello for his altarpiece, he did not follow the upper section. He did, however, adopt the downward movement of the angel in the present drawing in his altarpiece, as Richard Krautheimer first noted.
Two more drawings related to that composition are in the Kunsthalle, Bremen, and in the Uffizi, Gere, op. cit., nos. 11 and 61.