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拍品專文
A study for the fresco in the choir of the Church of Santa Caterina dei Funari, Rome, datable to 1570-1, E.J. Mundy, op. cit., p. 201, fig. 32. The fresco omits the flanking saints, showing only the central scene without the bars of the prison cell.
This drawing is the earliest of a series of three related to the fresco, the others being in the Tobey collection, New York, and in the Rijksmuseum, Amsterdam. The Tobey drawing is more finished than the present one and slightly taller because of the addition of a base, E.J. Mundy, op. cit., no. 63. The base is signed and inscribed 'FEDERICUS ZUCCARUS ANNORUM TREX DECIMI CORSCNAE' dating the drawing to circa 1570-1, when Federico was thirty years old. The presence of the signature and the neater inscriptions establish that the Tobey drawing is probably the modello to be shown to the patron. The present drawing presumably served as a developed modello.
Either the modello was not accepted by the patron, or the site for the fresco was changed to an overdoor, so that Federico had to change the project to show only the central scene, adding two bust-length figures in the foreground. The final composition is developed in a drawing in the Rijksprentenkabinett, Amsterdam, L.C.J. Frerichs, Italiaanse Tekeningen II de 15de en 16de Eeuw, Amsterdam, 1981, no. 164, fig. 194. Federico transferred the Amsterdam drawing precisely into fresco, only suppressing the prison bars, a device that lost its meaning if the surrounds of the cell disappeared.
A drawing in the Uffizi showing the same type of composition as this drawing could be a rejected study for the church, J.A. Gere, op. cit., 1966, no. 59, fig. 41. The central section of the Uffizi drawing also has bars, but with nothing drawn behind. The two saints flanking the central section are female rather than male.
The device of a view seen through the bars of a prison cell was invented by Raphael in the lunette fresco of Saint Peter in Prison in the Stanza di Eliodoro in the Vatican. This fresco was copied by Federico Zuccaro in a picture now in the Pitti, Florence, C. Acidini Luchinat, Taddeo e Federico Zuccaro, Rome, 1998, p. 258-9, pl. 63. Although Federico eventually abandoned the device in the Santa Caterina commission, he was able to re-use it for the fresco in the Pauline Chapel in 1580 when depicting the same subject as Raphael.
This drawing is the earliest of a series of three related to the fresco, the others being in the Tobey collection, New York, and in the Rijksmuseum, Amsterdam. The Tobey drawing is more finished than the present one and slightly taller because of the addition of a base, E.J. Mundy, op. cit., no. 63. The base is signed and inscribed 'FEDERICUS ZUCCARUS ANNORUM TREX DECIMI CORSCNAE' dating the drawing to circa 1570-1, when Federico was thirty years old. The presence of the signature and the neater inscriptions establish that the Tobey drawing is probably the modello to be shown to the patron. The present drawing presumably served as a developed modello.
Either the modello was not accepted by the patron, or the site for the fresco was changed to an overdoor, so that Federico had to change the project to show only the central scene, adding two bust-length figures in the foreground. The final composition is developed in a drawing in the Rijksprentenkabinett, Amsterdam, L.C.J. Frerichs, Italiaanse Tekeningen II de 15de en 16de Eeuw, Amsterdam, 1981, no. 164, fig. 194. Federico transferred the Amsterdam drawing precisely into fresco, only suppressing the prison bars, a device that lost its meaning if the surrounds of the cell disappeared.
A drawing in the Uffizi showing the same type of composition as this drawing could be a rejected study for the church, J.A. Gere, op. cit., 1966, no. 59, fig. 41. The central section of the Uffizi drawing also has bars, but with nothing drawn behind. The two saints flanking the central section are female rather than male.
The device of a view seen through the bars of a prison cell was invented by Raphael in the lunette fresco of Saint Peter in Prison in the Stanza di Eliodoro in the Vatican. This fresco was copied by Federico Zuccaro in a picture now in the Pitti, Florence, C. Acidini Luchinat, Taddeo e Federico Zuccaro, Rome, 1998, p. 258-9, pl. 63. Although Federico eventually abandoned the device in the Santa Caterina commission, he was able to re-use it for the fresco in the Pauline Chapel in 1580 when depicting the same subject as Raphael.