Furio Rinaldi, "Girolamo Genga as a Draftsman," Master Drawings, vol. 52, no. 1, 2014, pp. 3-58

ArticlesFURIO RINALDI

Girolamo Genga as a Draftsman 3

JOHN HAWLEY

An Introduction to the Life and Drawings of Jan de Visscher 59

LAURENCE LHINARES

The Brothers Paul-Émile and Charles Gasc as Collectors of Drawings 95

ReviewEDOUARD KOPP

Mariette the Collector 111

CONTENTSMuseums

VOLUME 52

NUMBER 1

SPRING 2014

1

On the front cover

GIROLAMOGENGA

Battle Scene (cat. no. A24)

Stockholm,Nationalmuseum

In the Next Issue

Bernard Salomon, Muziano,Pacheco, and Cantagallina

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2

An understanding of the elusive artistic personali-ty of Girolamo Genga (c. 1476–1551), who was apainter, architect, designer of decorative objectsand ephemeral decorations,1 crucially rests on theconsideration of his corpus of drawings. Morethan fifty years of his career were spent in theregions of the Marche, Tuscany, Rome, and theRomagna, and drawing played a major rolethroughout, especially in his work in his nativeUrbino and in Pesaro, where he established him-self from the 1520s as both artist and architect inthe service of the Dukes of Urbino––FrancescoMaria I della Rovere (1490–1538) and GuidobaldoII della Rovere (1514–1574). The earliest scholarsto turn their attention to Genga and his drawings,Giovanni Morelli (1886) and Oskar Fischel(1917), credited him with a mere five drawings intheir attempt to reconstruct his activity as a drafts-man.2 The late Philip Pouncey built on this foun-dation, considerably amplifying the canon andcharacterizing the particular qualities of the artist’sdrawing style.3

The purpose of this essay is to define Genga’sdrawn oeuvre as a whole, reconsidering some attri-butions (cat. nos. A5, A7, A34, and B1–B9) andadding a number of new ones (cat. nos. A9, A15,A21, A29, A40, and B13–B15), and to discuss thevarious techniques and functions of his drawings.Moreover, the discovery of new documents hasmade it possible to propose a chronologicalframework within which can be judged the evo-lution of his style as a draftsman, while adding

facts about his biography and professional activi-ties. The overall picture that emerges is one of agifted and prolific designer who, after having beentrained in the workshops of Luca Signorelli (c.1445–1523) and Pietro Perugino (c. 1448–1523)and having experienced the influence of Raphael(1483–1520) in Rome, succeeded in his own rightand eventually played a leading role in the produc-tion of art and architecture in the duchy of Urbinofor more than thirty years.

IN THE MARCHE: THE STUDIOS OF SIGNORELLI

AND PERUGINO, AND PARTNERSHIP WITH

TIMOTEO VITI, c. 1500–1510The fundamental importance of drawing to Gengais clear from a careful re-examination of letters andother documents regarding his life. In the incipit tohis Vita of Genga (1568), Giorgio Vasari (1511–1574) expressed his familiarity with the career ofGirolamo, having known both the artist’s sonBartolomeo Genga (1518–1558) and his son-in-law, the architect Giovanni Battista Belluzzi(1506–1554). Vasari immediately mentionedGenga’s drawings, reporting that Genga, whenforced as a child to learn the family’s wool manu-facturing business, “behind everyone’s back wouldmake drawings with pieces of charcoal and pens forwriting” (“di nascosto con carboni e con penne da scrivereandava disegnando”).4 Belluzzi, in the diary he wrotebetween 1535 and 1541, cited specific sheetsdrawn by Genga and commented on his ability toimprovise, as well as to translate his figurative and

Girolamo Genga as a Draftsman

FURIO RINALDI

33

Figure 1

Workshop ofLUCASIGNORELLI(GIROLAMOGENGA?)

Studies of MaleNudes (cat. no.B1)

Chantilly, MuséeCondé

4 4

autograph drawings. The Studies of Male Nudes inthe Musée Condé, Chantilly (cat. no. B1; Fig. 1),features three of the “damned” figures frescoes byLuca Signorelli on the walls of the Orvieto cycle.Given the variation of design with respect to thepainted version and the specific characteristics ofthe drawing, this sheet is most likely a workshopexercise by Genga based on a lost preparatorydrawing by Signorelli. The drawing is currentlyattributed to Timoteo Viti (1469/70–1523),which does not seem fully convincing if consid-ered in the technical and stylistic context of Viti’smany surviving autograph drawings. Viti wasinfluenced by the radically different draftsmanshipof Francesco Francia (c. 1450–1517) and GiovanniSanti (1433–1494), and even in his youthful draw-ings in which he used metalpoint or pen and ink,his own style is already clear and individualized.10

On the other hand, the subtle curvilinear cross-hatching done with metalpoint, ink, and liquidlead white (spread over both the bodies and outeredges of the figures), as well as the definite, almostsculptural quality of the figures conform to whatwe find in Genga’s later autograph drawings.

architectural ideas into graphic form.5

According to Vasari, Genga’s education as adraftsman occurred in the workshop of Signorelli,who in June 1494 is documented in Urbino paint-ing the standard for the local confraternity of SantoSpirito.6 Vasari’s claim that the fifteen-year-oldGenga was at Signorelli’s side in the Marche, aswell as in Cortona and Orvieto, is confirmed nowby two documents in which both Genga’s andSignorelli’s names appear together––one sealedand dated at Monteoliveto Maggiore in April1499,7 and the other at Jesi in June 1508.8 Based onVasari’s information, scholars have tried to isolateand distinguish Genga’s hand in the paintingsmade by Signorelli between the above two dates.9

By shifting attention from paintings to drawings, itmay be possible to gain a clearer understanding ofthe contribution that the master from Cortonamade to Genga’s artistic development.

Two sheets produced in Signorelli’s circle dat-able to the period of the decoration of theCappella Nova in Orvieto Cathedral (c. 1499–1503/4) can be tentatively attributed to the youngGenga based on their resemblance to his later

Figure 2


Two EmbracingTritons (cat. no.B3)

Paris, Musée duLouvre, Départementdes Arts Graphiques

55

Genga would have had the chance to learn all ofSignorelli’s figural vocabulary and drawing tech-niques, especially his use of black chalk, hisfavorite medium.12 He conceived the sphericalform of the head in the British Museum study(cat. no. A1; Fig. 3) with Signorelli’s typical clar-ity of geometry and shading with dense, highlyregular crosshatching. In this, the style and tech-nique also recall the treatment of the head andneck of the Virgin in the preparatory drawing inthe Uffizi (cat. no. A3; Fig. 5). The London sheetis outlined in black chalk over traces of spolveri––dots of pouncing that most likely derive from oneof Signorelli’s cartoons––and constitutes animportant document as to how Signorelli offeredand transmitted models to his apprentices.13

Three mechanical-looking drawings attributedto the workshop of Signorelli, in London andParis (cat. nos. B7–B9), are also drawn with thesame technique (black chalk over pounced chalkunderdrawing) and can be connected to the fres-coes of the oratory of S. Crescentino at Morra, a

A study of Two Embracing Tritons in the Louvre,Paris (cat. no. B3; Fig. 2), which was once attrib-uted to Genga (as evidenced by the handwrittenViti–Antaldi collector’s mark in ink, G.G.V., for“Girolamo Genga Urbinas”), shows the same subtletreatment of surfaces and muscles, clearly definedand shaded with precise crosshatching, as thedrawing at Chantilly. The drawing probably stillfalls within the period of the Orvieto commission,since the theme relates vaguely to the many deco-rative scenes of grotesques and sea monsters paint-ed on the lower level and in the cornices of theCappella Nova at Orvieto, a decorative frieze usu-ally assigned to the workshop of Signorelli. Thisparticular subject was probably inspired by somelost antique source, since it was copied shortlyafterwards by Amico Aspertini (c. 1474–1552) in adrawing in the Kupferstich-Kabinett, Dresden.11

During the collaboration with Signorelli, doc-umented from 1499 to 1508 but surely lastinguntil at least 1509–11 (the period in which theyworked together at the Palazzo Petrucci, Siena),

Figure 3

GIROLAMOGENGA

Study of a Head inProfile (cat. no. A1)

London, BritishMuseum

Figure 4

GIROLAMOGENGA

Study of a DrapedMan Facing Right(St. Joseph?) (cat.no. A2)

Pesaro, BibliotecaOliveriana, AntaldiCollection

6 6

from a slightly later time in his career and wouldcharacterize his graphic style for the rest of his life.The diffusion of this particular drawing style inCentral Italy is owed to Perugino, and, accordingto Vasari, Genga spent around three years work-ing with him (“si mise con Pietro Perugino…col qualestette tre anni in circa”).15 As Vasari recorded, duringhis apprenticeship with Signorelli, c. 1505 Gengatook on a role in Perugino’s workshop, whichwas divided at that time between Umbria andFlorence. Vasari stressed how Perugino’s knowl-edge of perspective highly influenced the drafts-manship of the young Genga, both as a painterand as an architect.16 This lesson can be appreciat-ed in the Study of a Draped Man Facing Right nowin Pesaro (cat. no. A2; Fig. 4), which also bears aViti–Antaldi inscription with an old attribution toGenga. Here, the artist used a reed pen to buildup the figure with crosshatching. In its crisp defi-

cycle traditionally attributed to Signorelli with thehelp of Genga and dated c. 1508–10.14 The twofragments in London, both relating to TheFlagellation at Morra (cat. nos. B7–B8; Figs. 69–70), were drawn by connecting dot by dot thespolvero outline (pounced from a lost, prickeddrawing) and then transferred with chalk powderonto another support. The large-scale Louvreoutline drawing for The Crucifixion (cat. no. B9;Fig. 71) repeats this technique and was furtherpricked and squared in black chalk and stylus fora second transfer. Considering the differences vis-à-vis the final compositions––and regardless oftheir crude quality––these drawings should not bedismissed as mere copies, as Carmen Bambachfirst observed (1988, 1999); rather they are func-tional working drawings used by Signorelli’s assis-tants in the preliminary design stage for the fres-co. It should also be noted that the use of outlinedcompositional drawings, both pricked and squaredfor transfer, appears in Genga’s later studies for hisbest-known work, the Cesena Altarpiece (see cat.nos. A12–A13; Figs. 24–25 below).

Genga’s habit of defining volumes in pen andink by means of an ever more dense and expres-sive curvilinear crosshatching would seem to date

Figure 5

GIROLAMOGENGA

Virgin and Child(cat. no. A3)

Florence, GabinettoDisegni e Stampedegli Uffizi

77

Umbrian circle of Perugino, which are usuallyaesthetically abstract and dry. The Virgin and Childin the Uffizi, Florence (cat. no. A3; Fig. 5), pro-vides an eloquent testimony of Genga’s drafts-manship when he was an apprentice in the work-shops of Signorelli and Perugino. The drawing isstylistically close to the Pesaro sheet in itsPeruginesque hatching, and, at the same time, it ismodeled on a prototype by Signorelli from c.1505.17

Even if Genga’s style in this case seems some-what cooler than Signorelli’s, it is still far from the

nition, this technique shares a “print-like” qualitywith that of drawings by Perugino School artistssuch as Berto di Giovanni (c. 1475–1529) andGiovanni di Pietro, called Lo Spagna (c. 1450–1528). The Pesaro sheet, which was possibly apreparatory study for a figure of St. Joseph, wasafterwards squared with red chalk to be trans-ferred proportionally onto another support.

Despite adopting Perugino’s regular hatchingtechnique, the sheets by Genga are always muchmore expressive, as is typical of Signorelli’s style,and stand apart from many drawings from the

Figure 6 (left)

GIROLAMOGENGA

Virgin and Child

Colle Val d’Elsa(Siena), MuseoCivico e Diocesanod’Arte Antica

Figure 7 (right)

PIETROPERUGINO

Virgin and Child

Vienna,KunsthistorischesMuseum

8 8

in other early works carried out by Genga, possi-bly before 1510. He most likely used a cartoonfrom Perugino’s workshop for his painting of theVirgin and Child in the Museo Civico, Colle Vald’Elsa (Fig. 6),21 a panel based on a same-sizedprototype by Perugino, known in several ver-sions, including that now in the KunsthistorischesMuseum, Vienna (Fig. 7).22 The strongest exam-ples of Perugino’s influence on Genga can be seenin the panel of the Martyrdom of St. Sebastian in theUffizi, Florence (Fig. 8),23 and, above all, in thecorresponding autograph study for it, also in theUffizi (cat. no. A4; Fig. 9). Notwithstanding howclearly defined and resolved the lines are, theUffizi sheet is without doubt a preparatory study,with significant differences, for the figure of thebearded archer wearing a turban who appearsthird from the right in the foreground of thepainting (Fig. 8a). The drawing, done with veryfine strokes of red chalk, gains luminosity throughthe use of thin strokes of lead white applied withthe point of a brush on the folds of drapery and theouter contours of the bust of the figure’s torso.

regular forms and Raphaelesque influences wefind in a similar sheet by Timoteo Viti in theNationalmuseum, Stockholm,18 a drawing createdat the same time, namely around 1500–1505.These two artists collaborated in Urbino from1504 on the decoration of the Arrivabene Chapelin Urbino Cathedral, as well as in 1505 and 1507on other projects in the city.19 Almost nothingremains of Girolamo’s contributions to thesecommissions (see cat. nos. B2 and B4), whichwere carried out mainly by Timoteo Viti, asVasari noted.20 To secure local commissions inUrbino, Genga joined forces with the more stableViti, but he probably left the completion of theprojects to his partner so he would be free towork elsewhere. In fact, between 1505 and 1513,the year in which he called himself “a painter inFlorence” (“pictore in fiorenza”), Genga seemedrestless and worked simultaneously in Urbino,while continuing to collaborate with LucaSignorelli (in 1508 and in 1509–11), and fre-quenting Perugino’s workshop.

References to Perugino can be further found

Figure 9 (above)

GIROLAMOGENGA

Study for anArcher Lookingover His LeftShoulder (cat. no. A4)


Figures 8 and 8a(above left and left)

GIROLAMOGENGA

Martyrdom of St.Sebastian (anddetail)

Florence, Uffizi

99

This technique of applying opaque white overthe outer edges of drapery and over figures drawnin chalk, ink, or metalpoint––as in the Chantillysheet (see Fig. 1 above) and other examples24––istypical of drawings executed by Perugino and hisworkshop during the first decade of the sixteenthcentury.25 In the Uffizi study of an archer, Gengaused red chalk for the very first time. This tech-nique would become his favorite, utilized exten-sively until at least 1522. Because few Marchigianartists used red chalk, we may imagine that Gengalearned to use it in Florence, where it was highlypopular during the first years of the Cinquecento.

IN TUSCANY, c. 1508–1516During the years between the first and the seconddecade of the sixteenth century, Genga is hard tolocate since, like his master Signorelli, he wasmoved by a true “pilgrim’s spirit” (“spir[i]to pelle-grino”).26 In 1507 the artist was still in Urbino,working with Timoteo Viti; in 1508 he was inJesi with Luca Signorelli; and in 1510 he was inSiena in order to appraise a lost altarpiece and therelated cartoon done by Perugino.27

Genga arrived for the first time in Siena withSignorelli, probably by 1508,28 and they collabo-rated around 1509–11 on the fresco cycle on thewalls of the Sienese palazzo belonging to Pandolfo

Figure 10

GIROLAMOGENGA

TheTransfiguration

Siena, Museodell’Opera delDuomo

10 10

Petrucci (c. 1450–1512).29 No evidence in theform of drawings remains of this important deco-rative project, for Genga probably used materialprovided by Signorelli to complete it.30

There is, however, a drawing attributable toGenga that I would relate to the next public com-mission given to the artist in Siena: the painting ofThe Transfiguration (Fig. 10), conceived as a shut-ter for the cathedral organ.31 The painting datesfrom 1511 and was also commissioned andfinanced by Petrucci. In the preparatory sheet inthe Uffizi for the lower part of the canvas, exe-cuted in red chalk (cat. no. A5; Fig. 11), Gengaproduced three variants of a single bearded figure,

each of which was later used one by one for thefigures of the apostles John, Peter, and James atthe bottom of the painting. While the canvas andits iconography seem to reflect a traditionexpounded by Signorelli and Perugino,32 theUffizi sheet instead points to a dramatic change inthe artist’s draftsmanship, likely due to the influ-ence of Domenico Beccafumi (1486–1551), whoat that time was the dominant artistic figure inSiena.33 Genga took advantage of the atmosphericqualities of red chalk, expanding volumes anddepicting figures and drapery in more open andfree forms, something that would characterize hisstyle in his subsequent period.

Between 1511 and 1513, Genga continued tomove from one place to another. In 1511 he wasstill recorded in Siena;34 in 1512, according toVasari, he was in Forlì;35 and finally, in September1513, he described himself as a “painter inFlorence” (“pictore in Fiorenza”), when, in Cesena,he signed the contract for an altarpiece in the localchurch of Sant’Agostino, a work that would becarried out later, between 1516 and 1518.

In this arc of time, Genga produced, one afterthe other, a series of devotional panels of theVirgin and Child,36 which reveal the influence ofPerugino and the Florentine School, but also pre-figure the style of his most ambitious surviving

Figure 11

GIROLAMOGENGA

Studies of a SeatedMale Figure (cat.no. A5)


1111

dency to construct a composition in the form of asingle, rather sculptural block. As is the case in theUffizi sheet with apostles for The Transfiguration,in the Chantilly modello the figures featuredraperies with crisp, lively folds; these effectswere produced by subtle variations in diluted ink,used to fill out the preliminary design done inblack chalk. The tumultuous “anti-classicism” ofthe Cesena Altarpiece is to some extent anticipat-ed here in the emphatic physiognomies, as well asin the dynamic gestures of the figures.

A similar dynamism appears in yet anothersheet in the Uffizi, the Holy Family with Sts.Francis (?), the Infant John the Baptist, Jerome, and anUniden-tified Franciscan Saint (cat. no. A7; Fig. 14).This work was recently attributed to FrancescoMenzocchi (1502–1574),38 the artist from Forlìwho studied with Genga and worked under himon several commissions, including the decorationof the Villa Imperiale at Pesaro in 1530.39 If, how-ever, one compares the Uffizi sheet to other auto-graph drawings by Menzocchi,40 the recent attri-bution to that artist is unconvincing, even in hisyouthful period when he worked closely underGenga’s supervision. On the contrary, the use ofblack chalk in this Holy Family, the finely drawndefinition of the faces, and the vibrancy of thedrapery would seem to indicate Genga’s ownhand. With an attribution to Genga, the drawingin Florence could be dated to a time close to theproduction of the altarpiece in Cesena—namelybetween 1513 and 1516. Another argument infavor of this dating is the similarity of the strokesin both the design and the modello for the CesenaAltarpiece that accompanied the 1513 contract,formerly at Chieti (see cat. no. A8; Fig. 19below). The Uffizi sheet can also be considered inrelation to paintings by Genga, for example apanel formerly in the Albizi collection of Cesena,and now in a Venetian private collection, whichagain represents a Holy Family with St. Jerome (Fig.15)41 and depicts a similar viewpoint from above.Also similar are two grisailles in the GalleriaNazionale delle Marche, Urbino, done with abrush on panel and representing the lives of Sts.Francis, Dominic, and Augustine (e.g., Fig. 16).42

work––the altarpiece in Cesena. The only knownsurviving study for the Virgin and Child series is afull-scale modello in Chantilly (cat. no. A6; Fig.12) for a panel now in the Musée des Beaux-Arts,Nantes (Fig. 13).37 This drawing, correspondingclosely to the final painting, reveals Genga’s ten-

Figure 12

GIROLAMOGENGA

Modello for theVirgin and Childwith the Infant St.John the Baptist,St. Bartholomew (?)and an UnidentifiedMale Saint (cat.no. A6)

Chantilly, MuséeCondé

Figure 13

GIROLAMOGENGA

Virgin and Childwith the Infant St.John the Baptist,St. Bartholomew (?)and an UnidentifiedMale Saint

Nantes, Musée desBeaux-Arts

12 12

Figure 14

Here attributed toGIROLAMOGENGA

Holy Family withSts. Francis (?), theInfant John theBaptist, Jerome, andan UnidentifiedFranciscan Saint(cat. no. A7)


Figure 15 (left)

GIROLAMOGENGA

Holy Family withSt. Jerome

Venice, PrivateCollection

Figure 16

GIROLAMOGENGA

Meeting betweenSts. Dominic andFrancis (detail)

Urbino, GalleriaNazionale delleMarche

1313

Figure 17

GIROLAMOGENGA

Dispute over the ImmaculateConception

Milan, Pinacoteca diBrera

14 14

DRAWINGS FOR THE CESENA ALTARPIECE, 1513–18The culmination of Girolamo Genga’s activities asa painter can be precisely dated, coinciding withhis execution of the altarpiece for the church ofSant’Agostino in Cesena, now in the Brera, Milan(Fig. 17),43 the artist’s most ambitious survivingwork. The main altarpiece consists of ten panelsof wood joined horizontally; when added to thedimensions of the three predella panels––dividednow between Bergamo, Columbia, SC, and a pri-vate collection––the whole structure measuresalmost 5 meters in height. Even though the qual-ity of the painting is homogeneous, it is likely thatGenga engaged assistants to bring this monumen-tal work to completion. Most likely these are hisclose assistants or “famuli” who were by his sidewhen a notary act was executed by Genga inCesena during April 1517.44

The contract with the Augustinian fathers,drawn up by Genga in the third person in Cesenaon 12 September 1513, is the first surviving auto-graph document written by the artist, here repro-duced for the first time (Fig. 18).45 Genga explainedin it that for the execution of the altarpiece he wasgoing to follow the design recorded in the drawingthat was attached to the contract for the fathers tokeep: “la dicta tavola sia secondo el disegnio el qualerimanera a presso de dicto Convento El quale e de sua manprop[r]ia disegnato si quanto ale figure siquanto ali altriornamenti” (“the said panel must conform to thedrawing, which is to remain in the said convent,and which is designed by his own hand, includingthe figures and other ornaments”). This design canbe identified with the sheet formerly in Chieti,whose current whereabouts are unknown (cat. no.A8; Fig. 19). The composition is shown as a whole,with a few variants in relation to the final version.The drawing, most likely made in black chalk (it isknown only through a black-and-white photo-graph), can be dated to 1513 since it shows greataffinities with the Uffizi sheet (see Fig. 14 above).

The Cesena contract required that Gengarefrain from working on any other projects duringthe gestation of the altarpiece. Thus, on signing itin 1513, he was forced to bring to a conclusionany remaining commissions in order to devotehimself exclusively to the work at hand. Given the

Figure 18

GIROLAMOGENGA

Contract for theCesena Altarpiece,1513

Forlì, Archivio diStato di Forlì,Sezione Cesena

Figure 19

GIROLAMOGENGA

Dispute over the ImmaculateConception (cat. no. A8)

Location Unknown(formerly PrivateCollection, Chieti)

1515

Figures 20–21 (leftand right)

GIROLAMOGENGA

Study of aStanding YoungMan (cat. no. A11recto)

Study of a PrayingYoung Man (cat.no. A11 verso)

Besançon, Musée desBeaux-Arts etd’Archéologie

16 16

A9; Fig. 23) is closely related in style and tech-nique to the Besançon studies and can be associat-ed with this early preparatory stage of the altar-piece, c. 1513–16. The sheet is numbered “6” atthe bottom (like the “2” that appears on cat. no.A10), which might suggest that it is a page from asketchbook of motifs Genga consulted to establishposes for the putti, such as the one with crossedarms at right, which is further developed in theBesançon sheet (Fig. 22). As is already seen inthese three sheets, the artist chose to use red chalkover a preliminary sketch in black chalk as his pre-ferred medium for the entire project.

This same technique (red chalk over blackchalk) characterizes the general modello pricked for

fact that the first payments were received by theartist between 1516 (an advance) and 1518 (finalpayment),46 we may assume that the work wasaccomplished between those two years.

The first drawings made for the painting are, inmy opinion, the two sheets in Besançon, one ofthem double-sided, with studies of nudes for themain panel. The double-sided sheet (cat. no. A11)bears on the recto a study of a standing model forthe baby Jesus (Fig. 20) and, on the verso, a pray-ing figure who has one leg resting on a step (Fig.21), probably made for the figure of St. Claire.The other sheet is a preparatory study for the seat-ed putto in the center foreground (cat. no. A10;Fig. 22). A newly discovered third sheet (cat. no.

Figure 22

GIROLAMOGENGA

Study of a SeatedYoung Man (cat. no. A10)

Besançon, Musée des Beaux-Arts etd’Archéologie

Figure 23


Studies of FivePutti, and FourHeads of Children (cat. no. A9)

Recently ArtMarket, New York

1717

transfer, now in the British Museum,London (cat. no. A12; Fig. 24), as well asthe resultant sheet drawn from the pouncemarks (spolveri), now in the Louvre, Paris(cat. no. A13; Fig. 25). As CarmenBambach pointed out,47 the study inLondon represents a nearly complete syn-thesis of the final composition, with only

Figure 24

GIROLAMOGENGA

CompositionalModello for theCesena Altarpiece(cat. no. A12)


18 18

line of the composition was transferred onto theParis sheet through pouncing––traces of thespolveri in black chalk are visible on the back ofthe first saint to the left (St. Gregory the Great)––then Genga created the underdrawing in blackchalk, before elaborating the shadows and detailswith red chalk.

Once the whole composition was defined,Genga focused on the effects of drapery and light-

some parts shaded. In both drawings, all of the fig-ures are nude, and they are given certain attrib-utes, in accordance with a tradition that goes backto Signorelli and was later adopted by Raphael.The London sheet, blind-squared with a stylusand subsequently pricked for transfer, was meantmainly to give a general idea of the linear qualitiesof the composition, qualities that he repeated onthe Paris sheet of nearly the same size. The out-

Figure 25

GIROLAMOGENGA

CompositionalModello for theCesena Altarpiece(cat. no. A13)


1919

Figure 26

GIROLAMO GENGA

Virgin and Child(cat. no. A14)

Geneva, Marie-AnneKrugier-PoniatowskiCollection

Figure 27

GIROLAMO GENGA

Study of a SeatedMan in Profile to theRight (cat. no. A15)

Paris, De BayserS.A.

20 20

Only one drawing, a sheet in the Uffizi (cat.no. A16; Fig. 28), can be connected to the altar-piece’s predella, with its three compartmentsdevoted to the life of St. Augustine. The drawingis a full-sized preparatory study for the centralscene on the panel of St. Augustine Baptizing theCathecumens, now in the Accademia Carrara,Bergamo (Fig. 29).49 In both the study and the fin-ished panel, the formative influence of Signorelliis still highly evident, for instance in the nude seenfrom the back.50 The figures of the Uffizi sheet arerendered energetically in red chalk over stylusunderdrawing. This preparatory underdrawing instylus––a technique that was much employed byRaphael51––is clearly visible in the spirited net-work of indentations above the circular structureof the baptismal font, especially in the male nudeon the left, who was originally shifted more towardthe right.

ing in studies on two further sheets. An evenmore sculptural quality with chiseled forms isfound in a drawing in the Krugier-Poniatowskicollection, Geneva, for the central group of theVirgin and Child (cat. no. A14; Fig. 26). Thesame effects are stressed in a drawing, now withDe Bayser, Paris (cat. no. A15; Fig. 27), for thefigure of St. Gregory the Great, without his copeand miter, who is seated on the far left of the altar-piece.48 To judge by its dimensions and highly fin-ished, refined quality, this study must have beenone of the last made for the painting. Moreover,it is the only one of the project done entirely inblack chalk, the same medium that can be seen inparts of the underdrawing of the Brera panel.

Figure 29

GIROLAMOGENGA

St. AugustineBaptizing theCathecumens

Bergamo, AccademiaCarrara

Figure 28

GIROLAMOGENGA

Study of a Groupof Figures (cat. no. A16)


2121

IN ROME, 1520–1523After completing the Cesena Altarpiece in 1518,Genga was finally free to accept other commis-sions. He was still in Cesena in 1519,52 but by1520 he had surely already moved to Rome onthe orders of his principal patron, FrancescoMaria della Rovere, who, the following year,regained his duchy of Urbino, the city fromwhich he had been banished in 1516.53 On theduke’s instruction, Genga occupied himself inRome with the acquisition of marble and otherarchitectural materials useful for the reconstruc-tion and refurbishment of the ducal residences inUrbino and Pesaro, which had been neglectedduring a five-year period of Medici domination.

This Roman sojourn offered Genga the possi-

2222

Figure 30

GIROLAMOGENGA

The Resurrection

Rome, Oratory of S. Caterina da Siena

Figure 31 (below)

GIROLAMOGENGA

Study for theRisen Christ and Angels (cat. no. A17)

Oslo,Nasjonalmuseet

Figure 33 (opp.)

GIROLAMOGENGA

To-do list withSketches ofHorses’ Heads(cat. no. A18verso)

Edinburgh, NationalGalleries of Scotland

UPDATE PIC

the heroic pose of a Classical statue. On the rectoof another sheet, now in Edinburgh (cat. no. A18;Fig. 32), this same figure is further elaborated inred chalk in a pose close to that adopted in thefinal painting. On the sheet’s verso, alongside asketch of two horses and the artist’s signature,Hiro[nimo] Ginga ur[binas], he wrote a list of tasksto be carried out (Fig. 33), which refers to “bal-dassare da Siena.”56 This provides the first directevidence that the architect Baldassarre Peruzzi(1481–1536) was also involved in the building ofS. Caterina da Siena, as has long been known butnot documented.57

23 23

Figure 32

GIROLAMOGENGA

Study for theRisen Christ and Angels (cat.no. A18 recto)

Edinburgh, NationalGalleries of Scotland

bility of obtaining prestigious painting commis-sions through his earlier Sienese network. Genga’sprimary patrons in Rome were the Sienese broth-ers Agostino Chigi (1466–1520) and SigismondoChigi (1479–1526), who had married SulpiziaPetrucci (1489–1557), the daughter of his earlierpatron Pandolfo Petrucci. Between 1520 and1522, Genga completed two projects in Rome forthe Chigi–Petrucci family: a large altarpiece withThe Resurrection for the high altar in the churchpatronized by the Chigi family, S. Caterina daSiena (Fig. 30),54 and a panel with the MysticMarriage of St. Catherine of Alexandria, now in thePalazzo Barberini, Rome (Fig. 34).55

The influence on Genga of the Roman revivalof interest in the Antique is immediately clear in asheet in Oslo (cat. no. A17; Fig. 31) representinga study for the Risen Christ in The Resurrection.The figure of Christ, drawn in black chalk withdense crosshatching in ink and wash, is shown in

Figure 34

GIROLAMOGENGA

Mystic Marriage of St. Catherine

Rome, GalleriaNazionale d’ArteAntica, PalazzoBarberini

Figure 35

GIROLAMOGENGA

Modello for theMystic Marriage of St. Catherine(cat. no. A19)


24 24

Three preparatory drawings by Genga areknown for the Barberini panel of the MysticMarriage of St. Catherine of Alexandria, with theVirgin and Child and Sts. Catherine of Siena,Bernardino of Siena, Zachary, Elizabeth, and John theBaptist, once in the Chigi collection (Fig. 34).The first of two drawings, both of which are inParis, is preserved in the Louvre (cat. no. A19;Fig. 35). Executed in a pictorial style in wash andwhite gouache over black chalk, it is most likelythe modello that Genga presented to the patron,Sulpizia Petrucci Chigi, who was portrayed as theVirgin in the final painting, as is recorded in sev-eral sources.58

The second drawing, now in the Frits LugtCollection, Fondation Custodia (cat. no. A20;Fig. 36), is closer to the painted version, with theaddition of the figure of St. Bernardino on theright. Over a preliminary sketch in black chalk,Genga built up his forms with his signature style––an intricate system of crosshatched and parallellines, the same approach found in the Oslo studyof roughly the same date. Genga pricked the con-tours of the figures of the Lugt drawing in orderto transfer the composition onto a second sheet,following a practice we have already seen in thestudies in Paris and London made for the CesenaAltarpiece.

Along with these two sheets for the MysticMarriage of St. Catherine, a third drawing (cat. no.A21; Fig. 37), executed in pen and ink over blackchalk, served as a preliminary study for the figureof St. Zachary leaning on a staff, together with akneeling St. Catherine who holds out her hand toreceive the ring of her betrothed. This study orig-inated in an earlier phase in the artist’s prepara-tions for the painting. St. Zachary is shown posedas he would be in the painting, although in thefinal work he would be shifted to the far back-ground. The figure of St. Catherine is in reverseto the one in the painting, but her pose was even-tually adapted for that of the Virgin. The largerdimensions of the figures in this study enabledGenga to render more details with his pen thanwas possible in the Lugt composition, which isgenerally executed in a more synthetic way.

Figure 37

GIROLAMOGENGA

Study for theFigures of Sts.Zachary andCatherine (cat. no. A21)

Formerly ArtMarket, London

Figure 36

GIROLAMOGENGA

Study for theMystic Marriage of St. Catherine(cat. no. A20)

Paris, FondationCustodia, Frits LugtCollection

2525

Figure 38

GIROLAMOGENGA

Warriors Preparingfor Battle (cat. no.A22)

Dresden,Kupferstich-Kabinett

26 26

the nervous treatment of the nudes, recalling theanalogous handling of bodies in the Uffizi studiesfor the predella of the Cesena Altarpiece (c. 1516–18), as well as in the Study for the Figures of Sts.Zachary and Catherine (c. 1520). The finished qual-ity and closed perimeter in the Dresden drawingpoint to its having been created as a “presenta-tion” piece. Not long after this, a drawing of abattle attributed to Genga is documented as hav-ing been in the Roman collection of FrancescoVillamena (1564–1624).59

An important sheet in Dresden (cat. no. A22;Fig. 38), depicting a scene of Warriors Preparing forBattle, shows the same technique defined throughan energetic system of cross- and parallel hatchingdrawn in pen and ink over black chalk, and thusis datable around the same years, c. 1520–22. Theconcentrated, compact massing of the figures is“closed” by a dense network of lines that circum-scribe the space, making the Dresden drawing theapex of Genga’s expertise in this manner.Signorelli’s lessons are still greatly in evidence in

Figure 39


“Submissio” (relieffrom the Arch ofConstantine) (cat. no. B13-i)

New York, MorganLibrary & Museum

2727

marble, but also to study architecture and to makecopies of models and projects.

The knowledge of ancient art that Genga musthave acquired in Rome––referred to explicitly byGiovanni Battista Bertani (1558) and GiorgioVasari (1568)64––is further evidenced by anunpublished series of nineteen fragments in theMorgan Library & Museum, New York, that canbe tentatively attributed to Genga (cat. no. B13).These fragments mostly record ancient Romanmotifs, such as the “Submissio” relief from theArch of Constantine (cat. no. B13-i; Fig. 39), aswell as other Roman friezes. Drawn in two shadesof gray-brown ink, with distinctive hatching inthe background that sets off the contours, stylisti-cally and technically these sketches after theAntique and battle scenes (e.g., cat. no. B13-b;Fig. 40) resemble others of similar subjects byGenga, for example those now in Los Angeles(cat. no. A23; Fig. 41) and Stockholm (cat. no.A24; Fig. 42 and front cover). The fragmentsmust have been cut from a much larger sheet (likethat in Los Angeles) to increase their commercialvalue; this no doubt occurred before the time ofthe British collector John Charles Robinson(1824–1913), whose initials “JCR” appear oneach of the nineteen fragments. Other fragmentsfrom the series can be found on a double-sidedsheet in the Hamburger Kunsthalle, Hamburg(cat. no. B14; Figs. 72–73). These kinds of studiesafter the Antique became an essential part of

RETURN TO URBINO AND DRAWINGS FOR

THE VILLA IMPERIALE, 1522–c. 1530The two projects in Rome for the Chigi familyrepresent the last ones that Genga executed for apatron outside the Della Rovere ducal family.From 1521, when Francesco Maria della Rovererecovered the duchy of Urbino, everything thatthe artist created was exclusively for the duke orhis wife, Leonora Gonzaga (1493–1570).

In those years Francesco Maria focused hisattention on the restoration of his properties (“fab-briche”) in Urbino and Pesaro, and on the con-struction of a new residence.60 In 1523 Genga wassent to Rome by the duke to pick up marble,together with other building materials and usefulfurnishings for the restoration of his neglectedpalaces. A letter of 18 May 1523 to the duke pro-vides some information concerning Genga’s activ-ities as a draftsman.61 In it he mentioned what Itake to be a book of drawings assembled inRome, possibly a repertory of decorative, archi-tectural, and antiquarian motifs. Writing to theduke, the artist commented, “Me sforzero mecterqualche altro bel penachio nel libro E manderollo E faroanco qualche altra cosa i[n] tanto che se concia la pietra”(“I will make an effort to do some other nice quillpen [drawings] in the book, and I will send it, andI will do some other things while the stones arebeing prepared”). In a second letter of 13 August1523, Genga again mentioned this book of quillpen drawings (“pennacchi”), which containedsketches for a fireplace.62 He had prepared six pendrawings, he said, while another six had alreadybeen sent to the duke. A letter written on 4 July1523 by “il Gobbo,” an attendant of Federico II ofMantua (1500–1540), to Francesco Maria dellaRovere seems to refer to the same album of draw-ings.63 Il Gobbo reported that he had spoken toFederico about “un libro di disegni che viene daRoma” (“a book of drawings that came fromRome”) owned by Francesco Maria, whichFederico Gonzaga wanted to acquire at any cost.Although we do not know precisely what thesedrawings represented, given Francesco Maria’sinterest for architecture, we can surmise thatGenga had been sent to Rome not only to obtain

Figure 40


Battling Figures,Some onHorseback (cat.no. B13-b)

New York, MorganLibrary & Museum

Figure 41

GIROLAMOGENGA

Battle Scene andDecorative Friezewith Sea Creatures(cat. no. A23)

Los Angeles, J. PaulGetty Museum

28 28

Through his study of ancient models, Gengaskillfully developed in his drawings the heroicthemes required for the decoration of the VillaImperiale––namely, the glorification of the vari-ous battles won by the duke. This is clear in asheet of c. 1525–30 in the Louvre (cat. no. A25;Fig. 43), an initial idea for one of the decorativescenes at the Villa Imperiale featuring a formationof soldiers in battle. This drawing is likely to be afurther development of the composition begunon the Stockholm sheet and seems stylisticallyclose to the battle scene featured on the Dresdensheet (see Fig. 38 above). As in a Classical frieze,the scene moves from left to right, here closed inby the figure of the condottiere trotting on his horseon the right side and by a standard-bearer onhorseback on the left side.

A second sheet in the Uffizi (cat. no. A26; Fig.44), squared in black chalk for transfer (either tothe Louvre drawing or, in any case, to somethingon a larger scale), is dedicated to this latter figure,

Genga’s figurative repertory, reworked in numer-ous battle scenes that the artist later designed forthe decoration of both the Palazzo Ducale and theVilla Imperiale Vecchia in Pesaro. The motifs offighting figures from one of the Morgan sketches(Fig. 40), for instance, were clearly adapted forthe tussle of soldiers in the center foreground ofthe sheet now in Stockholm (front cover).

Figure 42

GIROLAMOGENGA

Battle Scene (cat. no. A24)

Stockholm,Nationalmuseum

Figure 43

GIROLAMOGENGA

Battle Scene withFrancesco Mariadella Rovere and aSea God (cat. no.A25)


2929

Figure 44

GIROLAMOGENGA

Study af a Soldieron HorsebackHolding a Banner(cat. no. A26)


30 30

initially inspired by the Roman sculptural ensem-ble of the Dioscuri on the Quirinale Hill. That thescene depicted in the Louvre drawing was con-ceived for Francesco Maria della Rovere seemsclear from the presence of a river god in the fore-ground. The representation of the eight rivers thatflowed through the regions that Francesco Mariahad conquered (the Metauro, Isauro, Marecchia,Po, Tiber, Arno, Rubicon, and Tronto) became aleitmotif of the ducal iconographic programdeveloped by Genga.65 It was reused by the artistin paintings in the seventh hall, the appropriatelynamed Sala dei Fiumi (Room of the Rivers), ofthe ancient Villa Sforza, known as the VillaImperiale Vecchia in Pesaro, as well as in thePalazzo Ducale there.66 These images of river godswere later introduced by Genga into his designsfor decorative objects created for the duke (dis-cussed below), such as istoriati vessels and plates(cat. nos. A36, A38, and A41–42).

We now turn to a group of drawings that isextremely coherent in style and technique. Ibelieve all of them were conceived for unrealizedhistorical scenes to be painted in the villa, sincenone of these sheets corresponds exactly to thepaintings in the cycles at the Palazzo Ducale,Pesaro, or to those in the Villa Imperiale Vecchia.We can date this group c. 1525–30, just beforeGenga started on the pictorial decoration of theVilla Imperiale Vecchia (1530–c. 1532) and theconstruction of the Villa Imperiale Nuova (1522–c. 1538)––the two important ducal commissionson which he was at work during the 1530s and1540s.

As in the Stockholm sheet (see Fig. 42 above),in which the scene is set at the foot of a fortifiedcity (Urbino?), most of the drawings in this newgroup record actual battles in which FrancescoMaria took part, revealing an interest in historicalaccuracy. This commitment to literal representa-tion would later be set aside in the execution ofthe actual paintings in Pesaro, where the artistengaged in a more subtle mythological and sym-bolic narrative. Exceptions to this include the twopainted scenes of the Imperiale with the historicalmoments of the Swearing of the Oath of Allegiance to

Figure 45

GIROLAMOGENGA

Battle Scene withHorsemen in aLandscape (cat. no. A27)


3131

In the important drawing in Chicago (cat. no.A31; Fig. 46), there is yet another bird’s-eye viewof an assault, this time in an interior courtyard.The incisive definition of the figures and spaces isconveyed by Genga through an energetic systemof crosshatching done with pen and ink overblack chalk. This large-scale drawing (508 x 360mm), which is both torn and patched, with twodeep creases in the middle, is undoubtedly a frag-ment of a much larger composition, of which Ibelieve it constituted the right-hand portion.68

Some mythological figures (like the omnipresentriver god) enter into the assault here, as a foretasteof an artistic choice greatly developed in thepainted cycles of the Villa Imperiale.

According to Vasari, although the decorationof the Villa Imperiale Vecchia was conceived andco-ordinated by Genga (“per ordine e disegno delGenga fu ornato di pittura d’istorie e fatti del Duca daFrancesco” [“[the palace] was adorned with paint-ings of histories and deeds of the duke, under the

Francesco Maria della Rovere at Sermide in 1517 andthe Coronation of Emperor Charles V in Bologna in1530, two actual and datable events. A similarendeavor is illustrated in a sheet in the Louvre(cat. no. A27; Fig. 45), which depicts a bird’s-eyeview of a group of horsemen galloping toward afortress to attack on the slopes of a seaport (per-haps Pesaro).

A similar taste for “realism” related to the por-trayal of specific moments of battles fought byFrancesco Maria della Rovere appears in a furtherdrawing in the Louvre (cat. no. A32; Fig. 47) andin its related larger-scale sheet in Washington, DC(cat. no. A29; Fig. 59), which features a group ofnude warriors armed with spears. In this drawingand another in the Albertina (cat. on. A30; Fig.60), Genga seems to have been highly influencedby Raphael’s pen-and-ink studies of warriors of c.1506–7, some of which were still available to theartist in Urbino, having been collected by theheirs of his friend and colleague Timoteo Viti.67

3232

Figure 46

GIROLAMOGENGA

Battle Scenes with MythologicalFigures (cat. no.A31)

Chicago, ArtInstitute of Chicago

direction and to the designs of Girolamo”]),69 itsexecution was assigned to a group of artists,among whom were Francesco Menzocchi,Camillo Capelli, known as Camillo Mantovano(d. 1568), Raffaellino del Colle (c. 1495–1566),Agnolo Bronzino (1503–1572), and the brothersDosso Dossi (c. 1486–1542) and Battista Dossi (c.1490–1548).70 I will not discuss specific aspects ofauthorship among the painters who participatedin the projects at both villas, since Paolo DalPoggetto and others have laid important ground-work in this direction.71 I do wish to point out,however, that the dating of the mural paintings ofthe Villa Imperiale Vecchia (executed in oil, notfresco, as commonly said) can be limited to

1530–32 and depends on three firm chronologi-cal points: • the date (24 February 1530) on which

Emperor Charles V (1500–1558) was crownedin Bologna, a scene painted in the centralscene of the Sala del Giuramento of the VillaImperiale Vecchia (see Fig. 50 below);

• the letter written on 10 May 1530 by DuchessLeonora Gonzaga, who made explicit refer-ence to Francesco Menzocchi and to thebeginning of the decoration in the Villa(“Hauendo noi dato principio a far depingere qui alImperiale alcune nostre camere”);72

• a letter written on the same day by Genga, inwhich the artist submitted a list of materials heneeded to begin working on the decoration(colors, enamel, lacquer, and brushes).73

Further documents confirm the presence in 1530of all of the artists known, from various sources,to have collaborated on these decorations.

Scholars have not expressed doubts about therole––described by Vasari––of Genga as directorof the enterprises at the Imperiale,74 and I believethat this role can be further reinforced by thecoherent group of autograph drawings discussedearlier (cat. nos. A23–A32), which offer informa-tion about the various preliminary phases of theproject developed by Genga alone. AlthoughGenga conceived all the scenes that would appearin the various rooms, supplying designs to theartists tasked with painting them, only threesheets attributable to him have a direct connec-tion with the Villa Imperiale decorations. Adrawing in the Louvre (cat. no. A32; Fig. 47),done in pen and ink over black chalk, squared fortransfer, served as the model for the great scenedepicted in the Sala del Giuramento, the firstroom of the Imperiale (Fig. 48). Represented inthat sheet is a fragment of the Swearing of the Oathof Allegiance to Francesco Maria in 1517, that is tosay, the act of loyalty sworn at Sermide (nearMantua) by Francesco Maria’s troops before thereconquest of the duchy. The sheet configuresonly the central detail of the original model of thecomposition (a scene that is one of the largest inthe Villa), and even though there are pentimenti

still visible in the underlying black chalk drawing,the scene seems already finished; it would betransferred to the painting with only slight modi-fications in certain poses of the soldiers.

A simpler rendering in pen and ink character-izes the interesting design from the Museo Horne,Florence (cat. no. A33; Fig. 49), a preliminarystudy for the scene of the Coronation of Charles V

in Bologna in 1530 in the following Camera deiSemibusti (Fig. 50). Genga created a scene onthree levels. The first shows a large crowd ofnudes gathered for the event, and the second,higher up, the official coronation. For the groupsof figures the artist made a freely drawn pensketch where, in a few passages, black chalk wasalso used. For the construction of the box abovethe steps, however, he utilized incisions madewith stylus and ruler, outlined in ink. The defini-tion of the space inside the cathedral of S.Petronio, Bologna, where the actual coronationtook place, was defined by the artist by means ofred chalk in the three lateral views. It is very pos-sible that the artist himself was present among thefollowers of Francesco Maria della Rovere at thecoronation ceremony, since these architecturalrenderings of the interiors of the cathedral arevery accurate. Genga’s knowledge of the basilicain Bologna, demonstrated in the Horne sheet,

33 33

Figure 47

GIROLAMOGENGA (with later additions)

Soldiers andHorses (cat. no. A32)


Figure 48

GIROLAMOGENGA (workshop of)

Swearing of theOath of Allegianceto Francesco Mariaat Sermide in 1517

Pesaro, VillaImperiale Vecchia,Sala del Giuramento

Figure 49

GIROLAMOGENGA

Study for theCoronation ofCharles V inBologna in 1530(cat. no. A33)

Florence, MuseoHorne (on deposit atthe GabinettoDisegni e Stampedegli Uffizi)

Figure 50

GIROLAMOGENGA(workshop of)

Coronation ofCharles V inBologna in 1530

Pesaro, VillaImperiale Vecchia,Camera deiSemibusti

34 34

51), where the coronation no longer takes placein the interior of the cathedral but rather outsideof it. The Uffizi modello is technically quite com-plex. The initial drawing in black chalk, goneover with pen and ink, wash, and opaque white,and squared in black chalk, has been laid over twopieces of paper joined at the center. This drawingreveals the high quality of Genga’s graphic workat the peak of his career as a court artist for theDella Rovere, around 1530–32. It also shows thatthe drawings Genga handed over to other paintersto follow were highly finished and detailed.

The dominant role that Genga assumed as adesigner of cartoons and modelli, and in connectionwith other artistic projects of the duchy, even dur-ing the successive reign of Guidobaldo II (1514–1574), is confirmed by a further letter written on 7December 1546 by the new duchess, GiuliaVarano (1523–1547), in which she requested a car-toon from Camillo Mantovano, insisting, howev-er, that it be executed “secondo il parere et ordine delgenga” (“following Genga’s opinion and instruction[probably in the sense of ‘composition’]”).76

helps us to understand why the artist was com-missioned as the architect to complete the façadeof S. Petronio later in 1539.75

The scene in the Horne sheet was radicallyaltered in the painting, which followed moreclosely a second large-scale, highly finished model-lo in the Uffizi (415 x 467 mm; cat. no. A34; Fig.

Figure 51

GIROLAMOGENGA (with laterreworkings)

Modello for theCoronation ofCharles V inBologna in 1530(cat. no. A34)


3535

Further information on the dating of this sheetcan be added here. On 4 and 5 June 1525,Francesco Maria della Rovere wrote two letters toGiacomo Leonardi (the courtly orator and ducalambassador to Venice) in which he expressed hiseagerness to receive some of Genga’s drawings forthe Imperiale.81 In these letters, the duke specifi-cally mentioned designs drawn by Genga “of win-dows and columns,” such as can be seen on theUffizi sheet: “Il Genga…ci manda molti disegni defenestre colonne et altre cose per le nostre fabriche, disomma importanza et a noi sommamente a cuore”(“Genga...is sending us many drawings of win-dows, columns, and other things for our buildings,of the utmost importance and very precious tous”);82 he also insisted that the sheets should be sentwith a trusted messenger and that they be careful-ly transported. The next day the duke beggedLeonardi to carry them himself: “I quali disseg-ni…portarete con esso voi ben conservati et di sorte chenon si bagnino perché ogni piccola cosa [l]i guastaria”

ARCHITECTURAL AND DECORATIVE DRAWINGS

As the ducal architect, Genga was intenselyinvolved in many architectural projects, such as therenovation of the Palazzo Ducale at Pesaro (1521–c. 1548)77 and the construction of the new VillaImperiale.78 Even though his architectural drawingsare mentioned in the literature and contemporarysources, very few drawings of this kind survive.

In my opinion, only three sheets contain auto-graph architectural studies (cat. nos. A25 verso,A35 recto, and A40 verso). The last of these three,a quick sketch for an arch (Fig. 65), can be con-nected here to the design for the main portal ofthe courtyard of Guidobaldo II in the ducal palaceof Pesaro, a restyling that was conceived by Gengaduring the late 1530s, but was realized only laterby his architect son, Bartolomeo.79 The secondsheet (cat. no. A35 recto; Fig. 52) was onlyrecently attributed to Genga and rightly connect-ed to the project of the Serliana imperfetta of thewestern extension of the Villa Imperiale Nuova.80

(“You will bring the drawings yourself, very wellpreserved, and you must be careful they do not getwet, because every little thing could ruin them”).83

The unpublished verso of that same sheet (Fig.53) confirms the autograph status of the architec-tural sketch on the recto, and bring us to the finalaspect of Genga’s graphic production, connectedto his role as ducal designer of precious decorativeobjects,84 since it contains decorative sketches,among which are some designs for a candelabrawith lion’s feet, and a design for a decorativehanging “G,” which might stand for “Genga” or“Guidobaldo.”

There are many references to Genga’s designsfor decorative objects in the letters exchangedbetween the dukes and Genga.85 Later, Vasarirecalled that the artist made for the duke somebizarre models of vases, later cast in silver,86 and anepisode was recounted by Giovanni BattistaBelluzzi, who stated that in October 1539 he car-ried some samples of vases designed by Genga forthe Bishop of Ravenna, Benedetto Accolti (1497–1549).87 A series of drawings attributed to Genga inthe Metropolitan Museum of Art, New York, fea-

turing four designs for decorative bucket-like ves-sels, adorned with river gods and figures inspired byantiquity (cat. nos. A36–A39; Figs. 54 and 61–63),can be dated close to 1539, thanks to that passagedescribed by Belluzzi.

These drawings show Genga’s typical tech-nique of crosshatching in pen and ink over a pre-liminary drawing in black chalk. Two of the vasedesigns feature the Della Rovere-type river god,lounging in much the same way as those in theSala dei Fiumi at the Villa Imperiale, as well as incertain battle scenes discussed earlier. We find thisfigure yet another time integrated into a majordesign for a large oval plate, on a sheet that waslater divided in two, with the two sections nowpreserved in the Royal Library at Windsor Castle(cat. no. A41; Fig. 55) and in the BibliotecaAmbrosiana, Milan (cat. no. A42; Fig. 56).Among the most elaborate projects drawn up byGenga, this large-scale design for an oval plate orsalver is executed in pen and ink over black chalk,with the oval form achieved by incising with astylus, and then outlining the indentation in ink.

The same bizarre quality Vasari mentioned in

3636

Figures 52–53

GIROLAMOGENGA

Project for theWest Extension ofthe Villa Imperiale(cat. no. A35recto)

DecorativeSketches andStudies for aCandle-holder(cat. no. A35verso)


37 37

Figure 54

GIROLAMOGENGA

Design for aBucket-like Vesselwith a River Godand Two Putti(cat. no. A36)

New York,MetropolitanMuseum of Art

3838

Figure 55 (left)

GIROLAMOGENGA

Design for an OvalPlate with a RiverGod, a Goddess,and Other Figures(cat. no. A41)

Windsor Castle,Royal Library

Figure 56 (right)

GIROLAMOGENGA

Design for an OvalPlate with a RiverGod, a Goddess,and Other Figures(cat. no. A42)

Milan, BibliotecaAmbrosiana

regard to Genga’s inventions of these objects canbe appreciated in a drawing in London (cat. no.A43; Fig. 57). The design in this case is for a largecup or more likely a salt-cellar, on which the fig-ure of Atlas is holding up a celestial globe fromwhich salt virtually “rains down.” The drawingmust be dated slightly later, to c. 1540–45, since itrepeats certain elements found in the New Yorkseries (such as the folded sleeve and the shell-like

profile of a large cup) and also has the clear defi-nition of forms that characterizes the Windsor andMilan sheets. This kind of item was more valuedfor its creative verve and fantastic forms than forany practical usefulness it might have had. If welook at the inventories of 1595–1605 of gold andsilver objects in the Della Rovere collections inPesaro and Urbino, published by Ercole Scatassa,88

it may be possible to determine from the long lists

39 39

of bizarre items, including silver “basins” and“seashells,” decorated vases, and various types ofsugar dishes, which ones might have beendesigned by Genga.

Few drawings by the artist from after the 1530ssurvive, but Genga continued to concentrate ondrawing for the rest of his life. After his death in1551, some architectural projects for Pesaro werecarried out by his son Bartolomeo, but they wereleft unfinished when he died just seven years afterhis father. According to Vasari, it was also on thebasis of Genga’s “design and direction” (“disegno eopera”) that in 1538 Bartolomeo Ammannati(1511–1592) sculpted the funeral monument ofFrancesco Maria della Rovere.

Giorgio Vasari offered a moving image of thepassion that bound Genga to the practice of draw-ing right up to the end of his life: “già vecchio se neandò a stare in una sua villa…per riposarsi e godersi lesue fatiche; in quel luogo, per non stare in ozio, fece dimatita una Conversione di San Paolo, con figure e cav-alli assai ben grandi e con bellissime attitudini; la qualeda lui con tanta pazienza e diligenza fu condotta che nonsi può dire né vedere la maggiore, sì come appresso dellisuo ieredi si vede, da’ quali è tenuta per cosa preziosa erarissima” (“now an old man, he went to live in avilla of his own, in order to rest and to enjoy thefruits of his labors, in which place, not wishing toremain idle, he executed in chalk a Conversion ofSt. Paul with figures and horses of considerable sizeand in very beautiful attitudes, which was finishedby him with such patience and diligence, that nogreater could be either described or seen, as is evi-dent from the work itself now in the possession ofhis heirs, by whom it is treasured as a very preciousand a most rare thing”).89

Furio Rinaldi, a PhD candidate at the Università degliStudi di Roma “Tor Vergata,” Rome, is a researchassistant in the Department of Drawings and Prints atthe Metropolitan Museum of Art, New York.

AUTHOR’S NOTE:My deep gratitude goes to Carmen C. Bambachfor her continuous support and for havingpatiently revised this text with me, as did LindaBorean. I am grateful also to George Goldner,Stijn Alsteens, Simonetta Prosperi ValentiRodinò, Marzia Faietti, Anna Cerboni Baiardi,Sandrina Bandera, Christian Lapeyre, DonatoEsposito, and Mary Zuber. Some of the findingscontained in this article––which grew out of theresearch for my doctoral dissertation on TimoteoViti––were presented at the annual DrawingInstitute Symposium held at the Morgan Library& Museum, New York (3 March 2013). I wish tothank Linda Wolk-Simon and Eveline Baseggio-Omiccioli for the invitation, as well as the stimu-lating discussions.

Figure 57

GIROLAMOGENGA

Design for a Salt-cellar with Atlas(cat. no. A43)


4040

GROUP A:AUTOGRAPH DRAWINGS BY GIROLAMO GENGA

A1 Fig. 3Study of a Head in Profilec. 1505London, British Museum, inv. no. 1946,0713.221.Black chalk, over pouncing in black chalk; 209 x 165 mm.Inscribed on verso, possibly in a sixteenth-century hand, inbrown ink, carissimo padre carissimo e amatissimo.PROV.: Samuel Woodburn (1786–1853), London, 1824; hissale, London, Christie’s, 5 June 1860, lot 417 (as Genga); CountAntoine Seilern (1901–1978), London; by whom given to themuseum, 1946. LIT.: Popham 1935, no. 1 (as Genga); Berenson 1938, vol. 2,no. 2509 K-1 (as school of Signorelli); Popham and Pouncey1950, vol. 1, no. 344 (as Genga).

A2 Fig. 4Study of a Draped Man Facing Right (St. Joseph?)c. 1505Pesaro, Biblioteca Oliveriana, Antaldi Collection, inv. no. 555. Pen and brown ink, over traces of black chalk, squared in redchalk; 268 x 159 mm. Inscribed at lower left, in brown ink,G.G.V.; on the verso, in ink, 27; and in graphite, n. 2.PROV.: Viti–Antaldi collection, Urbino (L. Suppl. 1157c ) .LIT.: MS. inventory, Biblioteca Oliveriana, c. 1825 (withoutshelfmark): “2. una figura in piedi, originale del Genga”; Pesaro2001, no. 17 (entry by Anna Forlani Tempesti), repr.; Urbino2009, no. 55 (entry by Silvia Blasio), repr.

A3Virgin and Child (recto) Fig. 5Rider in Armor on a Rearing Horse (verso)c. 1505Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no. 132 F.Pen and brown ink, over traces of black chalk; 263 x 206 mm.PROV.: Possibly Canon Apollonio Bassetti (d. 1699), Florence(L. 930); by whom given to Cosimo III de’ Medici (1642–1723), Grand Duke of Tuscany; by whom given to the muse-um, 1700.LIT.: Petrioli Tofani 1991, pp. 60–61 (as copy after Signorelli),repr.; Pesaro 2001, p. 44, under no. 17, repr.; Rinaldi 2013, pp.148, 150, fig. 5 (recto only; as Genga).

A4 Fig. 9Study for an Archer Looking over His Left Shoulderc. 1505–10Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no.1167 E.Red chalk, with opaque white, over traces of black chalk; 145x 154 cm.PROV.: Possibly Canon Apollonio Bassetti (d. 1699), Florence(L. 930); by whom given to Cosimo III de’ Medici (1642–

1723), Grand Duke of Tuscany; by whom given to the muse-um, 1700. LIT.: Fischel 1917, no. 202 (as Genga); Petrioli Tofani 1969, p.54; Florence 1982, no. 77, repr.; Petrioli Tofani 1987, p. 483,repr.

A5 Fig. 11Studies of a Seated Male Figurec. 1510–11Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no.1354 F.Red chalk; upper right corner made up; 190 x 290 mm.WATERMARK: Hand.PROV.: Possibly Canon Apollonio Bassetti (1631–1699),Florence (L. 930); by whom given to Cosimo III de’ Medici(1642– 1723), Grand Duke of Tuscany; by whom given to themuseum, 1700. LIT.: Florence 2001, p. 416, under no. 96 (as Francesco Menzoc-chi); Petrioli Tofani 2005, pp. 172–73 (as Timoteo Viti), repr.

A6 Fig. 12Modello for the Virgin and Child with the Infant St. John theBaptist, St. Bartholomew (?), and an Unidentified Male Saintc. 1510–15Chantilly, Musée Condé, inv. no. DE 58. Pen and brown ink, with brown wash, over black chalk; 240 x156 mm.PROV.: Private collection; from which given to the museum,1886.LIT.: Paris 1983–84, no. 14, repr.; Colombi Ferretti 1985, p.38, repr.; Peronnet 1997, no. 49, repr.

A7 Fig. 14Holy Family, with Sts. Francis (?), the Infant John the Baptist,Jerome, and an Unidentified Franciscan Saintc. 1513–15Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no.2082 F.Black chalk (and charcoal?), white chalk, on blue-green paper;258 x 340 mm.PROV.: Cardinal Leopoldo de’ Medici (1617–1675), Florence;by whom given to the museum (L. 929), 1700. LIT.: Florence 2001, no. 96 (as Francesco Menzocchi?), repr.;Anna Colombi Ferretti in Forlì 2003, p. 33, fig. 7 (as Frances-co Menzocchi); Donati 2007, no. D.5 (as Girolamo Marchesida Cotignola).

A8 Fig. 19Dispute over the Immaculate Conception (Compositional Modello forthe Cesena Altarpiece)c. 1513Location unknown.Technique and measurements unknown.PROV.: Private collection, Chieti.LIT.: Marchini 1970, p. 67; Colombi Ferretti 1985, p. 91, repr.

CATALOGUE

A9 Fig. 23Studies of Five Putti, and Four Heads of Childrenc. 1513–16Recently art market, New York. Red chalk, over traces of black chalk, on two trimmed sheetsjoined together and glued onto another piece of paper; 184 x198 mm. Numbered at lower center, in brown ink, 6. PROV.: William Bates (1824–1884), Birmingham (L. 2604);sale, New York, Sotheby’s, 23 January 2001, lot 193 (asFlorentine School, 16th Century), repr. (in color); private col-lection; sale, New York, Sotheby’s, 29 January 2014, lot 55 (asFlorentine School, 16th Century), repr. (in color).

A10 Fig. 22Study of a Seated Young Manc. 1516–18Besançon, Musée des Beaux-Arts et d’Archéologie, inv. no.D.1887.Red chalk, over black chalk; 143 x 108 mm. Numbered atlower center, in brown ink, 2. PROV.: Jean-François Gigoux (1806–1894), Paris (L. 1164); bywhom bequeathed to the museum (L. Suppl. 238c).LIT.: Pouncey and Gere 1962, p. 160, under no. 270; Florence1982, p. 87; Colombi Ferretti 1985, pp. 88 and 108.

A11 Figs. 20–21Study of a Standing Young Man (recto)Study of a Praying Young Man (verso)c. 1516–18Besançon, Musée des Beaux-Arts et d’Archéologie, inv. no.D.1886.Red chalk, over black chalk; 192 x 104 mm.PROV.: Jean-François Gigoux (1806–1894), Paris (L. 1164); bywhom bequeathed to the museum (L. Suppl. 238c).LIT.: Pouncey and Gere 1962, p. 160, under no. 270; Florence1982, p. 87; Colombi Ferretti 1985, pp. 88 and 108.

A12 Fig. 24Compositional Modello for the Cesena Altarpiecec. 1516–18London, British Museum, inv. no. 1866,0714.7. Red chalk, over black chalk, the outlines pricked, squared witha stylus; 328 x 299 mm.PROV.: Rev. Henry Wellesley (1791–1866), Oxford; his sale,London, Sotheby’s, 25ff. June 1866, lot 542 (as Genga; to“Colnaghi” on behalf of the museum).LIT.: Fischel 1917, no. 204 (with incorrect inv. no.); Pounceyand Gere 1962, no. 270, repr.; Colombi Ferretti 1985, p. 89,repr.; Bambach 1999, pp. 312 and 314–15, repr.

A13 Fig. 25Compositional Modello for the Cesena Altarpiecec. 1516–18Paris, Musée du Louvre, Département des Arts Graphiques, inv.no. 3117. Red chalk, over pounced outlines in black chalk, reworked inblack chalk; 311 x 272 mm.PROV.: Everhard Jabach (1610–1695), Paris (L. 2959); Cabinet

du Roi, 1671; seized during the Revolution, 1793; transferredto the museum (L. 1899 and 2207), 1796–97.LIT.: Reiset 1866, no. 217 (as Genga); Paris 1983–84, no. 4(entry by Roseline Bacou); Colombi Ferretti 1985, p. 87, repr.;Bambach 1999, pp. 312 and 314–15, repr.

A14 Fig. 26Virgin and Child (Study for the Cesena Altarpiece)c. 1516–18Geneva, Marie-Anne Krugier-Poniatowski collection.Red chalk, over traces of black chalk; 260 x 180 mm. Inscribedat lower right, in brown ink, Oeuvre de Raphaele.WATERMARK: Letter W.PROV.: Sale, London, Christie’s, 6 July 2004, lot 2, repr. (incolor).LIT.: Munich 2007, no. 19 (entry by Anna Rühl, with a wrongtranscription of the inscription on the drawing as “Fattore diRaffaello”), repr. (in color).

A15 Fig. 27Study of a Seated Man in Profile to the Right (Study for St.Gregory the Great)c. 1516–18Paris, De Bayser S.A.Black chalk; 325 x 200 mm. Numbered at upper left, in brownink, 89; and inscribed on the mount, in brown ink and wash,Girolamo Genga.LIT.: Paris 2012, no. 1, repr.

A16 Fig. 28Study of a Group of Figures (St. Augustine Baptizing theCathecumens)c. 1516–18Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no.10900 F.Red chalk, over stylus underdrawing; 235 x 420 mm.PROV.: Cardinal Leopoldo de’ Medici (1617–1675), Florence;by whom given to the museum (L. 929), 1700. LIT.: Ferri 1890, p. 208 (recording Giovanni Morelli’s attribu-tion to Genga); Fischel 1917, no. 203; Pouncey and Gere 1962,p. 160, under no. 270; Colombi Ferretti 1985, p. 90, repr.

A17 Fig. 31Study for the Risen Christ and Angelsc. 1520–23Oslo, Nasjonalmuseet, inv. no. NG B. 15225.Pen and brown ink, with brown wash, over black chalk; diam.:262 cm. Inscribed on the verso, by Charles Gasc, in brown ink,Fontana (Prosper), né à Bologne en 1512, mort en 1597. Elèved’Inn. Francucci d’Imola. Dessin donné par mon frère Paul-Emile àParis le 20 Juin 1860. / D=0m.262 / C. Gasc.PROV.: Amédée Paul-Émile Gasc (1817–1866), Paris (L. 1131);by whom given to his brother, Charles Gasc (1818–after 1869),Paris (L. 1068).LIT.: Colombi Ferretti 1985, p. 70, repr.

A18 Figs. 32–33Study for the Risen Christ and Angels (recto)

41 41

To-do List with Sketches of Horses’ Heads (verso)c. 1520–23Edinburgh, National Galleries of Scotland, inv. no. D 1569. Red chalk (recto); pen and brown ink, over traces of blackchalk (verso); 406 x 265 mm. Inscribed at lower right, in brownink, Raffaello and 12; on verso, in brown ink, Recordo andare ado[mino] Gironimo se no viene / Ricordo andar a messer Gironimocon…la… / Ricordo andar a mo [maestro] guido per el gruppo con [la]calce / pierantonio dar le prece con...lettere a casa di A... / Involti nesiugatoio con le scuffie / Ricordo far portare El materazo al patrone /Ricordo parlare a baldassarre da Siena / Rico [struck through] /Hiro[nimo] Ginga ur[binas].PROV.: David Laing (1793–1878), Edinburgh; by whom givento the Royal Scottish Academy (L. 2188); transferred to themuseum, 1910.LIT.: Petrioli Tofani 1964, p. 58; Andrews 1968, p. 54, bothsides repr.; Colombi Ferretti 1985, pp. 66–68, repr.

A19 Fig. 35Modello for the “Mystic Marriage of St. Catherine”c. 1520–23Paris, Musée du Louvre, Département des Arts Graphiques,inv. no. 3462.Pen and brown ink, with brown wash and opaque white, overtraces of black chalk; 343 x 284 mm.PROV.: Everhard Jabach (1610–1695), Paris (on his gold mountd’ordonnance); Cabinet du Roi, 1671; seized during theRevolution, 1793; transferred to the museum (L. 1899 and2207), 1796–97.LIT.: Paris 1983–84, no. 5 (entry by Roseline Bacou), repr.;Colombi Ferretti 1985, pp. 61, 64, repr.; Paris 1992, no. 6(entry by Dominique Cordellier), repr.; Atlanta 2006, no. 15(entry by Varena Forcione), repr. (in color).

A20 Fig. 36Study for the “Mystic Marriage of St. Catherine”c. 1520–23Paris, Fondation Custodia, Frits Lugt Collection, inv. no. 4840. Pen and brown ink, with brown wash, over black chalk; con-tours pricked for transfer; framing line in brown ink; lower leftcorner made up; 251 x 226 mm. Inscribed at upper right, inblack ink, !; and at lower right, in brown ink, 2. PROV.: Max Strauss (1869–1925), Vienna; his sale, Vienna,Galerie H. O. Miethke, 2–4 May 1906, lot 111 (as Raphael);Arthur Feldmann (1877–1941), Brno; his sale, Lucerne, H.Gilhofer & H. Ranschburg, 28 June 1934, lot 186 (asBartolomeo Neroni); Frits Lugt (1884–1970), Paris (L. 1028).LIT.: Byam Shaw 1983, no. 92, repr.; Colombi Ferretti 1985,pp. 61, 65, fig. 22.

A21 Fig. 37Study for the Figures of Sts. Zachary and Catherinec. 1520–23Formerly art market, London.Pen and brown ink, over traces of black chalk; 201 x 111 mm.PROV.: Jean-Luc Baroni Ltd., London (dealer).LIT.: New York and London 2003, no. 1, repr. (in color).

A22 Fig. 38Warriors Preparing for Battlec. 1520Dresden, Kupferstich-Kabinett, inv. no. C 14.Pen and brown ink, with gray-brown wash, over black chalk;later additions made in pen and brown ink on the lower side ofthe sheet; 325 x 363 mm.PROV.: Acquired by the museum before 1764.LIT.: Morelli 1886, p. 264; idem 1893, pp. 284–85; Bambach2008, p. 59, fig. 9.

A23 Fig. 41Battle Scene and Decorative Frieze with Sea Creaturesc. 1525–30Los Angeles, J. Paul Getty Museum, inv. no. 90.GA.131. Pen and two shades of brown ink; 140 x 201 mm. Inscribed onthe verso of the old backing, by Sagredo, in brown ink, S.R.No 9.PROV.: Zaccaria Sagredo (1653–1729), Venice (L. Suppl.2103a); his nephew Gherardo Sagredo (d. 1738), Venice; hiswidow, Cecilia Grimani Sagredo (d. 1755), Venice; her daugh-ters Catarina Barbarigo and Marina Sagredo Pisani (d. 1774);the latter’s nieces, Contarina and Cecelia Barbarigo; possiblyJean-Jacques de Boissieu (1736–1810), Lyon; thence by descentuntil sale Lyon, 1919; sale, Paris, Hôtel Drouot, 23 May 1986,lot 201; art market, Boston; from which acquired by the muse-um, 1991.LIT.: Walsh 1991, p. 156, no. 42, repr.; Turner and Plazzotta1997, no. 17, repr.

A24 Fig. 42Battle Scene c. 1525–30Stockholm, Nationalmuseum, inv. no. NM 1384/1863. Pen and brown ink, over traces of black chalk; 188 x 275 mm.Inscribed in brown ink: at lower left, by Santacroce (?), TICIAN;at lower center right, by Sparre, 1205; and at lower right cor-ner, with Crozat’s number, 34.WATERMARK: Letter A (close to Briquet, no. 1919: Venice1503).PROV.: Cardinal Antonio Santacroce (1589-1641), Rome;Pierre Crozat (1665–1740), Paris (L. 3612); his sale, Paris, 10April–13 May 1741, lot 644 (as Titian); Carl Gustav Tessin(1695–1770), Åkerö, Sweden (L. 2985; his MS. Inventory of1739–42, p. 60; MS. of 1790, no. 2); by whom ceded to KingAdolph Frederick of Sweden (reg. 1571–71); his son, KingGustav III of Sweden (reg. 1771–92); by whom given to theKongliga Biblioteket, Stockholm (L. 1638).LIT.: Stockholm 1962–63, no. 216 (as Romanino); Bjürstrom1979, no. 120 (as Titian), repr. (in color); Washington, DC, andelsewhere 1985, no. 7 (as Genga), repr.; Wethey 1987, no. A-37 (as Titian); Nova 1994, no. 69 (rejected as Romanino);Epifani 2004, no. 44 (as Romanino), repr.

A25 Fig. 42 Battle Scene with Francesco Maria della Rovere and a Sea God(recto)

4242

Sketch for an Arch (verso)c. 1525–30Paris, Musée du Louvre, Département des Arts Graphiques, inv.no. 10614. Recto: Pen and brown ink, over traces of black chalk; Verso:Pen and brown ink; 213 x 302 mm. Inscribed on verso, ingraphite, N. / 27094 and 12521/93.PROV.: Charles-Paul-Jean-Baptiste de Bourgevin Vialart deSaint-Morys (1743-1795), Paris and the château de Hondain-ville, near Beauvais; seized during the Revolution (Saisie desBiens des Émigrés), 1793; transferred to the museum (L. 1886),1796–97.LIT.: Paris 1992, no. 7 (entry by Dominique Cordellier), repr.(recto only); Urbino and elsewhere 2004, p. 468, under no.XV.1 (entry by Anna Forlani Tempesti).

A26 Fig. 44 Study of a Soldier on Horseback Holding a Bannerc. 1525–30Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no.1351 F.Pen and brown ink, over black chalk; squared in black chalk;241 x 151 mm. Inscribed on the mount, in pencil, da GirolamoGenga / K. Oberhuber.PROV.: Possibly Canon Apollonio Bassetti (1631–1699),Florence (L. 930); by whom given to Cosimo III de’ Medici(1642–1723), Grand Duke of Tuscany; by whom given to themuseum, 1700.LIT.: Petrioli Tofani 1969, fig. 45; Pesaro 2001, p. 44, under no.17 (entry by Anna Forlani Tempesti); Petrioli Tofani 2005, p.171, repr.

A27 Fig. 45Battle Scene with Horsemen in a Landscapec. 1525–30Paris, Musée du Louvre, Département des Arts Graphiques, inv.no. 10664.Pen and brown ink, over black chalk, 330 x 379 mm.PROV.: Everhard Jabach (1610–1695), Paris (L. 2959); Cabinetdu Roi, 1671; seized during the Revolution, 1793; transferredto the museum (L. 1886), 1796–97.LIT.: Paris 1983–84, no. 6 (entry by Roseline Bacou), repr.;Paris 1992, no. 8 (entry by Dominique Cordellier), repr.;Urbino and elsewhere 2004, p. 468.

A28 Fig. 58Study of Nude Slaves Pulling Ropesc. 1525–30Paris, Musée du Louvre, Département des Arts Graphiques, inv.no. RF 38812. Pen and brown ink, over black chalk; 236 x 420 mm.PROV.: Zaccaria Sagredo (1653–1729), Venice (L. Suppl.2103a); his nephew Gherardo Sagredo (d. 1738), Venice; hiswidow, Cecilia Grimani Sagredo (d. 1755), Venice; her daugh-ters Catarina Barbarigo and Marina Sagredo Pisani (d. 1774);the latter’s nieces, Contarina and Cecelia Barbarigo; Jean-Jacques de Boissieu (1736–1810), Lyon; thence by descent;

43 43

Mme de Boissieu; from whom purchased by the museum,1981.LIT.: Paris 1984, no. 3, repr.

A29 Fig. 59Nude Warriors Armed with Spearsc. 1525-30Washington, DC, National Gallery of Art, inv. no.1943.3.8885.Pen and brown ink, over black chalk; upper left side made up,old restorations, water and ink stains; 202 x 203 mm.Numbered twice along lower edge, in black ink, No. 65;inscribed across bottom of mount, Girolamo Genga.; on verso:at upper center, EE/59. / Lh.73. (crossed out); and at upperleft, Aa / No 24.PROV.: Lessing J. Rosenwald (1891–1979), Philadelphia; bywhom donated to the museum, 1943.

A30 Fig. 60Battle between Nude Cavalrymen and Foot Soldiersc. 1515–20Vienna, Albertina, inv. no. 233. Pen and brown ink, over black chalk, on paper with addition-al strips at top, bottom left, and right; 273 x 420 mm. Inscribedat lower right, probably by Rutgers, in black ink, Raphaëllo daUrbino f.PROV.: Probably Antoni Rutgers (1695–1778), Amsterdam;Albert, Duke of Saxe-Teschen (1738–1822), Vienna (L. 174).LIT.: Birke and Kertész 1992–97, vol. 1, no. 233; Haarlem2012, no. 2 (entry by Achim Gnann), repr. (in color).

Figure 58

GIROLAMOGENGA

Study of NudeSlaves PullingRopes (cat. no.A28)


Figure 59

GIROLAMOGENGA

Nude WarriorsArmed with Spears(cat. no. A29)

Washington, DC,National Gallery ofArt

44 44

9; Urbino and elsewhere 2004, no. xv.1 (entry by Anna ForlaniTempesti), repr. (in color).

A34 Fig. 51Modello for the “Coronation of Charles V in Bologna in 1530”c. 1530Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no.1382 E.Pen and brown ink, with brown wash and opaque white, ontwo pieces of paper joined vertically, mounted on a secondpaper support; squared in black chalk; 415 x 467 mm. Inscribedon the verso, in a nineteenth-century hand, in graphite, manieradi Giorgione; and probably in the hand of Pasquale Nerino Ferri,in blue chalk, Pordenone.PROV.: Cardinal Leopoldo de’ Medici (1617–1675), Florence;by whom given to the museum (L. 929), 1700.LIT.: Smyth 1955, p. 152, n. 2; Petrioli Tofani 1987, pp.574–75 (as Genga), repr.; Eiche 1991a, pp. 106–7, fig. 8 (asGenga).

The attribution is due to Philip Pouncey.

A35 Figs. 52–53Study for the West Extension of the Villa Imperiale (recto)Decorative Sketches and Studies for a Candle-holder and OtherMotifs (verso)c. 1525–30Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no.2401.Pen and brown ink, over traces of black chalk; 340 x 300 mm.PROV.: Possibly Canon Apollonio Bassetti (1631–1699),Florence (L. 930); by whom given to Cosimo III de’ Medici(1642–1723), Grand Duke of Tuscany; by whom given to themuseum, 1700.LIT.: Ferri 1885, pp. 36 and 61 (as Bernardo Buontalenti);Castelbarco Albani and Di Nallo 2009, pp. 72–76, repr. (asGenga).

A36 Fig. 54Design for a Bucket-like Vessel with a River God and Two Puttic. 1535–45New York, Metropolitan Museum of Art, inv. no. 49.19.66.Pen and brown ink, reworked with a darker ink, over blackchalk, with traces of squaring in black chalk; 183 x 142 mm.Inscribed at center, in brown inik, Polidoro.PROV.: János Scholz (1903–1993), New York; from whomacquired by the museum (Elisha Whittelsey Collection Fund),1949.LIT.: Bambach 2008, p. 59 (as Genga).

Cat. nos. A36–A39 were identified by Carmen Bambach in2004 as “circle of Genga,” citing Philip Pouncey’s earlier attri-bution to the artist (note in the departmental object files).

A37 Fig. 61Design for a Bucket-like Vessel with a Scroll, Garland, and a Satyr’sHead

A clean copy of this drawing is in the Art Institute of Chicago.90

A31 Fig. 46Battle Scenes with Mythological Figuresc. 1525–30Chicago, Art Institute of Chicago, inv. no. 1922.825. Pen and brown ink, over black chalk and stylus incisions madewith a ruler and free-hand; later paper additions, creases at cen-ter; 508 x 360 mm.PROV.: Parsons & Sons (dealer), London (L. 2881); William F.E. Gurley (1854–1943), Chicago; by whom given to the muse-um in honor of his mother, Leonora Hall Gurley (1831–1903),1922.LIT.: Joachim and McCullagh 1979, p. 23, repr.; ColombiFerretti 1985, p. 73; McCullagh and Giles 1997, no. 491, repr.(in color).

A32 Fig. 47Soldiers and Horsesc. 1530Paris, Musée du Louvre, Département des Arts Graphiques,inv. no. 10686. Pen and brown ink, over black chalk; squared in black chalk;later additions and reworking in pen and brown ink, done atthe time of Jabach, on two pieces of paper; 353 x 312 mm.PROV.: Everhard Jabach (1610–1695), Paris (L. 2959); Cabinetdu Roi, 1671; seized during the Revolution, 1793; transferredto the museum (L. 1899 and 2207), 1796–97.LIT.: Paris 1983–84, no. 6, repr.; Cambridge 1985, no. 24, repr.;Eiche 1991a, p. 203, fig. 2; Arbizzoni et al. (eds.) 2001, vol. 2,p. 219 (entry by Paolo Dal Poggetto); Pinelli 2004, p. 39, repr.

A33 Fig. 49Study for the “Coronation of Charles V in Bologna in 1530”c. 1530Florence, Museo Horne, on deposit at the Gabinetto Disegni eStampe degli Uffizi, inv. no. 5951.Pen and brown ink, over black chalk (main scene), red chalk(architecture studies), incisions made with stylus and ruler; 254x 392 mm.PROV.: Herbert P. Horne (1864–1916), Florence (L. Suppl.1266c); by whom bequeathed to the Italian state, 1916.LIT.: Collobi Ragghianti 1963, no. 50; Eiche 1991a, p. 108, fig.

Figure 60

GIROLAMOGENGA

Battle betweenNude Cavalrymenand Foot Soldiers(cat. no. A30)

Vienna, Albertina

4545

c. 1535–45New York, Metropolitan Museum of Art, inv. no. 49.19.68.Pen and brown ink, over black chalk; 188 x 151 mm. Inscribedat lower left, in brown ink, maturin (?) or mantuàn (?).PROV.: János Scholz (1903–1993), New York; from whomacquired by the museum (Elisha Whittelsey Collection Fund),1949.LIT.: Notre Dame 1980, no. 106 (as Ferrarese, c. 1520), repr.;Bambach 2008, p. 59 (as Genga).

A38 Fig. 62Design for a Bucket-like Vessel with Bucrania, Garlands, and ThreeRiver Godsc. 1535–45New York, Metropolitan Museum of Art, inv. no. 49.19.67.Pen and brown ink, with brown wash, over black chalk; 211 x175 mm. Inscribed at center, in brown ink, Polidoro.PROV.: János Scholz (1903–1993), New York; from whomacquired by the museum (Elisha Whittelsey Collection Fund),1949.LIT.: Bambach 2008, p. 59 (as Genga).

A39 Fig. 63Design for a Bucket-like Vessel with Dancing Figuresc. 1535–45New York, Metropolitan Museum of Art, inv. no. 49.19.65.Pen and brown ink, with gray-brown wash, over black chalk;212 x 143 mm. Inscribed at lower left, in brown ink, da polidoro.PROV.: János Scholz (1903–1993), New York; from whomacquired by the museum (Elisha Whittelsey Collection Fund),1949.LIT.: Notre Dame 1980, no. 107 (as Roman, c. 1520–30), repr.;Bambach 2008, p. 59 (as Genga).

A40 Figs. 64–65Study for a Kneeling Nude Young Man (recto)Architectural Study for the Portal of the Courtyard of the PalazzoDucale, Pesaro (verso)c. 1525–30Paris, Musée du Louvre, Département des Arts Graphiques, inv.no. 2708. Pen and brown ink, over traces of black chalk; 151 x 101 mm.Inscribed on verso: twice at lower right (upside down), in brownink and graphite, 28 B; and twice at center (also upside down), inbrown ink, 12,584; and in graphite, N.111 / 22627.PROV.: Everhard Jabach (1610–1695), Paris (L. 2959); Cabinetdu Roi, 1671; seized during the Revolution, 1793; transferredto the museum (L. 1886), 1796–97.

A41 Fig. 55Design for an Oval Plate with a River God, a Goddess, and OtherFiguresc. 1540–45Windsor Castle, Royal Library, inv. no. RL 0473. Pen and brown ink, over black chalk; partial oval outlineincised with a stylus, gone over in brown ink, on two pieces of

Figures 61–63(above left, above,and left)

GIROLAMOGENGA

Designs forBucket-like Vessels(cat. nos. A37–A39)

New York,MetropolitanMuseum of Art

Figures 64–65(below left and right)

GIROLAMOGENGA

Study for aKneeling NudeYoung Man (cat.no. A40 recto)

Architectural Studyfor the Portal of theCourtyard of thePalazzo Ducale,Pesaro (cat. no.A40 verso)


46 46

GROUP B:ATTRIBUTED DRAWINGS

B1 Fig. 1Studies of Male Nudes c. 1499–1505Chantilly, Musée Condé, inv. no. DE 28.Metalpoint, pen and brown ink, over traces of black chalk (?),on gray-lilac prepared paper; lower right corner made up; 197x 250 mm. Inscribed at lower left, in brown ink, T.V.PROV.: Viti–Antaldi collection, Urbino (L. Suppl. 2463a ); SirThomas Lawrence (1769–1830), London (L. 2445); FrédéricReiset (1815–1891), Paris; from whom purchased by Henrid’Orléans, Duc d’Aumale (1822–1897), Chantilly (L. 2779),1861.LIT.: Peronnet 1995, no. 29, repr. (as Timoteo Viti after LucaSignorelli); Anna Forlani Tempesti, “Viti disegnatore,” in Cleri(ed.) 2008, p. 178, fig. 1 (as Timoteo Viti).

B2 Fig. 66Head of a Childc. 1500–1505London, British Museum, inv. no. 1895,0915.625.Metalpoint on gray-prepared paper; left corners made up; 107x 89 mm.PROV.: William Dyce (1806–1864), London; John CharlesRobinson (1824–1913), London; John Malcolm (1805–1893),Poltalloch House, Argyllshire; his son, Col. John WingfieldMalcolm (1833–1902), Poltalloch; from whom acquired by themuseum, 1895. LIT.: Robinson 1876, no. 187 (as Raphael).

B3 Fig. 2Two Embracing Tritonsc. 1500–1505Paris, Musée du Louvre, Département des Arts Graphiques, inv.no. RF 4249. Pen and brown ink, over traces of black chalk; 202 x 238 mm.Inscribed at lower left, in brown ink, G.G.V.; and annotated onthe mount with attribution by Philip Pouncey, Girolamo Genga.PROV.: Viti–Antaldi collection, Urbino (L. Suppl. 1157c );Marchese Giovanni Mario de Candia (1810–1883), Rome;Baron Basil de Schlichting (d. 1914), 1909; by whom given tothe museum, 1909.LIT.: Tietze and Tietze-Conrat 1941, pp. 110–16 (as Dürer orJacopo de’ Barbari); idem 1944, p. 170 (as Dürer); Strauss 1974,no. 1494/14 (as Dürer), repr.; Faietti and Scaglietti Kelescian1995, p. 261, under no. 46 (citing Pouncey’s new attribution toGenga); Anna Forlani Tempesti in Pesaro 2001, p. 44, underno. 17 (entry by Anna Forlani Tempesti; as Genga from hereonward); Trent 2008, p. 368, under no. 61 (entry by GiorgioMarini).

B4 Fig. 67Study of a Bullc. 1504Paris, Musée du Louvre, Département des Arts Graphiques, inv.

paper joined vertically; 307 x 193 mm. Inscribed at lower left,in brown ink, H. Ginga (?).PROV.: Nicholas Lanier (1588–1666), London (L. 2885); KingGeorge III (reg. 1760–1820); Royal Library (L. 901).LIT.: Popham and Wilde 1949, no. 341, repr.; London and else-where 1999–2000, no. 8, repr. (in color).

A42 Fig. 56Design for an Oval Plate with a River God, a Goddess, and OtherFiguresc. 1540–45Milan, Biblioteca Ambrosiana, Cod. F 262 inf. 7.Pen and brown ink, over black chalk; oval shape incised with astylus; framing line in brown ink; mounted on canvas; 347 x240 mm. Inscribed by the artist at lower left, in brown ink, ;on mount, in brown ink, Delle [sic] Scuola di Michelangelo; inpencil, by Philip Pouncey, Genga; and on verso of mount, on apiece of paper, glued onto the canvas: in brown ink, n. 17; ingraphite, 62; in brown ink, …Milan, …D’italie; and byPouncey (?), in pencil, L’altra metà si trova a Windsor.PROV.: Possibly Cardinal Federico Borromeo (1564–1631),Milan, 1609.LIT.: Popham and Wilde 1949, pp. 233–34, under no. 341;London and elsewhere 1999–2000, pp. 43–45, under no. 8, repr.

A43 Fig. 57Design for a Salt-cellar with Atlasc. 1540–45London, British Museum, inv. no. 1946,0713.1487. Pen and brown ink, with brown wash, over black chalk; 246 x284 mm. Numbered at upper left, in black ink, no. 17.PROV.: Sir Thomas Phillipps (1792–1872), Thirlestaine House,Cheltenham; his grandson, Thomas Fitzroy Fenwick (1856–1938), Thirlestaine; Count Antoine Seilern (1901–1978),London; by whom given to the museum, 1946.LIT.: Gere and Pouncey 1983, no. 378, repr.; Wilson 1991, p.158, repr.

Figure 66


Head of a Child(cat. no. B2)


4747

acquired by the museum, 1895. LIT.: Popham and Pouncey 1950, no. 246 (as after Signorelli);Bambach 1988, vol. 2, no. 296 B (as Signorelli?); Bambach1999, pp. 304 and 481, repr. (as workshop of Signorelli); Henry2012, p. 231.

B8 Fig. 70Four Figures from a Flagellation1508–10London, British Museum, inv. no. 1895,0915.604.Black chalk, over pouncing in black chalk, on paper prickedwith a different design (griffon); 323 x 279 mm. Inscribed atlower left, in brown ink, LS.PROV.: William Young Ottley (1771–1836), London; his sale,London, T. Philipe, 17 June 1814, one of a pair (with cat. no.B7) in lot 1270 (as Signorelli); Sir Thomas Lawrence(1769–1830), London (L. 2445); Samuel Woodburn (1786–1853), London; his sale, London, Christie’s, 7 June 1860, oneof a pair (with cat. no. B7) in lot 847 (as Signorelli); JohnMalcolm (1805–1893), Poltalloch House, Argyllshire; his son,Col. John Wingfield Malcolm (1833–1902), Poltalloch; fromwhom acquired by the museum, 1895.LIT.: Popham and Pouncey 1950, no. 247; Bambach 1999, pp.

no. RF 57.Pen and brown ink, over traces of black chalk; 167 x 282 mm.Inscribed at lower left, in brown ink, T.V.V.PROV.: Viti–Antaldi collection, Urbino (variant of L. Suppl.2463a); Jacques Edouard Gatteaux (1788–1881), Paris; bywhom given to the museum, 1873.LIT.: Moroni 2007, p. 221, repr. (as Timoteo Viti).

B5A Rearing Horse and Riderc. 1505Location unknown. Pen and brown ink, over traces of black chalk (?); 292 x 212mm.PROV.: Sir John Witt (1907–1982), London.LIT.: “Drawings from the John Witt Collection now BeingExhibited at the Courtauld Institute Galleries, London,” TheIllustrated London News, 26 January 1963, London, p. 127, repr.

This drawing is stylistically close to that on the verso of cat. no.A3.

B6 Fig. 68Three Male Nudesc. 1505London, Courtauld Gallery, inv. no. D.1952.RW.1852.Red chalk; 227 x 193 mm.PROV.: Sir Robert Witt (1872–1952), London; by whombequeathed to the gallery, 1952.

B7 Fig. 69Three Figures from a Flagellation1508–10London, British Museum, inv. no. 1895,0915.603.Black chalk, over pouncing in black chalk, on paper prickedwith a different design (a cardinal’s hat); 323 x 235 mm. PROV.: William Young Ottley (1771–1836), London; his sale,London, T. Philipe, 17 June 1814, one of a pair (with cat. no.B8) in lot 1270 (as Signorelli); Sir Thomas Lawrence (1769–1830), London (L. 2445); Samuel Woodburn (1786–1853),London; his sale, London, Christie’s, 7 June 1860, one of a pair(with cat. no. B8) in lot 847 (as Signorelli); John Malcolm(1805–1893), Poltalloch House, Argyllshire; his son, Col. JohnWingfield Malcolm (1833–1902), Poltalloch; from whom

Figure 67 (left)


Study of a Bull(cat. no. B4)


Figure 68

GIROLAMOGENGA (attributed to)

Three Male Nudes(cat. no. B6)

London, CourtauldGallery

Figures 69–70 (leftand right)


Three Figuresfrom a Flagellation(cat. no. B7)

Four Figures froma Flagellation (cat.no. B8)


48 48

B12Standing Male Nude, Holding a Ropec. 1515Location unknown.Black chalk; 355 x 251 mm.PROV.: Sale, London, Sotheby’s, 28 June 1978, lot 8 (as attrib-uted to Girolamo Genga).

B13Series of Nineteen Fragments on Two Separate MountsNew York, Morgan Library & Museum.Each fragment is inscribed on the verso, in graphite, Andrea oGiorgio Schiavone. PROV.: John Charles Robinson (1824–1913), London (L. 1921on each fragment); Charles Fairfax Murray (1849–1919),London; from whom purchased by J. Pierpont Morgan (1837–1913), New York, 1910; his son, J. P. Morgan, Jr. (1867–1943),New York; by whom given to the library, 1943.LIT.: “List of Drawings Supplementing those Listed in theFairfax Murray Catalogue” (unpublished typescript in theMorgan Reading Room, shelf mark RR 371), vol. 1, pp. 3–4,nos. 1–11, 1–8 (as “Lombard School”).

• B13-aBacchanal with Maenad at Left and Armor in the ForegroundInv. no. I, 43b: no. 126.Pen and two shades of brown ink; 64 x 104 mm.

• B13-b Fig. 40Battling Figures, Some on Horseback Inv. no. I, 43a: no. 132. Pen and two shades of brown ink; 61 x 50 mm.

• B13-cBattling Soldiers with Shields, Some on HorsebackInv. no. I, 43a: no. 139. Pen and brown ink; 32 x 71 mm.

• B13-dCart Pulled by Four HorsesInv. no. I, 43a: no. 130. Pen and brown ink; 38 x 100 mm.

• B13-eThe Discovery of Ariadne (?)Inv. no. I, 43b: no. 128.Pen and two shades of brown ink; 39 x 116 mm.

• B13-fDrunken Silenus on a Donkey, Supported by a SatyrInv. no. I, 43a: no. 137.Pen and two shades of brown ink; 48 x 54 mm.

• B13-gFallen Soldier, Attacked by Another, and Other Battling SoldiersInv. no. I, 43a: no. 140.Pen and brown ink; 31 x 75 mm.

304 and 481, repr. (as workshop of Signorelli); Henry 2012, p. 231.

B9 Fig. 71The Crucifixion1508–10Paris, Musée du Louvre, Département des Arts graphiques, inv.no. 1800.Black chalk, over pouncing in black chalk, with pen and brownink, the outlines pricked, squared in black chalk, compass inci-sions, on four sheets of paper; 530 x 830 mm. Inscribed atupper left, in brown ink, del Sr. Luca Signorelli.PROV.: Filippo Baldinucci (1624–1697), Florence (first volumeof his collection, fol. 131, as Signorelli); his son, FrancescoSaverio Baldinucci (1663–1738), Signa, near Florence; bywhom sold to Pandolfo Pandolfini (d. 1731), Florence andNaples; by descent to Anna Eleonora Pandolfini (d. 1802),Florence; her husband, Filippo Strozzi (fl. 1806–18), Florence;from whom purchased, on the advice of François Xavier Fabre(1766–1837), by the Musée Napoléon (L. 1886), 1806.LIT.: Berenson 1932, no. 2509 H-8 (as copy after Signorelli);Bambach 1988, vol. 2, no. 295 (as Signorelli?); Bambach 1999,pp. 303–4 and 481 (as Signorelli or workshop), repr.; Henry2012, pp. 231 and 384.

B10Studies of Male Nudes (after Michelangelo’s Bathers)Pesaro, Biblioteca Oliveriana, Antaldi collection, inv. no. 523.Red chalk; 320 x 220 mm. Inscribed at lower right, in blackink, G.G.V.; and on verso, in brown ink, Girolamo Genga.PROV.: Viti–Antaldi collection, Urbino (L. Suppl. 1157c ).LIT.: Costamagna et al. (eds.) 2005, no. 12 (entry by AnnaForlani Tempesti; as “Girolamo Genga?”).

B11Study of a Battle Scenec. 1515–25Dresden, Kupferstich-Kabinett, inv. no. C 158.Pen and brown ink, over red chalk; 280 x 210 mm.PROV.: Acquired by the museum before 1764.

Figure 71


The Crucifixion(cat. no. B9)


4949

• B13-sTwo Standing Togati, the One on the Right Seen from the BackInv. no. I, 43a: no. 138.Pen and brown ink; 38 x 39 mm.

B14 Figs. 72–73Battle between Hercules and a Centaur (recto)Fragment of Studies for a Horse (verso) c. 1520–25Hamburg, Hamburger Kunsthalle, inv. no. 52154. Pen and brown ink; 59 x 60 mm.PROV.: Ernst Georg Harzen (1790–1863), Hamburg (L. 1244);Ludwig Hermann Philippi (1848–1908), Hamburg (L. 1335);

• B13-hFour Pairs of Fighting Soldiers in ArmorInv. no. I, 43b: no. 122.Pen and two shades of brown ink; 26 x 82 mm.

• B13-i Fig. 39“Submissio” (relief from the Arch of Constantine)Inv. no. I, 43a: no. 136.Pen and two shades brown ink, over traces of black chalk;65 x 52 mm.

• B13-jSoldier in Armor on HorsebackInv. no. I, 43a: no. 135.Pen and brown ink; 60 x 71 mm.

• B13-kSoldiers Bringing a Prisoner before a Seated Military CommanderInv. no. I, 43b: no. 125.Pen and two shades of brown ink; 40 x 55 mm.

• B13-lThree Battling Horsemen and Fragment of Another HorseInv. no. I, 43a: no. 134.Pen and two shades of brown ink; 43 x 56 mm.

• B13-mThree Fighting Soldiers Moving to the Left, and One OtherStanding at RightInv. no. I, 43a: no. 133.Pen and brown ink; 36 x 46 mm.

• B13-nThree Soldiers, Each with a ShieldInv. no. I, 43b: no. 123.Pen and two shades of brown ink; 32 x 71 mm.

• B13-oTwo Horses, a Prostrate Figure and the Hind Legs of a ThirdHorseInv. no. I, 43a: no. 131.Pen and two shades of brown ink; 49 x 51 mm.

• B13-pTwo Men and Three Dogs Attacking an OxInv. no. I, 43b: no. 124.Pen and two shades of brown ink; 38 x 78 mm.

• B13-qTwo Soldiers before a Seated Military RulerInv. no. I, 43b: no. 129.Pen and brown ink; 34 x 56 mm.

• B13-rTwo SoldiersInv. no. I, 43b: no. 127.Pen and two shades of brown ink; 46 x 33 mm.

Figures 72–73 (top and bottom)


Battle betweenHercules and aCentaur (cat. no.B14 recto)

Fragment ofStudies for a Horse(cat. no. B14verso)

Hamburg,HamburgerKunsthalle

by whom bequeathed to the museum (L. 686 and 1328), 1908.LIT.: Klemm 2009, vol. 1, no. 652, both sides repr.

B15Architectural Rendering of the Villa Imperiale Nuova, Pesaroc. 1525–30Florence, Gabinetto Disegni e Stampe degli Uffizi, inv. no. 2177.PROV.: Possibly Canon Apollonio Bassetti (1631–1699),Florence (L. 930); by whom given to Cosimo III de’ Medici(1642–1723), Grand Duke of Tuscany; by whom given to themuseum, 1700.LIT.: Ferri 1885, pp. 32 and 54; Thoenes 1974, p. 254, fig. 137.

This drawing is not autograph, in my view; neither is it con-nected to the entrance of Villa Imperiale, as commonly stated.

50 50

della Fondazione Horne in Firenze, Florence, 1963.

COLOMBI FERRETTI 1985. Anna Colombi Ferretti, GirolamoGenga e l’altare di S. Agostino a Cesena, Bologna, 1985.

COSTAMAGNA et al. (eds.) 2005. Philippe Costamagna et al., eds.,Disegno, giudizio e bella maniera: Studi sul disegno italiano inonore di Catherine Monbeig Goguel, Cinisello Balsamo, 2005.

DAL POGGETTO 2003. Paolo Dal Poggetto, La Galleria Nazionaledelle Marche e le altre collezioni del Palazzo Ducale, Rome,2003.

–––––– 2004. Paolo Dal Poggetto, “Francesco Maria I, EleonoraGonzaga e il cantiere pittorico dell’Imperiale Vecchia,” inUrbino and elsewhere 2004, pp. 136–48.

DONATI 2007. Andrea Donati, Girolamo Marchesi da Cotignola,San Marino, 2007.

EICHE 1989. Sabine Eiche, “Architetture sforzesche,” in MariaRosaria Valazzi, ed., Pesaro tra Medioevo e Rinascimento,Venice, 1989, pp. 269–303.

–––––– 1991a. Sabine Eiche, “Prologue to the Villa ImperialeFrescoes,” Notizie da Palazzo Albani: Rivista di Storia e Teoriadelle Arti, 20, nos. 1–2, 1991, pp. 99–119.

–––––– 1991b. Sabine Eiche, “Girolamo Genga the Architect:An Inquiry into His Background,” Mitteilungen desKunsthistorischen Institutes in Florenz, 35, nos. 2–3, 1991, pp.317–24.

EPIFANI 2004. Mario Epifani, “Il cardinal Antonio Santacroce:Collezionista di disegni,” Les Cahiers de l’Histoire de l’Art, 2,2004, pp. 82–115.

FAIETTI AND SCAGLIETTI KELESCIAN 1995. Marzia Faietti andDaniela Scaglietti Kelescian, Amico Aspertini, Modena, 1995.

FERINO PAGDEN 1979. Sylvia Ferino Pagden, “Timoteo VitisZeichnungen zum verlorenen Martinszyclus in der Kapelledes erzbischofs Arrivabene im Dom von Urbino,”Mitteilungen des Kunsthistorischen Institutes in Florenz, 23, nos.1–2, 1979, pp. 127–44.

–––––– 1984. Sylvia Ferino Pagden, Disegni umbri: Gallerie dell’Accademia di Venezia, Milan, 1984.

FERRI 1885. Pasquale Nerino Ferri, Indici e cataloghi, III: Indicegeografico-analitico dei disegni di architettura civile e militare esisten-ti nella R. Galleria degli Uffizi in Firenze, Rome, 1885.

–––––– 1890. Pasquale Nerino Ferri, Catalogo riassuntivo della rac-colta di disegni antichi e moderni, Rome, 1890.

FISCHEL 1917. Oskar Fischel, “Die Zeichnungen der Umbrer,”Jahrbuch der Königlich Preussischen Kunstsammlungen, 38, 1917,pp. 1–188.

GERE AND POUNCEY 1983. J. A. Gere and Philip Pouncey,Italian Drawings in the Department of Prints and Drawings in theBritish Museum: Artists Working in Rome, c. 1550 to c. 1640,2 vols., London, 1983.

GRIGIONI 1909. Carlo Grigioni, “Per la tavola di GirolamoGenga nella Chiesa di S. Agostino in Cesena,” Rassegna

SELECTED BIBLIOGRAPHICAL ABBREVIATIONS

BOOKS AND ARTICLES

ANDREWS 1968. Keith Andrews, National Gallery of Scotland:Catalogue of Italian Drawings, 2 vols., Edinburgh, 1968.

ARBIZZONI et al. (eds.) 2001. Guido Arbizzoni et al., eds., Pesaronell’età dei Della Rovere, 2 vols., Venice, 2001.

BAMBACH 1988. Carmen Bambach [Cappel], “The Tradition ofPouncing Drawings in the Italian Renaissance Workshop:Innovation and Derivation,” 4 vols., PhD diss., New Haven,Yale University, 1988.

–––––– 1999. Carmen C. Bambach, Drawing and Painting in theItalian Renaissance Workshop: Theory and Practice, 1300–1600,Cambridge, 1999.

–––––– 2008. Carmen C. Bambach, “Drawings in Dresden:Newly Identified Works by Italian Masters,” Apollo, 167, no.550, 2008, pp. 54–61.

BELLUZZI 1535–41 (ed. EGIDI 1907). Giovanni Basttista Belluzzi,called il Sammarino, Diario autobiografico (1535–1541),Rome, Biblioteca Nazionale Vittorio Emanuele, MS.Vittorio Emanuele 476; ed. by Pietro Egidi, with a note byGiovanni Crocioni, Naples, 1907.

BERENSON 1932. Bernard Berenson, “Les Dessins de Signorelli,”Gazette de Beaux-Arts, n.s. 6, 7, 1932, pp. 173–210.

–––––– 1938. Bernard Berenson, The Drawings of the FlorentinePainters, 3 vols., Chicago, 1938.

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BJURSTRÖM 1979. Per Bjurström, Drawings in Swedish PublicCollections, 3: Italian Drawings: Venice, Brescia, Parma, Milan,Genoa, Stockholm, 1979.

BJURSTRÖM AND MAGNUSSON 1998. Per Bjurström and BörjeMagnusson, Drawings in Swedish Public Collections, 6: ItalianDrawings: Umbria, Rome, Naples, Stockholm, 1998.

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BYAM SHAW 1983. James Byam Shaw, The Italian Drawings of theFrits Lugt Collection, 3 vols., Paris, 1983.

CASTELBARCO ALBANI AND DI NALLO 2009. AlessandraCastelbarco Albani and Marco Di Nallo, “Girolamo Gengae il valore politico della facciata di Villa Imperiale: Il foglioGSDU 2401 A,” Atti e Studi: Accademia Raffaello, n.s., 2,2009, pp. 61–76.

CLERI (ed.) 2008. Bonita Cleri, ed., Timoteo Viti: Atti del conveg-no, Quaderni di Palazzo Albani, Urbino, 2008.

COLLOBI RAGGHIANTI 1963. Licia Collobi Ragghianti, Disegni

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–––––– 1968. Annamaria Petrioli Tofani, “Una predella gio-vanile di Girolamo Genga,” in Antje Kosegarten and PeterTigler, eds., Festschrift Ulrich Middeldorf, 2 vols., Berlin, 1968,vol. 1, pp. 206–12.

–––––– 1969. Annamaria Petrioli Tofani, “Per GirolamoGenga,” Paragone, 20, no. 229, 1969, pp. 18–36; “PerGirolamo Genga: II,” Paragone, 20, no. 231, 1969, pp.39–56.

–––––– 1987. Annamaria Petrioli Tofani, Gabinetto Disegni eStampe degli Uffizi. Inventario: Disegni esposti, 2, Florence,1987.

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PINELLI 2004. Antonio Pinelli, La Bellezza impura: Arte e politicanell’Italia del Rinascimento, Bari, 2004.

PINELLI AND ROSSI 1971. Antonio Pinelli and Orietta Rossi,Genga architetto: Aspetti della cultura urbinate del primo 500,Rome, 1971.

POPHAM 1935. A. E. Popham, Catalogue of Drawings in theCollection Formed by Sir Thomas Phillipps, Bart., F.R.S., Nowin the Possession of His Grandson, T. Fitzroy Phillipps Fenwickof Thirlestaine House, Cheltenham, London, 1935.

POPHAM AND POUNCEY 1950. A. E. Popham and PhilipPouncey, Italian Drawings in the Department of Prints andDrawings in the British Museum: The Fourteenth and FifteenthCenturies, 2 vols., London, 1950.

POUNCEY AND GERE 1962. Philip Pouncey and J. A. Gere,Italian Drawings of the Department of Prints and Drawings in theBritish Museum: Raphael and His Circle, 2 vols., London,1962.

POPHAM AND WILDE 1949. A. E. Popham and Johannes Wilde,The Italian Drawings of the XV and XVI Centuries in theCollection of His Majesty the King at Windsor Castle, London,1949.

REISET 1866. Frédéric Reiset, Notice des dessins, cartons, pastels,miniatures et émaux exposés dans les salles du 1er étage au MuséeImpérial du Louvre, première partie: Écoles d’Italie, Paris, 1866.

RINALDI 2013. Furio Rinaldi, “A New Cartoon by TimoteoViti and His Activity as a Draftsman,” Master Drawings, 51,no. 3, 2013, pp. 147–58.

ROBINSON 1876. John Charles Robinson, Descriptive Catalogue ofDrawings by Old Masters Forming the Collection of John Malcolmof Poltalloch, Esq., London, 1876.

SALMI 1950. Mario Salmi, “Luca Signorelli a Morra,” Rivistad’Arte, 26, 1950, pp. 131–47.

Bibliografica dell’Arte Italiana, no. 12, 1909, pp. 56–61.

–––––– 1927. Carlo Grigioni, “La dimora di Girolamo Gengain Romagna e la cappella Lombardini nella chiesa di S.Francesco a Forlì,” La Romagna: Rivista di Storia, Letteratura eArte, 16, 1927, pp. 174–83.

GRONAU 1936. Giorgio [Georg] Gronau, Documenti artisticiurbinati, Florence, 1936.

HENRY 2008. Tom Henry, “Magister Lucas de Cortona, famo-sissimus pictor in tota Italia…,” in Mario Ascheri, ed.,L’ultimo secolo della Repubblica di Siena: Arti, cultura e società,Siena, 2008, pp. 355–65.

–––––– 2012. Tom Henry, The Life and Art of Luca Signorelli,New Haven and London, 2012.

JOACHIM AND MCCULLAGH 1979. Harold H. Joachim andSuzanne Folds McCullagh, Italian Drawings in the Art Instituteof Chicago, Chicago and London, 1979.

KLEMM 2009. David Klemm, Die Sammlungen der HamburgerKunsthalle Kupferstichkabinett, II: Italienische Zeichnungen,1450–1800, 3 vols., Cologne, 2009.

MARCHINI 1970. Giuseppe Marchini, “Il problema dell’Imperiale,” Commentari, 21, 1970, pp. 66–91.

MCCULLAGH AND GILES 1997. Suzanne Folds McCullagh andLaura Giles, Italian Drawings before 1600 in the Art Institute ofChicago: A Catalog of the Collection, Princeton and Chicago,1997.

MILANESI (ed.) 1854–98. Gaetano Milanesi, ed., Documenti per lastoria dell’arte senese, 4 vols., Siena, 1854–98.

MORELLI 1886. Giovanni Morelli [Ivan Lermolieff], Le opere deimaestri italiani nelle gallerie di Monaco, Dresda e Berlino,Bologna, 1886.

–––––– 1893. Giovanni Morelli [Ivan Lermolieff], ItalianPainters, Critical Studies of Their Works by Giovanni Morelli:The Galleries of Munich and Dresden, London, 1893.

–––––– 1897. Giovanni Morelli [Ivan Lermolieff], Della pitturaitaliana, studii storico critici: Le Gallerie Borghese e Doria Pamphiliin Roma, Milan, 1897.

MORONI 2007. Giovanni Moroni, Timoteo Viti nell’ambiente artis-tico urbinate, Urbino, 2007.

NOVA 1994. Alessandro Nova, Girolamo Romanino, Turin, 1994.

PATZAK 1908. Bernhard Patzak, Die Renaissance- und Barockvillain Italien, III: Die Villa Imperiale in Pesaro: Studien zurKunstgeschichte der italienischen Renaissancevilla und ihrerInnendekoration, Leipzig, 1908.

PERONNET 1995. Benjamin Peronnet, Dessins italiens du MuséeCondé à Chantilly, I: Autour de Pérugin, Filippino Lippi etMichel-Ange, Paris, 1995.

–––––– 1997. Benjamin Peronnet, Dessins italiens du MuséeCondé à Chantilly, II: Raphaël et son cercle, Paris, 1997.

PETRIOLI TOFANI 1964. Annamaria Petrioli Tofani, “La

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EXHIBITIONS

ATLANTA 2006. Catherine Loisel and Varena Forcione, TheKing’s Drawings from the Musée du Louvre, exh. cat., Atlanta,High Museum of Art, 2006.

CAMBRIDGE 1985. Julien Stock and David Scrase, TheAchievement of a Connoisseur, Philip Pouncey: Italian Old MasterDrawings, exh. cat., Cambridge, Fitzwilliam Museum, 1985.

FLORENCE 1982. Sylvia Ferino Pagden, Disegni umbri delRinascimento da Perugino a Raffaello, exh. cat., Florence,Gabinetto Disegni e Stampe degli Uffizi, 1982.

–––––– 2001. Giovanni Agosti, Disegni del Rinascimento inValpadana, exh. cat., Florence, Gabinetto Disegni e Stampedegli Uffizi, 2001.

FORLÌ 2003. Anna Colombi Ferretti et al., eds., FrancescoMenzocchi, Forlì (1502–1574), exh. cat., Forlì, PinacotecaCivica, 2003.

–––––– 2005. Antonio Paolucci et al., eds., Marco Palmezzano: IlRinascimento nelle Romagne, exh. cat., Forlì, Musei di S.Domenico, 2005.

HAARLEM 2012. Achim Gnann and Michiel Plomp, Raphael andHis School, exh. cat., Haarlem, Teylers Museum, 2012.

LONDON AND ELSEWHERE 1999–2000. Martin Clayton, Raphaeland His School: Drawings from Windsor Castle, exh. cat.,London, Queen’s Gallery, and elsewhere, 1999–2000.

MUNICH 2007. Christiane Lange and Roger Diederen, eds., Dasewige Auge von Rembrandt bis Picasso: Meisterwerke aus derSammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, exh.cat., Munich, Kunsthalle der Hypo-Kulturstiftung, 2007.

NEW YORK AND LONDON 2003. Jean-Luc Baroni Ltd., AnExhibition of Master Drawings, New York and London 2003,exh. cat., New York, Adam Williams Fine Art Ltd., andLondon, Jean-Luc Baroni Ltd., 2003.

NOTRE DAME 1980. János Scholz: Musician and Collector, exh.cat., Notre Dame, IN, University of Notre Dame, SniteMuseum of Art, 1980.

PARIS 1983–84. Roseline Bacou, ed., Autour de Raphaël: Dessinset peintures du Musée du Louvre, exh. cat., Paris, Grand Palais,1983.

–––––– 1984. Acquisitions du Cabinet des Dessins, 1973–1983,exh. cat., Paris, Musée du Louvre, 1984.

–––––– 1992. L’Oeil du connoisseur: Dessins italiens du Louvre.Hommage à Philip Pouncey, exh. cat., Paris, Musée du Louvre,1992.

–––––– 2012. Catalogue des Beaux-Arts, exh. cat., Paris, DeBayser S.A., 2012.

PESARO 2001. Anna Forlani Tempesti and Grazia Calegari, eds.,Da Raffaello a Rossini: La collezione Antaldi, exh. cat., Pesaro,Palazzo Antaldi, 2001.

STOCKHOLM 1962–63. Per Bjurström, Konstens Venedig, exh.cat., Stockholm, Nationalmuseum, 1962–63.

SALMI 1953. Mario Salmi, Luca Signorelli, Novara, 1953.

SCARPELLINI 1984. Pietro Scarpellini, Perugino, Milan, 1984.

SMYTH 1955. Craig H. Smyth, “Bronzino Studies,” PhD diss.,Princeton University, 1955.

SPEZZAFERRO 2005. Luigi Spezzaferro, “L’omogeneità di unasituazione complessa: Vicende della chiesa di Santa Caterinada Siena in via Giulia,” in Bruno Santi and Claudio Strinati,eds., Siena & Roma: Raffaello, Caravaggio ed i protagonisti di unlegame antico, exh. cat., Siena, Palazzo Squarcialupi, 2005, pp.439–53.

SRICCHIA SANTORO 1982. Fiorella Sricchia Santoro, “RicercheSenesi: Pacchiarotto e Pacchia; il Palazzo del MagnificoPandolfo Petrucci; Bartolomeo di David?” Prospettiva, 29,1982, pp. 14–40.

–––––– 1990. Fiorella Sricchia Santoro, “Girolamo Genga(Urbino, c. 1476–1551),” Domenico Beccafumi e il suo tempo,exh. cat., Siena, Pinacoteca Nazionale, and elsewhere, 1990.

STRAUSS 1974. Walter L. Strauss, The Complete Drawings ofAlbrecht Dürer, I: 1471–1499, 6 vols., New York, 1974.

THIEME–BECKER. Ulrich Thieme and Felix Becker, eds.,Allgemeines Lexikon der bildenden Kunstler von der Antike bis zurGegenwart, 37 vols., Leipzig, 1907–50.

THOENES 1974. Christoff Thoenes, “Vignola e il teatro Farnesea Piacenza,” Bollettino del Centro Internazionale di Studi diArchitettura Andrea Palladio, 16, 1974, pp. 173–87, 235–42,and 243–56.

TIETZE AND TIETZE-CONRAT 1941. Hans Tietze and ErikaTietze-Conrat, “Dürer or Barbari?” Print Collector’sQuarterly, 28, 1941, pp. 110–16.

–––––– 1944. Hans Tietze and Erika Tietze-Conrat, TheDrawings of the Venetian Painters in the 15th and 16th Centuries,New York, 1944.

TURNER AND PLAZZOTTA 1997. Nicholas Turner and CarolPlazzotta, The J. Paul Getty Museum. European Drawings, 3:Catalogue of the Collections, Los Angeles, 1997.

VALAZZI et al. (eds.) 1998–2001. Maria Rosaria Valazzi et al.,eds., Collana Historica Pisaurensia, III: Pesaro nell’età dei DellaRovere, 2 vols., Venice, 1998–2001.

VASARI 1568 (ed. Bettarini and Barocchi 1966–87). GiorgioVasari, Le vite de’ più eccellenti pittori, scultori e architettori nelleredazioni del 1550 e 1568, ed. by Rosanna Bettarini andPaola Barocchi, 6 vols., Florence, 1966–87.

WALSH 1991. John Walsh, “Acquisitions/1990,” The J. PaulGetty Museum Journal, 19, 1991, pp. 127–83.

WETHEY 1987. Harold E. Wethey, Titian and His Drawings, withReference to Giorgione and Some Close Contemporaries,Princeton, 1987.

WILSON 1991. Timothy Wilson, “Girolamo Genga: Designerfor Maiolica?” in Timothy Wilson, ed., Italian RenaissancePottery: Papers Written in Association with a Colloquium at theBritish Museum, London, 1991, pp. 157–65.

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of this document, see Henry 2012, pp. 250, n. 389.

9. For tentative reconstructions of Genga’s role withinSignorelli’s workshop during his commissions at Monte-oliveto Maggiore, Orvieto, Arcevia, and S. Crescentino,Morra, see the biography of Genga by Bernhard Patzak inThieme–Becker, vol. 13 (1920), p. 386; Salmi 1950, p. 147;idem 1953, p. 64; Petrioli Tofani 1968, pp. 206–12; eadem1969, pp. 21–22; eadem in Urbino 1983, pp. 355–57; andSricchia Santoro 1990, pp. 254–75. All attributions are dis-cussed by Henry 2012, pp. 169, 230, 246, and 250.

10. See the autograph drawings by Viti in metalpoint of c. 1500in the British Museum, London (inv. no. 1895,0915.681;see Pouncey and Gere 1962, no. 256, repr.), and in theLouvre (inv. no. 6793; see Paris 1983–84, no. 10, repr.). OnViti as a draftsman, see Forlani Tempesti in Cleri (ed.) 2008,pp. 167–198; Rinaldi 2013; as well as my doctoral disserta-tion, “Timoteo Viti: Pittore disegnatore e collezionista didisegni,” PhD diss., under the direction of Prof. SimonettaProsperi Valenti Rodinò, Università di Roma Tor Vergata,Rome, 2014.

11. Inv. no. C 37-1860. Pen and brown ink; 125 x 173 mm; seeFaietti and Scaglietti Kelescian 1995, no. 46, repr.

12. On the use of black chalk in Signorelli’s drawings, see ClaireVan Cleave, “Tradition and Innovation in the Early Historyof Black Chalk Drawing,” in Elizabeth Cropper, ed.,Florentine Drawing at the Time of Lorenzo the Magnificent: Papersfrom a Colloquium Held at the Villa Spelman, Florence, 1992,Bologna, 1994, pp. 231–43; and eadem, “Signorelli disegna-tore,” in Fabio De Chirico et. al., eds., Luca Signorelli, exh.cat., Perugia, Galleria Nazionale dell’Umbria, 2012, pp.117–23.

13. The original lost cartoon by Signorelli from which Gengaderived the pounced drawing might have been used for theface of the Magdalene in profile in the S. SepolcroCrucifixion (c. 1505–7).

14. The attribution to Genga of The Flagellation and TheCrucifixion at Morra (both 275 x 275 cm) is due to MarioSalmi (1950, pp. 131–47). The dating of the paintings isbased on the date 1507 on the façade of the church of S.Crescentino; see Henry 2012, pp. 228–31.

15. See Vasari 1568 (ed. Bettarini and Barocchi 1966–87), vol.5, p. 347.

16. See ibid.: “[Genga] attese assai alla prospettiva, che da lui fu tantoben capita e bene intesa che si può dire che ne diventasse eccellentissi-mo sì come nelle sue opere di pittura e di architettura si vede”(“[Genga] devoted himself for a long time to perspective, andit was so well understood by him that he became excellent atit, as we can see from his work in painting and architecture”).

17. For Signorelli’s Virgin and Child, see Henry 2012, p. 227, fig.213.

18. Inv. no. NM 315/1863, n. 406. Pen and brown ink, overblack chalk; squared in black chalk; 274 x 206 mm; seeBjurström and Magnusson 1998, no. 406, repr.; and Rinaldi2013, fig. 3 (in color).

TRENT 2008. Andrea Bacchi, ed., Rinascimento e passione per l’an-tico: Andrea Riccio e il suo tempo, exh. cat., Trent, Castello delBuonconsiglio, 2008.

URBINO 1983. Maria Grazia Ciardi Duprè Dal Poggetto and PaoloDal Poggetto, eds., Urbino e le Marche prima e dopo Raffaello, exh.cat., Urbino, Galleria Nazionale delle Marche, 1983.

–––––– 2009. Lorenza Mochi Onori, ed., Raffaello e Urbino, exh.cat., Urbino, Galleria Nazionale delle Marche, 2009.

URBINO AND ELSEWHERE 2004. Paolo Dal Poggetto, ed., I DellaRovere: Piero della Francesca, Raffaello, Tiziano, exh. cat., Urbino,Galleria Nazionale delle Marche, and elsewhere, 2004.

WASHINGTON, DC, AND ELSEWHERE 1985. Per Bjuström et. al.,eds., Dürer to Delacroix: Great Master Drawings from Stockholm,exh. cat., Washington, DC, National Gallery of Art, andelsewhere, 1985.

NOTES

1. On Girolamo Genga, see the biographical entry by MonicaGrasso in the Dizionario biografico degli italiani, 78 vols.,Rome, 1960–, vol. 53 (1999), pp. 88–93. See also Pinelliand Rossi 1971.

2. See Morelli 1893, pp. 284–85; idem 1897, pp. 89–91; hisattribution of cat. no. A16 was quoted by Ferri 1890, p. 189.Five drawings are listed under the name of Genga by Fischel1917, nos. 202–6 (here cat. nos. A4, A12, and A16; theother two are in the Palais des Beaux-Arts, Lille [see Note30] and the Albertina, Vienna [see Note 76]).

3. See Pouncey and Gere 1962, pp. 159–60. Pouncey’s attri-butions were also acknowledged in Cambridge 1985, no.24; Paris 1992, nos. 6–8; and by Nicholas Turner, The Studyof Italian Drawings: The Contribution of Philip Pouncey, exh.cat., London, British Museum, 1994, p. 28.


5. See Belluzzi 1535–41 (ed. Egidi 1907), p. 63.

6. For Signorelli’s standard, now in the Galleria Nazionale delleMarche, Urbino (inv. no. 1990 D 60-61), and its relateddocument, see Tom Henry in Urbino 2009, pp. 114–15,repr. (in color); Henry 2012, pp. 145–47, repr.; Fabio DeChirico et al., eds., Luca Signorelli, exh. cat., Perugia, GalleriaNazionale dell’Umbria, 2012, no. 43 (entry by AgneseVastano), repr. (in color).

7. Signorelli’s witnesses were “Bartholomeo Valascii de Avilla deIspania,” an unidentified Spanish collaborator of the artist,and “Jeronymo Bartholomei de Urbino” (i.e., Genga). The doc-ument (Archivio di Stato, Siena, Notarile, Antonio diNiccolo Campani, c. 167r–v) was published by Tom Henry(2008, pp. 355–65; and 2012, pp. 169 and 370).

8. The document (Archivio di Stato, Ancona, Notarile,Antonfrancesco di Ser Angelo, vol. 106, 1507–8, c. 186v–187v) records Genga as “Magistro Ieronimus Bartholomei deUrbino” with Luca Signorelli. For a full, revised transcription

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only one arm raised––a unique representation compared toother versions of St. Sebastian produced by the workshop ofPerugino. A derivation of this drawing appears in the so-called Raphael Sketchbook in the Gallerie dell’Accademia,Venice, fols. 32v and 33r–v (see Ferino Pagden 1984, nos.43–44, both repr.).

25. See Florence 1982, passim; Sylvia Ferino Pagden,“Perugino’s Use of Drawing: Convention and Invention,”in Walter Strauss and Tracie Felker, eds., Drawings Defined,New York, 1987, pp. 77–102; Lisa Venturini, “Breve notasu Perugino disegnatore,” in Vittoria Garibaldi et al., eds.,Perugino, il divin pittore, exh. cat., Perugia, Galleria Nazionaledell’Umbria, and elsewhere, 2004, pp. 331–83; and LorenzaMelli, “Perugino, il disegno di figura e lo studio delle mani,”Paragone, 60, nos. 84–85, 2009, pp. 5–12.

26. See Giovanni Santi, La vita e le gesta di Federico di Montefeltro,Duca d’Urbino: poema in terza rima (Cod. Vat. Ottob. Lat.1305), ed. by Luigi Michelini Tocci, 2 vols., Vatican City,1985, p. 674.

27. See Milanesi (ed.) 1854–98, vol. 3 (1856), doc. 18. Togetherwith Girolamo di Benvenuto di Giovanni (1470–1523[?]),Giacomo Pacchiarotto (1474–1539[?]), and Girolamo diGiovanni del Pacchia (c. 1477–after 1533), Genga assessed apanel with a Birth of the Virgin and its related “chartone, e char-toncino” made by Pietro Perugino for the De’ Vieri familyaltar in the church of S. Francesco in Siena. They all con-cluded that Perugino had respected the terms of the contract(“osservato quanto per scritta era obrighato, e avere fatto la pitturabene et perfettamente”). The painting is now lost (seeScarpellini 1984, p. 66).

28. On 17 August 1508 a painter from Cortona and his fellowpainters (“Cortona et compagni di pintori”) were paid by theOspedale di S. Maria della Scala for painting a float (“carro”)and other ephemeral decorations on canvas (“alcunei storiefatte in tela da porre”) during the civic feast of the Assumption(15 August). The painter from Cortona can be identifiedwith Luca Signorelli (as Tom Henry also believes), andGenga must have been among his fellow painters. For thedocument (Archivio di Stato, Siena, Santa Maria della Scala,888, fol. 22r), see Henry 2012, pp. 251 and 390.

29. For the fresco cycle painted by Signorelli, Genga, andPintoricchio formerly in Petrucci’s palazzo, see Henry 2012,pp. 252–56. Two scenes from the cycle are rightly attributedto Genga: The Ransom of Prisoners of the Son of Quintus FabiusMaximus and The Flight of Aeneas from Troy (PinacotecaNazionale, Siena, inv. nos. 333–334; see Sricchia Santoro1982, pp. 25–30; and eadem 1990, nos. 49a–b, both repr.).Three further fresco fragments from the Palazzo Petrucci arein the Princeton University Art Museum (inv. nos.1692.60–62; see Laurence Kanter, “Luca Signorelli andGirolamo Genga in Princeton,” Record of the Art Museum,Princeton University, 62, 2003, pp. 74–77, all repr. [in color]),but, in my view, they are not autograph works by Genga.

30. The only certain autograph drawing for the Palazzo Petruccidecoration, in my view, is the pricked cartoon by Signorelli

19. The commission to Viti and Genga of the decoration of theArrivabene Chapel is dated 15 April 1504 (Archivio di Stato,Urbino, Fondo Notarile, Notaio Federico di Palo daMonteguiduccio, Testamenti, libro no. 239, 1496–1520). InDecember 1505 the two artists were commissioned to exe-cute a tabernacle for the Chapel of the Holy Sacrament ofthe Cathedral (Archivio Vescovile, Urbino, Cappella delSantissimo Sacramento, Libro Maestro A [1499–1517], c. 5:“M.o Thimoteo e M.o Girolamo devono havere lire 21 per lo lavorohanno facto per lo tabernacolo del corpo di Xpo”). On 29 March1507 the City Council of Urbino commissioned Viti andGenga to paint a city banner with the coat of arms of Urbinoand the image of St. Crescentinus (Archivio di Stato,Urbino, Notarile, Rogiti di Nicolò Sansoni, vol. 258–2, cc.19v–21r), which I believe is the canvas now at the Brera,Milan (Reg. Cron. 576; see Rinaldi 2013). For the threedocuments, see Andrea Lazzari, Memorie di Timoteo Viti daUrbino, Urbino, 1801, pp. 15–16; Luigi Pungileoni, Elogiostorico di Timoteo Viti, Urbino, 1835, p. 13; and AnnaFalcioni in Cleri (ed.) 2008, pp. 13, 49–52, doc. 82, fig. 3.

20. See Vasari 1568 (ed. Bettarini and Barocchi 1966–87), vol.5, p. 268: “In Urbino [Timoteo Viti] fece in duomo la cappella diS. Martino ad istanza del vescovo Arrivabene Mantovano in com-pagnia del detto Genga; ma la tavola dell’altare ed il mezzo dellacappella sono interamente di mano di Timoteo.” Viti’s drawingsfor the project are discussed by Ferino Pagden 1979.

21. Without inv. no. (oil on panel; 89 x 63 cm). The attributionof this painting to Genga, which I endorse, is owed mainlyto Sricchia Santoro (1982, p. 27; and 1990, no. 48 [with pre-vious bibliog.]).

22. The relationship between Perugino’s Virgin and Child pro-totype and Genga’s version in Colle Val d’Elsa has neverbeen discussed. For Perugino’s versions of 1495–1505, nowin the Kunsthistorisches Museum, Vienna (inv. no. 616; oilon panel; 86.5 x 63 cm), and the Palazzo Pitti, Florence (inv.no. 340; oil on panel; 75 x 58 cm), see Scarpellini 1984, nos.58–59, both repr.; and Andreas Schumacher, ed., Perugino:Raffaels Meister, exh. cat., Munich, Alte Pinakothek, 2011,no. 21 (entry by Rudolf Hiller von Gaertringen), both repr.(in color).

23. Inv. no. 1890 n. 1535 (oil on panel; 98 x 83 cm); see Morelli1897, p. 89; Gli Uffizi: Catalogo generale, Florence, 1980, no.P682, repr.

24. Evidence of this technique of establishing the external con-tours of figures with opaque white appears on a drawingfrom Perugino’s circle in the Fitzwilliam Museum,Cambridge (inv. no. 3091; metalpoint, with pen and brownink, brown wash, and opaque white; 252 x 127 mm; seeDavid Scrase, Italian Drawings at the Fitzwilliam Museum,Cambridge, Together with Spanish Drawings, Cambridge, 2011,no. 521 [as “Circle of Perugino,” with previous bibliog.],repr. [in color]), where the figure of St. Sebastian tied to atree seems to be a reworking in reverse of the same saintportrayed by Genga in the Uffizi painting. Both works showthe face of the saint strongly foreshortened from below, with

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Colombi Ferretti 1985, fig. 16), as well as the Virgin andChild with St. John now on the Paris art market, formerly list-ed as Genga by Bernard Berenson (The Central Italian Paintersof the Renaissance, New York, 1897, p. 145) in the Londoncollection of Henry Howorth (see Petrioli Tofani 1969, p.55). Like Anna Colombi Ferretti, I do not consider the HolyFamily in the Castello Sforzesco, Milan (inv. no. 250; seeMaria Teresa Fiorio, Museo d’Arte Antica del Castello Sforzesco:Pinacoteca, Milan, 1997, no. 205 [as Genga], repr.), to be anautograph work by Genga.

37. Inv. no. 66 (oil on panel; 110 x 83 cm); see Colombi Ferretti1985, p. 47; and Béatrice Sarrazin, Catalogue raisonné des pein-tures italiennes du musée des Beaux-Arts de Nantes, XIIIe–XVIIIe siècle, Nantes and Paris, 1994, no. 30, repr. This panelis generally considered to be unfinished, but no analysis hasbeen done to distinguish the unpainted parts from what areeffectively losses. Since the provenance of this painting isunknown, I would point out that Francesco Scannelli(1616–1663) described “a fair panel but ruined” (“tavoladegna ma rovinata”) painted by Genga on the left side of thechurch of Sant’Agostino in Cesena (see Il microcosmo della pit-tura, Cesena, 1657, p. 139).

38. See Anna Colombi Ferretti in Forlì 2003, p. 33.

39. For a general overview on Menzocchi, see ibid.

40. Drawings I consider autograph examples by Menzocchi arediscussed by David Scrase, “A Drawing by FrancescoMenzocchi Acquired by the Fitzwilliam Museum,”Burlington Magazine, 133, no. 1064, 1991, pp. 773–76, figs.30–32 and 34–35; Paolo Ervas, “A Drawing by FrancescoMenzocchi in the Louvre,” Master Drawings, 46, no. 3, 2008,pp. 374–76; and Matteo Ceriana, Francesco Menzocchi, pittore“raro e mutevole,” exh. cat., Milan, Pinacoteca di Brera, 2004,figs. 8–9 and 13. What may be a drawing by Menzocchi aftera design by Genga, depicting the same Caritas painted byMenzocchi and Raffaellino dal Colle at the Villa Imperiale, isin the Gabinetto Disegni e Stampe degli Uffizi, Florence (inv.no. 10970 F; pen and brown ink, over traces of black chalk;245 x 178 mm; inscribed at lower left, in brown ink, Gengada Pesaro; and at lower right, in graphite, 10970; see Eiche1991a, p. 114, repr. [as Federico Zuccaro]; Andrea Bacchi,“Riconsiderando Francesco Menzocchi,” Gazette des Beaux-Arts, 135, 2000, pp. 67–76, repr. [as Menzocchi]; AnnaColombi Ferretti in Forlì 2003, p. 48, repr. [as Menzocchi];and Cristina Acidini in Urbino and elsewhere 2004, no.xv.22 [as anonymous Marchigian], repr.).

41. Oil on panel; 58.5 x 45 cm; see Forlì 2005, no. 56 (entry byAnna Colombi Ferretti), repr.

42. Inv. nos. 1990 D 290 and 1990 D 291 (both oil on panel;47.5 x 85 cm); see Dal Poggetto 2003, nos. 536–37, bothrepr.; and Urbino and elsewhere 2004, nos. V.8 and X.1(entries by Paolo Dal Poggetto), both repr.

43. Reg. Cron. 159 (oil on panel; 438 x 290 cm); see ColombiFerretti 1985; Pinacoteca di Brera: Scuole dell’Italia centrale emeridionale, Milan, 1992, no. 54 (entry by Alessandro

for the scene of Coriolanus in the British Museum, London(inv. no. 1860,0616.93; black chalk; 342 x 271 mm; seeHenry 2012, pp. 252–56, repr.). A second drawing in theBritish Museum (inv. no. 1946,0713.12; pen and brown ink,with brown wash and opaque white; 291 x 373 mm; seePopham and Pouncey 1950, no. 236, repr.) has been iden-tified by Giovanni Agosti (“Precisioni su un Baccanale per-duto del Signorelli,” Prospettiva, 30, 1982, pp. 70–77), as astudy made by Signorelli for a lost scene of the Petrucci cyclewith Pan and Daphne, but, like Berenson and Henry, Ibelieve the drawing to be by a Sienese artist––an artist whowas also responsible for the painting of the Rape of Helena inthe Musée des Beaux-Arts, Strasbourg (inv. MBA 490, n.1996–15). A third drawing, in the Palais des Beaux-Arts,Lille (inv. no. Pl. 379; pen and brown and black ink; 143 x165 mm; see Barbara Brejon de Lavergnée, Catalogue desdessins italiens: Collections du Palais des Beaux-Arts de Lille,Paris and Lille, 1997, no. 76, repr.), has also been connect-ed to the Petrucci decoration, but it is simply a copy afterGenga’s scene of The Ransom of Prisoners.

31. Siena, Museo dell’Opera del Duomo (without inv. no.; oilon canvas; 421 x 337 cm; see Colombi Ferretti 1985, pp.25–28, and Bocciarelli and Fanetti 1998, pp. 39–43, repr.Neither publication mentions the related documents(Archivio del Museo dell’Opera del Duomo, Siena, MS.719, c. 406 sin.), which confirm that Genga received fivepayments in 1511 for painting the organ shutter (“la tendadell’organo”): on 20 February (10 soldi), 5 April (40 soldi), 28April (28 soldi), 7 June (14 soldi, paid by Pandolfo Petruccihimself), and 14 June (102 soldi). The documents were pub-lished by Stefano Moscadelli in Domenico Beccafumi e il suotempo, exh. cat., Siena, Pinacoteca Nazionale, and elsewhere,1990, doc. 293.

32. For Perugino’s Transfiguration painted in 1496–1500 in theCollegio del Cambio, Perugia, see Scarpellini 1984, no. 95,repr.

33. For the influence of Domenico Beccafumi on Genga, seeespecially Sricchia Santoro 1990, pp. 254–57.

34. See William Suida’s biography of Sodoma in Thieme–Becker, vol. 31 (1937), pp. 198–201.

35. See Vasari 1568 (ed. Bettarini and Barocchi 1966–87), vol.5, p. 348, which distinguished two separate commissionsexecuted by Genga in Forlì: the Stories of the Holy Spirit madefor Bartolomeo Lombardini in 1512 and a later Assumptionof the Virgin, commissioned by the Monsignani family in1518 (see also Grigioni 1927, pp. 174–83). This problemat-ic passage in Vasari’s life of Genga has been clarified by AnnaColombi Ferretti in Forlì 2003, pp. 26–27, 329; and Forlì2005, p. 336.

36. Datable between 1511 and 1516–18 are two Virgin andChild paintings in Siena (Pinacoteca Nazionale, inv. nos.503 and 433), two pictures of the Holy Family, one in a pri-vate collection (see Filippo Todini, “Una Sacra Famiglia diGerolamo Genga,” Studi di Storia dell’Arte, 4, 1993, pp.291–92, fig. 1) and one in the Lechi collection, Brescia (see

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New York, Metropolitan Museum of Art, and elsewhere,2009, pp. 12–15.

52. See Note 46 above. On 24 April 1518 Genga was commis-sioned to paint an “Assumption” for the Monsignani Chapelin the church of S. Francesco, Forlì. On 23 June 1518 hebought a house in Cesena and shortly afterwards (6 Decem-ber 1519) he was registered as a resident there. By 1522 hehad already left Cesena––probably for Rome––since hisbrother Agostino Genga received a payment on his behalf fora painting made for the Fattiboni family. All the documentsare published by Grigioni 1927, pp. 176–77 and 180–82; andlater transcribed by Pinelli and Rossi 1971, p. 299.

53. On the biographical and political aspects of Francesco Mariadella Rovere, see Ian F. Verstegen, “Francesco Maria and theDuchy of Urbino between Rome and Venice,” in idem,ed., Patronage and Dynasty: The Rise of the Della Rovere inRenaissance Italy, Sixteenth-century Essays & Studies, 77,Kirksville, 2007, pp. 141–59.

54. On this work (oil on panel; 345 x 230 cm), see PetrioliTofani 1964. For the church of S. Caterina da Siena, Rome,and its historiography, see Spezzaferro 2005.

55. Inv. no. 1767 (oil on panel; 131 x 112 cm); see LorenzaMochi Onori and Rossella Vodret, Galleria Nazionale d’ArteAntica, Rome, 2008, p. 213; and Maria Grazia Bernardiniand Marco Bussagli, eds., Il Rinascimento a Roma: Nel segnodi Michelangelo e Raffaello, exh. cat., Rome, MuseoFondazione Roma, 2011, no. 48 (entry by SusannaMastrofini), repr. (in color).

56. See cat. no. A18 for the full transcription of the to-do list.

57. See Spezzaferro 2005.

58. According to Fabio Chigi (Chigiae Familiae Commentarii,MS. 1618–30; Rome, Biblioteca Apostolica Vaticana, MS.Chigi A.i.1), a portrait of Sulpizia Petrucci Chigi is to befound in the figure of the Virgin. This identification can beconfirmed on the basis of the portrait of Sulpizia painted byAndrea Piccinelli, called Il Brescianino (c. 1485–1525) in theGalleria Nazionale d’Arte Antica, Rome (inv. no. 1778; seeLorenza Mochi Onori and Rossella Vodret, GalleriaNazionale d’Arte Antica, Rome, 2008, p. 311, repr.).

59. The inventory of Villamena’s estate (26 January 1626) listsunder no. 26: “Un disegno d’una battaglia mano di Genga, di-segno grande” (“a drawing of a battle [by the] hand of Genga,large drawing”); see Franca Trinchieri Camiz, “The Roman‘Studio’ of Francesco Villamena,” Burlington Magazine, 136,no. 1097, 1994, p. 514.

60. Francesco Maria’s active quest for the appropriate architectemerges from an exchange of letters between him and twoRoman ambassadors, Alessandro Nerio and Giovanni Mariadella Porta, dated 7 June and 4 August 1522, published anddiscussed by Eiche 1991b, p. 320; John Shearman, Raphael inEarly Modern Sources (1483–1602), 2 vols., New Haven andLondon 2003, vol. 1, nos. 1522/4–5; and Gronau 1936, p.113. It is still not clear if the “architettore, creato di Raphael”

Morandotti), repr.; and Alessandro Morandotti, “GirolamoGenga e gli anni della pala di Sant’Agostino a Cesena,” Studidi Storia dell’Arte, 4, 1993, pp. 275–90. The altarpiece wasoriginally installed on the main altar of the church of Sant’Agostino, Cesena, and was brought to Milan, with its pre-della, in 1809 by the Napoleonic troops. The main centralpanel depicts The Dispute on the Immaculate Conception: Virginand Child, with St. John the Baptist, the Four Doctors of theChurch, and Sts. Anthony of Padua, Monica, Claire ofMontefalco, Sebastian, and Another Male Saint, with God theFather and Angels. The three predella panels (all oil on panel)were deaccessioned by the Brera in 1819–20: St. AugustineBaptizing the Cathecumens is now in the Accademia Carrara,Bergamo (inv. no. 81 LC 00238, ex 628; 47 x 80 cm), St.Augustine Giving the Habits of His Order to Three Cathecumensis now the Museum of Art, Columbia, SC (inv. 1954.32,Kress inv. no. K-113; 47.3 x 87 cm), and The Calling of St.Augustine is in a private collection (47.2 x 87.5 cm). Thecimasa with The Annunciation remains in situ.

44. On a document of 11 April 1517 (see Grigioni 1909, pp.60–61), Genga is said to be accompanied by his “famuli,”which are “Ioanne baptista Hieronymi Ser Mathei de pascuis deCastello,” Michele di Giovan Pietro “de mant…Cremonese,”and Giovanni Nicola di Giovanni di Castel Durante.

45. Forlì, Archivio di Stato, Sezione Cesena, Fondo Notarile,Notaio Roberto Pasini, vol. 1513, c. 88; see Grigioni 1909,pp. 56–61. I thank Gianluca Braschi, director of theArchivio di Stato, Forlì, for permission to reproduce it.

46. The first payment to Genga “habitator cesenae” (“resident ofCesena”) was made on 17 December 1516, the last on 18March 1518. The documents (both Forlì, Archivio di Stato,Sezione Cesena, Notarile, Notaio Giulio Gatti, vol.1511–1520, fol. 48r; and Notaio Roberto Pasini, vol. 1518,c. 18r) were published by Grigioni 1909, pp. 56–61; andidem 1927, pp. 175–76.

47. See Bambach 1999, pp. 312 and 314–15.

48. I know this drawing only through photographs, kindly pro-vided by Matthieu de Bayser, to whom I am grateful. Thefigure of St. Gregory in this study shows some variationsfrom the related painted version, such as the pose of the righthand (here extended, while holding a book in the painting),the position of the left foot, and especially the definition ofthe draperies, which is here much more articulated.

49. See Note 43 above; and Simone Facchinetti and GiovanniValagussa, eds., Pittura italiana dal Rinascimento al XVIII seco-lo: Capolavori dell’Accademia Carrara di Bergamo, exh. cat.,Lausanne, Fondation de l’Hermitage, 2008, no. 26 (entry byGiovanni Valagussa), repr. (in color).

50. Genga also quoted Signorelli’s St. Stephen (Palazzo Baldeschial Corso, Perugia) for the figure of the male saint standing inthe main panel to the right of St. Claire.

51. For a discussion of this technique adopted by Raphael, seeCarmen C. Bambach in Stijn Alsteens et al., eds., Raphael toRenoir: Drawings from the Collection of Jean Bonna, exh. cat.,

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Viti–Antaldi collection, which included drawings by orattributed to Viti, Raphael, and Genga (here cat. nos. A2,B1–B2, B4, and B7), see the forthcoming study by AnnaCerboni Baiardi, as well as my doctoral dissertation.

68. This impression is reinforced by the perspective angle of thehouses and figures in the middle ground, turned toward theleft. The same crease that runs through the Chicago draw-ing is found in the Louvre drawing (cat. no. A27), whichshows the same technique and perspective. The two sheetscould once have been joined together.

69. See Vasari 1568 (ed. Bettarini and Barocchi 1966–87), vol.5, pp. 348–49.

70. See ibid.

71. See Paolo Dal Poggetto and Piero Zampetti, eds., LorenzoLotto nelle Marche: Il suo tempo, il suo influsso, exh. cat.,Ancona, Il Gesù, and elesewhere, 1981, pp. 270–91; PaoloDal Poggetto, “Il cantiere della Villa Imperiale,” in Urbino1983, pp. 381–97; idem, “Precisa-zioni sull’influsso diRaffaello nelle Marche, l’Imperiale, Raffaellino del Colle ealtro,” in Micaela Sambucco Hamoud, ed., Studi su Raffaello,Urbino, 1987, p. 323–33; idem, “La decorazione pittoricadell’Imperiale,” in Letture di storia dell’arte, Ancona, 1991, pp.23–45; Eiche 1991a, pp. 99–119; Paolo Dal Poggetto, “Ladiffusione del verbo raffaellesco: La Villa Imperiale, l’attivitàdi Raffaellino del Colle,” in Valazzi et al. (eds.) 1998–2001,vol. 2, pp. 203–36; idem, “Le ampie vedute del duca: VillaImperiale di Pesaro,” FMR [It. edn.], February–March2004, pp. 17–48; and idem 2004.

72. “Having begun to have our rooms painted here at theImperiale”; see Gronau 1936, doc. CXXVII.

73. See Gronau 1936, doc. CXXVIII. In this letter, written byGenga on 10 May 1530 and entitled “Lista de collori de /pigliarsi per la Ill.ma” (“List of colors / to buy for the mostIllustrious”), the artist also mentioned three painters,Giovanni Antonio Pordenone (1484–1539), GirolamoSalvoldo (c. 1480–after 1548), and Antonio Boselli fromBergamo (d. after 1527), who could help Gian GiacomoLeonardi (the addressee) to find the items and test the qual-ity of brushes and colors.

74. See Paolo Dal Poggetto in Urbino 1983, pp. 392–96; andidem in Urbino and elsewhere 2004, pp. 141–42.

75. Genga’s authority as an architect was recalled by GiovanniPaolo Lomazzo (1538–1592), who listed the artist amongthose architects, such as Bramante, Michelangelo, and GiulioRomano, who were also “periti disegnatori” (“expert drafts-men”); see Giovanni Paolo Lomazzo, Scritti sulle arte, ed. byRoberto Paolo Ciardi, 2 vols., Florence, 1973–74. Furtherspecific architectural drawings done by Genga are men-tioned by Giovanni Battista Belluzzi (1535–41 [ed. Egidi1907], p. 121), who recorded that in 1539 Genga was com-missioned to complete the façade of the cathedral of S.Petronio, Bologna. This information has not been properlyconsidered in recent publications on S. Petronio and couldbe useful for the attribution of some anonymous sixteenth-

(“architect, formed by Raphael”) cited in the first documentshould be identified with Genga.

61. Pesaro, Biblioteca Oliveriana, MS. Oliv. 429, Lettere d’illustri stranieri, fol. 125. See Gronau 1936, doc. CIX; andPinelli and Rossi 1971, pp. 301–2.

62. Pesaro, Biblioteca Oliveriana, MS. Oliv. 429, fols. 131–32recto and verso: “Fa[rò] hordinare le carte tinte p[er] li cartoni etutto io ho finiti sei penacchi e sei altri sono frauia …. Li disegninon li ho mandati, per che me fariano come d’un camino bello ch’ioli mandai di qua, per che non li sapriano condure e mi rincresce poiche V. Ex.tia no[n] Abbi quello che sempre desidero….” For aslightly different transcription of this document, see Gronau1936, doc. CXVI.

63. Il Gobbo wrote (Florence, Archivio di Stato, Ducato diUrbino, Cl. 1, div. G, filza 241, fol. 106): “Io ne parlai al S.Marchese de quello libro che vene da Roma V.S. de disegni. Lui havolontà di vederlo, et scrive a V.S. che a la venuta mia da V.S. iolo reportarò” (“I’ve told the Marchese about that book ofdrawings that comes from Rome. He wants to see it, andhe’s writing to you that on my return I should bring it backto him”); published by Eiche 1991b, p. 223, n. 33.

64. Vasari 1568 (ed. Bettarini and Barocchi 1966–87), vol. 5, p.348: “E stando in Roma attese molto a misurare di quelleanticaglie, sì come ne sono scritti appresso de’ suoi eredi.” BeforeVasari, Giovan Battista Bertani (1516–1576) recalled Genga’sknowledge of antiquity in his Gli oscuri e difficili passi dell’operaionica di Vitruvio, di latino in volgare tradotti, Mantua, 1558(n.p.): “nel tempo che io era in Roma…mi occorse di ritrovarmi ungiorno in casa de’ Massimi Gentilhuomini Romani, per vederalcune anticaglie, ove fra le altre vidi un pezzo di Colonna dimarmo…et ricordo havermi detto già M. Girolamo Ginga huomonell’Architettura, nella prospettiva et pittura veramente di gran va-lore, ch’egli aveaveduto parte di una colonna di buona grossezza fattadi metallo…cosa non meravigliosa alla grandezza degli antichi.”

65. On the iconography of Villa Imperiale, see Dal Poggetto2004; and Angela Scilimati, “Valore, Virtù, Amore: Storia diuna corte rinascimentale nella Villa Imperiale di Pesaro,” inUrbino and elsewhere 2004, pp. 143–48.

66. See the decoration of the Palazzo Ducale, Pesaro, illustratedby Maria Rosaria Valazzi in Forlì 2003, fig. 34.

67. See Raphael’s three drawings of battle scenes of nudes, allannotated with a Viti–Antaldi pen inscription (L. 2245–46),one now in the Gallerie dell’Accademia, Venice (inv. no.GDS, no. 16r; pen and brown ink, over stylus; 258 x 209mm), and two in the Ashmolean Museum, Oxford (inv. nos.1856.178 and 1856.179; both pen and brown ink, overblack chalk (the first also pricked for transfer); 270 x 421 mmand 268 x 417 mm); see Paul Joannides, The Drawings ofRaphael, Berkeley, 1983, nos. 94r and 185–86, all repr.These drawings were bought respectively by Giuseppe Bossi(1777–1815) around 1810, and by Samuel Woodburn(1786–1853) in 1824, from the Marchese Antaldo Antaldi ofPesaro (1770–1847), who was the last heir of the TimoteoViti collection of drawings. For the history of the

century drawings of the façade preserved in the Museo di S.Petronio, Bologna (see Marzia Faietti et al., eds., La Basilicaincompiuta: Progetti antichi per la facciata di San Petronio, Ferrara,2001, nos. 1–12, all repr.). Between 1548 and 1549, Gengawas commissioned by Bishop Ercole Gonzaga (1505–1563)to submit drawings for the renovation of Mantua Cathedral:in a letter of 16 February 1548, the bishop wrote to his sis-ter Leonora Gonzaga that “Genga se ne torna a casa havendofinito il modello di questa chiesa” (“Genga is coming home,having finished the modello for this church”); see Gronau1936, doc. CLXXIII.

76. See ibid., doc. CLXXII. In the opinion of Giovanni Agosti(Florence 2001, p. 416), the personality of the obscureCamillo Capelli, called Camillo Mantovano as a draftsmancan begin to be established on the basis of a beautiful unpub-lished drawing of Mars, Cupid, and Medusa, signed at lowerright, in brown ink, camilo mantuan, and now in the StatensMuseum for Kunst, Copenhagen (inv. KK Sgb 10304; penand black and dark brown ink, with brown wash andopaque white; 308 x 210 mm); as Charlotte Gran hasinformed me, the attribution to Camillo is due to ErikFischer and Konrad Oberhuber (notes on the mount dated4–5 October 1994). This drawing is stylistically close to onein the Albertina, Vienna, annotated at lower right, Hier.mo

Genga., which features studies for angels and a nude écorchéon the recto, and a standing draped figure and two studiesfor a Crucifixion on the verso (inv. no. 136; pen and brownink, over black chalk; 287 x 196 mm; see Fischel 1917, no.205 [as Genga]; and Birke and Kertész 1992–97, vol. 1, pp.76-77, repr. [as Genga]).

77. The architectural restoration and decoration of the PalazzoDucale at Pesaro, which was directed by Genga according toVasari (ed. Bettarini and Barocchi 1966–87, vol. 5, p. 350),were begun c. 1521–23, with the first lot completed byFebruary 1532. New additions to the palace were commis-sioned by Guidobaldo II from 1537 to c. 1548–50, underGenga’s supervision and with the involvement of his sonBartolomeo. See Pinelli and Rossi 1971; Eiche 1989;Dariusz Sirkoski, “Brandini e il segreto dell’Età dell’Oro,” inValazzi et al. (eds.) 1998–2001, vol. 2, pp. 247–306; andMaria Rosari Valazzi in Forlì 2003, pp. 73–87.

78. For the chronology of the Villa Imperiale Nuova, see Patzak1908; Pinelli and Rossi 1971; Orietta Rossi Pinelli, “La villaImperiale di Pesaro come spazio scenico per la corteurbinate,” Bollettino del Centro Internazionale di Studi diArchitettura Andrea Palladio, 16, 1974, pp. 219–33; SabineEiche, “The Villa Imperiale of Alessandro Sforza at Pesaro,”Mitteilungen des Kunsthistorischen Institutes in Florenz, 29, nos.2/3, 1985, pp. 229–74; eadem 1989; eadem 1991b; eadem,“I Della Rovere mecenati dell’architettura,” in Valazzi et al.(eds.) 1998–2001, vol. 1, pp. 231–63; eadem, “The Duke ofUrbino’s Villa Imperiale: Observations on the Façade,”Apollo, 151, no. 457, 2000, pp. 28–35; and Luciana Miotto,Villa Imperiale di Pesaro, Girolamo Genga, Venice, 2008.

79. The marble portal was erected during the duchy of

Guidobaldo II, as explained by the inscription on the archi-trave, G.V.II V.D.III (“Guidus Ubaldus Secundus Urbini DuxQuartus”), and most likely after 1548, owing to the presenceof a decorative “W” on top of the inscription, which standsfor the initials of Guido “Ubaldo” and his second wife,Vittoria Farnese (1519–1602), whom he married in 1548.Bartolomeo Genga, to whom the portal is traditionallyattributed (see Eiche 1989), is likely to have used his father’sdesign, as also reported by Vasari (ed. Bettari and Barocchi1966–87, vol. 5, p. 350).

80. See Castelbarco Albani and Di Nallo 2009, pp. 72–76, repr.

81. See Gronau 1936, doc. CXXXIV and n. 2.

82. Archivio di Stato, Florence, Ducato di Urbino, Cl. 1, Div. G,Filza 232, fols. 312–14 (see Gronau 1936, doc CXXXIV andn. 2).

83. See ibid.

84. Despite the assumptions of Timothy Wilson (1991, pp.157–65), there is no proof of Genga’s activity as a designerfor maiolica plates. The only evidence we have (not men-tioned by Wilson) is a drawing in red chalk attributed toGenga featuring a copy after Michelangelo’s Bathers (see cat.no. B10)––a very common motif, which is painted on anUrbinate maiolica plate in the British Museum, London(inv. no. 1888,0215.1; see Hugo Chapman, MichelangeloDrawings: Closer to the Master, exh. cat. London, BritishMuseum, 2005, no. 12, repr. [in color]).

85. See Gronau 1936, docs. CXXIV, CXXIX, and CXXXI. On 17February 1528, Leonora Gonzaga asked Genga for a draw-ing for a fan and a lamp (“el disegno de la lumiera”), and on 17August 1531, the artist was requested to provide a drawingfor a bathroom vase.

86. See Vasari 1568 (ed. Bettarini and Barocchi 1966–87) vol. 5,pp. 349–50: “fece…alcune bizzarrie di vasi di cera, da bere, perfar poi d’argento; e con più diligenzia ne fece al Duca per la sua cre-denza alcuni altri bellissimi” (“he made some bizarre drinkingvases in wax, then to be made into silver, and with evenmore diligence he made some other beautiful pieces for theduke”).

87. See Belluzzi 1535–41 (ed. Egidi 1907), p. 122: “…ne fecebona ciera e piaqueli assai li vasi, e ne fece darlo giamento in casasua” (“he had them made in wax and he liked them so muchthat they were much praised in his house”).

88. See Ettore Scatassa, “Ori ed argenti della Corte d’Urbino(1595–1605),” Rassegna Bibliografica dell’Arte Italiana, 2, nos.3–4, 1899, pp. 49–61; and idem, “Documenti: Argenteriedella Corte ducale di Pesaro,” Rassegna Bibliografica dell’ArteItaliana, 4, 1901, pp. 35–44.


90. Inv. no. 1922.2589. Pen and brown ink, over traces ofgraphite; 278 x 397 mm; see McCullagh and Giles 1997, no.491 (entry by Laura Giles), repr.

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