CONTENTS (lv1asterDrawings

VOLUME 52NUMBER 2

SUMMER 20\4

ArticlesMAUD LEJEUNE

Preparatory Drawings for Woodcuts by Renaissance Lyonnais Artist Bernard Salomon

PATRIZIA TOSINI

Some Newly Identified Drawings by Girolamo M uzianc

PATIUZIA TOSINl

A Proposal for Pietro Damini as a Draftsman

STEFANO RINALDI

"Figure diverse del Vecchio Testamento": Early Drawings by RCI11.igio Cantagallina

ReviewsSIMON TURNER

Susan Owens, The Ar! (if Dmwing: Bn"tisll Masters (/1/(/ Methods since "{600

IVtAJ.l..GARETMOltGAN GRASSELLI

TIle Mnle Nude: Eiglrteenfll-cclIlJlfY DralllillgsjrolJl 1.I,e Paris Academy,exb. cat. by Emmanuelle Brugerolles er al.

147

181

201

205

23\

243

$ Q

Some Newly Identified Drawings by

Girolamo Muziano

PATRIZIA TOSINI

After the recent publication of the cataloglle raison-lie of the paintings of Girolamo Muziano (1532-1592),1 who was born in Brescia and had anextraordinary career as a painter and draftsman inRome, his graphic oeuvre remains to be preciselydefined. Though it will require time and effort,the need to compile a complete catalogue ofMuziano's drawings seems no less important.'With it, we would be able to situate the newdrawings that have been attributed to him overthe last fifteen years and to paint a subtler portraitof him as a draftsman. ln this spirit, the presentarticle will present several unknown or misidenti-fled drawings by this Late Renaissance artist, somefor which a traditional attribution to Muziano hadbeen ignored in recent Literature, as well as a veryrare bozzctlo of an unusually large size. Theseadditions to Muziano's corpus, aside from theirexpressive power, confirm that he had a muchbroader range as a draftsman and painter than pre-viously understood and that, surprisingly, hismethods of designing his painted compositionsanticipate some of the innovations that arc usual-ly credited to early Baroque artists.Chronologically the first of the newly identi-

fied works for Muziauo's corpus is a landscapedrawing in the Biblioteca Marucelliana, Florence(Fig. 1), which was formerly attributed to his mas-ter, Domenico Campagnola (1500-1564),3 withwhom he studied in Padua before 1549.4 Thestyle of the Marucelliann sheet resembles that of adrawing in the collection of the Duke of

Devonshire at Chatsworth (Fig. 2).5 This had alsobeen recently published as by Carupagnola, despiteits traditional attribution to Muziano-dating backat least to the time of Padre Sebastiana Rcsta(1635-1714). Resta's opinion is once again recog-nized as correct, making it one of the earliest land-scape studies by the Brescian painter. The newMarucelliana sheet repeats, in reverse, many of theelements of the Chatsworth landscape; the author-ship of both is secure because both compare wellwith the magnificent autograph series of uprightlandscape drawings by Muziano in the Uffizi,Florence, datable to the 1560s and 1570s (e.g.,Figs. 3-4),6 which provided inspiration for his fres-coes 111 the Villa d'Este at Tivoli (c. 1563-67).

The sheet in the Marucelliana seems to pre-cede the Chatsworth drawing, as well as the Uffiziseries, and can reasonably be dated to c. 1550-55,since the line work is slightly less emphatic andprecise, but, above all, because of the Lingeringdependence it shows on Campagnola's pastoralstyle, which the young artist admired and at-tempted to emulate from the time of his trainingin Domenico's workshop. The viola player(Orpheus?), who wears a hat and is seated underthe tree in the left foreground, in fact, recallsCampagnola's imagery, in which mythological orpastoral figures often appear in bucolic settings.This is significant especially for the chronology ofMuziano's work, because such iconographic fea-tures eventually disappear from his mature OCllllre.

7

The identification of the Marucelliana drawing

181

F~lIre 1

GIROLAMOMUZIANQ

River Landscapewith a ViolaPlayer

FfllR'''U, BibliolUd.\lllrll(/;'IIiIll/ll

182

Figure 2

GIROLAMOMUZIANO

River Landscape

ChlJlSWllnh House,ColfrCliol/ of the

Dukr qf Devonshire(0 Tmuees of theCIIII/Sl/'orthSeltie/lIl"JI)

•

• Q

GIROLAMOMUZIANQ

GIROLAMO

MUZIANO

Landscape Landscape

Florcuce, GabilleHO

Di~cglli e Slam/1/'drgli Uffizi

Fiorcuce, GabincrtoDiseglli c Stamp/'degli Uffi:.::l

183

•______________ 1

FigJlfI' 5

Here tentativelyaunbutcd toGIIlOLAMOMUZIANO

Lind-cape withPi~hcrlllcn :111(1

Huntsmen

emU/lrid.!!I'./IIUSSI1(JUUl'tI$,

IllIn'll((/ U",'III'r:r;IYIIrt 1\//111'1/1/15.l;l~1!""II$/'rml

18<1

artist's technical mastery of hatching with the pen,The Louvre landscape also manifests a muchgreater independence from the model ofCarnpagnola, suggesting that it almost certainlydates to a later period.

A fourth sheet to be added to Muziano'sdrawn corpus, a relatively finished figural scene ofChrist Healino the Servant of the Centnron, is in theRomanian Academy Library, Bucharest (Fig. 7),10which was founded in 1956 by the art historianGeorge Oprescu (1881-1969). This drawing,which was formerly attributed to Panuigianino(1503-1540), was recently published by MarcoChiarini, with a cautious attribution to jacopoBertoja (c. 1544-1573). I[ is actually a p<epararo-ry drawing for one of the three painted ovals oncopper (Fig. 8) in [he apse of [he Ruiz Chapel inthe church of S. Caterina dei Funari, Rome (Fig.9), perhaps one of the most beautiful pictorialcycles Muziano ever executed. I I The oval in theRuiz Chapel related to the Bucharest sheet forms

provides a crucial starting point for reconstructingMuziano's early developmenr as a landscapedraftsman, and also for distinguishing his activitywithin the workshop of Campagnola. WhiJeCampagnola was indeed prolific, the varied Oel/llrepreserved under his name in collections through-out the world surely still conceals many drawingsthat should be assigned instead to the youngBrescian painter, One possible example is a sheetattributed to Campagnola in the Fogg Museum,Cambridge, MA (Fig. 5).'

Another drawing with a COrrect traditionalattribution CO Muziano, though it has never beenreproduced in print as such, is a landscape drawingin the Louvre, Paris (Fig. 6),9 which has beenattributed to Muziano since at least the time of theInvencaire du Musee Napoleon in 1810, Thissheet reveals a still greater conceptual comple.x.'ityand virtuosity, especially on the left half of thecomposition, where the intricace, monumentalrendering of the trees shows off the Brescian

4

~- ----~. -~~~

F(l!IIrt' 6

GIROl.AMOMUZIANO

River Lands, C;lpC

Paris, Mus/x'duLollllrt' DId. ' partl'lIIrlll

cs Arts Gf/lpJliqUf'S

b_____________ ':85_

1

Fig/lrt' 7

GIROLAMOMUZIANO

Christ Healing the~erv;)11tof theenrunon

lJ"dflln'sl,ROlllllllitlll A(Il(it'my1..ib,,,'1'

186

•

p Q

part of the decoration depicting episodes and I11jr-

acles from the Life of Christ framing the altarpieceof The Lamentation (see Fig. 11). The projects forthe chapel date to 1566-68, immediately afterMuziano's work at the Villa d'Estc in Tivoli TheBucharest drawing presents some minor variationsfrom the painted copper, mainly owing to theadaptation of the rectangular composition to theoval format of the finished painting. At upper leftof the drawing is an extra head, barely sketchedin, and only the nose, eyes, and brow of this fig-ure arc visible in the oval, while the figure groupat upper right is more complete in the drawingand truncated by the curved frame of the apsepalming. The facial types of the figures in the

Bucharest drawing are typical of Muziano, <IS is thefi1111, angular rendering of the outlines and the rel-atively sculptural modeling with washes.Moreover, written sources mention a still uniden-tified small picture in Muziano's own collection ofpaintings with the same subject, which was prob-ably a modeileuo for presentation to the patron. I?

In certain respects, however, the style of thenewly attributed Bucharest sheet is somewhatpuzzling compared to other known drawings byMuziano. Indeed, it manifests some of the dis-tinctive qualities that one associates with drawingsfrom the Emilian School (hence, the understand-able previous attribution to Bertoja), and this setsit apart from the more characteristic autograph

FigUfl! 8

GIROLAMO

MUZIANO

Christ Hcahug theServant of theCenturion

ROlli", S. CalCn'lIddt'i FtIIllIri, RllizChflpl'1

187

c

Rome, S C:1teril1~dci Fllll~li, I\.uizCh:Jpcl

188

drawings by the Brcscian dmf small, The tech-niquc, in P''!' and ink with brown wash. appliedwith rapid, n-cmulouv strokes. Ie; also somewhatunusual for the artist. who gCIH:rall)r preferred redchalk. and less frcqucutlv black chalk. for his fig-ure studies. Hie figllrL' vtudics 111chalk were heav-ily influenced by the "sculptural" modtl1i ofDaniele da Volterra (r. 1509-15(6), with whomMuziano was closely associated 111 Rome In the1550s. Pen and ink. 011 the other hand. \\'35 usu-ally reserved for MU71.lJ10\ landscape drawings.following the example of Campagnola.

Of the two other known prcparat ry drawingsfor the Ruiz Chapel." one 1\ III the m re c)l'lolmedium of red chalk. the vpk-ndrd rudy of TIlfLamentation in the Louvre. P.lris ( ig. 10)," whichis prcpar:ltol)/ (or the mouurncnml alurpiccc (Fig.J 1). 1~ However. the other sheet, III the Uflizt.Florence (Fig, 12).1" io;,.1\In)' quick mk-aud-wa hsketch for the Pmitnu SI. jt'nmu' fre.: oed on theintrados of the entrance arch to the hapcl (Fig.13).17 Tb c Uffizi sketch "hare, Illany lif)'li\tj 11111-larities with the drawing in l3ucharc t, both III us

use of bold outlines and in I S technique of pen andbrown ink with summary. though ubdv con-trolled transparent brown washes. The conventionof relying on dramatic chiaroscuro effects In

Muziano's drawings thus seems to be limnedmainly to the 1560s. This was an aspect of hidraftsmanship that would significantly influence

his pupil Cesare cbbia (1536-161-1). with whomMuziano began collaboraring in that decade. ~

Red chalk is also the medium of anotherimportant addition to the graphic corpus ofMuziano , a sheet in the Musco azionalc eliCapodi1l10l1te, Naples. where it has been hiddenunder an early and unreliable attribution to

Daniele da VOlterra (Fig. 1-1).'" Recognized asMuziano also by Cristiana ROI1l.alli (according to

an annotation on the mount). this is a particularlysignificant discovery, because it is a squared com-

positional study for an important lost cOlllmission.the large altarpiece with the .\Iass of 51. aui/.painted for 3n altar of the aisle adjacent to theGregorlan Chapel in St. Pne-r·s. Rome. Muzianoreceived the co ." c ..-nlllllSSlon lor the pallltlng trom

TI

•

•

Figml' 10

GIROLAMO

MUZIANO

Fig1lre 11

GIROLAMO

MUZIANO

The Lamentation The Lamentation

Pfllis, Musei' dllUUlIft, Drpllrtemelltdes Am Gmplsiqlles

Rome, S. Caterinadei Funari, Rnir

C1wpl'!

189

....

Figure 12

GIROLAMO

MUZlANOGIROLAMOMUZIANO

Penitent St.Jerome Penitent Sr.

JeromeFlorence, CabilletloDiseglli e Sfi1mpedegli UJ[izi

RIllIlC, S. Cllleri,,1/dei FUI/llri° RlIi:ChI/pel

-_.

-1IIIIl¥3~--------------------------_Q

Pope Gregory XIII Boncornpagni (reg. ] 572-85)at the same time as that for another altarpiece, Sf.

Jerome Preachillg (now in S. Maria degli Angeli,Rome).:!QThe two works were begun in 1582,but were left incomplete and, after the death ofthe artist, were finished by Nebbia and assistants.The summary treatment of the figures in theNaples drawing focuses on their sculptural pres-ence and on their placement in the architectural

Figure /4

GIROLAMO

MUZIANO

Mass of St. Basil

Naples, 1\'!lIseoNa2iol/alc diCapodil/lomc

Figllre '/5

JACQUES CALLOT(after GIROLAMOMUZJANO)

Mass of Si. Basil;engraving from Lessableoio: de nO/lle(Rome, (.16'12)

A!11Srerdam,Rijbprellleilkabillcl

191

--------------~-._---

figures '/6-- -17

GIROLAMOMUZIANO

Studies for rhcspandrels of theGregoriaIl Chapelin St. Peter's,Romc

Florellce, C,lbilleUof)i~'('g!li(' St(/mp/:

deXli Uffizi

\

192

,

setting of the altarpiece; the arched top of thecomposition is also indicated with sketchy out-

lines and shading. While today the St. [erotnePreachillg survives, the Mass of St. Basil disappearedafter its removal from the altar of S. Maria degliAngell i.n 1747. Muziano's composition is known,however, from a seventeenth-century engravingby Jacques Callor (1592-1635), which mustreproduce it quite accurately (Fig. 15).21 Untilnow, three other studies of single figures by

Muziano had been connected to this altarpieceoriginally intended for St. Peter's,n but no Com-positional study had been known for the whole.Comparing Caller', print with Muziarro's drawingin Naples, it is evident that the densely squaredand arched modetlc must be a final study for thelost painting, containing all of its essential COll1pO-

sitionnl elements. Its style, with reworked lines in

red chalk, is quite typical of the artist's late phase,during the 1590s, and may be compared with

drawings in the Uffizi, which are "prir/'li pClIsicri,"

,,

'J

or first inventions. for the spandrels of the

Gregorian Chapel (e.g., Figs. 16-17),"Muziano's early lise of red chalk in figure

drawlngs was inspired by I anicle da Volterra'sMichelangelesquc technique. He returned to this

medium with great dedication during the lastdecade of his activity. An example of his very

skilled draftsmanship in this medium datable to c.1585-90 is the Blessing Christ. which was recently

on the Paris art market (Fig. 18).:" Correctly cat-alogued as Muziano. it was possibly intended foran altarpiece that was never executed, as may be

inferred from its "iconic" standing pose---typicalof Muziano's religious paintings of this period.

A final and crucial addition to Muziano cor-pus is a large-scale boe zetto of The PellltXOsl. now

in a French private collection (Fig. 19),~ pro-duced by Muziano for his enormous canvasof mesubject (375 x 588 ern] in the Sala del ConcisroroSegreto (today the second Sala de i Paramenri) inthe VatiGI11 Palace (Fig. 20).26 Commissioned by

a

Pope Gregory Xlll in 1576, this well-documentedcanvas was set inro the center of the carvedwooden ceiling in December 1577. The impres-sive preparatory bozeeuo, with its dramaticchiaroscuro, was recently sold at auction in Seattleas by an anonymous artist "of the end of XIXCentury" (l), but it is evidently the large-scalemodello that Muziano would have presented to hispapal patron for approval before executing thefinal work. The presence of the bozzetto in the

Figure 18

GIROLAMOMUZIANO

Blessing Christ

Location Un/mow/I

193

Figure "/9

GIROLAMOl'vlUZIANQ

The Peurecosr

FrY/lICe, PrillllleCOI/CClioll

194

ji

Vatican Palace in the eighteenth century is docu-

mented by Agostino Maria Taja and by Giovan

Pietro Chattard, both of whom recorded it in the

fonner Sala del Concistoro (today the library of

the official Papal Apartment), describing it as "/III

bel qlladro del Mneiano, die espsinie [a venuta dellaSpirito Sal/to di figlll'e al naturale" ("3 fine paintingby Muziano, which shows rhe descent of the

Holy Spirit, with figures taken from life")." As

these early authors stated, it hung on the wall, and

there can be little doubt that this painting is the

same as the large study published here. For the

Vatican Pentecost, Muziano also executed a com-

positional study, squared for transfer, which is

now in the Louvre (Fig. 21).211 In design, it ismuch closer to the finished work than the large

au modeI/o, the latter of which presents some sig-

nificant variations, especially in the arrangement

...

of the figure groups in the background. The

painted bozzetto must thus represent an earlier

stage of the cornposition-r-rpresently the earliest

known. It depicts the large dove of the Holy

Spirit in the upper middle quadrant (3 motif that

was replaced in the final painting by a radiant

beam of light). There are also many pentitnenti in

the borreuo, for example, in the right foot of theman with his left ann raised in the left middle

ground (at the corner of the raised platform).

The compositional variations and mono-

chrome technique, together with consistent

touches in white to define the forms and the

chiaroscuro of the figures (Fig. 22), clearly indicate

that the artist produced this painting not only as a

presentation modeiio for the patron, but principal-

ly as a compositional study for the entire scene,

carefully defining the spatial dements of the set-

a

F(~Ufi'20

GIROLAMO

MUZIANO

The Pcmecon

Vn/irm' Cil)'.Vil/irm' HII/lft'.Sml/ldn Stl1l1 rll'iH/faIW'IJrl

195

Figure 2/

GlltOLAMO

MUZIANO

The Pentecost

Paris, AI/lls!!e ill!LJllllfe, Depllrtemc,udes Al'ts Gmphiqllcs

196

j2

Figlll'e 22

GIROLAMOMUZIANO'

Detail of Figure I9

Fro/Ice, PrivateColleaio«

a

ting, the sculptural effects of the volumes and themovements and gestures of the protagonists.Furthermore, by comparing the construction ofthe space between the finished canvas and themodello, it is clear that the latter with its less, .emphatic perspective, was evidently conceived asa "qlladro riportato" (i.e., a framed easel paintinginstalledoverhead, usually on a ceiling, but meantto be Seen as if from eye level, thus without illu-sionisnc foreshortening).If one compares this newly identified boeeeuo

to the only other known autograph oil sketch byMuziano, a study now in the collection of

b

Giovanni Pratesi, Florence (Fig. 23)/~ for the can-vas with the Baptism oj the Neophytes of theAltoviti Chapel in the Santa Casa, Loreto," it isclear that in the latter case the artist utilized thepreparatory study with a markedly different pur-pose and technique. In the Altoviti bozzetfo, withits broad chromatic scale and impressionisticbrushstrokes in a pure Venetian style, he clearlyintended less to study the whole composition andgeneral effect than he did the nude figures, por-trayed individually and once again from Life ("dol/lotl/rale"). In this 'way, Muziano not only demon-strates his u-emendous versatility in drawing, but

197

F(~uft!23

GIR.OLAMO

MUZIANO

Baptism of rheNeophytes

Florellc/!, CiOIJOllllj

Pnuesi Coiieaion

198

also h.is great modernity with respect to his con-temporaries, revealing himself as far closer to hisVenetian than to his Roman pc.'crs In conceivinghis pre pa ratorv studies a<;real paintings. The turn-ing point in the histor-y of italian panning with

rhe emergence of the age of the Carracci was onthe horizon. and Muziano prefigured the achieve-ments of the naruralivtic figure painters of thecarly Seiccnro by producing these great abo.::" oroil sketches, which stand midway between draw-ing and painting.

Pani ria Tosiui is AssisraNt P,,!{t:SSdr III Rmaissd,,(tand Baroqnr Art History cit thr Cm"l't'Slty t?f CasJi"(1alld Lorio Ivlcritliona!c, Shv has lII(}Sf «'(f",ly ',tid SCI'-

lor research felloll'.,'hips fit CA S 1:4 ( mlfr for 'htAdvanced Srlfdy ill thr I 'isual Arts), S",;ollal GI1lferyof A rt, r/Ilasllill,i.!,oll, DC, ami fit 'he italian n.rdtft'my(/1 CO/I/II/bia Univcrsitv, "'l'll' )jtrk.

AUTHQI, 's NOTEThis essay was written with the support of a PaulMellon Senior Visiting Fellowship at A VA,Washington. DC (Fall 2(11). I wi h to thankElizabeth Cropper, Peter Lukehart. ThereseO'Malley, and all the staff of CASVA. for theirsupport of my research. I :1111 also extremely grate-ful to Rosamond Mack for making her pioneer-ing work 011 Girolamo Muziano available, ro

Simonetta Prosperi Valenti Rodino for her con-stant assistance to II1L' in the initial phases of myresearch on the drawinbrs, to Anna ForlaniTcmpcsti, Marco Chiarini. Claudio Pizzorusso.

Furio Rinaldi, Marco Simone Belzoni. for thestimulating exchanges of opinion. and to AndreaG. De Marchi for crucially pointing our mebozreno of The Pentecostto me. A special thanks toCarmen Bambach for her invaluable reading ofthe text and generous assistance during my periodof research at the Metropolitan Museum of Art.New York.

EDITOR.S' NOTE

Translated from the Italian by j ulin Triolo.

NOTES

1. For the cata/oglle rasoiJllle of Muziano's paintings , secParrizia Tosini, Cirotnwo MllzimlV: Dnlla lvfrmicm 0/10Natura, catalogl) dei dipimi, leoma, 2008 (with a completebibliog. to that date).

2. Such a cllla/ogrlC raisanne of Muaiano's drawings is underpreparation by Taco Dibbits; his publications on tile sub-ject include "Girolamo Muz.iano. A SImuling FClIJal('Figure ill Profile, Turned to Ihl' RighI," in PhilippeCosrarnagna et al., eds., Disegllo, gilldizill c bellil nsauiera:Swdi Sill disegJlo italiano ill oJlore di Catherine !Vlollbe(i:Gogllel, Milan, 2005, pp. 96-97, no. 48, rcpr. (in color);and idem, "Girolamo Muziano, A Prophet," in AndreaCzerc, cd., III nrte IICI/IIStaS: Studies 011 Dmlllillgs ill HOllm,rof Toa Cerui, Budapest, 2007, pp. 40--41, no. 8, repro(in color). On Muziano's drawings. see also JohnM:uciari, "Girolamo Mllziano and an in R.ome, circa1550-1600," Ph.D diss., New Haven, Yale University.2000; and idem, "Girolamo Muzi:lllO and thc Dialob'lICof Drawings in Cinquecento Rome," A'll1s{u Drawillgs.40, no. 2, 2002, pp. 113-34.

3. Illv. no. Dis. A 183. Pen and brown ink, laid down on :lsecondary support; 390 x 480 ll11ll; sec Giulia Brunetti,eel., I rliseglli de; sc(oli XVe XIII della Bibfir){cca Maflfcellim/(1rli Firl'lIze, Rome. 1990, 110. 332 (as DomenicoCampagnola; the entry records all OT3l opinion ofWilliam Rearick, who considered the sheet close toMuzi:lno). I wish to th:lllk Silvia Castelli, of theBiblioteca Marucelliana. for her assist.lnce with 1'1'1)'

research.

4. On Muziano's apprenticeship in Padua with DomcnicoCall1pagnola, see Ugo Proc:lcci, "Una 'vit:l' incdita diGirolamo Muziano," Artc Vellela, 1954. pp. 242-64; andTosini 2008, pp. 17-26.

5. lnv. no. 229. Pen and brown ink; 272 x 420 lllm; seeMichael Jaffe, TIll! Del/OJlshire Glll/celio/l oj Ilr//ian Drawings:Velle/iall aud Nonll /ra!illi/ SciIOO/S, London, ·1994, no. 760(as Domenico Campagnola), repr. (in color); P.ltriziaTosini, "Girolamo Muziano e ]a nascit.l del p:lCsaggio :lIbveneta nella Villa d'Este a Tivoli (Call alcune osservazionjsu Federico Zucca.ri, Livia Agresti, Ces.lre Nebbia.Giovanni de' Vecchi C :lltri)," Ril/isla dell'lstilil/o diArcheologia e Storia deWAr/c, 54. 1999, pp. 189-232 (asMuziano from tllis date onward); Marciari 2000, p. 29;and Tosini 2008, fig. 13.

6. Inv, nos. 512P and 516P (both pen and brown ink: 318x 217 llun and 313 x 215 mill); see ibid .. figs. 127 and129. On the Uffizi series and its chronology, sec ibid .. pp.139fT.

7. See, however, the shec[ in the Musce Magnin, Dijoll

(illV. no. CA 820; see M:trgucrite Guillaume, Cataloguerles dessi/ls italiells: CollCClioll.~ !Ill iv/usee des Bcmlx-Arrs deDijolJ, Dijon, 2004, no. 250, repr.), undoubtedly by

a

Muaiano, ill which two shepherds are represented reclin-ing ill n rustic landscape.

8. Inv. no. 1953.89. Pen and brown ink; 2'19 x 4181111l1: seeAgnes Mongan 1'1 ct. I grandi discglli itatiani del Fogg An,\!fllse/III! tli CmlJbl'ic(i;C, Ciuisello Balsamo, 1988, p. 37, fig.22 (as attributed to Campagnola].

9. lnv. no. 5120. Pen and brown ink; 269 x 419 rruu; seeC(I/(I/ogl/e dcs dessills de Claude Cettee dit Le Lormin. cxh.cat., Paris, Cabinet des Dessins, 1923, p. 57, no. XlI (asMuaiauo; not repr.). For a color im.ige. sec Imp://m'ls-

gmpltiqlles louvre fr.10. Inv. no. B. A. R. no. :12615. Pen and brown ink, with

brown wash: 180 x 245 mm; sec Marco Chiarini, ed., I

dise,glli Itafimli dl'1!a Bibfiolc((/ defl'Acwdclllia di R(II!JaJlia aBumrest: CatnlogrJ gCl/crale, Florence, 2004, p. 143, no.LXXXIV (entry by M:lrCO Chiarini; as attributed to13enoja), repr. (in coJor); and Marco Chiarini andCatalina Macovei, eds., Dal Panlligial/i/lo at Tiepofo: Celllodiseglli ira!ialli della Bibliotull dell'Acwdemill di ROl!JaI/ia aBI/mres/, exh. cat., Florence, Palazzo Pitti, 2005, no. 71(as anributed to Bertoja), repr. (in color)

II. For rhe chronology of the Rujz Chapel in S. Caterina deiFunari, Rome, see Tosini 2008, pp. 36G-65 (widl previ-ous bibliog.).

12. Sec Ugo Da Como, CifO!III1W Mllzii/lw (1528-1592):I\lole e dowlllewi, Bergamo, 1930, pp. 193---96; and Tosini

2008. p. 364.

13. For other drawings considered to be related to the R..uizChapd decoration, but not a.lways convincingly linked,set' Tosini 2008, p. 364.

14. Inv. no. 5102. Red chalk; 280" 206 ITlm; sec ibid., underno. A 15, fig. 157 (in color).

15. Oil on sbte; 280 x 158 Clll; see ibid., no. A '15, fig. 156

(in color).

16. lnv. no. 1884 F Pen .lnd brown ink, with brown wash;245 :-:150 1llI11; see Annamni" Petrioli Tof,1ni, Co/)i'!l!/IO

Disegl/i e Stall/pe degli Ufflzi. lilllcnwrio, fI: Discglli di.f1gl/-ra, vol. 2, Florence, 2005, pp. 399-400 (as Muzi:lI1o),

repr; and Tosini 2008, no. A 15.a, repr.

17. Oi.l on panel; see Tosini 2008, no. A 15.J2, fig. 168 (ill

color).

18. For a comparison with the dr.lwings of Cesare Nebbin,see Rhoda Eitel-Porter, Der Zeichner I/lid Maler Cesllrc.",.lebbill (1536-1614), R..olnische Studicn der Bibliothcca

Hertziana, 18, Munich, 2009

19. lnv. no. 724. Red chalk; 265 x 137 mill. Inscribed :Itupper right, in brown ink, 976 ~the lltllnb.c~ correspon-ding to the 1824 catalogue of Michele ArdJtl]; an~ aIOl~~lower edge, in pencil (barely legible), Smola IIcllt'zlilllllgla.

I am grareful to M:n;"Elena M.liI11011C(or the informa-

tion on dle dr.l,ving.

199

20. For the history of the two altarpieces for the GregorianChapel in St. Peter's, sec Tosini 2008, pp. 226-27,

432-35, and 470-71 (nos. A 50 and D 36).

Amsterdam, Rijksprentenkabinet, inv. no. RP-P-013-4881 (engr:lVing: 1'12x 72 nun); see J. Lieure,Jacques Cotlot,4 vols .. Paris, 1924-29, vol. 1, 110. 44-2 (second state).

For the drawings related to the Mass oj St. Basil, seeTosini 2008, pp. 470--71; and eadem, "Esercizi accadc-ruici: Pratica artistica e modelli anriquari nella piuura diGirolamo Muziano," in Fedora Boca es al., cds ..L'Aandauia rifTelle sulfa sua storia: Pert/sin I' le on:gi"idell'Acwdclllia del Discgl/o, secolo XI/I e X 1/11: Alii del (011-III;'\!'/V, Pcrugia, Palazzo Crazi(/IIi, '19l11aggio 2011, Perugia,201'1, pp. '173-88 (esp. p. 185), figs. 6-7.

Inv. 110S. 7667 S (red chalk; 205 x 140 mm); 7669 S (redchalk; 205 x 135 111m); 7672 S (red chalk; 220 x 135m.lll); and 7673 S (red chalk; 205 xl35 111111).Also verysim.ilar is the preparatory drawing in the Uffizi (inv. no.7630 S; red chalk; 201 x 134 mm; see Tosini 2008, fig.268), for The Cirwl1lcisiOIl in the church of II GCSil, R0111e(set: ibid., no. A 63, ug. 267 [ill color]).

21.

22.

23,

24. l:ted chalk; 430 x 258 111111; sale, Paris, Christie's, 23 June2009, lot 16 (as Mllziano, with che attibutiot1 endorsedby the present writer), repr. (in color).

Oil on canvas; 124.5 x 166.3 cm (with the framt:); sale,Seattle, Pacific Galleries, 12 September 2011 ("I91IHi'IIIII-1")' An & A I/Iiquilies) , lot 582 (as "anonymous of the endof XIX century"), repr. (in color). PROV.: Ch>lrlesWagner; by whom given to the Jack Brown £'ll1lily,Sisterof Providence Hospital, Springfield, MA, 1961. Thepainting was brought to my attention by Andrea G. DeMarcrn.

25.

For the dcnuls f('h'ardlllg rhc p:llnung and the relaed doc-UIl1CIlt.\. sec Tocnn 200H. 110, A 32 (wuh earlier blbliog.).

fig. 200.

27. Sec Agosono Mana TJ.JJ. lkSf:nZllmr drl Pl31,,::oApos,,'I/iatI"micllIlLJ. Rome. 1750. p. 49(,; ,. lnjolldo til 'I'U'1to lIJ'P'Bfil'IIIl'I/W r 1m ,i!r,Jftlil' J,.m:;tltl(' Jt"u., drl umrul.>ro, '" jiN JelqUi/If l: (Jl)I~'Nill mllf., nn be! 'IIIlJJm drl .\lUZliJIlQ. eN npnMt(II IWI/llla ddh' S"mfll .\oml" til fi.,!,," 111 ,IJtu,otk- rAt tlk'back or thl~ ap:trllllclU 1\ a Luge room called iheConcivtoro. where h.ul~m~ Oil the wall I) a bC".auufulpainting by MUZl.lI1U, wlm h vhow .. the Descem o(thtHoly Sprnr. mkcn fmlll the hfe"): .md G,onn PIetrOChan.uc! .. '\'11111'.1 (/"\ln:;",,,r Jd 1;",,,,.,1111, J \·ok.. R.ome:.1762-67, vol. 2. p. I(l~ (\t ..t1Il~ th,H Ihe ~mbng "USh:lllgmg on tht· lin:pbn' \\'.IIIIx-f\\eClIl\\O u~n('\ afitrRaphael); \Cl' rmllil 200M. p. :Nl:J " u.c!ch or T1rtPt'/Ift'(('.'/ 1\ ,11\0 1lI1.'lItllllll.·d Il\ (;1()\"UUlI U~~,horK'.unitde' !ut/orr, smlttlrl (. dfrilltf'ttI. ROllle. Il..l2 ((u cdn. rd. b)J-1crwarth R{)tt~l.·ll ,lnd J.H"oh IIC'\." J \'oh .• V.luo.n I~.

1995. vol. 2, p. 41 I), .Ilul :hl mdltl)( co n..an..,ocnthl1:",or!i~ ill tht· COllt'lllOll Ill" thl.' d,rellor VlI1cent Korth,LondOll. I do lint Ihlll" If 1\ the- \.Iflle.· wor .... ho\\( ...('1'. butrather :I ~lll.lllc.'r IIwdr/l(l

26.

2H. IIlV. no. 5104. PI'Il .Hld hrowlI Illk. O\·t( bbd. dulk;~qLl:lred for Ir:m~fcr; 2M" x S4:; fIIf11; \('c T(KIlU 201 . P217, repr.; ,ll1d lh\'ld hall"hll, cd .• In'", RiJph..n ,.,C(lrm,ci: '171/' Aft I!J HIJlltI 1?,,'ltlt'. cxh COlt., Otuw.a.N:ltional Galll'T')' of ('all.HJ,l, 2009. 110, 107 (em!)' byJohn M,lrci:lri), rcpr. (Ill color).

29. Oil on C:lllVa.~;H5 x 100 Clll; ~c 1 txuU 2U08. p. 185. fig. 9.

30. For the Altovlu CIl.lpcI .1l1d liS decor:luon. 5tt IbId .• nO.A 18 (with earlier blbhog.).

•