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Attributed to Giorgio Vasari
by David McTavish
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20 Cf. especially the drawings published by Kultzen, 1968, op. cit., pls
CXXIV-CXXV, and again by Marabottini, op. cit., vol. II, pl.
CXXVI, 1-4, as copies after the prophets formerly on the façade of
San Pietro in Vincoli. With regard to the setting, the
rectangular cell framing St Peter and the angel in the Christ Church
drawing is remarkably similar to the rectangular niches enclosing
the prophets; cf., in particular, a drawing at Cologne (Z 1938),
repr., Kultzen, 1968 op. cit., fig. 4, and Marabottini, op.
cit., vol. Il, pl. CXXVI, 4. The gesture of the angel as he
leads St Peter from prison may also be compared to that (in reverse)
of the prophet in the same drawing.
21 It is generally agreed that this fresco, too, may be connected
with San Pietro in Vincoli; see Luitpold Dussler, Raphael, A
Critical Catalogue of his Pictures, Wall-Paintings and
ed. (London and New York: Phai don, 1971), p. 81. Pope Julius II,
who commissioned the painting from Raphael, had previously been
Cardinal in charge of San Pietro in Vincoli, and he retained an
interest in the church throughout his life. His tomb which includes
Michelangelo's Moses, was eventually erected in its right
22 For example, Jacopo di Cione's predella panel in the Johnson
collection, Philadelphia, and Luca della Robbia's relief from the St
Peter altar of the Duomo, Florence, now in the Bargello.
23 Ironically, Vasari, in his "Life of Battista Franco," Le
vol. VI, pp. 571-588, repeatedly censures Franco for
his concentration on disegno at the expense of the other
branches of art. It is also worth noting that Vasari says nothing
about Battista Franco ever having taken an interest in the subject
of St Peter in prison.
24 No. 17917. Provenance: Reiger-Szovertify Coll., no. 55 (mark in
red on verso; not in Lugt); repr., Sotheby's, London, sale 6 March
1973, lot 54, pl. 3.
25 Another drawing by Vasari of Prudence is in the Institut Néerlandais,
Paris, but it shows the figure unmistakably with female features,
and it is in an oval format. It has been connected with Vasari's
frescoes on the ceiling of the refectory of Monteoliveto, Naples,
1544-1545: C. Monbeig-Goguel and W. Vitzthum, "Dessins inédits
de Giorgio Vasari," Revue de l'Art, I (1968), pp. 88,
26 For example when the drawing was part of the exhibition Recent
Acquisitions of Old Master Drawings, which toured Canada in
1974-1975, it was labelled "attributed to Giorgio Vasari."
27 No. 13411F. Classified as by Polidoro da Caravaggio. The drawing
has been attributed to Vasari by A. Cecchi. There are several
numbers and letters inscribed on the drawing, including at the
lower right the word "Giorgio."
28 No. 13560F. Classified as by Perino del Vaga. The drawing has
been tentatively assigned to Vasari's circle by J. Gere; to Vasari
himself by A. Cecchi. I am indebted to Dott.essa A. Forlani Tempesti
for these particulars and for those in note 27.
29 For example, the drawing in the Louvre of marine deities; repr.,
Monbeig-Goguel, op. cit., pp. 166-167, no. 216. Evidently it
was not uncommon for Vasari to make more than one virtually
identical version of his own drawings; for another example, see
Monbeig-Goguel, op. cit., pp. 147-148, nos 191-192.
30 Inv. Nr. 462. Classified as by Perino del Vaga. From the
collection of Julien de Parme. The drawing was called an old copy
after Francesco Salviati by Franz Wickhoff, "Die italienischen
Handzeichnungen der Albertina," Jahrbuch der
kunsthistorischen Sammlungen der Allerhöchsten Kaiserhauses, XIII
(1892), p. CCXVl, S. R. 552. What is evidently a copy of
this drawing is in a private collection in Charlottesville,
Virginia; repr., Monbeig-Goguel, I Disegni dei Maestri, Il Manierismo Fiorentino
(Milan: Fratelli Fabbri, 1971), pl. XXV.
The purpose of these copies - or of the virtually identical drawings
by Vasari himself - is by no means clear. Perhaps the copies were
made by assistants to serve as records of what was a temporary
31 The fresco is in Vasari's own house in Arezzo; repr., Paola
Barocchi, Vasari Pittore (Milan: Club dellibro, 1964), pl.
23. For the date, see Frey, op. cit., vol. II, p. 859, ricordo
32 Twice Vasari described the apparato at some length.
First, in a letter of 1542 to his Florentine patron, Ottaviano de'
Medici, reprinted in Le Vite, vol. vm, pp. 283-287, and also
in Frey, op. cit., vol. I, pp. 111-116. And second, in his
life of Cristofano Gherardi (Doceno) in the second edition of Le
Vite (1568), vol. VI, pp. 223-225. Vasari was assisted in this
commission by his pupils Bastiano Flori of Arezzo and Cristofano
Gherardi and Battista Cungi of Borgo San 42.
33 Juergen Schulz, "Vasari at Venice," Burlington
Magazine, CIII (1961), pp. 500-511. Since the publication of this
I should like to acknowledge my debt to Mme Catherine fundamental
article, a number of other drawings connected Vasari's apparato have
come to light. These include: a detailed study in the Louvre (Inv. 2168)
showing marine deities for the large painting immediately to the right of the stage
op. cit., pp. 166-167, no. 216); a drawing at Düsseldorf
(FP6422) for the fourth hour of the day (E. Schaar, Meisterzeichmmgen der
Sammlung Lambert Krahe [exhibition
catalogue; Düsseldorf Kunstmuseum: 1969-1970], pp. 21-22, no. 14,
fig. II); another formerly on the London art market for the nineteenth
hour (T. Clifford "Old Master Drawings in Albemarle Street," Burlington
Magazine, CXVII , pp. 319, 321, fig. 52) and yet another hour for
the ceiling perhaps by one of the pupils (Asta di disegni daI XVI
al XIX secolo, Finarte, Milan, 204, 1975, lot no. 44, attributed
to T. Zuccaro); and lastly a drawing at Lulworth (no. 167) of marine deities for one of the wall
paintings (identified by Monbeig-Goguel and soon to be published by
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