National Gallery of Canada / Musée des beaux-arts du Canada

Bulletin 4 (II:2) 1964

Annual Index
Author & Subject

Two Drawings by Parmigianino

by A. E. Popham

  1  |  2  |  3  


l Printed in A. O. Quintavalle, II Parmigianino, Milan, 1948, p. 183, note 86.

2 See Sydney J. Freedberg, Parmigianino His Works in Painting, Cambridge, Mass., 1950, pp. 187, 188 and
Addenda, p. 254.

3 A. E. Popham, The Drawings of Parmigianino, London, 1953, PI. LXVIa. Freedberg, op. cit., p. 188, claims that the Louvre drawing no.6384 (his Fig. 86) may be an early idea for the Madonna daI collo lungo, but I fail to see any connection. The case for Louvre no.6387 (Freedberg Addenda, p. 254) being an early study for the picture also seems to me weak.

4 I1l. L. Frôhlich-Bum, Parmigianino und der Manierismus, Vienna, 1921, Abb. 44; Freedberg, op. cit., p. 188, note 143 and Addenda, p. 254.
5 Pierpont Morgan Library, New York, 111,42. Red chalk over stylus, 18.5 x 14 cm. (Freedberg, op. cit., p. 188, note 143 and Addenda, p. 254). I suspect that this is the actual drawing engraved by Rosaspina when in the Armano collection and that Rosaspina added the head to improve the appearance of his print.

6 Budapest, no. 1854. Pen and brush, 10.3 x 5.8 cm. (ill. Bulletin du Musée National des Beaux-Arts, Budapest, 1961, Fig. 32; Freedberg, op. cit., Addenda, p. 254).

7 British Museum, 1905-11-10-61 and 62 (ill. Frôhlich-Bum. op. cit., Abb. 49, 50). The existence of a third very similar but not identical study for the Virgin's drapery is attested by a copy at Windsor (A. E. Popham and Johannes Wilde, Italian Drawings Windsor Castle, London, 1949, no.635).

8 Published by Robert Wark, Art Quarterly, 1959, pp. 245-248.
9 Louvre, Paris, no.6453. Pen and ink on yellowish paper, 10 x 6.8 cm. (Freedberg, op. cit., Addenda, p. 254). A comparison with this Louvre drawing suggests that a study of an infant at Budapest (ill. Bulletin du Musée National Hongrois, loc. cit., p. 53) may also have been intended for the Madonna daI collo lungo.

10 I am informed by Mrs. Julia Wilde that this may be interpreted as the "Vas spirituale, vas honorabile, vas insigne devotionis" of the Litany of the Virgin. Its significance has not, as far as I am aware, hitherto been explained.

11 I1l. Popham, op. cit., Pl. LXVlb.

12 Louvre, Paris, no.6378, ill. Frôhlich-Bum, op. cit., Abb. 45. No. 6483 closely resembles no.6378. It also corresponds with the chiariscuro by Zanetti (Bartsch 34; Weigel 5488) in reverse and is most probably by him, though it must reproduce a lost original.

13 Louvre, Paris, no.6381. Red chalk, 24 x 12 cm. (ill. Frôhlich-Bum, op. cit., Abb. 48; Freedberg, op. cit.,
p. 188, note 143 and Addenda, p. 254).

14 From the collection of Nicolas Lanière (Lugt 2886) by whom "Parmeggiano" was written on the drawing.

15 I1l. Old Master Drawings IX (1934-35), PI. 60.

16 I1l. A. O. Quintavalle, op. cit., tav. 93.

17 The fluttering ribbons might be the ends of a standard as
carried by the youth in a drawing in the British Museum (1858-7-24-7). Alternatively the warrior may be brandishing the curved sword, the scabbard of which hangs by his side. Against this the hilt of such a sword would be likely to be curved and for all that can be seen the scabbard may not be empty.

18 I11. Popham, op. cit., PI. LXI.

Top of this page

Home | Français | Introduction | History
Annual Index | Author & Subject | Credits | Contact

This digital collection was produced under contract to Canada's Digital Collections program, Industry Canada.

"Digital Collections Program, Copyright © National Gallery of Canada 2001"