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Saint Jerome (¿?)
Red chalk on dark yellow paper. First half of the XVII century
Baglione, Giovanni
Saint Jerome (¿?)
Red chalk on dark yellow paper. First half of the XVII century
Baglione, Giovanni

On Brun´s (?) mount, with his inscription below the drawing: D. ZAMPIERI. The attribution to Domenichino (1581-1641) is unsustainable. However, there are strong similarities to studies in red chalk by Baglione´s Saints Peter and Paul in S. Cecilia in Trastevere, Rome. The saints is traditionally identifies ad St. Jerome, though he may be St. John the Baptist since a long red cross rests against hi

Charity / The Virgin and Saint Elizabeth
Red chalk on blue paper. XVI century
Cesi, Bartolomeo (Attributed To)
Charity / The Virgin and Saint Elizabeth
Red chalk on blue paper. XVI century
Cesi, Bartolomeo (Attributed To)

The rather dry technique of drawing in red chalk on light blue-grey paper suggest the work of the Bolognese painter Bartolomeo Cesi, who travelled to Rome in 1591, thought he may have visited the city before then. The partial copy from Sebastiano del Piombo (c. 1475-1547) on the verso does not seem to be an offset, as the complier of the entry from the nineteenth-century French sale catalogue clai

Studies of Figures
Pencil, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo
Studies of Figures
Pencil, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo

The study at the top of the sheet is copied from the torso of Michelangelo´s Risen Christ in S. Maria sopra Minerva, Rome, commissioned in 1514. In the statue, Christ holds the sponge, or cloth, impregnated with vinegar, against the side of the Cross. The inscription Buonarroti was perhaps written as a reference to the model for the principal study. The study of a female head was doubtless taken f

Sts. Monica and Augustine
Pencil, Grey-brown ink on paper. XVI century
Anonymous
Sts. Monica and Augustine
Pencil, Grey-brown ink on paper. XVI century
Anonymous

Thanks to the old inscription, it is possible to identify the design as that of Muziano´s lost painting, formerly in the sacristy of S. Agostino, Rome. The drawing thus preserves a visual record of the composition of this lost picture. St. Monica was the mother of three children, the eldest of whom was St. Augustine, the future Doctor of the Church. At the end of her life, she followed him to Rome

St. Paul Raising Patroclus
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVIII century
Anonymous
St. Paul Raising Patroclus
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVIII century
Anonymous

This is a copy after the fresco by Antonio Campi, datable 1560-64, in S. Paolo Converso, Milán. The late eighteenth-century Italian copyist may have been the same as was responsible for the drawing of the Mystic Marriage of St. Catherine. The entire verso of the sheet is covered with pen trials and miscellaneous scribbles. According to the Golden Legend, Patroclus fell from a ladder placed

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