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The drawing depicts three young angels in flight carrying a wooden cross, from which ribbons hang. A child angel holds one of these ribbons. Several other angels and cherubs make up the rest of the composition.Jonathan Brown hypothesised that the drawing was done in preparation for the painting on the inner part of the cupola of the chapel of the Siete Dolores in the church of Santo Tomás.
This drawing depicts the miraculous power of Saint Peter Martyr, the first Dominican martyr whose tomb in Milan became an important pilgrimage site. The Golden Legend documents at least one example of a demon-possessed woman who was cured before the venerable remains of the saint (alluded to in the drawing by the woman on the left, from whose mouth the demon escapes). Purely physical maladies were
As Gabriele Finaldi has pointed out, the military leader with the magnificent plumed helmet on his head is Alessandro Farnese, Duke of Parma (1545-1592), and his coat-of-arms appear top center, almost directly above. He is evidently setting out for war: his grooms bring forward his charger behind him; three maidens, bearing objects symbolic of protection, sustenance, and wealth precede him; and le
The drawing is connected with one of two large upright frescoes by Perino formerly in the Cappella Massimi in S. Trinita dei Monti, Rome. One, the Raising of Lazarus, is detached and now in the Victoria & Albert Museum, London, the other, the Pool of Bethesda, is lost, but its appearance is preserved in a chiaroscuro woodcut, in which Christ appears on the right and points with his left hand. The
This is the most Raphaelesque of all the sixteenth-century Italian drawings in the Prado, the confident style of drawing in black chalk echoing that of Raphael´s own late drawings in the medium, above all his studies for heads in the Transfiguration in the PinacotecaVaticana, in the British Museum, London, the Ashmolean Museum, Oxford, and elsewhere. Here in the Prado drawing, the execution is fin
The drawing corresponds to the painter’s mature period when he had already gained all his extensive experience and knowledge as a draughtsman. This is perceptible from the intelligent use of ink wash; that is to say, the application of the different layers of ink with the brush for shading and to create volume. This is achieved by pen strokes that recreate the folds of the fabric. It was initially
