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Justice, Fortitude and Temperance
Pencil, Grey-brown ink, Wash on dark yellow paper. 1550 - 1560
Cambiaso, Luca
Justice, Fortitude and Temperance
Pencil, Grey-brown ink, Wash on dark yellow paper. 1550 - 1560
Cambiaso, Luca

The composition, which shows the three Theological Virtues, was probably made with a painted composition in mind, though no such work survives. As Pérez Sánchez has argued, the style indicates a date around 1550-60, when the artist was still working in Genoa. Cambiaso treated the subject again at the end of his career in one of the frescoes in the choir of the Escorial, though the de

Dibujo para unas volutas con la forma de una arpía
Pencil, Pencil ground, Grey-brown ink on blue paper. Last third of the XVI century
Cambiaso, Luca
Dibujo para unas volutas con la forma de una arpía
Pencil, Pencil ground, Grey-brown ink on blue paper. Last third of the XVI century
Cambiaso, Luca

The fantastic creature in the present sheet resembles those appearing as crests of helmets in some ornamental suits of armor manufactured in Northern Italy in the middle of the sixteenth century, particularly Milan. A good example is that in the form of a siren (part woman, part bird) on top of the helmet in the armor of Alessandro Farnesse preserved in the Kunsthistorisches Museum, Vienna (inv. A

Design for scrollwork in the form of a gryphon
Pencil, Pencil ground, Grey-brown ink on blue paper. Last third of the XVI century
Cambiaso, Luca
Design for scrollwork in the form of a gryphon
Pencil, Pencil ground, Grey-brown ink on blue paper. Last third of the XVI century
Cambiaso, Luca

Saint Anne, the Virgin and the Christ Child
Pencil, Grey-brown ink, White lead on paper. XVI century
Cambiaso, Luca (Attributed To)
Saint Anne, the Virgin and the Christ Child
Pencil, Grey-brown ink, White lead on paper. XVI century
Cambiaso, Luca (Attributed To)

This drawing may possibly be by Cambiaso himself, though stains and other damages to the sheet impair assessment of its quality. A studio version of the composition, in reverse and in pen and brown ink only, is in the Louvre (inv. no. 9229).

The Capture of Christ
Pencil, Pencil ground, Grey ink, Grey-brown ink, Wash on yellow paper. Third quarter of the XVI century
Cambiaso, Luca
The Capture of Christ
Pencil, Pencil ground, Grey ink, Grey-brown ink, Wash on yellow paper. Third quarter of the XVI century
Cambiaso, Luca

The drawing belongs to a collection, mostly by Cambiaso´s workshop, formerly preserved in an old album. According to Renaissance tradition, a painter needed to prove himself as an inventor of figure compositions: these were not the casual groupings of scenes from everyday life that might take his fancy, but the great actions of human history, from the Bible, mythology, ancient history and literatu

Design for ornament in the form of a winged lionness
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on blue paper. XVI century
Cambiaso, Luca
Design for ornament in the form of a winged lionness
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on blue paper. XVI century
Cambiaso, Luca

Seated lioness, with one of its front paws raised
Pencil, Grey-brown ink on grey paper. XVI century
Cambiaso, Luca
Seated lioness, with one of its front paws raised
Pencil, Grey-brown ink on grey paper. XVI century
Cambiaso, Luca

The album page on which the drawing is laid has been cut down. A lioness in a similar pose appears at the feet of a standing Bacchus in a drawing in the Ashmolean Museum, Oxford (inv. no. KTP II, no. 132).

Fortitude
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. XVI century
Cambiaso, Luca
Fortitude
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. XVI century
Cambiaso, Luca

Although sadly much corroded, the drawing is of high quality and the handling compatible with Cambiaso´s autograph drawings. Fortitude is one of the three Theological Virtues, whose attributes are a column and a lion.This and a handful of other drawings by Cambiaso and his School, which do not belong to the Cambiaso Album, described below, have various provenances. Only three appear to have belong

Battle between Hercules and the Amazons
Pencil, Grey-brown ink on brown paper. 1544 - 1550
Cambiaso, Luca
Battle between Hercules and the Amazons
Pencil, Grey-brown ink on brown paper. 1544 - 1550
Cambiaso, Luca

The encounter between Hercules and the Amazons, the ninth of his Labors, arose from his assignment to seize the girdle of Queen Hippolyte of the Amazons. Admete, the daughter of Eurystheus, had expressed a desire to possess it, and Hercules therefore set off on a mission to satisfy her desire. The girdle was the ensign of the Queen´s power and she had received it as a present from Ares. The Amazon

The Death of Niobe's Children
Pencil, Grey-brown ink, Wash on brown paper. 1570 - 1580
Cambiaso, Luca
The Death of Niobe's Children
Pencil, Grey-brown ink, Wash on brown paper. 1570 - 1580
Cambiaso, Luca

As related in the Homeric story, Queen Niobe, the wife of Amphion, King of Thebes, was the mother of six sons and six daughters, of whom she was greatly proud. She deemed herself superior to Latona, who had given birth to only two -Apollo and Artemis- both sired by Jupiter, to whom Latona was married before Juno. Indignant at Niobe´s presumptuousness, Apollo and Artemis slew all of her children wi

Hercules shooting his bow
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. 1544 - 1550
Cambiaso, Luca
Hercules shooting his bow
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. 1544 - 1550
Cambiaso, Luca

Hercules used his bow when firing at the Stymphalian birds, the destruction of which was the sixth of his Labors. These voracious creatures ate human flesh, had brazen claws, wings and beaks and used their feathers as arrows. Their habitat was a lake near Stymphalus in Arcadia. On hearing of the task that Hercules had been allotted, Athena provided the hero with a brass rattle, by the noise of whi

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