Design for arms, armour, horses' trappings etc, for a pageant or triumph
Drawing
late 16th century (made)
late 16th century (made)
| Artist/Maker | |
| Place of origin |
drawing
Object details
| Category | |
| Object type | |
| Title | Design for arms, armour, horses' trappings etc, for a pageant or triumph (published title) |
| Materials and techniques | Pen and ink and watercolour picked out with gold on brown tinted paper |
| Brief description | Drawing, Design for arms, armour, horses' trappings etc, for a pageant or triumph, attributed to Jacopo Ligozzi, Italian, pen and ink and water-colour, late 16th century |
| Physical description | drawing |
| Dimensions |
|
| Style | |
| Production type | Unique |
| Marks and inscriptions | Inscribed with detailed descriptions in Italian against each piece of equipement |
| Object history | Provenance: Sir Thomas Lawrence (Lugt 2445): Count Moriz von Fries (Lugt 2903) |
| Bibliographic reference | Ward Jackson, Peter, Italian Drawings. Volume One: 14th - 16th century, London, 1979, cat. 188, pp. 86-88, illus.
The following is the full text of the entry:
? LIGOZZI, JACOPO
188
Design for arms, armour, horses' trappings etc, for a pageant or triumph
Inscribed with detailed descriptions in Italian against each piece of equipment
Pen and ink and water-colour picked out with gold on brown tinted paper
16 x 10 7/8 (406 x 279) 4785
PROVENANCE Sir Thomas Lawrence (Lugt 2445): Count Moriz von Fries (Lugt 2903)
The harness show is for a man and his horse. For the man there is a lorica or Roman cuirass, a brassart, a plumed helmet, a sword and a crown; and the artist states in a note that he has made designs for the legs and feet in a separate drawing. For the horse there is a set of trappings in velvet and leather, and a plume for the head. It is clear from the notes that the metal parts were to Benvenuto Cellini, doubtless on the assumption that the design was for goldsmith's work. But the ornament, particularly that of the table and chairs, is not in the least typical of Florentine mannerism and points towards the north of Italy. The meticulous penmanship and the gold heightening suggest Jacopo Ligozzi. But if the handwriting is compared with the letter written by Ligozzi in C. Pini, La scrittura di artisti italiani, 3, 1869, no. 255, there will be some doubt whether Ligozzi forming his letters with unusual care, which he may have done deliberately when annotating a carefully executed drawing like this. But the element of doubt is strong enough to make the attribution uncertain and tentative. |
| Collection | |
| Accession number | 4785 |
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| Record created | June 30, 2009 |
| Record URL |
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