Image of Gallery in South Kensington
On display at V&A South Kensington
Request to view at the Prints & Drawings Study Room, level C , Case M, Shelf 59

Design for arms, armour, horses' trappings etc, for a pageant or triumph

Drawing
late 16th century (made)
Artist/Maker
Place Of Origin

drawing


object details
Category
Object Type
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
  • Estimate height: 24.2cm
  • Estimate width: 26.3cm
Dimensions taken from Catalogue of Foreign Paintings, I. Before 1800, C.M. Kauffmann, Victoria and Albert Museum, London, 1973
Style
Production typeUnique
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 createdJune 30, 2009
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