St Gregory the Great, seated, with four angels and a woman personifying Eloquence, as painted by Giulio in the Sala di Costantino in the Vatican
Drawing
first half 16th century (drawn)
first half 16th century (drawn)
| Artist/Maker | |
| Place of origin |
drawing
Object details
| Category | |
| Object type | |
| Title | St Gregory the Great, seated, with four angels and a woman personifying Eloquence, as painted by Giulio in the Sala di Costantino in the Vatican (published title) |
| Materials and techniques | Pen and ink and wash heightened with white |
| Brief description | Drawing, St Gregory the Great, seated, with four angels and a woman personifying Eloquence, as painted by Giulio in the Sala di Costantino in the Vatican, by Giulio Romano, Italian School, pen and ink and wash, first half 16th century |
| Physical description | drawing |
| Dimensions |
|
| Style | |
| Production type | Unique |
| Object history | Provenance: Sir T. Lawrence (according to the Catalogue of the Woodburn sale); S. Woodburn (sale, Christie, 4-8 June 1860; bought for the Museum) |
| Bibliographic reference | Ward Jackson, Peter, Italian Drawings. Volume One: 14th - 16th century, London, 1979, cat. 155, p. 77, illus.
The following is the full text of the entry:
GIULIO ROMANO
Giulio Pippi (c. 1499-1546)
155
St Gregory the Great, seated, with four angels and a woman personifying Eloquence, as painted by Giulio in the Sala di Costantino in the Vatican
Pen and ink and wash heightened with white
11 7/8 x 9 7/8 (301 X 251) 2269
PROVENANCE Sir T. Lawrence (according to the Catalogue of the Woodburn sale); S. Woodburn (sale, Christie, 4-8 June 1860; bought for the Museum)
Formerly catalogued anonymously. The drawing does not include any of the figures in the upper part of the fresco. Otherwise it corresponds closely with the fresco, except in one detail: in the fresco the figure of Eloquence sits with her left leg advanced, whereas in the drawing her right leg is advanced; apart from that, the position of the legs is different, the feet being more firmly placed on the steps in the fresco than in the drawing. These alterations prove that the drawing was not copied from the fresco. The handling is very close to Giulio. The drawing is either a study by Giulio himself or a good copy by a pupil made from his original drawing. Eloquence is represented as described in Ripa's Iconologia, holding a thunderbolt in her right hand and an open book in her left. |
| Collection | |
| Accession number | 2269 |
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| Record created | June 30, 2009 |
| Record URL |
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