Dive into a selection of the recently published catalogue Italian Architectural Drawings by Anna Bortolozzi, on the Italian architectural drawings in the Cronstedt Collection in the Nationalmuseum.

This catalogue presents the first comprehensive study of the Italian architectural drawings in the Cronstedt Collection in the Nationalmuseum Stockholm, discussing 181 drawings dating from around 1570 to around 1620. Among them are works by Francesco da Volterra, Carlo Maderno and other Roman architects, executed for churches, chapels, palaces, gardens, and fountains-many constituting primary and almost unknown sources for late Mannerist and early Baroque architecture. Also included are plans and architectural details by French draughtsmen, meticulously documenting ancient monuments, as well as buildings by the Renaissance masters Bramante, Antonio da Sangallo, Michelangelo, and Vignola.

Italian Architectural Drawings proposes new attributions in the light of recent scholarship, based on close examination of the drawings' material (paper, medium, technique, mounting). Comparative illustrations and a photographic catalogue of the watermarks complete the volume.

Cat. no. 59

PAPER: heavy weight, yellowish paper

WATERMARK: none visible

MEASUREMENTS: Roman palmi; no scale

INSCRIPTIONS: Ornamenti di pittura e stucchi indorati, in una stanza antica, sotto le ruine delle terme di Tito; da molti creduta essere della casa aurea di Nerone (at lower edge)

BIBLIOGRAPHY: unpublished

This square painted ceiling decoration has grotesque work motifs. An elegant female centaur with a child on horseback adorns the circular blue pattern at the centre of the composition. According to the inscription, the ceiling belongs to an ancient edifice discovered on the Oppio Hill, under what is known as the “Terme di Tito”, near the Domus Aurea (Fig. 1). The style and technique of the drawing, as well as the position and hand style of the inscription, closely resemble those of ancient painted ceilings drawn by the painter and antiquarian Pietro Santi Bartoli, preserved in various European collections. Bartoli participated in two excavation campaigns conducted around 1668 and 1683–84 on the Oppio, north of the Colosseum (Gentile Ortona, Modolo 2016, 183–197, 207–218). Most likely, the fresco ceiling in the Cronstedt collection is to be associated with the second of these campaigns, begun on 5 January around the ruins of the “Sette Sale”, an area known in the 17th century as the ruins of the “House” and “Baths of Titus”, during which Bartoli copied a number of fresco ceilings decorated with grotesque work. A document dated 14 April 1688 (Ortona, Modolo 2016, 68, n. 18) mentions that Bartoli was paid 21 scudi by the Académie de France in Rome, on behalf of Louis XIV, for watercolour drawings of two plafonds, one of which was discovered in 1682 in the ruins of “le Sette Sale que l’on croit estre du palais de Titus ou de la casa aurea de Neron”. The ceiling is possibly the same as the one represented in the Cronstedt drawing. Between 1686 and 1690 Bartoli produced a series of 75 watercolours of ancient Roman paintings for the King of France, but by 1693 Bartoli’s drawings had mysteriously disappeared from the Cabinet de Roi. In 1756 in Paris, Anne-Claude-Philippe de Tubières, Count Caylus, unexpectedly discovered and purchased a collection of 33 drawings, now at the Bibliothèque Nationale de France (Département des Estampes et de la Photographie, Réserve, Gd-9b), and subsequently published them in his Requeil de peintures antiques (1757–60), creating a large treasury of Bartoli’s work. It would appear that the Cronstedt drawing was not among those found by Caylus, since it had already left France in 1735 with the purchase of Claude III Audran’s collection by Carl Johan Cronstedt, and was consequently never acknowledged by scholars. In a letter dated 1688, Mathieu de La Teulière, Director of the Académie de France in Rome, suggests to François Michel Le Tellier, marquis de Louvois, Surintendant des bâtiments du Roi between 1683 and 1691, that the drawing of the ceiling discovered in the ruins known as “le sette Sale, ou le Palais de Titus” would perhaps be suitable as a model for a decoration in a room in the château de Meudon or in Louvois’ house in Paris (“ne réussiroit pas mal dans quelqu’une de vos chambres de Meudon ou de Paris”. Ortona, Modolo 2016, 69, n. 19). In 1695, on the death of Louvois, Louis XIV purchased the château for his legitimate son, le Grand Dauphin. In this phase a large decoration exercise was begun, with ceiling paintings executed by Claude III Audran. Following la Teulière’s original suggestion, Bartoli’s drawing could have been handed to Audran for the design of Meudon’s interiors and never returned to the office of the bâtiments du Roi, being absorbed into his large collection of study drawings now preserved at the Nationalmuseum of Stockholm.

LITERATURE: Bartoli, Pitture antiche, 1706; Caylus, Recueil de peintures antiques, Paris 1757; Whitehouse 2014; Gentile Ortona, Modolo 2016

Fig.1, Étienne Dupérac, Remains of the Baths of Titus, print from I Vestigi dell'antichità di Roma, Rome 1575, pl. 17

Cat. no. 125.

PAPER: the drawing has been laid down on to a mounting sheet of late 17th-century French writing paper

WATERMARK: not clearly visible

WATERMARK OF THE MOUNTING SHEET: Chaplet 10

INSCRIPTIONS: 1583 (in the altar socle); disegno dela capella di M[esser] Bernardo Olgiati da Como da farsi a S. Prasedia (on the verso of the drawing, covered by the mounting, apparently in the hand of Volterra)

MEASUREMENTS: Roman palmi; scale at lower right edge with 20 units [palmi] = 18.3 cm

BIBLIOGRAPHY: Langenskiöld, Moselius 1942, 72, Cat. no. 340; Langenskiöld 1946, 59–61 and fig. 41; Marcucci 1991, 180 and fig. 139; Marcucci 1997, fig. 20b

EXHIBITED: Langenskiöld, Moselius 1942, 72, Cat. no. 340

Design of a chapel with a centralised octagonal plan under a dome concealed in the perimeter walls. The dome, pierced by three circular windows, rests on large pendentives springing from canted corners, articulatedby giant order pilasters that flank niches and recessed rectangular panels. Three lunette windows, inscribed in the roundheaded arches, illuminate the interior. The drawing is for the side of the chapel opposite the entrance and depicts the altar with its liturgical furnishings. In the altar socle, is the date 1583. The project depends on the model of Raphael’s Chigi Chapel in Santa Maria del Popolo, but it also bears some similarity with the Bandini Chapel at San Silvestro al Quirinale, built by Ottaviano Mascarino between 1580 and 1585 (Rome, Accademia di San Luca, no. 2332; Wasserman 1966, 45–48, figs. 1–3). In contrast to the two above mentioned chapels, overlooked by hemispherical domes vaulted from the outset andresting on a drum containing windows, the focus of the Stockholm project is not on the dome, but on the walls. In this respect, the comparison with Mascarino’s project is significant. The Bandini Chapel is taller (68 palmi, about 15 m) than the chapel in Stockholm (55 palmi, about 12.26 m), but the relationship between the height of the chapel to the architrave and the diameter is respectively 1/16 and 1/18, proportions that challenge the principles of Raphael’s architecture. In style and technique, the drawing is very close to other drawings of chapels designed by Volterra and preserved in Stockholm: the project for the Rustici Chapel at Santa Maria sopra Minerva from 1586 (NM H CC 199, Cat. no. 126) and that for the Caetani Chapel at Santa Pudenziana from 1591 (NM H CC 165, Cat. no. 123 and NM H CC 166, Cat. no. 124). The main evidence for the identification of the Stockholm drawing with the Olgiati Chapel is the inscription on the reverse of the sheet. Marcucci (1997) published the drawing as being for an unidentified chapel by Francesco da Volterra, most likely because she did not read the inscription, which was covered by the mounting. It seems certain that the final project for the chapel, the construction of which was commissioned by the Lombard banker Bernardo Olgiati, was provided not by Volterra, but by Martino Longhi the Elder (Lerza 2002, 149–153). The construction, based on a rectangular plan and covered by a coved vault, resembles the Altemps Chapel at Santa Maria Maggiore, also by Longhi. However, circumstantial evidence for recognising the Stockholm sheet as an initial, alternative proposal for the Olgiati Chapel, is the date of the beginning of the work, established by Caperna as February 1583 (1999, 88, 104 n. 34) and the probable involvement of Volterra in the restoration of Santa Prassede in the service of Carlo Borromeo, titular cardinal of the church between 1564 and 1584 (Marcucci 1991, 91; Caperna 1996, 96).

LITERATURE: Marcucci 1991; Caperna 1993; Russo 1993; Marcucci 1997; Caperna 1999; Lerza 2002

Cat. no. 123

PAPER: at the centre of the altarpiece, remnants of red wax indicate that a paper sheet, possibly with a proposal for the decoration, was removed. Verso reinforced with two horizontal stripes of paper and subsequently laid on to a secondary support of fine writing paper

WATERMARK: Letter 8

INSCRIPTIONS: CHI SI UMILIA ESATABITUR (at lower centre, in the altar); Misura della colona che va al detto disegniato altare e il colore dela colona è di pidiochioso, un colore che [h]a del brutino e grigio spes[s]o (on the verso, partially visible through the secondary support)

MEASUREMENTS: Roman palmi, once; scale at the lower right edge of 20 units [once] = 17.8 cm

PROVENANCE: Carl Johan Cronstedt and descendants; Eric Langenskiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: Langenskiöld, Moselius 1942, 72, Cat. no. 340; Langenskiöld 1946, 59–61 and fig. 41; Marcucci 1991, 180 and fig. 139; Marcucci 1997, fig. 20b

EXHIBITED: Langenskiöld, Moselius 1942, 72, Cat. no. 340

Enrico Caetani, titular cardinal of the Early Christian Church of Santa Pudenziana, entrusted Francesco da Volterra with the restoration of the building, probably at the beginning of 1586. Volterra wrapped the ancient columns in brick pilasters, reinforced the arches of the nave and removed the choir screen. In its place he built a large new altarpiece surmounted by an oval transversal dome. Following the renovation of the church, the works for the construction of the Caetani chapel probably began in 1588 on the site of the ancient oratory of the Buon Pastore. The drawing shows the transversal section of the chapel towards the altar. Cardinal Caetani’s coat of arms is represented on the arch enclosing the niche of the altar. A distinct feature of the drawing is the attention given to the architectural decoration and the lavish use of wash to represent the colourful marble incrustation of the walls, the altar table and the aedicule. Another drawing in the Cronstedt Collection (NM H CC 166, Cat. no. 124), representing the longitudinal section of the chapel, provides information on the date of the project: 13 October 1591. The altar aedicule was finally built between 1594 and 1595 on two columns of grey marble, according to a design that was radically different from the present one. Documentary evidence suggests that the standing structure may be ascribed to the sculptor and architect Pietro Paolo Olivieri (1551–1599) who took over the direction of the works after Volterra's death (Gori 2012, 271). From 1599 onwards, it was the architect Carlo Maderno who oversaw the completion of the chapel. It is probably he who erected the four columns of giallo antico on either side of the entrance way and the two Caetani tombs. On the verso of the sheet is a sketch of a column shaft 14 and 5/6 palmi long, and 1 palmo and 5 once wide at the base.

LITERATURE: Lotz 1955, 74–76; Hibbard 1971, 127; Cozzi Beccarini 1976; Marcucci 1991, 160–169; 180–186; Sénécal 1995; Gori 2012; Braconi 2015

OTHER DRAWINGS: Stockholm, Nationalmuseum, NM H CC 166, Cat. no. 124

Cat. no. 124

PAPER: two sheets joined horizontally. The drawing has been laid down on to two joined mounting sheets with white paper borders attached. The mount is probably a late 17th-century French one. Repairs on the verso

WATERMARK: none visible

WATERMARK OF THE MOUNTING SHEET: Chaplet 10

INSCRIPTIONS: He[n]ricus cardi[nal] Caetan[i] (at lower right, in the portal); Disegnio della faciata del fiancho dela capella di S. Pastorri in S. Patentiana per fare la incrostatura di pietre misti di varii colori che ora vol far fare con grandeza li Ill.mo S.r cardinal Caetano. Adì 13 di ottobre 1591 (at lower edge, in the hand of Volterra)

MEASUREMENTS: Roman palmi, once; scale at the lower right edge with 20 units [once] = 17.6 cm

BIBLIOGRAPHY: Langenskiöld, Moselius 1942, 71–72, Cat. no. 339; Langenskiöld 1946, 59–61 and fig. 42; Marcucci 1991, 180–186 and fig. 142; Marcucci 1997, fig. 20a

EXHIBITED: Langenskiöld, Moselius 1942, 71–72, Cat. no. 339

The drawing shows the longitudinal section of the Caetani chapel at Santa Pudenziana, which Cardinal Enrico Caetani commissioned Francesco da Volterra to design, the construction of which was begun around 1588. The inscription at the lower edge of the sheet indicates that the function of the drawing was to show the display of the colourful marble incrustation of the walls, put in place under the direction of the sculptor Giovan Battista Della Porta. The large square portion of wall at the centre of the drawing was certainly intended for the tomb of the cardinal and his family. Even though they are not represented in the Stockholm drawings, Hibbard (1971, 127) is persuaded that the tombs on either side of the longitudinal walls of the chapel were planned by Volterra from the early phase of the works.

LITERATURE: see Cat. no. 123

OTHER DRAWINGS: Stockholm, Nationalmuseum, NM H CC 165, Cat. no. 123

Cat. no. 132.

Carlo Maderno (1556–1629), his workshop

PAPER: two sheets joined and trimmed. The vertical junction is rein - forced on the verso with a 5.5-cm-wide strip of a similar paper with traces of black ink. The right edge is also reinforced on the verso with a strip of 16th-century paper. A flap of paper with Cardinal Rusticucci’s coat of arms has been glued by the draughtsman upon the central oval panel. Losses on the lower left corner and on the lower right edge, restored before 1971. On the verso, traces of skinning and remnants of light blue paper indicate that the drawing has been removed from a secondary support

WATERMARK: Pilgrim 6

INSCRIPTIONS: Dissegno della soffitta da farsi per m[ast]ro Aless[andr]o Falegname et m [ast ]ro Gio [vanni ] suo comp [agn ]o nella chiesa di S. Susanna, come per l’instrum [en ]to del Ricci not [ai ] o dell’Aud [ito ]r della Cam [er]a, sotto li 30 d’Agosto 1596 / Io Carlo Maderno architetto dell’ill.mo et rev.mo sig.re cardinale Rusticucio / Io Alisandro Castaldi sopra detti afermo quanto di sopra. [Io Giov]anni Angiolini sopra detto affermo quanto di sopra (at bottom left); pilastri (on the top and bottom edges, inside the four piers)

MEASUREMENTS: no measurements; no scale

BIBLIOGRAPHY: Langenskiöld-Moselius 1942, 73, Cat. no. 344; Lan - genskiöld 1946, 66–68 and fig. 53; Hibbard 1971, 112–113 and pl. 10a; Lugano 1999, 322, Cat. no. 171, pl. no. 28; Bortolozzi 2019b

EXHIBITED: Langenskiöld-Moselius 1942, 73, Cat. no. 344; Lugano 1999, 322, Cat. no. 171, pl. no. 28; Bortolozzi 2019b

The drawing shows a design for the coffered wooden ceiling of Santa Susanna in Rome. In the lower edge it is signed by Carlo Maderno, architect of the church, Angelo Frumenti, a representative of Girolamo Rusticucci, titular cardinal of the church, and the carpenter Giovanni Angiolini. The drawing originally accompanied a contract for the execution of the ceiling drawn up on 30 August 1596 (ASR, Notai dell’A.C., D. Ricci, vol. 6238, fols. 599 ff.). The design of the compartments corresponds to the executed ceiling, but not the ornamental motifs in the compartments. Indeed, even if alternative proposals for the ornamentation are drawn on the left- and right-hand sides of the drawing, it was common practice to rely for the accomplishment of the decoration of a wooden ceiling on the invention of the carpenter. A main amendment occurs instead in the central compartment where today a relief of the Madonna Assunta is in the place of the Rusticucci family’s coat of arms, added at the centre of the Stockholm drawing with a flap of paper and explicitly mentioned in the 1596 contract. In fact, the motif bearing the unicorn and the cardinal’s hat was not eliminated but moved into two oval compartments at the heads of the longitudinal axis of the ceiling. The drawing also shows four indentations over the dentil cornice labelled pilastri. This reveals that at the time of the contract it had been decided to remove the two diaphragm -arches springing from the buttresses of the nave up to the ceiling level. The decision to cut the buttresses down to the present height and to surmount them with the figures of four Prophets was made in the second half of 1596 or soon after that (Hibbard 1971, 113). The ceiling was to be finished by the end of June 1597 and appraised by Maderno.

LITERATURE: Hibbard 1971, 110–114; Conforti, D'Amelio, Funis, Grieco 2019

Cat. no. 63

Unknown late 16th-century draughtsman (Carlo Maderno’s workshop?)

PAPER: irregularly cut, losses in the lower left and right corners, restored

WATERMARK: Crown 24

MEASUREMENTS: none; no scale

BIBLIOGRAPHY: unpublished

The design of the centring (incavallatura) of the pier arches of St Peter’s in Rome is made after Bramante's drawing Uffizi 226A or after a copy of it. The author of the Codex Mellon copied the same construction (Washington, National Library, fol. 7v, attributed to Domenico da Varignana, c. 1513), and Jakob Bos engraved it (Antonio Lafréri, Speculum Romanae Magnificentiae, 1561). The project for the centring was designed by Donato Bramante probably as part of the construction of the cornice of the giant order, completed in the first months of 1510. The Uffizi 226A drawing appears to have been made to explain the structure of the scaffolding to the master carpenters Antonio del Pellegrino and Antonio da Sangallo the Younger. A number of wooden beams for the building of the structure were acquired during 1508, but the centring was only completed after 1511. Once the pier arches were completed, the scaffolding was dismantled and reassembled for the building of the barrel vaults of the arms. This was possibly the main reason the design was carefully copied and then printed by Lafréri. In order to build the vaults of the arms of the basilica, Michelangelo and Carlo Maderno must have made use of the same wooden structure. The Stockholm drawing differs in some respects from both earlier and later representations. The major addition is a gangway between the arch-spans, supported on the cornice of the order. The two men walking over the structure give a tangible idea of the monumental scale of the arch.

LITERATURE: Hülsen 1921, 121–170, 162, no. 97; Wolff Metternich, Thoenes 1987, 190–193; Millon, Magnago Lampugnani 1994, 609, Cat. no. 297, entry by Ch. Luitpold Frommel; Frommel 1996, 30–31

OTHER DRAWINGS: Berlin, Kunstbibl., Codex Destailleur D, Hdz 4151, fols. 112r, 113v, anon. draughtsman, c. 1540; Florence, Uffizi 226A, Donato Bramante, after 1506; Florence, Uffizi, 1970A, Giacomo Barozzi da Vignola (attr.); New York, Metropolitan, Scholz Scrapbook, 49.92.16r, anon. French draughtsman, second half of the 16th century; New York, Morgan Lib., Codex Mellon, fol. 7v, Domenico da Varignana or Domenico Antonio de Chiarellis? (attr.), c. 1513. Prints: Jakob Bos

and Antonio Lafréri, Speculum Romanae Magnificentiae, 1561; Carlo Fontana, Il Tempio Vaticano e sua origine [...], Rome 1694, 321; Nicola Zabaglia, Castelli e ponti di maestro Niccola Zabaglia [...] Rome 1743, pl. III

Fig. 1, Anon. French draughtsman, second half of the 16th century, St Peter’s, centring truss, tunnel vault, section. New York, Metropolitan, Scholz Scrapbook, 49.92.16r

Cat.no. 138.

Unknown Roman architect

PAPER: trimmed and laid down overall on to a mounting sheet with blue paper borders attached. The mount is probably an 18th-century French one

WATERMARK: none visible

WATERMARK OF THE MOUNTING SHEET: Christ monogram 14 INSCRIPTIONS: al tellaro è gialo sbreciato (in pen and brown ink, inside the altarpiece, turned ninety degrees); biancho e negro (on the column shaft on the right, turned ninety degrees); verde anticho (in the panel of the pedestal of the column on the right, turned ninety degrees); fra Giovan Battista Ceruti, priore di Carmelitani Calzati / Fra Ioan Baptista de Lesana / Fra Vincenzo Ga[...]sti / Domenico Fonthia / Francesco Baratta (inside the altar mensa, subscriptions in different hands); various measurements in black chalk

MEASUREMENTS: Roman palmi; no scale

PROVENANCE: Carl Johan Cronstedt and descendants; Eric Langenskiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: unpublished

The drawing is a project for an altar dedicated to Teresa of Ávila, canonised in 1622. The mystic saint, projecting upwards to heaven and surrounded by angels, is represented in an oval panel inserted in the gap at the apex of the broken pediment. The altar is composed of an aedicule supported by two Corinthian columns on pedestals. The entablature and the raking cornice of the pediment project out from the aedicule in correspondence with the columns. The pedestals of the pilasters behind the columns are oddly shaped with inward curving volutes. Instructions regarding the colours of the marbles are recorded on the design. The drawing also outlines the vaulting of the chapel, giving a few additional details about its location. The wall on the right of the altar is of plain brickwork and a circle of radiating rays suggests the presence of a light source (natural or artificial) at the top of the vault. Two alternative solutions for the crowning of the pediment with reverse volutes surmounted by a cross are sketched in black chalk, possibly by a second hand. The solution on the left appears to be the one favoured by the draughtsman, who outlines over it with pen. It would seem that the motif depends on the design of the Baldacchino built in St. Peter’s by Gianlorenzo Bernini and Francesco Borromini, completed by 1633. The project in Stockholm can be identified with that of the altar of the fourth chapel on the left in the Roman Church of Santa Maria in Traspontina, dedicated to Teresa of Avila around 1620. From 1637 onwards Giovan Battista Lezana, a Spanish Carmelite priest, promoted the decoration of the chapel. The first payment is registered in December 1637 (Libro introito ed esito [...] per la riforma di Traspontina, Arch. Ord. I, (Tr), 4). The drawing may have accompanied the contract for the execution of the altar since it bears the signatures of Father Giovan Battista Ceruti, prior of the Carmelites, Father Giovan Battista de Lesana and Father Vincenzo Ga[...]sti; the signature of Domenico Fonthia, a marble merchant, and that of the sculptor Francesco Baratta (c. 1590–1666), a pupil of Bernini. We cannot exclude the possibility of the drawing in Stockholm being by Baratta himself, even though the distinctive architectural character of the composition suggests the hand of an architect, so far unidentified. The architecture of the altar as built corresponds to the Stockholm drawing in terms of its main structure, but not the decorative elements. No evidence indicates that the oval panel with the image of Saint Teresa was ever executed. If it was, it must have been removed in 1698, when the Procuratore generale Francesco Ximenes Medrano commissioned a complete redecoration of the chapel. Antonio Gherardi painted a new altarpiece and Giuseppe Bilancini executed the elaborate stucco works, incorporating on both sides of the chapel two oval paintings executed by Luca Malmelluzzi in 1659. During this work, a marble shell flanked by two putti was inserted in the apex of the pediment.

LITERATURE: Catena 1954, 43–45

Cat.no. 136.

PAPER: one vertical and three horizontal folds and the inscription on the reverse may indicate that the drawing was sent as a letter. Upper left corner cut

WATERMARK: Keys 45

INSCRIPTIONS: Arme antica, da riportarsi dove si vede qui; Da questo fine, sino a la cornice, tutto finito di graffito; finestra dele vetrate; B finestra finta di graffito per accompagnare le due dale bande et la porta B sotto a essa; questa cornice di mattoni et calce, di rilevo, ma tutti li intagli di graffito; questo fregio di graffito; questo architrave di rilievo, li intagli di graffito; le due porte vecchie di marmo sino ali detti punti e tutto il resto di graffito; B / li C attorno a la porta basso rilevo, tutto il resto finto di graffito / Questa porta in mezzo ala tribuna di fuori; Di Pasquale che piace più a mastro Jacomo Siciliano (in pen and dark brown ink, from upper to bottom edge, hand A); Questo cornicione è di troppa spesa; qui no[n] vorrei finestra finta ma altra cosa che che no ha a obidire a niente; questi santi da una banda, sa[n] Quirico et Iulitta dall’altra, sa[n] Ciriaco et sa[n] Giovanni; qui vorrei la testa del Cristo di [...]; sopra l’altra porta la Madonna; l’arme del Papa altrove; qui in cambio di porta vorrei un tabernacolo dipinto (in pen and light brown ink, from upper to bottom edge, hand B); Schizzo di facciata che piace più; messer Pasquale (on the verso, in pen and dark brown ink, hand A): Parisi, scudi 67 ½ / [...]tonio scudi 22 ½ / Tenpesta ducati 1 scudi 22 ½ / Pasquale scudi 20 ½ / per ultime giornate in comune ducati 1, scudi 65 (on the verso, in pen and brown ink, hand C); Ieronimo […]opie muratore ducati 5 e baiocchi 56 (on the verso, in pen and brown ink, hand D); per sgraffitto (on the verso, in pen and brown ink, turned ninety degrees, late 17th-century hand)

MEASUREMENTS: no measurements; no scale

PROVENANCE: Carl Johan Cronstedt and descendants; Eric Langenskiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: Langenskiöld, Moselius 1942, 74, Cat. no. 345; Langenskiöld 1946, 69–73 and fig. 55; Schwager 1967, 62n; Benedetti 1973, 344–347 and fig. 288; Harada 1991, 107 and fig. 6; Zuccari 1995a; Salvagni 2006, 320–323 and fig. 22

EXHIBITIONS: Langenskiöld, Moselius 1942, 74, Cat. no. 345; Zuccari 1995a

The Church of Santi Quirico e Giulitta, located behind the Augustan Forum, was probably founded in the 6th century and originally dedicated to Saint Stephen and Saint Lawrence. In the 12th century it was renovated in Romanic form and in 1475, during the pontificate of Sixtus IV, Francesco Della Rovere, restored it again. In 1584 the titular cardinal Alessandro de Medici commissioned new works for the interior and a new façade. The orientation of the nave was reversed, and two entrance doors were opened on the sides of the old apse. The drawing is a proposal for the sgraffito decoration of the 16th-century front. It shows two thirds of a tripartite two-storey façade with three entrance doors and a protruding central sector. Symbols of martyrdom characterise the rich ornamentation. In the triangular pediment above the entrance door is the coat of arms of Gregory XIII, flanked on the left by that of the Medici family. In the upper storey, the left bay is articulated by pairs of Doric pilasters, flanking a round-headed window. In the central bay, under a Corinthian loggia are the two standing figures of Saint Stephen and Saint Lawrence, the earliest titular saints of the church. An imitation round-headed window is found in the centre of the composition, “to pair with the two windows on the sides”. Under the sloping cornice on the top of the façade is the old coat of arms of Sixtus IV Della Rovere. There are two series of inscriptions, by two different hands, on the drawing. Based on the evidence provided by the inscription at the lower edge of the drawing: “Di Pasquale, che piace più a mastro Jacomo Siciliano”, Benedetti ascribed the first series of inscriptions written in dark brown ink (hand A) to the architect Giacomo del Duca (“Jacomo Siciliano”), who apparently directed the works (Benedetti 1973, pp. 344–347). His comments illustrate details of the design and provide information concerning the technique of execution probably to facilitate the presentation to the patron. The second series of inscriptions written in light brown ink (hand B) is a comment on the first series, giving instructions on how to modify the project. Their instigator was probably the patron of the church, Cardinal Alessandro de Medici. Zuccari does not credit Del Duca with the execution of the drawing but ascribes it to the painter Pasquale Cati (Zuccari 1995). The attribution, suggested on the strength of the stylistic comparison with other works by the painter, seems plausible. A woodcut of the façade, published by Girolamo Franzini in 1588 (Le cose maravigliose dell’alma città di Roma, 59), shows that the changes solicited by the author of the second series of inscriptions were executed. The central window is replaced by another decoration and the two figures of Saint Stephen and Saint Lawrence are joined by two other pairs of saints standing in the side bays. The central door is turned into an imitation perspective with two roundels, and it appears that the stipulated “head of Christ” and the “Virgin”, have been placed above the lateral doors. In 1606, under the pontificate of Paul V, it was resolved to elevate the pavement by four metres in order to save the building from flooding of the Tiber (Salvagni 2006, 326). The altar was moved to the opposite side of the church and a door opened in the apse, framed by the portal carved under Sixtus IV. Finally, under the pontificate of Benedict XIII (1724–30) the architect Filippo Raguzzini restored the church and redecorated the exterior in Rococo style. 136.

LITERATURE: Bosi 1960; Zerbi Fanna 1987, Salvagni 2006

Cat. no. 122

Unknown Italian architect, mid- to last quarter of the 16th century

PAPER: two vertical folds, one in the middle of the corner pilaster between the choir and the nave. On and near the right edge two repaired tears. Lined on to a secondary support of fine late 17-century French writing paper using a starch paste

WATERMARK: Pilgrim 6

INSCRIPTIONS: A, B, C, D, E, F, G, H (in each of the eight chapels, from left to right); faccia del coro fatto (at lower left); Questo dissegno è cavato dalla pianta signata con l’alfabetto, come si potrà conosere cominciando nella ditta pianta alla lettera A, et si vederan’ nel dissegno la medeme lettere, sino a’ H che sarà l’ultima capella (at lower right)

MEASUREMENTS: no measurements; no scale

BIBLIOGRAPHY: Langenskiöld, Moselius 1942, 74, Cat. no. 346

EXHIBITED: Langenskiöld, Moselius 1942, 74, Cat. no. 346

This design for the interior of a one-bay church is articulated by giant order Corinthian pilasters on pedestals that support a continuous entablature and a coffered barrel vault. On either side of the nave are four chapels (D, E, G, H) framed by a minor order of Corinthian pilasters and lit by lunette windows and a central chapel (F), which is higher and twice as large, lit by a thermal window. The two large chapels form a transversal axis that gives a Greek-cross-like shape to the church. The inscription at the lower left edge of the drawing indicates that the choir, a large semicircular chapel with an elevated pavement, flanked by two smaller chapels, was “already built” (‘fatto’) at the time of the drawn project. The inscription at the lower right edge notifies that the letters in the chapels are keyed to a plan, which has probably been lost. It is worth noting that the draughtsman intended the interior design of the church to be seen in three dimensions. The observer was expected to cut along the drawn borders of the architectural design, fold the sheet 90 degrees along the vertical axis between the presbytery and the nave, and curve the upper edge of the right half of the sheet to create a paper model of the vault. Indeed, this form of spatial representation is rare but not unique in 16th-century architectural drawings featuring vaults, as shown by Uffizi 1575 Ar, a project by Baldassarre Peruzzi for the renovation of the Basilica of S. Domenico in Siena, c. 1531–32 (Ceriani Sebregondi 2019).

Cat. no. 85

Anonymous late 16th-century French draughtsman, Hand B of the Cronstedt Collection

PAPER: folded in the middle, trimmed edges

WATERMARK: Tree 28

INSCRIPTIONS: Vigne du pape Jules (at bottom left by a later hand)

MEASUREMENTS: Roman palmi, canne; scale of 80 palmi = 33.1 cm (10 palmi = 4.1 cm)

BIBLIOGRAPHY: Keller, Frommel, Schelbert 2002, p. 170, Cat. no. n. 52; Adorni 2008, p. 58

EXHIBITED: Keller, Frommel, Schelbert 2002, p. 170, Cat. no. 52.

Villa Giulia was built and decorated between 1551 and 1555, commissioned by Pope Julius III Del Monte (1550–55). Jacopo Barozzi da Vignola provided the overall project, but Giorgio Vasari and Bartolomeo Ammannati were also fully involved in the construction, and the division of architectural responsibility is not completely clear. Three sets of drawings of Villa Giulia are known: London, RIBA, Devonshire collection (four sheets, two of which are double); New York, Metropolitan Museum, Scholz Scrapbook (three sheets, one of which with folded flaps) and Stockholm (eleven sheets, three of which are double). Land Moore (1969, 176) argues that the London set is “undoubtedly contemporary” with the construction of the villa. Furthermore, he suggests that the New York set, as with Lafrery’s engravings of the villa, derives from common or related sources, a body of preparatory drawings accessible in Rome in the decades following the papacy of Julius III, a portion of which appears to be formed by the RIBA’s sheets. Land Moore did not know of the Stockholm drawings of Villa Giulia, published fully for the first time by Keller, Frommel and Schelbert in 2002. The authors regard the Stockholm sheets as copies of the London group or from a common source, but suggest the same date, c. 1560, for all the drawings in the three sets (London, New York and Stockholm). Even if Land Moore’s hypothesis of dependence is difficult to endorse, it must be pointed out that the London drawings differ stylistically from the other two sets. Their main copyist (responsible for all the drawings except for the left and lower part of the plan in VIII/1r) shows a clear preference for drawing freehand, with generous use of dark brown wash. On the other hand, the New York and Stockholm copyists show a dry and precise outline executed with straightedge, while freehand drawing is limited to the sculptural decoration only. The presence of an original corpus of drawings for Villa Giulia that was accessible to later draughtsmen is confirmed by the present drawing, a copy of Vignola’s preliminary project for the exterior façade of the casino, probably designed in early 1551. The draughtsman represents only six of the seven bays of the front and an alternative design of the second storey characterised by Doric instead of Composite pilasters. A triangular pediment containing the papal arms flanked by two reclining figures crowns the central section, slightly projecting from the line of the façade. A Serliana arched window opens in place of the executed balcony and a triangular pediment surmounts the rusticated central archway. On the second storey, the windows also differ from the executed ones, being decorated with triangular pediments and lacking the consoles and cartouches. The roof of the villa appears to be flat and four acroteria with the heraldic symbols of the Del Monte family crown the upper cornice. In addition, the drawing does not show the Doric consoles built by Vignola under the windows on the ground storey.

LITERATURE: Coolidge 1943; Bafile 1952; Land Moore 1969; Falk 1971; Nova 1988, 58–135; Satkovsky 1993, 18–24; Tuttle 1997; D’Orgeix 2001; Keller, Frommel, Schelbert 2002, 163–195; Fagiolo 2007, 63–92; Adorni 2008, 54–65

Fig. 1, Rome, Villa Giulia, Casino

Cat.no. 68.

Anonymous late 16th-century French draughtsman, Hand B of the Cronstedt Collection

PAPER: medium weight, originally folded in the middle. The sheet has been lined on to a secondary support of thick rough late 16th-century paper using a starch paste. The drawing has been trimmed to the size of the support sheet

WATERMARK: Tree 28

INSCRIPTIONS: S. Pietro frenestre par dehors de la tribouna (at bottom edge, probably by another hand); various measurements

MEASUREMENTS: Roman palmi, once; scale in the middle of the drawing, turned ninety degrees, with 4 units (palmi) = 11.6 cm and 12 units (once) = 2.9 cm

PROVENANCE: Carl Johan Cronstedt and descendants; Eric Langenskiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: unpublished

This detail of the exterior and interior windows of the drum of St Peter’s is carefully measured in palmi and minuti. The drawing appears to be a replica of a drawing in the Scholz Scrapbook, 49.92.18r. The Stockholm drawing differs from the New York sheet in some mi ¬ nor respects: the inverted moulded profiles inscribed in the two windows; the position of the scale key, turned vertical and moved to the centre of the drawing; the position of the triangular crowning detail of the pediment on the right, moved to the upper edge. A replica of the Cronstedt drawing by a contemporary Italian hand is bound in a volume containing a manuscript assembled by Giovanni Maggi with the title Architettura Civile, which once belonged to Carl Gustaf Tessin. The draughtsman copied the right half of the Cronstedt drawing on the recto of a sheet (inscribed: La finestro de la tribuna de .S.t pietro de drento) and the left half on the verso (inscribed: La finestro grando de la tribona de .S.t pietro de defor’).

LITERATURE: Ackerman 1961, catalogue, 83–112; Wittkower 1964; Tolnay 1967; Borsi et alii 1976, 132–145; Wittkower 1978; Millon, Smyth 1988, 91–187; Argan, Contardi 1990, 322–335; Millon, Smyth 1994; Bedon 1995; D’Orgeix 2001; Zanchettin 2009; Bellini 2011, I, 293–347

Cat. no. 47

Anonymous late 16th-century French draughtsman, Hand B of the Cronstedt Collection

PAPER: medium weight, folded in the middle, laid on to a secondary support of rough late 16th-century paper using a starch paste and trimmed to the size of the support sheet

WATERMARK: Tree 28

WATERMARK OF THE SECONDARY SUPPORT: Pilgrim 7

INSCRIPTIONS: Palme in toutte p[almi] 68 [once] 20 (at upper left, turned ninety degrees, with reference to the height of building "a")

MEASUREMENTS: Roman palmi; no scale

PROVENANCE: Carl Johan Cronstedt and descendants; Eric Langenskiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: unpublished

Drawing (a) shows the Octagonal Hall located in the Villa dei Gordiani, outside Rome on the Via Prenestina. The measurements of the edifice agree with those recorded by the copyist known as the Anonymous Portuguese draughtsman (1568–70) at Windsor (Campbell 2004, p. 348–50, cat. no 114). Unlike the Anonymous Portuguese draughtsman, Hand B of the Cronstedt Collection represents the doorway and the seven window openings of the drum, correctly reproducing the hemispherical vault covering the semicircular apses in the elevation as Sallustio Peruzzi also does in a drawing at the Uffizi. Drawing (b) is a circular room with an ambulatory and seven radiating semicircular niches inscribed within a square block. Two corner spiral staircases lead to an upper storey domed room probably used for ceremonies. The measured plan gives 20 palmi as the width of a niche, 16 palmi as the width of the ambulatory; 7 palmi as the width between the piers of the ambulatory, 57 palmi as the width of the central void, and 19 palmi as the distance between the pilasters of the façade. Drawing (c) is a measured plan of a centralised structure consisting of a domed circular chamber at the core (40 palmi in diameter), from which four corridors open into three octagonal chambers (each 30 palmi across) and in a doubleapsed entrance narthex (88 palmi long). The measurements agree with those of the Italian copyist G at the Albertina and with those of the copyists at Windsor and Chatsworth. In the Chatsworth copy the inscription reads: In Palestrina, de matoni arotati de fuore.

Drawing (d) is a small circular chamber with seven niches inscribed in a square plan building.

OTHER DRAWINGS: (a) Chatsworth, Album 36, fol. 15r, anon. French draughtsman, second third of 16th century; Florence, Uffizi, 664A, Sallustio Peruzzi, post 1536–ante 1567; London, SJSM, vol. 124, fol. 70 and vol. 123, fol. 50,

Giovan Battista Montano (1534–1621); Modena, BE, vol. Campori App. 1755. Z.2.2, fol. 111r, Giovanni Antonio Dosio (1533–1611); Oxford, BL, Ms. Canon ital. 138, fols. 30r–30v, Pirro Ligorio (1513–1583); Stockholm, NM, H CC 1324 (Cat. no. 49), anon. late sixteenth century French draughtsman, Hand B of the Cronstedt Collection; Vienna, Albertina, inv. Egger no. 216, anon. copyist A; Windsor, RL, 10354, Architectura Civile, fol. 1, anon. Portuguese draughtsman, 1568–1570 (b) Chatsworth, Album 36, fol. 2r (inscribed: fuor de porte Magior, in una vigne) and fol. 12b, anon. French draughtsman, second third of the 16th century; Florence, Uffizi 665Av and 689A, Sallustio Peruzzi, post 1536–ante 1567; London, SJSM, vol. 124, fol. 7r, Giovan Battista Montano (1534–1621); Montreal, CCA, Inv. DR 1982-0020, fol. 57r, anon. draughtsman, c. 1530.

Prints: Du Cerceau 1545–50, 75v (c) Chatsworth, Album 36, fol. 8 and fol. 13, anon. French draughtsman, second third of the 16th century; Florence, Uffizi, 689Av, Sallustio Peruzzi, post 1536–ante 1567; Vienna, Albertina, inv. Egger no. 274, anon. Italian copyist G; Montreal, CCA, Inv. DR 1982-0020, fol. 48, anon. draughtsman, c. 1530; Windsor, RL, 10363 v, Architectura civile, fol. 10v, anon. Italian copyist, first half of the 16th century (d) Chatsworth, Album 36, fol. 2r, anon. French draughtsman, second third of the 16th century

Cat. no.15

Anon. French draughtsman, Hand A2 of the Cronstedt Collection, mid- to second half of the 16th century

Pen and brown ink and straightedge over grey chalk, freehand,

55.7/55.3 × 41.1/42.1 cm

NM H CC 1352r

PAPER: light weight, trimmed edges, folded in the middle

WATERMARK: Saint 31

INSCRIPTIONS: corniche, frize e arquitrave de tre colonne [correct:

coloˇnze] mizurato con la [correct lo] palme antique (lower right).

Various measurements

MEASUREMENTS: ancient Roman palmi; no scale

PROVENANCE: Carl Johan Cronstedt and descendants; Eric Langenskiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: unpublished

Profile elevation of the entablature and of a column shaft of the temple of Castor and Pollux, measured in ancient Roman palmi. The Cronstedt Collection includes an exact copy of this drawing (NMH CC 1351, Cat. no. 16) by Hand B. On the verso of the sheet is another elevation profile of the entablature of the peristasis and other details of architectural elements by a different hand (Hand A3).

OTHER DRAWINGS: representing the entablature of the temple in profile elevation: Berlin, Kunstbibl., Codex Destailleur A, fol. 20r, anon.

Destailleur A2, post 1524–ante 1576; Oxford, Worcester, Ms B 2.3,

fols. 12v¬13r, mid 17th-century anon. French draughtsman; Stockholm,

NM, HCC 1351 (Cat. no. 16), anon. late 16th-century French draughtsman, Hand B of the Cronstedt Collection; Turin, AS, Antichità, XV,

fols. 145v–146r, Pirro Ligorio, 1573–ante 1580. Prints: Delorme 1567,

VI, 197; Palladio 1570, IV, 69