Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (44.2011)

In the SNG, this high-quality and spontaneous
study has so far been registered as a o/
B^w and was attributed to an "Ital-
ian master of the 17^ Century". In 2007 — 2009,
the drawing was restored and the restorer, Jarmila
Tarajčáková-Dóriová, in her unpubiished doctoral
thesis (2010) pardy accepted the old attribudon of
the verso but claimed that the drawing was made
after a detail of the hgures of two apostles from
a monumental composidon by Bernardino Gatd,
o/ TB^A, from the high altar in the
cathédral in Cremona [Fig. 22]. The typical building
up of the volumes of the male hgures, their typology
and the treatment of the drapery do not allow any
doubt, I believe, about the Bradslava drawing being
an original work by Bernardino Gatd. For compari-
son, several drawings of basically idendcal character
may be used — especially the B^/fí* o/
MpoV/7 from the Getty collecdon in Malibu or the
o/' B^r^ <?/* ^ from the collecdon
of Italian drawings in the Bridsh Museum in Lon-
don. A no less strong analogy is found in the
MpoVGo/* F7^A from the
Gabinetto disegni e stampe degli Ufhzi in Florence.
All these paindngs, in spite of différences in tech-
nique (in each case it is washed pen drawing), are
idendcal in draughtsmanship and deal with the same
modf — groups of Apostles from the lower part of
the o/* In the example used
for comparison, it is drawings from the sixties and
pardy from the sevendes of the cinquecento which
are sketches for the decoradon of the dorne in the
church of S. Maria della Steccata in Parma, dadng
from those years. In 1573, Gatti left for Cremona,
where he obtained the commission for the monu-
mental picture of the with numerous
extra hgures, for the local cathédral. The Bradslava
drawing may be regarded as a preparátory study for
the left bottom part of the composidon, for the pair
of Apostles watching the miraculous event. This
hypothesis gets a strong support from the quadra-
ture covering the Bradslava drawing as a preparadon
for the transfer of the modf to the carton, but the
support cornes especially from four other drawings
made for the same occasion. Gatti's late work is
distinguished by the use of a fairly wide and soft
line in hatching when black chalk is used, which is
basically in correspondent with the drawings. The

o/ I 77gA in Cremona is Gatd s hnal
work, the painter died in February 1576. Shortly
before his death, around and before 1575, he made
a variant of the as a paindng of a much
smaller size (now Collezione Cavalcabó in Cremona)
and in this less demanding variant he also used, for
the left side of the scene, the same pair of Apostles
as in the Bradslava drawing. Our drawing may date
from 1573 — 1575.
Probably connected with the now lost album
from the Clary- Aldringen collecdon is the drawing
of 32. iy/2%/ jTwr [Fig. 6], which I
attribute to a follower of the great personality of
paindng in Parma, Girolamo Francesco Maria Maz-
zola, also known as 11 Parmigianino (1503, Parma
— 1540, Casalmaggiore). The older attribudon to
Parmigianino, by an inscripdon on the verso, can
be accepted only pardy. Beside indisputable agree-
ments with Parmigianino's work, there are a number
of deviadons which rule out a direct attribudon. It
is primarily the total absence of hatching, the very
light and in places even indisdnct contours, and the
hnishing of the volumes by washed dnt, these details
are never found in Parmigianino. And these very
details are typical of another painter coming from
and acdve in Cremona, Bernardino Campi (1522,
Cremona - 1591, Reggio Emilia). Certainty about
attribudon of the drawing to Bernardino (in spite
of an idendcal name, he is probably unconnected
with the wide Campi family in Cremona) will come
from a comparison of the Bradslava drawing with
at least two sheets from the Albertina in Vienna
Inv No. 2505, and especially
MrnAz/ o/ (VBsf A Inv No. 42134). The
second of these drawings was used as a foundadon
for the fresco in the choir in the Cremona cathédral,
executed by Bernardino in 1573. I believe that the
dadng in the sevendes of the cinquecento should be
given even to the Bratislava drawing and it should
be regarded as an authentic work of Bernardino
Campi. The real quaüdes of the drawing are now of
course a little handicapped by its poor present-day
condition.
In a similar way, I date in the sevendes another
drawing [Fig. 7], which I originally considered to have
originated in the circle of Domenichino in Bologna.
Far doser to truth, however, it is that it is a work
by another member of the Campi family of paint-

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