DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61523#0006
N.B.—Since the first edition of this Guide was printed, the
Malcolm Collection has become the property of the Trustees
of the British Museum by purchase from Col. J. Wingfield
Malcolm, C.B.
Additions and Corrections to Division II.
Page 23, no. 90. For Study of a head of Christ in agony read Study
for the head of an Apostle in the frescoes executed for
the Church of SS. Apostoli at Rome, since transferred to
St. Peter’s.
/Page 30, no. 125. For Cartoon for the figure of a child-angel, &c.,
read Cartoon for a picture of the Virgin and Child.
Black chalk and charcoal on brown paper: pricked for transfer to canvas.
British Museum.
This is the famous cartoon, generally supposed to be by the hand of Raphael,
which was brought to England from Perugia about the beginning of this
century and bought in a very damaged condition by the pastel-painter
Brocky, who repaired it. Afterwards it was for some time in the
possession of Messrs. Colnaghi, who published a facsimile in lithography
by T. Fairland. Thence it passed into the collection of Col. Sterling
of Glentyan, and finally, in the year 1894, into that of the Trustees of
the British Museum. A picture corresponding to the cartoon was suc-
cessively in the Orleans, Hope, Rogers, and Mackintosh collections, and
is also commonly Ascribed to Raphael, though more resembling, as far as
can be judged in its present condition, the work of imitators like Domenico
or Orazio Alfani. The cartoon is a work of great beauty and power, as to
the authorship of which opinions will always probably be divided. Some
hold it strongly to be the work of Raphael at the time when he was most
fully under the influence of Fra Bartolommeo, though in no other case
has Raphael modelled a design in black and white with such force and
energy of chiaroscuro, or with so little regard to linear grace and purity
of contour (compare particularly the cartoon at the Louvre for the picture
of St. Catherine at the National Gallery). Others affirm it with equal
decision to be by the hand of Fra Bartolommeo; others again, with whom
the present writer is inclined to agree, by that of one or another of those
Florentine eclectics (as, e.g., Franciabigio), who took something alike
from Andrea del Sarto, from Fra Bartolommeo, and from Raphael, and
who occasionally did work excellent enough to be easily mistaken for that
of their betters.
\
Page 45, no. 212. For Portrait of a man unknown read Portrait of
Blaise de Montluc.
Malcolm Collection has become the property of the Trustees
of the British Museum by purchase from Col. J. Wingfield
Malcolm, C.B.
Additions and Corrections to Division II.
Page 23, no. 90. For Study of a head of Christ in agony read Study
for the head of an Apostle in the frescoes executed for
the Church of SS. Apostoli at Rome, since transferred to
St. Peter’s.
/Page 30, no. 125. For Cartoon for the figure of a child-angel, &c.,
read Cartoon for a picture of the Virgin and Child.
Black chalk and charcoal on brown paper: pricked for transfer to canvas.
British Museum.
This is the famous cartoon, generally supposed to be by the hand of Raphael,
which was brought to England from Perugia about the beginning of this
century and bought in a very damaged condition by the pastel-painter
Brocky, who repaired it. Afterwards it was for some time in the
possession of Messrs. Colnaghi, who published a facsimile in lithography
by T. Fairland. Thence it passed into the collection of Col. Sterling
of Glentyan, and finally, in the year 1894, into that of the Trustees of
the British Museum. A picture corresponding to the cartoon was suc-
cessively in the Orleans, Hope, Rogers, and Mackintosh collections, and
is also commonly Ascribed to Raphael, though more resembling, as far as
can be judged in its present condition, the work of imitators like Domenico
or Orazio Alfani. The cartoon is a work of great beauty and power, as to
the authorship of which opinions will always probably be divided. Some
hold it strongly to be the work of Raphael at the time when he was most
fully under the influence of Fra Bartolommeo, though in no other case
has Raphael modelled a design in black and white with such force and
energy of chiaroscuro, or with so little regard to linear grace and purity
of contour (compare particularly the cartoon at the Louvre for the picture
of St. Catherine at the National Gallery). Others affirm it with equal
decision to be by the hand of Fra Bartolommeo; others again, with whom
the present writer is inclined to agree, by that of one or another of those
Florentine eclectics (as, e.g., Franciabigio), who took something alike
from Andrea del Sarto, from Fra Bartolommeo, and from Raphael, and
who occasionally did work excellent enough to be easily mistaken for that
of their betters.
\
Page 45, no. 212. For Portrait of a man unknown read Portrait of
Blaise de Montluc.