AT the further end of the third corridor are three rooms, in which are exhibited a selection from the valuable collection of upwards of three thousand drawings belonging to the Museum. The Conservator, Signor Nerino Ferri, has arranged another series in his private rooms in the gallery, and courteously affords every facility to those who desire to study more of the drawings.
The letter T, meaning tergobackon any of the frames or cases in these rooms, infers that there are drawings on the back of the paper, which may be seen by application to the guards.
To the right of the entrance, on the wall of the first room, is the drawing of a Saint baptising, by Parri Spinello (1387-1452), the son of the more celebrated Spinello of Arezzo. This design appears to have been intended for part of the frescoes of St. Cecilia and the Conversion of Maximian and Valerian in the Sacristy of the Carmine, where he probably assisted his father.
In the case below, No. 3, is a design by Taddeo Gaddi (13001366), the Visitation of Mary to Elizabeth, for one of the series of small pictures in the Academy. Also a seated figure of Christ by Agnolo Gaddi (1333-1396). The outline is pricked through, to transfer the drawing to the panel.
On the second line of the wall above is Christ in glory, giving the key to St. Peter, by Lorenzo de’ Bicci (1350 ?1427) ; this was probably a design for one of the paintings in the Florentine Cathedral, which has been long since effaced.
In frame No. 13 is a very delicate drawing of the beheadal of a Saint, by Fra Angelico (13871455), and, above it, in frame No. 16, is a beautiful study for a Madonna and Child, by Luca della Robbia (1400-1482).
Case No. 5 contains designs by Lorenzo Ghiberti (13781455) ; and case No. 7 presents very fine examples of Parri Spinello’s treatment of drapery.
Case No. 8 has the head of a man seen in profile, by Paolo Uccello (13971475) ; it is drawn with firmness and vigour ; there is also an example of his early attempts at foreshortening in a small composition of three sleeping figures.
In frame No. 34 are very beautiful designs by Filippino Lippi (14571504), especially that of the Virgin Adoring the Infant Jesus, which is drawn with firmness as well as delicacy ; there are likewise drawings by Andrea Castagno (1390-1457).
Case No. 22 contains designs by Benozzo Gozzoli (1420-1498) ; and in the case No. 14 beside it, are studies by Luca Signorelli (1441-1523).
Above the cases Nos. 22, II, and 14, the frame No. 21 has a beautiful composition of St. Thomas touching the side of the Saviour, and the Apostles kneeling round, by Fra Angelico.
In frames Nos. 56, 58, and 61 are studies for the figure by the Pollajoli, and artists of their school ; beneath these are spirited drawings of landscape by Titian (14771576) and by Swaneveldt, a Fleming of the seventeenth century, a rare master, and more esteemed for his etchings than paintings.’
In cases Nos. 487 and 488 are beautiful studies by Federigo Barocci, and others. Over the case No. 485, and in frame No. 33, is a design by Sandro Botticelli (I4471510) for his fresco in the Sistine Chapel at Rome, of the Punishment of Korah, Dathan, and Abiram.
Frame No. 171 contains part of Raffaelle’s design for the Dispute of the Sacrament in the Stanze of the Vatican ; above are several grand drawings by Fra Bartolommeo (1475-1517), but these are hung too high to be well seen. In case No. 36 is a drawing by Filippino LippiSt. Cecilia before the Proconsul.
Immediately over cases Nos. 38, 36, and 8r are drawings by Domenico Ghirlandaio (14491494), for his frescoes in the Choir of Santa Maria Novella, viz.: the Visitation; his first idea for this subject, marked 291 ; a graceful figure of a woman pouring water into a basin, which is introduced in the fresco of the Birth of the Virgin ; a man kneeling ; and two women, one facing the spectator, the other turning her back, which are in the fresco of the Birth of St. John the Baptist ; lastly, the Marriage of the Virgin ; there are various other drawings by the same master in this frame. Over case No. 26, against the third wall, is another study by Ghirlandaio, for his picture of the Visitation in the Louvre. Case 41 has the sketch by Botticelli, for Truth, in his picture of Calumny, in the room of small Tuscan paintings in this Gallery.
In frame No. 142 is a drawing by Raffaelle, of Jesus bearing His Cross, on His way to Calvary. Over case No. 19, which contains drawings by Masaccio (14011428), is the frame No. 139, with the Baptism of Christ, by Perugino (14461523), of which there are two picturesone in Fuligno, and the other in Perugia. In the same frame is a beautiful representation of the Angel Gabriel, by Lorenzo Credi (14591537).
Frame No. loi, on the third line above, contains a drawing by Raffaelle of Christ in the Garden of Gethsemane, for the picture in the Florentine Academy, which is there attributed to his master, Perugino.
Below this, in cases Nos..23 and 26, are drawings by Fra Angelico or his scholars, as well as by Benozzo Gozzoli, and Andrea Verocchio (14351488).
In frame No. 8o, above the cases Nos. 41 and 44, are fine drawings by Pier di Cosimo (1462-1521).
On the fourth wall, frame No. 188, Fortune, is attributed to Michael Angelo (14751564), possibly the design for his picture in the Corsini Gallery in Florence. In case No. 48, below, are drawings by Botticelli ; a Venus, draped, reposing, with Cupid, is especially lovely.
Frame No. 92 contains fine examples of the firm and careful drawing of Giuliano Pesello (13671446).
In frame No. 152 is Raffaelle’s sketch for the Liberation of St. Peter in the Stanze of the Vatican ; the left side of this drawing differs in some respects from the fresco.
The cases beneath this window have studies by Camillo Procaccino of Milan (15461626), by Palma Giovane, (15441628), and others.
In the case No. 484 is a design by Daniele da Volterra (15091566), for part of the Deposition from the Cross in the Church of the Trinitâ de’ Monti at Rome, which is esteemed one of the seven finest pictures in the world
Over this, on the second line in frame No. 151, is Raffaelle’s design for the Infant Christ springing from the cradle into His mother’s arms, in the picture which the artist painted for Francis I. of France, and which is now in the Louvre.
Just below, in frame No. 39, on the first line, is the design by Fra Filippo Lippi (14061469) for his picture of the Virgin receiving the Child from angels, which is in the room of Old Masters in the Uffizi, as well as for the same subject, which, with some slight difference, he painted for the Sala del Commissario in the Hospital of the Innocenti.
In frame No. 141, the third line above, are two saints, by Fra Bartolommeo ; and in frame No. 134, close to the door, are designs by the same artist for the St. Mark in the Pitti, and for one of his figures in the picture of St. Anna in the Uffizi.
Between these is a large drawing by Raffaelle, frame No. 143, for one of the scenes in Pinturicchio’s frescoes in the Library at Sienna. This drawing represents a cavalcade escortng Aeneas Silvius Piccolomini, afterwards Pope Pius II., to the Council of Basle.
In the corner, beside the door, frame No. 99 has a group of five apostles, a study by Perugino for his picture of the Assumption in the Church of the SS. Annunziata ; and below it, in frame No. 104, is the same artist’s design for the Virgin, in his beautiful fresco of the Crucifixion in the Convent of Santa Maddalena de’ Pazzi of Florence. Also his design for Elijah, in the Transfiguration in the Sala del Cambio at Perugia.
The sepia painting on the third line above, frame No. 202, is a copy from Andrea del Sarto’s Faith and Hope in the cloister of the Scalzo of Florence.
The drawings in the centre of each room are among the best of the collection, and face the windows in order to be seen to greater advantage. Frame No. 66 has studies by Domenico Ghirlandaio. Frame No. 28 St. Bernard, a study by Filippino Lippi for his picture of the Vision of the Madonna in the Badia or Abbey of Florence.
Case No. 489 has the Virgin Adoring the Child in a Garden of Roses, by Francesco Francia 14501517 ?) ; the picture is in Munich.
The cases on this side including from No. 489 to No. 493, contain drawings by Francia, Gian Bellini, Pier della Francesca, Giulio Romano, Parmiggiano, Vittore Carpaccio, and others, which we do not specify, because no well-known painting by any of these artists is represented.
Entering the second room, to the right, frame No. 154 has the sketch by Raffaelle, for the Deposition from the Cross in the Borghese Gallery at Rome. The expression of each countenance is full of life, individuality, and deep feeling, and the drawing of the figures is very powerful. The same frame contains the Virgin on her knees, with the Infant Christ and St. John, by Raffaelle ; a study for a small picture in the Esterhazy collection at Pesth. Frame No. 158 has Raffaelle’s sketch of St. John preaching in the Wilderness in the Tribune of the Uffizi ; also the Prophet Daniel between two angels, a study by Raffaelle for his fresco in Santa Maria della Pace at Rome.
Frame No. 157 has two female figures, part of a study by Raffaelle, for the Spasimo di Sicilia at Madrid. Frame No. 155, Paul Preaching at Athens by Raffaelle, is the sketch for the Cartoon in the South Kensington Museum in London.
The cases below, Nos. 466 and 465, contain very spirited drawings by Vittore Carpaccio, who was living in 1500. In case No. 467 is a drawing by Gian Bellini (14281516) ; the subject is a procession entering a church ; the houses in the background are drawn with so much attention to detail, that the artist has even introduced the scaffoldings on the roofs, used to this day in Venice to hang out linen to dry ; there are other admirable drawings in other frames by the same artist, especially the heads of an old man and of a youth.
Frame No. 220, in the corner of this room, has a sketch in red chalk for the Epiphany, by Andrea del Sarto, one of his frescoes in the Court of the SS. Annunziata. On the second wall, frame No. 183, the profile of a woman with a peculiar head-dress, by Michael Angelo, is sometimes called a portrait of Vittoria Colonna.
Frames Nos. 185, 186, 187 contain studies by Michael Angelo ; that marked 601 is known as l’anima dannatathe condemned soul ; the youth marked 604 beneath this, is the study for one of the Caryatide in the vaulting of the ceiling in the Sistine Chapel; there is likewise the Lybian Sibyl for the same. In frame No. 187 is the design for the Medicean monuments in the Sagrestia Nuova of San Lorenzo at Florence. In frame No. 192 are studies of various nude figures by Michael Angelo for his Cartoon of the Pisan War, in which he competed with Leonardo da Vinci, but which was never finished.
Frame No. 193 on the second line has another study for the pilasters of the vaulting in the ceiling of the Sistine Chapel arid a Demon for the Last Judgment. In frame No. 194 is an old man with a bald head, and other studies, likewise by Michael Angelo.
Frame No. 196 contains studies of the anatomy of the leg, also by Michael Angelo. Sir Charles Bell, alluding to this drawing in his `Anatomy of Expression,’ observes :` I recognised the utmost accuracy of anatomy in the great artist’s studies ; in his pen and ink sketches of the knee, for example, every point of bone, muscle, tendon, and ligament are marked, and perhaps a little exaggerated.’ 1
Frame No. 201 has the study for the head of the Infant St. John in the Holy Family of the Pitti by Andrea del Sarto. In frame No. 199 is the drawing of a hand resting on a book, the design for that of the Virgin in the Tribune by Andrea del Sarto.
Frame No. 207 has the sketch for the Deposition from the Cross by Andrea del Sarto in the Pitti.
Frame No. 209 contains St. John the Baptist preaching to the Multitude, a study by Andrea for his fresco in the Scalzo ; also a portrait of Lucrezia, his wife.
In frame No. 203 are studies by Andrea for part of the Nativity of the Virgin in the vestibule of the SS. Annunziata.
Frame No. 217 has most interesting studies by the same artist of Christ and several of the Apostles in his fresco of the Last Supper at San Salvi, near Florence.
In frame No. 230 there are several very animated groups of women by Giorgione (14781511) ; and in frame No. 117 the Holy Family by Fra Bartolommeo for his picture in the Pitti. Beside this, in case No. 118, is St. John the Baptist, also by Fra Bartolommeo, for his picture in San Marco.
On the fourth wall, in frame No. 249, is Christ in the House of the Pharisee by Paolo Veronese (1528-1588), for the picture in the Royal Palace at Genoa.
Frame No. 259 has the sketch by Tintoretto (15121594) of the Miracle of St. Mark for his celebrated picture in the Academy of Venice. In case No. 458 is the Deposition from the Cross by Fra Bartolommeo.
The frame No. 98, in the centre, facing the window, to the right, has a splendid drawing by Andrea Mantegna (143015o6) of Judith with the head of Holofernes, one of the finest compositions exhibited here.
Next this drawing, in frame No. 96, are several other excel-lent Mantegnas : Hercules and Antæus, and a kneeling Virgin. Frames Nos. 107, 109, and ro contain very fine heads by Leonardo da Vinci, of old men and of women, and studies of drapery.
In frame No. 129 is a fine drawing by Fra Bartolommeo of St. Stephen, a draped figure holding a palm branch.
The cases below containNo. 529, a fine composition of Cigoli, the Death of St. Jerome ; No. 528, beautiful drawings by Vanni (1563-161o), full of feeling; Nos. 527 and 526, designs by Guercino ; No. 525, figures and landscapes by Annibale Caracci (15601609) ; and No. 524, several drawings by Titian, including a very clever portrait of a man (marked 1661).
To the left, the frame No. Too contains a drawing by Perugino of St. Francis for a picture in the Choir of the SS. Annunziata. Frame No. 97 has other drawings by the same master for the Sala del Cambio at Perugia. In frame No. 144 is the Woman in the Incendio del Borgo by Raffaelle ; she holds a vase on her head, and her garments are agitated by the draught occasioned by the fire.
Frame No. 148, St. George and the Dragon, by Raffaelle, for his small picture at St. Petersburg, and the same subject by him for his picture in the Louvre.
Frame No. 136 has a study by Raffaelle for the Madonna with the Veil at Paris ; also for the Madonna del Gran Duca in the Pitti.
Frame No. 135 contains sketches by Raffaelle for the Virgin and Child of the Orleans collection, now in the possession of the Earl of Ellesmere, in Bridgewater House, London.
Frame No 146 has the sketch of the Madonna del Pesce, by Raffaelle, for the picture at Madrid. In frame No. 140 is Philosophy, a female figure with two boy genii, by Raffaelle, which he introduced as Pallas into his School of Athens in the Stanze at Rome.
Frame No. 138 contains Moses Striking the Rock and the Worship of the Golden Calf for the Loggia in the Vatican ; and in frame No. 147 is a sketch also for the Loggia, of the Eternal commanding Noah to build the Ark, by Raffaelle.
Frame No. 149 ; Bacchus, a nude figure, with a vase on the head, called L’ Idolino, is by the same master.
In frame No. 166 is a beautiful composition, by Razzi (il Sodoma) of Sienna (14771549), of the Virgin supporting on her knees the body of the Saviour.
Below frame No. 100, in case 494 are drawings by Raffaelle and his scholars ; that of the combat of Hercules and a Centaur is beautifully drawn and full of spirit.
In cases Nos. 496 and 497 are drawings by Giulio Romano and Perino del Vaga.
In case No. 500 are designs by Domenico Beccafumi (14861551), for the pavement of the Cathedral at Sienna.
Case No. 501 contains lovely sketches by Parmiggiano.
At the entrance of the third room, turning to the right in frame No. 124, is a drawing by Fra Bartolommeo, of the Madonna della Misericordia for his picture at Lucca.
In frame No. 277 on the third line above, there is a study by Annibale Caracci, for the triumph of Bacchus and Ariadne, a fresco in the Palazzo Farnese at Rome.
In case No. 436 are studies by Raffaellino del Garbo (1466-1524) of the Vision of St. Bernard, for his picture now in Berlin ; and above it, in frame No. 350, is a careful little drawing by Poccetti (1548-1612), for the interior of the cupola of the church belonging to the convent of Santa Maddalena de’ Pazzi in Florence.
Frame No. 283 has two good heads in profile, by Annibale Caracci (1560-1699).
On the second wall, frame No. 297, are two finely-drawn heads of old men, by Guido Reni (1575-1642).
Case No. 437 contains an angel worshipping, by Filippino Lippi.
In the frame just above, No. 342, is a drawing by Nicolas Poussin (1594-1665), of the Rape of the Sabines.
On the second line, frame No. 423 contains a Repose in Egypt, by Rubens, with children playing with a lamb ; and in frame No. 424 on the third line, is the Assumption of the Virgin by Rubens, a beautiful drawing for the large picture at Turin. The finished sketch in oil is in the possession of Sir Charles Bunbury, Bart., Barton Hall, Suffolk.
Case No. 438 has the marriage of St. Catharine, by Ghirlandaio, and the sketch by Razzi (il Sodoma) for his fine painting of the Deposition from the Cross in the Gallery of the Belle Arti at Sienna.
Case No. 439 contains the Good Shepherd, a lovely drawing by Pinturicchio (1454-1513), and a design for St. Bernard, as well as for the Garden of Gethsemane, by Perugino.
Above case No. 438, frame No. 327 has a study by Cristofano Allori (1577-1621), for the ferryman in the picture of the Hospitality of St. Julian in the Pitti ; and in frame No. 309 is the portrait of one of the Quaratesi family of Florence, with an inscription by Carlo Dolce.
Case No. 440 contains important drawings by Michael Angelo ; among these is one of the Caryatidæ of the Sistine Chapel : there is also a second study for the Deposition from the Cross, by Daniele da Volterra, for the Trinità de Monti in Rome ; and a study, by Fra Bartolommeo, for the figure of St., Bartholomew in his picture of the Madonna enthroned in the Pitti.
Over case No. 442, in frame No. 339, is a drawing by Nicholas Poussin, of the Murder of the Innocents.
Cases Nos. 448, 447, and 446 against the third wall have drawings by Giorgio Vasari ; among which, in case No. 446, is his sketch for his imaginary portrait of Lorenzo de’ Medici in the Tuscan room of this gallery.
On the fourth wall in frame No. 411 is a brilliant drawing, by Rubens, of his first wife, Helen Forman.
Case No. 451 has studies by Lorenzo Credi, one of which is for the Annunciation in the Uffizi.
Case No. 452 contains studies, by Fra Bartolommeo, for the Madonna enthroned with St. Anna and other saints in the Tuscan room of this Gallery.
Over case No. 453 in frame No. 399 is a careful and minute drawing, by Jacques Callot (1592-1635), for his celebrated engraving of the Fair at the Impruneta, a village seven miles from Florence.
Case No. 454 contains designs by Raffaelle for five of his cartoons, now in the South Kensington Museum : Paul preaching at Athens ; Feed my Sheep ; Paul and Barnabas at Lystra ; the Miraculous Draught of Fishes ; and part of the composition for the Death of Ananias and Sapphira. Besides these, there are drawings of two figures for the School of Athens, and for one of the Muses in the Parnassus, which are introduced in the frescoes of the Stanze in the Vatican ; also, Moses in the Burning Bush, one of the subjects of the Loggia.
Frames Nos. 396 and 398 have spirited drawings by Velasquez, (15941660) of Cavaliers on Horseback; and between them, in frame No. 405, is a soldier and other clever and free sketches by Jacques Callot.
In case No. 456 is a drawing from Michael Angelo’s Virgin and Child in the Sacristy of San Lorenzo, by Raffaello da Montelupo.
Frame No. 420 has an extremely clever and life-like drawing by Adrian Brauwer (16081640) of a Village Doctor extracting the corn from a Peasant’s Foot.
In the centre to the right are very fine drawings by the German masters, beginning with frame No. 428, a half-figure of the Saviour, by Martin Schongauer (1420-1499).
Frame No. 425 has a drawing by Albert Dürer (14711528) of the Deposition from the Cross. In the same frame is the drawing for Dürer’s celebrated etching of Death on a Horse ; as well as the design for the Falconer. Other fine drawings by Dürer are in frame No. 419, and in frame No. 427 is a very grand composition by him of the Saviour Bearing His Cross.
In frame No. 293 St. Jerome Worshipping the Crucifix is by Guercino.
From cases Nos. 520 to 512 are decorative and architectural drawings by Filippino Lippi, Salviati, Vasari, Cellini, and Perino del Vaga.
Frame No. 119, to the left, contains most beautiful heads of a child and a young girl, with the Angel and Virgin of the Annunciation, by Fra Bartolommeo, by whom there are other drawings in these frames from 120 to 130. In frame No. 122 are studies for the Virgin and Child in the picture of St. Anna in the Uffizi, and for the Garden of Gethsemane. In frame No. 116 are the designs for Job and Isaiah in the Tribune, and in frame No. 128 are beautiful studies for Holy Families. Frame No. 165 contains drawings by Mariotto Albertinelli of Angels in the Last Judgment for the fresco which has been removed from the Hospital of Santa Maria Nuova, and which will probably be shortly transferred to this Gallery. In frame No. 162 is Albertinelli’s design for his beautiful picture of the Visitation of Mary to Elizabeth in the Tuscan room of the Uffizi.
Frame No. 287 has drawings by Guido Reni ; and frame No. 289, a study by Domenichino (1581-1641) of flying angels, which he introduced into his picture of the Communion of St. Jerome in the Vatican.
Cases Nos. 503 to 511 contain designs for vases and every variety of decorative art by Caravaggio, Fontana, Pierino del Vaga, &c. In case 507 are drawings by Poccetti for the decoration of the portico of the Innocenti in the Piazza della SS. Annunziata at Florence.
In case No. 511 are drawings by the sculptor Benedetto da Rovezzano.
Among the drawings not exhibited to the public, but which can be seen in the rooms of Signor Ferri, is a rare copy of Illustrations of the Inferno, Purgatorio, and Paradiso of Dante, by Federigo Zuccaro (1539-1609), which he executed when he was painting in the Escurial of Spain. It is entitled ` Dante historiato da Federico Zuccaro 1′ anno MDXCIII. The drawings are made in red and black chalk, or penned in with bistre. They are the only record of this period of Zuccaro’s life, as the paintings with which he adorned the Escurial for Philip II. so little pleased the King that, after paying the artist munificently, he dismissed him, and ordered all his work to be expunged and replaced by other paintings by Pellegrino Tibaldi.