the model's pose: raphael's early use of antique and italian art

7/23/2019 The Model's Pose: Raphael's Early Use of Antique and Italian Art

http://slidepdf.com/reader/full/the-models-pose-raphaels-early-use-of-antique-and-italian-art 1/25

IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae.

http://www jstor org

The Model's Pose: Raphael's Early Use of Antique and Italian ArtAuthor(s): Michael W. KwakkelsteinSource: Artibus et Historiae, Vol. 23, No. 46 (2002), pp. 37-60Published by: IRSA s.c.Stable URL: http://www.jstor.org/stable/1483696Accessed: 11-12-2015 20:42 UTC

F R N S

Linked references are available on JSTOR for this article:http://www.jstor.org/stable/1483696?seq=1&cid=pdf-reference#references_tab_contents

You may need to log in to JSTOR to access the linked references.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of contentin a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.For more information about JSTOR, please contact [email protected].

http://www.jstor.org/

http://www.jstor.org/action/showPublisher?publisherCode=irsa

http://www.jstor.org/stable/1483696

http://www.jstor.org/stable/1483696?seq=1&cid=pdf-reference#references_tab_contents

http://www.jstor.org/page/info/about/policies/terms.jsp




http://www.jstor.org/stable/1483696?seq=1&cid=pdf-reference#references_tab_contents

http://www.jstor.org/stable/1483696

http://www.jstor.org/action/showPublisher?publisherCode=irsa

http://www.jstor.org/



MICHAEL

W. KWAKKELSTEIN

The Model's Pose:

Raphael's

Early

Use of

Antique

and Italian

Art

ForDaniela

In

October 1504

the

twenty-one-year-old

Raphael

arrived

in

Florenceto learn and

perfect

his art. Thiswe can infer

from

the

oft-quoted

letter of introduction

by

Giovanna Feltria

della

Rovere

which

was addressed to Pier

Soderini,

the Gonfalo-

niere of the FlorentineRepublic.Among the firstworks of art

which

aroused

Raphael's

interest was

Michelangelo's

David

[Fig. 1].

The

giant

statue

had

been

erected

in the

Piazza della

Signoria

on 8 June of that

year

and

unveiled

exactly

three

months

later.1

From

that time onward

Michelangelo's

works

exerted a

pervasive

influence on the

Umbrian

artist. It

s there-

fore

surprising

that no more than a

single drawing

is known

which

illustrates

Raphael's

study

after the David

[Fig.

2].

Given

Raphael's

eagerness

to

learn and absorb the new

artis-

tic formulas and ideals of the great masters working in

Florence,

it

is difficult o

imagine

that his interest in

Michel-

angelo's impressive sculpture

could have

been limited

to its

back view.2

In

fact

it

has

long

since

been

accepted

that

Raphael's

interest

in the David

is manifest also

in

two

figure

studies,

one

in

the Ashmolean Museum in Oxford

[Fig.

3],

the other in

the

British

Museum

[Fig.

4].3

On

account of various

weaknesses

these

drawings

contain,

it

has

been

suggested

that

they

must

have

been executed some time

earlier than the more

faithful

copy

[Fig.

2]

in

which

Raphael

has

handled

the

pen

with

more

confidence and

understanding

of the

bodily

forms

observed.

The differences in

the

position

of the

arms and

legs

these

two

nude

figures

show

compared

to

the

statue are often

explained

by

assuming

that

Raphael

drew

either from

memory

or

from

a livemodel, takingthe pose of the David as a starting-point.4

These

explanations,

however,

would

imply

that

Raphael

reversed the

order of

study commonly practised

in

the

Renaissance

painter's

workshop:

he

made a

copy

after a

spe-

cific

sculptural

model

only

after he had firstused it

as a

point

of reference in

studies

from the live

nude model.

Moreover,

n

merely terming

these two

figure

studies "free

adaptations

of

Michelangelo's

David",

no

insight

is

gained

intothe

purpose

of

these

drawings

and the

reason

why

this

particular

stance

appealed to Raphael. In an attempt to specify further his

method of

study

and

interest

in

antique

and Italian

art,

in what

follows a reassessment

is offered of the

sources

and

dating

of

a

number of

well-known

igures

studies

by

Raphael

which are

usually

dated

to

his Florentine

period.

Atfirst

glance

the

pose

of the

nude

warrior

Raphael

repre-

sented in the

drawing

n

the

Ashmolean Museum

[Fig.

3]

sure-

ly

recalls that of

Michelangelo's

David. But a more

careful

comparison

reveals differences

that should

prompt

us

to

doubt whether

Raphael had the marble in mind at all. Inthe

drawing

the

often-mentioned

contrasting

sides of the

David,

37

This content downloaded from 83.137.211.198 on Fri, 11 Dec 2015 20:42:58 UTCAll use subject to JSTOR Terms and Conditions





MICHAEL

W.

KWAKKELSTEIN

1) Michelangelo,

<<David,,marble,

Gallerie

dell'Accademia,

Florence.

Photo: Soprintendenza per i beni artistici e storici di Firenze.

38

- . -

.

-

-

eI

i'- I ,

...

._

.4

.

,ki_.

^"'^^a^^^^






THE

MODEL'S OSE:

RAPHAEL'SARLY SE OF ANTIQUE

NDITALIANRT

2) Raphael, <<Study

fter

Michelangelo's

David,,,

The British

Museum, London.

3) Raphael, <<Study

f a Nude

Model,,

Ashmolean

Museum,

Oxford.

39






MICHAEL

.

KWAKKELSTEIN

his so-called closed

right

and his

open

left

side,

are much less

evident.

By emphasizing

the

model's

torsion,

and

placing

the

right

arm

slightly

bent behind the

prominent hip

instead of

hanging

down

heavily,

Raphael

rendered the

contrapposto

posture

more

conspicuous

than

the

figure

Michelangelo

carved. The different

position

of

the

arms,

the

stronger

torsion

and sideward thrust of the

model

in

Raphael's

drawing

indi-

cate that the

scope

of this

study

was to

explore

the

impression

of

animation,

depth

and volume

produced by

this classical

stance.

Though Raphael may

have looked at similar

represen-

tations

in

the works of fifteenth

century

masters such as

Donatello, Verrocchio,Pollaiuoloand Mantegna,in this case,

as

I

aim to

show,

he turned

directly

to

antique

art as a source

of

inspiration.

The

pose Raphael depicted

in

the Oxford

drawing

bears

a

striking

resemblance to that of the

soldier

standing

to the left

of

Trajan

n

the Adventus relief

frieze of the central

passage

of

the Arch of

Constantine

in

Rome

[Fig.

5].5

Since the

dating

of

the Oxford heet to

Raphael's

Florentine

period

has

long

been

accepted,

this

connection

to the

Antique

would lend further

supportfor the intriguingheoryadvanced by John Shearman

that

Raphael

had visited Rome

in

1503 and

again

in

1506 or

1507.6

Unfortunately,

Raphael's

drawings

whichare datable to

1503-1508

provide scanty

evidence for these

experiences.

One

might

assume that

during

these

hypothetical

Roman

sojourns

Raphael,

then a

diligent

and

inquisitive

student,

made numerous

drawings

after he

Antique

and other works of

art for

study

and

documentary purposes.

He would

certainly

not have limited himself to

drawing

the few

references

to

Rome mentioned by Shearman. Ifwe are inclined to believe

Raphael

travelled to Rome

prior

to 1508 then we have to

accept

that,

with

the

exception

of a few

drawings

which could

support

Shearman's

theory,

all of

the records from these two

journeys

are lost.

However,

upon

careful examination of the

poses

illustrated

n

a numberof

Raphael's figure

studies dated

to his Florentine

period,

it is

possible

to cite

additional exam-

ples

which

give weight

to the

theory

of

Raphael's presence

in

Rome

on

earlier occasions.

In

seeking

to

demonstrate

further he

validity

of this theo-

ry,

t is

necessary

to consider firstthe

availability

o

Raphael

of

intermediate sources. As has often been

pointed

out,

draw-

ings

after the

Trajanic

battle reliefs on Constantine's Arch cir-

culated

in

Florentine

workshops

from the 1460s.7 The heroic

stance

of the Roman soldier from the Arch of

Constantine

relief

in

particular

had

appealed

to Maso

Finiguerra

nd David

Ghirlandaio

[Fig.

6]

who both drew the rear

view of a

life

model

holding

that

pose.

Domenico

Ghirlandaio

made few

alterations when he borrowed this

antique

soldier for his

depiction

of MutiusScaevola on the

right-hand

wall of the Sala

* *

f;

'

.

x

*\

.

I_

4)

Raphael, <(Study

f a Nude

Model,,

The British

Museum,

London.

40

iqh

" d

r .

,I

-

*

t '...

a

9

: ?.?. ?






THE

MODEL'S OSE:RAPHAEL'S

ARLY

SE OF

ANTIQUE

NDITALIANRT

5)

<<Trajanic

attle

frieze>,

Arch of

Constantine,

Rome.

Photo:

Faraglia,

Deutsches

Archaologisches Institut, Rome, neg.

no. 37.328.

dei

Gigli

in the

Palazzo

della

Signoria

in

Florence.8

During

his

stay

in Rome

Perugino undoubtedly

made

drawings

after the

triumphal

arch

and its reliefs

preparatory

o its

depiction

in

the

fresco Christ

Giving

the

Keys

to Saint Peter

in

the Sistine

chapel. Upon

returning

o his

workshop

in

Perugia

in

1484

he

would have made

these

drawings

accessible to his

pupils

and

assistants.9

Finally,

t

is not inconceivable that

the stance of

Michelangelo's

David

is derived from this

specific antique

model which

Michelangelo

could have

copied during

his first

Roman

sojourn

of 1496-1501.10

Though

copies

after the Arch

of Constantine reliefs may have been readily available to

Raphael

while he was

in

Florence,

the

working

procedure

he

adopted

in the

Oxford and London

drawings strongly

sug-

gests

that direct contact with the

Antique

rather han

drawings

by

others

had excited his

interest

in

examining

the

expressive

potency

of this

pose

from various

angles.

In

looking

at the

Raphael drawing

in

the British Museum

[Fig. 4]

we find the same nude model

portrayed

as

in

the

drawing

in

the Ashmolean. The model

holds an identical

pose

but is viewed from

the side while

spear

and

shield are omit-

ted. He does not advance

actively

to the

right,

as is often

claimed, but rests with his weight fully on his right leg in

41






MICHAEL

.

KWAKKELSTEIN

6)

David

Ghirlandaio,

<<Study

f a

Standing

and

a Seated

Man,>,Gabinetto Disegni e Stampe degli Uffizi,Florence.

Photo:

Soprintendenza

per

i

beni artistici e storici

di

Firenze.

a

carefully

balanced

contrapposto pose.

With the

aid

of

a

staff,

the

top

of which is

just

visible

in

his

left

hand,

the

model maintains this pose while holding his body upright.

Viewed

from this

angle

the

pose

recalls

that of the

Apollo

Belvedere.11

Unlike

Michelangelo's

David,

the above-men-

tioned

antique

warrioron the Arch of Constantine

offers a

lim-

ited

range

of

angles

of

view,

making

the use of a live model

adopting

the

warrior's

pose

more

urgent.

The

studying

of

fig-

ure

poses represented

in

sculpture,

whether

antique

or con-

temporary,

whether

in

relief or

in

the

round,

from the live

nude

model

had become standard

practice

in

Florentine

workshop

at the

turn of

the

century.

It

was

adopted by Perugino

and its

usefulness

evidently appealed

also

to the

young

Raphael.

Drawing

from the live nude

model enabled

him to

study

the

antique

heroic

pose

from different

angles

and to

develop

fur-

ther his awareness

of anatomical structures

and

sensitivity

to

the

human

body.12

Closely

related to these

drawings,

both

thematically

and

stylistically,

s

Raphael's study

of Three

Standing

Nude Men on

a sheet

in

the

British Museum

[Fig. 7]

which

is dated to

1504-1506.13

It

has remained

unnoticed that

the

pose

of

the

right-hand

igure

closely

corresponds

in reversewiththat of the

7) Raphael, <<Studyf Three Standing Nude Men,,,

The British

Museum,

London.

Apollo

Saurocthonos

in

the

Archaeological

Museum

in

Naples.

At

the

beginning

of the sixteenth

century

he statue

belonged

to

the Sassi collection

in

Rome

and is

illustrated n the left

in

the

background

of

Marten an

Heemskerck's

drawing

of the court-

yard

of the Casa Sassi in the

Kupferstichkabinett

n Berlin

42






THE

MODEL'S OSE:

RAPHAEL'S

ARLY

SE OF

ANTIQUE

NDITALIAN

RT

8)

Marten

van

Heemskerck,

<(Courtyard

f the Casa Sassi

in

Rome>,

Kupferstichkabinett,

Staatliche

Museen

zu Berlin-

PreuBischer

Kulturbesitz.

Photo:

Jorg

P.

Anders,

Berlin.

[Fig.

8].

Artistswho

copied

after his headless

marblewere

par-

ticularly

nterested in the

emphasized

torsion of the muscular

back.

In

Raphael's renderings

this is shown

in

the British

Museum

drawing

more

clearly

than

in

the

drawing

in

the

GraphischeSammlung

Albertina

n

Vienna or

whichthis

antique

model from the Casa Sassi

had

previously

been

recognized

as

a source [Fig.

9].14

The Albertina rawing s dated to 1509-1511,

but a

dating

to

Raphael's

Florentine

period

should be

preferred.

Not

only

does

it

reveal

Raphael

as a less mature

draftsman,

as

Shearman

also

observed,

but it contains a sketch of a bound

captive,

the

figure

o the

right

of the torso

in

the

center,

which is

identical

o a

figure appearing

in

the lower left-handcorner

of

a

sheet

from the so-called Verrocchio-sketchbook

Fig.

10].

In

fact the resemblance is so close that

Raphael may

well

have

copied

from

this sheet. On the other

hand,

both

figures

could

share a common source

which was also known

to the

sculptor

of a

Flagellation

elief

ormerly

ttributed o Donatello.15

The

possibility

that

Raphael's familiarity

with

the Casa

Sassi torso

prior

o 1508 is

based on direct contact is

strength-

ened

by

the fact that the left-hand nude

figure

of the

group

in

the BritishMuseum

drawing [Fig.

7]

recalls

another torso from

the same

Roman collection. Two

drawings by

Marten van

Heemskerck after this

piece

enable

comparison

which leaves

little

room

for doubt.

In the

drawing

of the

courtyard

he torso

is

standing

in

the second niche from the

right [Fig.8],

while it

is also

represented

in

the second

study

from

the

right

on the

verso of folio 51 from

his Roman

sketchbook,

also

in

Berlin

[Fig.11].

In

addition,

n

Raphael's drawing

he

sharp

turning

of

the figure'shead is similar o that of an antique model copied

in

a

drawing by

Amico

Aspertini

on a sheet

from the Codex

Wolfegg

for

which,

however,

no

antique

source

has hitherto

been identified.16

The fact that two

antique sculptures

from the Casa Sassi

can be

recognized

as the source

of

inspiration

or

figure

stud-

ies datable

to

Raphael's

Florentine

period, strongly suggests

that these

drawings

were

made on the

spot.

No

drawings by

other artists

after these

torsos to which

Raphael

could

have

had access while in Florence are known.These similarities o

antique

sculptures

in

Rome,

if

acceptable,

provide

further

up-

port

in

favour of Shearman's

theory.

Furthermore,

if

these

drawings

were made

in

Rome

prior

o

1508,

then

they

should

be excluded

from the

homogeneous group

of

drawings

once

conjectured by

Fischel to have

formed

part

of the so-called

'Large

FlorentineSketchbook'.17

As has often been

noted,

while

in

Florence

Raphael

learnt

most

of the

Antique through

other artists'

renderings.

This

should surprise us given the fact that in Florence Raphael

could have

turned to the

antiquities brought

to the

city

by

wealthy

humanist

collectors,

the Medici and artists

as Dona-

tello,

Ghiberti

and Giuliano

da San

Gallo.

In

addition

to

possi-

ble

travels to

Rome,

numerous

plaster

casts

and

copies

after

the

Antique,

executed in various

media,

circulated as

study

materials

in

Florentine

workshops

to which

Raphael

must

have had

easy

access.18

In

order to

understand the

develop-

ment of

Raphael's approach

to

Antiquity,

t

is

necessary

to

clarifyfurther his workingmethod and early interests as

he

sought

to master the

convincing rendering

of the human

figure

in

the few

years prior

o his

known

stay

in

Florence.

One

of

Raphael's drawings

which has

always

been consid-

ered to be best

representative

of his

early study

of fifteenth-

century

Florentineart

all'antica,

in

particular

culptural

reliefs

and

plaquettes,

is

the Hercules

Fighting

with ThreeCentaurs

n

the Uffizi

Fig.

12].

Since a

dating

of this

drawing

o the end of

Raphael's

Umbrian

period

is

acceptable,

his

familiarity

with

Florentine

models

suggests early

visits to

Florence,

most

likely

accompanied by

Perugino.19

It has been observed

that,

43






MICHAEL

.

KWAKKELSTEIN

9) Raphael,

(<Sheet

with Studies of a Male Torso Seen on the Back and Four Studies of a Naked

Youth,

his

Hands

Tied Behind his

Back)),

Graphische

Sammlung

Albertina,

Vienna.

despite

the classical

subject

matter,

the

figures

in the Uffizi

composition

do not reveal the influence of the

Antique,

but

reflect

Raphael's knowledge

of the works of

Antonio

Pollaiuolo,

as

especially

manifest

in

the

figure

of Hercules. This is certain-

ly

true,

and

though

Hercules

appears

to be an

adaptation,

in

reverse,

of the axe-wielder at the left

in

Pollaiuolo's

engraving

of the Battle

of Nude

Men,

it is also this

figure

which lends itself

for

comparison

to a classical source.20

A

sarcophagus fragment

of a Bacchic

Procession,

now

in

Berlin, ncludes on the far left a figureof a dancing satyrinpro-

file to the left who carries a krater of wine. This model was

copied by

a draftsman from the circle of Giovanni

Bellini on

a sheet with other studies afterthe

Antique

and seems to have

inspired Raphael

for

the

unusually dynamic

pose

of

Hercules.21

Interestingly,

in

adapting

the

satyr's

somewhat

awkward

pose, Raphael

and the Venetian

artist made similar

adjustments.

In

Raphael's drawing

this is understandable

because the

figure's

action serves a

particular

unction

within

the narrative context.

Naturally

the

possibility

can not be

excluded that Raphaelworked from sheets withother artists'

44

-.

_...... . . >

~." - * .,






THE


ARLY

SE OF

ANTIQUE

NDITALIANRT

copies

afterthe

Antique.

Those scholars who have

considered

the

possibility

of a

trip

o Venice made

by

Raphael

in

1505,

and

where he would have met Giovanni Bellini,willwelcome the

thesis that

Raphael's

Hercules is

borrowed from the above-

mentioned

drawing

rom Bellini's

workshop.

However,

he dat-

ing

of the Uffizi

drawing

to about 1503 does not

permit

to

assume such a connection.22

Be that as

it

may,

the Uffizi

drawing unmistakably sug-

gests

direct

contact

with

works

of art

in

Florence. For

nstance,

the

position

of the arms of the left-hand centaur

corresponds

to that of two

soldiers

painted by

Bartolomeo di Giovanni

in

the background of Domenico Ghirlandaio'sAdoration of the

Magi,

dated

1488,

in

the

Ospedale

degli

Innocentiand to that

of the soldier Ghirlandaio

depicted

in

the

background

of

his

fresco of the

Slaughter

of the Innocents

in

the

Tornabuoni

Chapel

in

the

Santa

MariaNovella. Given

Raphael's

early

inter-

est

in

the work of

Donatello,

he

may

have known the latter's

Medici-Crucifixion relief

(Museo

Nazionale del

Bargello,

Florence)

in

which this movement is

adopted

for the

profile ig-

ure who is shown

hammering

a nail

in

the

right-hand

cross.23

Furthermore,he torsion of the pose of the left-handcentaur is

similar o that of the centaur

in

Antonio Pollaiuolo's

Hercules,

Nessus and Deianeira

in

New Haven.

Finally,

in

Raphael's

drawing

the lower

part

of the

body

of the

right-hand

centaur

resembles that of the

rearing

horse on the left

in

the back-

ground

of Pollaiuolo's

Martyrdom

f

St

Sebastian,

while the

centaur's

upper part

suggests

Raphael's

close

study

of

Pollaiuolo's

pen drawings (e.g.

Hercules

and

the

Hydra

n

the

BritishMuseum

in

London).24

Withregardto Raphael's interest in Pollaiuolo'smodels,

a

pen

and

ink

drawing

of a Horseman

Fighting

Two Foot

Soldiers on the recto of a sheet

in

the Accademia

in

Venice

[Fig. 13] presents

an

interesting

case. This

drawing

has been

connected to

Raphael's study

for the

Storming

of

Perugia

and

a

Pollaiuolesque drawing

of the Battle of Nude Men

in

Windsor

for which an attributiono the

young

Raphael

has been

sug-

gested

on various occasions

[Fig.

14].25

While it is true that

the

representation

of nude combatants

in

energetic

movement

is

what these

drawings

have

in

common,

the

fact remains that

the nude

figure

seen

from the back

in

the Venice

drawing,

recurring

n

reverse

in

the

Storming

of

Perugia, provides

the

only

direct

link with

the Windsor

drawing

in

which the

figure

standing

to the left of the central warriorassumes an identical

posture.

The action is

the

same,

both raise a shield

with their

left arm while

in the

right

hand one holds a

spear

and one

a sword. Did

Raphael

borrow this

figure

from the Windsor

drawing

or do

both

figures

share a common source?

Though

the MonteCavalloDioscuri

may

come to mind

first,

he closest

parallelto this figure is providedby a soldier standing in the

f

.

.

4-

.

',

b9

Si 1-

?Ir

it ?

*

r

I i

???:;,

'Li

*(

?lr.

'.S'L

I

10)

Francesco Simone

Ferrucci,

<<Sheet

with

Figure

Studies>,,

Departement

des Arts

Graphiques

du Mus6e du

Louvre,

Paris.

R.F.447 verso.

foreground

of a battle

relief on

Trajan's

column

[Fig.

15,

fifth

figure

from the

left].

That

this

particular

cene also includes

the model for the

figure's

assailant

in

the

Windsor

drawing

supports

this connection.

But what about

Raphael?

Drawings

after reliefs on

Trajan's

olumn

may

have been known to

him

and he could have been

particularly

nterested

in

copies

or

renderings

by

Pollaiuolo

and,

as

will

be shown

below,

Perugino.As LaurieFusco pointed out some years ago, there

45

I

.

\

'

.-..






MICHAEL

.

KWAKKELSTEIN

11)

Martenvan

Heemskerck,

<<Four

tudies after

Antique Sculptures)> formerly

n

the Casa Sassi

in

Rome),

Kupferstichkabinett,

Staatliche Museen

zu

Berlin-PreuBischer

Kulturbesitz.Photo:

Jorg

P.

Anders,

Berlin.

is reason to assume that Pollaiuolo was

in

Rome

during

the

1460s.

In

that case the date of

1467,

inscribed on one of the

earliest known

drawings

after

Trajan's

column,

now in

Chatsworth,

would no

longer

present

a

problem

for its

attribu-

tion to the school of Pollaiuolo.26

The

interesting theory, put

forward

by

Ames-Lewis and

Clegg,

that the Windsor

drawing

represents

a faithful

copy

after

a

ten-figure-groupcomposition by

Pollaiuolo,

now

lost,

withthe addition of

figure-types

derived from other

sources,

is

supported

by

comparison

of the facial

type

and

impassive

look of the fallen warrior

n

the

foreground

to that of the

figure

of Eve in a pen and ink drawing by Pollaiuolo in the Uffizi

(97F).27

n

addition,

Eve's left

leg

is

nearly

identical to the left

leg

of the helmeted

warrior hown

lunging

at the

warrior

n

the

center,

while a similar

pattern

of lines indicates their

kneecaps.

Interestingly,

he nude warrior

tanding

in

the

foreground

on

the

right

of the

Windsor

drawing

served as

the model for the

second centaur

from the

right

in

a cassone

painting by

Bartolomeo di Giovanni

n

Horsmonden

(Kent)

which

is data-

ble to the 1490s.

This work includes

borrowings

from

Pollaiuolo's

Battle

of

Nude Men

engraving

and

the

engraving

of Hercules and the Giants

based on his

design.

If Bartolomeo

was familiar

with

the

Windsor

drawing,

and not the lost

original

it most likelyrecords, its currentlyaccepted datingto the early

46






THE


ARLY

SE

OF ANTIQUE

NDITALIAN

RT

12) Raphael,

<<Hercules

ighting

with

Three

Centaurs,,,

Gabinetto

Disegni

e

stampe

degli

Uffizi,

Florence. Photo:

Soprintendenza per

i

beni artistici e

storici di Firenze.

13) Raphael, <<HorsemanightingTwoFootsoldierso,

Gallerie

dell'Accademia,

Venice.

sixteenth

century

should

be

changed

to about 1490 or

even

some

years

earlier.

Hitherto

unnoticed,

a

briefly

sketched

drawing

of a battle

in

the Uffizi

(349Ev)

which is attributed o

Pintoriccho,

shows a similar

combination of

figures

borrowed

from the Windsor

composition

with those borrowed from the

Hercules and the Giants

engraving.28

According

to the

findings

of

Ames-Lewis and

Clegg,

the

above-mentioned

warrior,

een from the

back in the Windsor

drawing,

would

be

one of the ten

figures

which was

copied

from the lost Pollaiuolo

composition.

The identificationof

the

antique

source from which this

figure

derives,

the soldier on

Trajan's

olumn,

provides

us

with

information

on Pollaiuolo's

interests

and

working

procedure.

This

is relevant to the

pre-

sent discussion because

it

could

help

to define further the

extent

of

Raphael's

indebtedness to Pollaiuolo

and the

begin-

nings

of

his assimilation of the ancient

idiom. As a

pioneer

in

rendering convincingly the anatomy of the human figure in

motion

and at

rest,

Pollaiuolo contributed

n

a

significant

man-

ner

to the dissemination

of the

classical

language

of form

and

expression.

In

addition to his famous

print

and

a now lost

bronze relief

showing

the battle

of nude

men,

of

which,

according

to

Vasari,

every

artist in Florence owned a

plaster

cast,

his

drawings

above

all were

greatly

admired

by

the

"sculptors

and

painters

of the first rank"

who

kept

on

studying

and

copying

them well into the sixteenth

century.29

In

the lost

figure-group drawing

Pollaiuolo

represented

a battleof nude men.30

Though

he

composition

cannot be relat-

ed

to a

specific antique

source,

as we have

seen some of

the

fig-

ures can. The warrior

aising

his shield

on the far

right

of

the

Windsor

drawing

derives from a

figure

represented

on a now

dismantled Amazonomachiasarcophagus, which about 1491

47






MICHAEL

.

KWAKKELSTEIN

-?

.i<3),,,":^

',

*S

~~~~~~~~~~\.'

';

'''.-

{,i

i

i'""-}i"

\':"'-;\~"

.

':i'

-

_^

./r "'-. :

:'

.-

.;"

. .^'

*

.^\:

v

;-r~^

I

'w

~'-""

"r

~""

...-

' ;

"

.

^

:'

~

. ...;

~

f

....

"'1

.. .'-

;'

-

. .

. .

.

*'. "

'-

,':(

'l""'-}"

^

^

:

^

'

-

^

''-Y

^

,^ ^

-

?ICr

f

",~':

'-~-.

. . .

.

-

....:..

?

:..--,.

-

. ,

.

~-.. -

.

.

..,_=,--.,.

i ?

'.

.

~' ;;~-."

~~~~~~~~~?*:j

".':.~*.i.~-

",/

''-

'.

?

'

. -

''"'"'"

:?

~"''":I

.'I

'

:

~l

':",.?-'*

.:, .

~~~~~~~~~~~~~~'"

'

'.

'

;..'

::.'".:

:'~"

e"

?.,~~ ~ ~...,. -. ',..,'""~. -':

,~~;;.~-"'.'.";.

.'..~_"*

......

~~~~~~~

:"

------.e,',.:,~(,,'"

,,~,.

:;?'''?

i

'r. Zk ?:'1?

..:.'..; ? ?C:,.. ..r? ?... ? .?-':?:=. .'- ' ` '''

14)

After

Pollaiuolo,

((Battleof Nude

Men,,

The

Royal

Collection

?

2001,

Her

Majesty

Queen Elizabeth

II.

stood at the entrance to SS. Cosma e Damiano n the

Roman

Forum.

Comparison

o this model as recorded

n

a

drawing

after

the

sarcophagus by

a member of

FilippinoLippi'sworkshop

in

Oxford

supports

this connection.31

Furthermore,

he

prostrate

warrior

n

the

foreground

of the Windsor

drawing obviously

refers

to an

antique

model as this

pose

was

widespread

in

ancient art.

However,

Pollaiuolo

may

not have borrowed this

type

of

pose directly

rom an

antique

source,

as

he did on

other

occasions,

for

it

is

strikingly

imilar o that of the

prostrate

ol-

dier behindthe dead

body

of Goliath nGhiberti'sDavid rom he

Gates of Paradise.This resemblance accords well with he infor-

mation

provided by

sixteenth-century

ources that in his

youth

Pollaiuolo worked

with

Ghiberti on the second

Baptistery

doors.32

Finally,

he

pose

of the helmeted warrior

dvancing

to

the left while

holding

a

spear

in

both

hands,

closely

resembles,

in

reverse,

the

lunging pose

of

Meleagercharging

the boar with

a

spear

as

represented

n

sarcophagus

reliefsof the

Calydonian

hunt and

in

a classical marble statue which

appears

to have

been

in

Rome at least before 1497.33

From hese few

comparisons

it

can be inferred hat

it

was

Pollaiuolo'spracticeto put a live nude model into the pose he

had sketched after

antique

and 'modern'

sculpture.

He then

combined these

figures

on one sheet as he

sought

to

compose

a battle scene all'antica

with

exemplary

nudes.

In

addition to

the

relationships

between Pollaiuoloand the

Antique

here

pro-

posed,

I

would like to draw attention to the

striking

similarity

between a nude

figure

on a Bacchic

sarcophagus

with the

Discovery

of Ariadne in the

Belvedere

Statue Court in the

Vatican,

and the nude dancer Pollaiuolo frescoed

on the far

right

of

the

frieze

in

the VillaGallina

n

Arcetri.Given the

dating

of these frescoes to the

early

1470s,

this connection

provides

further

support

for the

theory

that Pollaiuolo visited Rome

in

the 1460s.

Furthermore,

he terracottareliefinthe Victoriaand

Albert Museum

in

London,

based on Pollaiuolo's

design,

shows his

familiarity

with a Roman frieze

fragment depicting

the Battle

of

the Romans

against

Gauls. The frieze

was

in

Rome

until t

was taken

to Mantua n

the

mid 1520s. The second war-

rior rom the

right

n

the

background

of

the

terracotta

s a faith-

ful

copy

of the second warrior romthe left of the frieze.

All

his

leads

to

the conclusion

that,

contrary

o the current

opinion

of

some

scholars,

Pollaiuolo

closely

imitated

antique

sources.

Hence in copying afterPollaiuolo, he young Raphaelfamiliar-

48

,

,/'.

i::

'I .

I ??;

i;? c'.

P;? i.??' ':.?






THE


ARLY

SE OF

ANTIQUE

NDITALIANRT

15)

((Battle

rieze,,,

Trajan's

Column,

Rome. Photo: Deutsches

Archaologisches

Institut,Rome,

neg.

no. 89. 764

ized himself

with

a

variety

of

types

of active

poses

found

in

antique sculpture.34

It

is

commonlyaccepted

that

Raphael's drawing

n

Venice

[Fig.

13]

reflects his

knowledge

of the

preparatorydesigns

for

the battle

piece

Leonardo was commissioned to

paint

on the

wall of the Sala del Gran

Consiglio

in the Palazzo della

Signoria

in

Florence. Therefore he

drawing

s

generally

dated

to about 1505-1506.35

However,

the

elongated

proportions

of

the

figure

on the verso

[Fig.

16]

and the

type

of

advancing

movementwiththe

right eg

stretched rearwardare still heavi-

ly dependent on Perugino'sworkshopformulae.Infact a dat-

ing

to

Raphael's

Umbrian

period

seems

preferable

for a num-

ber of reasons.

First,

the facial

type

of the

figure,

its

pointed

features,

the inclinationof the head and the

mannerin which

the

curly

hair s

indicated,

are

closely

reminiscent

of the model

Raphael depicted

in two

early drawings

of about 1500.36

Second,

the

pose

of the

nude

figure

seen on the

back on the

recto is

identical,

in

reverse,

to that of the soldier on the leftof

Raphael's

Saint Jerome

Punishing

the Heretic Sabinian

in

Raleigh,

usually

dated

to 1503.

In the

same

year

Raphael

adopted

this

pose

for the foot soldier

in

the

foreground

of the

modello for Pintoricchio's fresco of The Journey of Aeneas

49






MICHAEL

.

KWAKKELSTEIN

,

.

'

. . .. .

*?i ? ?

~CI;t??ii

r?1

R '~~~~~~~N

/i

I N

*

. .."

'

:

'

'

:

'

;'

;,;

"

*

*

'

***

:-.

'

I

.

.

;

'-

:.

i

'

.,'

:^

~ ~

'

''

*-~~~~~

.

.

-

.;. . . . '

.

.'

?

.

i

.".i~.:'~

.".."

. '.,'. "',."

'".',,'..?.,,... ~~~~~~~~~~~.r

16) Raphael, (<Study f a Nude Standard-Bearer),

Gallerie

dell'Accademia,

Venice.

Silvius Piccolomini to

Basle

in

the Piccolomini

Library

in

Siena.37

Third,

the

pose

of the

right-hand

oot soldier on the

recto is

closely

comparable

to that of the

figure pulling

the

rope

tied to

Christ

n

The

Procession

to

Calvary

n

The National

Gallery

in

London of about

1502-1503.

Significantly,

the

recently

revealed

underdrawing

of this

painted

figure

is similar

in

style

to the Venice

drawing,

as is the Uffizi

drawing

of

Hercules

Fighting

with

the

Centaurs,

datable

to

1503.38

Finally,

the

stiffly

rendered horse recalls the

type

of horse

Raphael

illustratedon the left of the modello for which the horse

in

the

background

on the left of Pollaiuolo's

Martyrdom

of St Se-

bastian served as a model. The horse

in

the near

foreground

of the modello is an almost literal

borrowing

rom the left-hand

horse of the group in the far background on the right of

17) Raphael,

((Studies for Two Guards

in

a

Resurrection,,,

Ashmolean

Museum,

Oxford.

Pollaiuolo's

picture,

while the rider is based on the rider

Pollaiuolo

depicted

on the extreme left of this work.39

Rather than

revealing

direct

contact

with the

Antique

or

the influence of

Leonardo,

the

drawing

on

the recto of the

sheet

in

Venice

[Fig.

13]

demonstrates

Raphael's

indebted-

ness to Pollaiuolo. Yet

it

also shows his

continued interest

in

Perugino's stereotypes

for the

pose

of the

right-hand

oot sol-

dier

closely

resembles that

of the

soldier

on the far left

in

the

backgroundof Perugino'sAgonyin the Garden,paintedabout

50

r....






THE

MODEL'S POSE: RAPHAEL'S

EARLY

USE OF

ANTIQUE

AND ITALIAN RT

1490 for the Jesuits of the

San Giusto

in

Florence and now

in

the

Uffizi.40

That

in

addition

Raphael may

have used a

sculp-

tural model when faced withthe problemof drawinga rearing

horse is

suggested by

the fact that

the horse illustrated

n

the

Venice

drawing

recurs,

seen from another

angle,

in

the car-

toon for the St

George

and the

Dragon

in

Washington

of about

1505 where the horse's head is

similarly

turned to the left.

Given

Raphael's special

interest

in

Pollaiuolo and the latter's

practice

of

sculpting

or

clay-modelling

figures

as devices for

study

and

aids

for

working

out

compositions,

Pollaiuolo

may

well have been

the author

of

this

particular

model as

it

appears, seen from yet another viewpoint, in his Hercules,

Nessus

and

Deianeira.

Clearly

he horse's head and neck have

been

replaced by

the human

body

of the

centaur,

but the tor-

sion and

pose,

like the

position

of

the hind

legs,

are similar.41

In

turning

our attention to the

drawing

on the verso of the

Venice sheet

[Fig. 16],

we find that the

walking

pose

of the

youth

is

closely comparable

to

that

of

a

figure

on a famous

antique

gem illustrating

he

Triumph

f

Dionysus

in

the Museo

Nazionale in

Naples.

Renaissance derivations of

the

gem,

bearingLorenzode Medici's nscription,circulated n Florence

and were known to

Perugino

who

adopted

the

pose

of the

psy-

chiai

pulling Dionysius'

chariot for the two soldiers

advancing

on the

right

in

the

background

of the

Agony

in

the

Garden.

Close

comparison

between the nude

in

Raphael's drawing

and the left-handsoldier reveals that he

copied

Perugino's fig-

ure,

only

changing

the

position

of the head and arms.

Perugino

reused

the soldier's

pose,

in

reverse,

for the soldier

walking

next to

Judas

in the

Agony

in

the Garden

which,

as

mentionedearlier,served as the model for the right-hand oot

soldier on

the

recto of the sheet

in

Venice.

With

regard

to the

availability

of

drawings

after the

Antique

to

Raphael

while

working

with

Perugino,

it

is

interesting

to see that the soldier

and Judas

in

Perugino's

picture

both derive from a

pair

of

advancing

soldiers

in

a battle relief on

Trajan's

olumn.42

Inview of the

relationships

here

presented,

it

can be con-

cluded that the

drawings

on both sides of the sheet in

Venice

provide

additional

examples

of

how,

early

in

his

career,

Raphael

assimilated classical motifs

through drawings

after

the

Antiqueby Perugino

and Pollaiuoloand

perhaps

the

latter's

sculptural

models all'antica.

A

dating

to about

1502-1503

for

the

drawing

n

Venice entails a similar

dating

of the

stylistically

close studies for the

Storming

of

Perugia

in Paris and

Vienna,

usually

dated to about 1505. These studies not

only

reflect

Raphael's

interest

in

Pollaiuolo,

as has often been

noted,

but

also

contain

the

reversed

image

of the model viewed on the

back inthe

drawing

on the recto of the sheet inVenice.43

The use of various

sources

within

a

single composition

is

indicative for the eclectic method Raphael adopted for work-

18)

Woodcut from J. P

Bergomensis, <<Supplementum

Chronicarum,>,

enice

1486.

ing

out

compositions.

In

looking

at the Uffizi

drawing

of

Hercules

Fighting

with Three Centaurs

[Fig.

12],

it

becomes

even clear that

Raphael

assembled his

figures

by combining

individual

imb

motifs he

copied

after Pollaiuolo's

designs.

In

addition o the

examples

cited

earlier,

t

can

be

noticed

that the

left leg of Hercules in the Uffizidrawingis identical to that of

the

lunging

warriorwith the

spear

in

the Windsor

drawing,

while the torso of the left-handcentaur

closely

resembles that

of the left-hand archer.The

upper part

of the

warrior,

een on

the back on the

right

of the

Windsor

drawing, may

well have

served as the model for that of the centaur

in

the near fore-

ground.

In

additionto the

presence

of a

shield,

the similar or-

sion of the back and

position

of the

right

arm

strengthen

this

connection.

Finally,

as has been said

earlier,

he

upper part

of

Hercules

closely

corresponds,

in

reverse,

to that of the axe-

wielder

on the left of Pollaiuolo's

engraving

of the Battle of

Nude

Men.

This

working procedure may

be

exemplified

by

another

drawingpredatingRaphael's

Florentine

period.

Ina

study

con-

nected with the

Sao

Paulo

Resurrection,

of about 1502

[Fig. 17], Raphael aithfully opied

the

complex pose

of the

fig-

ure of Adam

in

a woodcut

in

the

Supplementum

Chronicarum

of J.

P.

Bergomensis, published

in Venice in 1486

[Fig.

18].44

Curiously,

the

upper part

of

Raphael's figure,

when seen

in

reverse, bears also a strikingresemblance to that of the figure

51






MICHAEL

.

KWAKKELSTEIN

of Bacchus

in

Mantegna's engraving

of a

Bacchanal with

a WineVatdatable

to the

early

1470s,

whereas the

position

of

the figure's legs corresponds to a classical type of walking

pose

which was

adopted frequently by

Verrocchio,

Pollaiuolo

and members

from

their

workshop.45Comparably,

he

pose

of

the

figure

shown

fleeing

to the

right

n

Raphael's

St Jerome

in

Raleigh

is an exact

copy,

in

reverse,

of that of the

figure

of St

John the

Baptist

in

Ghirlandaio's

Meeting

of Christ and St

John the

Baptist

in the Wilderness

in

the Staatliche

Museen

Gemaldegalerie

in

Berlin;

Raphael only changed

the

position

of the

figure's

head.

Untilhis move to Florencein 1504 Raphaelclearlyadhered

to the

persisting

medieval

pattern-book

approach

in

which he

followed

Perugino's

example.

About

1503

the art of Pollaiuolo

aroused his interest

in

the

representation

of the

nude

figure

in

action. As illustrated

by

the Uffizi

drawing

and the

drawings

on

the two sides of

the sheet

in

Venice,

Raphael

constructed

his

animated

figures

for narrativescenes

by combining

stereo-

typed

movements,

poses,

and

gestures

which he borrowed

from other artists'

work.

In

cases

when he

faithfully

dopted

the

entirepose of a figure,he varied on the source bysimple rever-

sal,

sometimes

changing

the

position

of the arms

or the

head.46 Once

in

Florence,

he

began

to abandon this method

for the

study

fromthe

live nude model.

At

first

Raphael

showed

little nterest

in

active

poses, portraying

he nude

figure

in

bal-

anced

contrapposto poses

inspired by

Florentine

sculptures.

In

this

study

some

of these

figure

studies have been related

to

antique sculptures

in

Rome

thereby lending

further

upport

to

the

theory

that

Raphael

had visited Rome

before his firstdocu-

mented

stay

inthat

city

on

January

13,

1509.47

In

concluding

this review of

Raphael's

sources and the

working

methods he

adopted

in

studying

the

human

figure,

it

may

be useful to

reconsider

the sources

upon

which

the follow-

ing

four

related

figure

studies are

usually

believedto

depend.

Raphael's

use of

live models for

the

study

of animated

poses represented

in famous works of

art,

whether

painted

or

sculpted,

ancient

or

'modern',

may

be inferred

rom a

drawing

on the

verso of the above-mentioned

sheet

in

the Ashmolean

Museum

[Fig.

19].

Amidst sketches

of a

man's

legs

appears

a fulllength study of a male nudewhose attributes,a book and

a

sword,

would

identify

him

as St Paul.

However,

he combina-

tion of the

model's sullen

looks,

slightly

bent

head and relaxed

pose

would

speak against

such

an identification.

Despite

salient

differences,

it has often been stated

that the model's

pose

is

inspired

by

Donatello'sOr San

MicheleSt

George.48

This statue

has been

praised

and admired

by

its earliestcommentators

par-

ticularly

because

of its

strikingpose

and

bearing

hat was inter-

preted

to

convey

alertness,

proudness

and vividness.49

On

anotheroccasion, ina drawingalso inthe Ashmolean,Raphael

i

,

/

,.

'.

I

V,.

.

f

.

i

:f

t

I.

s

I. }

.~ .".. ,

i

.

f .

. , ...

.

\

i

.

.

tI

i

19) Raphael,

<(Study

f

a Nude

Man,,,

Ashmolean

Museum,

Oxford.

drew rom he nude model

posed

unmistakably

s Donatello's

St

George. Inthis drawingRaphaeldoes show his interestin and

sensitivity

o these

psychological

qualities

as he

attentively

pre-

served the

characteristic

usterity

of

the statue's

pose.50

Hence

it seems

improbable

that St

George's

much admired

stance

should

at the same

time have

inspired

Raphael

o conceive

a St

Paul as a man

who,

unlike

he

St

George,

stands

in

an

easy

con-

trapposto

posture

that

actually

ends itself

or better

comparison

to

Donatello'sOr

San MicheleSt Mark.51

As most of

his fellow

painters

of narrative

compositions,

Raphael was deeply aware of the psychological expressive-

52

.i?

. .

.:

;t

:-?51

t

I\

I

.I

4

.I

I

i

1;? j






THE

MODEL'S

OSE:RAPHAEL'S

ARLY

SE OF

ANTIQUE

NDITALIANRT

~~~~g.

~ ~ ~

.

7

20) Raphael, <Study

of Two

Standing

Nude

Youths,,,

Graphische Sammlung

Albertina,

Vienna.

ness inherent to a

figure's

pose,

facial

expression

and

the

position

of

his

head.

During

he

design

process

of,

for exam-

ple,

the

Disputa

to which

I

shall return

shortly, Raphael

explored

numerous

poses

and combinations of

poses

which

would best answer

to his

concept

of

beauty, grace, variety

and

emotional and psychological expression. It was the lesson

21) Raphael, ((Study

of a

Standing

Nude

Youth,,

Graphische

Sammlung

Albertina,

Vienna.

learnt from

Leonardo,

especially upon seeing

his unfinished

Adorationof the

Magi,

which

changed

Raphael's

mode of

per-

ception

into

the direction of

pursuing

emotional

expressive-

ness above all

in

figure painting.

Eventually

his

development

would culminate

dramatically

n

the

Transfiguration,

aphael's

last painting.

53






MICHAEL

.

KWAKKELSTEIN

22)

Adriano

Fiorentino,((Hercules,, bronze,

Museum

Boymans-van Beuningen, Rotterdam.

In

the

Graphische Sammlung

Albertina

n

Vienna is

kept

a sheet with

drawings

on both sides

of a

standing

male nude

[Figs. 20, 21]. Its attribution o Raphael, proposed by Konrad

Oberhuber in

1964,

has not been

unanimously accepted.52

According

to

Oberhuber,

these

standing

nude

youths,

"are

ultimately

based on a

Michelangelesque interpretation

f clas-

sical

examples",

more

specifically,

on a

figure

in his battle car-

toon.

Furthermore,

e

acknowledged

the

difficulty

n

establish-

ing

the

drawing's purpose

and

suggested

the

figures may

have been

"intended for some

large

historic scene."53

Subsequent

commentators of the

Albertina

drawing

have

linked the pose of the nude figure on the verso to Raphael's

study

of

Michelangelo's

David.54 In

looking

at

the model's

contrapposto pose

a resemblance to the marble

giant may

be

noticed.

However,

he different

position

of the

left arm makes

the

figure

as a whole

closely

similarto well-known

Florentine

all'antica

representations

of Hercules. A

comparison

to

Adriano

Fiorentino's bronze statuette

in

Rotterdam

of about

1490,

is

particularly

ewarding[Fig.

22].

It has

been observed

that Adriano

was

inspired

by

an ancient

sculpture

of Hercules

which is now

lost but was

depicted by Mantegna

in

the back-

ground

of a fresco

in

the

Camera

degli Sposi

in

Mantua.This

connection

fails to convince since the

figure's legs

in

Mantegna's

fresco

are

posed quite differently.

t

seems more

likely

hat the late

fourteenth-century culpted

Hercules on

the

Porta della Mandorlaof

the Florence Cathedralserved as the

model

upon

which Fiorentino's Hercules

and,

indirectly,

Raphael's

standing

nude

depend.55

The

importance Raphael kept

on

assigning

to

sculptural

models for the

study

of

figural

poses

may

be furtherdemon-

strated

by

a

study

for

Apollo

in the

Wedding

Feast of

Cupid

and

Psyche

in the villa Farnesinaof circa

1518

[Fig.

23].

It

has

been observed

long ago

that

the motif of the bent left

leg sug-

gests Raphael's

knowledge

of an

antique Apollo,

formerly

n

the Grimanicollection

in

Venice,

now in the

Archaeological

Museum of that

city.

Yet

a

much closer

resemblance can be

noticed between the

figure's

pose

and

that of

a Florentine

bronze

statuette of Hercules

in

Repose

in

the FrickCollection

in

New

York,

datable to

1510-1515

[Fig.

24].

In

fact the resem-

blance is so striking that we are led to wonder whether

Raphael

may

have worked from the

actual

bronze,

rather han

from

a live model

assuming

the statuette's

pose.56

To return o the

sheet

with

studies from the male nude

in

the

Albertina,

he

pose

of the

figure

viewed

in

profile

to the

right

on the recto

may

well

reflect some of

Michelangelo's

sculpted

and

painted

figures:

his

Bacchus, and,

seen in

reverse,

the

youth

on

the far

right

n

the Manchester Madonna.

Though

close

comparisons

could be drawn also to a stereo-

typed figure-pose recurrenton Greek grave steles of young

54






THE

MODEL'S

OSE:RAPHAEL'S

ARLY

SE OFANTIQUE

NDITALIAN

RT

''' ' '

?I?.?;? "-

?''?D '' '

''

??"

"-' ? *?'f

-?.

:''

:?

L

'e ?::

:-i ?????

-?'

j: "':

-?? ?? ???"'?

: :L-""??r.

-? ?r

??.

... ,1?

..i;"?'?

.riZ ?" ??

?? : ? ?-.. r?

..

?:I

.:r,??;??.?-i?

$:

t ''

:I:

'"

??? ':?h;f*?

?C`-* ??

'r *.*

* I

.;,';'

???,l;'.

?. '

;? ?

r..

?.

??

i? - -

?.?

23) Raphael,

<Study

of a Nude Seen on

the

Back),,

Graphische

Sammlung

Albertina,

Vienna.

24)

Florentine,

arly

16th

entury,

Hercules

in

Repose, (back

view),

brol-e.

Copyright

The Frick

Collection,

New York.

55

I

?? ?I'? ?j

.?

r

'? ???::.?i?

r:

'

??li'

it5

?'?

?-?

;,'

r '?? :

r

'..'

I,

r'? ,,?

"?"'

??:?:

.

'? r

??

..

?.,

s .?:

:r:

z

: ii

. I..r

'1

'

..?i*

?v- .;??,

rr

si ? ;X'

t

;r*'L

. il***--*

.3.i- I;r

:?:tJ'r ?:,

...

.????

?? :

I

*

:.

:i?2:i'

;?vr?

;?.: ,

h"' :"

'Ir -:

"

f.






MICHAEL

W. KWAKKELSTEIN

men and

women.57

Infurther

support

for

Raphael's

authorship

of the Albertina

drawing

is the

possibility

that the

pair

of nudes

on the recto originated in connection with Raphael's design

for a

group

of

disputants

in the left

foreground

of the

Disputa.

At

the far

left

in

the famous

preparatory

study

in

Frankfurt we

find a

pair

of

similarly grouped

and

posed

nudes.58

The draw-

ing

in

Vienna is dated

to the end

of

Raphael's

Florentine

peri-

od,

but a

dating

to

the

early

Roman

years,

1508-1509,

during

which he worked

on the

Disputa,

now seems

more

plausible.

Moreover,

the

man viewed

on the

back lends itself for

stylistic

comparison

to

a

study

in

the British

Museum which

presents

a variant of the left-hand figure seen on the back in the

Frankfurt

drawing.59

Though

it is

always

assumed that

the

fig-

ures

in

the Frankfurt

study

are drawn

from the live

model,

it

is

instructive

to see

that the left-hand

figure

seen on the back

is

a

copy,

in

reverse,

of

a soldier

in

Luca

Signorelli's

fresco St

Benedict

Welcomes the

Real

King

Totila

in

Monteoliveto

of

1497-1498,

while

the three

kneeling

men

are

clearly

reminis-

cent

of the

kneeling figures

on the left

side

foreground

in

Donatello's

relief of the

Miracle of the

Miser's Heart

in

the

Church of the Santo in Padua from which Raphael would bor-

row

figures

on a

later occasion.60

1

J.

Pope-Hennessy,

Italian

High

Renaissance

and

Baroque

Sculpture,

3

vols.,

London,

1955-1963,

vol.

III,

pp.

9-11.

2

Ph. Pouncey and J. A. Gere, Italian Drawings in the

Department

of Prints

and

Drawings

in the British Museum:

Raphael

and his

Circle,

2

vols.,

London,

1962,

p.

12,

no. 15. J.

A.

Gere and

N.

Turner,

Drawings

by

Raphael

from the

Royal

Library,

the

Ashmolean,

the British

Museum,

Chatsworth

nd other

English

collec-

tions,

exh.

cat., London,

1983,

no. 39.

These authors

all

point

to

the

adjustments

to

the marble

Raphael

made while

copying.

See

also G.

Gronau,

Aus

Raphaels

Florentiner

Tagen,

Berlin,1902,

p.

32

and,

more

recently,

J.

Meyer

zur

Capellen,

Raphael

in

Florence, London,1996,

pp.

120-121.

J.

Shearman,

"Raphael

and his Circle"

(review

of

Pouncey-Gere,

1962), Burlington

Magazine,

107

(1965),

p.

35,

claims

that Raphaelmust have

made

his

drawing

after a small

replica

of

the

finished

statue since

such a

distant

viewpoint

as

indicated

n

the draw-

The

relationships suggested

so far

demonstrate

Rapha-

el's close adherence to standard

Quattrocento

workshop

pro-

cedures. About 1503 the study of the art of Pollaiuolo prompt-

ed his shift

away

from

Perugino

and aroused

his interest

in

dynamic figural

poses, convincingly

rendered muscular

bod-

ies and the

Antique.

But

only

after

his arrival

in

Florence did

Raphael

turn

to

drawing

from

the live nude

model,

at first at

rest and

from about 1506-1507 onward

in

action.

In

doing

so,

he

abandoned his

treatment of the

human

figure

as

a

compos-

ite of

individual limb

motifs for that of

the human

figure

as an

organic

whole.

The

proposed

links to the

Antique

confirm

the

view that Raphael visited Rome prior to 1508 as proposed by

Shearman. Since

Pollaiuolo and

Perugino

used

sculptural

models

in

addition

to live models for

the

study

of the

human

figure,

it

seems

reasonable

to assume

Raphael adopted

a sim-

ilar

working

method.

Without the attentive

study

of these vari-

ous

types

of naturalistic

models,

especially

those made

by

Pollaiuolo,

once

in

Florence

Raphael

would

not have been

able

to understand and

assimilate as

quickly

and

successfully

as he did

the new ideals

concerning

the

representation

of the

active male nude he witnessed in the exemplary works of

Leonardo and

Michelangelo.

ing

was no

longer

possible

once

the statue

was erected. Also

referring

to

this

problem

s

P.

Joannides,

The

Drawings

of

Raphael

with a com-

plete catalogue, Oxford,1983, no. 97 (c. 1505),who suggests Raphael

drew

from "a

plaster

or wax model

or assembled

it from different

tud-

ies".

E.

Mitsch,

in: E.

Knab,

E.

Mitsch,

K.

Oberhuber,

Raphael:

Die

Zeichnungen, Stuttgart,

1983,

p.

100,

believes

Raphael'sdrawing

after

Michelangelo's

David constitutes

"keine

eigenstandige

kunstlerische

Variation,

ondern

eine relativ

getreue

Kopie."

For

Michelangelo's

influence on

Raphael,

see

A.

Forlani

Tempesti,

Raffaello e Michel-

angelo,

exh.

cat.

Florence, 1984,

and

by

the

same

author,

"Per

Raffaello

e

Michelangelo

e

Viceversa",

n:

Studi

su

Raffaello,

Atti del

Congresso

Internazionale

di Studi

(Urbino-Firenze

-14

aprile

1984),

Urbino,1987,

pp.

365-376.

3

K.T.

Parker,

Catalogue

of

the Collection

of

Drawings

in

the

Ashmolean Museum, vol. ii, The ItalianSchools, Oxford,1956, no.

56






THE


EARLY

USE

OF

ANTIQUE

AND ITALIAN RT

522 recto.

Pouncey

and

Gere,

1962,

no.

14

recto,

summarizingprevi-

ous

opinions.

Gere-Turner,

983,

nos. 37 and 38.

Joannides,

1983,

nos.

87v;

85v

(c.

1504-1505).

4

F. Ames-Lewis, The Draftsman Raphael, New Haven and

London

1986,

pp.

41-42;

Meyer

zur

Capellen,

1996,

pp.

120-126. Both

authors omit

the Oxford

tudy

from heir

discussion

of

Raphael's

nter-

est in

Michelangelo's

David.

5

P. P. Bober and

R.

O.

Rubinstein,

Renaissance Artists

and

AntiqueSculpture.

A

Handbook

of

Sources,

New

York,

1986,

no. 158i.

6

Parker,1956,

no.

522,

who mentions

that Robinson's

dating

of

the

drawing

o

Raphael's early

Roman

period,

c.

1508-12,

is untenable

on

the

basis of the fact that

the

figure

"is a close

adaptation

of

Michelangelo's

David."

J.

Shearman, "Rome,

Raphael

and the Codex

Escurialensis",

Master

Drawings

15

(1977), pp.

107-146.

7

Bober-Rubinstein,1986,

no.

158,

provide

a

list

of

drawings

after the relief. See also G.

Agosti

and V.

Farinella,

Michelangelo

e

I'arte

classica,

exh.

cat.,

Florence,

1987,

p.

30;

A.

Natali

n:

II

Disegno

Fiorentino del

Tempo

di Lorenzo

il

Magnifico,

exh.

cat.

Florence,

Milan,1992,

p.

28,

no.

1.4. I

would

like

to add

Botticelli

o

the artists

mentioned

in these

publications,

or his Pallas

in the Uffizi

Pallas

and

the Centaur of about

1482,

closely

resembles the

figure

of

Victory

shown

crowning

Trajan

n

the above-mentioned

Adventus relieffrieze

(Fig.

5).

8

A.

Petrioli

Tofani,

Inventario:

Disegni

di

figura

1., Florence,

1991,

nos. 81F

(Maso

Finiguerra)

nd

107F

(David

Ghirlandaio).

See

also C.

L.

Ragghianti

and G. Dalli

Regoli,

Disegni

dal

modello, Pisa,

1975, cat. no. 74, fig. 93 and L.Melli,Maso Finiguerra,Florence, 1995,

cat.

82,

fig.

97. Domenico

Ghirlandaio'suse of this

specific

antique

source was noted

by

N.

Dacos,

"Ghirlandaio

t

I'antique",

ulletinde

I'lnstitut

HistoriqueBeige

de

Rome,

XXXIV

1962), p.

423.

9

Perugino's

interest

in

the

Antique

s

reflected

in

a well-known

drawing

of

the

so-called

'Idolino'

n

the

Uffizi,

hough

a

specific

source

has thus far

not been

proposed.

See S. Ferino

Pagden,

Disegni

Umbri

del Rinascimento

da

Perugino

a

Raffaello, Florence,

1982,

pp.

85-88,

no. 54.

It

has

escaped

notice

that the

figure

in

Perugino's drawing

appears

twice in

the Saint

Bernardino

Healing

the

Daughter

of

GiovanniPetrazio

da

Rieti of

an Ulcer

from

the series of

small

panels

for the so-called niche of St. Bernardino 1473), now in the Galleria

Nazionale

dell'Umbria,

Perugia.

In this

picture they

reflectthe

flying

Victories

in

the

spandrels

of the

Arch

of Titus. Cf. P.

Scarpellini,

Perugino,

Milan,

1984,

cat. no.

13,

fig.

14;

for a better

reproduction,

see

V.

Garibaldi,

Perugino,

Milan,

1999,

p.

10.

Furthermore,

erugino's

nude male bears a

striking

resemblance

also to a nude

appearing

in

a classical relief

representingApollo

at

the Castelaian Fountain

paint-

ed

on

the recto of the second folio

of

an illuminated

manuscript

of

Didymus

Alexandrinus,

De

spiritu

sancto,

dated

4

December 1488.

See

J. J.

G.

Alexander, ed.,

The Painted

Page.

Italian Renaissance

Book

Illumination

1450-1550,

London and

Munich, 1994,

pp.

68-70,

cat. no. 13.

10

Cf.

E.

Battisti,

"The

Meaning

of Classical Models

in

the

Sculpture

of

Michelangelo",

n

Stil und

Uberlieferung

n

der Kunstdes

Abendlandes,

Akten

des

21.

Internazionalen

Kongresses

fur Kunst-

geschichte

in Bonn

1964,

3

vols.,

Berlin,

1967, II,

pp.

73-79,

in

particu-

lar,

p.

77,

where

the

author states

that the

posture

of

Michelangelo's

David is "derived rom a

monumental

type

of the

traditionalhero of

Florence,

Hercules".

The

most

frequently

cited

source

of

inspiration

for the David

s the

colossal

Horse

Tamerson the

Quirinal.

would like

to

point

out that the

pose

of the

figure

on the extreme left of a sar-

cophagus

of the

Lion

Hunt

in

the

Cortile

del

Belvedere,

Vatican

Museums,

presents

a

strikingly

lose

parallel

o that

of the

David. For

a

reproduction

of the

sarcophagus,

see B.

Andreae,

"Die

Sarkophage

im

Statuenhof

des

Belvedere",

n:

II

Cortiledelle Statue. Der Statuen-

hof des

Belvedere

im

Vatikan,

Akten

des

internationalen

Kongresses

zu Ehren von Richard

Krautheimer,

om,

21-23 Oktober

1992,

Mainz

am Rhein1998, p. 386, fig. 19.

11

Compare

illustration

in N.

Himmelman,

"Apollo

vom Bel-

vedere",

in:

1

Cortiledelle

Statue, 1998,

p.

212,

fig.

4.

12

See

Ragghianti-DalliRegoli,

1975,

cat. nos.

35, 71, 109, 168,

195,

204

(poses

corresponding

to

antique sculpture).

For

drawings

afterthe nude model

posing

as

Verrocchio's

David,

see A.

Butterfield,

The

Sculptures

of

Andrea del

Verrocchio,

New Haven and

London,

1997,

p.

26,

fig.

29

("anonymous

draftsman of

Verrocchio's

work-

shop");

P. L. Rubin

and

A.

Wright

eds.),

Renaissance Florence. The

Art

of

the

1470s,

exh. cat.

London, 1999,

p.

272,

no.

60

(Lorenzo

di

Credi).

Ferino

Pagden,

1982,

no.

7,

fig.

11

(Perugino?).

For

Perugino's

method of

working

out

poses,

see S.

Ferino

Pagden, "Perugino's

Use

of

Drawing:

Convention and

Invention",

n W. Strauss and T.

Felker,

eds.,

Drawings

Defined

with a

preface

and

commentary

by

K.

Oberhuber,

New

York,

1987,

pp.

77-102,

in

particular, p.

90ff.

13

Pouncey-Gere,

1962,

no.

16;

Gere-Turner,

1983,

no.

48;

Joannides, 1983,

no. 89.

14

Cf. G.

Becatti,

"Raphael

and

Antiquity",

n: M.

Salmi

ed.,

The

Complete

Work f

Raphael,

New

York,1969,

p.

514; Mitsch,

1983,

no.

30.

Joannides,

1983,

no.

264r,

who

refers to three other

examples

illustrating

Raphael's

use of the Casa Sassi torso

though

withoutmen-

tioning

the London

drawing

here

proposed

(his

no.

89).

Drawings

after

the

antique

torso

by

Michelangelo

and

Parmigianino

re

discussed

by

D. Ekserdjian,"Parmigianinond Michelangelo",MasterDrawings31

(1989), pp.

390-394.

15

Shearman,1977,

p.

136,

adduces the Vienna

drawing

as

pos-

sible

evidence of

Raphael's

stay

in

Rome

prior

to 1508.

Francesco

Simone

Ferrucci,

Sheet

with

Figure

Studies,

Departement

des Arts

Graphiques

du

Musee du

Louvre,

Paris

R.F.

447

verso.

H.

Janson,

The

Sculpture

of

Donatello,

Princeton

N.J.

1957,

pp.

240-242,

pl.

495.

16

C. Hulsen

and

H.

Egger,

Die Romischen Skizzenbuchervon

Martenvan

Heemskerck,

3

vols.,

Berlin, 1913-1916, I,

pp.

42ff.,

pi.

81

and

p.

27-28,

fol.

51v. G.

Schweikhart,

Der Codex

Wolfegg.

Zeich-

nungen

nach derAntike von Amico

Aspertini,

London,

1986,

p.

98,

fig.

25. In reverse the pose of the left-hand figure represented in the

Raphael drawing

in

London has been

compared

to that

of the nude

figure

at the

right

n

the Oxford

drawing

of Four

Warriors.

t

s

general-

ly

believed that the

latter

igure

derives from

a classical

prototype

as

found on

a Roman

relief

n

the Museo dei Terminin Rome.

Cf. Parker

1956,

no.

523;

Becatti,

1969,

p.

496,

fig.

8 and

p.

504; Joannides,

1983,

no. 88r.

17

It has

long

been

pointed

out that

Fischel's

hypothetical

heory

of

Raphael's 'Large

Florentine

sketchbook',

should be

rejected,

see

Pouncey-Gere

1962,

no.

14

and

Gere-Turner,

983,

no. 37.

18

R.

Weiss,

The Renaissance

Discovery

of

Classical

Antiquity,

Oxford1969, pp. 180ff. and F.Ames-Lewis,TheIntellectualLife of the

Early

Renaissance

Artist,

New Haven

and

London,2000,

pp.

79-80.

19

Ferino

Pagden,

1982,

no.

56; Becatti,

1969,

pp.

503-504;

Joannides, 1983,

no.

53v:

"probably

derived from a lost

composition

by

Antonio

Pollaiuolo". . Ferino

Pagden

in:

Raffaelloa

Firenze.

Dipinti

e

disegni

delle

collezioni

fiorentine,

exh.

cat.

Florence,

1984, Milan,

1984,

pp.

310-312,

no.

17.

20

Gronau

1902,

p.

28;

Ferino

Pagden,

1982,

p.

92; Joannides,

1983,

no. 53v.

According

o

L. D.

Ettlinger

nd H.S.

Ettlinger,Raphael,

Oxford,

1987,

p.

43,

the

Uffizi-drawing,

"reveals a

careful

study

of

Pollaiuolo's amous

engraving

of the

Battle of TenNudes."

21

Bober-Rubinstein,

986,

no.

81;

and 69a for the

drawing

rom

the circle of Bellini.

Degenhart

and A.

Schmitt,

"EinMusterblattdes

57






MICHAEL

W. KWAKKELSTEIN

Jacopo

Bellini

mit

Zeichnungen

nach der

Antike",

in:

Festschrift

Luitpold

Dussler,

Munich,

1972,

pp.

139-168,

in

particular, .

158,

fig.

21

(as

circle

of

Jacopo Bellini).

C.

Eisler,

The Genius

of

Jacopo

Bellini.

The Complete Paintingsand Drawings,New York, 1989, p. 206, as

"close to the art of GiovanniBellini".

While

working

out the

composi-

tion for the

Massacre of the Innocents

Raphael

turnedto a

sarcopha-

gus

relief of

Mars

and Rhea Silvia

rom which

he

borrowed he nude

soldier seen from the back to

the

right

of

the

center. The mother

pro-

tecting

her infant o the left of

the

central

igure

in the

Massacre corre-

sponds

to the

central

figure

of Achilles

in

the

Amazonomachia,

with

Achilles and

Penthesilia

Cf.

Bober-Rubinstein,

986,

nos. 25 and 139.

22

C.

Gould,

"Raffaello Venezia?"

n:

Studi

su

Raffaello,

1987,

pp.

111-115;

G.

Mulazzani,

"Raphael

and Venice: Giovanni

Bellini,

Durerand Bosch"

in:

J. Beck

(ed.), Raphael

Before

Rome,

Studies in

the

History

of

Art,

vol.

17, Washington,1986, pp.

149-153.

23

Raphael

reused this

pose

for the warrior n the left

in

a draw-

ing

inOxford

Joannides,

1983,

no.

185)

and for the

figure

of Hercules

in

a

drawing

n London

(Joannides,

1983,

no.

188).

Gronau,1902,

pp.

27-28,

recognized

the model

for this motif

in

the

engraving

after

Pollaiuolo's

design

Hercules and the Twelve Giants.

The

position

of

the

arm

of

the relevantwarrior

second

from the

left)

in

the

engraving

is however

quite

different.Ferino

Pagden,

1984,

p.

310,

notes the diffi-

culty

in

identifying

romwhich sources

Raphaelmay

have drawn

nspi-

ration. F.

Coarelli,

La

Colonna

Traiana,

Rome,

1999,

pi.

113

(scene

XCIV).

For Donatello's

relief,

see

J.

Poeschke,

Donatello

and his

World.

culpture

of the Italian

Renaissance,

New York

1993,

pi.

129.

In

classical artthis

type

of

striking

pose

is

usually represented

withthe

raised arm bent

furtherbackwards

(e.g.

on

Trajan's

olumn).

24

L. D.

Ettlinger,

Antonioand

Piero Pollaiuolo.

Complete

edition

with a critical

catalogue,

Oxford

1978,

pls.

83,

94

and 90.

Though

fre-

quently represented

in

antique

art,

the

pose

of the warrior

tanding

next to the

rearing

horse on

the left

in

the

background

of

Pollaiuolo's

Martyrdom

f

St Sebastian is

most

probably

derived

from one of

the

Dioscuriof Monte

Cavallo,

see

Bober-Rubinstein,

986,

no.

125.

25

The

drawing

n Venice s discussed

by

S. Ferino

Pagden,

Gallerie

dell'Accademia

i

Venezia:

Disegni

umbri,Milan,

984,

no.

60 recto.

The

most recent

attempt

o

attribute

he

Windsor

drawing

o

Raphael

s made

by M.Clayton,Raphaeland his Circle.Drawings rom WindsorCastle,

London,1999,

pp.

50-51,

cat. no.

10

(with

lder

bibliography).

26

L.

Fusco,

"Antonio ollaiuolo's

Use of the

Antique",

ournal

of

the

Warburg

nd

Courtauld

nstitutes,

XLII

1979), pp.

257-263,

in

par-

ticular,

p.

261,

note 19. For

the

drawings,

see

A.

Cavallaro,

in:

Da

Pisanello

alla

Nascitadei Musei

Capitolini.

LAntico

a Roma alla

vigilia

del

Rinascimento,

exh. cat. Musei

Capitolini,

Rome

1988,

pp.

187-189,

cat. no. 58.

Pollaiuolo's

presence

in

Rome

in

the 1460s

would also

explain

the

reference

to the Dioscuri

on the left

in the

background

of

his The

Martyrdom

f St Sebastian

in

the National

Gallery

n

London

and datable

to 1475.

27

F.Ames-Lewisand E.Clegg, "AContributiono an Inventory f

Pollaiuolo

Figure-groupDrawings",

Master

Drawings,

25

(1987), pp.

237-241.

It was

R.

Van

Marie,

The

Development

of

the Italian

Schools

of

Painting,

18

vols.,

The

Hague,

1922-1937, XI,

p.

356,

who believed

the Windsorsketch

to be "a

copy

from a lost

drawing by

Pollaiuolo."

Pollaiuolo's

Uffizi

drawing

(97F)

is

discussed

by

C. Sisi

in: A.

Petrioli

Tofani

(ed.),

II

disegno

fiorentinodel

tempo

di Lorenzo

il

Magnifico,

Florence

1992, pp. 50-51,

cat. no.

2.9.

(as

Maso

Finiguerra?).

28

Fora

reproduction

f Bartolomeo

di Giovanni's

painting,

ee

M.

Lisner,

"Form

nd

Sinngehalt

von

Michelangelos

Kentaurenschlacht

mit

Notizienzu

Bertoldodi

Giovanni",

Mitteilungen

es

Kunsthistorischen

Institutes

n

Florenz,24, 1980, p. 329, fig.

25. Cf.

Ferino

Pagden, 1982,

no. 49

as

"Perugino

?)"

and without

reference o Pollaiuolo.

29

Ettlinger,

978,

p.

12,

quoting

Celllini's

reference to Pollaiuolo

and

p.

35

for the lost relief.

30

A similar

drawing,

also

lost,

entered into

the

workshop

of

Francesco Squarcione in the early 1460s. That this cartonum of

nudes,

mentioned

in

a document dated

2

January

1474,

refers

to

a

highly

finished

drawing

instead of to Pollaiuolo's famous Battle

of

Nude Men

engraving,

is

suggested by

A.

Wright,

"Antonio

Pollaiuolo,

"Maestro

di

disegno",

in:

Florentine

Drawing

at

the Time of Lorenzo

the

Magnificent.

Papers

from

a

colloquium

held at

the

Villa

Spelman,

Florence, 1992,

Bologna

1994,

pp.

131-146,

in

particular

.

141.

31

Bober-Rubinstein,

986,

no.

142.

The

drawing

s

attributed

by

J.

Byam

Shaw,

Drawings by

Old Masters at ChristChurch

Oxford,

2

vols.,

Oxford,1976,

no.

40,

pi.

33,

to

the studio

of

FilippinoLippi

and

dated about 1500. For a better

reproduction,

see

Ragghianti-Dalli

Regoli, 1975, p. 239, cat. no. 133, fig. 165. Lippiwas in Romein 1489

and

enjoyed

a

reputation

of

being

an

expert

on

antique

art. In

his dis-

cussion of

the

Windsor

drawing,

A.

Natali,

in:

II

disegno

fiorentino,

1992,

pp.

26-27,

points

to a

battle

scene on

Trajan's

olumn, however,

the

two models

he

singles

out

for

comparison present only generic

similarities. Not mentioned

by

Bober-Rubinstein

is

Piero della

Francesca's

quotation

of four

figures

from the

Amazonomachia sar-

cophagus

for

the warriors

n the

foreground

of

his fresco

representing

the Battle between Heracliusand Chosroes

in

the

main

chapel

of San

Francesco

at

Arezzo,

executed

in

the

1450s.

32

R.

Krautheimer,

Lorenzo

Ghiberti,

Princeton, 1970,

pl.

113.

Ghiberti's

tudy

of

battle

scenes

on

Trajan's

olumn is

suggested by

Cavallaro,

n Da

Pisanello...,

1988,

p.

181.

Ettlinger,

1978,

p.

9. The

prostrate

warrior

n

the

print

of the Battle of Hercules and the

giants

afterPollaiuolo's

design closely

resembles

the nude

figure

on the

right

of a

sarcophagus

with the Battle of 'Romans

against

Barbarians,'

Bober-Rubinstein, 986,

no. 153.

33


nos.

112

and

113.

Meleager's pose

is

repeated

in a

putto standing

in

the center of a

sarcophagus

with

a

hunting

scene

in

the

Belvedere

Statue Court

n

Rome,

see

Andreae,

1998,

p.

386,

fig.

20.

34

For Pollaiuolo'sArcetri

resco,

see

Ettlinger,

978,

pi.

22. The

sarcophagus

is

reproduced

in

Andreae,

1998,

p.

382,

fig.

9.

Fusco,

1979, p. 258, relates the dancer to Pollaiuolo'sAntaeus figurein the

bronze of Hercules and Antaeus

in

the

Bargello

in

Florence. The

Pollaiuolesque

terracottarelief

is

reproduced

in

Ettlinger,

978,

p.

44,

fig.

16. For

he battle

frieze,

see


no. 154.

This

view is

expressed

by

A.

Wright,

"Dimensional

ension

in

the works of

Antonio

Pollaiuolo",

n:

Stuart

Currie and Peta

Motture

(eds.),

The

Sculpted

Object

1400-1700,

Aldershot,1997,

pp.

65-79.

35

Knab-Mitsch-Oberhuber,

1983,

no.

131;

Joannides, 1983,

94r;

Ferino

Pagden,

1984,

p.

150;

D.

A.

Brown,

"Saint

George

in

Raphael's

Washington

Painting",

in:

Raphael

Before

Rome, 1986, pp.

40-41.

36

Gere-Turner, 1983,

nos.

3 and

4, Joannides, 1983,

nos. 3r and

4 (also referringo the Venicedrawing).

37

Joannides, 1983,

no.

56.

At about this time

Raphael

made

a free

copy

after one of the

archers

in

Signorelli's

Martyrdom

f St

Sebastian

(Joannides,

1983,

no.

11r).

The

rhythmic

contour of

the

archer's

muscular

leg

and the

type

of buttocks

invite

comparison

to

the nude

figure

seen

on the

back

on the recto

of

the sheet

in

Venice.

In

fact an even

closer

parallel

o this

figure

is

provided by

the soldier

on

the left of the

Raleigh picture.

38

The

underdrawing

is

reproduced

in

Cf.

J.

Dunkerton,

S.

Foister,

N.

Penny,

Durer

o Veronese.

Sixteenth-Century

ainting

n The

National

Gallery,

New Haven and

London

1999,

p.

226,

fig.

284.

39

This confirms

the

relationship

with

Pollaiuolo's

picture

noted

by

Gronau,

1902,

p.

25,

with

regard

to the

sketch

usually

connected

58






THE


EARLY

USE OF

ANTIQUE

AND ITALIAN

RT

with

he modello

and also

in

the Uffizi.

Cf.

Joannides, 1983,

56 and 57r.

Ferino

Pagden,

1982,

p.

99,

prefers

to

explain

the influence of

Pollaiuolo

by assuming

Raphael briefly

visited Florence around 1502

or 1503. This

theory

is elaborated

by

P De

Vecchi,

"TheCoronationof

the

Virgin

n

the Vatican

Pinacoteca and

Raphael's Activity

between

1502

and

1504",

in:

Raphael

Before

Rome, 1986,

pp.

73-82.

It

should

be noted

that if

Raphael

worked

with Pinturicchio n Siena he must

have had the

opportunity

o

study

the latter's

engravings by

Pollaiuolo

and

drawings

after his

designs

since Pinturicchio's rescoes contain

several

borrowings

rom Pollaiuolo.

40

Reproduced

in V.

Garibaldi,

Perugino.

Catalogo completo,

Florence

1999,

cat. no. 20.

41 L.

Fusco,

The Nude as a

Protagonist:

Pollaiuolo's

figural

tyle

explicated by

Leonardo's

Study

of

Anatomy,

Movement,

and

Functional

Anatomy,

Diss. New York

University,

978,

p.

185,

believes

thatthe two

standing

warriors

carrying

a shield in the Windsordraw-

ing,

here

singled

out for

comparison

to the

Antique,

are based on

a

sculptural

model of the so-called

Marsyasby

Pollaiuolo.

Though

this

would corroborate he

theory

here

presented,

the

pose

of the

figures

in

the

drawing

show

too

many

differences

to

accept

a direct

linkwith

the bronze. See also

L.

Fusco,

"The Use of

Sculptural

Models

by

Painters

n

Fifteenth-Centurytaly",

Art

Bulletin,

LXIV

1982),

pp.

175-

194. Cf.

Ettlinger,

1978,

pl.

94.

R.

Quednau,

"Raphael

und 'alcune

stampe

di maniera

edesca',

Zeitschrift

ur

Kunstgeschichte,

46, 1983,

pp.

146ff.,

suggests

that a

print by

Martin

Schongauer

served as

a

model

for

Raphael's

St

George

and the

Dragon.

42

The gem and its derivations are discussed in N. Dacos, A.

Giuliano,

U.

Pannuti,

II

tesoro

di Lorenzo

il

Magnifico.

Le

Gemme,

Florence

1973,

pp.

45-46,

cat. no. 8 and

pp.

142ff.See also

N.

Dacos,

in:

P

Scarpellini ed.),

II

Collegio

del Cambio

in

Perugia,

Milan,1998,

p.

146,

who

points

to a scene

in

the

Collegio

del Cambio frescoes

in

Perugia

(1496-1500)

that

shows

Perugino's

knowledge

of the

gem

through

a

plaquette.

For he

corresponding

models on

Trajan's

olumn,

see

Coarelli,1999,

pi.

159.

Compare

a similar

group

in

pls.

129

and 162.

43

The

dating

of

the sheet

in

Venice to 1503

would

support

the

theory

advanced

by

Ferino

Pagden,

1984,

p.

151,

that the studies on

both sides could be connected

to a

project

or a fresco

cycle,

"dedica-

to allastoriareligiosadi Perugiae immaginabile ome decorazione di

una sala con funzioni

politico-religiose...".

44

Parker,

1956,

no.

505;

Joannides

1983,

no.

27,

considers this

study

"from

he model"and a demonstration

of

Raphael's early

devel-

oped

skills for he drew

the

"exceptionally omplex pose

of the stand-

ing guard

[...

] with minimal

pentimenti".

45

Raphael's early knowledge

of

Mantegna's print

s reflected

in

a

drawing

of the

Virgin

nd Child

with

Sts Sebastian

and

Roch,

datable

circa 1500. Cf.

Joannides, 1983,

2r.

The

figure

of St Sebastian

is clear-

ly

based on

the

figure

of Bacchus. It suffices to

point

to one

example

in

antique sculpture

where this

pose

occurs:

the

figure

on the far

right

of a Bacchic sarcophagus inthe Belvedere Statue Court,reproduced

in

Andreae,

1998,

p.

384,

fig.

12.

The

position

of the soldier's

legs

is

identical,

n

reverse,

to that of the

angel

in

Tobias

and the

Angel

from

the

workshop

of Verrocchio

(National Gallery,

London),

and that of

Tobias

in

Pollaiuolo's

picture illustrating

he same

subject

in

Turin

(Galleria Sabauda).

The

pose

recurs

in

the

background

of

Ghirlandaio's

Nativity

n

the Santa

Trinita

n

Florence and his Visitation

with

St

Anne

in

the Galleriadell'Accademia

in

Florence

(c. 1470).

Francesco Botticiniborrowed he

pose

for a

figure

in

his book illumi-

nations to Matteo Palmieri's Citta

di vita

(1473), reproduced

in L.

Venturi,

Francesco

Botticini, Florence, 1994,

fig.

54,

while

Perugino

first

employed

it

for a

figure

in

the

background

of his fresco

of

The

Journey

of Moses into

Egypt

nthe Sistine

Chapel,

Vatican

1481-82).

46

Additional

examples

of

working

method are

given

by

R.

Quednau,

"'Imitatione 'altrui'.

Anmerkungen

zu

Raphaels

Verarbeit-

ung

entlehnter

Motive",

De Arte et Libris.Festschrift Erasmus

1934-

1984, Amsterdam1984, pp. 349-367. The figure holdingthe rope tied

to

Christ

n

the LondonProcession to

Calvary

s a

copy,

in

reverse,

of

the left-hand

soldier

advancing

on the

right

in

the

background

of

Perugino'sAgony

in

the

Garden;

only

the arms are

in

a different

posi-

tion. This

type

of

figural

pose

had been

adopted by

Perugino

for one

of the

figures

in

the

Collegio

del Cambio fresco

illustrating

he Moon

for

which an

antique

gem

served as a

model,

see note

42,

above.

47

Shearman, 1977,

p.

131.

48

Parker,1956,

no. 522

verso,

noting

however that the St

Paul,

"harksback to Donatello's

Prophets

on the

Campanile."

Joannides,

1983,

no.

87r; Ames-Lewis, 1986,

p.

41.

49

Janson, 1957,

pp.

23-32,

especially p.

24.

50

Parker, 1956,

no. 523.

Gere-Turner, 1983,

no. 46.

Cf.

Meyer

zur

Capellen,

1996,

pp.

128-129.

51

Janson, 1957,

pp.

16-21.

Meyer

zur

Capellen,

1996,

pp.

129-

134,

points

to the

changes Raphael

made with

respect

to Donatello's

St

George

which

"in

turn

change

the character of

the

figure by adding

to its

firm

bodily posture

a mood of critical

reflection,

which is most

clearly expressed through

the

slight

inclination of the

apostle's

head." The

pose

of the nude

figure

as St Paul

in

the Oxford

drawing

may

also be

compared

to Andrea del

Castagno's depiction

of

Boccaccio from the fresco

cycle

of famous men and women

formerly

in

the Villa Carducci

in

Legnaia,

near Florence.

In

a similar manner

Castagno's image of Pippo Spano, a Florentine ondottiere,probably

served as a model for

Perugino's drawing

of St Michael at

Windsorof

about

1500,

making

it not inconceivable that he had made

copies

also after the

remaining igures

from the

cycle

that

subsequently

cir-

culated

in

his

workshop.

This latterconnection is also mentioned

by

S. Ferino

Pagden

in

Perugino, Lippi

e

la

bottega

di

San Marco alla

Certosa di

Pavia, 1495-1511,

Florence

1986,

p.

46. Most critics

how-

ever

prefer

o

accept

that

Perugino's drawing

of a warrior s based on

Donatello's St

George.

A. E.

Popham

and J.

Wilde,

The Italian

Drawings

of the

XV

and

XVI

Centuries

n

the Collection of His

Majesty

the

King

at Windsor

Castle, London, 1949,

no.

21.

Meyer

zur

Capellen,1996, p. 128.

52

K.

Oberhuber,

"A

Drawingby Raphael Mistakenly

Attributed o

Bandinelli",

Master

Drawings,

2

(1964),

pp.

398-401. The attributiono

Raphael

is

accepted by

Joannides, 1983,

no. 183 and

V.

Birkeand J.

Kertesz,

Die italienischen

Zeichnungen

der

Albertina, I,

Vienna

/Cologne

/Weimar

1992-,

p.

63,

Inv.

117;

but

questioned by

E.

Mitsch,

Raphael

in

der

Albertina,Vienna, 1983,

cat.

nos. 47-48 and Forlani

Tempesti,

1984,

p.

21,

"Raffaello

?)".

53

Oberhuber,1964,

p.

399.

54

Forlani

Tempesti,

1984,

p.

21. This

author urtheradds a

copy

aftera

lost

Raphael

drawing

n

New

York,

Metropolitan

Museumof

Art,

inv.no. 87.12.69, which, in myview,has little o do with the statue. Cf.

A.

Forlani

Tempesti,

"II

Daviddi

Michelangelo

nella Tradizione

Grafica

Bandinelliana",

ntichita

Viva,

18

(1989), pp.

19-25,

in

particular, .

20,

note

10.

Joannides,

1983,

no.

183v; Birke-Kertesz, 992,

p.

63.

55

For Adriano Fiorentino's

Hercules,

see E.

van

Binnebeke,

Bronze

Sculpture. Sculpture

from

1500-1800

in

the collection of the

Boymans

van

Beuningen

Museum,

Rotterdam,1994,

no.

1

(with

older

literatureand reference to the Hercules in

Mantegna's fresco).

The

resemblance to the Porta

della MandorlaHercules was

suggested

in

the exhibition

catalogue

Bronzen:antieke bronzen

beeldjes

gevonden

in

Nederlanden

Italiaanse

renaissance

bronzen

n

Nederlandse verza-

melingen, Groninger

Museum

1980, p. 82,

no.

20.

An

identical

pose

is

represented

in two late

fifteenth-century

Florentineterracottas of

59






MICHAELW.

KWAKKELSTEIN

David attributed o the Master

of the David and St John Statuettes

in

the Victoria and Albert

Museum,

see J.

Pope-Hennessy

and R.

Lightbown,

Catalogue

of Italian

Sculpture

in the Victoriaand Albert

Museum,3 vols., London, 1964, I, pp. 191-192, nos. 169-170, noting

that these

sculptures represent

"variants

f a

popular

erracottamodel

derived fromthe bronze David

by

Verrocchio."

56

The attribution f the

drawing

o

Raphael

has been

repeated-

ly questioned,

see

K.

Oberhuber

and

A.

Gnann,

Roma e lo stile clas-

sico di Raffaello

1515-1527, Milan,1999,

no.

71

(with

older

bibliogra-

phy).

For a

reproduction

of the

Grimani-Apollo,

ee

Becatti, 1969,

p.

550,

fig.

117.

J.

Pope-Henessy

and

A.

Radcliffe,

The FrickCollection.

An

illustrated

catalogue.

Volume

IIl:

Sculpture.

Italian,

New

York,

1970,

pp.

48-52.

57

New

York,

Metropolitan

Museum of

Art,

Fletcher Fund

1927,

Inv.

no 27.45 and

Rome,

Vatican

Museums,

Saletta

degli Originali

Greci,

nv.

559.

58

The

correspondence

to the two

youths

in

the Frankfurt raw-

ing

was noted

by

Oberhuber, 964,

p.

399.

Fora reviewof the succes-

sive evolution

stages

in

the

design

process,

see

R.

Jones and

N.

Penny, Raphael, New Haven and London,1983,pp. 57-68 and Ames-

Lewis,

1986,

pp.

72ff.

59

Pouncey-Gere,

1962,

no

30.

Joannides, 1983,

no.

206;

Gere-

Turner, 983,

no. 91.

60

P.

Scarpellini,

Luca

Signorelli,

Milan, 1964,

p.

37,

fig.

42.

Janson, 1957, I,

pi.

309.

Raphael's

use

of Donatello's Paduan relief

had

already

been

pointed

out

by

W.

Voge,

Raffaell und

Donatello,

StraBbourg,

1898,

p.

19,

concerning

three

figures

at the

extreme

right

that

Raphael copied

in

the

right

background

of his School of Athens.

See also V. L.

Goldberg,

"TheSchool of Athens and

Donatello",

The

Art

Quarterly

34

(1971),

pp.

229-236 and

A.

Ronen,

"Raphael

and

Mantegna",Storia dell'Arte,33 (1978), pp. 124-133, in particular,

p.

124.

60




the model's pose: raphael's early use of antique and italian art

Documents